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User’s Reference

AUTODESK®

DS MAX®

Volume I

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toc

Introduction.............................................. xiii

What’s New in 3ds Max 9 Extension 1..................... xiii

3ds Max Documentation Set.................................... xiv

About MAXScript ................................................... xvii

1 Getting Started with 3ds Max..................... 1

Getting Started with 3ds Max ..................................... 1

Project Workflow......................................................... 1

Setting Up Your Scene ................................................. 4

Modeling Objects ........................................................ 5

Using Materials............................................................ 6

Placing Lights and Cameras........................................ 7

Animating Your Scene................................................. 8

Rendering Your Scene ................................................. 9

The 3ds Max Window ................................................. 9

Special Controls......................................................... 12

Managing Files .......................................................... 15

Importing, Merging, Replacing, and Externally

Referencing Scenes ................................................. 16

Using the Asset Browser ............................................ 17

Startup Files and Defaults ......................................... 17

3dsmax.ini File .......................................................... 18

Backing Up and Archiving Scenes ............................ 19

Crash Recovery System ............................................. 20

2 Viewing and Navigating 3D Space ........... 21

Viewing and Navigating 3D Space............................ 21

General Viewport Concepts...................................... 22

Home Grid: Views Based on the World

Coordinate Axes ..................................................... 23

Understanding Views ................................................ 24

Setting Viewport Layout ........................................... 26

Controlling Viewport Rendering.............................. 27

Controlling Display Performance ............................. 28

Using Standard View Navigation .............................. 29

Zooming, Panning, and Rotating Views................... 29

Using Walkthrough Navigation ................................ 30

Navigating Camera and Light Views......................... 33

Adaptive Degradation Toggle ................................... 34

Grab Viewport........................................................... 35

View-Handling Commands.................................... 35

View-Handling Commands...................................... 35

Undo View Change / Redo View Change ................. 36

Save Active View........................................................ 37

Restore Active View................................................... 37

Viewport Background Dialog................................... 38

Select Background Image Dialog.............................. 42

Update Background Image ....................................... 44

Reset Background Transform ................................... 45

Show Transform Gizmo ............................................ 45

Show Ghosting .......................................................... 46

Show Key Times ........................................................ 46

Shade Selected ........................................................... 47

Show Dependencies .................................................. 47

Create Camera From View........................................ 48

Add Default Lights to Scene...................................... 49

Redraw All Views....................................................... 50

Activate All Maps ...................................................... 50

Deactivate All Maps .................................................. 50

Update During Spinner Drag.................................... 51

Expert Mode.............................................................. 51

Controlling Object Display .................................... 51

Controlling Object Display ....................................... 51

Display Color Rollout ............................................... 52

Hide By Category Rollout ......................................... 52

Hide Rollout .............................................................. 53

Freeze Rollout............................................................ 54

Display Properties Rollout ........................................ 55

Contents

iv Contents

Link Display Rollout.................................................. 58

Object Display Culling Utility................................... 58

3 Selecting Objects....................................... 61

Selecting Objects ....................................................... 61

Introducing Object Selection .................................... 61

Basics of Selecting Objects ........................................ 64

Selecting by Region ................................................... 65

Using Select By Name................................................ 67

Using Named Selection Sets...................................... 67

Using Selection Filters............................................... 68

Selecting with Track View ......................................... 69

Selecting with Schematic View.................................. 69

Freezing and Unfreezing Objects .............................. 70

Hiding and Unhiding Objects by Selection .............. 70

Hiding and Unhiding Objects by Category .............. 72

Isolate Selection......................................................... 73

Introduction to Sub-Object Selection....................... 74

Selection Commands ............................................. 76

Selection Commands ................................................ 76

Select Object ............................................................. 77

Select By Name ......................................................... 77

Selection Floater........................................................ 79

Selection Region Flyout............................................. 80

Selection Filter List.................................................... 81

Filter Combinations Dialog....................................... 81

Named Selections................................................... 83

Named Selection Sets ................................................ 83

Named Selection Sets Dialog ................................... 84

Edit Named Selections Dialog................................... 86

Select All .................................................................... 87

Select None................................................................ 88

Select Invert............................................................... 88

Select By..................................................................... 88

Select By Color .......................................................... 88

Select By Name (Edit Menu)..................................... 88

Select Similar ............................................................. 88

Region Selection..................................................... 89

Rectangular Selection Region .................................. 89

Circular Selection Region ......................................... 89

Fence Selection Region ............................................. 90

Lasso Selection Region ............................................. 90

Paint Selection Region .............................................. 91

Region ....................................................................... 92

Select Region Window .............................................. 92

Select Region Crossing ............................................. 93

Window/Crossing Selection Toggle ......................... 93

Edit Commands....................................................... 94

Edit Commands ........................................................ 94

Undo/Redo ............................................................... 94

Hold/Fetch................................................................. 95

Delete......................................................................... 95

Groups and Assemblies.......................................... 95

Groups and Assemblies............................................. 95

Using Groups............................................................. 96

Using Assemblies....................................................... 98

Character Assembly ................................................ 102

Group Commands................................................. 104

Group Commands .................................................. 104

Group....................................................................... 104

Open Group ............................................................ 105

Close Group............................................................. 105

Ungroup .................................................................. 106

Explode Group ........................................................ 106

Detach Group.......................................................... 106

Attach Group........................................................... 106

Assembly Commands........................................... 107

Assembly Commands ............................................. 107

Assemble.................................................................. 107

Open Assembly ....................................................... 109

Close Assembly........................................................ 109

Disassemble............................................................. 110

Explode Assembly ................................................... 110

Detach Assembly..................................................... 110

Attach Assembly...................................................... 111

Assembly Head Helper Objects ........................... 111

Assembly Head Helper Object ................................ 111

Luminaire Helper Object ........................................ 111

Character Assembly Commands ......................... 112

Character Assembly Commands ........................... 112

Create Character...................................................... 112

Destroy Character ................................................... 115

Lock/Unlock Character........................................... 115

Insert Character....................................................... 115

Save Character......................................................... 115

Skin Pose Commands ............................................. 116

4 Object Properties.....................................117

Object Properties..................................................... 117

Object Properties Dialog Panels ......................... 117

General Panel (Object Properties Dialog) .............. 117

Advanced Lighting Panel (Object Properties

Dialog) .................................................................. 123

mental ray Panel (Object Properties Dialog).......... 126

User Defined Panel (Object Properties Dialog)...... 127

Rename Objects Tool .............................................. 128

Custom Attributes ................................................... 129

Parameter Collector ............................................. 138

Contents v

Parameter Collector ................................................ 138

Parameter Collector Menu Bar ............................... 142

Notes Dialog (Parameter Collector) ....................... 145

Expression Techniques......................................... 146

Expression Techniques............................................ 146

Trigonometric Functions ........................................ 150

Vectors ..................................................................... 151

5 Creating Geometry..................................153

Creating Geometry.................................................. 153

Basics of Creating and Modifying Objects.......... 153

Basics of Creating and Modifying Objects ............. 153

Using the Create Panel............................................. 154

Identifying the Basic Building Blocks ..................... 155

Creating an Object .................................................. 157

Assigning Colors to Objects................................. 159

Assigning Colors to Objects.................................... 159

Object Color Dialog ................................................ 159

Color Selector Dialog .............................................. 161

Color Clipboard Utility........................................... 165

Adjusting Normals and Smoothing .................... 166

Adjusting Normals and Smoothing ........................ 166

Viewing and Changing Normals............................. 166

Viewing and Changing Smoothing......................... 167

Creating Geometric Primitives ............................ 169

Geometric Primitives .............................................. 169

Creating Primitives from the Keyboard.................. 169

Standard Primitives.............................................. 170

Standard Primitives................................................. 170

Box Primitive........................................................... 171

Cone Primitive ........................................................ 172

Sphere Primitive ...................................................... 174

GeoSphere Primitive ............................................... 176

Cylinder Primitive................................................... 177

Tube Primitive ......................................................... 179

Torus Primitive........................................................ 180

Pyramid Primitive................................................... 182

Teapot Primitive ...................................................... 183

Plane Primitive ........................................................ 185

Extended Primitives ............................................. 186

Extended Primitives ................................................ 186

Hedra Extended Primitive ...................................... 187

Torus Knot Extended Primitive .............................. 189

ChamferBox Extended Primitive............................ 191

ChamferCyl Extended Primitive............................. 192

OilTank Extended Primitive ................................... 194

Capsule Extended Primitive.................................... 195

Spindle Extended Primitive .................................... 196

L-Ext Extended Primitive........................................ 198

Gengon Extended Primitive.................................... 199

C-Ext Extended Primitive ....................................... 200

RingWave Extended Primitive ................................ 202

Prism Extended Primitive ....................................... 205

Hose Extended Primitive ........................................ 206

Architectural Objects ........................................... 209

Architectural Objects .............................................. 209

AEC Extended Objects.......................................... 210

AEC Extended Objects............................................ 210

Working with AEC Design Elements...................... 210

Foliage...................................................................... 214

Railing ..................................................................... 217

Wall.......................................................................... 223

Editing Wall Objects................................................ 228

Stairs...................................................................... 231

Stairs ........................................................................ 231

L-Type Stair ............................................................. 232

Spiral Stair ............................................................... 235

Straight Stair............................................................ 239

U-Type Stair ............................................................ 243

Doors ..................................................................... 246

Doors....................................................................... 246

Pivot Door ............................................................... 251

Sliding Door ............................................................ 251

BiFold Door............................................................. 252

Windows................................................................ 253

Windows.................................................................. 253

Awning Window...................................................... 256

Casement Window .................................................. 257

Fixed Window ......................................................... 258

Pivoted Window...................................................... 259

Projected Window................................................... 260

Sliding Window....................................................... 261

Shapes ................................................................... 262

Shapes ..................................................................... 262

Shape Check Utility................................................. 265

Splines................................................................... 266

Splines and Extended Splines.................................. 266

Line Spline ............................................................... 270

Rectangle Spline ...................................................... 272

Circle Spline............................................................. 273

Ellipse Spline ........................................................... 274

Arc Spline ................................................................ 274

Donut Spline............................................................ 276

NGon Spline ............................................................ 277

Star Spline................................................................ 277

Text Spline ............................................................... 278

Helix Spline ............................................................. 281

Section Spline .......................................................... 282

vi Contents

Extended Splines.................................................. 284

WRectangle Spline .................................................. 284

Channel Spline ........................................................ 285

Angle Spline............................................................. 286

Tee Spline................................................................. 287

Wide Flange Spline.................................................. 288

Editable Spline...................................................... 289

Editable Spline......................................................... 289

Editable Spline (Object) .......................................... 295

Editable Spline (Vertex) ......................................... 297

Editable Spline (Segment) ...................................... 303

Editable Spline (Spline) .......................................... 308

Compound Objects............................................... 313

Compound Objects ................................................. 313

Morph Compound Object ...................................... 314

Scatter Compound Object....................................... 318

Conform Compound Object................................... 324

Connect Compound Object.................................... 328

BlobMesh Compound Object ................................. 331

ShapeMerge Compound Object ............................. 336

Boolean Compound Object ................................. 338

Boolean Compound Object .................................... 338

Material Attach Options Dialog.............................. 345

Terrain Compound Object...................................... 347

Loft Compound Object......................................... 352

Loft Compound Object........................................... 352

Creation Method Rollout ........................................ 354

Surface Parameters Rollout ..................................... 354

Path Parameters Rollout.......................................... 356

Skin Parameters Rollout.......................................... 358

Deformations .......................................................... 363

Deform Scale ........................................................... 364

Deform Twist........................................................... 364

Deform Teeter.......................................................... 365

Deform Bevel........................................................... 366

Deform Fit ............................................................... 367

Deformation Dialog ................................................ 368

Path Commands...................................................... 372

Shape Commands ................................................... 373

Compare Dialog ...................................................... 374

Mesher Compound Object...................................... 374

ProBoolean/ProCutter Compound Objects........ 377

ProBoolean/ProCutter Compound Objects ........... 377

ProBoolean Compound Object .............................. 378

ProCutter Compound Object ................................. 388

Quad Meshing and Smoothing............................... 392

Creating Dynamics Objects ................................. 395

Dynamics Objects ................................................... 395

Damper Dynamics Object ...................................... 396

Spring Dynamics Object ......................................... 400

Creating Systems.................................................. 404

Systems .................................................................... 404

Bones System........................................................ 404

Bones System........................................................... 404

Using Objects as Bones ........................................... 410

Bone Tools ............................................................... 411

Bone Tools Rollouts.............................................. 411

Bone Editing Tools Rollout ..................................... 411

Fin Adjustment Tools Rollout ................................. 413

Object Properties Rollout (Bone Tools).................. 414

Ring Array System................................................... 415

Sunlight and Daylight Systems ........................... 418

Sunlight and Daylight Systems................................ 418

Geographic Location Dialog................................... 422

6 Transforms: Moving, Rotating, and

Scaling Objects ........................................ 423

Moving, Rotating, and Scaling Objects .................. 423

Axis Tripod and World Axis ................................... 424

Using Transforms.................................................. 424

Using Transforms .................................................... 424

Using Transform Gizmos ........................................ 426

Transform Type-In .................................................. 431

Animating Transforms ............................................ 432

Transform Managers ............................................... 433

Specifying a Reference Coordinate System............. 435

Choosing a Transform Center................................. 435

Using the Axis Constraints...................................... 437

Reset Transform Utility ........................................... 438

Transform Commands.......................................... 438

Transform Commands............................................ 438

Select and Move ...................................................... 439

Select and Rotate .................................................... 439

Select and Scale ....................................................... 440

Select and Uniform Scale ........................................ 441

Select and Non-Uniform Scale ............................... 441

Select and Squash ................................................... 442

Transform Coordinates and Coordinate

Center ................................................................. 442

Transform Coordinates and Coordinate Center..... 442

Reference Coordinate System ................................. 443

Use Center Flyout .................................................... 445

Use Pivot Point Center ............................................ 446

Use Selection Center ............................................... 447

Use Transform Coordinate Center ......................... 447

Transform Tools .................................................... 448

Transform Tools ...................................................... 448

Array Flyout............................................................. 448

Contents vii

Mirror Selected Objects .......................................... 448

Array ....................................................................... 450

Snapshot ................................................................. 453

Spacing Tool ........................................................... 455

Clone and Align Tool .............................................. 459

Align Flyout............................................................. 462

Align ....................................................................... 462

Quick Align ............................................................ 465

Normal Align .......................................................... 465

Place Highlight ....................................................... 467

Align Camera .......................................................... 468

Align to View .......................................................... 468

7 Creating Copies and Arrays ....................471

Creating Copies and Arrays .................................... 471

Overview of Copies, Instances, and References...... 472

Cloning Objects .................................................... 474

Techniques for Cloning Objects.............................. 474

Clone ....................................................................... 476

Clone Options Dialog ............................................. 476

Using Shift +Clone ............................................... 478

Cloning with Shift +Move .................................... 479

Cloning with Shift +Rotate................................... 480

Cloning with Shift +Scale ..................................... 481

Animating Shift +Rotate and Shift +Scale......... 482

Cloning Objects Over Time with Snapshot ............ 483

Arraying Objects................................................... 484

Arraying Objects ..................................................... 484

Using the Array Dialog............................................ 485

Creating Linear Arrays............................................ 487

Creating Circular and Spiral Arrays........................ 489

Mirroring Objects ................................................... 491

Using the Spacing Tool............................................ 491

8 Modifiers .................................................. 493

Modifiers ................................................................. 493

Transforms, Modifiers, and Object Data Flow ....... 494

List of Available Modifiers....................................... 497

Using Modifiers .................................................... 499

Using Modifiers....................................................... 499

Using the Modify Panel........................................... 499

Using the Modifier Stack......................................... 502

Editing the Stack ..................................................... 504

Edit Modifiers and Editable Objects....................... 506

Modifying at the Sub-Object Level ......................... 506

Using the Stack at the Sub-Object Level ................. 508

Modifying Multiple Objects.................................... 509

How Instanced Modifiers Work.............................. 511

World-Space Modifiers......................................... 512

World-Space Modifiers (WSMs)............................. 512

Camera Map Modifier (World Space) .................... 513

Displace Mesh Modifier (World Space).................. 514

Displace NURBS Modifier (World Space).............. 515

Hair and Fur Modifier (WSM)............................... 516

Hair And Fur Modifier............................................ 516

Selection Rollout (Hair and Fur) ............................ 521

Tools Rollout (Hair and Fur)................................... 523

Styling Rollout (Hair and Fur)................................ 526

Quad Menu for Hair Styling ................................... 532

General Parameters Rollout (Hair and Fur) ........... 534

Material Parameters Rollout (Hair and Fur) .......... 537

mr Parameters Rollout (Hair and Fur) ................... 540

Frizz Parameters Rollout (Hair and Fur)................ 540

Kink Parameters Rollout (Hair and Fur) ................ 542

Multi Strand Parameters Rollout (Hair and Fur) ... 544

Dynamics Rollout (Hair and Fur)........................... 545

Display Rollout (Hair and Fur)............................... 549

LS Colors Modifier (World Space).......................... 550

MapScaler Modifier (World Space) ........................ 551

PatchDeform Modifier (World Space).................... 552

PathDeform Modifier (World Space) ..................... 552

Point Cache Modifier (World Space)...................... 555

Subdivide Modifier (World Space) ......................... 555

Surface Mapper Modifier (World Space)................ 556

SurfDeform Modifier (World Space)...................... 557

Object-Space Modifiers........................................ 557

Object-Space Modifiers........................................... 557

Affect Region Modifier............................................ 557

Attribute Holder Modifier....................................... 559

Bend Modifier ......................................................... 560

Bevel Modifier ......................................................... 562

Bevel Profile Modifier ............................................. 565

Camera Map Modifier (Object Space).................... 567

Cap Holes Modifier ................................................. 569

Cloth and Garment Maker Modifiers .................. 571

Cloth and Garment Maker Modifiers ..................... 571

Cloth Overview ....................................................... 571

Cloth Modifier......................................................... 578

Object Properties Dialog (Cloth)............................ 602

Garment Maker Modifier........................................ 607

Troubleshooting and Error Codes in Garment

Maker.................................................................... 622

CrossSection Modifier ............................................ 623

Delete Mesh Modifier.............................................. 626

Delete Patch Modifier.............................................. 627

Delete Spline Modifier............................................. 627

Disp Approx Modifier ............................................. 628

Displace Modifier.................................................... 629

viii Contents

Edit Mesh Modifier ................................................. 634

Edit Normals Modifier ............................................ 634

Edit Patch Modifier ................................................. 638

Edit Poly Modifier ................................................. 640

Edit Poly Modifier ................................................... 640

Selection Rollout (Edit Poly Modifier) ................... 647

Edit Poly (Object).................................................... 651

Edit Poly (Vertex) ................................................... 652

Edit Poly (Edge) ...................................................... 656

Edit Poly (Border) .................................................. 663

Edit Poly (Polygon/Element) .................................. 666

Edit Geometry Rollout (Edit Poly Modifier) .......... 673

Align Geometry Dialog........................................... 679

Detach Dialog.......................................................... 679

Edit Spline Modifier ................................................ 680

Extrude Modifier..................................................... 680

Face Extrude Modifier............................................. 682

FFD (Free-Form Deformation) Modifiers.............. 683

FFD (Box/Cylinder) Modifiers ............................... 685

FFD (Free-Form Deformation) Select Modifier..... 689

Fillet/Chamfer Modifier.......................................... 689

Flex Modifier......................................................... 691

Flex Modifier ........................................................... 691

Spring Option Dialog.............................................. 700

HSDS Modifier ...................................................... 701

HSDS Modifier........................................................ 701

Adaptive Subdivision Dialog .................................. 706

Lathe Modifier......................................................... 707

Lattice Modifier....................................................... 709

Linked XForm Modifier.......................................... 712

LS Mesh Modifier.................................................... 713

MapScaler Modifier (Object Space)........................ 713

Material Modifier .................................................... 714

MaterialByElement Modifier .................................. 716

Melt Modifier........................................................... 717

Mesh Select Modifier............................................... 719

MeshSmooth Modifier ............................................ 722

Mirror Modifier....................................................... 728

Morpher Modifier ................................................... 729

MultiRes Modifier ................................................... 739

Noise Modifier......................................................... 743

Normal Modifier ..................................................... 746

Normalize Spline Modifier...................................... 747

NSurf Sel Modifier................................................... 747

Optimize Modifier .................................................. 748

Patch Select Modifier............................................... 751

PatchDeform Modifier ............................................ 754

PathDeform Modifier.............................................. 755

Point Cache Modifier .............................................. 758

Poly Select Modifier ................................................ 762

Preserve Modifier .................................................... 766

Projection Modifier .............................................. 769

Projection Modifier................................................. 769

Selection Rollout (Projection Modifier) ................. 771

Reference Geometry Rollout (Projection

Modifier)............................................................... 772

Cage Rollout (Projection Modifier)........................ 773

Selection Check Rollout (Projection Modifier) ...... 775

Projection Rollout (Projection Modifier) ............... 776

ProjectMappingRollout(ProjectionModifier).....777

Projection Holder Modifier..................................... 778

Push Modifier.......................................................... 779

Relax Modifier......................................................... 779

Renderable Spline Modifier .................................... 781

Ripple Modifier ....................................................... 783

Select By Channel Modifier..................................... 785

Shell Modifier .......................................................... 785

Skew Modifier.......................................................... 790

Skin Modifier ........................................................ 791

Skin Modifier........................................................... 791

Load Envelopes Dialog (Skin Modifier) ................. 805

Weight Tool Dialog.................................................. 807

Weight Table (Skin Modifier).................................. 810

Skin Morph Modifier .............................................. 812

Skin Wrap Modifier................................................. 818

Skin Wrap Patch Modifier....................................... 824

Slice Modifier .......................................................... 825

Smooth Modifier..................................................... 828

Spherify Modifier .................................................... 829

Spline IK Control Modifier ..................................... 830

Spline Select Modifier ............................................. 831

Squeeze Modifier..................................................... 833

STL Check Modifier ................................................ 834

Stretch Modifier ...................................................... 836

Subdivide Modifier ................................................. 839

Substitute Modifier.................................................. 840

Surface Modifier...................................................... 842

SurfDeform Modifier .............................................. 848

Sweep Modifier..................................................... 848

Sweep Modifier........................................................ 848

Pick Shape Dialog.................................................... 857

Extract Shape Dialog............................................... 858

Merge File (Sweep Modifier)................................... 859

Symmetry Modifier ................................................ 861

Taper Modifier......................................................... 863

Tessellate Modifier................................................... 865

Trim/Extend Modifier............................................. 866

TurboSmooth Modifier........................................... 868

Contents ix

Turn To Mesh Modifier ........................................... 871

Turn To Patch Modifier ........................................... 873

Turn To Poly Modifier ............................................. 874

Twist Modifier ......................................................... 876

Unwrap UVW Modifier ......................................... 878

Unwrap UVW Modifier .......................................... 878

Edit UVWs Dialog .................................................. 888

Edit UVWs Dialog Menu Bar ................................. 895

Unwrap UVW Shortcuts......................................... 900

UVW Editor Dialogs.............................................. 907

Flatten Mapping Dialog........................................... 907

Normal Mapping Dialog ......................................... 908

Pack UVs Dialog ..................................................... 909

Pelt Map Parameters Dialog.................................... 909

Relax Tool Dialog .................................................... 912

Render UVs Dialog ................................................. 914

Sketch Tool Dialog................................................... 916

Stitch Tool Dialog.................................................... 918

Unfold Mapping Dialog .......................................... 919

Unwrap Options Dialog.......................................... 920

UVW Map Modifier................................................ 922

UVW Mapping Add Modifier................................. 933

UVW Mapping Clear Modifier............................... 933

UVW Mapping Paste Modifier ............................... 934

UVW XForm Modifier............................................ 934

Vertex Weld Modifier ............................................. 935

VertexPaint Modifier............................................ 936

VertexPaint Modifier ............................................... 936

VertexPaint Paintbox............................................... 941

Adjust Color Dialog (VertexPaint Modifier) .......... 949

Color Palette (VertexPaint Modifier)...................... 950

Volume Select Modifier ........................................... 952

Wave Modifier ......................................................... 957

XForm Modifier ...................................................... 959

Painter Options Dialog............................................ 960

9 Surface Modeling ....................................963

Surface Modeling .................................................... 963

Subdivision Surfaces ............................................... 963

Soft Selection Rollout.............................................. 963

Collapse Utility........................................................ 966

Editable Patches ................................................... 968

Editable Patch Surface............................................. 968

Selection Rollout (Editable Patch) .......................... 971

Editable Patch (Object) ........................................... 974

Editable Patch (Vertex) ........................................... 975

Editable Patch (Handle) ......................................... 979

Editable Patch (Edge) ............................................. 980

Editable Patch (Patch) ............................................ 981

Editable Patch (Element) ........................................ 984

Geometry Rollout (Patch)....................................... 986

Patch Grids............................................................ 993

Patch Grids .............................................................. 993

Quad Patch .............................................................. 994

Tri Patch................................................................... 995

Meshes .................................................................. 996

Editable Mesh Surface ............................................. 996

Working with Mesh Sub-Objects............................ 998

Selection Rollout (Editable Mesh) .......................... 999

Editable Mesh (Object) ..........................................1001

Editable Mesh (Vertex) ..........................................1003

Editable Mesh (Edge) ............................................1006

Editable Mesh (Face/Polygon/Element) ...............1009

Edit Geometry Rollout (Mesh) ..............................1011

Attach Options Dialog ...........................................1018

Cut and Slice...........................................................1019

Polymeshes ......................................................... 1022

Editable Poly Surface..............................................1022

Selection Rollout (Polymesh) ................................1024

Editable Poly (Object) ............................................1028

Editable Poly (Vertex) ...........................................1029

Editable Poly (Edge) ..............................................1035

Editable Poly (Border) ...........................................1044

Editable Poly (Polygon/Element) ..........................1048

Edit Geometry Rollout (Polymesh) .......................1055

Subdivision Surface Rollout (Polymesh) ...............1060

Subdivision Displacement Rollout (Polymesh).....1063

Paint Deformation Rollout.....................................1064

Editable Poly Settings Dialogs .......................... 1066

Bevel Polygons Dialog ............................................1066

Bridge Borders/Polygons Dialog............................1067

Bridge Edges Dialog ...............................................1068

Chamfer Vertices/Edges/Borders Dialog...............1070

Connect Edges Dialog............................................1070

Extrude Polygons Along Spline Dialog..................1071

Extrude Polygons Dialog........................................1072

Extrude Vertices/Edges Dialog ..............................1073

Hinge Polygons From Edge Dialog ........................1073

Inset Polygons Dialog.............................................1074

MeshSmooth Selection Dialog...............................1074

Preserve Map Channels Dialog ..............................1075

Relax Dialog ...........................................................1076

Tessellate Selection Dialog .....................................1077

Weld Vertices/Edges Dialog ...................................1077

NURBS ................................................................. 1078

NURBS Modeling...................................................1078

Working with NURBS Models ............................ 1078

NURBS Models: Objects and Sub-Objects............1078

xContents

Creating NURBS Models .......................................1079

Working with NURBS Models...............................1080

Surface Trimming...................................................1080

Modifying NURBS Models and Creating

Sub-Objects .........................................................1081

Quad Menu for NURBS Objects ............................1082

Using the NURBS Toolbox to Create

Sub-Objects .........................................................1083

Sub-Object Selection..............................................1084

CV Sub-Objects and Point Sub-Objects ................1085

Dependent Sub-Objects .........................................1087

Rigid Surfaces.........................................................1089

NURBS and Modifiers ...........................................1089

NURBS and Animation .........................................1091

NURBS Concepts ...................................................1091

NURBS Tips and Techniques .............................. 1094

NURBS Tips and Techniques.................................1094

How to Make Objects with NURBS Modeling ......1094

How to Fix NURBS Objects ...................................1098

How to Improve Performance................................1099

Animation, Textures, and Rendering.....................1099

NURBS Surface Primitives.................................. 1101

NURBS Surfaces.....................................................1101

Point Surface...........................................................1102

CV Surface..............................................................1103

NURBS Curve Primitives..................................... 1106

NURBS Curves.......................................................1106

Point Curve.............................................................1106

CV Curve................................................................1110

Creating NURBS Curve and Surface Objects .... 1114

Creating Independent Surfaces from NURBS

Curve Objects ......................................................1114

Creating NURBS Curves from Splines ..................1115

Creating NURBS Surfaces from Geometric

Primitives.............................................................1116

Nonrelational NURBS Surfaces .............................1116

Display Controls for NURBS Models ....................1117

Display Line Parameters for NURBS Surfaces.......1119

Creating and Editing NURBS Sub-Objects ........ 1120

Attaching and Importing 3ds Max Objects ...........1120

Common Sub-Object Controls..............................1122

Editing Point Sub-Objects......................................1123

Editing Curve CV Sub-Objects..............................1127

Editing Surface CV Sub-Objects............................1130

Editing Curve Sub-Objects ....................................1135

Editing Surface Sub-Objects ..................................1141

Soft Selection Rollout (NURBS) ............................1147

Material Properties Rollout....................................1149

Creating Curve Sub-Objects .............................. 1151

Creating Curve Sub-Objects ..................................1151

CV Curve Sub-Object ...........................................1153

Point Curve Sub-Object ........................................1155

Curve Fit ................................................................1157

Transform Curve ...................................................1157

Blend Curve ...........................................................1158

Offset Curve ...........................................................1159

Mirror Curve .........................................................1160

Chamfer Curve ......................................................1161

Fillet Curve ............................................................1164

Surface-Surface Intersection Curve ......................1166

Surface Offset Curve ..............................................1167

U and V Iso Curves ...............................................1168

Normal Projected Curve .......................................1169

Vector Projected Curve ..........................................1171

CV Curve on Surface .............................................1172

Point Curve on Surface ..........................................1175

Surface Edge Curve ...............................................1177

Creating Surface Sub-Objects ........................... 1177

Creating Surface Sub-Objects ................................1177

CV Surface Sub-Object .........................................1179

Point Surface Sub-Object ......................................1181

Transform Surface .................................................1182

Blend Surface .........................................................1183

Offset Surface .........................................................1186

Mirror Surface .......................................................1187

Extrude Surface .....................................................1188

Lathe Surface .........................................................1190

Ruled Surface .........................................................1193

Cap Surface ............................................................1195

U Loft Surface ........................................................1196

UV Loft Surface .....................................................1200

1-Rail Sweep Surface .............................................1204

2-Rail Sweep Surface .............................................1209

Multisided Blend Surface ......................................1213

Multicurve Trimmed Surface ................................1214

Fillet Surface ..........................................................1216

Creating and Editing Point Sub-Objects........... 1219

Creating and Editing Point Sub-Objects................1219

Point (NURBS) ......................................................1219

Offset Point ............................................................1219

Curve Point ............................................................1220

Surface Point ..........................................................1222

Curve-Curve Intersection Point ............................1223

Surface-Curve Intersection Point ..........................1224

NURBS Editing Dialogs....................................... 1225

Convert Curve Dialog ............................................1225

Convert Curve on Surface Dialog ..........................1226

Convert Surface Dialog ..........................................1227

Contents xi

CV Curve: Close Curve Dialog..............................1228

Detach Dialog (NURBS)........................................1228

Edit Curve on Surface Dialog.................................1229

Edit Texture Surface Dialog....................................1230

Join Curves Dialog .................................................1232

Join Surfaces Dialog ...............................................1233

Make Loft Dialog....................................................1234

Make Point Dialog..................................................1235

Make Point Curve Dialog.......................................1235

Point Curve: Close Curve Dialog...........................1235

Rebuild CV Curve Dialog ......................................1236

Rebuild CV Surface Dialog ....................................1236

Rebuild Texture Surface Dialog..............................1236

Reparameterize Dialog...........................................1237

Sub-Object Clone Options Dialog .........................1237

Select By Material ID Dialog ..................................1238

Curve and Surface Approximation.................... 1238

Curve Approximation ............................................1238

Surface Approximation ..........................................1239

Advanced Surface Approximation Dialog .............1245

Surface Approximation Utility .......................... 1245

Surface Approximation Utility...............................1245

Surface Approximation Rollout .............................1246

Surface Display Rollout ..........................................1252

Tools for Low-Polygon Modeling ...................... 1252

Tools for Low-Polygon Modeling...........................1252

Show Statistics ........................................................1253

Level of Detail Utility .............................................1253

Index .......................................................1259

xii Contents

intro

What’s New in 3ds Max 9 Extension

This latest release of 3ds Max brings compelling

new features and value to the problems you face

onaday-by-daybasis.Thisshortguideistohelp

you understand what those features are and how

they can help you.

Note: This topic doesn’t comprehensively list all

the changes in 3ds Max. As you proceed through

the documentation, keep an eye out for the

icon, which designates a new feature. You can also

use the index in this reference to identify topics

that contain information about new features in the

program. For topics that describe new program

features, check the index entry "new feature". For

changes in existing features, check the index entry

"changed feature".

Followingisalistofmajornewfeatureswithbrief

descriptions and links to the relevant reference

topic:

General Improvements

• ThenewSamplefunctionintheColor Selector

dialog (page 1–161) lets you grab colors from

anywhere on the screen.

•Parameter wiring (page 2–412) is made easier

with the dialog’s new ability to list only nodes

that are selected in the scene.

• Gettingarenderedimageintoabitmapeditor

is a snap with the Rendered Frame Window’s

(page 3–5) newCopyBitmapfunction.

Scene and Project Management

• 3ds Max supports multiple materials per object

in DWG files exported as ACIS solids from

Revit Architecture/Structure/MEP 2008 and

later, as well as solid primitives created in

AutoCAD Architecture 2008 (formerly ADT)

and later. See Support of Multiple Materials on

Imported ACIS Solids (page 3–537).

•DWF Export (page 3–555) now supports named

camera views, so you can choose different views

by name in the DWF Viewer program.

•Reloading XRef items works correctly even

whenanobjectinthesourcescenehasbeen

renamed, or deleted and then re-created with

thesamename.

•ThenewSelect Similar (page 1–88) command

lets you select all items in an imported or linked

DWG file with the same style(s) (page 3–461),

as defined in AutoCAD Architecture.

Introduction

xiv Introduction

• Thanks to a revamped interface, the DWG

Import (page 3–539) toolset for geometry is

now significantly easier to use.

Animation Improvements

• If you enable animation layers for an object that

has animation loaded in the Motion Mixer,

3ds Max can automatically create new map files

for you.

• New Biped quadrants on the quad menu

provide quick access to many commonly used

Bipedtools.Justselectanybipedpartandthen

right-click the biped.

• You can assign the same type of controller or

constraint to several different objects at once.

Just select the objects and then choose the

controller or constraint from the Animation

menu.

• Visualizing and editing biped IK animation

is easier thanks to new color-coded keys and

trajectories in the viewports, and color-coded

keys on the track bar. Trajectories use gradients

to depict transitions between FK and IK

periods. See Biped Color-coded Keys and

Trajectories (page 2–1005).

• You can view and edit controller properties

simply by double-clicking the controller label

anywhere it appears.

•ThenewEuler Filter utility (page 2–564) in

Track View can automatically correct rotation

anomalies caused by gimbal flipping.

•NewTrack View filtering options (page 2–542)

let you show or hide global tracks, display

only animated tracks with full hierarchies, and

assign filters to hotkeys and other custom UI

elements.

• Switch pivot points on biped hands and feet

faster and more easily with the new Pivot

Selection Dialog feature.

• Remapping an XAF animation file when

loading it onto an object whose animation

layers status has changed is easier thanks to the

new Load Into Active Layer switch.

• Animate an effect such as a curling finger with

ease with Use Pivot Point Center’s (page 1–446)

new support for accumulated rotation of linked

objects.

Modeling Improvements

•Usersofnormalbumpmappingcantake

advantage of new export/import functionality

available on the Projection modifier > Cage

rollout (page 1–773). You can convert the cage

into standard geometry of the same type and

topology as the cage and modified object,

which you can edit using standard methods

andthenusetodefineanewshapeforthe

cage. This provides access to the full range of

mesh-editing tools available in 3ds Max for

shaping the cage to your precise requirements.

•Automaticallyroundoffchamfered edges (page

1–1070) of poly meshes with the new Segments

parameter.

3ds Max Documentation Set

The documentation set for 3ds Max®comprises

online material only.

•3ds Max Installation Guide: Contains

complete installation and configuration

instructions, as well as Read This First

information to help you get started.

The Installation Guide includes information

about system requirements and

troubleshooting. It also tells you how to

uninstall 3ds Max.

The Installation Guide is available in PDF

format on the product disc, in the \manuals

folder.

3ds Max Documentation Set xv

•3ds Max 9 Extension 1 User Reference :

This document covers fundamental concepts

and strategies for using the product, as well

as details about the features of 3ds Max. In

this version of the product, the this manual is

availableonlineonly.

Access the reference online by choosing Help

> User Reference.

Note: Aprintableversionofthe

reference in PDF format is available for

downloading from the Training Website at

http://www.autodesk.com/me_training. From

the Product Training drop-down list, choose

Autodesk 3ds Max, and then click the link for

Documentation, Online Tutorials, Sample Files.

•3ds Max 9 Tutorials: Contains tutorial

information and detailed procedures to walk

you through increasingly complex operations.

This is the best source for learning 3ds Max.

Accesstheonlineversionofthetutorialsby

choosing Help > Tutorials.

Note: All the sample files required to do the

tutorials are found on the program disc. None

of these files are installed automatically.

The printed 3ds Max Tutorials book (included

with 3ds Max 9) duplicates a subset of the

online tutorials.

Note: Due to print time requirements, some

topics in the printed tutorials could differ

slightlyfromtheonlineversion.Wherethereis

adifference,theonlineversionismorecurrent.

•Backburner Reference: Describes procedures

for rendering with networked computers.

Available from the 3ds Max Reference online

Contents tab.

•MAXScript Reference: Describes the

MAXScript scripting language (page 1–xvii).

This reference is available online only. Check

out the “Learning MAXScript” chapter there if

you’re new to MAXScript.

Access the MAXScript Reference by choosing

Help > MAXScript Reference.

•Readme (Readme.rtf): Contains the latest

information about 3ds Max. Find this file

in electronic format in the program install

directory.

Additional Help Files

In addition to the main documentation

components described above, these additional

online documents describe various features

available in 3ds Max.

• The 3ds Max SDK Help system documents the

software development kit (SDK) for:

•3dsMax

•GameExportInterface

•ParticleFlow

•mentalray

•CharacterStudio

•MAXScript

Using the SDK, you can create new 3ds Max

features and tools by writing your own plug-ins.

Note: To in s t a l l the S DK an d t h e SD K

documentation, choose 3ds Max 9 SDK under

the Install Supplemental Tools section of the

Installer program. You can do this the first time

you install 3ds Max, or run the setup program

to add them at a later time. See the Installation

Guide for more information. You can also

findSDKdownloads,samplesolutions,and

documentation updates on the sparks Web site.

•Additional mental ray® Help Files:

Documentation from mental images® is

available from Help menu > Additional Help.

There, you’ll find the mental ray 3.5 Reference,

comprising the mental ray Manual,mental ray

Shader Reference,andLumeTools Collection.

Note: Third-party shaders are documented in

the mental ray Shader Reference,andLumeTools

xvi Introduction

Collection documents, but the 3ds Max User

Reference documents all other mental ray

components available in the 3ds Max user

interface. This includes documentation for

lights for mental ray and specific shadow

types, controls for adding mental ray shaders

to lights and cameras, mental ray materials,

custom shaders for 3ds Max, and the mental

ray renderer controls.

•Autodesk License Borrowing Utility Help:

Available as the file adsk_brw.chm,installed

in the \program files\common files\autodesk

shared\enu folder on your local drive.

•Portable License Utility Help: Available as the

file adsk_plu.chm,installedinthe\program

files\common files\autodesk shared\enu folder

on your local drive.

•3ds Max Software Development Kit

Help Files: Available as the files sdk.chm,

sparks_archive.chm,andigamehelp.chm,

installed in the 3dsmax9\maxsdk\help folder on

your local drive. The file index.chm is installed

in the 3dsmax9\maxsdk\samples\howto\xrefutil

folder.

Yo u c a n f i n d u p d a t e d S D K d o c u m e n t a t i o n o n

the sparks Web site.

Note: By default, the SDK and its document

files are not installed. You can choose to add

them when you first install 3ds Max, or you

can run the setup program to add them to your

installation at a later time. See the Installation

Guide for more information.

•The3dsMaxSDKHelp.chm file is installed in

the 3dsmax8\maxsdk\help folder on your local

drive. The Help system documents the SDKs

for 3ds Max, Game Export Interface, Particle

Flow, mental ray, and Character Studio. (Note

that mental ray still has a separate Help for

reference information.)

Yo u c a n f i n d u p d a t e d S D K d o c u m e n t a t i o n o n

the sparks Web site.

Note: By default, the SDK and its document

files are not installed. You can choose to add

them when you first install 3ds Max, or you

can run the setup program to add them to your

installation at a later time. See the Installation

Guide for more information.

Install Documentation

All of the following install documents are available

from the 3ds Max Install DVD. You can find them

in the \Manuals folder.

•Stand-Alone Licensing Guide: Available as the

file adsk_slg.pdf.

•Network Licensing Guide: Available as the file

adsk_nlg.pdf.

•Network Administrator’s Guide: Available as

the file adsk_nag.pdf.

•Network Installation Guide: Available as the

file NetInstallGuide.pdf,ontheproductdisc,

in the \Manuals folder.

•SAMreport-Lite User’s Guide: Available as the

file SAMlite_UG.pdf.

How to Print from the Online

Documentation Files

If your computer is connected to a printer, you can

print single help topics or entire chapters.

To print a topic or chapter, highlight the topic or

chapter title and click the Print button at the top of

the help display. A dialog appears.

About MAXScript xvii

Choose to print only the selected topic, or to print

all topics in that chapter. After you make your

selection, another dialog appears where you can

choose your printer and other options.

The tabs available at the top of the dialog depend

on the selected printer. Choose options for the

print job, and click OK to begin printing.

How to Contact Us

We are also interested in hearing your views about

3dsMax.We’dliketohearwaysyouthinkwecan

improve our program, features you’re interested

in, as well as your views on the documentation set.

Please send us email about the documentation set

at: me.documentation@autodesk.com

About MAXScript

MAXScript is the built-in scripting language for

3dsMax.Itprovidesuserswiththeabilityto:

•Scriptallaspectsof3dsMaxuse,suchas

modeling,animation,materials,rendering,and

so on.

• Control 3ds Max interactively through a

command-line shell window.

•Packagescriptswithincustomutilitypanel

rollouts or modeless windows, giving them a

standard 3ds Max user interface.

• Build custom import/export tools using the

built-in file I/O.

• Write procedural controllers that can access the

entire state of the scene. Build batch-processing

tools, such as batch-rendering scripts.

• Set up live interfaces to external system using

OLE Automation.

The MAXScript language is specifically designed

tocomplement3dsMax. Itisobject-oriented,

and has several special features and constructs

that mirror high-level concepts in the 3ds Max

user interface. These include coordinate-system

contexts, an animation mode with automatic

keyframing, and access to scene objects using

hierarchical path names that match the 3ds Max

object hierarchy.

Thesyntaxissimpleenoughfornon-programmers

to use, with minimal punctuation and formatting

rules.

Visual MAXScript

Visual MAXScript is a powerful addition to

MAXScript, making the MAXScript feature easier

to learn and use. With Visual MAXScript, you

can quickly create UI elements and layouts for

scripting.

For detailed information about Visual MAXScript,

open the MAXScript Reference, available from

Help menu > MAXScript Reference.

See also

MAXScript Interface (page 3–780)

xviii Introduction

Procedure

To access MAXScript, do one of the following:

• On the menu bar, choose MAXScript. The

MAXScript menu appears.

•ChooseUtilitiespanel>MAXScript.

From here, you can either write new scripts, edit

orrunexistingscripts,opentheMAXScript

Listener, or use the Macro Recorder.

To access the MAXScript Listener, you can also

right-click in the Mini Listener and choose

Open Listener Window from the right-click

menu.

For detailed information about the MAXScript

utility, open the MAXScript Reference, available

from Help menu > MAXScript Reference.

Yo u u s e 3 d s M a x t o q u i c k l y c r e a t e

professional-quality 3D models, photorealistic still

images, and film-quality animation on your PC.

Image by Michael McCarthy

Before using this reference material, we highly

recommend you get to know 3ds Max firsthand by

following the included tutorials. You can access

the tutorials using the Help menu > Tutorials

command, or in the printed version.

This section presents these brief topics designed to

help you quickly start using 3ds Max.

•Project Workflow (page 1–1)

•Setting Up Your Scene (page 1–4)

•Modeling Objects (page 1–5)

•Using Materials (page 1–6)

•Placing Lights and Cameras (page 1–7)

•Animating Your Scene (page 1–8)

•Rendering Your Scene (page 1–9)

The 3ds Max Window (page 1–9)

•Special Controls (page 1–12)

•Quad Menu (page 3–694)

•Customize Display Right-Click Menu (page

3–787)

Managing Files (page 1–15)

•Importing, Merging, and Replacing Scenes (page

1–16)

•Using the Asset Browser (page 1–17)

•Startup Files and Defaults (page 1–17)

•3dsmax.ini File (page 1–18)

•Backing Up and Archiving Scenes (page 1–19)

•Crash Recovery System (page 1–20)

Project Workflow

Once you’ve installed 3ds Max (see the Installation

Guide included with your software package), you

open it from the Start menu, or use any other

Windows method. The figure below shows the

application window with a scene file loaded.

Getting Started with 3ds Max

2Chapter 1: Getting Started with 3ds Max

Main program window

Note: If you open 3ds Max from a Command

Prompt window or batch file, you can add

command-line switches. See Starting 3ds Max

from the Command Line (page 3–671).

Note: 3ds Max is a single-document application,

meaningyoucanworkononlyonesceneatatime.

However, you can open more than one copy of

3dsMaxandopenadifferentsceneineachcopy.

Opening additional copies of 3ds Max requires a

lot of RAM. For the best performance, you should

plan to open one copy and work on one scene at a

time.

Openingmultiplecopiesof3dsMaxisnot

supported in Windows ME.

Modeling Objects

You model and animate objects in the viewports,

whose layout is configurable. You can start with a

variety of 3D geometric primitives. You can also

use2Dshapesasthebasisforloftedorextruded

objects. You can convert objects to a variety of

editable surface types, which you can then model

further by pulling vertices and using other tools.

Another modeling tool is to apply modifiers to

objects. Modifiers can change object geometry.

Bend and Twist are examples of modifiers.

Modeling, editing, and animation tools are

available in the command panels and toolbar. See

Modeling Objects (page 1–5). Also, you can learn

a good deal about modeling from the tutorials

available from Help menu > Tutorials.

Project Workflow 3

Material Design

You design materials using the Material Editor,

which appears in its own window. You use the

Material Editor to create realistic materials by

defining hierarchies of surface characteristics.

The surface characteristics can represent static

materials, or be animated. See Material Editor

(page 2–1409). Tutorials especially helpful for

learning about materials include "Overview of

Creating a Scene: Still Life" and "Using Materials."

Lights and Cameras

Yo u c r e a t e l i g h t s w i t h v a r i o u s p r o p e r t i e s t o

illuminate your scene. The lights can cast shadows,

project images, and create volumetric effects for

atmospheric lighting. Physically-based lights let

you use real-world lighting data in your scenes and

Radiosity (page 3–51) provides incredibly accurate

light simulation in renderings. See Lights (page

2–1272). You can learn more about lighting by

following the Introduction to Lighting tutorial.

The cameras you create have real-world controls

for lens length, field of view, and motion control

such as truck, dolly, and pan. See Cameras (page

2–1365).

Animation

You can begin animating your scene at any time by

turning on the Auto Key button. Turn the button

offtoreturntomodeling. Youcanalsoperform

animated modeling effects by animating the

parameters of objects in your scene. You can learn

more about animating in the Animating Your Scene

topic (page 1–8) and from most of the tutorials.

When the Auto Key button is on, 3ds Max

automatically records the movement, rotation, and

scale changes you make, not as changes to a static

scene, but as keys on certain frames that represent

time. You can also animate many parameters to

make lights and cameras change over time, and

preview your animation directly in the 3ds Max

viewports.

Yo u u s e Track View (page 2–501) to control

animation. Track View is a floating window

where you edit animation keys, set up animation

controllers, or edit motion curves for your

4Chapter 1: Getting Started with 3ds Max

animated effects. The Lip Sync tutorial covers

Track Vie w usage.

Rendering

Rendering adds color and shading to your scene.

The renderers available with 3ds Max include

features such as selective ray tracing, analytical

antialiasing, motion blur, volumetric lighting, and

environmental effects. See Rendering Your Scene

(page 1–9). The tutorials can help you learn about

rendering.

When you use the default scanline renderer,

aradiosity solution (page 3–51) can provide

accurate light simulation in renderings, including

the ambient lighting that results from reflected

light. When you use the mental ray renderer,

acomparableeffectisprovidedbyglobal

illumination (page 3–93).

If your workstation is part of a network, network

rendering can distribute rendering jobs over

multiple workstations. See Network Rendering

(page 3–173).

With Video Post (page 3–311),youcanalso

compositethescenewithanimationsstoredon

disk.

A Typical Project Workflow

These topics explain the basic procedures for

creating scenes:

Setting Up Your Scene (page 1–4)

Modeling Objects (page 1–5)

Using Materials (page 1–6)

Placing Lights and Cameras (page 1–7)

Animating Your Scene (page 1–8)

Rendering Your Scene (page 1–9)

Setting Up Your Scene

You start with a new unnamed scene when you

open the program. You can also start a new scene

atanytimebychoosingNeworResetfromthe

File menu.

Choosing a Unit Display

You choose a system of unit display on the Units

Setup dialog (page 3–848).ChoosefromMetric,

Standard US, and Generic methods, or design a

custom measuring system. You can switch between

differentsystemsofunitdisplayatanytime.

Note: For best results, use consistent units when

you are going to:

•Merge scenes and objects (page 3–463).

•UseXRef objects (page 3–394) or XRef scenes

(page 3–407).

Setting the System Unit

The System Unit setting, in the Units Setup dialog

(page 3–848),determineshow3dsMaxrelatesto

distance information you input to your scene. The

setting also determines the range for round-off

error. Consider changing the system unit value

only when you model very large or very small

scenes.

Modeling Objects 5

Setting Grid Spacing

Set spacing for the visible grid in the Grid And

Snap Settings dialog > Home Grid panel (page

2–49). You can change grid spacing at any time.

See Precision and Drawing Aids (page 2–1) for

information about the system unit, unit display,

andgridspacing.

Setting the Viewport Display

Viewport layout options

The default four viewports in 3ds Max represent

anefficientandpopularscreenlayout.Setoptions

in the Viewport Configuration dialog (page 3–853)

to change viewport layout and display properties.

See Viewing and Navigating 3D Space (page 1–21)

for more information.

Saving Scenes

Save your scene frequently to protect yourself from

mistakes and loss of work. See Backing Up and

Archiving Scenes (page 1–19).

Modeling Objects

1. Modify panel

2. Create panel

3. Object categories

Yo u m o d e l o b j e c t s i n y o u r s c e n e b y c r e a t i n g

standard objects, such as 3D geometry and 2D

shapes, and then applying modifiers to those

objects. The program includes a wide range of

standard objects and modifiers.

Creating Objects

Yo u c r e at e o b j e c t s b y c l i c k i n g a n o b j e c t c a t e g o r y

and type on the Create panel and then clicking

or dragging in a viewport to define the object’s

creation parameters. The program organizes the

Create panel into these basic categories: Geometry,

Shapes, Lights, Cameras, Helpers, Space Warps,

and Systems. Each category contains multiple

subcategories from which you can choose.

You can also create objects from the Create

menu by choosing an object category and type

and then clicking or dragging in a viewport to

define the object’s creation parameters. The

program organizes the Create menu into these

basic categories: Standard Primitives, Extended

Primitives, AEC Objects, Compound, Particles,

PatchGrids,NURBS,Dynamics,Shapes,Lights,

Cameras, Helpers, Space Warps, and Systems.

See Basics of Creating and Modifying Objects (page

1–153).

Selecting and Positioning Objects

You select objects by clicking or dragging a region

around them. You can also select objects by name

or other properties such as color or object category.

After selecting objects, you position them in your

scene using the transform tools Move, Rotate, and

Scale. Use alignment tools to precisely position

objects.

See Selecting Objects (page 1–61),Moving,

Rotating, and Scaling Objects (page 1–423),and

Precision and Drawing Aids (page 2–1).

Modifying Objects

Yo u s c u l p t a n d e d i t o b j e c t s i n to t h e i r f i n a l f o r m b y

applying modifiers from the Modify panel. The

6Chapter 1: Getting Started with 3ds Max

modifiers you apply to an object are stored in a

stack. You can go back at any time and change the

effect of the modifier, or remove it from the object.

See Basics of Creating and Modifying Objects (page

1–153).

Using Materials

You use the Material Editor to design materials and

maps to control the appearance of object surfaces.

Mapscanalsobeusedtocontroltheappearance

of environmental effects such as lighting, fog, and

the background.

A variety of materials in the Material Editor’s sample slots

House on left uses the default standard material.

House on right uses a compound material.

Basic Material Properties

Yo u s e t b a s i c m a t e r i a l p r o p e r t i e s t o c o n t r o l

such surface characteristics as default color,

shininess, and level of opacity. You can create

realistic, single-color materials using just the basic

properties.

Using Maps

You extend the realism of materials by applying

maps to control surface properties such as texture,

bumpiness, opacity, and reflection. Most of the

basic properties can be enhanced with a map. Any

imagefile,suchasoneyoumightcreateinapaint

program, can be used as a map, or you can choose

procedural maps that create patterns based on

parameters you set.

The program also includes a raytrace material

and map for creating accurate reflections and

refraction.

Viewing Materials in the Scene

You can view the effect of materials on objects

in a shaded viewport, but the display is just an

approximation of the final effect. Render your

scene to view materials accurately.

See Designing Materials (page 2–1395).

Placing Lights and Cameras 7

Placing Lights and Cameras

You place lights and cameras to complete your

scene in much the same way lights and cameras are

placed on a movie set prior to filming.

Lights and cameras placed to compose a scene

The resulting scene

Default Lighting

Default lighting evenly illuminates the entire scene.

Such lighting is useful while modeling, but it is not

especially artistic or realistic.

Placing Lights

You create and place lights from the Lights category

of the Create panel when you are ready to get more

specific about the lighting in your scene.

The program includes the following standard light

types: omni, spot, and directional lights. You can

setalighttoanycolorandevenanimatethecolor

to simulate dimming or color-shifting lights. All

of these lights can cast shadows, project maps, and

use volumetric effects.

See Guidelines for Lighting (page 2–1280).

Photometric Lights

Photometric lights (page 2–1301) provide you

with the ability to work more accurately and

intuitively using real-world lighting units (lumens

and candelas). Photometric lights also support

industry-standard photometric file formats (IES

(page 2–1328),CIBSE (page 3–921),LTL I (p ag e

3–964)) so that you can model the characteristics

of real-world manufactured luminaires, or even

drag ready-to-use luminaires from the Web.

Used in conjunction with the 3ds Max radiosity

solution (page 3–51),photometriclightsletyou

evaluate more accurately (both physically and

quantitatively) the lighting performance of your

scene.

Photometric lights are available from the Create

panel > Lights drop-down list.

Daylight System

The Daylight system (page 1–418) combines

sunlight (page 3–1018) and skylight (page 3–1012)

to create a unified system that follows the

geographically correct angle and movement of

thesunovertheearthatagivenlocation. You

can choose location, date, time, and compass

orientation. You can also animate the date and

time.Thissystemissuitableforshadowstudiesof

proposed and existing structures.

Viewing Lighting Effects in the Scene

When you place lights in a scene, the default

lighting turns off and the scene is illuminated only

by the lights you create. The illumination you

8Chapter 1: Getting Started with 3ds Max

see in a viewport is just an approximation of the

true lighting. Render your scene to view lighting

accurately.

Tip: If the Daylight system appears to wash out the

scene, try using the Logarithmic exposure control

(page 3–297).

Placing Cameras

You create and place cameras from the Cameras

category of the Create panel. Cameras define

viewpoints for rendering, and you can animate

cameras to produce cinematic effects such as

dollies and truck shots.

You can also create a camera automatically from a

Perspective viewport by using the Create Camera

from View command (page 1–48) found on the

Views menu. Just adjust your Perspective viewport

until you like it, and then choose Views > Create

Camera From View. 3ds Max creates a camera and

replaces the Perspective viewport with a Camera

viewport showing the same perspective.

See Common Camera Parameters (page 2–1373).

Animating Your Scene

You can animate almost anything in your scene.

Click the Auto Key button to enable automatic

animation creation, drag the time slider, and make

changes in your scene to create animated effects.

Controlling Time

The program starts each new scene with 100

frames for animation. Frames are a way of

measuring time, and you move through time by

dragging the time slider (page 3–701).Youcanalso

open the Time Configuration dialog (page 3–725)

to set the number of frames used by your scene

and the speed at which the frames are displayed.

Animating Transforms and Parameters

While the Auto Key button is on, the program

creates an animation key (page 3–960) whenever

you transform an object or change a parameter.

Toanimateaparameteroverarangeofframes,

specify the values at the first and last frames of the

range.Theprogramcalculatesthevaluesforallof

the frames in between.

See AnimationConceptsandMethods(page

2–275).

Editing Animation

You edit your animation by opening the Track

View window or by changing options on the

Motion panel. Track View is like a spreadsheet that

displays animation keys along a time line. You edit

the animation by changing the keys.

Track View has two modes. You can display the

animation as a series of function curves that

graphically show how a value changes over time

in the Curve Editor mode. Alternatively, you can

display your animation as a sequence of keys or

ranges on a grid in the Dope Sheet mode.

See Track View (page 2–501).

Rendering Your Scene 9

Rendering Your Scene

Rendering "fills in" geometry with color, shadow, lighting

effects, and so on.

Use the rendering features to define an

environment and to produce the final output from

your scene.

Defining Environments and

Backgrounds

Rarely do you want to render your scene against the

default background color. Open the Environment

And Effects dialog > Environment panel (page

3–272) to define a background for your scene, or

to set up effects such as fog.

Setting Rendering Options

To set the size and quality of your final output,

you can choose from many options on the Render

Scene dialog (page 3–2).Youhavefullcontrol

over professional grade film and video properties

as well as effects such as reflection, antialiasing,

shadow properties, and motion blur.

Rendering Images and Animation

You render a single image by setting the renderer

to render a single frame of your animation. You

specify what type of image file to produce and

where the program stores the file.

Rendering an animation is the same as rendering

a single image except that you set the renderer to

render a sequence of frames. You can choose to

render an animation to multiple single frame files

or to popular animation formats such as AVI or

MOV.

See Render Scene Dialog (page 3–2).

The 3ds Max Window

Most of the main window is occupied by the

viewports, where you view and work with your

scene. The remaining areas of the window hold

controls and show status information.

One of the most important aspects of using

3ds Max is its versatility. Many program functions

are available from multiple user-interface

elements. For example, you can open Track View

for animation control from the Main toolbar as

well as the Graph Editors menu, but the easiest

way to get to a specific object’s track in Track View

is to right-click the object, and then choose Track

View Selected from the quad menu.

You can customize the user interface in a variety

of ways: by adding keyboard shortcuts, moving

toolbars and command panels around, creating

new toolbars and tool buttons, and even recording

scripts into toolbar buttons.

MAXScript lets you create and use custom

commands in the built-in scripting language.

For more information, access the MAXScript

Reference from the Help menu.

Menu Bar

AstandardWindowsmenubarwithtypicalFile

(page 3–673),Edit (page 3–673),andHelp (page

3–684) menus. Special menus include:

•Tools (page 3–674) contains duplicates of many

of the Main toolbar commands.

10 Chapter 1: Getting Started with 3ds Max

•Group (page 3–674) contains commands for

managing combined objects.

•Views (page 3–675) contains commands for

setting up and controlling the viewports.

•Create (page 3–675) contains commands for

creating objects.

•Modifiers (page 3–678) contains commands for

modifying objects.

•Animation (page 3–681) contains commands

for animating and constraining objects, plus

commands such as Bone Tools for setting up

animated characters.

•Graph Editors (page 3–682) provides graphical

access to editing objects and animation: Track

View lets you open and manage animation

tracks in Track View (page 2–501) windows,

and Schematic View (page 3–640) gives you an

alternate way to work with the objects in your

scene and navigate to them.

•Rendering (page 3–683) contains commands

for rendering, Video Post, radiosity, (page

3–51)and the environment.

•Customize (page 3–683) gives you access

to controls that let you customize the user

interface.

•MAXScript (page 3–780) hascommandsfor

working with MAXScript, the built-in scripting

language.

For more information about the 3ds Max menus,

see Menu Bar (page 3–672).

Time Controls

The Auto Key button (page 2–278) turns on

animation mode. The other controls navigate

through time and play back an animation.

Command Panel

This collection of six panels provides handy

access to most of the modeling and animation

commands.

You can "tear off " the command panel and place it

anywhere you like.

By default, the command panel is docked at the

right of your screen. You can access a menu

that lets you float (page 3–930) or dismiss the

command panel by right-clicking just above it.

If it is not displayed, or you want to change its

location and docking or floating status, right-click

in a blank area of any toolbar, and choose from

the shortcut menu.

•Create (page 3–757) holds all object creation

tools.

•Modify (page 3–758) holds modifiers and

editing tools.

•Hierarchy (page 3–773) holds linking and

inverse kinematics parameters.

•Motion (page 3–774) holds animation

controllers and trajectories.

•Display (page 3–775) holds object display

controls.

•Utilities (page 3–778) holds miscellaneous

utilities.

Status Bar and Prompt Line

Thesetwolinesdisplaypromptsandinformation

about your scene and the active command. They

also contain system toggles controlling selections,

precision, and display properties. See Status Bar

Controls (page 3–698).

Viewports

You can display from one to four viewports. These

canshowmultipleviewsofthesamegeometry,

as well as the Track View, Schematic View, and

The 3ds Max Window 11

1. Menu bar

2. Window/Crossing selection toggle

3. Snap tools

4. Command panels

5. Object categories

6. Rollout

7. Active viewport

8. Viewport navigation controls

9. Animation playback controls

10. Animation keying controls

11. Absolute/Relative coordinate toggle and coordinate display

12. Prompt line and status bar

13. MAXScript mini-listener

14. Track bar

15. Time slider

16. Main toolbar

12 Chapter 1: Getting Started with 3ds Max

other informational displays. See Viewports (page

3–729).

Viewport Navigation Buttons

Thebuttonclusteratthelower-rightcornerof

the main window contains controls for zooming,

panning, and navigating within the viewports. See

Viewport Controls (page 3–729).

Special Controls

3ds Max uses some special user interface controls,

which are described in this topic.

•Right-click menus (page 1–12)

•Flyouts (page 1–12)

•Rollouts (page 1–12)

•Scrolling panels and toolbars (page 1–13)

•Spinners (page 1–13)

•Numerical Expression Evaluator (page 1–13)

•Entering numbers (page 1–14)

•Controls and color (page 1–14)

•Undoing actions (page 1–14)

Right-Click Menus

The program uses several different types of

right-click menus.

For object editing and ActiveShade control (page

3–22),youusethequad menu (page 3–694).

Commands on the quad menu vary depending on

thekindofobjectyouareeditingandthemode

you are in.

Right-clicking a viewport label displays the

viewport right-click menu (page 3–731),which

lets you change viewport display settings, choose

which view appears in the viewport, and so on.

Also, the command panel and the Material Editor

have right-click menus that let you manage rollouts

and navigate the panel quickly. And most other

windows, including Schematic View and Track

View, have right-click menus that provide fast

access to commonly used functions.

Flyouts

1. Flyout arrow

2. Flyout buttons

Aflyout (page 3–943) is similar to a menu, except

that its items are buttons. A flyout button is

indicated by a small arrow in the lower-right

corner. To display the flyout, click and hold the

button for a moment, then choose a button by

dragging the cursor to it and then releasing the

mouse button.

Note: You can define customized text annotations

for flyouts by editing the maxstart.cui file. See

Customize Menu (page 3–683).

Rollouts

Rollouts are areas in the command panels and

dialogs that you can expand (roll out) or collapse

(roll in) to manage screen space. In the illustration

above, the Keyboard entry rollout is collapsed, as

indicatedbythe+sign,andtheParametersrollout

is expanded, as indicated by the sign.

Special Controls 13

To open and close a rollout:

• Clicktherollouttitlebartotogglebetween

expanded and collapsed.

To move a rollout:

• You can move a rollout in the expanded or

collapsed state. To move the rollout, drag the

rollout title bar to another location on the

command panel or dialog. As you drag, a

semi-transparent image of the rollout title bar

follows the mouse cursor. When the mouse is

positioned over or near a qualifying position

for the rollout, a blue, horizontal line appears at

the position where the rollout will drop when

you release the mouse button.

Scrolling Panels and Toolbars

Sometimes a command panel or dialog is not large

enough to display all of its rollouts. In this case,

a pan ("hand") cursor appears over the inactive

parts of the panel. You can scroll command panels

and dialogs vertically, and you can scroll a toolbar

along its major axis.

To scroll a panel:

1. Place the pointer over an empty area of a panel

to display the pan cursor.

2. When the pointer icon changes to a hand, drag

the panel up or down.

A thin scroll bar also appears on the right side

of the scrolling panel. You can use the pointer

to drag the scroll bar as well.

To scroll a toolbar:

You can scroll a toolbar only when some tool

buttons are not visible. This typically occurs when

the program window is smaller than full screen.

1. First, follow either of the procedures below:

• Place the pointer over an empty area of a

toolbar to display the pan cursor.

• Place the pointer over any part of a toolbar,

then press and hold the middle mouse

button.

2. When the pointer icon changes to a hand, drag

the toolbar horizontally.

Spinners

A spinner is a mouse-based control for numeric

fields. You can click or drag the spinner arrows to

changethevalueinthefield.

To change a value using a spinner, do any of the

following:

• Click the spinner’s up arrow to increment the

value; click the down arrow to decrement the

value. Click and hold for continuous change.

• Drag upward to increase the value, or drag

downward to decrease it.

•Press

Ctrl while you drag to increase the rate

at which the value changes.

•Press

Alt whileyoudragtodecreasetherate

at which the value changes.

•Right-clickaspinnertoresetthefieldtoits

minimum value.

Numerical Expression Evaluator

While a numeric field is active, you can display

a calculator called the Numerical Expression

Evaluator. To display the calculator, press

Ctrl+N .

14 Chapter 1: Getting Started with 3ds Max

The expression you enter is evaluated, and its

result is displayed in the Result field. Click Paste

to replace the field value with the result of the

calculation. Click Cancel to exit the Expression

Evaluator.

The expressions you can enter are described in

Expression Techniques (page 1–146).Youcan’tuse

variables in the Expression Evaluator, but you can

entertheconstantspi(circularratio),e(natural

logarithm base), and TPS (ticks per second).

These constants are case-sensitive: the Expression

Evaluator does not recognize PI, E, or tps.

You can also enter a vector expression or an

Expression Controller function call, but the result

of the expression or function must be a scalar

value. Otherwise, the Expression Evaluator won’t

evaluate it.

Entering Numbers

You can change a numeric value by a relative offset

by highlighting the contents of a numeric field

(not in the Numerical Expression Evaluator) and

typing Ror rfollowed by the offset amount.

Forexample,aRadiusfieldshows70andyou

highlight it:

•IfyouenterR30, 30 is added to the radius and

the value changes to 100.

•IfyouenterR-30,30issubtractedfromthe

radius and the value changes to 40.

Controls and Color

The user interface uses color cues to remind you

what state the program is in.

Note: You can customize most of these colors

by using the Colors panel (page 3–799) of the

Customize User Interface dialog (page 3–792).

•Red for animation: The Auto Key button,

thetimesliderbackground,andtheborderof

the active viewport turn red when you are in

Animate mode.

•Yellow for modal function buttons: When

you turn on a button that puts you in a generic

creation or editing mode, the button turns

yellow.

•Ye l l o w f o r s p e c i a l a c t i o n m o d e s : When you

turnonabuttonthataltersthenormalbehavior

of other functions, the button is highlighted

inyellow.Commonexamplesofthisbehavior

include sub-object selection and locking your

current selection set.

Yo u c a n e x i t a f u n c t i o n a l m o d e b y c l i c k i n g a n o t h e r

modal button. Other exit methods supported by

some buttons include right-clicking in a viewport,

or clicking the modal button a second time.

Undoing Actions

You can easily undo changes you make to your

scene and your viewports. There are separate

Undo buffers for both the scene objects and each

viewport.

Use the toolbar Undo and Redo buttons (page 1–94)

or the Edit menu > Undo and Redo commands to

reverse the effects of most scene operations. You

can also use Ctrl+Z for Undo and Ctrl+Y for

Redo. Most things you do in the program can be

undone.

Use the Views menu > Undo and Redo commands

(page 1–36) to reverse the effects of most viewport

operations, such as zooming and panning. You

can also use Shift+Z for Undo View Change and

Shift+Y for Redo View Change.

You can also undo actions by using the Hold and

Fetch commands on the Edit menu. Choose Edit

menu>Holdtosaveacopyofyoursceneina

temporary file. Then choose Edit menu > Fetch to

Managing Files 15

discard your current scene and revert to the held

scene at any time.

Managing Files

File-management dialogs

3ds Max supports many types of files for working

with plug-ins, image maps, models from other

programs, rendering images and animations, and

of course saving and opening your scene files.

File dialogs (such as Open, Save, Save As)

uniformly remember the previous path you used,

and default to that location.

Configuring File Paths

The locations that 3ds Max searches to locate all

file types are specified on the Customize menu >

Configure Paths dialogs (page 3–808).

You can choose to open and save files in any path

location. The Configure Paths dialog contains four

panels for the general categories of support files.

Setting General File Paths

The File I/O panel (page 3–810) contains paths for

most of the standard support files. You can specify

one path for each of file types 3ds Max uses.

Setting Plug-In File Paths

Many features of 3ds Max are implemented as

plug-ins. This means you can change and extend

3ds Max functionality by adding new plug-ins

from Autodesk Media and Entertainment or from

third-party developers.

You tell 3ds Max where to find additional plug-in

files by adding path entries on the 3rd Party

Plug-Ins panel (page 3–814). If you place all of

your plug-ins in a single directory, plug-in file

management can become messy. That’s why the

program supports multiple entries on the 3rd

Party Plug-Ins panel.

Setting Bitmap, FX, and Download File Paths

The External Files panel (page 3–811) contains

multiple path entries that the program searches

for image files (page 3–608),downloadedfiles(via

i-drop (page 3–523)), and FX files (page 3–946).

Image files are used for many purposes, such as

16 Chapter 1: Getting Started with 3ds Max

material and map definition, light projections, and

environment effects.

Setting XRefs File Paths

The XRefs panel (page 3–812) contains multiple

path entries that the program uses to search for

externally referenced files. These are used for

sharing files in a workgroup situation.

Importing, Merging, Replacing,

and Externally Referencing Scenes

Gear model imported to become part of another scene

You can realize great productivity gains when

you reuse work by combining geometry from

scenes or other programs. 3ds Max supports this

technique with the Import, Merge, and Replace

commands. You can also share scenes and objects

with others working on the same project using

XRef functionality.

Importing Geometry from Other

Programs

UseFilemenu>Import (page 3–485) to bring

objects from other programs into a scene. The

types of files that you can import are listed in

the Files Of Type list in the Select File To Import

dialog.

Depending on the file type you choose, you might

have options available for that import plug-in.

Merging Scenes Together

Pipe and ashtray models merged into one scene

Use Merge (page 3–463) to combine multiple

scenes into a single large scene. When you merge

a file, you can select which objects to merge. If

objectsbeingmergedhavethesamenameas

objects in your scene, you have the option to

rename or skip over the merged objects.

Merging Animation into Scenes

Use Merge Animation (page 3–466) to merge the

animation from one scene into another with the

same (or similar) geometry.

Using the Asset Browser 17

Replacing Scene Objects

Use Replace (page 3–470) to replace objects in

your scene with objects in another scene that have

duplicate names. Replace is useful when you want

to set up and animate your scene with simplified

objects,andthenreplacethesimpleobjectswith

detailed objects before rendering.

The Replace dialog looks and functions the same

as Merge, except that it lists only objects that have

thesamenameasobjectsinyourcurrentscene.

Using External References

Use XRef Objects (page 3–394) and XRef Scenes

(page 3–407) to use objects and scene setups

in your scene that are actually referenced from

external MAX files. These functions allow sharing

files with others in your workgroup, with options

for updating and protecting external files.

Using the Asset Browser

Left: Dragging geometry into the scene

Right: Dragging a bitmap onto the geometry

The Asset Browser provides access from your

desktop to design content on the World Wide Web.

From within 3ds Max you can browse the Internet

for texture samples and product models. This

includesbitmaptextures(BMP,JPG,GIF,TIF,and

TGA) and geometry files (MAX, 3DS, and so on).

You can drag these samples and models into

yoursceneforimmediatevisualizationand

presentation. You can snap geometry into

predefined locations, or drag and drop them

interactively in your scene.

You can also use the Asset Browser to browse

thumbnail displays of bitmap textures and

geometry files on your hard disk or shared

network drives. Then you can either view them or

drag and drop them into your scene or into valid

map buttons or slots.

Note: The thumbnail display of a geometry file is a

bitmap representation of a view of the geometry.

Since the thumbnail display is not a vector-based

representation, you can’t rotate it or perform

zooms on it.

You can drag and drop most graphic images that

areembeddedinaWebpageintoyourscene.The

exceptionisimagesorregionsofaWebpagethat

are tagged as hyperlinks or other HTML controls

(such as when a bitmap is tagged as a button).

Important: Downloaded content might be subject to

use restrictions or the license of the site owner. You are

responsible for obtaining all content license rights.

For complete details, see Asset Browser (page

3–504).

Startup Files and Defaults

When you start 3ds Max, several auxiliary files

load, setting things like program defaults and

UI layout. You can even create a scene, named

maxstart.max, that automatically loads when you

start or reset the program. In some cases, the

program updates files when you change settings

and when you quit the program.

Note: 3ds Max comes with several different

market-specific defaults (page 3–790). These set

different program defaults on startup, based on

thetypeoffilesyouexpecttoworkonmostoften.

18 Chapter 1: Getting Started with 3ds Max

Youcanloadthepresetdefaultsthatcomewith

3ds Max, or you can create your own.

In general, you don’t need to work directly with the

auxiliary files, but it’s good to know about them.

Among the auxiliary files the program uses are:

•3dsmax.ini (page 1–18) :Thisfilegetsupdated

when you start and exit 3ds Max, as well as

when you change most Preferences settings. It

contains values relating to program defaults,

including the graphics driver, directories used

to access external files such as sounds and

images, preset render sizes, dialog positions,

snap settings, and other preferences and default

settings. If you edit this file, be sure to make a

copy first, so you can return to the original if

anything goes wrong.

Note: Many program defaults are set in

currentdefaults.ini, found within the \defaults

directory. For more information on this file, see

Market-Specific Defaults (page 3–790).

•maxstart.max:Atstartupandwhenyoureset

theprogram,3dsMaxlooksforthisfileinthe

MaxStart folder specified in Configure User

Paths > File I/O panel (page 3–810),andif

found, loads it. This allows you to specify the

default state of the workspace whenever you

start or reset the program. For example, if you

always use a ground plane, you can make it the

default setup by creating one, and then saving it

as maxstart.max.

Ifyousaveadifferentfileovermaxstart.max,

you can return to program defaults by deleting

the maxstart.max file, and then resetting the

program.

•maxstart.cui:Thisisthedefaultcustomuser

interface file. You can load and save CUI files,

and set the program to use a different default

CUI file. See Customize Menu (page 3–683).

•plugin.ini: This file contains directory paths

for plug-ins. Most other paths are kept in the

program INI file, but plugin.ini is maintained

as a separate file because third-party plug-ins

often add entries to the list at installation.

Note: It is possible to use multiple plug-in

configuration files by nesting additional paths

in your plugin.ini file. This can be very useful

for allowing an entire network of users to share

one plugin.ini file, making the system easier

to maintain for the network administrator.

For more information, see Network Plug-In

Configuration (page 3–814).

•startup.ms:AMAXScriptfilethatautomatically

executes at startup time. For more information,

see Startup Script (page 3–1015).

•splash.bmp: To substitute a custom splash

screen (startup screen) for the default image,

copy any Windows Bitmap (.bmp)fileinto

the program root directory and rename it

splash.bmp.Theprogramwillthereafteruse

this image at startup.

3dsmax.ini File

The file 3ds Max uses to store settings between

sessions is named 3dsmax.ini.Bydefault,youcan

find it in the location indicated by the MaxData

setting on the Configure System Paths dialog (page

3–810).

You can make changes to 3ds Max startup

conditions by editing the 3dsmax.ini file in a text

editor such as Notepad. If you do edit the file, be

sure to maintain the structure and syntax of the

original file.

Tip: If you encounter unusual and unexplained

user-interface problems using 3ds Max, try

deleting the 3dsmax.ini file and restarting.

3ds Max writes a new 3dsmax.ini file to replace the

deleted one. Often this will fix problems related to

the state of the user interface.

Backing Up and Archiving Scenes 19

Note: Startup scene conditions are defined by

the maxstart.max file. To save a particular

startup condition, such as a Plane object

representing the ground, create a scene file

with the condition present and then save it as

maxstart.maxvizstart.maxvizstart.drf.3dsMax

automatically opens this file when you start

3ds Max.

The 3dsmax.ini file includes the following

categories:

[Directories]—Defines the default paths for various

file operations.

[Performance]—Controls that speed up viewport

performance.

[PlugInKeys]—Turns on or of f the key bo ard

shortcuts for plug-ins.

[Renderer]—Controls for rendering alpha and filter

backgrounds.

[RenderPresets]—DefinesthepathsforRendering

Preset files.

[BitmapDirs]—Defines the default map paths for

bitmaps used by materials.

[Modstack]—Controls modifier stack button sets

and icon display.

[WindowState]—Settings for software display,

OpenGL, or Direct3D drivers.

[CustomMenus]—Defines path for the .mnu file.

[CustomColors]—Defines the path for the .clr file.

[KeyboardFile]—Defines the path for the .kbd file.

[Material Editor]—Material Editor settings.

[ObjectSnapSettings]—Settings associated with

snaps.

[CommandPanel]—Sets number of columns, and

controls rollout display in multiple columns.

Backing Up and Archiving Scenes

You should regularly back up and archive

your work. One convenient method is to save

incremental copies of your scenes. This method

creates a history of your work process.

Saving Incremental Files

IfyouturnontheIncrementOnSaveoptionon

the Files panel (page 3–819) of the Preferences

dialog, the current scene is renamed by appending

atwo-digitnumbertotheendofthefileand

incrementing the number each time you save. For

example, if you open a file named myfile.max and

then save it, the saved file is named myfile01.max.

Eachtimeyousavethefileitsnameisincremented,

producing the files myfile02.max,myfile03.max,

and so on.

You can also use Save As (page 3–391) to increment

thefilenamemanuallywithatwo-digitnumber

by clicking the increment button (+) on the Save

As dialog.

Using Auto Backup

Yo u c a n a ut om a t i c a l l y s av e b a c k u p f i l e s a t r e g u l a r

intervals by setting the Auto Backup options

(page 3–820) on the Preferences dialog (see File

Preferences (page 3–819)). The backup files are

named AutoBackupN.max,whereNisanumber

from 1 to 99, and stored, by default, in the

\autoback folder. You can load a backup file like

any other scene file.

Archiving a Scene

3ds Max scenes can make use of many different

files. When you want to exchange scenes with

other users or store scenes for archival purposes,

you often need to save more than just the scene file.

Use the File menu > Archive command (page

3–499) to pass the scene file and any bitmap

20 Chapter 1: Getting Started with 3ds Max

files used in the scene to an archiving program

compatible with PKZIP® software.

Crash Recovery System

If 3ds Max encounters an unexpected crash, it

attempts to recover and save the file currently

in memory. This is fairly reliable, but it does

not always work: the recovered scene could be

damaged during the crash.

The recovered file is stored in the

configured Auto Backup path. It is saved

as "<filename>_recover.max"inthispath.Itisalso

placed in the INI file as the most recently used file

intheFilemenu.Thismakesiteasytoreturnto

thefile,ifyouchoosetodoso.

The crash recovery system identifies when

something in an object’s modifier stack is corrupt.

In these cases, the corrupt object is replaced with

a red dummy object to maintain the object’s

position and any linked object hierarchy.

Note: We recommend that you not rely on this

file-recovery mechanism as an alternative to good

data backup practices:

• Save your work frequently.

• Take advantage of automatic incremental file

naming: Go to Customize menu > Preferences

>Files panel (page 3–819) >FileHandling

group, and turn on Increment On Save.

• Use File menu > Save As, and click the

Increment button (+) to save incremental

copies of work in progress.

• If you are forgetful about saving, use the Auto

Backup feature. Go to Customize menu >

Preferences > Files tab > Auto Backup group,

and turn on Enable.

Everything you create in 3ds Max is located in

a three-dimensional world. You have a variety

ofoptionsforviewingthisenormousstage-like

space, from the details of the smallest object to the

full extent of your scene.

Using the view options discussed in this section

you move from one view to another, as your

work and imagination require. You can fill your

screen with a single, large viewport, or set multiple

viewports to track various aspects of your scene.

For exact positioning, flat drawing views are

available, as are 3D perspective (page 3–992) and

axonometric views (page 3–913).

You navigate 3D space by adjusting the position,

rotation and magnification of your views. You

have full control over how objects are rendered

and displayed on the screen.

Yo u c a n a l s o u s e t h e Grab Viewport command

(page 1–35) to create snapshots of your work as

you go.

This section presents these brief topics designed to

help you quickly start learning how to organize

viewports and navigate through 3D space:

General Viewport Concepts (page 1–22)

Home Grid: Views Based on the World Coordinate

Axes (page 1–23)

Understanding Views (page 1–24)

Setting Viewport Layout (page 1–26)

Controlling Viewport Rendering (page 1–27)

Controlling Display Performance (page 1–28)

Using Standard View Navigation (page 1–29)

Zooming, Panning, and Rotating Views (page 1–29)

Navigating Camera and Light Views (page 1–33)

Grab Viewport (page 1–35)

For details about viewport commands, see

Viewport Controls (page 3–729).

Viewing and Navigating 3D Space

22 Chapter 2: Viewing and Navigating 3D Space

General Viewport Concepts

The 3ds Max main window, with a docked toolbar and

viewport layout displaying multiple views.

Viewports are openings into the three-dimensional

space of your scene, like windows looking into

an enclosed garden or atrium. But viewports are

more than passive observation points. While

creating a scene, you can use them as dynamic and

flexible tools to understand the 3D relationships

among objects.

Attimesyoumightwanttolookatyourscene

through a large, undivided viewport, giving you

a "picture-window" view of the world you’re

creating. Often you use multiple viewports, each

settoadifferentorientation.

If you want to move an object horizontally in the

world space, you might do this in a top viewport,

looking directly down on the object as you move it.

Atthesametime,youcouldbewatchingashaded

perspective viewport to see when the object you’re

moving slides behind another. Using the two

windows together, you can get exactly the position

and alignment you want.

You also have pan and zoom features available in

either view, as well as grid alignment. With a few

mouse clicks or keystrokes, you can reach any level

of detail you need for the next step in your work.

Another way to use viewports is to place a camera

in your scene and set a viewport to look through

its lens. When you move the camera, the viewport

tracks the change. You can do the same thing with

spotlights.

In addition to geometry, viewports can display

other views such as Track View and Schematic

View, which display the structure of the scene

and the animation. Viewports can be extended to

display other tools such as the MAXScript Listener

and the Asset Browser. For interactive rendering,

theviewportcandisplaytheActiveShadewindow.

Active Viewport

One viewport, marked with a highlighted border,

is always active. The active viewport is where

commands and other actions take effect. Only one

viewportcanbeintheactivestateatatime.Ifother

viewports are visible, they are set for observation

only; unless disabled, they simultaneously track

actionstakenintheactiveviewport.

Saving the Active Viewport

You can save the view in any active viewport and

later restore it with the Views menu’s Save Active

View (page 1–37) and RestoreActiveView(page

1–37) commands. One view can be saved for each

of the following view types: Top, Bottom, Left,

Right, Front, Back, User, Perspective.

For example, while in the Front view, you choose

Save Active Front View, and then zoom and pan

that view. You then activate the Top viewport,

choose Save Active Top View, and then click Zoom

Extents. You return to the Front view, and choose

Restore Active Front View to return to its original

zoom and pan. At any time, you can activate the

Top viewport, and then choose Restore Active Top

View to restore its saved view.

Home Grid: Views Based on the World Coordinate Axes 23

Home Grid: Views Based on the

World Coordinate Axes

The grid you see in each viewport represents

one of three planes that intersect at right angles

to one another at a common point called the

origin. Intersection occurs along three lines (the

world coordinate axes: X, Y, and Z) familiar from

geometry as the basis of the Cartesian coordinate

system.

Home Grid

Using the home grid to position houses

The three planes based on the world coordinate

axes are called the home grid; this is the basic

reference system of the 3D world.

To simplify the positioning of objects, only one

plane of the home grid is visible in each viewport.

Thefigureshowsallthreeplanesastheywould

appear if you could see them in a single perspective

viewport.

Axes, Planes, and Views

Home grid axes and planes

Twoaxesdefineeachplaneofthehomegrid.In

thedefaultPerspectiveviewport,youarelooking

across the XY plane (ground plane), with the X

axis running left-to-right, and the Y axis running

front-to-back. The third axis, Z, runs vertically

through this plane at the origin.

24 Chapter 2: Viewing and Navigating 3D Space

HomeGridandGridObjects

Above: Inactive grid object in a scene

Below:Activatedgridobject

Thehomegridisalignedwiththeworldcoordinate

axes. You can turn it on and off for any viewport,

butyoucan’tchangeitsorientation.

For flexibility, the home grid is supplemented by

grid objects: independent grids you can place

anywhere, at any angle, aligned with any object or

surface. They function as "construction planes"

you can use once and discard or save for reuse. See

Precision and Drawing Aids (page 2–1).

AutoGrid

The AutoGrid feature lets you create and activate

temporary grid objects on the fly. This lets you

create geometry off the face of any object by first

creating the temporary grid, then the object. You

also have the option to make the temporary grids

permanent. See AutoGrid (page 2–7).

Understanding Views

There are two types of views visible in viewports:

•Axonometric views (page 3–913) show the scene

without perspective. All lines in the model are

parallel to one another. The Top, Front, Left,

and User viewports are axonometric views.

Axonometric view of a scene

•Perspective views (page 3–992) show the

scene with lines that converge at the horizon.

The Perspective and Camera viewports are

examples of perspective views.

Perspective view of the same model

Perspective views most closely resemble human

vision, where objects appear to recede into the

distance, creating a sense of depth and space.

Axonometric views provide an undistorted view

of the scene for accurate scaling and placement. A

common workflow is to use axonometric views

to create the scene, then use a perspective view to

render the final output.

Understanding Views 25

Axonometric Views

There are two types of axonometric views you can

use in viewports: orthographic and rotated.

An orthographic view (page 3–986) is a straight-on

view of the scene, such as the view shown in the

Top, Front, and Left viewports. You can set a

viewport to a specific orthographic view using the

viewport right-click menu (page 3–731) or keyboard

shortcuts (page 3–871). For example, to set an

active viewport to Left view, press L.

You can also rotate an orthographic view to see

the scene from an angle while retaining parallel

projection. This type of view is represented by a

User viewport.

Perspective Views

A perspective viewport, labeled Perspective, is

one of the startup viewports in 3ds Max. You can

change any active viewport to this "eye-like" point

of view by pressing P.

Camera View

Once you create a camera object in your scene,

you can change the active viewport to a camera

view by pressing Cand then selecting from a list

of cameras in your scene. You can also create a

camera view directly from a perspective viewport,

using the Create Camera from View (page 1–48)

command.

A camera viewport tracks the view through the

lens of the selected camera. As you move the

camera (or target) in another viewport, you see the

scenemoveaccordingly.Thisistheadvantageof

the Camera view over the Perspective view, which

can’t be animated over time.

IfyouturnonOrthographicProjectionona

camera’s Parameters rollout, that camera produces

an axonometric view like a User view. See Cameras

(page 2–1365).

Theviewportontherightisseenthroughacamerainthescene.

Two and Three-Point Perspective and the

Camera Correction Modifier

By default, camera views use three-point

perspective, in which vertical lines appear to

converge with height (in traditional photography

this is known as keystoning). The Camera

Correction modifier (page 2–1392) applies

two-point perspective to a camera view. In

two-point perspective, vertical lines remain

vertical. A similar effect can be attained by putting

a Skew modifier on a camera.

Light View

Light view works much like a targeted camera

view.Youfirstcreateaspotlightordirectionallight

andthensettheactiveviewporttothatspotlight.

The easiest way is to press the keyboard shortcut

$.SeeLights (page 2–1272).

26 Chapter 2: Viewing and Navigating 3D Space

The viewport on the right looks through the lens of a spotlight

in the scene.

Setting Viewport Layout

3ds Max defaults to a two-over-two arrangement

of viewports. Thirteen other layouts are possible,

but the maximum number of viewports on the

screen remains four.

Using the Layout panel (page 3–856) of the

Viewport Configuration dialog, you can pick from

the different layouts and customize the viewports

in each. Your viewport configuration is saved with

your work.

Resizing the Viewport

After choosing a layout you can resize the

viewports so they have different proportions

by moving the splitter bars that separate the

viewports. This is only available when multiple

viewports are displayed.

Resized viewport

Changing the View Type

As you work, you can quickly change the view in

any viewport. For example, you can switch from

front view to back view. You can use either of two

methods: menu or keyboard shortcut.

• Right-click the label of the viewport you want

to change and click Views. Then, click the view

type that you want.

• Click the viewport you want to change, and

then press one of the keyboard shortcuts in the

following table.

Key View type

TTop view

BBottom view

FFront view

LLeft view

CCamera view. If your scene has only one

camera,oryouselectacamerabeforeusing

this keyboard shortcut, that camera supplies

the view. If your scene has more than one

camera, and none are selected, a list of

cameras appears.

PPerspective view. Retains viewing angle of

previous view.

Controlling Viewport Rendering 27

Key View type

UUser (axonometric) view. Retains viewing

angle of previous view. Allows use of Zoom

Region (page 3–742).

none Rightview.Useviewportright-clickmenu.

none Shape view. Use viewport right-click menu.

Automatically aligns view to the extents of a

selected shape and its local XY axes.

See also

Viewport Layout (page 3–856)

Camera Viewport Controls (page 3–745)

Spotlight Parameters (page 2–1338)

Precision and Drawing Aids (page 2–1)

Track View (page 2–501)

Controlling Viewport Rendering

Box display, wireframe display, and smooth shading

You can choose from multiple options to display

your scene. You can display objects as simple

boxes, or render them with smooth shading and

texture mapping. If you want, you can choose a

different display method for each viewport.

Tip: If you want to display individual objects as

wireframe, you can use Wireframe materials. If

you want individual objects to display as boxes,

youcanselecttheobjectandchooseDisplay

as Box on the Display properties rollout on the

display panel.

Using Viewport Rendering Controls

Viewport rendering options are found on the

Rendering Method panel (page 3–853) of the

Viewport Configuration dialog. Using this panel

you choose a rendering level and any options

associated with that level. You can then choose

whether to apply those settings to the active

viewport or all viewports, or to all but the active

viewport.

The rendering level you choose is determined

by your need for realistic display, accuracy, and

speed. For example, Box Mode display is much

faster than Smooth Shading with Highlights. The

more realistic the rendering level, the slower the

display speed.

Afterchoosingarenderinglevel,youcanset

rendering options. Different options are available

for different rendering levels.

Yo u c a n a l s o u s e ActiveShade (page 3–21) in a

viewport. This feature helps you quickly preview

changes you make to lighting and materials.

Viewport rendering has no effect on final

renderings produced by clicking Render Scene.

Rendering Methods and Display Speed

The rendering methods not only affect the quality

of your view display, they can also have a profound

effect on display performance. Using higher

quality rendering levels and realistic options slows

display performance.

After setting a rendering method, you can

choose additional options that adjust display

performance. One of these controls, Adaptive

Degradation, speeds up display performance when

you use realistic rendering levels.

28 Chapter 2: Viewing and Navigating 3D Space

Tip: If your scene mysteriously disappears and only

displays as boxes when you rotate your viewport,

youhavepressedthe“o”keyonthekeyboard,and

unintentionally turned on Adaptive Degradation.

See Rendering Method (page 3–853).

Controlling Display Performance

3ds Max contains controls to help you adjust

display performance: the balance between quality

and time in displaying objects.

Depending on your needs, you might give up some

display speed to work at higher levels of rendering

quality, or you might choose to maximize display

speed by using Wireframe or Bounding Box

display. Which method you choose depends on

your preferences and the requirements of your

work.

Display Performance Controls

You use display performance controls to determine

how objects are rendered and displayed.

Viewport Preferences

The Customize > Preferences dialog’s Viewports

panel contains options for fine-tuning the

performance of the viewport display software. See

Viewport Preferences (page 3–821).

How Objects Are Rendered

The Adaptive Degradation panel on the Viewport

Configuration dialog dynamically drops the

rendering level on display performance. You set

the parameters controlling the trade-off between

display quality and display speed.

How Objects Are Displayed

To see and modify an object’s display properties,

right-click the object, select Properties, and go

to the Display Properties group box; see Object

Properties (page 1–117).Theseoptionsaffect

display performance much the same way as

viewport rendering options. For example, turning

on Vertex Ticks for an object with a lot of vertices

will slow performance.

Note: Display Properties are only available when

the By Object/By Layer toggle is set to By Object.

Toseeandmodifyhowobjectsaredisplayed,you

can use layers (page 3–655).Youcanthenquickly

control the visibility and editability of similar

objects from the quad menu.

Which Objects Are Displayed

One way to increase display speed is not to display

something. You can use the Hide and Freeze

features on the Display panel or quad menu to

changethedisplaystateofobjectsinyourscene.

TheHideandFreezefeaturesalsoaffectfinal

Rendering and Video Post output. See Hide

Rollout (page 1–53) and FreezeRollout(page1–54).

Setting Adaptive Degradation

Adaptive Degradation dynamically adjusts your

rendering levels to maintain a desired level of

display speed. You have direct control over how

much "degradation" occurs and when it occurs.

Active and General Degradation use the same

choices as the viewport Rendering Levels panel.

Active Degradation controls rendering in the

active viewport while General Degradation

controls rendering in all other viewports.

The selected levels determine which rendering

levels 3ds Max falls back to when it cannot

maintain the desired display speed. You can

choose as many levels as you want but you are

advised to choose only one or two levels for each

type of degradation.

See Adaptive Degradation (page 3–905).

Using Standard View Navigation 29

Using Standard View Navigation

To navigate through your scene, use the view

navigation buttons located at the lower-right

corner of the program window. All view types,

except Camera and Light views, use a standard set

of view navigation buttons.

Button Operation

Clicking standard view navigation buttons

produces one of two results:

• Executes the command and returns to your

previous action.

• Activates a view navigation mode.

Youcantellthatyouareinamodebecausethe

button remains selected and is highlighted. This

mode remains active until you right-click or

choose another command.

While in a navigation mode, you can activate other

viewports of the same type, without exiting the

mode, by clicking in any viewport. See Viewport

Controls (page 3–729).

Undoing Standard

View Navigation Commands

Use the Undo View Change and Redo View Change

commands (page 1–36) on the Views menu to

reset standard view navigation commands without

affecting other viewports or the geometry in your

scene. These commands are also found in the

menu displayed when you right-click a viewport

label.

Views menu > Undo and Views menu > Redo

are separate from Undo and Redo on the Edit

menu or the toolbar. 3ds Max maintains separate

Undo/Redo buffers for scene editing and for each

viewport.

The View Undo/Redo buffer stores your last 20

view navigation commands for each viewport.

You can step back through the Undo View/Redo

Viewbufferuntilyouhaveundoneallofthestored

view-navigation commands.

Zooming, Panning, and Rotating

Views

Before and after zooming a viewport

Before and after rotating a viewport

When you click one of the view navigation buttons,

you can change these basic view properties:

View magnification—Controls zooming in

and out.

View position—Controls panning in any

direction.

View rotation—Controls rotating in any

direction

Zooming a View

Click Zoom (page 3–739) or Zoom All

(page 3–740) and drag in a viewport to change the

view magnification. Zoom changes only the active

view, while Zoom All simultaneously changes all

non-camera views.

If a perspective view is active, you can also

click Field of View (FOV) (page 3–741).Theeffect

30 Chapter 2: Viewing and Navigating 3D Space

of changing FOV is similar to changing the lens on

a camera. As FOV gets larger you see more of your

scene and perspective becomes distorted, similar

to using a wide-angle lens. As FOV gets smaller

you see less of your scene and the perspective

flattens, similar to using a telephoto lens.

Warning: Be cautious using extreme Field of View

settings. These can produce unexpected results.

Zooming a Region

Click Zoom Region (page 3–742) to drag a

rectangular region within the active viewport and

magnify that region to fill the viewport. Zoom

Region is available for all standard views.

In a perspective viewport, Zoom Region

mode is available from the Field of View flyout

(page 3–741).

Zooming to Extents

Click the Zoom Extents or Zoom Extents

All flyout buttons to change the magnification

and position of your view to display the extents

of objects in your scene. Your view is centered on

the objects and the magnification changed so the

objects fill the viewport.

•The Zoom Extents, Zoom Extents Selected

buttons (page 3–737) zoomtheactiveviewport

to the extents of all visible or selected objects

in the scene.

•The Zoom Extents All, Zoom Extents

All Selected buttons (page 3–737) zoom all

viewportstotheextentsofallobjectsorthe

current selection.

Panning a View

Click Pan View (page 3–743) and drag in

a viewport to move your view parallel to the

viewport plane. You can also pan a viewport by

draggingwiththemiddlemousebuttonhelddown

while any tool is active.

Rotating a View

Click Arc Rotate, Arc Rotate on Selection, or

Arc Rotate Sub-Object (page 3–744) to rotate your

view around the view center, the selection, or the

current sub-object selection respectively. When

you rotate an orthogonal view, such as a Top view,

it is converted to a User view.

With Arc Rotate, if objects are near the edges of

the viewport they might rotate out of view.

With Arc Rotate Selected, selected objects

remainatthesamepositionintheviewportwhile

the view rotates around them. If no objects are

selected, the function reverts to the standard Arc

Rotate.

With Arc Rotate Sub-Object, selected

sub-objects or objects remain at the same position

intheviewportwhiletheviewrotatesaround

them.

Note: Yo u c a n r o t a t e a v i e w b y h o l d i n g d o w n

the Alt key while you drag in a viewport using

middle-button. This uses the current Arc Rotate

mode, whether or not the Arc Rotate button is

active. You can also activate Arc Rotate by pressing

Ctrl+R .

Using Walkthrough Navigation

Walkthrough navigation lets you move through

a viewport by pressing a set of shortcut keys,

including the arrow keys, much as you can navigate

a3Dworldinmanyvideogames.

When you enter the walkthrough navigation

mode, the cursor changes to a hollow circle that

shows a directional arrow while you are pressing

Using Walkthrough Navigation 31

one of the directional keys (forward, back, left, or

right).

This feature is available for perspective and camera

viewports. It is not available for orthographic

views or for spotlight viewports.

Animating a Walkthrough

Whenyouusewalkthroughnavigationina

Camera viewport, you can animate the camera

walkthrough using either Auto Key (page 3–717)

or Set Key (page 2–280).Ineithercase,togetan

animatedcamerayouhavetochangetheframe

number manually (the easiest way is to use the

Time Slider (page 3–701)), and in the case of Set

Key,youhavetochangetheframenumberand

click Set Keys.

Tip: Selectthecamerabeforeyouanimateit.Ifthe

camera isn’t selected, its keys won’t appear in the

Track Bar (page 3–703).

Procedures

To begin using walkthrough navigation, do one of

the following:

•PresstheUp Arrow key.

•Click the Walk T hroug h but ton (page

3–738) to turn it on.

This button is found on the Pan/Truck And

Walkthrough flyout (page 3–738).

To stop using walkthrough navigation, do one of

the following:

•Right-click.

•Activateadifferentviewport.

• Change the active viewport to a different type.

• Turnonadifferentviewportnavigationtool

(such as Zoom or Pan).

• Turn on Select Object or one of the transform

tools.

Note: Yo u do not exit walkthrough mode when

you select an object or change the viewport

shading type (between shaded and wireframe, for

example).

Interface

The Walk Through button is the only graphical

element of the interface to walkthrough navigation.

The other features are provided by mouse actions

or by keyboard shortcuts. The following table

shows the keyboard actions:

Command Shortcut

Accelerate Toggle Q

Back S,Down Arrow

Decelerate Toggle Z

Decrease Rotation

Sensitivity

Decrease Step Size [

Down C,Shift+Down Arrow

Forward W,Up Arrow

Increase Rotation Sensitivity

Increase Step Size ]

Invert Vertical Rotation

Toggle

Left A,Left Arrow

Level Shift+Spacebar

Lock Horizontal Rotation

Lock Vertical Rotation Spacebar

Reset Step Size Alt+[

Right D,Right Arrow

Up E,Shift+Up Arrow

If nothing appears in the Shortcut column, no

default key is assigned to this command. You can

set custom keystrokes using the Keyboard panel

(page 3–793) of the Customize User Interface

dialog.

32 Chapter 2: Viewing and Navigating 3D Space

Forward, Backward, and Sideways Movement

Formovement,youcanuseeitherthearrowkeys,

or letters at the left of the keyboard pad.

Tip: When you are in a Perspective viewport,

you can use Undo View Change and Redo View

Change ( Shift+Z ,Shift+Y )toundoorredo

your navigation. However, when you are in

aCameraviewport,walkthroughanimation

transforms the camera object, so you must use Edit

>UndoandEdit>Redo(Ctrl+Z and Ctrl+Y ).

Holding down any of these keys causes the motion

to be continuous.

Forward— Wor the Up Arrow .Movesthe

camera or the viewpoint forward.

Note: If you are not already in walkthrough

navigation mode, pressing Up Arrow enters it.

Back— Sor Down Arrow .Movesthecameraor

the viewpoint backward.

When you are in a camera viewport, Forward and

Back are equivalent to dollying in or out.

Left— Aor Left Arrow .Movesthecameraor

the viewpoint to the left.

Right— Dor Right Arrow .Movesthecamera

or the viewpoint to the right.

When you are in a camera viewport, Left and

Right are equivalent to trucking left or right.

Up— Eor Shift+Up Arrow . Moves the camera

or the viewpoint up.

Down— Cor Shift+Down Arrow .Movesthe

camera or the viewpoint down.

Acceleration and Deceleration

Accelerate Toggle and Decelerate Toggle—Pressing

Accelerate ( Q)causesmotiontobequicker.

Pressing Decelerate ( Z)causesmovementtobe

slower. These controls are toggles: pressing the

key a second time restores the default motion rate

(and pressing the alternate key turns off the first).

They are especially useful when you are navigating

by holding down keys.

The acceleration and deceleration toggles are

independent of the step size.

Adjusting Step Size

Increase Step Size and Decrease Step Size—Pressing

Increase Step Size ( ])increasesthemotion

increments when you move the camera or

viewpoint. Pressing Decrease Step Size ( [)

reduces them. You can press either of these

shortcuts repeatedly, to increase the effect.

Changingthestepsizeisapparentwhenyou

navigate either by single clicks, or by holding down

keys. Stepsizechangesareusefulforadjusting

movement to the scale of the scene. They are saved

with the MAX file.

Reset Step Size—Pressing Reset Step Size ( Alt+[ )

restoresthestepsizetoitsdefaultvalue.

The step size is independent of acceleration or

deceleration.

Rotation (Tilting)

Tilt View—Click+drag to tilt the camera or

viewpoint.

Whenyouareinacameraviewport,TiltViewis

equivalent to panning the camera.

Increase Rotation Sensitivity and Decrease Rotation

Sensitivity—Pressing Increase Rotation Sensitivity

(no default key) increases the motion increments

when you use Tilt View. Pressing Decrease

Rotation Sensitivity (no default key) decreases

them. You can press either of these shortcuts

repeatedly, to increase the effect. They are useful

for adjusting movement to the scale of the scene.

They are saved with the MAX file.

Lock Horizontal Rotation—Pressing Lock

Horizontal Rotation (no default key) locks the

Navigating Camera and Light Views 33

horizontal axis, so the camera or viewpoint tilts

only vertically.

Lock Vertical Rotation—Pressing Lock Vertical

Rotation ( Spacebar )lockstheverticalaxis,so

the camera or viewpoint tilts only horizontally.

Invert Vertical Rotation Toggle—Pressing Invert

Vertical Rotation (no default key) inverts the tilt

directionwhenyoudragthemouse. Whenthis

toggle is off, dragging up causes scene objects to

descend in the view, and dragging down causes

them to rise (this is like tilting a physical camera).

Whenthistoggleison,objectsintheviewmovein

thesamedirectionyouaredraggingthemouse.

Level—Pressing Level ( Shift+Spacebar )removes

anytiltorrollthecameraorviewpointmighthave,

making the view both level and vertical.

Navigating Camera and Light

Views

The camera navigation buttons

The Camera and Light view navigation buttons

are the same with a few exceptions. The buttons

are visible when a viewport with a Camera or

Light view is active. The Camera and Light view

navigation buttons do more than adjust your view.

They transform and change the parameters of the

associated camera or light object.

Lightviewstreatthelight(spotlightordirectional

light) as if it were a camera. The light falloff is

treated the same as the camera field of view.

Keep in mind the following:

•UsingtheCameraandLightviewport

navigation buttons is the same as moving or

rotating the camera or Light, or changing their

base parameters.

• Changes made with Camera or Light view

navigation buttons can be animated the same

as other object changes.

Zooming a Camera or Light View

Zooming a camera

Yo u z o o m a c a m e r a v i e w b y c l i c k i n g FOV

(page 3–741) andthendraggingintheCamera

viewport.

The field of view defines the width of your view as

an angle with its apex at eye level and the ends at

thesidesoftheview.TheeffectofchangingFOVis

exactly like changing the lens on a camera. As the

FOV gets larger you see more of your scene and

the perspective becomes distorted, similar to using

awide-anglelens. AstheFOVgetssmalleryou

see less of your scene and the perspective flattens,

similar to using a telephoto lens. See Cameras

(page 2–1365).

Click Light Hotspot (page 3–752) for a light

viewport to achieve the same effect as zooming.

The hotspot is the inner of the two circles or

rectangles visible in a light viewport. Objects

insidethehotspotareilluminatedwiththe

full intensity of the light. Objects between the

hotspot and falloff are illuminated with decreasing

intensity as objects approach the falloff boundary.

See Using Lights (page 2–1274).

34 Chapter 2: Viewing and Navigating 3D Space

MovingaCameraorLightView

You move a camera or light view by clicking one of

the following buttons and dragging in the camera

or light viewport.

•Dolly (page 3–746) moves the camera or

light along its line of sight.

•Truck (page 3–748) moves the camera or

light and its target parallel to the view plane.

•Pan (page 3–749) moves the target in a

circle around the camera or light. This button

is a flyout that shares the same location with

Orbit.

•Orbit (page 3–749) moves the camera

or light in a circle around the target. The

effect is similar to Arc Rotate for non-camera

viewports.

Rolling a Camera or Light View

Rolling a camera

Click Roll (page 3–747), and drag in a camera

or a light viewport to rotate the camera or light

about its line of sight. The line of sight is defined

asthelinedrawnfromthecameraorlighttoits

target. The line of sight is also the same as the

camera’s or the light’s local Z axis.

Changing Camera Perspective

Changing perspective

Click Perspective (page 3–747), and drag in

a camera viewport to change the Field of View

(FOV) and dolly the camera simultaneously. The

effect is to change the amount of perspective flare

while maintaining the composition of the view.

Adaptive Degradation Toggle

Views menu > Adaptive Degradation Toggle

Keyboard > O(the letter O)

When on (the default), the Adaptive Degradation

Toggle supersedes the adaptive degradation

(page 3–905) that can occur when you transform

geometry, change the view, or play back an

animation in a shaded viewport. In this case,

the geometry remains shaded even if that slows

down viewport display and animation playback.

Animation playback might drop frames if the

graphics card cannot display frames in real time.

Turn off the Adaptive Degradation Toggle if you

have large models you need to navigate around

and if you are finding performance sluggish.

Adaptive degradation causes shaded objects to be

replaced by a quicker display mode. By default,

Grab Viewport 35

shaded objects are replaced by their bounding

boxes.

You can change the display option, and set

other adaptive degradation parameters, on the

Viewport Configuration dialog (Customize menu

> Viewport Configuration > Adaptive Degradation

panel (page 3–859)).

Note: When you use arc rotate (page 3–744) in a

shaded viewport while the Adaptive Degradation

Toggle is off, objects degrade to bounding boxes

regardless of the adaptive degradation settings.

Procedures

To turn off or override adaptive degradation, do one

of the following:

• Choose Views menu > Adaptive Degradation

To g g l e .

•Press

O(the letter O).

To change the level of adaptive degradation in the

viewport:

1. Right-click the viewport label and choose

Configure, or choose Customize > Viewport

Configuration.

2. On the Viewport Configuration dialog, open

theAdaptiveDegradationpanel.

3. Adjust settings in the General and Active

Degradation group boxes.

Grab Viewport

Tools menu > Grab Viewport

Grab Viewport creates a snapshot of the active

viewport in the Rendered Frame Window (page

3–5), where you can save it as an Imagefile(page

3–608).

Procedure

To create a snapshot of a viewport:

1. Activate the viewport you want to capture.

2. Choose Tools menu > Grab Viewport.

A dialog appears that allows you to add a label

to your snapshot.

3. Enter a label for your snapshot, if desired.

The label appears in the lower-right corner of

the image as you enter it into the dialog.

4. Click Grab.

The Rendered Frame Window opens to display

a snapshot of your viewport.

5. UsethecontrolsintheRenderedFrame

Window to save your image.

Interface

Label—Enter text here to add a label to your

screenshot. The text you enter is displayed in the

lower-right corner of your screenshot.

Grab—Opens the Rendered Frame Window with a

snapshot of the active viewport.

Cancel—Cancels the Grab Viewport command.

View-Handling Commands

Menu bar > Views menu

These viewport-handling commands are provided

on the default main menu:

36 Chapter 2: Viewing and Navigating 3D Space

Views Menu (page 3–675)

Undo View Change / Redo View Change (page

1–36)

Save Active View (page 1–37)

Restore Active View (page 1–37)

Display Color Rollout (page 1–52)

Grid Commands (page 2–33)

Viewport Background Dialog (page 1–38)

Select Background Image Dialog (page 1–42)

Update Background Image (page 1–44)

Reset Background Transform (page 1–45)

Show Transform Gizmo (page 1–45)

Show Ghosting (page 1–46)

Show Key Times (page 1–46)

Shade Selected (page 1–47)

Show Dependencies (page 1–47)

Create Camera From View (page 1–48)

Add Default Lights to Scene (page 1–49)

Redraw All Views (page 1–50)

Activate All Maps (page 1–50)

Deactivate All Maps (page 1–50)

Update During Spinner Drag (page 1–51)

Adaptive Degradation Toggle (page 1–34)

Smart Object Culling (page 1–58)

Expert Mode (page 1–51)

See also

Viewing and Navigating 3D Space (page 1–21)

Views Menu (page 3–675)

Quad Menu (page 3–694)

Undo View Change / Redo View

Change

Views menu > Undo View Change or Redo View Change

Keyboard > Shift+Z (Undo) or Shift+Y (Redo)

Undo View Change cancels the last change made to

thecurrentviewport.RedoViewChangecancels

thelastUndointhecurrentviewport.

These commands act like Undo and Redo on the

Main toolbar and Edit menu, but operate on a

different list of events. They affect changes made to

the viewport, rather than changes made to objects

in the viewport.

Use Undo View Change and Redo View Change

when you have inadvertently made a view unusable

by zooming in too close, or rotating the wrong

way. You can keep stepping back until a useful

view appears. The keyboard shortcuts are handy

for multiple commands.

You can also access Undo View Change and Redo

View Change of view changes by right-clicking the

viewport label and choosing Undo View or Redo

View. The last change made in that viewport will

be indicated (for example, "Undo View Zoom").

Each viewport has its own independent undo/redo

stack.

Camera and Spotlight viewports use object-based

Undo and Redo, because the viewport change is

actually a change to the camera or spotlight object.

In these viewports, use Edit > Undo ( Ctrl+Z )or

Edit > Redo ( Ctrl+Y ).

Interface

Undo View Change—Cancels viewport changes.

Thenameofthechangeyou’reundoingis

displayed in the View menu beside the command.

Undo is useful when you are working with a

background image in the viewport. You can zoom

Save Active View 37

into the geometry to adjust it, then use Undo

Viewport Zoom to restore the original alignment

of the geometry with the background.

Redo View Change—Cancels the previous Undo

View Change. The name of the change you’re

redoing appears in the View menu beside the

command.

Save Active View

Views menu > Save Active View (the name of the active

viewport is part of the command)

Save Active View stores the active view to an

internal buffer. If you have framed a shot in any

view other than a camera, use Save Active View

to preserve the viewport’s appearance. The saved

active view is saved with the scene file. Once saved,

you can retrieve it using Restore Active View (page

1–37).

Theviewportthatwillberestoredisdisplayed

in the menu item (for example, "Save Active

Perspective View"). You can save and restore up

to eight different views (Top, Bottom, Left, Right,

Front, Back, User, Perspective).

Viewport changes that are saved include viewport

type, zoom and rotations, and field-of-view

(FOV).

Theoptionsavailableontheviewport right-click

menu (page 3–731),suchasShowSafeFrameand

Viewport Clipping, are not saved. If these settings

areimportanttotheview,makeanoteofwhatthey

are so you can reset them after restoring the view.

Procedure

To save an active view:

1. Activate the viewport with the view you want

to save.

2. Choose Views menu > Save Active View. The

view is now saved and can be recalled using

RestoreActiveView.

Restore Active View

Viewsmenu>RestoreActiveView(thenameofthe

active viewport is part of the command.)

RestoreActiveViewdisplaystheviewpreviously

stored with Save Active View (page 1–37).

The viewport to be restored is displayed in

themenuitem(forexample,"RestoreActive

Perspective View").

Theactiveviewisrestoredifthesameviewport

and layout are active.

If an active view won’t restore with this command,

check the following:

•Besuretheviewportisactive.

• Makesurethelayoutisthesameasbefore.

Use Viewport Configuration (right-click any

viewport label and choose Configure) and

choose Layout.

• If the layout and active viewport are the same,

be sure Viewport Clipping on the Viewport

Right-Click Menu (page 3–731) is set the same

as it was when the viewport was saved.

Procedure

To restore a saved view:

1. Activate the viewport where you saved the view.

2. Choose Views menu > Restore Active View.

This option is available only in a viewport with

a saved view.

3. Theviewportreturnstothesavedview.

Ifyou’renotsurewhetheraviewporthasa

saved view, check the Views menu. Restore

Active View is unavailable unless a view is saved

in the active viewport.

38 Chapter 2: Viewing and Navigating 3D Space

Viewport Background Dialog

Views menu > Viewport Background > Viewport

Background dialog

Keyboard > Alt+B

The Viewport Background dialog controls display

of an image or animation as the background for

one or all viewports.You can use this for modeling,

for example, by placing front, top or side view

sketches in the corresponding viewports. Or use

Viewport background to match 3D elements with

digitized camera footage, or for rotoscoping (page

3–1003).

Yo u s e l e c t t h e i m a g e o r a n i m a t i o n t o d i s p l ay i n

the active viewport, set the frame synchronization

between the animated image file and the current

scene, and turn the assigned image on and off.

These changes do not affect the rendered scene.

Toplaceanimageinthebackgroundofthe

rendered scene, use the Environment And Effects

dialog > Environment panel (page 3–271), accessed

from the Rendering menu.

Note: When safe frames are displayed in a viewport,

and the Aspect Ratio options are set to either

Match Viewport or Match Rendering Output, the

assigned viewport background image is confined

to the Live area of the safe frames and will correctly

match the rendered background bitmap.

Tip: If you are using a viewport driver with

hardware acceleration (OpenGL or Direct3D),

the viewport background might not appear. If

this happens, choose Customize > Preferences.

In the Viewports preferences (page 3–821),click

Configure Driver. Then in the Configure OpenGL

dialog (page 3–841) or the Configure Direct3D

dialog (page 3–844),gototheBackgroundTexture

Size group and turn on Match Bitmap Size As

Closely As Possible (do not change the numeric

setting). Click OK in both dialogs to accept your

change.

See also

Select Background Image Dialog (page 1–42)

Update Background Image (page 1–44)

Reset Background Transform (page 1–45)

Procedures

To assign an image to one or all viewports:

1. Activatetheviewportthatistodisplaythe

background image.

2. Choose Views menu > Viewport Background

or press Alt+B .

This opens the Viewport Background dialog.

3. In the Background Source group, click the Files

button.

This opens the Select Background Image dialog.

4. Use the dialog to open the image or animation

to use.

5. To display the image in all viewports, choose

All Views in the Apply Source And Display To

group.

6. Click OK.

The image is displayed in a single viewport or

all viewports.

To update the image or map in the viewport:

Because of the time it takes to render the image or

map in the viewport, the map is not automatically

updated when you alter the bitmap or assign a new

bitmap.

• ChooseViewsmenu>UpdateBackground

Image.

Viewport Background Dialog 39

The revised image or map is displayed in the

viewport.

To display the environment map in a viewport:

1. In the Environment dialog, assign an

environment map. (See the procedure “To

choose an environment map.” (page 3–272))

2. In the Environment dialog > Background

group, be sure Use Map is turned on (the

default).

3. Activatetheviewportwhereyouwantthemap

displayed.

4. Choose Views menu > Background Image.

5. In the Viewport Background dialog >

Background Source group, turn on Use

Environment Background.

6. Click OK.

The map is displayed in the viewport.

To display an animated back ground:

1. Assign an animation file (AVI, MOV, or IFL

file)astheviewportbackground.

2. Tur n on A ni mate Bac kg rou nd .

3. Choose Customize > Preferences. On the

Viewportspanel,turnonUpdateBackground

While Playing.

Now the background plays when you click Play,

or when you drag the time slider.

Tip: If you follow these steps and the background

still doesn’t appear to animate, open the Time

Configuration dialog (page 3–725) and in the

Playback group, turn off Real Time.

To use the environment map with animation

controls:

Thisprocedureisusefulifyou’veassignedan

animated environment map and want access to the

animationcontrolsontheViewportBackground

dialog.

1. In the Viewport Background dialog >

Background Source group, turn off Use

Environment Background.

2. Inthesamegroup,clickFile.

3. Choose the same map you’re using as the

environment map.

4. Set parameters in the Animation

Synchronization group.

5. Click OK.

The environment map appears in the viewport.

The image is renderable.

To match the viewport background with the

rendered background:

1. Activate the viewport to render.

2. Right-click the viewport label and choose Show

Safe Frame.

This turns on Safe Frames (page 3–857) in the

viewport.

Note: You can also use Views menu > Configure

>SafeFrametab.IntheApplicationgroup,

turn on Show Safe Frames In Active View.

3. In the Material Editor, create a material

that contains the bitmap for your rendered

background.

4. At the bitmap level of the Material Editor, on

the Coordinates rollout, choose Environ.

The Mapping control is automatically set to

Screen. Thisistheonlymappingtypethat

works for this purpose.

5. On the main menu, choose Rendering >

Environment.

6. Drag the map from the Material Editor > Maps

rollouttotheEnvironmentMapbuttononthe

Environment dialog. Click OK on the Instance

(Copy) Map dialog.

40 Chapter 2: Viewing and Navigating 3D Space

7. In the Viewport Background dialog >

Background Source group, click Files to assign

the same bitmap.

8. In the Aspect Ratio group, turn on either Match

Viewport or Match Rendering Output. Click

OK.

9. Render the viewport.

The background displayed in the rendered

scene should exactly match the background

displayed in the Live area of the safe frames.

Note: When you use the Match Bitmap option,

the bitmap reverts to its original aspect ratio

and does not match the rendered scene, unless

you’re rendering to the same aspect ratio.

To remove a background image:

1. Activate the viewport in which the background

image is visible.

2. On the Views menu, choose Viewport

Background.

Noticethenameandpathofthebackground

file is displayed in the Current field in the

Background Source group

3. In the Background Source group, click Devices.

4. On the Select Image Input Device dialog,

chooseNoI/OHandlersfromthedrop-down

list, then click OK.

5. On the Bitmap Manager Error dialog, click OK.

The current field no longer displays the

background file name. Instead No I/O Handler

is listed in the Current field.

6. Click OK to close the Viewport Background

dialog.

Next time you open up the Viewport

Backgrounddialog,nofilenamewillbe

displayed in the Current field.

Tip: This technique will work only on systems

thatdon’thaveanyotherImageInputDevices

installed.

Interface

Background Source group

Options let you select the background image,

either from a bitmap image file (page 3–917),

a video file, or from a device such as a video

recorder.

Files—Displays the Select Background Image dialog

(page 1–42), which lets you select a file or sequence

of files for your background.

Devices—Displays the Select Image Input Device

dialog. This lets you use a background from a

digital device. (No device is supported by the

default 3ds Max installation.)

Use Environment Background—Lets you display

in the viewports the map you’ve assigned as your

environment background. If no environment

map has been assigned in the Environment

dialog, or Use Map in that dialog is off, then the

Use Environment Background check box is not

available.

Viewport Background Dialog 41

Animation Synchronization group

Controls how sequences of images (for example,

from IFL (page 3–616),AVI (page 3–609),or

MOV (page 3–621) files) are synchronized to the

viewport for rotoscoping (page 3–1003).

Use Frame—The first field sets the first frame of the

incoming sequence that you want to use, and the

second field sets the last one.

Step—Sets the interval between the frames you

want to use. For example, if this spinner is set to 7,

3ds Max uses every seventh frame.

Start At—Specifies the frame number at which you

want the first input frame to appear. What happens

in the viewport before the start frame depends

on the option you choose for "Start Processing,"

below.

Sync Start To Frame—Determines which frame

from your incoming sequence is displayed at the

Start At frame. For example, you could have a

30-frame IFL sequence that starts in your scene at

frame10,butyoucouldusethe5thframefromthe

IFL on frame 10 by setting Sync Start to 5.

Start Processing group

Determines what happens in the viewport

background before the start frame.

Blank Before Start—Makes the viewport

background blank before the start frame.

Hold Before Start—Specifies that the viewport

background will contain the start frame.

End Processing group

Determines what happens in the viewport

background after the last input frame.

Blank After End—Makes the viewport background

blank after the last input frame.

Hold After End—Specifies that the viewport

background will contain the last input frame until

the last frame in the animation.

Loop After End—Specifies that the viewport

background will loop from the end frame back to

the start frame, ad infinitum.

Aspect Ratio group

Controls the proportions of the viewport

background by matching it to the bitmap,

rendering output, or to the viewport itself.

Match Viewport—Changes the aspect ratio (page

3–911) of the image to match the aspect ratio of

the viewport.

Match Bitmap—Locks the aspect ratio of the image

to the native aspect ratio of the bitmap.

Match Rendering Output—Changes the aspect

ratiooftheimagetomatchtheaspectratioofthe

currently chosen rendering output device.

Note: When the Match Bitmap or Match Rendering

Output option is chosen, 3ds Max centers the

imageandclearstheedgesoftheviewporttothe

background color.

Display Background

Turns on display of the background image or

animation in the viewport.

Lock Zoom/Pan

Locks the background to the geometry during

zoom and pan operations in orthographic or

user viewports. When you Zoom or Pan the

viewport, the background zooms and pans along

withit.WhenLockZoom/Panisturnedoff,the

background stays where it is, and the geometry

moves independently of it. Use Match Bitmap

or Match Rendering Output to enable Lock

Zoom/Pan. This control is disabled if you choose

Match Viewport.

42 Chapter 2: Viewing and Navigating 3D Space

Keyboard shortcut: Ctrl+Alt+B

Warning: If you zoom in too far, you can exceed the

limit of virtual memory, and crash 3ds Max. When you

perform a zoom that requires more than 16 megabytes

of virtual memory, an alert asks if you want to display the

background during the zoom. Choose No to perform

the zoom and turn off the background. Choose Yes to

zoom with the background image. Your machine might

run out of memory as a result.

Animate Background

Turnsonanimationofthebackground.Showsthe

appropriateframeofthebackgroundvideointhe

scene.

ApplySourceAndDisplayTogroup

All Views—Assigns the background image to all

viewports.

Active Only—Assigns the background image to

only the active viewport.

Viewport

Thenameofthecurrentlyactiveviewportappears

in a list to the left of the OK and Cancel buttons.

This reminds you which viewport you’re working

with and lets you change the active viewport by

selecting its name from the list.

Note: When you use different images for different

viewports, the settings for each viewport are stored

separately. Each time you display the Viewport

Background dialog, the settings of the currently

active viewport are displayed. If you switch the

viewport using the list, the settings remain the

same.Thisisusefulforcopyingsettingsfromone

viewport to another.

Select Background Image Dialog

Views menu > Viewport Background > Background

Source group > Files > Select Background Image dialog

UFO model rendered against a background

The Select Background Image dialog allows you

to choose a file or sequence of files for a viewport

background.

You can also convert a set of sequentially numbered

files to an Image File List (IFL) (page 3–616).This

isthesameprocessusedbytheIFL Manager Utility

(page 3–619).

Procedures

To select a background image for a viewport:

1. Activatetheviewportwhereyouwantthe

image.

2. Choose Views menu > Viewport Background.

3. Under Background Source in the dialog that

displays, click Files.

4. In the Look In field, navigate to the directory

containingthefileyouwanttouseforthe

background.

Note: The Select Background Image File dialog

uses the last location where a bitmap was

chosen, rather than the default bitmap path

defined on the Configure User Paths dialog

(page 3–808).

Select Background Image Dialog 43

5. Highlight the file name in the file list window.

6. Click Open to select the image and close the

dialog.

7. Click OK to close the Viewport Background

dialoganddisplaythebackgroundimage.

To select a set of still images as a viewport

background:

1. Activatetheviewportwhereyouwantthe

image.

2. Choose Views menu > Viewport Background.

3. Under Background Source, click Files.

4. IntheLookInfield,navigatetothedirectory

containing the sequence of files.

The files must be sequentially numbered

(for example, image01.bmp, image02.bmp,

image03.bmp).

Tip: If necessary, change Files Of Type to match

thefileextensionofthesequence,orchoose

All Formats.

5. Turn on Sequence, and choose the name of the

first sequential file (for example, image01.bmp).

Tip: Click the Setup button to display the Image

File List Control dialog (page 3–618).

6. In the Image File List Control dialog, use

theBrowsebuttontosettheTargetPathtoa

directory on your hard disk. Do not set this

path to a CD-ROM drive, because you cannot

save the file there.

7. Choose the options you want, and then click

OK.

The Image File List (IFL) file is saved to the

target directory.

Interface

History—Displays a list of the directories most

recently searched.

Look In—Opens a navigation window to move to

other directories or drives.

Up One Level—Move up a level in the

directory structure.

Create New Folder—Lets you create a new

folder while in this dialog.

List—Displays the contents of a directory by

file name.

Details—Displays the contents of a directory

including all the file details.

List Window—WhenDetailsison,thecontentsof

the directory are displayed with Name, Size, Type,

Date Modified, and Attributes. You can sort the

files by clicking the label of each parameter.

File Name—Displays the name of the file selected

in the list.

44 Chapter 2: Viewing and Navigating 3D Space

Files of Type—Displays all the file types that can be

displayed. This serves as a filter for the list.

Open—Selects the highlighted file and closes the

dialog.

Cancel—Cancels the selection and closes the

dialog.

Devices—Lets you select a background image from

a digital device. (No device is supported by the

default 3ds Max installation.)

Setup—Displays the Image File List Control dialog

(page 3–618) to create an IFL file. Available only

when Sequence is on and there are sequentially

numbered files in the displayed directory.

Info—Displays expanded information about the

file, such as frame rate, compression quality, file

size, and resolution. The information here is

dependent on the type of information that is saved

with the file type.

View—Displays the file at its actual resolution. If

the file is a movie, the Media Player is opened to

play the file.

Gamma—Selects the type of gamma to be used

for the selected file. Available only when Enable

Gamma Selection is turned on in the Gamma

panel (page 3–824).

Use Image’s Own Gamma—Uses the gamma of the

incoming bitmap.

Use System Default Gamma—Ignores the image’s

own gamma and uses the system default gamma

instead, as set in the Gamma panel (page 3–824).

Override—Defines a new gamma for the bitmap

that is neither the image’s own, nor the system

default.

Sequence—Creates an "Image File List" to your

specifications. Each selected image is checked to

see if a valid IFL sequence can be created. If the

selected image doesn’t yield a list, this option is

still available, but doesn’t do anything.

Preview—Displays the image as a thumbnail in the

Image Window.

Image Window—Displays a thumbnail of the

selected file if Preview is on.

Statistics—Displays the resolution, color depth, file

typeandnumberofframesoftheselectedfile.

Location—Displays the full path for the file. With

this information at the bottom of the dialog, you

always know exactly where you are.

Update Background Image

Views menu > Update Background Image (available only

when a viewport background is displayed)

Thiscommandupdatesthebackgroundimage

displayed in the active viewport. If the active

viewport is not displaying a background image,

this command is unavailable.

Use this command to update the background for

changes that are not updated automatically, such

as the following:

• Reassigning the map, or changing any

parameters affecting the map in the Materials

Editor, the Environment dialog, or the

Viewport Background dialog.

• Changing the rendering resolution and aspect

ratio.

Thefollowingchangesupdatetheviewport

background image automatically:

• Changing the camera view.

• Undo (for views).

• Undo (for objects).

• Assigning a different view type.

• Toggling Safe Frames display on or off.

• Changing the rendering parameters.

• Moving the time slider when the viewport

contains an animated background image.

Reset Background Transform 45

Note: Viewports can use the current Environment

Map (set on the Environment panel (page 3–272)

of the Environment and Effects dialog) as the

background image.

Procedure

To update the background image displayed in a

viewport:

1. Activate a viewport that contains a background

image.

2. Choose Views menu > Update Background

Image.

Reset Background Transform

Views menu > Reset Background Transform (available

only when a viewport background image is displayed and

Lock Zoom/Pan is turned on)

Reset Background Transform rescales and

recenters the current background to fit an

orthographic or user viewport. Use this command

when you want to reset the background to the

new position of your geometry. See Procedure for

detailed requirements.

Procedure

To reset the background to fit the viewport:

1. Activate an orthographic or user viewport that

has a background image.

2. Press Alt+B .

3. Turn on either Match Bitmap or Match

RenderingOutput,andthenturnonLock

Zoom/Pan.

4. Click OK.

5. Choose Views menu > Reset Background

Trans for m.

The background image readjusts in the

viewport.

Show Transform Gizmo

Views menu > Show Transform Gizmo

Keyboard > X

Show Transform Gizmo toggles the display of

the Transform gizmo axis tripod (page 1–424)

for all viewports when objects are selected and a

transform is active.

Additional controls for the Transform gizmo are

found on the Gizmo Preferences settings (page

3–832).

When the Transform gizmo is turned off, Show

Transform Gizmo controls the display of the axis

tripod on selected objects.

The state of Transform gizmo is saved in

3dsmax.ini, so it’s maintained between scenes and

sessions.

The related entries in the 3dsmax.ini file are:

• INI: Transformgizmo=1 (for Transform Gizmo

visibility, controlled by Preferences)

• INI: ShowAxisIcon=1 (for Axis Icon visibility,

controlled in Views menu)

The visibility of the Axis tripod overrides the

visibility of the Transform Gizmo. If you turn off

the Transform Gizmo in Preferences, the Axis

tripod remains on the selected object. If you then

turn off the Show Transform Gizmo in the Views

menu, it actually turns off the Axis tripod. When

theAxistripodisdisabled,theTransformGizmo

is also hidden.

Tip: Theconverseisnottrue. Ifthetransform

gizmo is turned off, turning on the axis tripod

visibility does not display the transform gizmo.

46 Chapter 2: Viewing and Navigating 3D Space

Procedure

To scale the transform gizmo, do one of the following:

•Press–(hyphen) to shrink the Transform

gizmo.

•Press

=(equal sign) to enlarge the Transform

gizmo.

Show Ghosting

Views menu > Show Ghosting

Ghosting is a method of displaying wireframe

"ghostcopies"ofananimatedobjectatanumber

of frames before or after the current frame. Use it

to analyze and adjust your animation. Ghosts that

overlap indicate slower motion; ghosts that are

spread further apart show faster motion.

When this command is active, ghosting is

displayed for selected objects in the scene. Only

currently selected objects display the ghosting.

Ghosting helps to visualize animation.

To change Ghosting parameters choose Customize

> Preferences. On the Viewport panel of the

Preferences dialog you can determine the number

of ghosting frames, whether to ghost before or

afterthecurrentframe,orboth,andyoucanalso

show frame numbers with the ghosts.

Procedure

To show wireframe ghost copies of an animated

object:

• Choose Views menu > Show Ghosting.

Show Key Times

Select an object with animation. > Views menu > Show

Key Times

Key Times shows the frame numbers along a

displayed animation trajectory (page 2–301).

Key times correspond to the settings in Time

Configuration (page 3–725) for Frames or SMPTE

(page 3–1013).Bydefault,keytimesareshown

as frame numbers.

Procedure

To display trajectory time values in the viewport:

1. Select an object with animation.

2. On the Display panel > Display

Properties rollout, turn on Trajectory.

Tip: If the rollout controls are unavailable,

right-click the object in the active viewport,

choose Properties, and in the Display Properties

group, click By Layer to change to By Object.

This will make the Trajectory option become

available.

3. Choose Views menu > Show Key Times.

Thetimevaluesaredisplayedaswhitenumbers

along the trajectory. They remain displayed in

red when the animated object is deselected.

Shade Selected 47

Keyframes with frame number shown on a trajectory.

Shade Selected

Select an object to be shaded. > Views menu > Shade

Selected

Shade Selected shades only the selected objects in

thescenewhentheviewportissettoWireframe

or Other. When Smooth + Highlights is on, all

objects are shaded whether they are selected or not.

Shade Selected lets you work with a wireframe

scene and shade only the selected objects when

you want to visualize them more clearly. All other

objects in the scene will appear in wireframe.

Selected objects shaded in a wireframe viewport.

Procedure

To shade only selected objects in a scene:

1. Choose Views menu > Shade Selected.

2. Right-click the viewport label and choose

Wireframe.

3. Select the object.

Only the selected object is shaded.

Show Dependencies

Views menu > Show Dependencies

WhileyouareusingtheModifypanel,this

command toggles viewport highlighting of objects

dependent on the currently selected object.

When Show Dependencies is on and the Modify

panel is active, any object that is dependent upon

the currently selected object in any way appears

magenta. This includes instances (page 3–957),

references (page 3–1002),andsharedmodifiers

(page 3–974). Default=off.

You can also see similar dependencies in Schematic

View (page 3–638).

48 Chapter 2: Viewing and Navigating 3D Space

Procedures

To show dependencies between objects:

1. Select an object with an instanced modifier

(page 1–511).

2. OntheModifypanel,choosethe

instanced modifier in the modifier stack.

3. Choose Views menu > Show Dependencies

Other objects with instances of the same

modifierappearinadifferentcolor.

Example: To use Show Dependencies when

animating with Linked XForm:

1. Select the sub-object geometry you want to

animate, and apply a Linked XForm modifier

(page 1–712).

2. On the Parameters rollout, click Pick Control

Object.

3. Click an object to be the control object. Choose

adummyobjectifyouwanttokeepthecontrol

hidden in final rendering.

4. The chosen object is now linked as parent to

the sub-object selection and its name is listed

on the Parameters rollout.

5. Choose Views menu > Show Dependencies to

make the link visible when the control object

is selected.

6. Use any of the transforms to animate the

control object.

The selection is animated in parallel with the

control object.

Create Camera From View

Views menu > Create Camera From View

Createmenu>Cameras>CreateCameraFromView

Keyboard > Ctrl+C

Create Camera From View creates a Ta r g e t c am e r a

(page 2–1371) whose field of view matches an

active, Perspective viewport. At the same time, it

changes the viewport to a Camera viewport (page

3–745) for the new camera object, and makes the

new camera the current selection.

Alternatively, if the scene already contains a camera

and the camera is selected, then Create Camera

From View does not create a new camera from

the view. Instead, it simply matches the selected

camera to the active, Perspective viewport. This

functionality was adopted from the Match Camera

to View command, which is now available only as

an assignable main user interface shortcut (see

Keyboard Shortcuts (page 3–871)).

Note: Create Camera From View is available only

when a Perspective viewport is active.

To create a camera from a view, assuming any

existing cameras are unselected:

1. Activate a Perspective viewport.

Add Default Lights to Scene 49

2. If necessary, adjust the viewport using Pan,

Zoom and Arc Rotate until you have a view you

like.

3. Leaving the viewport active, on the Views menu

choose Create Camera From View or press

Ctrl+C .

3ds Max creates a new camera, matching its

view to that of the Perspective viewport, and

then switches the Perspective viewport to a

Camera viewport, showing the view from the

new camera.

Add Default Lights to Scene

Right-click a viewport label. > Configure > Viewport

Configuration dialog > Rendering Method tab >

Rendering Options group > Turn on Default Lighting and

choose 2 Lights (to activate the Add Default Lights To

Scene menu item) > Views menu > Add Default Lights

To Scene

ThiscommanddisplaystheAddDefaultLightsTo

Scene dialog, which provides options that let you

convertthedefaultscenelightingintoactuallight

objects (page 2–1272).

The default lighting for viewports consists of a

key light, positioned in front and to the left of

thescene,whichbehavesasanomni light (page

2–1295)..

This command is unavailable unless you use the

Viewport Configuration dialog (page 3–853) to

configure the active viewport to use two lights.

When viewports use two lights, and you invoke

this command, the lights are added to the scene as

omni lights. You can add either the key light, the

fill light, or both.

Two default lights are placed opposite to each other.

A, the key light is in front of the object, on the upper left side,

while B, the fill light is behind on the lower right side.

You can add either the key light, the fill light, or

both. The omni light objects have the names

DefaultKeyLight and DefaultFillLight.

If you have already added one or both default

lights, a warning prompts you to rename or delete

the previous default light object before you add

another.

Procedure

To add the default lights as objects:

1. Right-click a viewport label, and click

Configure.

2. On the Viewport Configuration dialog >

Rendering Method tab, in the Rendering

Options group, turn on Default Lighting and

choose 2 Lights. Click OK to close the dialog.

3. Choose Views menu > Add Default Lights To

Scene.

4. On the Add Default Lights To Scene dialog,

choose Key Light, Fill Light, or both.

5. Activate the Top viewport, and on the

status bar, click Zoom Extents.

The lights are now visible in the viewport.

50 Chapter 2: Viewing and Navigating 3D Space

Interface

Add Default Key Light—When on, adds the default

key light to the scene. The key light is in front of

the scene and to the left. The key light becomes

an omni light (page 2–1295) with the name,

DefaultKeyLight. Default=on.

Add Default Fill Light—When on, adds the default

fill light to the scene. The fill light is behind the

scene and to the right. The fill light becomes

an omni light (page 2–1295) with the name,

DefaultFillLight. Default=on.

Distance Scaling—Affects how far the lights are

placed from the origin (0,0,0). The default value

leaves the scene’s lighting unchanged. Larger

values move the lights farther away, dimming

the scene, and smaller values move them closer,

brightening the scene. Default=1.0. Range=0.0

to 1000.0.

Redraw All Views

Views menu > Redraw All Views

Keyboard > ‘(accent grave)

Redraw All Views refreshes the display in all

viewports. When you move, rotate, scale, or

otherwisemanipulategeometry,theviewports

may display the scene with some irregularities,

or with objects or parts of objects missing. Use

Redraw All Views to redisplay your scene with all

lines and shading restored.

Activate All Maps

Views menu > Activate All Maps

Activate All Maps turns on the Show Map In

Viewport flag for all materials assigned to the

scene.

To undo this action, use Views menu > Deactivate

All Maps. This will turn off the maps for all

materials. If you only want to turn off individual

maps, you need to turn off Show Map In Viewport

in the Material Editor.

Note: This command does not apply to XRef objects

(page 3–394) and objects in XRef scenes (page

3–407).

Deactivate All Maps

Views menu > Deactivate All Maps

Deactivate All Maps turns off the Show Map In

Viewport flag for all materials assigned to the

scene.

To u n d o t h i s ac t i on , u s e Vi e ws m e nu > Ac t i v at e A l l

Maps.Thiswillturnonthemapsforallmaterials.

If you only want to turn on individual maps, you

needtoturnonShowMapinViewportinthe

Material Editor.

Note: This command does not apply to XRef objects

(page 3–394) and objects in XRef scenes (page

3–407).

Update During Spinner Drag 51

Update During Spinner Drag

Views menu > Update During Spinner Drag

When Update During Spinner Drag is on, dragging

a spinner (such as a Radius spinner for a sphere)

updates the effects in real time in the viewports.

Default=on.

When Update During Spinner Drag is off, the

effect is updated after the drag, when you release

the mouse. Use this option when you’re adjusting

processor-intensive controls.

Expert Mode

Views menu > Expert Mode

Keyboard > Ctrl+X

WhenExpertmodeison,thetitlebar,toolbar,

command panel, status bar, and all of the viewport

navigation buttons are removed from the display,

leaving only the menu bar, time slider, and

viewports. Use Expert mode when you need to

view your composition alone without the rest of

the interface.

With the ability to customize the user interface

in 3ds Max, you can create your own versions

of Expert mode by hiding whatever you want

item-by-item. Expert mode is only a quick way to

hide everything that can be hidden at once.

You can assign keyboard shortcuts to hide and

unhide the command panel, toolbars, and so on

and then use these while in Expert mode. You can

also use the quad menu to access tools quickly in

Expert mode as well.

Procedures

To turn on Expert mode, do one of the following:

• Choose Views menu > Expert Mode.

•Press

Ctrl+X .

To turn off Expert mode and return to full display,

do one of the following:

• Click the Cancel Expert Mode button to the

right of the time slider.

•Press

Ctrl+X .

•ChooseViewsmenu>ExpertMode.

Controlling Object Display

Yo u u s e t h e D i s p l a y p a n e l o r layers (page 3–655)

to control how objects and selected objects are

displayed in viewports, and to hide or freeze

objects.

Yo u c a n a l s o u s e layers (page 3–655) to hide or

unhide objects in the viewport.

Tip: Yo u c a n a l s o u s e t h e Isolate Selection command

(page 1–73) to hide everything except your

selection set.

Display Color Rollout (page 1–52)

Hide By Category Rollout (page 1–52)

Hide Rollout (page 1–53)

Freeze Rollout (page 1–54)

Display Properties Rollout (page 1–55)

Link Display Rollout (page 1–58)

Object Display Culling Utility (page 1–58)

See also

Object Properties (page 1–117)

52 Chapter 2: Viewing and Navigating 3D Space

Display Color Rollout

Display panel > Display Color rollout

The Display Color rollout specifies whether

3ds Max displays objects using their object colors

or their diffuse material colors (page 3–929),when

the objects have their display properties (page

1–117) set to By Object. If the display properties

of an object is set to By Layer, the layer color

will be used for the display. You can choose one

method for wireframe display and a different one

for shaded display. In each shading mode you can

specify whether the material or the object color

is used.

As a default, all new objects have their display

properties set to By Layer. The default can be

changed in Customize > Preferences > Preferences

dialog > General panel > Layer Defaults group. If

you turn off Default To By Layer For New Nodes,

all new objects created in 3ds Max will display in

the viewports based on the settings in the Display

Color rollout. You can switch individual objects

between By Object and By Layer by setting the

Display Properties in the Object Properties dialog

(page 1–117), accessible by right-clicking any

selected object.

If the object color box displays black and white

rectangles, this indicates that the object has its

display properties set to By Layer.

Interface

Wireframe— Controls the color of objects when the

viewport is in wireframe display mode.

Object Color—Displays the wireframes in object

color.

Material Color—Displays the wireframes using the

material color.

Shaded—Controls the color of the object when the

viewport is in any shaded display mode.

Object Color—Displays the shaded objects using

the object color.

Material Color—Displays the shaded objects using

the material color.

Hide By Category Rollout

Displaypanel>HideByCategoryrollout

The Hide By Category rollout toggles the display

of objects by category (objects, cameras, lights,

and so on).

By default, 3ds Max displays all objects in the

scene. Objects hidden by category aren’t evaluated

in the scene, so hiding objects by category

improves performance.

Yo u c a n u s e a n y o f t h e d e f a u l t d i s p l a y f i l t e r s

provided, or add new display filters for fast

selection of objects to hide.

Hide Rollout 53

Interface

Turnonthecheckboxestohideobjectsofthat

category. You can use the All, None, and Invert

buttons to quickly change the settings of the check

boxes.

The Display Filter box gives you finer control in

creating categories to hide. Click the Add button

to display a list of display filters. Hold down

the Ctrl key and click the filter name to select

whatever category you’d like to hide.

Geometry—Hides all geometry in the scene.

Shapes—Hides all shapes in the scene.

Lights—Hides all lights in the scene.

Cameras—Hides all cameras in the scene.

Helpers—Hides all helpers in the scene.

Space Warps—Hidesallspacewarpsinthescene.

Particle Systems—Hides all particle systems in the

scene.

Bone Objects—Hides all bones in the scene.

Bones—Hidesallbonesinthescene.

IK Chain—Hides all IK chains in the scene.

Point—Hides all points in the scene.

All—Hides everything in the scene.

None—Unhides everything in the scene

Invert—Hides everything that is visible and

unhides everything currently hidden.

Add—Adds a display filter category to the list.

Remove—Removes a display filter category.

None—Deselects all highlighted display filters in

the list.

Hide Rollout

Display panel > Hide rollout

The Hide rollout provides controls that let you

hide and unhide individual objects by selecting

them, regardless of their category.

You can also hide and unhide objects using the

Display Floater (page 3–775).

See also

Hide By Category Rollout (page 1–52)

54 Chapter 2: Viewing and Navigating 3D Space

Interface

Hide Selected—Hides the selected objects.

Hide Unselected—Hides all visible objects except

theselectedones.Usethistohideallobjectsexcept

the one you’re working on. Objects hidden by

category aren’t affected.

Hide by Name—Displays a dialog you use to

hide objects you choose from a list. See Select

Objects dialog (page 1–78),whichdescribesnearly

identical controls.

Hide by Hit—Hides any object you click in the

viewport. If you hold the Ctrl key while selecting

anobject,thatobjectandallofitschildrenare

hidden. To exit Hide by Hit mode, right-click,

press Esc , or select a different function. This

mode is automatically turned off if you hide all

objects in the scene.

Unhide All—Unhides all hidden objects. The

unhide buttons are available only when you have

specifically hidden one or more objects. They

won’t unhide objects hidden by category.

Note: If you click Unhide All in a scene with hidden

layers,adialogwillpopuppromptingyouto

unhide all layers. You cannot unhide an object on

ahiddenlayer.

Unhide by Name—Displays a dialog you use to

unhide objects you choose from a list. See Select

Objects dialog (page 1–78),whichdescribesnearly

identical controls.

Note: Ifyouselectanobjectonahiddenlayer,a

dialogwillpopuppromptingyoutounhidethe

object’s layer. You cannot unhide an object on a

hidden layer.

Hide Frozen Objects—Hides any frozen objects.

Turn it off to display hidden frozen objects.

Freeze Rollout

Display panel > Freeze rollout

The Freeze rollout provides controls that let you

freeze or unfreeze (page 3–945) individual objects

by selecting them, regardless of their category.

Frozen objects remain on the screen, but you can’t

select,transform,ormodifythem. Bydefault,

frozen objects turn dark gray. Frozen lights and

cameras, and their associated viewports, continue

to work as they normally do.

You can choose to have frozen objects retain their

usual color or texture in viewports. Use the Show

Frozen In Gray toggle in the Object Properties

dialog (page 1–117).

Display Properties Rollout 55

Interface

Freeze Selected—Freezes the selected object(s).

Freeze Unselected—Freezes all visible objects

except the selected ones. Use this to quickly freeze

all the objects except the one you’re working on.

Freeze by Name—Displays a dialog that lets you

choose objects to freeze from a list. See Select

Objects dialog (page 1–78),whichdescribesnearly

identical controls.

Freeze by Hit—Freezes any object you click in a

viewport. If you press Ctrl while selecting an

object,thatobjectandallofitschildrenarefrozen.

To exit Freeze by Hit mode, right-click, press

Esc , or select a different function. This mode is

automatically turned off if you freeze all objects

in the scene.

Unfreeze All—Unfreezes all frozen objects.

Note: If you click Unfreeze All in a scene with

frozen layers, a dialog opens prompting you to

unfreeze all layers. You cannot unfreeze an object

onafrozenlayer.

Unfreeze by Name—Displays a dialog that lets you

choose objects to unfreeze from a list. See Select

Objects dialog (page 1–78),whichdescribesnearly

identical controls.

Note: Ifyouunfreezebynameanobjectonafrozen

layer, a dialog opens prompting you to unfreeze

the object’s layer. You cannot unfreeze an object

onafrozenlayer.

Unfreeze by Hit—Unfreezes any object you click in

the viewport. If you press Ctrl while selecting

an object, that object and all of its children are

unfrozen.

If you select an object on a frozen layer, a dialog

will pop up prompting you to unfreeze the object’s

layer. Youcannotunfreezeanobjectonafrozen

layer.

Display Properties Rollout

Display panel > Display Properties rollout

The Display Properties rollout provides controls

for altering the display of selected objects.

See also

Link Display Rollout (page 1–58)

Procedure

To display trajectories using the Display panel:

1. Select one or more animated objects.

2. Right-click the selection, and choose

Properties.

3. In the Display properties group, click By Layer

to change it to By Object, and then click OK.

4. Expand the Display Properties rollout in the

Display panel.

5. Tu r n on Tr aj e c to r y.

By default, object trajectories appear with the

following properties:

•Thetrajectorycurveisdrawninred.

• Frame increments display as white dots on

the curve.

56 Chapter 2: Viewing and Navigating 3D Space

• Position keys display as red boxes

surrounding the appropriate frame dot on

the curve. The boxes are white when the

object is selected.

• IfViews>ShowKeyTimesisturnedon,the

keyframe numbers are displayed along side

the keys on the trajectory.

Trajectories can also be displayed through

Object Properties. Right-click any object

and choose Properties, then in the Display

properties group change By Layer to By

Object. Turn on Trajectories when it

becomes available in the Display Properties

group.

You can change the colors for these items on

the Colors panel (page 3–799) of the Customize

User Interface dialog.

Yo u c a n a l s o u s e o b j e c t p ro p e r t i e s t o d i s p l ay

trajectories: right-click any object and choose

Properties,thenturnonTrajectory.

Interface

The first three options reduce the displayed

geometric complexity of selected objects in a

scene, resulting in faster response time because the

computerhaslesstocalculate.Theseoptionsare

also available in the Display Properties group of

the Object Properties dialog > General panel (page

1–117) and the Display floater (page 3–775).

Display as Box—Toggles the display of selected

objects,including3Dobjectsand2Dshapes,as

bounding boxes (page 3–919).Producesminimum

geometric complexity.

Particle systems appear as bounding boxes when

adaptive degradation takes effect. Because particle

systems naturally exist in world space, their

bounding box is always oriented parallel to the

world planes.

Backface Cull—Toggles the display of faces, edges,

and vertices with normals (page 3–980) pointing

away from the point of view. When off, all entities

are visible. Default=off.

Edges Only—Toggles the display of hidden edges

and polygon diagonals (page 3–928).Whenon,

only outside edges appear. When off, all mesh

geometry appears. Applies to Wireframe viewport

Display Properties Rollout 57

display mode, as well as other modes with Edged

Faces turned on.

Vertex Ticks—Displays the vertices in the selected

geometry as tick marks.

If the current selection has no displayed tick

marks,thecheckboxisclear. Ifsomeofthe

vertices in the current selection display tick marks,

the check box contains a gray X. If all vertices in

the current selection display tick marks, the check

box contains a black X.

Trajectory—To g g l e s trajectory (page 3–1025)

display for the selected object so its trajectory is

visible in viewports.

See-Through—Makes the object or selection

translucent in viewports. This setting has no

effect on rendering: it simply lets you see what’s

behind or inside an object in a crowded scene, and

is especially useful in adjusting the position of

objects behind or inside the See-Through object.

This is very handy when you have objects within

other objects in your scene.

This option is also available from Object Properties

dialog (page 1–117) and the Tools > Display Floater

(page 3–775).

You can customize the color of see-through objects

by using the Colors panel (page 3–799) of the

Customize > Customize User Interface dialog (page

3–792).

Keyboard shortcut (default): Alt+X

Ignore Extents—When turned on, the object is

ignored when you use the display control Zoom

Extents. Use this on distant lights.

58 Chapter 2: Viewing and Navigating 3D Space

Show Frozen in Gray—When on, the object turns

gray in viewports when you freeze it. When off,

viewports display the object with its usual color or

texture even when it is frozen. Default=on.

Vertex Colors—Displays the effect of assigned

vertex colors. You assign vertex colors using the

A s s i g n Ve r t e x C o l o r u t i l i t y, o r t h e Ve r t e x P a i nt

modifier. Once vertex colors have been assigned

they can also be edited in the Vertex Properties

rollout in the editable mesh or editable poly in

vertex or face sub-object level.

The Shaded button determines whether the object

with the assigned vertex colors appears shaded in

the viewport. When this button is off, the colors

are unshaded and appear in their pure RGB values,

looking a little like self-illuminated materials.

WhentheShadedbuttonison,thecolorsappear

like any other assigned color in the viewports.

Link Display Rollout

Display panel > Link Display rollout

The Link Display rollout provides controls that

alter the display of hierarchical linkages (page

3–951).

Interface

Display Links—Displays a wireframe representation

of any hierarchical links affecting the selected

object.

Note: Display Links must be turned on in order to

see Joint Limits on a inverse kinematics chain.

Link Replaces Object—Replaces the selected

object with the wireframe representation of the

hierarchical link. This option offers another way

to reduce the geometric complexity of selected

objects in a scene. See also Display Properties

rollout (page 1–55).

TheDrawLinksAsLinesoptionontheViewports

panel (page 3–821) of the Preference Settings

dialog further reduces the display of links to a

single line.

Object Display Culling Utility

Utilities panel > More button > Object Display Culling

The Object Display Culling utility lets you

navigate and manipulate large and complex scenes

more easily and quickly by intelligently hiding

less-important objects as you work.

Object Display Culling Utility 59

Interface

Enable—Turns Object Display Culling on and off.

Default=off. Keyboard shortcut: Alt+O .

You can also toggle Object Display Culling from

the Views menu.

Target Framerate—The desired frame rate. If the

frameratedropsbelowthis,3dsMaxcullsobjects

as necessary to achieve the frame rate, beginning

with those farthest from the current viewpoint.

If Self-Adjust Framerate is on, 3ds Max sets this

value automatically.

Self-Adjust Framerate—When on, 3ds Max sets

theTargetFrameratevalueautomatically. The

software lowers the frame rate as necessary while

minimizing object culling, and then raises it later,

if possible.

Affect Scene XRefs—When on, XRef scenes (page

3–407) areculledaswellasnativeobjects.

Static/Object(s) culled—If no culling is happening,

such as when you first open the utility, this

read-only field shows “Static”.

When Object Display Culling is enabled, this field

shows the number of objects currently hidden or

displayedasboundingboxes.

Culled Objects—Choose how to prevent display of

culled geometry:

• Hidden: Culled objects don’t appear in the

viewports.

•DisplayasBoundingBox:Culledobjects

appear as bounding boxes (page 3–919).

Close—Closes the rollout.

60 Chapter 2: Viewing and Navigating 3D Space

Mostactionsin3dsMaxareperformedonselected

objects in your scene. You must select an object in

a viewport before you can apply a command. As a

result, the act of selection is an essential part of the

modeling and animation process.

This section presents the selection tools available

in 3ds Max. Besides the basic techniques of

selecting single and multiple objects using mouse

and keyboard, these topics cover the use of named

selection sets and other features that help you

manage object selection, such as hiding and

freezing objects and layers. Also included is an

introduction to sub-object selection, essential to

working with an object’s underlying geometry.

Lastly, a technique for grouping objects is

presented. Grouping lets you create more

permanent selections that have many of the

characteristics of independent objects.

This section presents the following topics:

Introducing Object Selection (page 1–61)

Basics of Selecting Objects (page 1–64)

Selecting by Region (page 1–65)

Using Select By Name (page 1–67)

Using Named Selection Sets (page 1–67)

Using Selection Filters (page 1–68)

Selecting with Track View (page 1–69)

Selecting with Schematic View (page 1–69)

Freezing and Unfreezing Objects (page 1–70)

Hiding and Unhiding Objects by Selection (page

1–70)

Hiding and Unhiding Objects by Category (page

1–72)

Isolate Selection (page 1–73)

Introduction to Sub-Object Selection (page 1–74)

Using Assemblies (page 1–98)

Using Groups (page 1–96)

Introducing Object Selection

3ds Max is an object-oriented program. This

means that each object in the 3D scene carries

instructions that tell the program what you can

do with it. These instructions vary with the type

of object.

Because each object can respond to a different

set of commands, you apply commands by

first selecting the object and then selecting the

command.Thisisknownasanoun-verbinterface,

because you first select the object (the noun) and

then select the command (the verb).

Selecting Objects

62 Chapter 3: Selecting Objects

Identifying the Selection Interface

In the user interface, selection commands or

functions appear in the following areas:

•Maintoolbar

•Editmenu

• Quad menu (while objects are selected)

•Toolsmenu

•TrackView

•Displaypanel

•SchematicView

Thebuttonsonthemaintoolbarareadirectmeans

of selection. The Selection Floater, available from

theToolsmenu,iseasytouse,whiletheEditmenu

provides more general selection commands, plus

methods of selecting objects by property. Track

View and Schematic View let you select objects

from a hierarchical list.

Selecting From the Quad Menu

The quickest way to select an object is from the

Transform quadrant of the quad menu, where you

can easily switch among the Move, Rotate, Scale,

and Select modes. Choose any of these and click

on the object you want to select in the viewport.

Selecting by Name

Another quick way to select an object is to

use keyboard shortcuts for the Select by Name

command. Press Hon the keyboard then select

theobjectbynamefromthelist.Thisisthemost

foolproof way to ensure you select the correct

object when you have many overlapping objects

in the scene.

Selection Buttons

Another way to select an object is to click one of

thesebuttons,thenclicktheobject.

Select Object

Selection Objects

Select And Move

Select And Rotate

Select And Scale

Select And Manipulate

The main toolbar has several selection-mode

buttons. When any of the selection buttons is

active, the program is in a state where you can

select objects by clicking them.

Of the selection buttons, you use Select Object

or Selection Floater when you want selection

only. The remaining buttons let you both select

and transform or manipulate your selection.

Use transforms to move, rotate, and scale your

selection. See Moving, Rotating, and Scaling

Objects (page 1–423) and Select and Manipulate

(page 2–15).

Crossing Versus Window Selection

The Selection toggle, available from the

toolbar, switches between Window and Crossing

modes when you select by region. In Window

mode, you select only the objects within the

selection. In Crossing mode, you select all objects

within the region, plus any objects crossing the

boundaries of the region.

Edit Menu Commands

The Edit menu contains selection commands that

operate globally on your objects.

Introducing Object Selection 63

Edit menu selection commands include:

Select All (page 1–87)

Select None (page 1–88)

Select Invert (page 1–88)

Select By Color (page 1–88)

Select By Name (Edit Menu) (page 1–88) (also a

toolbar button)

Select by Rectangular Region (page 1–89)

Select by Circular Region (page 1–89)

Select by Fence Region (page 1–90)

Select by Lasso Region (page 1–90)

Region Window (page 1–92) (also a toolbar button)

Region Crossing (page 1–93) (also a toolbar button)

Edit Named Selections (page 1–84)

Tools Menu Commands

The Tools menu contains two options for modeless

(page 3–973) selection dialogs or "floaters."

Youcanplacethemanywhereonthescreen,or

minimize them by right-clicking the title bar and

choosing Minimize.

Selection Floater

• SamefeaturesasSelectByName.SeeSelection

Floater (page 1–79).

Display Floater

• Provides options for hiding and freezing

selections as well as some display options. See

Display Floater (page 3–775).

Selection Floater

The Tools menu contains an option for a modeless

(page 3–973) selection dialog called the Selection

Floater. You can place it anywhere on the screen.

TheSelectionFloaterhasthesamefeaturesas

Select By Name. See Selection Floater (page 1–79).

Track/Schematic View Selection

Track View (page 2–501) is primarily designed

as an animation tool, but you can also use its

Hierarchy List window as an alternative method

of selecting objects by name and hierarchy. This

works in both the Curve Editor and Dope Sheet

modes of Track View.

Schematic View (page 3–638) is specifically

designed to let you navigate your scene efficiently,

presenting a hierarchical view and letting you

select objects and their properties by name.

Display Panel Selection

The Display panel provides options for hiding and

freezing objects. These techniques exclude objects

from other selection methods, and are useful in

simplifying complex scenes. Frozen objects are

still visible, but hidden objects are not.

64 Chapter 3: Selecting Objects

Basics of Selecting Objects

Bed selected in wireframe

Bed selected in smooth and shaded view

The most basic selection techniques use either

the mouse, or the mouse in conjunction with a

keystroke.

Procedures

To select an object:

1. Click one of the selection buttons on the

toolbar: Select Object, Select by Name, Select

and Move, Select and Rotate, or Select and

Scale, or Select and Manipulate.

2. In any viewport, move the cursor over the

object you want to select.

Thecursorchangestoasmallcrosswhenit’s

positioned over an object that can be selected.

The valid selection zones of an object depend

onthetypeofobjectandthedisplaymode

in the viewport. In shaded mode, any visible

surface of an object is valid. In wireframe

mode, any edge or segment of an object is valid,

including hidden lines.

3. While the cursor displays the selection cross,

click to select the object (and to deselect any

previously selected object).

A selected wireframe object turns white. A

selected shaded object displays white brackets

at the corners of its bounding box.

To select all objects do one of the following:

•ChooseEditmenu>SelectAll.

This selects all objects in your scene.

•Onthekeyboardpress

Ctrl+A .

To invert the current selection do one of the

following:

•ChooseEditmenu>SelectInvert.

This reverses the current selection pattern. For

example, assume you begin with five objects in

your scene, and two of them are selected. After

choosing Invert, the two are deselected, and the

remaining objects are selected.

•Onthekeyboardpress

Ctrl+I .

To extend or reduce a selection:

•HolddownCtrl while you click to make

selections.

This toggles the selection state of the objects

you select. Use this method to select or deselect

objects. For example, if you have two objects

selected and Ctrl +click to select a third, the

third object is added to the selection. If you

now Ctrl +click any of the three selected

objects, that object is deselected.

Selecting by Region 65

Tip: You can also hold down Alt while you

click to remove objects from selections.

To lock a selection:

1. Select an object.

2. Click the Selection Lock Toggle (page

3–707) on the status bar to turn on locked

selection mode.

While your selection is locked, you can drag the

mouseanywhereonthescreenwithoutlosing

the selection. The cursor displays the current

selection icon. When you want to deselect or

alteryourselection,clicktheLockbuttonagain

to turn off locked selection mode. SPACEBAR

is the keyboard toggle for locked selection

mode.

To deselect an object, do any of the following:

•Clickanemptyareaanywhereoutsidethe

current selection.

•Holddownthe

Alt key, and either click an

object, or drag a region around the object to

deselect it.

•Holddownthe

Ctrl key and click to deselect a

selected object. This also selects non-selected

objects.

• Choose Edit menu > Select None to deselect

all objects in the scene.

Selecting by Region

Top Left: Selecting face sub-objects with a rectangular region

Top Right: Selecting vertex sub-objects with a circular region

Center: Selecting face sub-objects with a painted region

Bottom Left: Selecting edge sub-objects with a fence region

Bottom Right: Selecting edge sub-objects with a lasso region

The region-selection tools let you use the mouse to

select one or more objects by defining an outline

or area.

Region Selection

By default, when you drag the mouse a rectangular

region is created. When you release the mouse

all objects within and touched by the region are

selected. The remainder of this topic describes

how you can change each of these settings.

Note: If you hold down Ctrl while specifying

a region, the affected objects are added to the

current selection. Conversely, if you hold down

Alt while specifying a region, the affected objects

are removed from the current selection.

66 Chapter 3: Selecting Objects

Setting Region Type

Thetypeofregionyoudefinewhenyoudragthe

mouseissetbytheRegionflyoutbuttontothe

right of the Select By Name button. You can use

any of five types of region selection:

•Rectangular Region—Dragging the mouse

selects a rectangular region. See Rectangular

Selection Region (page 1–89).

•Circular Region—Dragging the mouse selects a

circular region. See Circular Selection Region

(page 1–89).

•Fence Region—Draw an irregular

selection-region outline by alternating

between moving the mouse and clicking (begin

with a drag). See Fence Selection Region (page

1–90).

•Lasso Region—Dragging the mouse outlines an

irregular selection region. See Lasso Selection

Region (page 1–90).

•Paint Region—Drag the mouse over objects or

sub-objects to be included in the selection. See

Paint Selection Region (page 1–91)

Setting Region Inclusion

This option lets you specify whether to include

objects touched by the region border. It applies to

all region methods.

Choose Edit menu > Region to display a submenu

ofthefollowingtwoitems.Onlyonecanbeactive

atatime.Theoptionisalsoavailableonthemain

toolbar.

•Window—Selects only objects that are

completely within the region. See Select Region

Window (page 1–92)

•Crossing—Selects all objects that are within

the region and crossing the boundaries of the

region. Thisisthedefaultregion. SeeSelect

Region Crossing (page 1–93).

The Window/Crossing toggle (page 1–93) on the

main toolbar also switches between these two

modes.

You can set up a preference to automatically

switch between Window and crossing based

on the direction of your cursor movement. See

Auto Window/Crossing by Direction in General

Preferences (page 3–815).

Procedure

To make a region selection using defaults:

1. Click Select Object (page 1–77).

2. Drag the mouse to define a region.

Arubber-bandrectangleappears.

3. Releasethemousebuttontoselectallobjects

within or touching the region.

The selected objects turn white.

You can also use the Select and Transform buttons

on the main toolbar to select by region. You must

start defining the region over an unselectable area

of the viewport. Otherwise, you’ll transform the

object beneath your mouse when you begin to

drag.

Using Select By Name 67

Using Select By Name

You can select objects by their assigned names,

avoiding mouse clicks completely, from the Select

Objects dialog.

Procedure

To select objects by name:

1. Do one of the following:

•On the main toolbar, click Select By

Name.

•ChooseEditmenu>SelectBy>Name.

•ChooseToolsmenu>SelectionFloater.

The Select Objects or Selection Floater

dialog is displayed. By default, these dialogs

list all objects in the scene. Any selected

objects are highlighted in the list.

2. Choose one or more objects in the list. Use

Ctrl to add to the selection.

3. Click Select to make the selection.

Select Object closes, while Selection Floater

remains active.

For more information, see the Select Objects dialog

description (page 1–78).

Using Named Selection Sets

You can assign a name to the current selection, and

then later reselect those objects by choosing their

selection name from a list.

Named Selection Sets

You can also edit the contents of named sets

from the Named Selection Sets dialog (page 1–84).

Editing Named Selections

As you model and create a scene, you’re likely

to rearrange the objects making up your named

selection sets. If you do, you’ll need to edit the

contents of those sets.

Procedures

To assign a name to a selection set:

1. Select one or more objects or sub-objects using

any combination of selection methods.

2. Click in the Named Selection field on the main

toolbar.

3. Enteranameforyourset. Thenamecancontain

any standard ASCII characters, including

letters, numerals, symbols, punctuation, and

spaces.

Note: Names are case-sensitive.

4. Press Enter to complete the selection set.

You can now select another combination of objects

or sub-objects and repeat the process to create

another named selection set.

To retrieve a named selection set:

1. In the Named Selection field, click the arrow.

Note: If you’re working with a sub-object

selection set, you must be at the same level

at which you created the selection set (for

example, editable mesh > vertex) for it to

appear on the list.

2. On the list, click a name.

To edit named selection sets:

•On the main toolbar, click Named

Selection Sets to display the Named Selection

Sets dialog.

68 Chapter 3: Selecting Objects

Using Selection Filters

You can use the Selection Filter list on the main

toolbar to deactivate selection for all but a specific

category of object. By default, all categories can be

selected, but you can set the Selection Filter so that

only one category, such as lights, can be selected.

You can also create combinations of filters to add

to the list.

For greater ease of use while working with

animations, you can choose filters that let you

select only Bones, objects in IK chains, or Points.

Using Combos

The Combos feature allows you to combine two or

more categories into a single filter category.

Procedures

To use the selection filter:

• Click the Selection Filter arrow and click a

category from the Selection Filter list.

Selection is now limited to objects defined in

this category. The category remains in effect

until you change it.

Thefollowingcategoriesareavailable:

All—Allcategoriescanbeselected.Thisisthe

default setting.

Geometry—Only geometric objects can be

selected. This includes meshes, patches, and

other kinds of objects not specifically included

in this list.

Shapes—Only shapes can be selected.

Lights—Only lights (and their targets) can be

selected.

Cameras—Only cameras (and their targets) can

be selected.

Helpers—Only helper objects can be selected.

Warps—Only space warps can be selected.

Combos—Displays a Filter Combinations dialog

(page 1–81) that lets you create custom filters.

Bone—Only bones objects can be selected.

IK Chain—OnlyobjectsinIKchainscanbe

selected.

Point—Only point objects can be selected.

To create a combination category:

1. Fromthedrop-downlist,chooseCombosto

display the Filter Combinations dialog (page

1–81).

All single categories are listed.

2. Select the categories you want to combine.

3. Click Add.

Thecombinationappearsinalisttotheright,

abbreviated by the first letter of each category.

Click OK.

For example, if you selected Geometry, Lights,

and Cameras, the Combo would be named

GLC. This name appears below Combo on the

drop-down list. For more information, see

Selection Filters List (page 1–81).

Selecting with Track View 69

Selecting with Track View

TrackViewprovidessophisticatedmethodstoedit

your animation tracks. In addition, its Hierarchy

list displays all objects in the scene by name and

hierarchy. Using Track View, you can select any

object in the scene by clicking its object icon in the

Hierarchy list.

Procedure

You can use Track View selection functionality in

both the Curve Editor (page 2–507) and the Dope

Sheet (page 2–507).Thisprocedureillustrates

usageoftheCurveEditor;thesamemethodswork

intheDopeSheet.

To open Track View and display and select objects:

1. On the main toolbar, click Curve Editor

(Open).

2. Click any cube icon in the list to select the

named object.

Yo u c a n m a k e t h e f o l l o w i n g k i n d s o f s e l e c t i o n s :

• Select several adjacent objects in the list. Click

the first object, hold down Shift ,andclick

another object elsewhere in the list.

• Modify the selection by pressing Ctrl while

clicking. Ctrl lets you toggle individual items

on and off without deselecting others in the list.

• Select an object and all its descendants. Press

and hold Alt ,right-clicktheobject’scube

icon (keep the right mouse button held down),

and choose Select Children from the menu.

You can open a Track View window for the

sole purpose of selecting objects by name.

Shrink the window until only a portion of the

Hierarchy appears, and then move the window to

aconvenientareaonyourscreen.

Selecting with Schematic View

Schematic view is a window that displays the

objects in your scene in a hierarchical view. It

gives you an alternate way to select and choose the

objects in your scene and navigate to them.

When the Modify panel is open, double-clicking

an object modifier in Schematic view navigates the

modifier stack to that modifier for quick access

to its parameters.

Procedure

To open Schematic View and display and select

objects:

1. Click Open Schematic View on the main

toolbar.

2. Click the rectangle containing the name of your

object.

70 Chapter 3: Selecting Objects

You can select any number of objects in Schematic

View using standard methods, including dragging

a region. For more information, see Using

Schematic View (page 3–640).

Freezing and Unfreezing Objects

You can freeze any selection of objects in your

scene. By default, frozen objects, whether

wireframe or rendered, turn a dark gray. They

remain visible, but can’t be selected, and therefore

can’t be directly transformed or modified.

Freezing lets you protect objects from accidental

editing and speeds up redraws.

Above: No layers frozen

Below: Trash can and streetlight are frozen, and displayed in

gray

You can choose to have frozen objects retain their

usual color or texture in viewports. Use the Show

Frozen In Gray toggle in the General tab of the

Object Properties dialog (page 1–117).

Frozen objects are similar to hidden objects.

Linked, instanced, and referenced objects behave

when frozen just as they would if unfrozen. Frozen

lights and cameras and any associated viewports

continue to work as they normally do.

For more information, see Freeze Rollout (page

1–54).

Freezing Objects

You can freeze one or more selected objects. This

is the usual method to put objects "on hold."

You can also freeze all objects that are not selected.

This method lets you keep only the selected object

active, useful in a cluttered scene, for example,

where you want to be sure no other objects are

affected.

Procedure

To access Freeze options, do one of the following:

•Open the Display panel, then expand

theFreezerollout.

• Choose Tools menu > Display Floater. This

modeless dialog has the same options as the

Freeze rollout. It also contains Hide options.

• Access the Object Properties dialog (page 1–117)

from either the right-click (quad) menu or the

Edit menu. Turn on Hide and/or Freeze.

• In the Layer Manager, click in the Freeze

column to freeze/unfreeze each layer in the list.

• Right-click in the active viewport and choose

a Freeze or Unfreeze command from the quad

menu > Display quadrant.

Hiding and Unhiding Objects by

Selection

You can hide any selection of individual objects in

your scene. They disappear from view, making it

easier to select remaining objects. Hiding objects

also speeds up redraws. You can then unhide

all objects at once or by individual object name.

You can also filter the names by category, so only

hidden objects of a certain type are listed.

Hiding and Unhiding Objects by Selection 71

Note: Hiding a light source doesn’t alter its effect; it

still illuminates the scene.

Original scene

Scene with bed hidden

Hidingobjectsissimilartofreezingobjects.

Linked, instanced, and referenced objects behave

when hidden just as they would if unhidden.

Hiddenlightsandcamerasandanyassociated

viewports continue to work normally.

For more information, see Hide Rollout (page

1–53).

Hiding Objects

Hidingobjectsissimilartofreezingobjects.See

Freezing and Unfreezing Objects (page 1–70).You

can hide one or more selected objects. You can

also hide all objects that are not selected.

Another option is to hide objects by category. See

Hiding and Unhiding Objects by Category (page

1–72).

Unhiding Objects

You can unhide objects in either of two ways:

• Use Unhide All to unhide all objects at the same

time.

• UseAllOntodisplayallobjectsatthesame

time.

• Use Unhide By Name to unhide object

selectively. When you click Unhide By Name,

the same dialog is displayed as for hiding, now

called Unhide Objects.

TheUnhidebuttonsareunavailablewhenno

object in the scene is hidden.

Objects that were first hidden by selection and then

hiddenbycategorydonotreappear.Although

they are unhidden at the selection level, they are

still hidden at the category level. See Hiding and

Unhiding Objects by Category (page 1–72) for more

details.

Important: Objectsonahiddenlayercannotbe

unhidden. If you try to unhide an object on a hidden

layer, you are prompted to unhide the object’s layer.

Procedure

To access Hide options, do one of the following:

•OpentheLayer Manager (page 3–656).

In the Layer Manager, you can easily hide

groups of objects or layers.

•Open the Display panel. Click Hide, if

necessary, to expand the rollout.

• Choose Tools menu > Display Floater. This

modeless dialog has the same options as the

Hide rollout. It also contains Freeze options.

72 Chapter 3: Selecting Objects

• Access the Object Properties dialog (page 1–117)

from either the right-click (quad) menu or the

Edit menu. Turn on Hide, Freeze, or both. If the

button is unavailable because By Layer is turned

on,clickByLayertochangeittoByObject.

• Right-click in the active viewport and choose a

Hide or Unhide command from the quad menu

>Displayquadrant.

Hiding and Unhiding Objects by

See also

Basics of Selecting Objects (page 1–64)

IsolateSelection(page1–73)

Selection Floater (page 1–79)

Selection Commands on the Main

Toolbar

The following selection commands appear by

default on the Main toolbar.

Select Object (page 1–77)

Select By Name (page 1–77)

Rectangular Selection Region (page 1–89)

Circular Selection Region (page 1–89)

Fence Selection Region (page 1–90)

Lasso Selection Region (page 1–90)

Paint Selection Region (page 1–91)

Selection Filter List (page 1–81)

Window/Crossing Selection Toggle (page 1–93)

Named Selection Sets (page 1–83)

TheWindow/Crossingtoggledetermineshowthe

region selection options (on the toolbars) behave.

Selection Commands on the Edit Menu

The following selection commands appear by

default on the Edit menu. They complement the

toolbar selection commands.

Select All (page 1–87)

Select None (page 1–88)

Select Invert (page 1–88)

Select By (page 1–88)

Select By Color (page 1–88)

Select By Name (Edit Menu) (page 1–88)

Region (page 1–92)

Region Window (page 1–92)

Region Crossing (page 1–93)

Edit Named Selections (page 1–84)

Selection Command on the Status Bar

The Selection Lock Toggle (page 3–707) is located

on the status bar. Locking a selection is useful

when you are doing a lot of editing on a selection,

and don’t want to select something else by mistake.

Select Object 77

Select Object

Main toolbar > Select Object

Right-click to open quad menu. > Transform quadrant

> Select

Select Object lets you select an objects and

sub-objects for manipulation.

Object selection is affected by several other

controls:

• The active Selection Region type: Rectangular

(page 1–89),Circular (page 1–89),Fence (page

1–90),Lasso (page 1–90),orPaint (page 1–91).

•Theactiveselectionfilter(All,Geometry,

Shapes, Lights, and so forth).

• The state of the crossing selection tool (which

determines whether completely surrounded

objects or surrounded and crossing objects are

selected).

You can also select objects by name using the Select

By Name list; press the Hkey to access the list.

A number of objects selected together are called a

selection set (page 1–67).Youcannameselection

sets in the Named Selection Sets field on the main

toolbar and then recall them for later use.

Note: The Smart Select command activates

the Select Object function and, with repeated

invocations, cycles through the available Selection

Regionmethods. Bydefault,SmartSelectis

assigned to the Qkey; you can use Customize

User Interface (page 3–792) to assign it to a

different keyboard shortcut, a menu, etc.

Procedures

To add or remove individual objects from a selection

set:

•HolddowntheCtrl key and select the objects

to add or remove.

•Holddownthe

Alt key and select objects to

remove from the current selection set.

Note: Adding and removing objects doesn’t

change a named selection set.

To toggle the selected/deselected state of multiple

objects in the selection set:

•HolddowntheShift key and drag to

region-select the objects to toggle.

To select objects and move, rotate, or scale them:

•Use the Select And Move,Select

And Rotate, or Select And Scale tools, available

from the Main toolbar and the quad menu >

Transform quadrant.

When you rotate a selection set, the pivot of

rotation depends on which option is selected

on the Use Center flyout (page 1–445) on the

toolbar.

These tools are restricted to a specific axis

or plane, which you choose from the axis

constraints toolbar. Right-click any blank area

of the toolbar and activate the Axis Constraints

toolbar to access these tools.

Select By Name

main toolbar > Select By Name

Keyboard > H

Edit menu > Select By > Name

Select By Name lets you select objects by choosing

them from a list of all objects currently in the scene

presented via the Select Objects dialog.

Note: The Select Objects dialog name and

functionality are context dependent. When a

transform such as Select And Move is active, the

dialog lets you choose from all objects in the scene.

78 Chapter 3: Selecting Objects

But when certain modes are active, the choices in

the dialog are more limited. For example, when

Select And Link is active, the dialog is entitled

Select Parent, and shows linkable objects but

not the child object already selected. Similarly,

if Group > Attach is active, the dialog is named

AttachtoGroupandlistsgroupsbutnotsolitary

objects.

See also

Selection Floater (page 1–79)

Procedure

To select objects by name:

1. Do one of the following:

•Click the Select By Name button on

the main toolbar.

•ChooseEditmenu>SelectBy>Name.

•Press

The Select Objects dialog appears. By

default, it lists all objects in the scene.

Currently selected objects are highlighted

in the list.

2. Choose one or more objects in the list by doing

one of the following:

•Drag,orclickandthen

Shift +click to

select a continuous range of objects and

Ctrl +click to select noncontinuous objects.

• In the field above the list, type a name to

select that object. You can use the asterisk

(*) and the question mark (?) as wildcards

to select multiple names. You can also

enable Find Case Sensitive to list objects

with uppercase letters at the top of the list

and objects with lowercase letters at the

bottom of the list.

3. Click Select.

The selection is made as the dialog disappears.

Interface

[select objects field]

Enter a name to highlight objects in the list whose

names begin with the text you specify.

Find Case Sensitive—When on, the select objects

field above the list is case-sensitive. For example,

if the list contains objects named apple and Apple

andFindCaseSensitiveison,typing“a”will

highlight only the apple entry. Also, sorts the list

so uppercase names come before lowercase.

Select Objects list

Objects are listed according to the current Sort

and List Types selections.

Influences—When you highlight an object in the

list window and then click the Influences button,

the selected object’s influences are highlighted as

well.

You can choose to load and save influences with or

without their dependents.

Selection Floater 79

All, None, and Invert—These buttons alter the

pattern of selection in the list window.

Display Subtree—Displays each item in the list so

that its hierarchical branch (page 3–951) is included

(for example, Thigh/Shin/Foot). Hierarchical

branches are indented.

Select Subtree—When this is on and you select

an item in the list window, all of its hierarchical

children are selected as well.

Display Influences—When this is on and you select

an item in the list window, all of its influences

are shown in blue. If you want to highlight these

influences, click Influences.

You can choose to load and save influences with or

without their dependents.

Select Dependents—When this is on and you select

an item in the list window, all of its dependent

objects are selected as well.

When both Select Subtree and Select Dependents

are on, the subtree of any newly selected node is

selected, and then the dependents are selected.

(Dependents of the subtree are selected, but not

the subtrees of all dependents.)

If you click Select By Name while Select And

Link is active, then the Select Subtree and Select

Dependents check boxes are not available.

You can choose to load and save dependents

with or without their influences. To maintain the

behavior and relationship between the dependents

and their influences, you need to load and save

dependents with their influences.

Sort group

Specifies the sort order of the items displayed in

the list.

Alphabetical—Sorts from numeric characters at

the top, then A to Z at the bottom.

By Type—Sorts by category, using the same order

as the check boxes in the List Types group.

By Color—Sorts by object wireframe color. The

sorting order is arbitrary; the value of this option is

that objects of the same color are grouped together.

By Size—Sorts based on the number of faces in

each object. The object with the least number

offacesislistedfirst,followedbyobjectswith

successivelygreaternumberoffaces.

List Types group

Determines the types of objects to display in the

list.

All, None, and Invert—These buttons alter the

patternofactivationoftheListTypesoptions.

Selection Sets group

Lists any named selection sets that you have

defined in the scene. When you choose a selection

set from the drop-down list, 3ds Max highlights its

component objects in the main list.

Selection Floater

Tools menu > Selection Floater

This modeless dialog lets you select objects in the

scene.

80 Chapter 3: Selecting Objects

You can leave this dialog up while you work in

your scene, making it easier to select objects. The

selection options are the same as those in the Select

Objects dialog (page 1–78).

You can display the Selection Floater only from

the Tools menu. If you use the Hkey during

selection, the modal Select Objects dialog appears

instead.

SelectionRegionFlyout

Main toolbar > Selection Region flyout

Selection Region flyout

The Selection Region flyout provides access to

five methods you can use to select objects by

region. Clicking the Selection Region button

displays a flyout containing the Rectangle (page

1–89),Circular (page 1–89),Fence (page 1–90),

Lasso (page 1–90),andPaint (page 1–91) Selection

Region buttons.

For the first four methods, you can select either

objects that are completely within the selection

region (window method), or objects that are

within or touched by the selection shape (crossing

method). Toggle between the window and crossing

selection methods by using the Window/Crossing

Selection button (page 1–93) on the Main toolbar.

Note: If you hold down Ctrl while specifying

a region, the affected objects are added to the

current selection. Conversely, if you hold down

Alt while specifying a region, the affected objects

are removed from the current selection.

Note: The Smart Select command activates the

Select Object (page 1–77) function and, with

repeated invocations, cycles through the available

SelectionRegionmethods. Bydefault,Smart

Select is assigned to the Qkey; you can use

Selection Filter List 81

Customize User Interface (page 3–792) to assign it

to a different keyboard shortcut, a menu, etc.

Procedure

To select using a region (general method):

1. Choose a Selection Region method from the

flyout.

2. Drag in a viewport, then release the mouse.

The first location you click is one corner of the

rectangle, and where you release the mouse is

theoppositecorner.

Important: If you’re using Select Object (page 1–77),

you can start dragging anywhere to select a region:

on an object or off. However, if you’re using one of

the transform tools, such as Select and Move (page

1–439), start the drag operation away from an object;

that is, in an empty part of the viewport. Otherwise,

if you start dragging on an object, most likely the

software will assume you intend to select where

you click and will begin the transform operation

immediately.

To cancel the selection, right-click before you

release the mouse.

Selection Filter List

Main toolbar > Selection Filter

The Selection Filter list lets you restrict to specific

types and combinations of objects that can be

selected by the selection tools. For example, if you

choose Cameras, you can select only cameras with

the selection tools. Other objects do not respond.

When you need to select objects of a certain type,

this is useful as a quick method of freezing all other

objects.

Use the drop-down list to select a single filter.

Choose Combos from the drop-down list to use

multiple filters from the Filter Combinations dialog

(page 1–81).

Filter Combinations Dialog

Main toolbar > Selection Filter list > Combos > Filter

Combinations dialog

Use the Filter Combinations dialog to create your

own custom combinations of categories to add to

the Selection Filters list (page 1–81).

You can also add specific types of objects, or Class

IDs, to the list. For example, you can set a filter

that lets you select only Sphere primitives.

Procedures

To create a combination filter:

1. Open the Selection Filter list and choose

Combos.

The Filter Combinations dialog appears.

2. Turn on one or more of the check boxes in the

Create Combination group.

3. Click the Add button.

The specified combination appears in the

CurrentCombinationslisttotherightasa

combination of the first letters of each selected

category.

4. Click OK.

82 Chapter 3: Selecting Objects

The new combo item appears at the bottom of

the Select Filter list.

Combos are stored in the 3dsmax.ini (page

1–18) file,sotheyremainineffectforallscenes

through all sessions.

To delete a combination filter:

1. Open the Selection Filter list and choose

Combos.

The Filter Combinations dialog appears.

2. Choose one or more of the combos in the

Current Combinations list.

3. Click the Delete button.

4. Click OK.

Interface

Create Combination group

Geometry, Shapes, Lights, Cameras, Helpers, Space

Warps—Choose the category or categories you

want included in the combination.

Add—After choosing the categories to include

in a combination, click this button to place the

categories, labeled with the categories’ initials, in

the Current Combinations list, as well as at the

bottom of the Selection Filter list.

Current Combinations group

Current Combinations list—Lists current

combinations. To delete one or more

combinations, choose them, and then click Delete.

Delete—After choosing one or more combinations

in the Current Combinations list, click this button

to delete them.

All Class ID group

Class ID list—Lists all the available categories that

can be added to custom filters for display and

selection. Highlight a category to add, then click

Add.

Add—After choosing a class to include in the

filter list, click this button to place the class in the

Current Class ID Filter list, as well as at the bottom

of the Selection Filter list.

Current Class ID Filter group

Class ID list—Lists current classes to filter. To delete

a class, choose it, and then click Delete.

Delete—AfterchoosingaclassintheCurrentClass

ID Filter list, click this button to delete the class.

Named Selection Sets 83

Named Selections

Named Selection Sets

Main toolbar > Named Selection Sets

The Named Selection Sets list allows you to name a

selection set and recall the selection for later use. It

supports selection sets both at the object level and

at sub-object levels. You edit named object-level

selection sets with the Named Selections Sets dialog

(page 1–84)and sub-object level sets with the Edit

Named Selections dialog (page 1–86).

A named selection set is removed from the list if

all of its objects have been deleted from the scene,

or if all of its objects have been removed from the

named set in the Named Selections Sets dialog.

Selection set names are case sensitive at both the

object level and at sub-object levels.

You can transfer sub-object named selections from

onelevelinthestacktoanother. TheCopyand

Paste buttons let you copy named selections from

one modifier to another.

While at a specific sub-object level, such as Vertex,

you can make selections and name those selections

in the Named Selection Sets field of the toolbar.

The named sets are specific to both the selection

level and the level on the stack.

Keep in mind the following restrictions:

• You can transfer named selections only between

thesametypeofsub-objectlevel. Inother

words, you can transfer named selections

from vertex sub-object to another vertex

sub-object, but you can’t transfer it to face or

edge sub-object level.

• You must transfer the selection between

modifiersthathandlelikegeometry.Youcan

copy and paste between an editable mesh and

ameshselectmodifier,butyoucan’tcopyand

paste between a mesh select modifier and an

editable spline.

• You can copy and paste between two modifiers

in two different objects, as long as you’re at the

same level and both modifiers handle the same

type of geometry.

• If you change the topology of a mesh after

creating a named selection (such as deleting

some vertices), the named selections will

probably no longer select the same geometry.

Procedures

To create a named selection set:

1. Selecttheobjectsyouwanttobeinaset.

2. Type the name of the set in the Named Selection

Set field and press Enter .

3. Whenever you want to access the selection,

choose its name from the Named Selection Sets

list.

To select a named selection set, do one of the

following:

• To select a single item, click it in the list.

• To select more than one item in the list, select

one, and then select others while holding down

the Ctrl key.

• To deselect single items after you’ve selected

multiple items, hold down the Alt key.

84 Chapter 3: Selecting Objects

Named Selection Sets Dialog

Edit menu > Edit Named Selections

Main toolbar > Named Selection Sets

The Named Selection Sets dialog, available from

the Edit menu, is a modeless dialog (page 3–973)

that lets you create named selection sets or select

objects to add to (or remove from) a selection set,

directly from the viewport. The dialog also lets

you organize your current named selection sets,

browse their members, delete or create new sets, or

identify which named selection sets a particular

object belongs to.

Note: This dialog applies to objects only. For editing

sub-object named selection sets, see Edit Named

Selections Dialog (page 1–86).

See also

Named Selection Sets (page 1–83)

Using Named Selection Sets (page 1–67)

Edit Named Selections Dialog (page 1–86)

Procedures

To create a named selection:

1. In the viewport, select the objects you want to

gather as a selection set.

2. Click the toolbar Named Selection Sets

button or choose Edit > Edit Named Selections.

3. On the Named Selection Sets dialog, click

Create New Set.

4. Enteranameforthenewselectionset.

To add objects to a named selection set:

1. Click the toolbar Named Selection Sets

button or choose Edit > Edit Named Selections.

2. Choose the named selection set in the dialog.

3. Selectoneormoreobjectsintheviewport.

4. In the dialog, click Add Selected Objects.

To remove objects from a named selection set:

1. Click the toolbar Named Selection Sets

button or choose Edit > Edit Named Selections.

2. Choose the named selection set in the dialog.

3. In the viewport, select the objects you want to

remove.

4. In the dialog, click Subtract Selected

Objects.

Note: You can also remove objects by

selecting them in the Named Selection Sets dialog,

then clicking Remove or pressing Delete .

To move an object from one set to another:

1. Click the toolbar Named Selection Sets

button or choose Edit > Edit Named Selections.

2. In the Named Selection Sets dialog, expand the

selection sets.

3. Drag an object from one set to another.

The object is moved into the second set. If you

use Ctrl +drag, the object will be copied into

the second set.

Tip: You can also copy the contents of an entire

set into another, by dragging them into the

desired selection set.

Named Selection Sets Dialog 85

To select objects in a set:

1. Highlight the set in the Named Selection Sets

dialog.

2. Click Select Objects In Set to select all of

the objects in the highlighted set.

Interface

In the Named Selection Sets dialog, all of the

current named selection sets are displayed. By

clicking the plus (+)orminus(-)icon,youcan

expand or collapse (respectively) the object list for

each set.

The buttons along the top of the dialog let you

create or delete sets, add or remove objects from a

set, select objects (independently or as a selection

set), and see which named selection set(s) a

particular object belongs to.

Create New Set—Creates a new selection

set, including any currently selected objects as

members.

Note: If no objects are selected, an empty set is

created.

Remove—Removes the selected object or

selection set.

Note: Deleting an object or its selection set does not

delete the object; it only destroys the named set.

AddSelectedObjects—Adds the currently

selected objects to the selected named selection set.

Subtract Selected Objects—Removes currently

selected objects from the selected named selection

set.

Select Objects in Set—Selects all members of

the current named selection.

Select Objects by Name—Opens the Select

Objects dialog (page 1–78),whereyoucanselecta

group of objects. The selected objects can then be

added to or removed from any named selection set.

Highlight Selected Objects—Highlights all of

the named selection sets that contain the current

scene selection.

Status Bar—Displays the

current named selection set, as well as what’s

currently selected in the scene. If more than one

object is selected, the number of selected objects is

displayed.

Right-click menu

Additional commands are available when you

right-click in the Named Selection Sets dialog.

Rename—Lets you rename the selected set or

object.

Tip: Youcanrenameobjectsorsetsbypressing

F2 .

86 Chapter 3: Selecting Objects

Cut—Removes the selected object or set and stores

it in a buffer for reuse with the Paste command,

similar to the Cut command in Windows.

Tip: You can cut an object or set by pressing

Ctrl+X .

Copy—Copies the selected object or set and stores

it in a buffer for reuse with the Paste command,

similar to the Copy command in Windows.

Tip: You can copy an object or set by pressing

Ctrl+C .

Paste—Adds a Cut or Copied object or set into

another set.

Tip: You can paste an object or set by pressing

Ctrl+V .

Collapse All—Collapses all expanded selection sets.

Expand All—Expands all collapsed selection sets.

Create New Set—Creates a new selection set,

including any currently selected objects as

members.

Remove—Removes the selected object or selection

set.

Add Selected Objects—Adds currently selected

objects to the selected named selection set.

Subtract Selected Objects—Removes currently

selected objects from the selected named selection

set.

Select Objects in Set—Selects all members of the

current named selection.

Select Objects by Name—Opens the Select Objects

dialog (page 1–78), and adds all objects selected

there to the current named selection set.

Highlight Selected Objects—Highlights all of the

named selection sets that contain the current scene

selection.

Find Next—Toggles through selection sets

containing the selected object, when used in

collaboration with the Highlight Selected Objects

command.

Tip: Yo u c a n u s e Ctrl+G to toggle through the

sets.

Edit Named Selections Dialog

Make a sub-object selection. > Edit menu > Edit Named

Selections

Make a sub-object selection. > Main toolbar > Named

Selection Sets

EditNamedSelectionsdisplaystheEditNamed

Selections dialog, letting you manage named

selection sets of sub-objects (page 1–74).Unlike

the Named Selection Sets dialog (page 1–84),which

applies to objects only,itisamodaldialog,which

meansthatyoumustcloseitinordertoworkin

other areas of 3ds Max. Also, you can work only

with existing named sub-object selections; you

cannot use the dialog to create new selections.

Procedure

To edit named sub-object selections:

1. At a sub-object level, create one or more named

selection sets (page 1–83).

2. Click the toolbar Named Selection Sets

button or choose Edit > Edit Named Selections.

The Edit Named Selections dialog opens,

listing all named selection sets for the current

sub-object level.

3. Use the dialog controls to edit the named

selection sets.

Select All 87

Interface

The dialog window lists all named selections at

the current sub-object level. The buttons beneath

the windows let you delete, merge, and edit the

listed items. Use standard mouse-plus-keyboard

methods (using Ctrl or Shift ) to highlight

list items and designate them for subsequent

operations.

To rename a set, click it in the list, and then edit its

name in the one-line window immediately below

the list.

Combine—Merges all objects from the highlighted

selection sets into a single, new selection set. Select

two or more selection sets, and then click Combine

and enter a new name for the selection set. Use

Delete to delete the original sets.

Delete—Deletes all highlighted items from the

Named Selections window. This affects only

selection sets, not the sub-objects they refer to.

Subtract (A-B)—Removes the sub-objects contained

in one selection set from another. Select one

item in the Named Selections window, and then

select the other. The top highlighted item in the

window is operand A, and the bottom is operand

B (regardless of the order of their selection). Click

Subtract (A-B) to subtract the sub-objects in the

bottom item from those in the top item. There

must be some overlap between the two selection

sets for this command to have any effect.

Subtract (B-A)—Subtracts the sub-objects in the

top selected item from those in the bottom item.

Intersection—Creates a selection set that consists

only of sub-objects that all highlighted selection

sets have in common. Highlight two or more items

in the Named Selections window, and then click

Intersection. In the dialog that appears, enter a

new set name and click OK.

Select All

Edit menu > Select All

Keyboard > Ctrl + A

This command selects all objects in the scene

matching the current selection filter type (page

1–81) on the main toolbar.

88 Chapter 3: Selecting Objects

Select None

Edit menu > Select None

Keyboard > Ctrl + D

This command deselects all objects in the scene

conforming to the current selection filter type (page

1–81) on the main toolbar.

Select Invert

Edit menu > Select Invert

Keyboard > Ctrl + I

This command inverts the current selection set.

All objects not currently selected are selected,

and all objects currently selected are deselected,

respecting the current selection filter type (page

1–81) on the main toolbar.

Select By

Edit menu > Select By

TheSelectBysubmenuontheEditmenuprovides

commands for selecting objects in the scene by

color, name, and other characteristics. It also

gives quick access to the various Region selection

options.

Select By Color (page 1–88)

Select By Name (Edit Menu) (page 1–88)

Select Similar (page 1–88)

Rectangular Selection Region (page 1–89)

Circular Selection Region (page 1–89)

Fence Selection Region (page 1–90)

Lasso Selection Region (page 1–90)

Paint Selection Region (page 1–91)

Select By Color

Edit menu > Select By > Color

Select By Color lets you select all objects having the

same color as the selected object. Selection is made

by wireframe color (see Object Color Dialog (page

1–159)), rather than by any materials associated

with the objects.

After you choose this command, click any object

inthescenetodeterminethecolorfortheselection

set.

Tip: To select objects by material, use Schematic

View (page 3–640).

Select By Name (Edit Menu)

Edit menu > Select By > Name

Keyboard > H

Select By Name lets you select objects by choosing

them from a list of all objects in the scene.

For a full description of the Select By Name

function, see Select By Name (page 1–77).

Tip: To select objects by material, use Select By

Material (page 2–1439).

Select Similar

Edit menu > Select By > Select Similar

Use this command to select all items in the selected

object’s or objects’ layer that have the same style(s)

(page 3–461), as defined in AutoCAD Architecture

(formerly known as ADT, or Architectural

Desktop). For example, if you’ve imported or

linked to a DWG file that contains walls in several

different styles, such as CMU-8, Concrete-8, and

Stud-4, you could select all CMU-8 wall segments

Rectangular Selection Region 89

inthesamelayerbyselectingoneandthen

invoking Select Similar.

If you start by selecting multiple objects with

different styles, Select Similar will select all objects

with those styles.

Region Selection

Rectangular Selection Region

Main toolbar > Rectangular Selection Region (Selection

Region flyout)

Edit menu > Select By > Rectangular Region

The Rectangular Selection Region option, available

from the Selection Region flyout (page 1–80) and

theEditmenu,providesoneoffivemethodsyou

can use to select objects by region. The other

methods are Circular (page 1–89),Fence (page

1–90),Lasso (page 1–90),andPaint (page 1–91).

You can use Rectangular to select either objects

that are completely within the selection region

(window method), or objects that are either

within or touched by the selection shape (crossing

method). Toggle between the window and crossing

selection methods by using the Window/Crossing

Selection button (page 1–93) on the main toolbar.

Note: If you hold down Ctrl while specifying

a region, the affected objects are added to the

current selection. Conversely, if you hold down

Alt while specifying a region, the affected objects

areremovedfromthecurrentselection.

Procedure

To select using a rectangle:

1. Click the Rectangular Selection Region

button.

2. Drag in a viewport, then release the mouse.

The first location you click is one corner of the

rectangle, and where you release the mouse is

theoppositecorner.

To cancel the selection,right-clickbeforeyou

release the mouse.

Circular Selection Region

Main toolbar > Circular Selection Region (Selection

Region flyout)

Edit menu > Select By > Circular Region

The Circular Selection Region option, available

from the Selection Region flyout (page 1–80) and

theEditmenu,providesoneoffivemethodsyou

can use to select objects by region. The other

methods are Rectangular (page 1–89),Fence (page

1–90),Lasso (page 1–90),andPaint (page 1–91).

YoucanuseCirculartoselecteitherobjectsthatare

completely within the selection region (window

method), or objects that are either within or

touched by the selection shape (crossing method).

Toggle between the window and crossing selection

methods by using the Crossing Selection button

(page 1–93) on the main toolbar.

Note: If you hold down Ctrl while specifying

a region, the affected objects are added to the

current selection. Conversely, if you hold down

Alt while specifying a region, the affected objects

are removed from the current selection.

90 Chapter 3: Selecting Objects

Procedure

To select using a circle:

1. Click the Circular Selection Region

button.

2. Drag in a viewport, then release the mouse.

The first location you click is the center of the

circle, where you release the mouse defines the

circle’s radius.

To cancel the selection,right-clickbeforeyou

release the mouse.

Fence Selection Region

Main toolbar > Fence Selection Region (Selection Region

flyout)

Edit menu > Select By > Fence Region

The Fence Selection Region option, available from

the Selection Region flyout (page 1–80) and the Edit

menu, provides one of five methods you can use

to select objects by region. The other methods

are Rectangular (page 1–89),Circular (page 1–89),

Lasso (page 1–90),andPaint (page 1–91).

You can use Fence to select either objects that are

completely within the selection region (window

method), or objects that are either within or

touched by the selection shape (crossing method).

Toggle between the window and crossing selection

methods by using the Window/Crossing button

(page 1–93) on the main toolbar.

Note: If you hold down Ctrl while specifying

a region, the affected objects are added to the

current selection. Conversely, if you hold down

Alt while specifying a region, the affected objects

areremovedfromthecurrentselection.

Procedure

To select using a fence:

1. Click the Fence Selection Region button.

2. Drag to draw the first segment of a polygon,

then release the mouse button.

A "rubber-band line" is now attached to the

cursor, anchored at the point of release.

3. Movethemouseandclicktodefinethenext

segment of the fence. You can make as many

steps as you want.

4. To complete the fence, either click the first

point, or double-click.

A pair of cross hairs appears when you’re near

enough to click the first point. This creates a

closed fence.

Double-clicking createsanopenfence,which

can select objects only by the crossing method.

To cancel the selection, right-click before you

release the mouse.

Lasso Selection Region

Main toolbar > Lasso Selection Region (Selection Region

flyout)

Edit menu > Select By > Lasso Region

The Lasso Selection method lets you select

multiple objects within a complex or irregular

region with a single mouse action.

The Lasso Selection Region option, available from

the Selection Region flyout (page 1–80) and the Edit

menu,providesoneoffivemethodsyoucanuse

to select objects by region. The other methods

are Rectangular (page 1–89),Circular (page 1–89),

Fence (page 1–90),andPaint (page 1–91).

You can use Lasso to select either objects that are

completely within the selection region (window

Paint Selection Region 91

method), or objects that are either within or

touched by the selection shape (crossing method).

Toggle between the window and crossing selection

methods by using the Window/Crossing button

(page 1–93) on the Main toolbar.

Note: If you hold down Ctrl while specifying

a region, the affected objects are added to the

current selection. Conversely, if you hold down

Alt while specifying a region, the affected objects

areremovedfromthecurrentselection.

Procedure

To select using a lasso:

1. Click the Lasso Selection Region button.

2. Drag to draw a shape around the object(s) that

should be selected, then release the mouse

button.

Note: To cancel the selection, right-click before

you release the mouse.

Paint Selection Region

Main toolbar > Paint Selection Region (Selection Region

flyout)

Edit menu > Select By > Paint Region

The Paint Selection method lets you select multiple

objects or sub-objects by dragging the mouse over

them. To change the brush size, right-click the

Paint Selection Region button, and then, on the

Preference Settings dialog > General tab > Scene

Selection group, change the Paint Selection Brush

Size value.

If you hold down Ctrl while specifying a region,

the affected objects are added to the current

selection. Conversely, if you hold down Alt

while specifying a region, the affected objects are

removed from the current selection.

Tip: You can also create custom tools for changing

the brush size; choose Customize menu >

Customize User Interface and set keyboard

shortcuts or other user interface items for the

actions Paint Selection Size Up and Paint Selection

Size Down.

Note: Paint Selection Region respects the

Window/Crossing selection toggle (page 1–93)

setting. If the toggle is set to Select Region Window

(page 1–92) and the brush is smaller than an object

or sub-object to be selected, you won’t be able to

selecttheitem.Toresolvethis,enlargethebrush

or choose Select Region Crossing (page 1–93).

Note: With editable poly (page 1–1022) and Edit

Poly (page 1–640) objects, you can also paint soft

selections (page 1–966) and deformation (page

1–1024).

The Paint Selection Region button, available from

the Selection Region flyout (page 1–80),provides

oneoffivemethodsyoucanusetoselectobjectsby

region. The other methods are Rectangular (page

1–89),Circular (page 1–89),Lasso (page 1–90),

and Fence (page 1–90).

Procedure

To select by painting a region:

1. ChoosePaintSelectionRegionfromthe

flyout.

2. Drag over the object(s) to select, then release

the mouse button. As you drag, a circle showing

the brush radius appears attached to the mouse.

Note: To cancel the selection, right-click before

you release the mouse.

3. To change the brush size, right-click the

Paint Selection Region button, and then, on

the Preference Settings dialog > General tab

> Scene Selection group, change the Paint

Selection Brush Size value.

92 Chapter 3: Selecting Objects

You can also set keyboard shortcuts for

changing the brush size. To do so, use the

Paint Selection Size Up and Paint Selection Size

Down action items. See Keyboard Panel (page

3–793).

Region

Edit menu > Region

Main toolbar > Window Selection or Crossing Selection

When dragging the mouse to select one or more

objects, the Region options let you switch between

selecting objects within, or crossed by, a window

region that you draw with the mouse. Choose the

appropriate Region submenu command, or use

the Window/Crossing Selection Toggle (page 1–93)

on the Status bar.

You can automatically switch between Window

and Crossing Region Selection based on cursor

movement direction. To set this up, choose

Customize > Preferences and on the General

tabintheSceneSelectiongroupturnonAuto

Window/Crossing Selection by Direction.

See also

Select Region Window (page 1–92)

Select Region Crossing (page 1–93)

Select Region Window

Edit menu > Region > Window

Main toolbar > Window/Crossing Selection

Select Region Window selects only those objects completely

inside the window: the trash can and bench.

Select Region Window selects objects within a

selection region (page 1–80).

After you choose this command, draw a selection

region around any objects in the scene. Only those

objects that are entirely inside the region boundary

are selected.

Procedure

To select objects within a selection region:

1. Do one of the following:

• Choose Edit > Region > Window.

•ClicktheWindow/Crossing Selection Toggle

(page 1–93) to display the Window icon.

2. From the Main toolbar, click the Selection

Region flyout (page 1–80) and choose a method:

Rectangular, Circular, Fence or Lasso Selection

region.

Note: This setting also applies to Paint Selection

Region, but in this case the boundary is that of

the brush, not the region. In other words, when

Select Region Crossing 93

painting a selection region, the brush must

completely encompass an object or sub-object

to select it.

3. Drag to specify the region and select the objects.

Select Region Crossing

Edit menu > Region > Crossing

Main toolbar > Crossing Selection

Select Region Crossing selects objects within the window and

also objects it crosses: the trash can, bench, and streetlight.

Select Region Crossing selects objects within and

crossed by a selection region (page 1–80) boundary.

After you choose this command, draw a selection

region around or crossing objects in the scene.

Objects within the region boundary as well as

those that intersect the boundary are selected.

Procedure

To select objects within and crossed by a selection

region:

1. Do one of the following:

1. Choose Edit > Region > Crossing.

2. Click the Window/Crossing Selection Toggle

(page 1–93) to display the Crossing icon.

2. From the Main toolbar, click the Selection

Region flyout (page 1–80) and choose a method:

Rectangular, Circular, Fence or Lasso Selection

region.

Note: This setting also applies to Paint Selection

Region, but in this case the boundary is that of

the brush, not the region. In other words, when

paintingaregioninCrossingmode,thebrush

selects every object or sub-object it touches or

encompasses.

3. Drag to specify the region and select the objects.

Window/Crossing Selection

Toggle

Main Toolbar > Crossing Selection or Window Selection

from the Window/Crossing toggle

Edit menu > Region > Window or Crossing

TheWindow/CrossingSelectiontoggleswitches

between window and crossing modes when you

select by region.

•InWindow mode (page 1–92), you select only

the objects or sub-objectswithin the selection.

•InCrossing mode (page 1–93),youselect

all objects or sub-objects within the region,

plus any objects or sub-objects crossing the

boundaries of the region.

Tip: If you’re making sub-object selections of faces

and you select more faces than you want, make

sure you’re in Window mode.

The Selection Region flyout (page 1–80) on the

toolbar allows you to create different-shaped

boundaries.

3ds Max automatically saves the Window/Crossing

setting in the 3dsmax.ini (page 1–18) file.

94 Chapter 3: Selecting Objects

Edit Commands

These commands on the Edit menu (page 3–673)

are for basic edit manipulations of selections.

UndoandRedoworkasinstandardWindows

applications. These commands are available on the

default main toolbar as well. 3ds Max also provides

a history of commands. Right-clicking the Undo

or Redo buttons displays a list of commands you

can undo or redo. Not all operations are reversible

using Undo.

Note: Viewport changes such as panning and

zooming have a separate Undo and Redo. See

View-Handling Commands (page 1–35).

The Hold and Fetch command pair serves as an

alternative to Undo and Redo. Hold saves the

current state of the scene. After using Hold, you

can restore that state at a later point by using Fetch.

Sometimes, when you are about to perform a risky

operation, an alert prompts you to first use Hold.

3ds Max does not have the Cut or Paste functions

found in many Windows applications. The Delete

command simply removes the selection from the

scene.

Undo/Redo (page 1–94)

Hold/Fetch (page 1–95)

Delete (page 1–95)

Undo/Redo

Edit menu > Undo or Redo

Main toolbar > Undo or Redo

Keyboard > Ctrl+Z (Undo) or Ctrl+Y (Redo)

The Undo command reverses the last operation

performed on any selected objects. Redo reverses

the last operation performed by the Undo

command.

Some actions cannot be undone: for example,

applyingtheCollapseutilityorResetTransform

utility, or saving a file, which overwrites the

previous version. When you know something

cannot be undone, use Hold (page 1–95) first.

Then if you want to undo it, use Fetch. Hold and

Fetch are also commands on the Edit menu (page

3–673).

Afer you perform an action that is undoable, the

Edit menu shows the name of the function to be

undone. After you undo an action, the Edit menu

shows the name of the function you can redo.

Undo and Redo are also available as buttons on

the main toolbar. You can right-click the Undo

or Redo button to display a box that lists the

last operations performed. You can highlight

and reverse any number of these operations

insequencewiththerespectiveUndoorRedo

command. By default, there are 20 levels of Undo.

You can change the number of levels with the

Customize > Preferences > General tab (page

3–815) >SceneUndogroup.

Undo/Redo and Object Creation

When you create an object, the Create operation

is recorded by 3ds Max and displayed next to the

activated Undo command in the Edit menu. When

you undo the Create operation, the Redo Create

operation is displayed next to the activated Redo

command in the Edit menu. The Undo and Redo

commands in the Edit menu are unavailable when

no valid operation was performed or recorded.

Procedures

To undo the most recent action:

•Click Undo, choose Edit menu > Undo,

or press Ctrl+Z .

Hold/Fetch 95

To undo several actions:

1. Right-click Undo.

2. From the list, select the level where you want

to return. You must chooseacontinuous

selection; you can’t skip over items in the list.

3. Click the Undo button.

To exit the list without performing an action,

click the Cancel button, or click somewhere

outside of the list.

To redo an action, do one of the following:

•Click Redo.

•Editmenu>Redo.

•Press

Ctrl+Y .

To redo several actions:

1. Right-click Redo.

2. From the list, click the action to return to.

Your selection must be continuous: you can’t

skip over any items in the list.

3. Click the Redo button.

To exit the list without performing an action,

click the Cancel button or click somewhere

outside of the list.

Hold/Fetch

Edit menu > Hold or Fetch

Hold saves the scene and its settings to a disk-based

buffer. Fetch restores the contents of the buffer

stored by the previous Hold command. The

information stored includes geometry, lights,

cameras, the viewport configuration, and selection

sets.

Use Hold before you perform an operation

thatmightnotworkasexpected,thatisnewor

unfamiliar to you, or that cannot be undone. If

the results aren’t as expected, you can use Fetch to

returntothepointwhereyouchoseHold.

Tip: AlsouseSaveorSaveAsbeforeyouperform

an operation that cannot be undone: for example,

applying the Reset Transform utility.

If you experience an unexpected end of operation

or crash after you perform Hold, you can retrieve

your scene from the buffer with the Fetch

command after you restart 3ds Max.

Additional Details

• The Hold buffer is a temporary file

(maxhold.mx)inthedirectoryspecifiedbythe

AutoBackup path on the Configure User Paths

dialog > File I/O panel (page 3–810).

• Fetch also deletes all operations recorded in the

Undo and Redo History lists.

Delete

Make a selection. > Edit menu > Delete

Make a selection. > Keyboard > Delete

The Delete command deletes the current selection

from the model.

The Undo command (page 1–94) can restore

the deleted selection to the model. (The Undo

command is also available as a button on the main

toolbar.)

Groups and Assemblies

You use groups and assemblies in 3ds Max to

combine arbitrary sets of scene entities into a

96 Chapter 3: Selecting Objects

single, non-hierarchical object that you can then

manipulate as one. Grouping works with all

objects, while assemblies are best used for light

fixtures and characters.

For more information about groups, see Using

Groups (page 1–96) and Group Commands (page

1–104).

For more information about assemblies, see Using

Assemblies (page 1–98) and Assembly Commands

(page 1–107)

For more information about character assemblies,

see Character Assembly (page 1–102) and Character

Assembly Commands (page 1–112)

Using Groups

Object on the right is a group and treated as a single entity.

Grouping lets you combine two or more objects

into a single grouped object. The grouped object

is given a name, and then treated much like any

other object.

Group names are similar to object names, except

that they’re carried by the group object. In lists like

the one for the Select Object dialog, group names

appear in square brackets, for example [Group01].

The commands to manage groups are on the

default Group menu (page 3–674).

General Features of Groups

Once you group objects, you can treat them as

a single object in your scene. You can click any

object in the group to select the group object.

When you create a group, all of its member objects

are rigidly linked to an invisible dummy object.

Thegroupobjectusesthepivotpointandthe

local transform coordinate system of this dummy

object.

Groups can be nested. That is, groups can contain

other groups, up to any level.

Transforming and Modifying a Group

You can transform or modify a group as if it were a

single object, and you can animate the transforms

and the modifiers.

When you apply a modifier to the group, this

applies an instance of the modifier to each object

in the group. A grouped object retains its modifier

instance, even if you later remove it from the

group.

Whenyouapplyatransformtothegroup,onthe

other hand, this applies only to the group as a

whole. More precisely, 3ds Max applies transforms

to the dummy object that represents the group.

You can transform and animate individual objects

within a group independently from the group

itself. However, when you transform the group

itself, the transform affects all grouped objects

equally. The group transform is uniformly added

to objects that have independent motions. An

analogy is a cage of birds, each flying around on

itsown,whilethecageitselfisbeingmoved. In

thecaseofgroups,the"cage"(thedummyobject)

expands to surround all objects in the group,

wherever the objects’ independent transforms take

them.

Using Groups 97

Accessing Objects in a Group

You can open and close groups to access the

individual objects contained in them without

dissolving the group. These commands maintain

the integrity of the group.

•Open (page 1–105): Temporarily opens the

group so that you can access its member

objects. While a group is open, you can treat

the objects (or nested groups) as individuals.

You can transform them, apply modifiers, and

access their modifier stacks.

•Close (page 1–105): Restores the group when

you’re finished working with the individual

objects.

Dissolving Groups

You can permanently dissolve groups by either

ungrouping or exploding them. Both commands

dissolve groups, but to different levels.

•Ungroup (page 1–106):Goesoneleveldeepin

the group hierarchy. It separates the current

group into its component objects (or groups),

and deletes the group dummy object.

•Explode (page 1–106):SimilartoUngroup,

but dissolves all nested groups as well, leaving

independent objects.

When you Ungroup or Explode a group, the

objects within the group lose all group transforms

not on the current frame. However, objects retain

any individual animation.

To transform or modify the objects within a group,

you must first remove them from the group, either

temporarily or permanently. The Open command

lets you do this.

Comparing Groups with Other Selection

Methods

Compared to the other methods you can use to

combine objects in 3ds Max, grouping is more

permanent than selection sets, but less permanent

than attaching objects.

•Selection sets (page 1–64): Form a temporary

collection of objects to which you apply the

current commands. As soon as you select

another object, the selection set is gone.

•Named selection sets (page 1–67):Letyou

reselectthesamepatternofobjects,butthe

positional relationship between those objects

(their transforms) might be different each time

you recall the named set.

• Grouped objects: Maintain their positional

relationshipsunlessyouopenthegroupand

rearrange them. A group also keeps its identity

as an individual object.

Each object in a group retains its modifier stack,

including its base parameters. At any time, you

canopenthegrouptoeditanobject,andthen

closethegrouptorestorethegroupidentity.

• Attached objects (see Editable Mesh (Object)

(page 1–1001)): Attached objects form a

single object. The modifier stacks of the

original objects are lost, including their base

parameters. Youcanregaintheformofthe

original objects by detaching them, but they

become plain meshes.

•Assemblies (page 1–98) are useful for creating

combinations of geometry and light objects

that act as lighting fixtures.

98 Chapter 3: Selecting Objects

Using Assemblies

Object on the right is an assembly and is treated as a single

entity.

Assemblies are useful for creating combinations

of geometry and light objects that act as lighting

fixtures; you use them to represent the housing of

a lamp and its light source or sources. You can use

assemblies to represent lighting fixtures such as

simple desk lamps, lighting strips, track systems,

wall sconces with fluorescent or incandescent

lights, chandelier systems, line voltage cable

systems, and so on.

When you create light assemblies, first you create

your objects and build a hierarchy, then set joint

parameters and assign inverse kinematics (IK)

(page 2–435). As a final step, you assemble the

object hierarchy. The lights you use in the assembly

have light-multiplier and filter color controls. You

wire (page 2–411) the Dimmer and Filter Color

parameters of the Luminaire helper object to the

parameters of the light sources that are members

of the light assembly.

Note: InordertowiretheLuminairecontrolstothe

light parameters, you must first open (page 1–109)

the assembly; then, after wiring, you close (page

1–109) it.

You can use IK to point a luminaire’s beam by simply moving

the light’s target object.

Assemblies and Groups

Assembly functionality is a superset of grouping

(page 1–96). Like grouping, creating an assembly

lets you combine two or more objects and treat

them as a single object. The assembled object

is given a name, and then treated much like any

other object.

Themaindifferencewithassembliesisthat,

when you assemble (page 1–107) the member

objects, you specify a head object (page 1–111):a

Luminaire helper object (page 1–111).Thehead

object acts as a front end for the assembly, and its

parameters appear in the Modify panel when the

assembly is selected. You can use these parameters

to control the light sources in the assembly via

parameter wiring (page 2–411).Youcancreate

other types of head objects with MAXScript;

for further information, open the MAXScript

Reference,availablefromtheHelpmenu,andlook

in Creating MAXScript Tools > Scripted Plug-ins

> Scripted Helper Plug-ins.

Assembly names are similar to object names,

except that they’re carried by the assembly. In lists

like the one in the Select Object dialog, assembly

names appear in square brackets, for example

[Assembly01].

Tip: After you’ve created one fixture and assembled

the parts, use instancing (page 3–957) to copy (page

1–471) the fixture, and then distribute them in

your scene. That way, if you change the attributes

Using Assemblies 99

foralightsourceinanassembly,thechangewill

be reflected in all the instanced light sources. For

example, in the early design stages, you might

use shadow maps, but later you might want to

switch to advanced ray-trace shadows for greater

accuracy in rendering. Using instancing makes it

easier to change such settings globally.

General Features of Assemblies

Once you assemble objects, you can treat them as

a single object in your scene. You can click any

object in the assembly to select the entire assembly.

When you create an assembly, all of its member

objects are rigidly linked to an invisible Luminaire

helper object. The assembly uses the pivot point

and the local transform coordinate system of this

helper object.

You can nest assemblies. That is, assemblies can

contain other assemblies (or groups), up to any

level.

The head object parameters appear in the Modify

panel when the assembly is selected. You can

use the 3ds Max Wire Parameters (page 2–411)

functionality to connect these parameters to those

of light objects in the assembly. For a step-by-step

procedure, see To w i re a hea d ob j ect to a li g ht

source (page 1–108).

Luminaire types

Left: Fixed

Middle: Orientable

Right: Multiple lights

Transforming and Modifying an

Assembly

You can transform or modify an assembly as if

it were a single object, and you can animate the

transforms.

Unlikeagroup,whenyouapplyamodifiertothe

assembly, only the luminaire receives the modifier.

Thus, deforming modifiers such as Bend don’t

have any effect on assemblies.

When you apply a transform to the assembly, it

applies to the assembly as a whole. More precisely,

3dsMaxappliestransformstothedummyobject

that represents the assembly. To modify member

objects, you must first open the assembly, select the

objects, and then apply modifiers. Such modifiers

do not appear in the modifier stack when the

assembly is closed.

You can transform and animate individual objects

within an assembly independently from the

assembly itself. However, when you transform the

assembly itself, the transform affects all assembled

objects equally. The assembly transform is

uniformly added to objects that have independent

motions. An analogy is a cage of birds, each flying

around on its own, while the cage itself is being

moved. In the case of assemblies, the "cage" (the

dummyobject)expandstosurroundallobjectsin

the assembly, wherever the objects’ independent

transforms take them.

Accessing Objects in an Assembly

Yo u c a n open and close assemblies to access the

individual objects contained in them without

dissolving the assembly. These commands

maintain the integrity of the assembly.

•Open (page 1–109):Temporarilyopensthe

assembly so that you can access its member

objects. While an assembly is open, you can

treat the objects (or nested assemblies/groups)

100 Chapter 3: Selecting Objects

as individuals. You can transform them, apply

modifiers, and access their modifier stacks.

•Close (page 1–109): Restores the assembly when

you’re finished working with the individual

objects.

Using Make Unique with Assemblies

When you clone assemblies using instancing,

and then make the clones unique, it’s important

to consider how this affects parameter wiring.

Consider the following typical usage case:

1. Drag an assembly, such as a light fixture, into

the scene.

2. Clone the assembly several times using the

Instance option and position the instances in

the scene.

3. To make the scene look more realistic, giving

theappearanceofrandomnesstotheobjectsin

thescene,makesomeoftheassemblyinstances

unique and adjust their parameters to differ

from the rest of the instances.

When you clone-instance an assembly, all objects

in the assembly, along with all the parameter wires,

are instanced. So if you change a wired luminaire

parameter, all instanced assemblies are affected.

When the modifier stack displays an assembly

head that is an instance or reference, the Make

Unique (page 3–770) button is active. By clicking

it, the assembly head object is made unique

with respect to its instances and all the assembly

members are also made unique.

The parameter wiring between the unique

assembly head and its members is de-coupled from

the other instances of the assembly. Changing the

parametersoftheuniqueassemblyheadobject

affectsonlytheparametersofitsownmembers,

not the members of the other instances of the

assembly.

When multiple assembly instances are selected, the

Make Unique command works the same as when

multiple instances of an object are selected. You’re

asked whether you want to make the selected

assemblies unique one with respect to each other.

• If you answer Yes, 3ds Max makes the

assemblies unique one with respect to another

and parameter wires are reconnected inside

each unique assembly. That is, the parameters

of each unique assembly head drives only the

parameters of its own members, not that of the

members in any other assembly instances.

• If you answer No, then the selected assemblies

aremadeuniqueonlywithrespecttotheother

assembly instances. The parameters of unique

assembly heads drive only the parameters of

their members, not the members of the other

assembly instances.

Note: If you chose to instance the controllers

when you instanced the assembly, the Modify

panel > Make Unique command does not make

the controllers unique. You can make them

unique by doing the following: Open Track

View, select the Transform track for object

whose controller you want to make unique, and

click the Make Unique button in the Track View

toolbar.

Dissolving Assemblies

You can permanently dissolve assemblies by either

disassembling or exploding them. Both commands

dissolve assemblies, but to different levels.

•Disassemble (page 1–110):Goesoneleveldeep

in the assembly hierarchy. It separates the

currentassemblyintoitscomponentobjects(or

assemblies/groups), and deletes the assembly

head object.

•Explode (page 1–110): Similar to Disassemble,

but dissolves all nested assemblies and groups

as well, leaving independent objects.

Using Assemblies 101

When you disassemble or explode an assembly,

any transform animation applied to the assembly is

lost,andobjectsremainastheywereintheframe

at which the dissolution is performed. However,

objects retain any individual animation.

To transform or modify the objects within an

assembly, you must first remove them from the

assembly, either temporarily or permanently. The

Open command lets you do this.

Comparing Assemblies with Other

Selection Methods

Compared to the other methods you can use to

combine objects in 3ds Max, assembling is more

permanent than selection sets, but less permanent

than attaching objects.

•Selection sets (page 1–64):Formatemporary

collection of objects to which you apply the

current commands. As soon as you select

another object, the selection set is gone.

•Named selection sets (page 1–83):Letyou

reselectthesamepatternofobjects,butthe

positional relationship between those objects

(their transforms) might be different each time

you recall the named set.

• Assembled and grouped (page 1–96) objects:

Maintain their positional relationships unless

you open the assembly and rearrange them. An

assembly also keeps its identity as an individual

object.

Each object in an assembly retains its modifier

stack, including its base parameters. At any

time,youcanopentheassemblytoeditan

object, and then close the assembly to restore

the assembly identity.

• Attached objects (see Editable Mesh (Object)

(page 1–1001)): Attached objects form a

single object. The modifier stacks of the

original objects are lost, including their base

parameters. You can regain the form of the

original objects by detaching them, but they

become plain meshes.

See also

Lights (page 2–1272)

Procedures

To insert and place an existing assembly:

1. Tur n on AutoGrid (page 2–7).

2. Drag the assembly from a Web page (if it’s an

i-drop object (page 3–523))orfromyourlocal

disk and drop it into your scene, placing it on

any existing surface.

3. On the main toolbar, click Use Pivot

Point Center (page 1–446).

4. Position the assembly as you would any other

objecttoaimitinaspecificdirection.

5. If necessary, wire (page 1–108) the assembly

luminaire to its light source or sources.

6. Select the assembly, and then use the Modify

panel settings to adjust the intensity of the light

with the Dimmer control.

To create your own luminaire:

1. Create the geometry of the lighting fixture.

2. Create a light source (page 2–1274) or on the

Create panel, click Lights to add a standard

or photometric light to the geometry of the

lighting fixture you just made.

3. Select all the objects in the assembly, including

geometrical objects and lights.

Note: If using IK, leave the light targets out of

the assembly so that you can manipulate them

independently.

4. Choose Assembly menu > Assemble.

A dialog appears requesting a name for the

assembly and that you specify a head object.

102 Chapter 3: Selecting Objects

The only head object type available by default is

Luminaire (page 1–111).

5. EnteranamefortheassemblyandclickOK.

6. Wire (page 1–108) the assembly luminaire to its

light source or sources. More information on

parameter wiring is available at the link in this

step.

If more than one light source is present

inside the assembly, create a chain of wired

parameters. Then enter the desired relationship

expression in the expression text box.

To adjust the pivot location of an assembly:

•Whenyouadjustthepivotpointofaclosed

group or assembly, the pivot point of all group

and assembly members are affected, not only

the pivot point of the group or assembly head

object. Therefore, we recommend that you

open the assembly, adjust the pivot of the head

object, and then close the assembly.

Touseanassemblywithradiosity:

• Right-click the Luminaire, choose Properties,

and on the Object Properties dialog (page 1–117)

choose the Radiosity tab. You can exclude and

control radiosity parameters of the geometry

and lights independently.

To adjust the properties of an assembly:

1. AfterwiringtheDimmerandFilterColor

parameters, select the Luminaire, and then

go to Modify panel to display the luminaire

parameters.

2. Adjust the parameters.

The effect is visible in the viewport.

Character Assembly

Acharacter assembly is a special type of group

for objects particular to a character setup:

the character mesh, bones, IK chains, helper

objects, controllers, and other objects used to

animatecharacters.Oncetheobjectsaregrouped

(assembled), you can perform various functions

onthegroupasawhole,suchassavingandloading

animation for the entire bone/mesh set.

The objects that make up a typical character assembly

Unlike an ordinary group, there is no need to open

a character assembly to work with its individual

members.

When a character assembly is created, it is

designated by a placeholder object called a node,

placed near the bottom of the character assembly.

Selecting the node gives access to special tools for

working with character models and animation.

Character Assembly 103

Character assembly node

A character assembly will not create a character

mesh or bone structure for you. The character

assembly tool is designed for use on character

structures that have already been set up using

other tools.

Althoughthecharacterassemblyfeaturewas

designed for use with character structures, it will

work equally well with any type of hierarchy or

related set of objects.

Adding Character Assembly Commands

to the UI

By default, the character-assembly commands

describedherearenotpartofthe3dsMax

user interface. To add them, choose Customize

menu > Customize User Interface, click the tab

representing the part of the UI to which you’ll add

the commands (Keyboard, Toolbars, etc.) and

then, from the Category drop-down list, choose

Characters. Use standard CUI functionality (page

3–792) to add the commands.

Creating a Character Assembly

To create a character assembly, first select the

objects that will make up the assembly. Next, you

need to add any character-assembly commands

you wish to use to the user interface; see Adding

Character Assembly Commands to the UI (page

1–103). Last,choosetheCreateCharacter

command.

All selected objects become members of the

assembly, and the character assembly node is

created. Other objects can be manually added to

the assembly after it has been created.

Once the character assembly has been created,

you can work with it in a variety of ways. For

information about the Modify panel options

available after a character assembly is created, see

Create Character (page 1–112).

Linked Objects in Character Assemblies

Any or all members of the character assembly can

be linked to a single object outside the assembly,

but no more than one. For example, ThighLeft

and ThighRight, which are both part of the

assembly, can both be linked to Pelvis, which is

notpartoftheassembly.However,ifThighLeft

and ThighRight are each linked to different objects

outside the assembly, the creation of the assembly

will fail, and will show the following error message:

104 Chapter 3: Selecting Objects

Parameter Wiring and Animation

If you plan to wire parameters between two

objects, create the assembly first and then set up

the wiring. Be sure to include both objects in the

assembly.

Becausewiringshouldbedoneaftertheassembly

is created, you will probably find it easiest to

create the character assembly before animating

the character.

See also

Create Character (page 1–112)

Destroy Character (page 1–115)

Lock/Unlock Character (page 1–115)

Save Character (page 1–115)

Insert Character (page 1–115)

Skin Pose Commands (page 1–116)

Merge Animation (page 3–466)

Group Commands

The commands to manage groups are on the

Group menu (page 3–674).

Group (page 1–104)

Open Group (page 1–105)

Close Group (page 1–105)

Ungroup (page 1–106)

Attach Group (page 1–106)

Detach Group (page 1–106)

Explode Group (page 1–106)

See also

Using Groups (page 1–96)

Group

Group menu > Group

The Group command combines a selection set of

objectsorgroupsintoasinglegroup.

Once you group objects, you can treat them as

a single object in your scene. You can click any

object in the group to select the group object. You

cantransformthegroupasasingleobject,andyou

canapplymodifiersasifitwereasingleobject.

Groups can contain other groups, up to any level.

Group names are similar to object names, except

that they’re carried by the group object. In lists

like the one in the Select Objects dialog (page

1–78),groupnamesappearinsquarebrackets.For

example: [Group01].

If a group is selected, its name will appear in

“bolded”textintheNameAndColorrollout.

Open Group 105

All members of a group inherit the visibility of

the parent when a visibility controller is assigned

to the parent.

Groups are considered whole objects in the Light

Exclude/Include dialog, so you can exclude (or

include) all objects in a group by selecting the

group in the list. If a group is nested within

another group, only the "outer" group is available

in the list. To exclude only certain objects in

a group, open the group before displaying the

Exclude/Include dialog.

Procedures

To define a group:

1. Select two or more objects.

2. Choose Group menu > Group.

A dialog appears requesting a name for the

group.

3. Enter a name for the group and click OK.

To define a nested group:

1. Selecttwoormoregroupsoranycombination

of groups and objects.

2. Choose Group > Group.

A dialog appears requesting a name for the

group.

3. Enteranameforthenewgroupobjectandclick

OK.

Open Group

Select one or more groups. > Group menu > Open

The Open command lets you ungroup a group

temporarily, and access objects within a group.

You can transform and modify the objects within

the group independently from the rest of the

group, then restore the original group using the

Close command.

Procedures

To open a group:

1. Selectoneormoregroups.

2. Choose Group > Open. A pink bounding box

appears, and the objects in the group are now

accessible.

To open nested groups:

1. Select the group within the opened group.

2. Choose Group > Open.

Close Group

Select the pink dummy object of an opened group. >

Group menu > Close

The Close command regroups an opened group.

For nested groups, closing the outermost group

object closes all open inner groups.

When you link an object to a closed group, the

object becomes a child of the group parent rather

than of any member of the group. The entire group

flashes to show that you’ve linked to the group.

Procedures

To close all opened groups nested within a main

group:

1. Select the pink bounding box representing the

main group.

2. Choose Group > Close.

To close a nested group:

1. Select any object in the nested group or its

dummy.

2. Choose Group > Close.

106 Chapter 3: Selecting Objects

Ungroup

Select one or more groups. > Group menu > Ungroup

Ungroup separates the current group into its

component objects or groups.

The Ungroup command ungroups one level,

unlike Explode (page 1–106),whichungroupsall

levels of nested groups.

When you Ungroup a group, the objects within the

group lose all group transforms that were applied

on nonzero frames, but they retain any individual

animation.

All ungrouped entities remain in the current

selection set.

Procedure

To ungroup a group:

1. Select one or more groups.

2. ChooseGroup>Ungroup.

All components of the group remain selected,

but are no longer part of the group. The group

dummy is deleted.

Explode Group

Select one or more groups. > Group menu > Explode

The Explode command ungroups all objects in a

group, regardless of the number of nested groups,

unlike Ungroup (page 1–106), which ungroups one

level only.

As with the Ungroup command, all exploded

entities remain in the current selection set.

Warning: Ungroup and Explode remove all transform

animations that have been applied to the group as a

whole. As with the Ungroup command, all exploded

entities remain in the current selection set.

Procedure

To explode a group:

1. Selectoneormoregroups.

2. ChooseGroup>Explode.

All objects in the groups remain selected but no

longer belong to groups. All nested groups are

exploded. All group dummies in the selection

are deleted.

Detach Group

Select a group. > Group menu > Open > Select one or

more objects detach. > Group menu > Detach

The Detach command detaches the selected object

from its group.

This command becomes active when you open the

group by choosing the Open command from the

Group menu.

Procedure

To detach an object from a group:

1. Open the group.

2. ChooseGroup>Detach.

The selected objects are now separate,

independent objects, no longer members of the

group.

Attach Group

Select one or more objects. > Group menu > Attach

The Attach command makes the selected object

part of an existing group.

With an object selected, choose this command,

and then click a group in the scene.

Assembly Commands 107

Procedure

To attach an object to a group:

1. Selectoneormoreobjectstoattach.

2. Choose Group > Attach.

3. Click any member of a closed group.

The selected objects become part of the group,

which is now selected.

Note: To attach an object to an open group, click

the pink bounding box.

Assembly Commands

Thecommandstomanageassembliesareavailable

fromtheGroup>Assemblysubmenu.

Assemble (page 1–107)

Disassemble (page 1–110)

Open Assembly (page 1–109)

Close Assembly (page 1–109)

Attach Assembly (page 1–111)

Detach Assembly (page 1–110)

Explode Assembly (page 1–110)

See also

Using Assemblies (page 1–98)

Assemble

Select the objects to assemble. > Group menu >

Assembly > Assemble

The Assemble command combines a selection set

of objects, assemblies, and/or groups into a single

assembly, and adds a Luminaire helper object (page

1–111) as a head object (page 1–111).

Once you assemble objects, you can treat them as

a single object in your scene. You can click any

objectinthegrouptoselecttheentireassembly.

You can transform the assembly as a single object,

and you can apply modifiers as if it were a single

object.

Assemblies can contain other assemblies and/or

groups, up to any level.

Assembly names are similar to object names,

except that they’re carried by the assembly. In

listsliketheoneintheSelect Objects dialog (page

1–78), assembly names appear in square brackets.

For example: [Assembly01].

Each member of an assembly inherits the visibility

of the parent when a visibility controller is assigned

to the parent, providing its Object Properties

>RenderingControlgroup>InheritVisibility

check box is turned on, or if its Rendering Control

is set to By Layer and Inherit Visibility is turned

on for its layer.

Assemblies are considered whole objects in the

Light Exclude/Include dialog, so you can exclude

(or include) all objects in an assembly by selecting

the assembly in the list. If an assembly is nested

within another assembly, only the "outer" assembly

is available in the list. To exclude only certain

objects in an assembly, open the assembly before

displaying the Exclude/Include dialog.

See also

Using Assemblies (page 1–98)

Procedures

To define an assembly:

1. Select two or more objects.

2. Choose Group menu > Assembly > Assemble.

The Create Assembly dialog appears. It requests

youtospecifyanamefortheassemblyand

108 Chapter 3: Selecting Objects

ahead object (page 1–111).Thedefaulthead

object type is Luminaire (page 1–111).

3. Enteranamefortheassembly,choose

Luminaire (page 1–111) from the list, and click

OK.

The selected objects are assembled. The

assembly head object position and orientation

is determined as follows:

• If there are multiple immediate children

of the assembly head (for example, you’re

assembling several non-hierarchical

objects), the head object is aligned with

center of bottom face of the assembly

bounding box.

• If there’s only one immediate child of the

assembly head, the assembly head pivot

point is aligned with that object’s pivot

point. For example, if you’re assembling a

single hierarchy, the topmost object in the

hierarchy would be the single immediate

child of the assembly head.

To define a nested assembly:

1. Select two or more assemblies or any

combination of assemblies and objects.

2. Choose Group menu > Assembly > Assemble.

The Create Assembly dialog appears. It requests

anamefortheassembly,andaheadobject.

3. Enteranameforthenewassemblyobjectand

click OK.

To wire a head object to a light source:

1. Create a hierarchy of lights and geometrical

objectsthatmodelsalightingfixture.Setsupall

the necessary IK chains and other constraints

that make the model behave properly when the

user interacts with it (orients, positions, aims,

etc.).

Important: For any photometric lights that

you want to control with the head object, be

sure to turn on the Multiplier check box on the

Intensity/Color/Distribution rollout.

2. Select all objects in the fixture and define them

as an assembly.

When the assembly is selected, the luminaire

parameters Dimmer and Filter Color appear in

the Modify panel.

3. From the Animation menu, choose Wire

Parameters > Parameter Wire Dialog.

4. The Parameter Wiring dialog (page 2–412)

appears.

5. On one side of the dialog, find the assembly

and expand the branch titled Object

(LuminaireHelper). Click the Dimmer item to

highlight it.

6. On the other side, find the assembly and

expand its hierarchy branch (click the + symbol

in the square box). Find and expand the branch

for the light source, and then expand its Object

branch. Click the Multiplier item to highlight it.

7. Between the two hierarchy lists, click the

Control Direction arrow button that points

from the selected Dimmer item to the selected

Multiplier item.

8. If you’re wiring a photometric light, skip this

step. If you’re wiring a standard light, or any

light whose default Multiplier setting is 1.0, do

this:

• The Expression box below the selected

Multiplier item contains the word "Dimmer."

Open Assembly 109

Edit this to read "Dimmer/100". This divides

the Dimmer value by 100, giving a 1:1 value

ratio between it and the Multiplier setting.

9. Click the Connect button.

Now, when you change the luminaire’s Dimmer

setting, the light source intensity changes as

well.

10.If you like, use the same method to wire the

luminaire to any additional light sources in the

light fixture.

Youcanalsousethismethodtowirethe

luminaire’s Filter Color parameter to any light

sources’ color settings.

Interface

Name—Specifies the name of the new assembly.

The default name is "Assembly" followed by

a two-place number starting with 01 and

incremented by one for each new assembly.

Choose Head Object—Lets you choose the type of

object to serve as the assembly head object.

Open Assembly

Select one or more assemblies. > Group menu >

Assembly > Open

The Open command lets you temporarily

disassemble an assembly and access its head and

member objects individually.

You can transform and modify the head

and member objects within the assembly

independently from the rest of the assembly, then

restore the original assembly using the Close

command (page 1–109).

Procedure

To open nested assemblies:

1. Select the assembly within the opened assembly.

2. Choose Group menu > Assembly > Open.

Close Assembly

Select the luminaire. > Group menu > Assembly > Close

The Close command reassembles an opened

assembly. For nested assemblies, closing the

outermost assembly object closes all open inner

assemblies.

When you link an object to a closed assembly,

the object becomes a child of the assembly parent

rather than of any member of the assembly. The

entire assembly flashes to show that you’ve linked

to the assembly.

Procedures

To close all opened assemblies nested within a main

assembly:

1. Select any object in the main assembly or its

luminaire head object.

110 Chapter 3: Selecting Objects

Note: Ifyouselectanobjectwithinanopened

inner assembly, using Close will close only that

assembly.

2. Choose Group menu > Assembly > Close.

To close a nested assembly:

1. Select any object in the nested assembly or its

luminaire.

2. Choose Group menu > Assembly > Close.

Disassemble

Select one or more assemblies. > Group menu >

Assembly > Disassemble

Disassemble separates the current assembly into

itscomponentobjectsorassemblies.

The Disassemble command separates one level,

unlike Explode (page 1–110),whichseparatesall

levels of nested assemblies.

When you disassemble an assembly, all

components of the assembly remain selected, but

are no longer part of the assembly. Any transform

animation applied to the assembly is lost, and

objectsremainastheywereintheframeatwhich

the dissolution is performed. However, objects

retain any individual animation.

All disassembled entities remain in the current

selection set.

Note: If you have wired the luminaire head to

any other parameters, those parameters are still

controlled by the wiring setup after disassembly

and are not adjustable until you apply a standard

controller, such as Bezier Float. Use Track View

to do this.

Explode Assembly

Select one or more assemblies. > Group menu >

Assembly > Explode

TheExplodecommandseparatesallobjectsin

an assembly, regardless of the number of nested

assemblies and/or groups, unlike Disassemble

(page 1–110),whichseparatesonelevelonly.

When you explode an assembly, all components of

the assembly remain selected, but are no longer

part of the assembly. Any transform animation

applied to the assembly is lost, and objects remain

as they were in the frame at which the dissolution is

performed. However, objects retain any individual

animation.

Note: Ifyouhavewiredtheluminaireheadto

any other parameters, those parameters are still

controlled by the wiring setup after exploding

and are not adjustable until you apply a standard

controller, such as Bezier Float. Use Track View

to do this.

Detach Assembly

Select an assembly. > Group menu > Assembly > Open

> Select one or more objects to detach. > Assembly >

Detach

Select one or more objects to detach in an open assembly.

>Groupmenu>Assembly>Detach

The Detach command detaches the selected object

from its assembly. If the object is a member of a

nested assembly, after you detach it, it is no longer

a member of any assembly.

This command becomes active when you open the

assembly by choosing Open (page 1–109) from the

Assembly menu.

Attach Assembly 111

Attach Assembly

Select one or more objects. > Group menu > Assembly

> Attach

The Attach command makes the selected object

part of an existing assembly.

With an object selected, choose this command,

and then click either a closed assembly in the

scene, or the head object of an open assembly.

Procedure

To attach an object to an assembly:

1. Selectoneormoreobjectstoattach.

2. Choose Group menu > Assembly > Attach.

3. Click any member of an assembly.

The selected objects become part of the

assembly, which is now selected.

Assembly Head Helper

Objects

Assembly Head Helper Object

When you create an assembly (page 1–98) in

3ds Max, the program automatically adds a special

type of helper object called a head object, or

assembly head. This object serves as the fulcrum

of the assembly and also exposes parameters,

available in the Modify panel when the assembly

is selected, that you can wire (page 2–411) to

properties of objects inside the assembly. Thus,

you can change and animate parameters of

assembly member objects without having to open

the assembly, as you would with a group.

Luminaire Helper Object

Create panel > Helpers > Assembly Heads > Object Type

rollout > Luminaire

The Luminaire helper object serves primarily as a

head, or control, object for light fixtures. When

you assemble (page 1–107) asetofobjectsinto

alightfixture,youspecifythatanewluminaire

object should be used as the assembly head object.

The luminaire’s parameters, available from the

Modify panel, let you control the light sources in

the fixture. See Using Assemblies (page 1–98) for

more information.

You can also add a Luminaire object separately

from the Create panel, but in general it’s not

necessary.

A luminaire object groups and manages the components as a

whole.

Interface

When a selected assembly is closed, the Modify

panel displays the Luminaire parameters.

However, when you open an assembly, 3ds Max

shows you the parameters of the whichever

object is selected. The Luminaire object provides

Dimmer and Filter Color parameters. You wire

these to the light objects that are part of the

assembly.

112 Chapter 3: Selecting Objects

Luminaire icon in the viewport

Luminaire rollout

Dimmer—Emulates the dimmer switch of a

real-world lighting fixture. The setting determines

the percentage of the default light intensity is

emitted by the light source of a lighting fixture.

Youwirethisparametertooneormorelight

sources’ Multiplier settings.

Filter Color—An RGB color parameter that you

link to a light source’s color or filter color.

The Dimmer option can control the intensity of all the lights in

the luminaire

Character Assembly

Commands

By default, the character-assembly commands

listedherearenotpartofthe3dsMaxuser

interface. To add them, choose Customize

menu > Customize User Interface, click the tab

representing the part of the UI to which you’ll add

the commands (Keyboard, Toolbars, etc.) and

then, from the Category drop-down list, choose

Characters. Use standard CUI functionality (page

3–792) to add the commands.

Create Character (page 1–112)

Destroy Character (page 1–115)

Lock/Unlock Character (page 1–115)

Save Character (page 1–115)

Insert Character (page 1–115)

Skin Pose Commands (page 1–116)

Merge Animation (page 3–466)

Create Character

See Adding Character Assembly Commands to the UI (page

1–103).

This command creates a character assembly (page

1–102).

Procedure

To create a character assembly:

1. Create a linked structure of bones or other

objects. The structure can have several chains.

You can also use the linked structure with the

Skin modifier, and/or set up character rigs and

controllers as needed.

2. Select all objects that will become members of

the assembly.

Create Character 113

3. Use this method (page 1–103) to add the

character-assembly commands to the user

interface, and then choose the Create Character

command.

The character-assembly node is created at the

bottom of the entire selection, as viewed in the

Front viewport.

4. On the Modify panel, use the character

assembly tools to work with the character

structure.

The character assembly is given the default

name of Character01, which can be changed.

Allmembersoftheassemblyarelistedinthe

Character Members rollout.

Interface

To work with the character assembly, select the

character assembly node and work with the

parameters on the Modify panel.

Character Assembly rollout

Skin Pose group

The Skin pose is the bone structure pose used by

the Skin modifier for associating bones with the

mesh. When the Skin modifier is first applied, the

current bone structure pose is used as the Skin

pose. The Skin pose can sometimes be accidentally

altered by animating the bone structure on frame

0. If this occurs, you can use these options to fix

the Skin pose.

You can use these options both before and after

applying the Skin modifier. You can also invoke

114 Chapter 3: Selecting Objects

these options when any member of the character

assembly is selected.

Set as Skin Pose—SetstheSkinposetothecurrent

bone structure’s pose. The Skin modifier’s

envelopes and vertex weighting are automatically

recalculated to work with the new pose.

Assume Skin Pose—Causesthebonestructureto

take on the Skin pose. This feature can be useful

during the animation phase. For example, if you

have animated the character on various keyframes

and want the character to animate back to its Skin

pose at frame 50, you can turn on Auto Key at

frame 50 and click Assume Skin Pose.

Skin Pose Mode—Poses the character in its Skin

pose and allows the Skin pose to be refined.

Changes to the bone structure when Skin Pose

ModeisonwillaffectonlytheSkinposeandnot

theanimation.WhenSkinPoseModeisturned

off, the bone structure returns to its pose at the

current frame.

Display group

When a high resolution character model is

animated, redraw time can slow the animation

process. To speed up your work, a low resolution

version of the model can be used for the animation

process, then switched for the full resolution

version at render time. Character assembly objects

can be designated as Full Res or Low Res on the

Character Members rollout.

Low Res Objects—Displays only the objects

checked in the Low Res display in the Character

Members rollout.

Full Res Objects—Displays only the objects not

checked in the Low Res display in the Character

Members rollout.

All Objects—Displays all objects in the character

assembly.

Animation group

Animation for the character assembly can be saved

or reset in this group. Previously saved animation

fromanothercharactercanalsobeinsertedtothe

current character assembly.

Insert Animation—Displays the Merge Animation

dialog (page 3–466),andpromptsforapreviously

saved animation file.

Save Animation—Saves the character assembly

animation in an ANM or XML file. Both file types

contain the character assembly and its animation.

An ANM file is a proprietary format that can be

read and saved only by 3ds Max. An XML file

formats the information as XML code, and can be

edited with a text editor.

Animation saved as an ANM file loads and saves

faster than an XML file. Saving and editing an

XML animation file is recommended only for

users who are familiar with the XML language,

and who have a specific need for editing the file.

Reset All Animation—Removes all animation from

the character assembly.

Character Members rollout

Add—Allows you to select individual objects to

add to the character assembly.

Add List—Displays the Pick Character Members

dialog, where you can select multiple objects from

a list and add them to the character assembly.

Remove—Removes highlighted object(s) from the

assembly. Bones and objects upon which other

assembly objects depend, cannot be removed.

Low Res—All members of the character assembly

are displayed on this list. By default, all members

aredesignatedasFullResobjects.Todesignatea

member as Low Res, check the object on the list.

The Full Res and Low Res designations are used in

conjunction with the Display group selection in

the Character Assembly rollout.

Destroy Character 115

See also

Destroy Character (page 1–115)

Lock/Unlock Character (page 1–115)

Save Character (page 1–115)

Merge Animation (page 3–466)

Destroy Character

See Adding Character Assembly Commands to the UI (page

1–103).

Destroying a character deletes the character

assembly node. If the character assembly is locked,

theentireassemblyisdeleted.Iftheassemblyis

unlocked, the members of the assembly and any

animationonthemembersareunaffected.

This command is available only when a character

assembly node is selected.

See also

Character Assembly (page 1–102)

Lock/Unlock Character (page 1–115)

Lock/Unlock Character

See Adding Character Assembly Commands to the UI (page

1–103).

Locking a character assembly prevents the

character from being animated. Use these

commands when you want to prevent accidental

animation of the character, such as when the

animation process is complete.

Unlocking a locked character assembly allows you

to animate the character.

These commands are available only when a

character-assembly node is selected.

See also

Character Assembly (page 1–102)

Insert Character

See Adding Character Assembly Commands to the UI (page

1–103).

Choose this command to insert a previously saved

character into the current scene.

You save a character assembly as a CHR file with

Save Character (page 1–115).ACHRfilecontains

the character assembly node, all members of the

assembly and any animation on the members.

When a character is inserted into the scene, it is

placed at the same world-space location it had

when saved.

See also

Character Assembly (page 1–102)

Save Character (page 1–115)

Save Character

See Adding Character Assembly Commands to the UI (page

1–103).

Saving a character saves a character assembly (page

1–102) at its current location, including its node,

all members, and any animation on its members.

Use this command for storing a character assembly

to disk prior to inserting it into another scene.

Saving a character with this command saves the

assembly as a CHR file. You can then insert the

CHR file into a scene with Insert Character (page

1–115).

This option is available only when a character

assembly node is selected.

116 Chapter 3: Selecting Objects

Skin Pose Commands

Animation menu > Set as Skin Pose

Animation menu > Assume Skin Pose

Animation menu > Skin Pose Mode

When the Skin modifier is first applied to a mesh,

thebonestructure’scurrentposeisusedasthe

skin pose. Subsequent animation of the bone

structure on frame 0 can cause the skin pose to

bealtered.Theskinposecommandsallowyouto

change and set the skin pose either before or after

you apply the Skin modifier.

The skin pose stores a specific position, rotation

andscaleforanobject. Itsintendeduseisfor

storing a character assembly’s pose for the Skin

modifier. However, a skin pose can be used for

any object to store its current transforms for later

retrieval.

These commands work on any object, regardless

of whether the structure is part of a character

assembly, or whether the bones have been assigned

to a mesh with the Skin modifier.

Set as Skin Pose—Stores the selected objects’

current position, rotation and scale as the skin

pose. If the selected objects are assigned as bones

for the Skin modifier, the envelopes and vertex

weighting are automatically recalculated to work

with the new pose.

Assume Skin Pose—Causes the selected objects to

take on the stored skin pose. This feature can be

useful during the animation phase. For example,

if you have animated the character on various

keyframes and want the character to animate back

to its skin pose at frame 50, you can turn on Auto

Key at frame 50 and click Assume Skin Pose.

Skin Pose Mode—Poses the character in its skin

pose and allows the skin pose to be refined.

Changes to the objects when Skin Pose Mode

is on will affect only the skin pose and not the

animation. When Skin Pose Mode is turned off,

the structure returns to its pose at the current

frame.

See also

Character Assembly (page 1–102)

The Object Properties dialog, available from the

Edit and right-click menus, lets you view and edit

parameters for how selected objects behave in

viewports and renderings. Note that you cannot

necessarily edit all properties; parameters that

apply to renderable geometry are unavailable for

non-renderable objects. However, parameters

that apply to any object, such as Hide/Unhide,

Freeze/Unfreeze, Trajectory, and so on, remain

available for these non-renderable objects.

With the Object Properties dialog you can specify

settings per object or by layer (page 3–920).Object

settings affect only the object or objects selected.

When an object is set to By Layer, it inherits its

properties from the layer settings, which you set

with the Layer Properties dialog (page 3–662).

The Object Properties dialog panels are:

•General Panel (Object Properties Dialog) (page

1–117)

•Advanced Lighting Panel (Object Properties

Dialog) (page 1–123)

•mental ray Panel (Object Properties Dialog)

(page 1–126)

•User Defined Panel (Object Properties Dialog)

(page 1–127)

Object Properties Dialog

Panels

General Panel (Object Properties

Dialog)

Edit menu > Object Properties > Object Properties dialog

> General panel

Select object or objects. > Right-click. > Transform

(lower-right) quadrant of the quad menu > Properties >

Object Properties dialog > General panel

Layer manager > Click the icon next to an object’s name.

> Object Properties dialog > General panel

This panel of the Object Properties dialog displays

general object information, as well as controls for

rendering the object and displaying it in viewports.

Object Properties

118 Chapter 4: Object Properties

Interface

Object Information group

This group displays information about the selected

object, including the following:

Name—Shows the name of the object. When a

single object is selected, you can edit this field to

give the object a new name. When multiple objects

are selected, this field shows "Multiple Selected,"

and cannot be edited.

Color—The color swatch shows the object’s color.

Yo u c a n c l i c k i t t o d i s p l a y t h e Object Color dialog

(page 1–159) and select a different color.

Dimensions—Displays the X, Y, and Z dimensions

of the object’s extents (page 3–936).

Vertices and Faces—Display the number of vertices

and faces in the object. For shapes (page 1–262),

these values are the values used if you have made

the shape renderable. Faces for renderable shapes

are generated only at rendering time.

Shape Vertices and Shape Curves—Appear only

forshapeobjects. ShapeVerticesisthenumber

ofverticesintheshape,andShapeCurvesisthe

numberofpolygons.(ShapeCurvesisthevalue

that appeared as "Polygons" in previous releases.)

These values can change over time: they are valid

only for the current frame and the current view.

Parent—Displays the name of the object’s parent in

a hierarchy. Shows "Scene Root" if the object has

no hierarchical parent.

Material Name—Displaysthenameofthematerial

assigned to the object. Displays "None" if no

material is assigned.

Num. Children—Displays the number of children

hierarchically linked to the object.

In Group/Assembly—Displaysthenameofthe

group or assembly to which the object belongs.

Displays "None" if the object is not part of a group.

Layer—Displaysthenameofthelayerwhichthe

object is assigned to.

Interactivity Group

Hide— Hides the selected object or objects.

Hiddenobjectsexistinthescene,butdonot

appear in the viewports or rendered images. To

unhide hidden objects, use the Display panel (page

3–775) or choose Tools > Display Floater (page

3–775).

Note: Objectsresidingonahiddenlayerare

automatically hidden, regardless of this setting.

Tip: The Layer Manager (page 3–656) is the easiest

way to hide groups of objects or layers.

Freeze—Freezes the selected object or objects.

General Panel (Object Properties Dialog) 119

Frozen objects appear in the viewports, but cannot

be manipulated. To unfreeze frozen objects, use

the Display panel (page 3–775) or choose Tools >

Display Floater (page 3–775).

Note: Objects residing on a frozen layer are

automatically frozen, regardless of this setting.

Tip: The Layer Manager (page 3–656) is the easiest

way to freeze groups of objects or layers.

Display Properties group

By Object/By Layer—Toggles between object

settings or object layer settings. Object settings

affect only the object or objects selected. Object

layer settings affect all objects on the same layer as

the selected object.

Note: If multiple objects are selected and have

different By Layer settings, this button will read

‘Mixed’.

See-Through—Makes the object or selection

translucentinviewports. Thissettinghasno

effect on rendering: it simply lets you see what

is behind an object in a crowded scene, and

especially to adjust the position of objects behind

the see-through object. Default=off.

Note: This option is also available in the Display

panel (page 3–775) and by choosing Tools >

Display Floater (page 3–775).

You can customize the color of see-through objects

by using the Colors panel (page 3–799) of the

Customize > Customize User Interface dialog (page

3–792).

Keyboard shortcut (default): Alt+X

Display as Box—Toggles the display of selected

objects, both 3D objects and 2D shapes, as

bounding boxes (page 3–919).Producesminimum

geometric complexity for rapid display in

viewports. Default=off.

Note: This option is also available in the Display

panel (page 3–775) and by choosing Tools >

Display Floater (page 3–775).

Backface Cull—Toggles the display of faces with

normals (page 3–980) that point away from the

view. When on, you see through the wireframe

to the backfaces. Applies only to wireframe

viewports. Default=on.

Note: This option is also available in the Display

panel (page 3–775) and by choosing Tools >

Display Floater (page 3–775).

120 Chapter 4: Object Properties

Edges Only—Toggles the display of hidden edges

and polygon diagonals (page 3–928).Whenon,

only outside edges appear. When off, all mesh

geometry appears. Applies to Wireframe viewport

display mode, as well as other modes with Edged

Faces turned on.

Note: This option is also available in the Display

panel (page 3–775) and by choosing Tools >

Display Floater (page 3–775).

Vertex Ticks—Displays the object’s vertices as tick

marks. Default=off.

Note: This option is also available in the Display

panel (page 3–775) and by choosing Tools >

Display Floater (page 3–775).

Trajectory—Displays the object’s trajectory (page

3–1025).Default=off.

Note: This option is also available in the Display

panel (page 3–775) and by choosing Tools >

Display Floater (page 3–775).

Ignore Extents—When on, this object is ignored

when you use the display controls Zoom Extents

(page 3–740) and Zoom Extents All (page 3–737).

Note: This option is also available in the Display

panel (page 3–775) and by choosing Tools >

Display Floater (page 3–775).

Keyboard shortcut: No default, but you can

customize it using the Keyboard panel (page 3–793)

of the Customize > Customize User Interface dialog

(page 3–792).

Show Frozen in Gray—When on, the object turns

gray in viewports when you freeze it. When off,

viewports display the object with its usual color or

textureevenwhenitisfrozen.Default=on.

General Panel (Object Properties Dialog) 121

Note: This option is also available in the Display

panel (page 3–775) and by choosing Tools >

Display Floater (page 3–775).

Vertex Channel Display—For editable mesh (page

1–996),editable poly (page 1–1022),andeditable

patch (page 1–968) objects, displays the assigned

vertex colors in viewports. The drop-down list

l e t s y o u c h o o s e t o d i s p l a y Ve r t e x C o l o r, Ve r t e x

Illumination, Vertex Alpha, Map Channel Color,

or Soft Selection Color. Default=off.

You can assign vertex colors at all sub-object levels

except Edge.

Note: This option is also available on the Display

panel (page 3–775).

Map Channel—Sets the map channel for the vertex

color. Available only when the Map Channel Color

option is active.

Shaded—When on, shaded viewports add shading

to the vertex coloring. When off, colors are

unshaded. Default=off.

Note: This option is also available on the Display

panel and by choosing Tools > Display Floater

(page 3–775).

Rendering Control group

Yo u c a n s e t r e n d e r i n g c o n t r o l f o r l i g h t s t o B y

ObjectorByLayer(thelatteristhedefaultsetting),

and you can also change their Renderable setting.

This allows you to turn individual lights on and off

in your renderings, but more importantly, you can

quickly turn large groups of lights on or off using

the Layer Manager (page 3–656).

By Object/By Layer—To g g l e s b e t w e e n o b j e c t

settings or object layer settings. Object settings

affect only the object or objects selected. Object

layer settings affect the rendering controls of all

objectsonthesamelayerastheselectedobject.

Note: If multiple objects are selected and have

different By Layer settings, this button will read

‘Mixed’.

Visibility—Controls the rendered visibility of the

object. At 1.0, the object is fully visible. At 0.0,

the object is completely invisible when rendered.

Default=1.0.

You can animate this parameter. Animating

Visibility assigns a visibility controller to the

object. By default this is a Bezier float controller

(page 2–310).

Renderable—Makes an object or selected objects

appear or disappear from rendered output.

Nonrenderable objects don’t cast shadows or

affect the visual component of the rendered scene.

Like dummy objects, nonrenderable objects can

manipulate other objects in the scene.

Shape (page 1–262) objects have the Renderable

option turned on by default. In addition, each

shape has an Enable In Renderer parameter.

When both check boxes are on, the shape appears

in rendered output. If Renderable in the Object

Properties dialog is off, the shape is not renderable,

regardless of the state of its local Enable In

Renderer check box.

If you apply a modifier that converts the shape

into a mesh object, such as a Lathe modifier (page

1–707) or Extrude modifier (page 1–680),theshape

automatically becomes renderable regardless of

the state of its local Enable In Renderer setting.

For shapes, the Renderable check box in the

Object Properties dialog affects the main object,

122 Chapter 4: Object Properties

so the check box also affects all instances of and

references to the shape.

Inherit Visibility—Causes the object to inherit

a percentage of the visibility of its parent (as

determined by the parent’s Visibility track in Track

View). When a group parent is assigned a visibility

track, Inherit Visibility is automatically turned on

for all children in the group. The children will have

the maximum visibility of the parent. Transparent

materials and hidden objects have no effect on this

function.

Visible to Camera—When on, the object is visible

to cameras in the scene. When off, cameras do

not view this object; however, its shadows and

reflections are rendered. Default=on.

Visible to Reflection/Refraction—When on, the

object has “secondary” visibility: it appears in

rendered reflections and refractions. When off,

the object does not appear in rendered reflections

or refractions. Default=on.

Note: An object can have Visible To Camera on but

Visible To Reflection/Refraction off, in which case

the object renders in the scene but does not appear

in reflections or refractions.

Receive Shadows—When on, the object can receive

shadows. Default=on.

The mental ray renderer supports the Receive

Shadows toggle.

Cast Shadows—When on, the object can cast

shadows. Default=on.

Apply Atmospherics—When on, atmospheric

effects are applied to the object. When off,

atmospheric effects do not change the rendered

appearance of this object. Default=on.

Render Occluded Objects—Allows special effects

to affect objects in the scene that are occluded by

this object. The special effects, typically applied

by plug-ins (page 3–995) such as Glow (page

3–226),useG-buffer (page 3–946) layers to access

occludedobjects.Turningonthiscontrolmakes

the object transparent for the purposes of special

effects. This makes no difference when you render

to most image files. When you render to either

the RLA (page 3–630) or RPF (page 3–631) file

format, however, occluded objects appear with the

effect applied on their designated G-buffer layer.

Default=off.

G-Buffer group

Allows you to tag an object as a target for a render

effect (page 3–218) based on the G-buffer (page

3–946) channel. Assigning the object a nonzero ID

creates a G-buffer channel that can be associated

with a render effect.

Warning: The mental ray renderer (page 3–78) does not

recognize Z-depth with G-buffers. G-buffer data is saved

on a single layer. Also, the mental ray renderer does not

support the following effects:

•Glow lens effect (page 3–226) (rendering effect)

•Ring lens effect (page 3–230) (rendering effect)

•Lens effects Focus filter (page 3–362) (Video

Post)

Object Channel—Setting this spinner to a nonzero

number means that the object will receive the

rendering effects associated with that channel in

Render Effects and the post-processing effects

associated with that channel in Video Post.

To save the channel data with the rendering,

render to either the RLA (page 3–630) or RPF

(page 3–631) file format.

Motion Blur group

By Object/By Layer—To g g l e s b e t w e e n o b j e c t

settings or object layer settings. Object settings

affect only the object or objects selected. Object

layer settings affect all objects on the same layer as

the selected object.

Advanced Lighting Panel (Object Properties Dialog) 123

Note: If multiple objects are selected and have

different By Layer settings, this button will read

‘Mixed’.

Multiplier—Affects the length of the motion-blur

streak.

If you choose either form of motion blur here in

theObjectPropertiesdialog,youmustalsochoose

to apply that type of blur in the Render Scene dialog

(page 3–2).

The rendering speed of object motion blur

depends on the complexity of the geometry to

which it’s assigned. The rendering speed of image

motion blur depends on the amount of rendered

screen space taken up by the blurring object.

In most cases image motion blur renders more

quickly. Object motion blur renders more quickly

when applied to very simple objects, and image

motion blur renders more slowly when the object

takesupalotofscreenspace,andmovesallthe

way across the screen in a single frame.

Changing the Object Blur Multiplier value.

Enabled—When on, enables motion blur for

this object. When off, motion blur is disabled

regardless of the other blur settings. Default=on.

You can animate the Enabled check box. The

main use of animating Enable is to apply motion

blur over only a limited range of frames. This can

save a tremendous amount of time when you are

rendering an animation.

You can enable motion blur for lights and cameras.

With the mental ray renderer, moving lights and

cameras can generate motion blur. However,

they do not generate motion blur with the default

scanline renderer.

•None—Turns off the state of motion blur for the

object.

•Object—Object motion blur (page 3–981)

provides a time-slice blur effect.

•Image—Image motion blur (page 3–955) blurs

the object’s image based on the velocity of each

pixel.

Advanced Lighting Panel (Object

Properties Dialog)

Select object or objects. > Edit menu > Object Properties

> Object Properties dialog > Advanced Lighting panel

Select object or objects. > Right-click. > Transform

(lower-right) quadrant of the quad menu > Properties >

Object Properties dialog > Advanced Lighting panel

Layer manager > Click the icon next to an object’s name.

> Object Properties dialog > Advanced Lighting panel

This panel of the Object Properties dialog lets you

customize how objects behave under advanced

lighting (the Light Tracer (page 3–44) or radiosity

(page 3–51)).

124 Chapter 4: Object Properties

Interface

Selection Information rollout

Num. Geometric Objects—The number of

geometric objects present in the current selection.

Num. Light Objects—The number of lights present

in the current selection.

Geometric Object Radiosity Properties rollout

Exclude from Adv. Lighting Calculations—When

on, the current selection is excluded from

advanced lighting (radiosity or light tracing).

Objectsexcludedfromadvancedlightingwillnot

contribute to indirect illumination.

By Object/By Layer—Toggles between object

settings and object layer settings. Object settings

affect only the object or objects selected. Object

layer settings affect all objects on the same layer as

the selected object. Most settings on this rollout

are available only when this toggle is set to By

Object. Default=By Object.

Note: If multiple objects with different settings are

selected, this button will read “Mixed.”

Adv. Lighting General Properties group

Cast Shadows—Determines whether objects will

cast shadows in the radiosity solution.

Note: When disabling Cast Shadows, you should

also turn off Diffuse (reflective & translucent)

and Specular (transparent) in the Radiosity-only

Properties group. If these switches are left turned

on, objects will still generate light that can produce

artifacts in the solution.

Receive Illumination—Determines whether objects

will receive indirect illumination.

Num. Regathering Rays Multiplier— Lets you

adjust the number of rays cast by this object, per

pixel. If an object looks “blotchy” after rendering,

Increasing this value can improve its appearance.

Default=1.0.

Tip: Increasing this setting is most useful for

objects with large, smooth surfaces. More complex

geometry tends not to show advanced lighting

artifactsasmuchassmoothsurfacesdo.

Radiosity-only Properties group

Diffuse (reflective & translucent)—When on, the

radiosity solution will process diffuse reflection

and translucency (page 3–1027) of the selected

objects.

Specular (transparent)—When on, radiosity will

process transparency of the selected objects.

Exclude from Regathering—When on, objects

are excluded from the regathering process when

rendering.

Advanced Lighting Panel (Object Properties Dialog) 125

For more information on the Radiosity-only

Properties group, see Radiosity Control Panel (page

3–61).

Object Subdivision Properties group

Use Global Subdivision Settings—When on, the

object’s meshing settings correspond to the global

subdivision settings on the Radiosity Control

Panel. When off, you can change the meshing

settings for each object. Default=on.

•Subdivide—When on, a radiosity mesh is

created for the objects regardless of the

global meshing state. The subdivision that is

performed is determined by the Use Adaptive

Subdivision switch. When off, the settings

in the Mesh Settings group are unavailable.

Default=on.

•UseAdaptiveSubdivision—Toggles adaptive

subdivision. Default=on.

Tip: Adaptive meshing is computed for an

object only if ShootDirectLightsis turned on in

the Radiosity Meshing Parameters rollout (page

3–67).

Note: The Mesh Settings group parameters

Contrast Threshold, Min Mesh Size, and Initial

Mesh Size are available only when Use Adaptive

Subdivision is turned on.

Mesh Settings group

Max Mesh Size—The size of the largest faces after

adaptive subdivision. Default=36” for imperial

units and 100cm for metric units.

WhenUseAdaptiveSubdivisionisoff,MaxMesh

Size sets the size of the radiosity mesh in world

units.

Min Mesh Size—Faces are not divided smaller than

the minimum mesh size. Default=3 inches for

Imperial units and 10cm for metric units.

Contrast Threshold—Faces that have vertex

illuminations that differ by more than the Contrast

Threshold setting are subdivided. Default=75.0.

Initial Mesh Size—When improving the face shape,

faces that are smaller than the Initial Mesh Size

are not subdivided. The threshold for deciding

whether a face is poorly shaped also gets larger

asthefacesizeisclosertotheInitialMeshSize.

Default=12 inches for Imperial units and 30cm for

metric units.

Radiosity Refine Iterations—The number of refine

iterations in the radiosity process for the current

selection.

Iterations Done—Thenumberofrefineiterations

performed on the current selection.

Light Object Radiosity Properties rollout

Theseoptionsareavailableonlyforlightobjects.

Exclude from Radiosity Processing—When on, the

current selection is excluded from the radiosity

solution. When lights are excluded from radiosity,

their direct contribution is only used for rendering.

This option is available only when By Object is

selected.

By Object/By Layer—To g g l e s b e t w e e n o b j e c t

settings or object layer settings. Object settings

affect only the object or objects selected. Object

layer settings affect all objects on the same layer as

the selected object.

Note: If multiple objects are selected and have

different settings, this button reads “Mixed.”

Store Direct Illumination in Mesh—When on, the

light’s direct illumination is added to the radiosity

mesh, even if the global rendering mode is Render

Direct Illumination. This is comparable to the

Re-Use Direct Illumination option when rendering

radiosity, but only for this particular light.

126 Chapter 4: Object Properties

When off, the light’s direct illumination is

used only when you render the scene. This is

comparable to the Render Direct Illumination

option.

for more information about the Re-Use Direct

Illumination and Render Direct Illumination

options, see Rendering Parameters Rollout

(Radiosity) (page 3–71). In general, re-using

direct illumination stored in the radiosity mesh

improves render time, but shadows appear coarse

and inaccurate unless the mesh is very fine.

Rendering direct illumination and shadows (using

the radiosity mesh to provide only indirect light)

takes more time but gives you a more finished and

accurate image.

mental ray Panel (Object

Properties Dialog)

Edit menu > Object Properties > Object Properties dialog

>mentalraypanel

Select object or objects. > Right-click. > Transform

(lower-right) quadrant of the quad menu > Properties >

Object Properties dialog > mental ray panel

Layer manager > Click the icon next to an object’s name.

> Object Properties dialog > mental ray panel

This panel of the Object Properties dialog supports

mental ray rendering; specifically, the indirect

illumination features caustics (page 3–92) and

global illumination (page 3–93).Theycontrol

whether objects generate or receive caustics or

global illumination.

These settings are ignored where they aren’t

appropriate. For example, lights can be set to

generate caustics, but for a light, the Receive

Causticssettinghasnoeffect,aslightsaren’t

renderable. Similarly, these settings have no

meaning for cameras.

Also available on this panel are controls for setting

displacement parameters on a per-object basis.

Interface

Thementalraypanelcontainsparametersforthementalray

renderer.

Indirect Illumination group

Generate Caustics—When on, the object can

generate caustics. (For this to happen, Caustics

must also be enabled using the Render Scene

dialog’s Caustics And Global Illumination rollout

(page 3–106).) When off, the object does not

generate caustics. Default=off.

Receive Caustics—When on, the object can receive

caustics. That is, caustic effects are cast onto

this object. (For this to happen, Caustics must

also be enabled using the Caustics And Global

Illumination rollout.) When off, the object does

not receive caustics. Default=on.

Generate Global Illumination—When on, the object

can generate global illumination. (For this to

happen, Global Illumination must also be enabled

using the Caustics And Global Illumination

rollout.) When off, the object does not generate

global illumination. Default=off.

Receive Global Illumination—When on, the object

can receive global illumination. That is, reflected

lightiscastontothisobject.(Forthistohappen,

Global must also be enabled using the Caustics

And Global Illumination rollout.) When off,

theobjectdoesnotreceiveglobalillumination.

Default=on.

User Defined Panel (Object Properties Dialog) 127

Displacement group

These settings let you apply displacement

parameters on a per-object basis.

Use Global Settings—When on, applies to all

objects the Displacement settings on the Render

Scene dialog > Renderer panel > Shadows and

Displacement rollout (page 3–114).Turnoffto

make settings on a per-object basis. Default=on.

View-Dependent—Defines the space for

displacement. When View-Dependent is on, the

Edge Length setting specifies the length in pixels.

When off, Edge Length is specified in world-space

units. Default=on.

Smoothing—Turn off to have the mental ray

renderer correctly render height maps. Height

maps can be generated by normal mapping; see

Creating and Using Normal Bump Maps (page

3–150).

When on, mental ray simply smoothes the

geometry using the interpolated normals, making

the geometry look better. This result, however,

cannot be used for height map displacement

because smoothing affects geometry in a way that

is incompatible with height mapping.

Edge Length—Defines the smallest allowable

edge length. The mental ray renderer will stop

subdividing an edge once it reaches this size.

Default=2.0 pixels.

Max. Displace—Controls the maximum offset, in

world units, that can be given to a vertex when

displacing it. This value can affect the bounding

box of an object. Default=20.0.

Tip: If displaced geometry appears to be “clipped,”

try increasing the value of Maximum Displace.

Note: When using placeholders (see the Translator

Options rollout (page 3–119)), if this value is larger

than it needs to be, it can reduce performance. If

youexperienceslowtimeswhiledisplacedobjects

when Use Placeholder Objects is on, try lowering

the Max. Displace value.

Max. Level—Controls how many times a triangle

can be subdivided. Default=6.

User Defined Panel (Object

Properties Dialog)

Edit menu > Object Properties > Object Properties dialog

>UserDefinedpanel

Select object or objects. > Right-click. > Transform

(lower-right) quadrant of the quad menu > Properties >

Object Properties dialog > User Defined panel

Layer manager > Click the icon next to an object’s name.

> Object Properties dialog > User Defined panel

This panel of the Object Properties dialog lets

you enter properties or comments that you define

yourself.

128 Chapter 4: Object Properties

Interface

User Defined Properties—In this text box, you can

enter properties for the object, or comments about

it, that you define yourself. 3ds Max doesn’t use

these properties, but it saves them with the scene,

and they reappear whenever you view the Object

Properties dialog for the object.

Rename Objects Tool

Tools menu > Rename Objects

The Rename Objects tool helps you rename several

objects at once.

Interface

Selected—When chosen, renaming affects

currently selected objects.

Pick—Click to display a Pick Objects To Rename

dialog to choose which objects to rename. This

dialog has the same controls as the Select Objects

dialog (page 1–78).

Base Name—Enter a base name for all objects. The

toggle enables or disables this name.

Prefix—When on, lets you enter a string that will

be a prefix to the name of all renamed objects.

Remove First N Digits—When on, the first N

characters in the base name are removed from

object names. The spinner sets the value of N.

Suffix—When on, lets you enter a string that will

be a suffix to the name of all renamed objects.

Remove Last N Digits—When on, the last N

characters in the base name are removed from

object names. The spinner sets the value of N.

Numbered—When on, lets you number object

names incrementally.

•Base Number—Thebasenumberappendedto

the name of the first renamed object.

Custom Attributes 129

•Step—Thestepbywhichthebasenumberis

incremented in succeeding renamed objects.

Rename—Click to rename the affected objects and

have your changes take effect.

Custom Attributes

Animation menu > Parameter Editor

Keyboard > Alt+1

Use the Parameter Editor to assign custom

attributes to objects, modifiers, materials, and

animation tracks. A custom attribute is an

additional, abstract parameter; abstract in

the sense that it does not directly extend the

functionality of the object by default. It affects an

object only after wire parameters (page 2–411),

reaction controllers (page 2–358),orexpression

controllers (page 2–320) are set up to connect

the custom attribute to another parameter in the

scene. You can also use custom attributes to store

job-specific notes and data.

Custom attributes behave like other object

parameters in several ways:

• They are saved and loaded in the scene file

along with the object.

• They can be animated and keyframed.

• They are displayed in Track View along with the

base parameters.

Each custom attribute parameter can be one of a

number of different data types, including integers,

floating numbers, Booleans, arrays, nodes, colors,

and texture maps. Parameters added to an object

or modifier appear on a Custom Attributes rollout

on the Modify panel. For each custom attribute

parameter you create, you can specify the name,

layout, value range, default value, and UI type:

spinnerorsliderforfloatsandintegers,checkbox

for Booleans, etc.

As you customize an attribute, the result is

displayedontheTestingAttributerolloutatthe

bottom of the dialog.

See also

Parameter Collector (page 1–138)

Attribute Holder Modifier (page 1–559)

Custom Attributes Special Features

The Custom Attributes feature offers an array of

workflow-enhancing functionality, including:

• the ability to add custom attributes to specific

animation tracks.

• the ability to edit existing custom attributes.

• 13 available data types.

• a variety of available UI options, such as

ComboBox and ListBox for the Array data type.

• the ability to position UI elements precisely

with X and Y Offset controls.

•theabilitytopreserve custom attributes when

collapsing the stack.

•AspecialAttribute Holder modifier (page

1–559) that lets you collect attributes from

different entities and access them in one place

on the Modify panel.

Procedures

To add a parameter to an object:

1. Select the object.

2. Choose Animation menu > Parameter Editor.

The Parameter Editor opens.

3. Change settings as desired.

4. Click Add.

The parameter is added to the level specified

in the Add To Type list. If an object has no

custom attributes, Parameter Editor first adds a

Custom Attributes entry to the current Add To

130 Chapter 4: Object Properties

Type level, and then adds the parameter to the

Custom Attributes entry. If an object has more

than one Custom Attributes entry as a result of

collapsing its stack, the parameter is added to

the first Custom Attributes entry.

If a custom attribute parameter is assigned to

an object or modifier, you can see and edit its

value on the Modify panel after adding it by

activating the entity to which the attribute is

assigned. If the custom attribute is assigned

to a material, it’s available for that material in

the Material Editor, on the Custom Attributes

rollout. To access a parameter that’s assigned to

an animation track, open Track View, highlight

the track’s Custom Attributes entry, and then

right-click and choose View Attribute Dialog.

To edit a parameter or custom attribute:

1. Select the object.

2. Choose Animation menu > Parameter Editor.

The Parameter Editor opens.

3. From the Add To Type drop-down list, choose

the type of parameter to edit, and then click

Edit/Delete.

The Edit Attributes/Parameters dialog opens.

Custom Attributes 131

Note: If you chose Add To Type > Picked Track,

the Track View Pick dialog might open first

to prompt you to choose the animation track

whose attribute to edit.

4. In the Edit Attributes/Parameters dialog,

highlight the parameter to edit.

ItssettingsappearintheParameterEditor.

5. Change the settings in the Parameter editor,

and then click Accept Parameter changes.

6. With multiple parameters or custom attributes,

to change the ordering, click the entity to move,

and then use the up and down arrow buttons to

move the entity in the list. Moving a Custom

Attributes entry also moves its parameters.

Note: You cannot rename a Custom Attributes

entry.

7. When finished editing, click Apply Changes,

and then exit the dialog by clicking the Close

or Cancel button.

To delete a custom attribute or parameter:

1. Select the object.

2. Choose Animation menu > Parameter Editor.

The Parameter Editor opens.

3. From the Add To Type drop-down list, choose

the type of parameter to delete, and then click

Edit/Delete.

The Edit Attributes/Parameters dialog opens.

Note: If you chose Add To Type > Picked Track,

the Track View Pick dialog might open first to

prompt you to choose the animation track from

which to delete the attribute.

4. In the Edit Attributes/Parameters dialog,

highlight the parameter to delete, and then click

Delete Parameter. Alternatively, to delete all

parameters under the same Custom Attributes

heading as the highlighted parameter, click

Delete All Parameters.

To delete one or more custom attributes instead,

click a Custom Attributes heading, and then

click Delete Attribute or Delete All Attributes.

Multiple attributes can result from collapsing an

object’s stack with Preserve Custom Attributes

on. For example, one set of custom attributes

might be applied to an object and a second set

of attributes assigned to one of its modifiers.

Collapsing such an object results in two sets of

custom attributes.

5. Click Apply Changes, and then close the dialog

by clicking its Close box or the Cancel button.

Interface

The Parameter Editor takes the form of a dialog

with several rollouts: The first rollout sets general

options for the attribute; the central rollout sets

options for the current parameter type; and the

third lets you preview the attribute user interface

(UI).

132 Chapter 4: Object Properties

Attribute rollout

Add to Type group

Add to Type list—Choose whether the custom

attribute is assigned to the selected object, its

active modifier (as highlighted in the modifier

stack), its material, or a picked track. Also use

this drop-down list to choose the attribute type to

delete or edit.

If the text “Pick Explicit Track” appears in the

box below the drop-down list before you choose

Picked Track , the Track View Pick dialog appears

showing the Track View hierarchy. Expand the

hierarchy as necessary, click the track to add the

attribute to, and then click OK.

Note: If you choose Selected Object’s Current

Modifier and multiple modifiers are highlighted in

the stack when you click Add, Parameter Editor

applies the custom attribute to the first modifier

you highlighted and removes the highlighting

from the other modifiers.

[pick explicit track]—Click this button to open

a Track View hierarchy window from which to

choose an animation track. Navigate the hierarchy

to find the desired track, highlight the track, and

then click OK. The controller information for the

track then appears in the text box to the right of

the button, and the Parameter Editor will then use

this track for adding or editing custom attributes

and parameters.

Add/Edit/Delete group

Add—Applies the custom attribute parameter to

the current object, modifier, material, or track,

depending on the current choice in the Add To

Type list.

If a custom attribute parameter is assigned to an

object or modifier, you can see and edit its value

on the Modify panel after adding it by activating

the entity to which the attribute is assigned. If

the custom attribute is assigned to a material, it’s

Custom Attributes 133

available for that material in the Material Editor. To

access a parameter that’s assigned to an animation

track, open Track View, highlight the track’s

Custom Attributes entry, and then right-click and

choose View Attribute Dialog.

Edit/Delete—Opens the Edit Attributes/Parameters

dialog.

This dialog displays a list of all of the custom

attribute parameters assigned to the currently

object at the current level. Dialog behavior is

described in these two procedures: To edit a

parameter or custom attribute: (page 1–130) and

To delete a custom attribute or parameter: (page

1–131).

Parameter Type group

Parameter Type—Use the drop-down list to

choose the data type for the current parameter.

The following list includes links to the sections

describing the UI settings for each parameter’s

data type:

•Angle:Spinner (page 1–133) or Slider (page

1–134)

•Array (page 1–135)

•Boolean:CheckBox (page 1–135) or

CheckButton (page 1–135)

•Color (page 1–136)

•Float:Spinner (page 1–133) or Slider (page

1–134)

•fRGBA (page 1–136)

•Integer:Spinner (page 1–133) or Slider (page

1–134)

•Material (page 1–137)

•Node (page 1–136)

•Percent:Spinner (page 1–133) or Slider (page

1–134)

•String (page 1–137)

•TextureMap (page 1–137)

•WorldUnits:Spinner (page 1–133) or Slider

(page 1–134)

UI Type group

UI Type—Selects the type of UI element that

controls the parameter.

The UI types available depend on which parameter

type you specify. For example, float and integer

values are controlled by spinners or sliders, and

Boolean values by check boxes or check buttons.

Array values are always controlled by drop-down

lists, node values by pick buttons, color values

by color pickers, and texture map values by map

buttons.

Full descriptions of each UI Options rollout

follow, and the list of parameter types, above,

includeslinkstotherespectiveUIOptionsrollout

descriptions.

Name—The name of the parameter. Parameter

Editor gives the parameter the default name

Param#, with # being a number. Change the name

by editing this field.

Angle/Float/Integer/Percent/WorldUnits UI

Options rollout: Spinner

This is a numeric value that the user can set with a

standard 3ds Max spinner.

134 Chapter 4: Object Properties

Size group

Width—Sets the width of the spinner.

Range group

From—Sets the minimum value of the spinner.

To—Sets the maximum value of the spinner.

Default—Sets the default value of the spinner.

Alignment group

Left/Right/Center—Sets the alignment of the

spinner in the rollout.

Offsets X/Y—Fine-tune the position of the spinner

on the horizontal and vertical axes.

Angle/Float/Integer/Percent/WorldUnits UI

Options rollout: Slider

This is a numeric value that the user can set with a

standard 3ds Max slider.

Size group

Width—Sets the width of the slider.

Range group

From—Sets the minimum value of the slider.

To—Sets the maximum value of the slider.

Default—Sets the default value of the slider.

Alignment group

Left/Right/Center—Sets the alignment of the slider

in the rollout.

Offsets X/Y—Fine-tune the position of the slider on

the horizontal and vertical axes.

Orientation And Ticks group

Vertical—When on, the slider will be displayed

vertically. When off, the slider is displayed

horizontally.

Ticks—Sets the number of ticks along the slider.

Theticksaredistributedevenlyalongthelength

of the slider.

Custom Attributes 135

Boolean UI Options rollout: Check Box

This is a standard 3ds Max check box that the user

canturnonandoffbyclickingitwiththemouse.

Size group

Width—Sets the width of the check box.

Height—Sets the height of the check box.

Alignment group

Left/Right/Center—Sets the alignment of the check

box in the rollout.

Offsets X/Y—Fine-tunethepositionofthecheck

box on the horizontal and vertical axes.

Boolean UI Options rollout: Check Button

This is a standard 3ds Max check button that the

user can turn on and off by clicking it with the

mouse.

Size group

Width—Sets the width of the check button.

Height—Sets the height of the check button.

Alignment group

Left/Right/Center—Sets the alignment of the check

button in the rollout.

Offsets X/Y—Fine-tune the position of the check

button on the horizontal and vertical axes.

Check Button Options group

Highlight Color—Sets the color of the button when

it is pressed.

Array UI Options rollout: Drop-Down

List/ComboBox/ListBox

This lets the user of the custom attribute choose

anamedoptionfromalist.Theoptionsforthe

three Array UI types are the same; they differ in

how they appear on the Custom Attributes rollout.

The types are:

• Drop-Down List: Only the current choice is

visible by default. The user clicks the field

to open the list and then clicks to choose a

different item.

• ComboBox: Displays an editable field above a

list box. The user clicks to choose from the list,

or edits the field.

• ListBox: Displays a list. The user clicks the

desired item; the highlighting indicates the

current choice.

136 Chapter 4: Object Properties

Size group

Width—Sets the width of the list.

Height—Sets the height of the list.

Alignment group

Left/Right/Center—Sets the alignment of the

drop-down list in the rollout.

Offsets X/Y—Fine-tune the position of the array list

on the horizontal and vertical axes.

Array group

Item name—Lets you enter a name into the list.

Click Add Item to add the name to the array list.

To remove an item, highlight its name and click

Delete Item. Click Clear Array to remove all items

from the list.

[array list]—Displays the contents of the list.

The item at the top of the array list is the default

selection.

Node UI Options rollout: Pick Button

Anodeisanyobjectinthe3dsMaxscene.The

Node UI element creates a button that, when

clicked,letstheuserpickascenenodeotherthan

the one to which the attribute is attached. After

selecting the node, its name appears on the button.

Size group

Width—Sets the width of the pick button.

Height—Sets the height of the pick button.

Alignment group

Left/Right/Center—Sets the alignment of the pick

button in the rollout.

Offsets X/Y—Fine-tune the position of the pick

button on the horizontal and vertical axes.

Color UI Options rollout: Color Picker

This creates a color swatch that displays the current

color and lets the user click it to choose a new color

with the Color Selector dialog.

Custom Attributes 137

Size group

Width—Sets the width of the color picker.

Height—Sets the height of the color picker.

Alignment group

Left/Right/Center—Sets the alignment of color

picker in the rollout.

Offsets X/Y—Fine-tune the position of the color

picker on the horizontal and vertical axes.

ColorPicker Default Color group

Default Color—Sets the default color of the color

picker.

Material/TextureMap Options rollout:

MaterialButton/MapButton

The options for the Material UI type

(MaterialButton) and TextureMap UI type

(MapButton) are the same. The difference is that,

when the user clicks the resulting button to open

the Material/Map Browser, the former displays

only materials and the latter displays only maps.

Size group

Width—Sets the width of the material/map button.

Height—Sets the height of the material/map

button.

Alignment group

Left/Right/Center—Sets the alignment of the

material/map button in the rollout.

Offsets X/Y—Fine-tune the position of the

material/map button on the horizontal and vertical

axes.

String Options rollout: EditText

The String parameter type creates a text box that

the user can edit with the keyboard, with optional

default text.

Size group

Width—Sets the width of the material/map button.

Height—Sets the height of the material/map

button.

Alignment group

Left/Right/Center—Sets the alignment of the text

box in the rollout.

Offsets X/Y—Fine-tune the position of the text box

on the horizontal and vertical axes.

138 Chapter 4: Object Properties

Label group

Label above text box—When off, the label

(parameter name) appears to the left of the text

box. When on, the label appears above the text

box.

EditTextDefaultTextgroup

Default Text—Enteranydefaulttextthatshould

appear in the box before the user edits it.

Testing Attribute rollout

This rollout displays the UI layout for the custom

attribute that you are working on. It updates

continuously so that you can see how different

settings in the various rollouts affect the UI display

of the attribute.

The UI element is operational in this rollout in

the sense that it can be moved, clicked, toggled,

and so on.

Parameter Collector

Animation menu > Parameter Collector

Keyboard > Alt+2

Parameter Collector lets you sort and present

animatable parameters so that you can access and

key selected parameter sets with a click or two. It

takes the form of a resizable dialog that regenerates

dynamically as parameters change. The dialog

supports drag-and-drop rollout reordering.

Collections are saved with their scenes and can be

merged into other scenes.

One of Parameter Collector’s most powerful

features is the ability to change all parameters

in a collection simultaneously, in an absolute or

relative mode. For example, if you’re animating a

character’s hand, you can use Parameter Collector

to easily make all the fingers curl up together to

form a fist.

Note: Parameter Collector does not support

parameters of externally referenced objects (page

3–394) or objects in externally referenced scenes

(page 3–407).

See also

Custom Attributes (page 1–129)

Attribute Holder Modifier (page 1–559)

Procedure

Example: To use Parameter Collector:

This exercise demonstrates some basic Parameter

Collector functions.

In general, start with a scene containing one or

more objects whose parameters you’ll collect.

Ideally, they should be animated, but it’s not

absolutely necessary.

1. For this example, reset 3ds Max and then add a

sphere.

2. Open Parameter Collector from the Animation

menu, or press Alt+2 .

3. On the Parameter Collector toolbar, click

the Add To New Rollout button.

The Track View Pick dialog opens. This lets you

specify parameters to collect.

4. On the Track View Pick dialog, expand

Objects > Sphere01 > Transform:

Position/Rotation/Scale > Position:

Position XYZ.

5. Click X Position: Bezier Float.

The parameter highlights.

Parameter Collector 139

6. Click OK to close the dialog.

A new rollout named Parameters 1 appears,

containing the X Position parameter.

Note: A parameter in Parameter Collector can

contain only a single value (e.g., float, integer,

color), so the software doesn’t let you add

parameters such as Position: Position XYZ,

which contains three distinct values.

7. Click Add To Selected Rollout and then

use the same method to add the Y Position

and Z Position parameters: Highlight both

parameters on the Track View Pick dialog and

then click Add To Selected Rollout to add both

at once to the Parameters 1 rollout.

8. Drag each spinner in turn to move the sphere

on the respective axis.

As you change each parameter value, the sphere

movesinrealtimeintheviewports.

9. Set all three parameters to 0.0.

10.Click the check button next to each parameter

to select all three.

11. Onthetoolbar,turnonMultipleEdits.

12.Drag one of the spinners.

All three change by the same amount, so that

thespheremovesdiagonallyinthescene.

13.UsethekeyboardtochangetheYPosition

value to 30.0.

Again, the other two change.

14. Click the Absolute/Relative button to turn

on Relative mode.

All the values display 0.0, as with Offset mode

on the status bar coordinate display.

15.Use the spinner to set Y Position to 0.65.

The three change in unison, and then reset back

to 0.0 when you release the mouse button. This

has added the value you set to each of the three

positions, as you’ll see in the next step.

16. Click the Absolute/Relative button to return

to Absolute mode.

The values are all set to 30.65, reflecting the

relative change that you made.

Next, you’ll try a few Edit commands.

17.Click the Y Position check button to deselect

the parameter.

18.From the Edit menu, choose Select Invert.

The Y Position parameter is now selected, and

the other two are deselected.

19. Click the Move Parameters Up button.

The Y Position parameter now sits above the

X Position parameter.

20. Click the Move Parameters Down button.

The Y Position returns to its position below the

X Position parameter.

21.Choose Edit > Edit Notes.

The Notes dialog opens. Here you can change

the parameter name, set a URL or file location

with further information about the parameter,

and enter comments.

22.In the box below Parameter Name, type Sphere

YLoc., and then press Enter .

Thenewnamereplacestheoldoneonthe

rollout. You can see the original name by

hovering the mouse cursor over the parameter

name;itappearsonatooltip.

To conclude this exercise, you’ll use Parameter

Collector to set and edit animation keyframes.

140 Chapter 4: Object Properties

23.On the Collection menu, turn on Show Keys In

Track Bar if necessary.

24. On the 3ds Max status bar, turn on

Auto Key.

25.ChangetheSphereYLoc.(theoldYPosition)

parameter value to 20.0.

Becauseyou’reatframe0,nokeyisset.Thisis

thesamewayAutoKeyworksnormally.

26.Go to frame 20 and then set Sphere Y Loc. to

30.0.

This sets animation keys at frames 0 and 20.

27.Right-click the key at frame 20.

The menu shows that a key exists at frame 20

only for Y Position. Normally, 3ds Max would

create keys for all three axes, even if you moved

thesphereonlyononeaxis.

Parameter Collector can set keys for unselected

objectsaswell.

28.Click in an empty area of the active viewport

to deselect the sphere, and then go to frame 30

and change the Sphere Y Loc. value to 40.0.

This sets another key for Y Position at frame 30.

29. In Parameter Collector, select the X

Position and Z Position parameters, and then

click Key Selected.

This button is available only when Auto Key is

on.

30.Checkthetrackbarkeyagain.Nowthereare

keys for all three parameters, as demonstrated

by the red brackets on the spinners in Parameter

Collector.

31. Click the Properties button to the right of

theSphereYLoc.parameter.

This opens a Key Info dialog (page 2–304) for

the parameter, with the ability to edit the key

time and value as well as interpolation with

other keys. The dialog is also available from

the track bar right-click menu, but it’s much

easier to access the data for a specific key from

Parameter Collector.

Interface

Parameter Collector takes the form of a dialog with

a menu bar, a toolbar, and rollouts that you create

and modify using the dialog tools. You can resize

the dialog horizontally and vertically; expanding it

lets you see all rollouts simultaneously.

Menu Bar

The menu bar provides a range of functions for

using Parameter Collector. See Parameter Collector

Menu Bar (page 1–142) for details. Also, you can

open the Spinner Right-Click menu (page 2–282)

Parameter Collector 141

by right-clicking a numeric field in Parameter

Collector.

Toolbar

The Parameter Collector toolbar provides button

access to the most commonly used functions.

[collection name]—If empty, enter a name for the

current collection, or choose a different collection

from the drop-down list. If a name appears and

you edit it, pressing Enter duplicates the current

collection with the new name.

New Collection—Creates a new, empty

collection, clearing the current collection name

and the rollout area. You can restore any existing

collection by choosing it from the drop-down list.

Duplicate Collection—Creates a new, unnamed

collection containing the same data as the current

collection. Enter a name for the duplicate selection

intheeditablefield.

You can also duplicate a collection and name it at

thesametimebyeditingthenameofanexisting

collection and pressing Enter .

Delete Collection—Removes the current

collection from memory.

Multiple Edits—Enables multiple editing,

in which changing the value of any selected

parameter simultaneously changes all selected

parametersofthesametypebythesameamount.

This applies to both Absolute and Relative modes

(see following).

Absolute/Relative—Wor ks t he s ame w ay a s

the Absolute/Offset mode toggle on the Coordinate

Display (page 3–708). When Absolute is chosen,

modifyingavaluechangesittotheexactamount

you specify. When Relative is chosen, the displayed

value is 0, and modifying the parameter adds the

specified change to the original value. The actual

value appears only in Absolute mode.

This applies to numeric values only; any changes

to other values, such as color, are always absolute.

Note: With multiple parameters selected, and

Multiple Edits on, changing the value of a selected

parameter changes the other selected parameter

values by the same amount, not to the same

amount. This happens in both Absolute and

Relative modes.

Key Selected—Sets keys (page 3–960) for

selected parameters only at the current frame.

Available only when Auto Key (page 3–717) is on.

Reset Selected—Sets all selected numeric

parameters to 0. Has no effect on other parameter

types.

Move Parameters Down—Moves each selected

parameter down one position within its rollout,

if possible.

Move Parameters Up—Moves each selected

parameter up one position within its rollout, if

possible.

AddtoSelectedRollout—Lets you add new

parameters to the selected rollout. Click this

button to open the Track View Pick dialog, and

then choose the parameters from the dialog.

Note: Yo u c a n a d d s e v e r a l p a r a m e t e r s a t o n c e b y

highlighting them in the dialog before clicking OK.

Add to New Rollout—Lets you add new

parameters to a new rollout. Click this button

to open the Track View Pick dialog, and then

choose the parameter from the dialog. Parameter

Collector creates a new rollout to hold the

parameters.

142 Chapter 4: Object Properties

Note: You can add several parameters at once by

highlighting them in the dialog before clicking OK.

Delete Selected—Deletes all selected

parameters.

Delete All—Deletes all parameters and rollouts.

Rollouts

Rollouts work the same way in Parameter Collector

as they do on the command panel (page 1–12).

You can expand and collapse a rollout by clicking

its title bar, and move it to another location by

dragging the title bar. You can resize the dialog to

be able to see all rollouts at once.

Only one rollout can be selected at a time.

Youselectarolloutbyclickingthehorizontal

bar beneath the title; when selected, this bar

is orange-yellow in color, and angle brackets

surround the rollout title (for example, “> Hand

Parameters <”).

The interface for each parameter on a rollout is as

follows:

[Select Parameter]—Asmallcheckbuttonon

the left side of the rollout. Click it to toggle the

parameter’s selection status. When selected,

the button appears pressed in and is colored

yellow-orange.

[parameter name]—By default, the parameter has

the same name as is shown in Track View, but you

can change it with the Edit menu > Edit Notes

command. You can see the default name for a

parameter as well as the object it controls, if any,

by hovering the mouse over the parameter name;

theinformationappearsonatooltip.

[parameter value]—Shows the current value of the

parameter. The parameter type determines how

this appears: numeric field/spinner, color swatch,

etc.Youcaneditthevaluethesamewayasonthe

command panel or a dialog.

If a key exists for the value at the current frame,

the spinner or swatch appears with red brackets

at the corners.

[Properties]—Opens a Key Info dialog (page

2–304) for the parameter. Available only if the

parameter has an animation controller.

Use the Key Info dialog to edit an animation key’s

value, time, and interpolation methods.

Parameter Collector Menu Bar

Animation menu > Parameter Collector > Parameter

Collector menu bar

Keyboard > Alt+2 > Parameter Collector menu bar

The Parameter Collector dialog menu bar provides

access to a number of important commands.

Some of these commands are replicated on the

dialog toolbar; others, such as the Select tools,

are available only from the menus. Also, you can

open the Spinner Right-Click menu (page 2–282)

by right-clicking a numeric field in Parameter

Collector.

Interface

Collection menu

Thefirstthreeitemsinthismenuareunavailable

untilyouenteranameforthecurrentcollectionin

theeditablefield(drop-downlist)justbelowthe

menu bar.

New Collection—Creates a new, empty collection,

clearing the current collection name and the

rollout area. You can restore any existing collection

by choosing it from the drop-down list.

Duplicate Collection—Creates a new, unnamed

collection containing the same data as the current

collection. Enter a name for the duplicate selection

intheeditablefield.

Parameter Collector Menu Bar 143

Delete Collection—Removes the current collection

from memory.

Show Keys in Track Bar—Displays in the track bar

(page 3–703) animation keys for all objects with

parameters in the current collection, whether or

not the objects are selected in the scene.

Isolate Keys in Track Bar—The track bar displays

only keys for parameters in the Parameter

Collector.

Show Selected Keys in Track Bar—Displays in the

track bar (page 3–703) animation keys for all

objects with selected parameters in the current

collection, whether or not the objects are selected

in the scene.

Isolate Selected Keys in Track Bar—The track bar

displays only keys for selected parameters in the

Parameter Collector.

Put to Object—Stores the current collection as part

of an object in the scene. Opens the Put To Object

dialog; highlight an object in the list, and then

click Pick.

Although parameter collections are stored with

the scene in which they’re created, you can use

this function to transfer a collection to a different

scene. After putting the collection to an object,

save the scene. Open or create another scene,

mergetheobjectfromthesavedscenetothenew

one, and then use Get from Object.

You can also back up, organize and streamline

parameter collections by putting and getting

different collections to and from various objects in

your scene. Just remember that if you add, reorder,

or remove parameters or rollouts to a collection

that has been put to an object, you must then put

it to the object again so the changes are saved to

the collection.

Link to Object—Stores the current collection using

a live link as part of an object in the scene. Any

change to the collection instantly updates the

version of the collection stored in the object.

Opens the Link To Object dialog; highlight an

object in the list, and then click Pick.

Link to Object has basically the same function as

Put To Object (see previous entry), except that

it guarantees an up-to-date stored version of the

collection, especially when merging the object

intoanotherscenethatisacommonproduction

workflow.

Note: Onlyone“linked-to”objectcanbeactive

in a scene, but you can use Put To Object on any

number of objects at a time.

Get from Object—Retrieves a collection that you

stored with Put To Object or Link To Object.

Remove from Object—Deletes a collection that you

stored with Put To Object or Link To Object.

Edit menu

Parameter Collector lets you select parameters

in any combination, but you can select no more

than one rollout at a time. To select or deselect

a parameter, click the small button on its left

side. To select or deselect a rollout, click the wide

horizontal button just below the rollout title.

Selecting a rollout deselects any other selected

rollout.

Select All—Selects all parameters and rollouts.

Select All Rollout—Selects all parameters on

the current rollout. Unavailable if no rollout is

selected.

Select None—Deselects all parameters.

Select Invert—Inverts the current selection of

parameters.

Delete Selected—Deletes all selected parameters.

Delete All—Deletes all parameters and rollouts.

144 Chapter 4: Object Properties

Multiple Edits—Enables multiple editing, in which

changing any parameter simultaneously changes

all selected parameters of the same or similar type.

Note: The changed parameter need not be selected.

Absolute/Relative—This works the same as the

Absolute/Offset mode toggle on the Coordinate

Display (page 3–708). When Absolute is chosen,

modifyingavaluechangesittotheexactamount

you specify. When Relative is chosen, the displayed

value shows 0, and modifying the parameter adds

the specified change to the original value. This

applies to numeric values only; changes to any

othervaluetypessuchascolorarealwaysabsolute.

Edit Notes—Opens a single Notes dialog (page

1–145) for all selected parameters.

You can open the Notes dialog for a single

parameter by right-clicking its Select Parameter

button.

Parameters menu

Add to Selected—Lets you add new parameters to

the selected rollout.

Add to New Rollout—Lets you add new parameters

to a new rollout.

Move Up—Moves selected parameters up one

position within their rollout, if possible.

Move Down—Moves selected parameters down

one position within their rollout, if possible.

Move Up By Rollout—Moves selected parameters

to the rollout above, if possible. If the same

parameter already exists in the rollout above, the

selected parameter is simply deleted.

Move Down By Rollout—Moves selected parameters

to the next rollout, if possible. If the same

parameter already exists in the next rollout, the

selected parameter is simply deleted.

Key All—Sets keys (page 3–960) for all parameters

at the current frame. Available only when Auto Key

(page 3–717) is on.

Key Selected—Sets keys (page 3–960) for selected

parameters only at the current frame. Available

only when Auto Key (page 3–717) is on.

Reset All—Sets all numeric parameters to 0. Has

no effect on other parameter types.

Reset Selected—Sets all selected numeric

parameters to 0. Has no effect on other parameter

types.

Rollout menu

Note: While there are no menu commands for

moving rollouts, you can do so simply by dragging

the rollout title bar to a new location.

New Rollout—Creates a new, empty rollout.

New Rollout Selected Parameters—Creates a new

rolloutandpopulatesitwithcopiesofanyselected

parameters.

Rename Rollout—Opens a small dialog that lets

you rename the selected rollout.

Delete Rollout—Deletes the selected rollout.

Delete Rollout Move Up—Deletes the selected

rollout and moves its parameters to the rollout

above.

Delete Rollout Move Down—Deletes the selected

rollout and moves its parameters to the rollout

below.

Notes Dialog (Parameter Collector) 145

Notes Dialog (Parameter Collector)

Parameter Collector > Select one or more parameters. >

Parameter Collector menu bar > Edit menu > Notes

Parameter Collector > Right-click a Parameter Select

button.

The Notes dialog lets you enter a name, URL, and

comments for one or more selected parameters

in Parameter Collector.

Choosing Notes from the Edit menu with multiple

parameters selected opens a single dialog common

to all selected parameters. Right-clicking a

Parameter Select button opens a dialog for that

parameter only.

When you open Notes from the Edit menu with

multiple parameters selected, if the text contents

for a box in all selected parameters are the same (or

null), its check box is on, indicating that changes

to the text will apply to all selected parameters.

If a text box has different contents for different

selected parameters, the check box is off, and the

corresponding text box is empty and unavailable,

preventing any changes. If you turn on a check

box, you can edit the text, and changes will be

applied to all selected parameters.

Interface

The Notes dialog interface comprises three text

boxes, each with its respective check box, and a

button. By default, the text boxes are empty; you

can enter any text into each box, although each has

a specific purpose, as described below.

Parameter Name—Lets you change the parameter

nameshowninParameterCollector.

By default, the parameter name displayed in

Parameter Collector is the same as the name

that appeared in the Track View Pick dialog

when you added it to Parameter Collector. If

you enter a different name in the Notes dialog,

Parameter Collector then displays that name. The

changed name is used only in Parameter Collector;

elsewhere, such as the Modify panel, it remains

thesameasbefore.

You can see the original parameter name, as well

as the object to which it’s attached, by hovering

the mouse over the parameter name in Parameter

Collector; the information appears in a tooltip.

URL—Lets you enter a URL, such as

www.discreet.com.

This could be a link to a Web or intranet page, or

even a network location or file pertaining to the

146 Chapter 4: Object Properties

selected parameter. To access the link, click the

Go button.

Go—If the URL text box contains a valid URL,

clicking Go opens the URL in a separate browser

window.

Notes—Contains any comments on the parameters.

This field is strictly for informational purposes.

Expression Techniques

In 3ds Max, you can use mathematical expressions

(rather than constant numbers) to express

parametervalues.Forexample,youcouldusethe

expression 24*6 to represent the number 144.

You can use mathematical expressions to control

the following object properties:

• Object parameters, such as length, width, and

height

• Transform and modifier values, such as an

object’s position coordinates

Parameter wiring (page 2–411),theexpression

controller (page 2–320),andthenumerical

expression evaluator (page 1–13) all use

expressions, which are described in this topic.

An expression is a mathematical function that

returns a value. You can use expressions to control

thefollowingsceneelements:

Scene element Calculatable property

Creation

parameters

Any numeric creation parameter

Transforms Position [X, Y, Z]

XRotation

YRotation

ZRotation

Scale [X%, Y%, Z%]

Scene element Calculatable property

Modifiers Any numeric modifier parameter

(including creation parameters)

Materials Colors [R, G, B]

Any numeric material parameter

Note: Expressions only work with the individual

XYZ components of Euler rotation. You can’t

assign an expression to TCB rotation or other

kinds of rotation controllers.

The links below are to the sections that follow in

this topic.

Expression Return Types (page 1–146)

Operators (page 1–147)

Variables (page 1–148)

Functions (page 1–148)

See also

Trigonometric Functions (page 1–150)

Vectors (page 1–151)

Expression Controller Techniques (page 2–324)

Expression Return Types

Thetypeofvaluereturnedbyanexpression

depends on the kind of controller:

• Float expressions return a floating-point

scalar value (For example, 5.617). Scalars are

used in the animation controllers of numeric

parameters.

If the parameter has an integer value, the

expression rounds the float value to the nearest

integer.

• Position, Scale, and Point3 expressions return a

three-component vector. For example, [5, 18,

24]. The vector can represent an object’s X,Y,Z

location,percentscalinginX,Y,andZ,ora

color (RGB values) in a material.

Expression Techniques 147

Operators

In the following tables, p and q are any scalar value

or expression, V and W are any vector value or

expression. (The character "x" is used as the vector

cross-product operator.)

Scalar Operators

Thesearethearithmeticoperatorsforscalar

values:

Operator Use Meaning

+p+q

Addition

-p-q Subtraction

--p Additive inverse

*p*q

Multiplication

/ p/q Division

^p^q

power (p to the

power of q)

** p**q ^ and ** are the

same operation

You can also use logical (Boolean) operators with

scalar values. These operators all return 1 if true, 0

otherwise:

Operator Use Meaning

=p=q equal to

<p<q

less than

>p>q

Greater than

<= p<=q less than or equal

>= p>=q Greater than or

equal to

|p|q

Logical OR,

returns 1 if either

p or q is nonzero;

otherwise, returns

&p&q

Logical AND,

returns 1 if p and q

are both nonzero;

otherwise, returns

Tip: Logicaloperatorsareusefulwiththe"if"

function.

Vector Operators

For vectors that have a variable name, you can use

a special component operator (.) to refer to the

three scalar components of the vector:

Use Meaning

V.x first component (X)

V.y second component (Y)

V.z third component (Z)

Thesearetheoperatorsforvectorarithmetic:

Operator Use Meaning

+V+W Addition

-V-W subtraction

*p*V

scalar multiplication

*V*p

scalar multiplication

*V*W

dot product

XVxW

cross product

/V/p

scalar division

Operator Precedence

Expressions have eight levels of precedence. The

higher the operator is on the list, the earlier it is

evaluated.

Operator Level of Precedence

-+ as unary operators, as in -8, +25

.the component operator, as in V.x

** ^

Xcross product

=<><=>=

148 Chapter 4: Object Properties

Parentheses are a special case. They are a grouping

or subexpression operator that is provided so you

can override the precedence order of the other

operators.

Variables

In expressions you write for expression controllers

(page 2–320), variables are represented by

symbolic names. You create them to contain

constant or variable values in your expressions.

Several predefined variables are also provided.

Some of these have a constant value, others can

vary.

In expressions used for parameter wiring (page

2–411) and the numerical expression evaluator

(page 1–13), you can use predefined variables with

constant values.

Predefined Variables with Constant Values

Thesearethepredefinedvariablesthathavea

constant value (variable names are case-sensitive):

Variable

Name

Constant

Value

Use

pi 3.14159 Ratio of a circle’s

circumference to its diameter.

e2.71828 Base of natural logarithms.

TPS 4800 Ticks per second. The tick is

the basic time unit of 3ds Max

animation.

Predefined Variables with Variable Values

Thesearethepredefinedvariablesthathavea

variable, time-based value (variable names are

case-sensitive).

Variable

Name

Meaning

FFrame number. For each frame, F equals the

current frame number, counting from zero.

The range of frames can vary depending

on the number of frames in the active time

segment.

Variable

Name

Meaning

NT Normalized time. By definition, normalized

time (NT) ranges from 0 to 1 over the active

time segment, regardless of how many

frames are in the segment. If you base

an expression on NT, its effect happens

exactly once over the range. You can also

multiply NT by a factor for the expression’s

effect to occur a certain number of times

(for example, 2*NT causes the expression’s

effect to occur twice). Expressions based

on NT speed up or slow down if you change

the length of the time segment.

SSeconds (elapsed time in seconds). Elapsed

time is measured from the first frame to the

current frame. The range of seconds can

vary depending on the total time of the

active time segment.

TTicks (elapsed time in ticks). There are 4800

ticks per second. Elapsed time is measured

from the first frame to the current frame.

The range of ticks can vary depending on

thetotaltimeoftheactivetimesegment.

Rules for Variable Names

• Variable names can contain as many

alphanumeric characters as you like. Their

length is not limited.

• Variable names cannot contain spaces.

• The variable name must begin with a letter.

Numbers are valid within a variable name (as

in "Pos1" or "M23").

• Variable names are case-sensitive. For example,

"pos", "Pos", and "POS" designate three

different variables.

•Youcan’tcreateavariablewithanamethat

duplicates another name, including the variable

names that are predefined.

Functions

Following is a list of the functions provided for

expressions. In this list, p, q, and r represent scalar

values or scalar expressions. V and W represent

vector values or vector expressions.

Expression Techniques 149

To use a function in an expression, enter the name

of the function and appropriate arguments to it.

Trigonometric Functions

The sine, cosine, and tangent functions take an

angle in degrees and return a floating-point value.

Thearcfunctionstakeafloating-pointvalueand

return a value in degrees.

Function Meaning

sin(p) sine

cos(p) cosine

tan(p) tangent

asin(p) arc sine

acos(p) arc cosine

atan(p) arc tangent

Hyperbolic Functions

Hyperbolic functions take a floating-point value

and return a floating-point value.

Function Meaning

sinh(p) hyperbolic sine

cosh(p) hyperbolic cosine

tanh(p) hyperbolic tangent

Conversion Between Radians and Degrees

Function Meaning

radToDeg(p) takes p in radians and

returns the same angle in

degrees

degToRad(p) takes p in degrees and

returns the same angle in

radians

Rounding Functions

Function Meaning

ceil(p) smallest integer greater

than or equal to p

floor(p) largest integer less than or

equal to p

Standard Calculations

Function Meaning

ln(p) natural (base e) logarithm

log(p) common (base 10)

logarithm

exp(p) exponential function

exp(p)=e^p

pow(p,q) p to the power of q (p^q)

sqrt(p) square root

abs(p) absolute value

min(p,q) minimum returns p or q,

depending on which is

smaller

max(p,q) maximum returns p or q,

depending on which is

greater

mod(p,q) remainder of p divided by q

Conditional Functions

Function Meaning

if(p,q,r) works like the common

spreadsheet "if" (If p is

nonzero then "if" returns q,

otherwise "if" returns r.)

vif(c,V1,V2) "Vector If" (Value is V1 if c is

true, else V2.)

Vector Handling Functions

Function Meaning

length(V) length of V

comp(V,i) i’th component (I=0,1,2):

comp([5,6,7],1)=6

unit(V) returns a unit vector in the

same direction as V

150 Chapter 4: Object Properties

Note: Thecompfunctionisanalternativetothe

n o t a t i o n V. x , V. y, V. z .

Special Animation Function

Function Meaning

noise(p,q,r) 3D noise: returns a randomly

generated position

Thearbitraryvaluesp,qandr,areusedasa

random-generation seed. You can reuse these

values to ensure that noise() returns the same

value.

Trigonometric Functions

This topic is a quick review for readers who need a

reminder about this area of mathematics. If you’re

familiar with trigonometry, you can skip this topic.

If you find this topic difficult to follow, you might

consult a more basic reference on mathematics.

Trigonometric functions are principally used to

model or describe:

• Therelationbetweenanglesinatriangle(hence

the name).

• Rotations about a circle, including locations

giveninpolarcoordinates.

•Cyclicalorperiodicvalues,suchassound

waves.

The three basic trigonometric functions are

derived from an angle rotating about a unit circle.

Trigonometric functions based on the unit circle

The tangent function is undefined for x=0.

Another way to define the target is:

Because XYR defines a right-angled triangle, the

relation between the sine and cosine is:

The graphs of the basic trigonometric functions

illustrate their cyclical nature.

Graphs of basic trigonometric functions

Thesineandcosinefunctionsyieldthesame

values, but the phase differs along the X axis by

∏/2: in other words, 90 degrees.

Theinversefunctionsforthetrigonometric

functions are the arc functions; the inverse only

Vectors 151

appliestovaluesofxrestrictedby–∏/2 ≤X≤∏/2.

The graphs for these functions appear like the

basic trigonometric function graphs, but turned

on their sides.

Graphs of basic arc functions

The hyperbolic functions are based on the

exponential constant einstead of on circular

measurement. However, they behave similarly to

the trigonometric functions and are named for

them.Thebasichyperbolicfunctionsare:

Graphs of basic hyperbolic functions

Vectors

This topic is a quick review for readers who need

a reminder about vector arithmetic. If you’re

familiar with vectors and vector calculations,

you can skip this topic. If this topic is difficult to

follow, you might consult a more basic reference

on mathematics.

A vector expresses a length and a direction in

a particular space. The vector is expressed as a

point; for example, [5, 5, 7]. The length is the

distance from the origin to that point, and the

direction is similarly from the origin to (and

through) the point.

In3dsMax,vectorshavethreevaluesanddescribe

positions in three-dimensional space. They can

also represent percent scaling in X, Y, and Z; and

(more abstractly) describe locations in RGB color

space.

Unit Vectors and Basic Vectors

A unit vector has a length of one. Unit vectors are

often used to express direction only. The three

basic vectors are unit vectors that describe the

threeaxes(X,Y,andZ)of3Dspace.

Basic vectors and the XYZ axes

Adding and Subtracting Vectors

Adding two vectors creates a new vector that

combines the length and direction of the

152 Chapter 4: Object Properties

original two. Vector addition is commutative:

V+W=W+V.

Adding two vectors

Subtracting two vectors gives the vector between

the two points.

Subtracting two vectors

Scalar Multiplication and Division

Multiplying a vector by a scalar changes the

vector’slength,asdoesdividingthevectorbya

scalar.

Vector Length and Direction

The length of a vector is obtained from the

Pythagorean theorem.

In 3ds Max expressions, the length() function

returnsthisvalue.

The direction of the vector is the vector divided

by its length; this gives you a unit vector with the

same direction.

The distance between two points is the length of

the vector between them.

Subtracting vectors to obtain a distance

The solid 3D objects in the scene, and the objects

used to create them, are known as geometry.

Usually, geometry comprises the subject of your

scene and the objects that you render.

This section describes the types of geometry you

can create using the Create panel (page 3–757).

Basics of Creating and Modifying Objects (page

1–153)

Geometric Primitives (page 1–169)

Shapes (page 1–262)

Compound Objects (page 1–313)

Dynamics Objects (page 1–395)

Systems (page 1–404)

See also

Surface Modeling (page 1–963)

Space Warps and Particle Systems (page 2–55)

Basics of Creating and

Modifying Objects

This section provides an introduction to

techniques for creating and modeling objects.

The Create panel (page 3–757) contains controls

for creating new objects, the first step in building

a scene. Despite the variety of object types, the

creation process is consistent for most objects.

The Modify panel (page 3–758) provides controls

to complete the modeling process. Any object

can be reworked, from its creation parameters

to its internal geometry. Both object-space and

world-space modifiers let you apply a wide range

of effects to objects in your scene. The modifier

stack allows editing of the modifier sequence.

In 3ds Max, you model basic parametric (page

3–989) objects into more complex ones by:

•Changingparameters (page 3–989)

• Applying modifiers

• Directly manipulating sub-object geometry

These topics will help you start creating and

modifying objects:

Using the Create Panel (page 1–154)

Creating an Object (page 1–157)

Creating Geometry

154 Chapter 5: Creating Geometry

Using the Modify Panel (page 1–499)

Using the Modifier Stack (page 1–502)

Editing the Stack (page 1–504)

Modifying at the Sub-Object Level (page 1–506)

Using the Stack at the Sub-Object Level (page

1–508)

Modifying Multiple Objects (page 1–509)

How Instanced Modifiers Work (page 1–511)

Transforms,Modifiers,andObjectDataFlow(page

1–494)

Varying the Parameters

Unlike physical objects, with a fixed shape and

size, you can change the creation parameters of

objects and shapes to dramatically alter topology.

Herearesomeexamplesofchangesyoucanmake:

• Turnaconeintoafour-sidedpyramidby

reducing the number of sides and turning the

Smooth option off.

• Slice any circular object as if it were a pie.

• Animate almost all creation parameters, and

interactively change their settings during

animation playback.

• Render splines directly at any assigned width.

• Break, detach, and divide wall segments.

• Change the number of risers without affecting

theoverallriseofthestairs.

Collapsing Primitives to Base Geometry

You can collapse a geometric primitive or shape to

oneofavarietyofbasegeometrictypesonceyou

no longer need access to its creation parameters.

For example, you can convert any standard

primitive to an editable mesh (page 1–996),editable

poly (page 1–1022),editable patch (page 1–968),or

NURBS (page 1–1091) object, and you can convert

a spline shape to an editable mesh, editable spline

(page 1–289), or NURBS object. The easiest way

to collapse an object is to select it, right-click it,

and choose a "Convert to" option from the quad

menu > Transform quadrant. This lets you use

explicit editing methods with the object, such as

transforming vertices. You can also use the Modify

panel to collapse a primitive.

Mapping Coordinates

MostGeometryobjectshaveanoptionfor

generating mapping coordinates. Objects need

these mapping coordinates if you plan to apply

amappedmaterialtothem. Mappedmaterials

include a wide range of rendered effects, from

2D bitmaps to reflections and refractions. See

Mapping Coordinates (page 2–1405) and Using

Maps to Enhance a Material (page 2–1403).If

mapping coordinates have already been applied to

an object, the check box for this feature is turned

on.

Using the Create Panel

TheCreatepanelprovidesthecontrolsforcreating

objects and adjusting their parameters.

ToaccesstheCreatepanel:

1. Click the Create tab in the command

panels (page 3–756).

By default, this panel is open when you start the

program. If the command panel isn’t visible,

choose it from the Customize Display right-click

menu (page 3–787).

2. Click an object type to display its Parameters

rollout.

The Creation Process

The actual creation of objects is accomplished

with a single click of the mouse, a drag, or some

Identifying the Basic Building Blocks 155

combination, depending on the object type. This

is the general sequence:

•Chooseanobjecttype.

• Clickordraginaviewporttocreateanobject

of approximate size and location.

• Adjust the object’s parameters and position,

either immediately or later.

See Creating an Object (page 1–157).

Create Panel Interface

Controls in the Create panel vary depending on

thekindofobjectyouarecreating. However,

certain controls are always present, and others are

shared by nearly all object types.

Category—Buttons at the top of the panel access

the seven main categories of objects. Geometry

is the default category.

Subcategory—A list lets you select subcategories.

Forexample,subcategoriesunderGeometry

include Standard Primitives, Extended Primitives,

Compound Objects, Particle Systems, Patch Grids,

NURBS Surfaces, and Dynamics Objects.

Each subcategory contains one or more object

types. If you’ve installed plug-in components for

additional object types, these might be grouped

as a single subcategory.

Object Type—A rollout contains labeled buttons

forcreatingobjectsinaparticularsubcategory,

plus the AutoGrid (page 2–7) check box.

Name and Color—TheNameshowsthe

automatically assigned name of the object. You can

edit this name or replace it with another. (Different

objects can have the same name, though this is not

recommended.) Clicking the square color swatch

brings up an Object Color dialog (page 1–159)

to change the color of the object as it appears in

viewports (the wireframe color).

Creation Method—This rollout provides a choice of

howyouusethemousetocreateanobject. For

example, you can use either the center (radius) or

edge (diameter) to define the size of a Circle shape.

A default creation method is always selected

when you access the tool. If you want to use an

alternate method, choose the option before you

create the object. The creation method has no

effect on a finished object; the options are for your

convenience during creation.

Keyboard Entry—This rollout lets you enter

creation parameters from the keyboard for

geometric primitive and shape objects.

Parameters—This rollout shows creation

parameters: the defining values for an object.

Some parameters can be preset, while others

are only for adjustment after an object has been

created.

Other rollouts—Additional rollouts can appear

on the Create panel, depending on what kind of

object you create.

Identifying the Basic Building

Blocks

On the Create panel, the categories for Geometry

and Shapes supply the "building blocks" to

combine and modify into more sophisticated

objects. These parametric (page 3–989) objects are

ready to use. By adjusting values and turning some

buttons on or off, you can create dozens of "new"

building blocks from the ones listed here.

You can choose these types from the sub-categories

listontheCreatepanel.

Geometry Types

Standard Primitives—Relatively simple 3D objects

such as Box, Sphere, and Cylinder, as well as

156 Chapter 5: Creating Geometry

Torus, Plane, Cone, GeoSphere, Tube, Teapot, and

Pyramid.

Extended Primitives—More complex 3D objects

such as Capsule, OilTank, Spindle, Hedra, Torus

Knot, and Prism.

Compound Objects—Compound objects include

Scatter, Connect, ShapeMerge, Booleans, Morph,

BlobMesh,Terrain,andLoft.Booleanscombine

the geometry of two objects using union,

intersection, and difference operations. Morphs

are animated objects that change one geometric

shape into other shapes over time. ShapeMerge

lets you embed a spline shape into a geometric

mesh. Loft (page 1–352) uses shapes as cross

sections along a path to produce a 3D object.

Particle Systems—Animated objects that simulate

spray, snow, blizzard, and similar collections of

small objects.

Patch Grids—Simple 2D surfaces ready for

modeling or repairing existing meshes.

NURBS Surfaces—Analytically generated surfaces

especially suited for modeling surfaces with

complicated curves.

AEC Extended—Elements useful for AEC design,

including Terrain, Foliage (plants and trees),

Railing, for creating custom railings, and Wall, for

the production of Wall objects.

Stairs—Four types of stairs: Spiral, L-Type,

Straight, and U-Type.

Doors—Parametric door styles include Pivot,

BiFold, and Sliding.

Windows—Parametric window styles include

Awning,Fixed,Projected,Casement,Pivoted,and

Sliding.

Note: Default materials are automatically applied

to Foliage, as well as to the following object types:

Railing, Stairs, Doors, and Windows.

Dynamics Objects—Objects designed for use in

dynamics simulations.

Shape Types

Splines—Common 2D shapes such as a Line,

Rectangle,Circle,Ellipse,Arc,Donut,NGon,and

Star. Text shapes support TrueType fonts. Section

creates a spline from the cross-section of an object.

Helix is a 3D shape.

NURBS Curves—A Point Curve and CV Curve

provide the starting points for complex surfaces.

See Introduction to NURBS Modeling (page

1–1078).

Extended Splines—More complex 2D shapes

including Walled Rectangle, Channel Spline,

AngleSpline,TeeSpline,andWideFlangeSpline.

Extended splines can be used in architectural and

similar applications.

Varying the Parameters

Unlike physical building blocks, with fixed shape

and size, you can change the parameters of objects

and shapes to dramatically alter topology. Here are

some examples of changes you can make:

• Turnaconeintoafour-sidedpyramidby

reducing the number of sides and turning the

Smooth option off.

• Slice any circular object as if it were a pie.

• Animate almost all creation parameters, and

interactively change their settings during

animation playback.

• Render splines directly at any assigned width.

• Break, detach, and divide wall segments.

• Change the number of risers without affecting

the overall rise of the stairs.

Collapsing Primitives to Base Geometry

You can collapse a building-block object to one

of a variety of base geometric types once you no

Creating an Object 157

longer need access to its creation parameters. For

example, you can convert any standard primitive

to an editable mesh (page 1–996),editable poly

(page 1–1022),editable patch (page 1–968),or

NURBS (page 1–1091) object, and you can convert

a spline shape to an editable mesh, editable spline

(page 1–289),orNURBSobject.Theeasiestway

to collapse an object is to select it, right-click it,

and choose a "Convert to" option from the quad

menu > Transform quadrant. This lets you use

explicit editing methods with the object, such as

transforming vertices. You can also use the Modify

panel to collapse a primitive.

Mapping Coordinates

MostGeometryobjectshaveanoptionfor

generating mapping coordinates. Objects need

these mapping coordinates if you plan to apply

a mapped material to them. Mapped materials

include a wide range of rendered effects, from

2D bitmaps to reflections and refractions. See

Mapping Coordinates (page 2–1405) and Using

Maps to Enhance a Material (page 2–1403).If

mapping coordinates have already been applied to

an object, the check box for this feature is turned

on.

Creating an Object

With some variations, the steps shown in the

following images apply to creating any type of

object on the Create panel. For specific examples,

see the Procedures section in any object’s topic.

1. Radius defined

2. Height defined

3. Sides increased

4. Height Segments increased

To choose an object category:

1. Click the Create tab to view the Create

panel.

2. Click one of the buttons at the top of the Create

panel. For example, Geometry.

3. Choose the subcategory Standard Primitives

from the list.

A number of buttons appear on the Object

Type rollout.

158 Chapter 5: Creating Geometry

To choose an object type:

• Clickthebuttonforthetypeofobjectyouwant

to create.

The button highlights, showing that it is

active. Four rollouts appear: Name and

Color, Creation Method, Keyboard Entry, and

Parameters.

To choose a creation method (optional):

You can accept the default method and skip this

step.

• Choose a method in the Creation Method

rollout.

To preset the creation parameters (optional):

Yo u c a n a d j u s t all creation parameters after you

create an object. Skip this step if you prefer.

• In the Parameters rollout, you can set

parameters before you create an object.

However, the values of parameters you set by

dragging the mouse (for example, the Radius

and Height of a cylinder) have no effect until

after you create the object.

To create the object:

1. Put the cursor at a point in any viewport where

you want to place the object, and hold the

mousebuttondown(donotreleasethebutton).

2. Dragthemousetodefinethefirstparameter

of the object; for example, the circular base of

acylinder.

3. Releasethemousebutton.Thefirstparameter

is set with this release.

4. Move up or down without touching the mouse

button. Thissetsthenextparameter;for

example, the height of a cylinder.

If you want to cancel: Until you complete the

next step, you can cancel the creation process

with a right-click.

5. Click when the second parameter has the value

you want, and so on.

The number of times you press or release the

mouse button depends on how many spatial

dimensions are required to define the object.

(For some kinds of objects, such as Line and

Bones, the number is open-ended.)

When the object is complete, it is in a selected state

and ready for adjustments.

To name the object (optional):

• Highlight the default object name in the Name

and Color rollout, and then enter a name. This

optionisavailableonlywhenasingleobjectis

selected.

Namingobjectsisagoodpracticefor

organizing your scenes. To name a set of

selected objects, see Named Selection Sets (page

1–67).

To change the object’s display color (optional):

• The color swatch next to the object name field

displays the selected object’s color and lets you

select a new one. The color is the one used to

display the object in viewports. Click the color

swatch to display the Object Color dialog (page

1–159).

You can also change object colors with Layers

(page 3–656).

To adjust the object’s parameters:

• You can change the creation parameters

immediately after you complete an object, while

it’s still selected. Or, you can select the object

later and adjust its creation parameters on the

Modify panel.

While making adjustments, you can use viewport

navigation controls like Zoom, Pan, and Arc

Rotate to change your view of the selected object.

You can also adjust the time slider.

Assigning Colors to Objects 159

To end the creation process:

While the object type button remains active, you

cancontinuecreatingobjectsofthesametype

until you do one of the following:

• Select an object other than the one you created

most recently.

•Transformanobject.

• Change to another command panel.

• Use commands other than viewport navigation

or the time slider.

After you end the creation process, changing

parametersontheCreatepanelwillhavenoeffect

on the object; you must go to the Modify panel

to adjust the object’s parameters. See Using the

Modify Panel (page 1–499).

Assigning Colors to Objects

3ds Max is a truecolor (page 3–1027) program.

When you pick a color in the program, you are

specifying 24 bits of color data, which provide a

range of over 16 million colors.

Object wireframe colors are used primarily as an

organizational tool. Object naming strategies,

named selection sets, and object wireframe color

strategies provide a rich set of tools for organizing

even the most complex scenes.

Yo u c a n u s e t w o d i a l o g s t o s p e c i f y c o l o r s :

•TheObject Color dialog (page 1–159) contains

twopresetpalettesofcolorsthatyouusetoset

an object’s wireframe color. This is also the

surface color you see in a rendered viewport.

The two color palettes are Default palette and

AutoCAD ACI palette.

•TheColor Selector (page 1–161) is a generic

dialog that you use to define any color in the

24-bit color range. For the purpose of defining

colors to assign to objects, it is available only

through the Default palette.

Note:

The Layers functionality lets you organize your

scene and can also be used for assigning object

colors. For more information, see Layer Manager

(page 3–656).

Object Color Dialog

Click the color swatch by the object’s name in any

command panel.

The Object Color dialog contains two preset

palettes of colors that you use to set an object’s

wireframecolor.Thisisalsothesurfacecoloryou

see in a shaded viewport.

Using Random Color Assignment

Bydefault,3dsMaxassignscolorsrandomlyas

objects are created. The colors are chosen from the

current palette in the Object Color dialog. If you

turn on Customize > Preferences > General panel

(page 3–815) >DefaulttoByLayerforNewNodes,

new objects are assigned the color set by the layer.

For individual objects, you can click the By

Layer/By Object button on the Object Color dialog

tochangethemethodusedtosettheobjectcolor.

Defining Custom Colors

When using the 3ds Max palette, the Object

Color dialog contains a palette of 16 custom color

swatches. You can define any color for each of the

16 color swatches by selecting a swatch from the

Custom Colors group, then clicking Add Custom

Colors.

160 Chapter 5: Creating Geometry

Switching Between Palettes

You can alternate between two versions of the

Object Color dialog at any time by clicking the

appropriate Basic Colors toggle:

•3ds Max palette: Contains a fixed palette of 64

colors, plus a custom palette of 16 user-defined

custom colors.

Use this version when you want to work with a

smaller palette of colors or when you want to

define custom object wireframe colors.

•AutoCAD-compatible version: Contains a

fixed palette of 256 colors matching the colors

in the AutoCAD Color Index (ACI).

Use this version when you want to assign object

colors that match the AutoCAD Color Index.

Using ACI colors is useful if you plan to export

objects to AutoCAD and want to organize

them by object color, or when you want a wide

selection of colors to choose from.

Procedures

Tosetobjectcolor:

This is the general procedure for selecting object

color.

1. Select one or more objects.

2. On any command panel, click the color swatch

totherightoftheObjectNamefieldtodisplay

the Object Color dialog.

3. Click a color swatch from the palette, and then

click OK to apply the color to the selection.

To create objects of the same color:

• Choose the color you want to use and turn off

Assign Random Colors.

Newlycreatedobjectsappearinthiscoloruntil

you change the setting.

To define a custom color:

1. With the 3ds Max palette option active, click

one of the 16 custom color swatches.

2. Click Add Custom Colors to display the Color

Selector (page 1–161).

3. DefineacustomcolorandclickAddColor.

The custom color is stored in the selected color

swatch of the Object Color dialog and is set as

the current color.

To copy a custom color from an object in your scene

to one of your custom color swatches:

•DragtheActiveColorswatchuptooneofthe

custom color swatches.

The Active Color swatch is in the Object Color

dialog, to the left of the OK button.

To select objects by color:

•Click Select By Color. This displays the

Select Objects dialog (page 1–78).Allobjects

that have the same color as the current object

are highlighted in the list. Click Select.

Interface

Palette—Choose one of these:

•3ds Max palette—When chosen, the dialog

displays Basic Colors and Custom Colors

groups, and you have the option to add custom

colors.

Color Selector Dialog 161

•AutoCAD ACI palette—When chosen, the

AutoCAD ACI palette is shown. When you

click a color, its ACI# is displayed at the bottom

of the dialog.

Basic Colors—A set of 64 default colors, available

only when 3ds Max Palette is active.

Custom Colors—Displays 16 custom colors when

3dsMaxPaletteisactive. Tochooseacustom

color, click its swatch. To define or change a

custom color, click its swatch and then click Add

Custom Colors.

Add Custom Colors—Available only when 3ds Max

Palette is active. Clicking this option displays the

Color Selector (page 1–161),whichallowsyouto

modify the currently selected custom color. If

you click Add Custom Colors with a basic color

chosen, the dialog switches to the first custom

color before opening the Color Selector.

By Layer/By Object—Sets the object’s color by layer

or by object. If color is set by object, choosing a

new color on the Object Color dialog changes the

object’s wireframe color in viewports.

ACI#—Displays the ACI number for the selected

color. Available only when AutoCAD ACI palette

is active.

Select by Color—Displays a Select Objects

dialog (page 1–78) listing all objects that use the

current color as their wireframe color.

Note: This button is available only if at least one

object in the scene has the Current Color as its

wireframe color.

Assign Random Colors—When on, 3ds Max will

assign a random color to each object created.

When off, 3ds Max will assign the same color

to every object created until the color swatch is

changed. This setting affects wireframe colors only

when By Object is turned on as the color method.

Active/Current Color—Displays the active color (if

no object is selected) or current color. When you

click the color swatch, the Color Selector dialog

(page 1–161) opens, where you can mix a custom

color.

Color Selector Dialog

Any command panel > Name and Color fields > Click

color swatch. > Object Color dialog > Add Custom Colors

button or Current Color swatch.

Material Editor > Click any color swatch.

Select or add a light object. > Modify panel >

Intensity/Color/(Distribution/Attenuation) rollout > Click

colororFilterColorswatch.

Rendering menu > Environment > Environment and

Effects dialog > Click color swatch for Background, Tint,

and Ambient components of Global Lighting, and various

components of atmospheric effects such as Fire, Fog, and

so on..

The Color Selector dialog lets you specify a

custom color parameter in 3ds Max. You can work

simultaneously with three different color models

tohelpyouzeroinontheexactcoloryouwant.

Yo u c a n u s e t h e C o l o r S e l e c t o r t o s p e c i f y m a n y

color parameters, such as light colors, material

colors, background colors, and custom object

colors. (Another way to choose an object’s

viewportcoloristousethepredefinedcolorsin

the Object Color dialog (page 1–159).)

In most contexts, the Color Selector is modeless

(page 3–973); that is, it remains on the screen until

you dismiss it, and you can use other controls or

work in a viewport while the dialog is still visible.

In other contexts, the Color Selector is modal, and

youmustclosethedialogbeforeproceeding.

The dialog is divided into three different color

selection models. You can use the controls for any

modeltodefineacolor.Thethreecolormodels

are:

• Hue/Blackness/Whiteness (HBW)

162 Chapter 5: Creating Geometry

The most prominently displayed and intuitive

color model is the HBW model. This model

represents a natural, pigment-based way of

mixing color by starting with a pure color (hue)

and then making it darker by adding black, or

lighter by adding white.

The main feature of the HBW model is a large

square box displaying the color spectrum.

Across the top of this box you have the spectrum

of pure colors, or hue. Down the side of the box

you see increasing levels of blackness, making

the color dark as you approach the bottom.

To the right of the color spectrum box is the

Whiteness box, which controls the amount

ofwhiteinthecolor.Usehigherpositionsto

decrease the whiteness, or lower positions to

increase the whiteness.

• Red/Blue/Green (RGB)

The RGB model adjusts the mix of Red,

Green,andBluetodefineacolor.Thismodel

represents the way colored light can be mixed.

This is additive color mixing, as opposed to the

subtractive color mixing for paint and other

pigments. You can adjust values using the color

sliders, the numeric fields to their right (via the

keyboard),orthespinnerstotherightofthe

numeric fields.

• Hue/Saturation/Value (HSV)

The HSV color model adjusts Hue, Saturation,

and Value. Hue sets the color; Saturation

(labeled "Sat") sets the color’s purity; and Value

sets the color’s brightness, or intensity. You

can adjust values using the color sliders, the

numeric fields to their right (via the keyboard),

or the spinners to the right of the numeric fields.

As you adjust the controls of one color model, the

controls of the other two models change to match.

The color defined by the color model is displayed

in the right half of the Color Output box. The

original color, before you began making changes,

is displayed in the left half.

Procedures

To display the Color Selector:

1. Click the color swatch of a color parameter

such as the color of a light or of a material

component.

Note: Theobjectcolordisplayednexttoan

object’s name on command panels uses the

Object Color dialog (page 1–159).OntheObject

Color dialog, clicking the Active (or Current)

Color swatch or the Add Custom Colors button

displays a Color Selector.

2. Make a color selection and click OK or Cancel,

or the Close button (X).

If using the Add Color version of the Color

Selector,besuretoclickAddColorfirst.

3. To revert to the original color, click Reset.

To choose the hue of a color, do one of the following:

• Click anywhere in the Hue rainbow (the large,

multicolored square).

• Drag the Hue slider at the top of the rainbow.

•DragtheRed,Green,andBluesliders.

•DragtheHueslider.

• Use the Red, Green, Blue, or Hue spinners.

To make a color lighter, do one of the following:

• Drag the vertical Whiteness slider (at the right

of the Hue rainbow) downward.

• Drag the vertical Blackness slider (at the left of

the Hue rainbow) upward.

• Drag the Saturation (Sat.) slider to the left.

• Use the Saturation spinner to decrease

saturation.

• Drag the Value slider to the right.

• Use the Value spinner to increase the value.

Color Selector Dialog 163

To make a color darker, do one of the following:

• Drag the vertical Whiteness slider (at the right

of the Hue rainbow) upward.

• Drag the vertical Blackness slider (at the left of

the Hue rainbow) downward.

• Drag the Saturation (Sat.) slider to the right.

• Use the Saturation spinner to increase

saturation.

• Drag the Value slider to the left.

• Use the Value spinner to decrease the value.

To return to the original color:

•ClickReset.

The new color is replaced by the original color,

and all parameter values are reset.

To dismiss the Color Selector, do one of the following:

•ClickOKorCancel.

• Click the dialog’s Close (X) button.

Interface

Hue—Define a pure color by dragging the hue

pointer across the top of the box.

Blackness—Drag the blackness pointer down the

side to darken the pure color by adding black. You

can also click or drag inside the box to change hue

and blackness at the same time.

Whiteness—Theverticalbartotherightcontrols

the amount of whiteness. The color set by the hue

and blackness pointers is displayed at the top of

thebarandpurewhiteatthebottom.Dragthe

whiteness pointer down to lighten the color by

adding white.

Red, Green, and Blue—Whenared,green,orblue

slider is all the way to the left, its numeric field

contains 0; none of the color controlled by that

slider is used. If the slider is all the way to the right,

the field reads 255; the maximum amount of that

color is being used.

The spinners to the right of each slider are another

way of setting the red, blue, or green component.

The colors in the sliders change to show an

approximation of what the color result will be

if you move the slider to that location, without

adjusting any other color parameter.

Hue—Sets the pure color. Locating the slider all

thewaytotheleftgivesyoupurered. Asyou

drag the slider to the right you move through

the spectrum of Red, Yellow, Green, Cyan, Blue,

Magenta, and back to Red again. Hue is more

accurately represented as a color wheel rather than

a linear slider. That is why the Hue slider is red at

both ends. Think of the hue range from 0 to 255 as

being points on a circle where the numbers 0 and

255 are right next to each other.

Saturation ("Sat")—Sets the purity or strength of

the color. A weak color, with a saturation near 0,

is dull and gray. A strong color, with a saturation

near 255 is very bright and pure.

Value—Sets the lightness or darkness of a color.

Low values darken the color toward black. High

values lighten the color toward white. A value in

the middle, at a setting of 127, gives you the color

definedonlybyhueandsaturation.

Color Output—This pair of color swatches, below

the Value slider, lets you compare the new color,

shownontheright,totheoriginalcolor,shown

on the left.

164 Chapter 5: Creating Geometry

Sample Screen Color—Lets you pick a

new color from anywhere on the screen. After

clicking this button, the mouse cursor changes to

the eyedropper icon shown on the button. While

this cursor appears, use any of these methods:

• Click anywhere on the screen to replace the

current color with the color of the pixel under

the lower-right corner of the cursor.

• Drag to continually update the current color

with the color of the pixel under the lower-right

corner of the cursor. This makes it easier to

make sure you get the right color if the desired

color area is small (say, a one-pixel-thick line).

•Atanytime,pressandhold

Shift to average

the current color with colors the cursor moves

over.

Instead of replacing the current color with

the new sampled color, smoothed sampling

gradually mixes the sampled color with

the current color, giving a smoothed color

transition during sampling. This is useful for

sampling noisy areas, where the variations

in colors are accumulated to provide a

representative general color.

Unlike the other methods, releasing the left

mouse button only does not exit the sampler

mode; you can move the mouse elsewhere

(without sampling) and then start dragging

again to continue smoothed sampling in other

areas. Releasing Shift only returns to regular

sampling. Releasing both Shift and the

left mouse button exits the sampler mode,

returning the mouse cursor and behavior to

normal.

Sampling can occur under any conditions

anywhere within any windows that belong to the

current instance of 3ds Max. To sample anywhere

outside of 3ds Max (for example, the desktop),

drag the mouse from within one of these 3ds Max

windows.

The color sampler tool compensates for any

gamma applied to the color selector using the

Customize > Preferences > Gamma And LUT

(page 3–824) > Affect Color Selectors option. This

means that the color-corrected, displayed sampled

visualcolorinthecolorselectoralwaysmatches

the on-screen visual color of the sampled location.

If the gamma of the color selector does not match

the gamma of the sampled location, the true color

values (RGB/HSV) of the sampled color will differ

from the true color values of the sampled location.

This behavior applies to both regular gamma and

Autodesk LUT gamma correction modes.

Reset—Clicktorestorecolorsettingstothe

original color.

OK—Accepts any changes and closes the dialog.

Cancel—Restores the original color and closes the

dialog.

Color Selector for mental ray Materials and

Shaders

When you click a color swatch in the interface for

amental ray material (page 2–1543) or mental ray

shader (page 2–1710),oraDirectX material (page

2–1613),youseeavariantoftheColorSelector.

This dialog differs from the standard Color

Selector in two ways:

• TheRGBandHSVvaluesappearasnormalized

values between 0.0 and 1.0, rather than as 8-bit

integers (0–255).

Color Clipboard Utility 165

• An additional Alpha slider and spinner let you

explicitly set the alpha value for this color. This

value is also normalized, where 0.0 represents

fully transparent, and 1.0 represents fully

opaque.

This version of the Color Selector also appears

when you use the DirectX 9 Shader material (page

2–1613) and the mental ray renderer’s Sampling

Quality rollout (page 3–98).

Color Clipboard Utility

Tools menu > Color Clipboard

Utilities panel > Utilities rollout > More button > Utilities

dialog > Color Clipboard button

The Color Clipboard utility stores color swatches

for copying from one map or material to another.

For example, if in the Material Editor, you want

to copy a color from a swatch in one level of a

material to a swatch in another level (or from

another material), there would be no way to do

it with drag and drop. This is because you can’t

have two materials/maps visible at the same time.

However, you can drag the color from one material

to the color clipboard, switch to the other material,

and then drag the color from the clipboard to the

swatch in the new material.

You can save and load color clipboard files. The

saved file, which is given a .ccb (color clip board)

extension, is an ASCII file that contains a palette

description. The first 12 lines of the file consist

of three RGB numbers, so you can easily edit or

create your own clipboard files. This file format is

also used by the VertexPaint modifier (page 1–936).

Procedure

To copy a color from a swatch to the color clipboard:

1. On the Utilities panel, click Color Clipboard.

2. Open the Material Editor.

3. Select a color from any swatch in a material.

4. Drag the color to a swatch in the color

clipboard.

5. A dialog appears asking if you want to copy or

swap the material. Choose copy to replace the

swatch in the color clipboard with the swatch

from the material you selected. Choose swap

to swap colors on the Color Clipboard swatch

and material swatch.

Interface

Color swatches—Click a color swatch to edit its

value with the Color Selector.

Note: The Color Selector invoked by this utility

uses decimal numbers in the range 0.0 to 1.0,

instead of integers in the range 0 to 255 as with

other color-selection dialogs in 3ds Max.

New Floater—Displays a floating clipboard with 12

slots, plus buttons for opening and saving color

clipboardfiles.Youcanopenupasmanyofthese

floaters as you want and you can minimize them.

If you exit the Utilities panel or select the Close

button to exit the Color Clipboard utility, any

visible floaters remain open. When you close a

floater, any changed values are lost.

166 Chapter 5: Creating Geometry

Close—Exits the Clipboard utility.

Adjusting Normals and

Smoothing

In general, you adjust normals and smoothing to

prepare objects for rendering.

Anormal (page 3–980) is a unit vector that defines

which way a face or vertex is pointing. The

directioninwhichthenormalpointsrepresents

thefront,oroutersurfaceofthefaceorvertex,

which is the side of the surface that is normally

displayed and rendered.

You can manually flip or unify face normals to fix

surfaceerrorscausedbymodelingoperationsor

byimportingmeshesfromotherprograms.

Smoothing groups define whether a surface is

rendered with sharp edges or smooth surfaces.

Smoothinggroupsarenumbersassignedtothe

faces of an object. Each face can carry any number

of smoothing groups up to the maximum of 32.

If two faces share an edge and share the same

smoothing group, they render as a smooth surface.

Iftheydon’tsharethesamesmoothinggroup,the

edge between them renders as a corner. You can

manually change or animate smoothing group

assignment. Changing smoothing groups does not

alter geometry in any way; it only changes the way

facesandedgesareshaded.

See also

Viewing and Changing Normals (page 1–166)

Viewing and Changing Smoothing (page 1–167)

Viewing and Changing Normals

When you create an object, normals (page 3–980)

are generated automatically. Usually objects render

correctly using these default normals. Sometimes,

however, you need to adjust the normals.

Left: The normals shown as spikes indicate the orientation of

faces on the pyramid.

Right: Flipping normals can make faces invisible (or visible) in

shaded viewports and renderings.

Undesired normals can appear in these objects:

• Meshes imported from other applications.

• Geometry generated by complex operations

such as Boolean objects, lathe objects, or lofts.

Normals are used to define which side of a face or

vertex is considered the "out" side. The out side of

a face or vertex is the side that gets rendered unless

you are using two-sided materials, or turn on the

Force2-SidedoptionintheRenderScenedialog

>Commonpanel>Common Parameters rollout

(page 3–27).

Do one of the following to view or change face

normals:

Viewing and Changing Smoothing 167

•ApplyaNormal modifier (page 1–746).IfaFace

sub-object selection is active, Normal applies

to the selected faces. If no faces are selected,

Normal applies to the entire object.

•ApplyanEdit Mesh modifier (page 1–634),

enable Face, Polygon or Element sub-object

mode, and then use the features on the Surface

Properties rollout to change the directions in

which normals point.

•Converttheobjecttoaneditable mesh (page

1–996), enable Face, Polygon or Element

sub-object mode, and use the features on the

Surface Properties rollout

Viewing Normals

The easiest way to view normals is to look at an

object in a shaded viewport. In this case, you are

not viewing the normal arrows themselves, but

rather their effects on the shaded surface. If the

object looks as if it is inside-out, or has holes, then

some of the normals might be pointing in the

wrong direction.

You can display the normal vectors for selected

faces or vertices by enabling Show Normals on the

Selection rollout of an editable mesh object or the

Edit Mesh modifier.

Unifying Normals

Use Unify Normals to make normals point in a

consistent direction. If an object has normals that

are inconsistent (some point outward and others

inward) the object will appear to have holes in its

surface.

Unify Normals is found on the Surface Properties

rollout and on the Normal modifier.

If you are animating the creation of a complex

object such as a nested Boolean or a loft, and you

think the operation might result in inconsistent

faces, apply a Normal modifier (page 1–746) to the

result, and turn on Unify Normals.

Flipping Normals

Use Flip Normals to reverse the direction of all

selected faces. Flipping the normals of an object

turns it inside-out.

Flip Normals is found on the Surface Properties

rollout and on the Normal modifier.

The Lathe modifier (page 1–707) sometimes creates

an object with normals pointing inward. Use the

Flip Normals check box on the Lathe modifier’s

Parametersrollouttoadjustthenormals.Youcan

also use the Normal modifier with both Unify and

Flip turned on to fix inside-out lathed objects.

Viewing and Changing Smoothing

Smoothingblendstheshadingattheedges

between faces to produce the appearance of a

smooth, curved surface. You can control how

smoothing is applied to a surface so your objects

canhavebothsmoothsurfacesandsharpfaceted

edges at the appropriate places.

The face labeled “1-2” shares smoothing groups with adjacent

faces, so the edges between them are smoothed over in

renderings.

The face labeled “3” does not share a smoothing group, so its

edge is visible in renderings.

Smoothing does not affect geometry. It affects only

the way geometry is colored when rendered.

168 Chapter 5: Creating Geometry

Smoothing is controlled by smoothing groups,

which are numbered groups ranging from 1 to 32.

Each face is assigned to one or more smoothing

groups. When a scene is rendered, the renderer

checks each adjacent pair of faces to see if they

share a smoothing group, and renders the object

as follows:

• If faces have no smoothing groups in common,

thefacesarerenderedwithasharpedge

between them.

• If faces have at least one smoothing group

incommon,theedgebetweenthefacesis

“smoothed”, meaning it is shaded in such a

way that the area where the faces meet appears

smooth.

Becauseeachfacehasthreeedges,onlythree

smoothing groups can be in effect for any face.

Extra smoothing groups assigned to a face are

ignored.

Do one of the following to view or change

smoothing group assignments:

• Turn on the Smooth check box on the

Parameters rollout of a parametric object to set

default smoothing for the object.

• TurnontheAutoSmoothcheckboxonthe

Rendering rollout of a spline shape to turn on

smoothing.

•ApplyaSmooth modifier (page 1–828).IfaFace

sub-object selection is active, Smooth applies

to the selected faces. If no faces are selected,

Smooth applies to the entire object.

•ApplyanEdit Mesh modifier (page 1–634),

enable Face (or Polygon or Element) sub-object

mode,thenusethefeaturesontheSurface

Properties rollout.

•Converttheobjecttoaneditable mesh (page

1–996),enableFace(orPolygonorElement)

sub-object mode, then use the features on the

Surface Properties rollout.

Viewing Smoothing Groups

The easiest way to view smoothing is to look at an

object in a shaded viewport. In this case, you are

not viewing the smoothing groups themselves but

rather their effects on the shaded surface.

You can see the smoothing group numbers for

selected faces of an editable mesh object or the Edit

Mesh modifier by looking at the Smoothing Group

buttonsontheSurfacePropertiesrollout,orof

an editable poly object on the Polygon Properties

rollout.

SmoothingGroupbuttonsappearasfollows:

• Group numbers not used by any face in the

selection, appear normal.

•Groupnumbersusedbyallfacesinthe

selection, appear selected.

•Groupnumbersusedbysome,butnotall,faces

in the selection, appear blank.

Automatically Smoothing an Object

Click Auto Smooth to assign smoothing

automatically. You set a Threshold angle to

determine whether to smooth adjacent faces.

• If the angle between face normals is less than or

equal to the threshold, the faces are assigned to

a common smoothing group.

• If the angle between face normals is greater

than the threshold, the faces are assigned to

separate groups.

Auto Smooth is found on the Surface Properties

rollout and on the Smooth modifier.

Manually Applying Smoothing Groups

You manually assign smoothing groups to a

selection of faces by clicking Smoothing Group

buttonsontheSurfacePropertiesrolloutorthe

Smooth modifier. The smoothing group of each

button you click is assigned to the selection.

Geometric Primitives 169

Selecting Faces by Smoothing Group

You can also select faces according to the assigned

smoothing groups. Click Select By SG on the

SurfacePropertiesrollout(editablemesh)or

Polygon Properties rollout (editable poly) and then

click the smoothing group of the faces to select.

This is a convenient way to examine smoothing

groups on an object someone else created.

Creating Geometric

Primitives

Geometric primitives are basic shapes that

3ds Max provides as parametric objects (page

3–989). Primitives are divided into two categories:

Standard Primitives (page 1–170)

Extended Primitives (page 1–186)

See also

Basics of Creating and Modifying Objects (page

1–153)

Creating an Object (page 1–157)

Creating Primitives from the Keyboard (page 1–169)

Creating Primitives from the

Keyboard

Create panel > Geometry > Standard or Extended

Primitives > Keyboard Entry rollout

You can create most geometric primitives from

your keyboard using the Keyboard Entry rollout.

In a single operation, you define both the initial

size of an object and its three-dimensional

position. The object’s name, color, and default

material (optional), are automatically assigned.

See Object Name and Wireframe Color (page

3–757).

This method is generally the same for all

primitives; differences occur in the type and

number of parameters. The Hedra primitive, a

complex and highly visual family of objects, is

unsuited to this method and has no keyboard

entry.

Procedures

To open the Keyboard Entry rollout:

1. On the Create panel for Standard or Extended

Primitives, click any of the primitive Object

Typerolloutbuttons,exceptHedraor

RingWave.

2. Click the Keyboard Entry rollout to open it.

This rollout is closed by default.

Note: ThebuttonsontheCreationMethod

rollout have no effect on keyboard entry.

To create a primitive from the keyboard:

1. On the Keyboard Entry rollout, select a numeric

field with the mouse and then enter a number.

2. Press Tab to move to the next field. You do

not have to press Enter after entering a value.

Press Shift+Tab to reverse direction.

3. When you have all fields set, press Ta b to move

thefocustotheCreatebutton.Press Enter .

4. Theobjectappearsintheactiveviewport.

Once created, a new primitive is unaffected by the

numeric fields in the Keyboard Entry rollout. You

can adjust parameter values on the Parameters

rollout, either immediately after creation or on the

Modify panel.

170 Chapter 5: Creating Geometry

Interface

The Keyboard Entry rollout contains a common

set of position fields, labeled X, Y, and Z. The

numbers you enter are offsets along the axes of the

active construction plane; either the home grid or

a grid object. Plus and minus values correspond

to positive and negative directions for these axes.

Defaults=0,0,0; the center of the active grid.

The location set by X,Y is equivalent to the first

mouse-downpositioninthestandardmethodof

creating objects.

Each standard primitive has the following

parameters on its Keyboard Entry rollout.

Primitive Parameters XYZ point

Box Length, Width,

Height

Center of base

Cone Radius 1, Radius 2,

Height

Center of base

Sphere Radius Center

GeoSphere Radius Center

Cylinder Radius, Height Center of base

Tube Radius 1, Radius 2,

Height

Center of base

Torus Radius 1, Radius 2 Center

Pyramid Width, Depth,

Height

Center of base

Teapot Radius Center of base

Plane Length, Width Center

Standard Primitives

Geometric primitives are familiar as objects in

the real world such as beach balls, pipes, boxes,

doughnuts, and ice cream cones. In 3ds Max,

you can model many such objects using a single

primitive. You can also combine primitives into

more complex objects, and further refine them

with modifiers.

A collection of standard primitive objects

3ds Max includes a set of 10 basic primitives. You

can easily create the primitives with the mouse in

the viewport, and most can be generated from the

keyboard as well.

These primitives are listed in the Object Type

rollout and on the Create menu:

Box Primitive (page 1–171)

Cone Primitive (page 1–172)

Box Primitive 171

Sphere Primitive (page 1–174)

GeoSphere Primitive (page 1–176)

Cylinder Primitive (page 1–177)

Tube Primitive (page 1–179)

Torus Primitive (page 1–180)

Pyramid Primitive (page 1–182)

Teapot Primitive (page 1–183)

Plane Primitive (page 1–185)

Also available from the Object Type rollout is the

AutoGrid option (page 2–7).

You can convert standard primitive objects to

editable mesh objects (page 1–996),editable poly

objects (page 1–1022),andNURBS surfaces. (page

1–1116) You can also convert primitives to patch

objects; see the path annotation at Editable Patch

(page 1–968) (the information at the start of the

topic that tells you how to create this type of

object).

Allprimitiveshavenameandcolorcontrols,and

allow you to enter initial values from the keyboard.

See these topics:

Object Name and Wireframe Color (page 3–757)

Creating Primitives from the Keyboard (page 1–169)

Theremainingrolloutsarecoveredinthetopicfor

each primitive.

Box Primitive

Create panel > Geometry button > Standard Primitives >

Object Type rollout > Box button

Create menu > Standard Primitives > Box

Box produces the simplest of the primitives. Cube

is the only variation of Box. However, you can vary

thescaleandproportiontomakemanydifferent

kinds of rectangular objects, from large, flat panels

and slabs to tall columns and small blocks.

Examples of boxes

Procedures

To create a box:

1. On the Object Type rollout, click Box.

2. In any viewport, drag to define a rectangular

base, then release to set length and width.

3. Move the mouse up or down to define the

height.

4. Click to set the finished height and create the

box.

To create a box with a square base:

•HolddownCtrl as you drag the base of the

box. This keeps length and width the same.

Holding the Ctrl key has no effect on height.

To create a cube:

1. On the Creation Method rollout, choose Cube.

2. In any viewport, drag to define the size of the

cube.

3. As you drag, a cube emerges with the pivot

pointatthecenterofitsbase.

4. Release to set the dimensions of all sides.

172 Chapter 5: Creating Geometry

Interface

Creation Method rollout

Cube—Forces length, width, and height to be equal.

Creating a cube is a one-step operation. Starting at

the center of the cube, drag in a viewport to set all

three dimensions simultaneously. You can change

acube’sindividualdimensionsintheParameters

rollout.

Box—Creates a standard box primitive from one

corner to the diagonally opposite corner, with

different settings for length, width, and height.

Parameters rollout

Thedefaultsproduceaboxwithonesegmenton

each side.

Length, Width, Height—Sets the length, width, and

height of the Box object. These fields also act

as readouts while you drag the sides of the box.

Default=0,0,0.

Length, Width, Height Segments—Sets the number

of divisions along each axis of the object. Can be

set before or after creation. By default, each side of

theboxisasinglesegment.Whenyouresetthese

values, the new values become the default during a

session. Default=1,1,1.

Tip: Increase the Segments settings to give objects

extra resolution for being affected by modifiers.

For example, if you’re going to bend (page 1–560) a

box on the Z axis, you might want to set its Height

Segments parameter to 4 or more.

Generate Mapping Coords—Generates coordinates

for applying mapped materials to the box.

Default=on.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625).Default=off.

Cone Primitive

Create panel > Geometry button > Standard Primitives

>ObjectTyperollout>Conebutton

Create menu > Standard Primitives > Cone

TheConebuttonontheCreationcommandpanel

lets you produce round cones, either upright or

inverted.

Examples of cones

Procedure

To create a cone:

1. OntheCreatemenuchooseStandard

Primitives > Cone.

Cone Primitive 173

2. In any viewport, drag to define a radius for the

base of the cone, then release to set it.

3. Move to up or down to define a height, either

positive or negative, then click to set it.

4. Move to define a radius for the other end of the

cone. Decrease this radius to 0 for a pointed

cone.

5. Click to set the second radius and create the

cone.

Interface

Creation Method rollout

Edge—Draws a cone from edge to edge. You can

change the center location by moving the mouse.

Center—Draws a cone from the center out.

Parameters rollout

The defaults produce a smooth, round cone of 24

sides with five height segments, one cap segment,

and the pivot point at the center of the base. For

improved rendering of smoothly shaded cones,

particularly those with pointed tips, increase the

number of height segments.

Radius 1, Radius 2—Setthefirstandsecondradii

for the cone. The minimum value for both is 0.0.

If you enter a negative value, the software converts

it to 0.0. You can combine these settings to create

pointedandflat-toppedcones,uprightorinverted.

The following combinations assume a positive

height:

Radius Combinations Effect

Radius 2 is 0 Creates a pointed cone

Radius 1 is 0 Creates an inverted pointed

cone

Radius 1 is larger than

Radius 2

Creates a flat-topped cone

Radius 2 is larger than

Radius 1

Creates an inverted

flat-topped cone

IfRadius1and2arethesame,acylinderis

created. If the two radius settings are close in size,

the effect is similar to applying a Taper modifier

to a cylinder.

Effect of Radius settings

Height—Sets dimension along the central axis.

Negative values create the cone below the

construction plane.

Height Segments—Sets the number of divisions

along the cone’s major axis.

Cap Segments—Sets the number of concentric

divisions around the center of the cone’s top and

bottom.

Sides—Sets the number of sides around the cone.

Higher numbers shade and render as true circles

with Smooth selected. Lower numbers create

regular polygonal objects with Smooth off.

174 Chapter 5: Creating Geometry

Smooth—Blendsthefacesofthecone,creatinga

smooth appearance in rendered views.

Slice On—Enables the Slice function. Default=off.

WhenyoucreateasliceandthenturnoffSliceOn,

thecompleteconereappears. Youcanusethis

check box to switch between the two topologies.

Slice From, Slice To—Sets the number of degrees

around the local Z axis from a zero point at the

local X axis.

For both settings, positive values move the end of

the slice counterclockwise; negative values move it

clockwise. Either setting can be made first. When

the ends meet, the whole cone reappears.

Generate Mapping Coords—Generates coordinates

for applying mapped materials to the cone.

Default=on.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625). Default=off.

Sphere Primitive

Create panel > Geometry button > Standard Primitives >

Object Type rollout > Sphere button

Create menu > Standard Primitives > Sphere

Sphere produces a full sphere, or a hemisphere or

other portion of a sphere. You can also "slice" a

sphere about its vertical axis.

Examples of spheres

Procedures

To create a sphere:

1. OntheCreatemenuchooseStandard

Primitives > Sphere.

2. In any viewport, drag to define a radius.

As you drag, a sphere emerges with its center

at the pivot point.

3. Releasethemousetosettheradiusandcreate

the sphere.

To create a hemisphere:

You can reverse the order of the following steps,

if you like.

1. Create a sphere of desired radius.

2. Type 0.5 in the Hemisphere field.

Thesphereisreducedtoexactlytheupperhalf,

a hemisphere. If you use the spinner, the sphere

changes in size.

Interface

Creation Method rollout

Edge—Draws a sphere from edge to edge. You can

change the center location by moving the mouse.

Center—Draws a sphere from the center out.

Sphere Primitive 175

Parameters rollout

The defaults produce a smooth sphere of 32

segments with the pivot point at its center.

Radius—Specifies the radius of the sphere.

Segments—Sets the number of polygonal divisions

for the sphere.

Smooth—Blends the faces of the sphere, creating a

smooth appearance in rendered views.

Hemisphere—Increasing values progressively will

"cut off" the sphere, starting at the base, to create a

partial sphere. Values range from 0.0 to 1.0. The

default is 0.0, producing a full sphere. A setting of

0.5 produces a hemisphere, and 1.0 reduces the

sphere to nothing. Default=0.0.

Chop and Squash toggle creation options for

Hemisphere.

Chop—Reduces the number of vertices and faces

inthesphereby"chopping"themoutasthe

hemisphere is cut off. Default=on.

Squash—Maintains the number of vertices and

faces in the original sphere, "squashing" the

geometry into a smaller and smaller volume

toward the top of the sphere.

Effects of Chop and Squash during hemisphere creation

Slice On—Uses the From and To angles to create

a partial sphere. The effect is similar to lathing a

semicircular shape fewer than 360 degrees.

Slice From—Sets the start angle.

Slice To—Sets the stop angle.

For both settings, positive values move the end of

the slice counterclockwise; negative values move it

clockwise. Either setting can be made first. When

the ends meet, the whole sphere reappears.

Smoothing groups are assigned to sliced spheres

asfollows: Thesurfaceofthesphereisalways

assigned group 1; the bottom, when Smooth is on,

gets group 2. Facing the pie-slice surfaces, the cut

ontheleftgetsgroup3,andthecutontheright

gets group 4.

Material IDs are assigned to sliced spheres as

follows: The bottom is 1 (when Hemisphere is

greater than 0.0), the surface is 2, and the slice

surfaces are 3 and 4.

Base To Pivot—Movesasphereupwardalongits

local Z axis so the pivot point is at its base. When

off, the pivot point is on the construction plane at

the center of the sphere. Default=off.

Tur n ing on B ase To Pivot lets you pla ce sph ere s so

they rest on the construction plane, like pool balls

on a table. It also lets you animate a hemisphere so

it appears to grow out of the construction plane

or sink into it.

176 Chapter 5: Creating Geometry

Effect of using Base To Pivot setting

Generate Mapping Coords—Generates coordinates

for applying mapped materials to the sphere.

Default=on.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625). Default=off.

GeoSphere Primitive

Create panel > Geometry button > Standard Primitives >

Object Type rollout > GeoSphere button

Create menu > Standard Primitives > GeoSphere

Use GeoSphere to make spheres and hemispheres

based on three classes of regular polyhedrons.

Examples of geospheres

Geospheres produce a more regular surface than

standard spheres. They also render with a slightly

smoother profile than a standard sphere given

thesamenumberoffaces. Unlikeastandard

sphere, a geosphere has no poles, which can be an

advantage when you apply certain modifiers such

as Free-Form Deformation (FFD) modifiers (page

1–685).

Procedures

To create a geosphere:

1. OntheCreatemenuchooseStandard

Primitives > Geosphere.

2. In any viewport, drag to set the center and

radius of the geosphere.

3. Set parameters such as Geodesic Base Type and

Segments.

To create a geo-hemisphere:

1. Create a geosphere.

2. In the Parameters rollout, turn on the

Hemisphere check box. The geosphere is

converted to a hemisphere.

Cylinder Primitive 177

Interface

Creation Method rollout

Diameter—Drawsageospherefromedgetoedge.

You can change the center location by moving the

mouse.

Center—Draws a geosphere from the center out.

Parameters rollout

Radius—Sets the size of the geosphere.

Segments—Sets the total number of faces in the

geosphere. The number of faces in a geosphere is

equal to the sides of the base polyhedron times the

segments squared.

Lower segment values work best. Using the

maximum segment value of 200 can generate up to

800,000 faces, impairing performance.

Geodesic Base Type group

Lets you choose one of three types of regular

polyhedrons for the geosphere’s basic geometry.

•Tetra—Based on a four-sided tetrahedron. The

triangular facets can vary in shape and size. The

sphere can be divided into four equal segments.

•Octa—Based on an eight-sided octahedron.

The triangular facets can vary in shape and

size. The sphere can be divided into eight equal

segments.

•Icosa—Based on a 20-sided icosahedron. The

facets are all equally sized equilateral triangles.

The sphere can be divided into any number

of equal segments, based on multiples and

divisions of 20 faces.

Smooth—Applies smoothing groups to the surface

of the sphere.

Hemisphere—Creates a half-sphere.

Base To Pivot—Sets the pivot point location. When

on, the pivot is at the bottom of the sphere. When

off, the pivot is at the center of the sphere. This

option has no effect when Hemisphere is on.

Generate Mapping Coords—Generates coordinates

for applying mapped materials to the geosphere.

Default=on.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625).Default=off.

Cylinder Primitive

Create panel > Geometry button > Standard Primitives >

Object Type rollout > Cylinder button

Create menu > Standard Primitives > Cylinder

Cylinder produces a cylinder, which you can

"slice" around its major axis.

178 Chapter 5: Creating Geometry

Examples of cylinders

Procedure

To create a cylinder:

1. OntheCreatepanel,chooseStandard

Primitives > Cylinder.

2. In any viewport, drag to define the radius of the

base, then release to set the radius.

3. Move up or down to define a height, either

positive or negative.

4. Click to set the height and create the cylinder.

Interface

Creation Method rollout

Edge—Draws a cylinder from edge to edge. You

can change the center location by moving the

mouse.

Center—Draws a cylinder from the center out.

Parameters rollout

The defaults produce a smooth cylinder of 18 sides

with the pivot point at the center of the base. There

arefiveheightsegmentsandonecapsegment.If

you don’t plan to modify the cylinder’s shape, such

as with a Bend modifier, set Height Segments to 1

to reduce scene complexity. If you plan to modify

the ends of the cylinder, consider increasing the

Cap Segments setting.

Radius—Sets the radius of the cylinder.

Height—Sets the dimension along the central axis.

Negative values create the cylinder below the

construction plane.

Height Segments—Sets the number of divisions

along the cylinder’s major axis.

Cap Segments—Sets the number of concentric

divisions around the center of the cylinder’s top

and bottom.

Sides—Sets the number of sides around the

cylinder.WithSmoothon,highernumbersshade

and render as true circles. With Smooth off, lower

numbers create regular polygonal objects.

Tube Primitive 179

Smooth—Thefacesofthecylinderareblended

together, creating a smooth appearance in

rendered views.

Slice On—Enables the Slice function. Default=off.

WhenyoucreateasliceandthenturnoffSliceOn,

thecompletecylinderreappears.Youcanusethis

check box to switch between the two topologies.

Slice From, Slice To—Sets the number of degrees

around the local Z axis from a zero point at the

local X axis.

For both settings, positive values move the end of

the slice counterclockwise; negative values move it

clockwise. Either setting can be made first. When

the ends meet, the whole cylinder reappears.

Generate Mapping Coords—Generates coordinates

for applying mapped materials to the cylinder.

Default=on.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625). Default=off.

Tube Primitive

Create panel > Geometry button > Standard Primitives

>ObjectTyperollout>Tubebutton

Create menu > Standard Primitives > Tube

Tube produces both round and prismatic tubes.

The tube is similar to the cylinder with a hole in it.

Examples of tubes

Procedures

To create a tube:

1. OntheCreatemenuchooseStandard

Primitives > Tube.

2. In any viewport, drag to define the first radius,

which can be either the inner or outer radius of

thetube.Releasetosetthefirstradius.

3. Move to define the second radius, then click

to set it.

4. Move up or down to define a height, either

positive or negative.

5. Click to set the height and create the tube.

To create a prismatic tube:

1. Set the number of sides for the kind of prism

you want.

2. Tur n Sm ooth off.

3. Create a tube.

Interface

Creation Method rollout

Edge—Draws a tube from edge to edge. You can

change the center location by moving the mouse.

Center—Draws a tube from the center out.

180 Chapter 5: Creating Geometry

Parameters rollout

The defaults produce a smooth, round tube of

18 sides with the pivot point at the center of the

base.Therearefiveheightsegmentsandonecap

segment. If you don’t plan to modify the cylinder’s

shape, such as with a Bend modifier, set Height

Segments to 1 to reduce scene complexity. If you

plan to modify the ends of the cylinder, consider

increasing the Cap Segments setting.

Radius 1, Radius 2—The larger setting specifies

theoutsideradiusofthetube,whilethesmaller

specifies the inside radius.

Height—Sets the dimension along the central

axis. Negative values create the tube below the

construction plane.

Height Segments—Sets the number of divisions

along the tube’s major axis.

Cap Segments—Sets the number of concentric

divisionsaroundthecenterofthetube’stopand

bottom.

Sides—Sets the number of sides around the tube.

Higher numbers shade and render as true circles

with Smooth on. Lower numbers create regular

polygonal objects with Smooth off.

Smooth—When on (the default), faces of the

tube are blended together, creating a smooth

appearance in rendered views.

Slice On—Enables the Slice feature, which removes

part of the tube’s circumference. Default=off.

WhenyoucreateasliceandthenturnoffSliceOn,

thecompletetubereappears.Youcantherefore

usethischeckboxtoswitchbetweenthetwo

topologies.

Slice From, Slice To—Sets the number of degrees

around the local Z axis from a zero point at the

local X axis.

For both settings, positive values move the end of

the slice counterclockwise; negative values move it

clockwise. Either setting can be made first. When

the ends meet, the whole tube reappears.

Generate Mapping Coords—Generates coordinates

for applying mapped materials to the tube.

Default=on.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625).Default=off.

Torus Primitive

Create panel > Geometry button > Standard Primitives

>ObjectTyperollout>Torusbutton

Create menu > Standard Primitives > Torus

Torusproducesatorus,oraringwithacircular

cross section, sometimes referred to as a doughnut.

You can combine three smoothing options with

Torus Primitive 181

rotation and twist settings to create complex

variations.

Examples of tori

Procedure

To create a torus:

1. From the Create menu, choose Standard

Primitives > Torus.

2. In any viewport, drag to define a torus.

3. As you drag, a torus emerges with its center at

the pivot point.

4. Release to set the radius of the torus ring.

5. Move to define the radius of the cross-sectional

circle, then click to create the torus.

Interface

Creation Method rollout

Edge—Drawsatorusfromedgetoedge.Youcan

change the center location by moving the mouse.

Center—Drawsatorusfromthecenterout.

Parameters rollout

The defaults produce a smooth torus with 12 sides

and24segments.Thepivotpointisatthecenter

of the torus on the plane, cutting through the

center of the torus. Higher settings for sides and

segments produce a more dense geometry that

might be required for some modeling or rendering

situations.

Radius 1—Sets the distance from the center of the

torus to the center of the cross-sectional circle.

This is the radius of the torus ring.

Radius 2—Sets the radius of the cross-sectional

circle. This value is replaced each time you create a

torus. Default = 10.

182 Chapter 5: Creating Geometry

Radius 1 and Radius 2

Rotation—Sets the degree of rotation. Vertices

are uniformly rotated about the circle running

through the center of the torus ring. Positive and

negative values for this setting "roll" the vertices in

either direction over the surface of the torus.

Rotation and Twist

Twist—Sets the degree of twist. Cross sections

areprogressivelyrotatedaboutthecirclerunning

through the center of the torus. Beginning with

twist, each successive cross section is rotated until

the last one has the number of degrees specified.

Twisting a closed (unsliced) torus creates a

constriction in the first segment. You can avoid

this by either twisting in increments of 360 degrees,

or by turning Slice on and setting both Slice From

and Slice To to 0 to maintain a complete torus.

Segments—Sets the number of radial divisions

around the torus. By reducing this number, you

can create polygonal rings instead of circular ones.

Sides—Sets the number of sides on the

cross-sectional circle of the torus. By reducing this

number, you can create prism-like cross sections

instead of circular ones.

Smooth group

Choose one of four levels of smoothing:

•All—(default) Produces complete smoothing on

all surfaces of the torus.

•Sides—Smoothes the edges between adjacent

segments, producing smooth bands running

around the torus.

•None—Turns off smoothing entirely, producing

prism-like facets on the torus.

•Segments—Smoothes each segment

individually, producing ring-like segments

along the torus.

Slice On—Creates a portion of a sliced torus rather

than the entire 360 degrees.

Slice From—When Slice On is on, specifies the

anglewherethetorusslicebegins.

Slice To—When Slice On is on, specifies the angle

where the torus slice ends.

Generate Mapping Coords—Generates coordinates

for applying mapped materials to the torus.

Default=on.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625).Default=off.

Pyramid Primitive

Create panel > Geometry button > Standard Primitives >

Object Type rollout > Pyramid button

Create menu > Standard Primitives > Pyramid

The Pyramid primitive has a square or rectangular

base and triangular sides.

Teapot Primitive 183

Examples of pyramids

Procedure

To create a Pyramid:

1. OntheCreatemenuchooseStandard

Primitives > Pyramid.

2. Choose a creation method, either Base/Apex

or Center.

Note: Hold the Ctrl key while using either

creation method to constrain the base to a

square.

3. In any viewport, drag to define the base of the

pyramid. If you’re using Base/Apex, define the

opposite corners of the base, moving the mouse

horizontally or vertically to define the width

and depth of the base. If you’re using Center,

drag from the center of the base.

4. Click, and then move the mouse to define the

Height.

5. Click to complete the pyramid.

Interface

Creation Method rollout

Base/Apex—Creates the pyramid base from one

cornertothediagonallyoppositecorner.

Center—Creates the pyramid base from the center

out.

Parameters rollout

Width, Depth and Height—Sets the dimension of

the corresponding side of the pyramid.

Width, Depth and Height Segs—Sets the number

of segments to the corresponding sides of the

pyramid.

Generate Mapping Coords—Generates coordinates

for applying mapped materials to the pyramid.

Default=on.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625).Default=off.

Teapot Primitive

Create panel > Geometry button > Standard Primitives >

Object Type rollout > Teapot button

Create menu > Standard Primitives > Teapot

Te a p o t p ro d u c es a t e a p o t . You c a n c h o o s e t o m a k e

the whole teapot at once (the default), or any of

its parts. Since the Teapot is a parametric object,

184 Chapter 5: Creating Geometry

you can choose which parts of the teapot to display

after creation.

Examples of teapots

History of the Teapot

This teapot derives from the original data

developed by Martin Newell in 1975. Beginning

with a graph-paper sketch of a teapot that he kept

on his desk, Newell calculated cubic Bezier splines

(page 3–915) to create a wireframe model. James

Blinn, also at the University of Utah during this

period, produced early renderings of exceptional

quality using this model.

Theteapothassincebecomeaclassicincomputer

graphics. Its complexly curved and intersecting

surfaces are well suited to testing different kinds

of material mappings and rendering settings on a

real-world object.

Procedures

To create a teapot:

1. On the Create menu, choose Standard

Primitives > Teapot.

2. In any viewport, drag to define a radius.

As you drag, a teapot emerges with the pivot

pointatthecenterofitsbase.

3. Release the mouse to set the radius and create

the teapot.

To create a teapot part:

1. In Parameters rollout > Teapot Parts group,

turn off all parts except the one you want to

create.

2. Create a teapot.

The part you left on appears. The pivot point

remainsatthecenteroftheteapot’sbase.

3. In Parameters rollout > Teapot Parts group,

turn off all parts except the one you want.

The teapot has four separate parts: body, handle,

spout, and lid. Controls are located in the Teapot

Parts group of the Parameters rollout. You can

check any combination of parts to create at the

same time. The body alone is a ready-made bowl,

or a pot with optional lid.

To turn a part into a teapot:

1. Selectateapotpartintheviewport.

2. On the Modify panel > Parameters rollout, turn

on all parts. (This is the default.)

The whole teapot appears.

You can apply modifiers to any separate part. If

you later turn on another part, the modifier affects

the additional geometry as well.

Interface

Creation Method rollout

Edge—Draws a teapot from edge to edge. You can

change the center location by moving the mouse.

Center—Draws a teapot from the center out.

Plane Primitive 185

Parameters rollout

Radius—Sets the radius of the teapot

Segments—Sets the number of divisions for the

teapot or its individual parts.

Smooth—Blends faces of the teapot, creating a

smooth appearance in rendered views.

Teapot Parts group

Turn check boxes on or off for teapot parts. By

default, all are on, producing a complete teapot.

Generate Mapping Coords—Generates coordinates

for applying mapped materials to the teapot.

Default=on.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625). Default=off.

Plane Primitive

Create panel > Geometry button > Standard Primitives

> Object Type rollout > Plane button

Create menu > Standard Primitives > Plane

The Plane object is a special type of flat polygon

mesh that can be enlarged by any amount at render

time. You can specify factors to magnify the size

or number of segments, or both. Use the Plane

object for creating a large-scale ground plane that

doesn’t get in the way when working in a viewport.

You can apply any type of modifier to the plane

object, such as Displace (page 1–629) to simulate

ahillyterrain.

Example of plane

Procedure

To create a plane:

1. OntheCreatemenuchooseStandard

Primitives > Plane.

2. In any viewport, drag to create the Plane.

Interface

Creation Method rollout

Rectangle—Creates the plane primitive from

one corner to the diagonally opposite corner,

186 Chapter 5: Creating Geometry

interactively setting different values for length and

width.

Square—Creates a square plane where length and

width are equal. You can change dimensions in the

Parameters rollout subsequent to creation.

Parameters rollout

Length, Width—Sets the length and width of the

planeobject. Thesefieldsactalsoasreadouts

whileyoudragthesidesofthebox.Youcanrevise

these values. Defaults= 0.0, 0.0.

Length Segs, Width Segs—Sets the number of

divisions along each axis of the object. Can be set

before or after creation. By default, each side of

the plane has four segments. When you reset these

values, the new values become the default during a

session.

Render Multipliers group

Render Scale—Specifies the factor by which both

length and width are multiplied at render time.

Scalingisperformedfromthecenteroutward.

Render Segs—Specifies the factor by which the

number of segments in both length and width are

multiplied at render time.

Generate Mapping Coords—Generates coordinates

for applying mapped materials to the plane.

Default=on.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625).Default=off.

Extended Primitives

A collection of extended primitive objects

Extended Primitives are a collection of complex

primitives for 3ds Max. The topics that follow

describe each type of extended primitive and its

creation parameters.

TheseprimitivesareavailablefromtheObject

Type rollout on the Create panel and from the

Create menu > Extended Primitives.

Hedra Extended Primitive 187

AutoGrid (page 2–7)

Hedra Extended Primitive (page 1–187)

Torus Knot Extended Primitive (page 1–189)

ChamferBox Extended Primitive (page 1–191)

ChamferCyl Extended Primitive (page 1–192)

OilTank Extended Primitive (page 1–194)

Capsule Extended Primitive (page 1–195)

Spindle Extended Primitive (page 1–196)

L-Ext Extended Primitive (page 1–198)

Gengon Extended Primitive (page 1–199)

C-Ext Extended Primitive (page 1–200)

RingWave Extended Primitive (page 1–202)

Hose Extended Primitive (page 1–206)

Prism Extended Primitive (page 1–205)

Allprimitiveshavenameandcolorcontrols,and

allow you to enter initial values from the keyboard.

See these topics:

Object Name and Wireframe Color (page 3–757)

Creating Primitives from the Keyboard (page 1–169)

(not applicable to Hedra, RingWave, or Hose)

Theremainingrolloutsarecoveredinthetopicfor

each primitive.

Hedra Extended Primitive

Create panel > Geometry button > Extended Primitives >

Object Type rollout > Hedra button

Create menu > Extended Primitives > Hedra

Use Hedra to produce objects from several families

of polyhedra.

Examples of hedra

Procedure

To create a polyhedron:

1. FromtheCreatemenu,chooseExtended

Primitives > Hedra.

2. In any viewport, drag to define a radius, then

release to create the polyhedron.

As you drag, a polyhedron emerges from the

pivot point.

3. Adjust the Family Parameter and Axis Scaling

spinners to vary the Hedra’s appearance.

188 Chapter 5: Creating Geometry

Interface

Family group

Usethisgrouptoselectthetypeofpolyhedronto

create.

Tetra—Creates a tetrahedron.

Cube/Octa—Creates a cubic or octahedral

polyhedron (depending on parameter settings).

Dodec/Icos—Creates a dodecahedron or

icosahedron (depending on parameter settings).

Star1/Star2—Creates two different star-like

polyhedra.

Tip: You can animate between Hedra types.

TurnontheAutoKeybutton,gotoanyframe,

and change the Family check box. There is no

interpolation between types; the model simply

jumps from a star to a cube or tetrahedron, and

so on.

Family parameters group

P, Q — Interrelated parameters that provide a

two-way translation between the vertices and

facets of a polyhedron. They share the following:

• Rangeofpossiblevaluesis0.0through1.0.

• The combined total of the P and Q values can

be equal to or less than 1.0.

• Extremes occur if either P or Q is set to 1.0; the

other is automatically set to 0.0.

• Midpoint occurs when both P and Q are 0.

In the simplest terms, P and Q change the

geometry back and forth between vertices and

facets. At the extreme settings for P and Q,

one parameter represents all vertices, the other

represents all facets. Intermediate settings are

transition points, with the midpoint an even

balancebetweenthetwoparameters.

Axis Scaling group

Polyhedra can have as many as three kinds of

polygonal facets, such as triangle, square, or

pentagon. These facets can be regular or irregular.

If a polyhedron has only one or two types of facet,

only one or two of the axis scaling parameters are

active. Inactive parameters have no effect.

P, Q , R —Controls the axis of reflection for one of

the facets of a polyhedron. In practice, these fields

Torus Knot Extended Primitive 189

have the effect of pushing their corresponding

facets in and out. Defaults=100.

Reset—Returnsaxestotheirdefaultsetting.

Vertices group

Parameters in the Vertices group determine the

internal geometry of each facet of a polyhedron.

Center and Center & Sides increase the number of

vertices in the object and therefore the number of

faces. These parameters cannot be animated.

Basic—Facets are not subdivided beyond the

minimum.

Center—Each facet is subdivided by placing an

additional vertex at its center, with edges from

each center point to the facet corners.

Center & Sides—Each facet is subdivided by placing

an additional vertex at its center, with edges from

each center point to the facet corners, as well as

to the center of each edge. Compared to Center,

Center & Sides doubles the number of faces in the

polyhedron.

Note: If you scale the axis of the object, the Center

option is used automatically, unless Center & Sides

is already set.

To see the internal edges shown in the figure, turn

off Edges Only on the Display command panel.

Radius—Sets the radius of any polyhedron in

current units.

Generate Mapping Coords—Generates coordinates

for applying mapped materials to the polyhedron.

Default=on.

Torus Knot Extended Primitive

Create panel > Geometry > Extended Primitives > Object

Type rollout > Torus Knot button

Create menu > Extended Primitives > Torus Knot

Use Torus Knot to create a complex or knotted

torus by drawing 2D curves in the normal planes

around a 3D curve. The 3D curve (called the Base

Curve) can be either a circle or a torus knot.

YoucanconvertatorusknotobjecttoaNURBS

surface (page 1–1116).

Example of torus knot

Procedure

To create a Torus Knot:

1. On the Create menu, choose Extended

Primitives > Torus Knot.

2. Dragthemousetodefinethesizeofthetorus

knot.

3. Click, then move the mouse vertically to define

the radius.

4. Click again to finish the torus.

5. Adjust the parameters on the Modify panel.

190 Chapter 5: Creating Geometry

Interface

Creation Method rollout

Diameter—Draws the object from edge to edge.

You can change the center location by moving the

mouse.

Radius—Draws the object from the center out.

Parameters rollout > Base Curve group

Provides parameters that affect the base curve.

Knot/Circle—With Knot, the torus interweaves

itself, based on various other parameters. With

Circle, the base curve is a circle, resulting in a

standard torus if parameters such as Warp and

Eccentricityareleftattheirdefaults.

Radius—Sets the radius of the base curve.

Segments—Sets the number of segments around

the perimeter of the torus.

PandQ—Describes up-and-down (P) and

around-the-center (Q) winding numbers. (Active

only when Knot is chosen.)

Warp Count—Sets the number of "points" in a star

shapearoundthecurve.(ActiveonlywhenCircle

is chosen.)

Warp Height—Sets the height of the "points" given

as a percentage of the base curve radius.

Parameters rollout > Cross Section group

Provides parameters that affect the cross section

of the torus knot.

Radius—Sets the radius of the cross section.

Sides—Sets the number of sides around the cross

section.

Eccentricity—Sets the ratio of the major to minor

axes of the cross section. A value of 1 provides

a circular cross section, while other values create

elliptical cross sections.

Twist—Sets the number of times the cross section

twists around the base curve.

Lumps—Sets the number of bulges in the torus

knot. Note that the Lump Height spinner value

must be greater than 0 to see any effect.

Lump Height—Sets the height of the lumps, as a

percentage of the radius of the cross section. Note

that the Lumps spinner must be greater than 0 to

see any effect.

Lump Offset—Sets the offset of the start of the

lumps, measured in degrees. The purpose of this

valueistoanimatethelumpsaroundthetorus.

Parameters rollout > Smooth group

ChamferBox Extended Primitive 191

Provides options to alter the smoothing displayed

or rendered of the torus knot. This smoothing

doesnotdisplaceortesselatethegeometry,itonly

adds the smoothing group information.

All—Smoothes the entire torus knot.

Sides—Smoothes only the adjacent sides of the

torus knot.

None—The torus knot is faceted.

Parameters rollout > Mapping Coordinates

group

Provides methods of assigning and adjusting

mapping coordinates.

Generate Mapping Coords—Assigns mapping

coordinates based on the geometry of the torus

knot. Default=on.

Offset U/V—Offset the mapping coordinates along

UandV.

Tiling U/V—Tile the mapping coordinates along U

and V.

ChamferBox Extended Primitive

Create panel > Geometry button > Extended Primitives >

Object Type rollout > ChamferBox button

Create menu > Extended Primitives > Chamfer Box

UseChamferBoxtocreateaboxwithbeveledor

rounded edges.

Examples of chamfered boxes

Procedures

To create a standard chamfered box:

1. FromtheCreatemenu,chooseExtended

Primitives > Chamfer Box.

2. Drag the mouse to define the diagonal corners

of the base of the chamfered box. (Press Ctrl

to constrain the base to a square.)

3. Release the mouse button, and then move the

mouseverticallytodefinetheheightofthebox.

Click to set the height

4. Move the mouse diagonally to define the width

of the fillet, or chamfer (toward the upper left

increases the width; toward the lower right

decreases it).

5. Click again to finish the chamfered box.

To create a cubic chamfered box:

1. On the Creation Method rollout, click Cube.

2. Beginning at the center of the cube, drag

in a viewport to set all three dimensions

simultaneously.

3. Releasethebutton,andmovethemousetoset

the fillet or chamfer.

4. Click to create the object.

You can change a cube’s individual dimensions

in the Parameters rollout.

192 Chapter 5: Creating Geometry

Interface

Creation Method rollout

Cube—Forces length, width, and height to be

equal. You can change a cube’s individual

dimensions in the Parameters rollout.

Box—Creates a standard chamfered box primitive

from one corner to the diagonally opposite corner,

with individual settings for length, width, and

height.

Parameters rollout

Length, Width, Height—Sets the corresponding

dimensions of the chamfered box.

Fillet—Slices off the edges of the chamfered box.

Higher values result in a more refined fillet on the

edges of the chamfered box.

Length, Width, Height Segs—Sets the number of

divisions along the corresponding axis.

Fillet Segs—Sets the number of segments in the

filleted edges of the box. Adding fillet segments

increases the edge roundness.

Smooth—Blends the display of the faces of the

chamfered box, creating a smooth appearance in

rendered views.

Generate Mapping Coords—Generates coordinates

for applying mapped materials to the chamfered

box. Default=on.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625).Default=off.

ChamferCyl Extended Primitive

Create panel > Geometry button > Extended Primitives >

Object Type rollout > ChamferCyl button

Create menu > Extended Primitives > Chamfer Cylinder

Use ChamferCyl to create a cylinder with beveled

or rounded cap edges.

Examples of chamfered cylinders

Procedure

To create a chamfered cylinder:

1. FromtheCreatemenu,chooseExtended

Primitives > Chamfer Cylinder.

ChamferCyl Extended Primitive 193

2. Drag the mouse to define the radius of the base

of the chamfered cylinder.

3. Releasethemousebutton,andthenmovethe

mouse vertically to define the height of the

cylinder. Click to set the height.

4. Move the mouse diagonally to define the width

of the fillet, or chamfer (toward the upper left

increases the width; toward the lower right

decreases it).

5. Click to finish the cylinder.

Interface

Creation Method rollout

Edge—Draws the object from edge to edge. You

can change the center location by moving the

mouse.

Center—Draws the object from the center out.

Parameters rollout

Radius—Sets the radius of the chamfered cylinder.

Height—Sets the dimension along the central axis.

Negative values create the chamfered cylinder

below the construction plane.

Fillet—Chamfers the top and bottom cap edges of

the chamfered cylinder. Higher numbers result in

a more refined fillet along the cap edge.

Height Segs—Sets the number of divisions along

the corresponding axis.

Fillet Segs—Sets the number of segments in

the filleted edges of the cylinder. Adding fillet

segments curves the edges, producing a filleted

cylinder.

Sides—Sets the number of sides around the

chamfered cylinder. Higher numbers shade and

render as true circles with Smooth on. Lower

numbers create regular polygonal objects with

Smooth off.

Cap Segs—Sets the number of concentric divisions

along the center of the chamfered cylinder’s top

and bottom

Smooth—Blends the faces of the chamfered

cylinder, creating a smooth appearance in

rendered views.

Slice On—Enables the Slice function. Default=off.

WhenyoucreateasliceandthenturnoffSliceOn,

the complete chamfered cylinder reappears. You

can use this check box to switch between the two

topologies.

Slice From, Slice To—Sets the number of degrees

around the local Z axis from a zero point at the

local X axis.

For both settings, positive values move the end of

the slice counterclockwise; negative values move it

clockwise. Either setting can be made first. When

the ends meet, the whole chamfered cylinder

reappears.

194 Chapter 5: Creating Geometry

Generate Mapping Coords—Generates coordinates

for applying mapped materials to the chamfered

cylinder. Default=on.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625). Default=off.

OilTank Extended Primitive

Create panel > Geometry button > Extended Primitives >

Object Type rollout > OilTank button

Create menu > Extended Primitives > Oil Tank

Use OilTank to create a cylinder with convex caps.

Examples of oil tanks

Procedure

To create an oil tank:

1. FromtheCreatemenu,chooseExtended

Primitives > Oil Tank.

2. Drag the mouse to define the radius of the base

of the oil tank.

3. Releasethemousebutton,andthenmovethe

mouseverticallytodefinetheheightoftheoil

tank. Click to set the height.

4. Movethemousediagonallytodefinetheheight

of the convex caps (toward the upper left to

increase the height; toward the lower right to

decrease it).

5. Click again to finish the oil tank.

Interface

Creation Method rollout

Edge—Draws the object from edge to edge. You

can change the center location by moving the

mouse.

Center—Draws the object from the center out.

Parameters rollout

Radius—Sets the radius of the oil tank.

Height—Sets the dimension along the central

axis. Negative values create the oil tank below the

construction plane.

Cap Height—Sets the height of the convex caps.

The minimum value is 2.5% of the Radius setting.

Capsule Extended Primitive 195

The maximum value is the Radius setting, unless

theabsolutevalueoftheHeightsettingisless

than the double Radius setting, in which case cap

height cannot exceed ½ of the absolute value of

the Height setting.

Overall/Centers—Determines what the Height

valuespecifies.Overallistheoverallheightofthe

object. Centers is the height of the midsection of

the cylinder, not including its convex caps.

Blend—When greater than 0, creates a bevel at the

edge of the caps.

Sides—Sets the number of sides around the oil

tank. To create a smoothly rounded object, use

ahighernumberofsidesandturnSmoothon.

To create an oil tank with flat sides, use a lower

number of sides and turn Smooth off.

Height Segs—Sets the number of divisions along

the oil tank’s major axis.

Smooth—Blends the faces of the oil tank, creating

a smooth appearance in rendered views.

Slice On—Tur ns on the S lice f unct ion. Default=off.

When you create a slice and then turn off Slice

On, the complete oil tank reappears. You can

therefore use this check box to switch between the

two topologies.

Slice From, Slice To—Sets the number of degrees

around the local Z axis from a zero point at the

local X axis.

For both settings, positive values move the end of

the slice counterclockwise; negative values move it

clockwise. Either setting can be made first. When

theendsmeet,thewholeoiltankreappears.

Generate Mapping Coords—Generates coordinates

for applying mapped materials to the oil tank.

Default=on.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625).Default=off.

Capsule Extended Primitive

Create panel > Geometry button > Extended Primitives >

Object Type rollout > Capsule button

Create menu > Extended Primitives > Capsule

Use Capsule to create a cylinder with hemispherical

caps.

Examples of capsules

Procedure

To create a capsule:

1. FromtheCreatemenu,chooseExtended

Primitives > Capsule.

2. Drag the mouse to define the radius of the

capsule.

3. Release the mouse button, and then move the

mouse vertically to define the height of the

capsule.

4. Click to set the height and finish the capsule.

196 Chapter 5: Creating Geometry

Interface

Creation Method rollout

Edge—Draws the object from edge to edge. You

can change the center location by moving the

mouse.

Center—Draws the object from the center out.

Parameters rollout

Radius—Sets the radius of the capsule.

Height—Sets the height along the central axis.

Negative values create the capsule below the

construction plane.

Overall/Centers—Determines what the Height

value specifies. Overall specifies the overall height

of the object. Centers specifies the height of

the midsection of the cylinder, not including its

domed caps.

Sides—Sets the number of sides around the

capsule. Higher numbers shade and render as true

circleswithSmoothon.Lowernumberscreate

regular polygonal objects with Smooth off.

Height Segs—Sets the number of divisions along

the capsule’s major axis.

Smooth—Blends the faces of the capsule, creating a

smooth appearance in rendered views.

Slice On—Turns on the Slice function. Default=off.

WhenyoucreateasliceandthenturnoffSliceOn,

the complete capsule reappears. You can use this

check box to switch between the two topologies.

Slice From, Slice To—Sets the number of degrees

around the local Z axis from a zero point at the

local X axis.

For both settings, positive values move the end of

the slice counterclockwise; negative values move it

clockwise. Either setting can be made first. When

theendsmeet,thewholecapsulereappears.

Generate Mapping Coords—Generates coordinates

for applying mapped materials to the capsule.

Default=on.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625).Default=off.

Spindle Extended Primitive

Create panel > Geometry button > Extended Primitives >

Object Type rollout > Spindle button

Create menu > Extended Primitives > Spindle

Use the Spindle primitive to create a cylinder with

conical caps.

Spindle Extended Primitive 197

Examples of spindles

Procedure

To create a spindle:

1. FromtheCreatemenu,chooseExtended

Primitives > Spindle.

2. Drag the mouse to define the radius of the base

of the spindle.

3. Releasethemousebutton,andthenmovethe

mouse vertically to define the height of the

spindle. Click to set the height.

4. Move the mouse diagonally to define the height

of the conical caps (toward the upper left to

increase the height; toward the lower right to

decrease it).

5. Click again to finish the spindle.

Interface

Creation Method rollout

Edge—Draws the object from edge to edge. You

can change the center location by moving the

mouse.

Center—Draws the object from the center out.

Parameters rollout

Radius—Sets the radius of the spindle.

Height—Sets the dimension along the central

axis. Negative values create the spindle below the

construction plane.

Cap Height—Sets the height of the conical caps.

The minimum value is 0.1; the maximum value is

½ the absolute value of the Height setting.

Overall/Centers—Determines what the Height

value specifies. Overall specifies the overall height

of the object. Centers specifies the height of

the midsection of the cylinder, not including its

conical caps.

Blend—When greater than 0, creates a fillet where

the caps meet the body of the spindle.

Sides—Sets the number of sides around the

spindle. Higher numbers shade and render as true

198 Chapter 5: Creating Geometry

circleswithSmoothon.Lowernumberscreate

regular polygonal objects with Smooth off.

Cap Segs—Sets the number of concentric divisions

along the center of the spindle’s top and bottom.

Height Segs—Sets the number of divisions along

the spindle’s major axis.

Smooth—Blends the faces of the spindle, creating a

smooth appearance in rendered views.

Slice On—Tur ns on the S lice f unct ion. Default=off.

WhenyoucreateasliceandthenturnoffSliceOn,

thecompletespindlereappears.Youcantherefore

usethischeckboxtoswitchbetweenthetwo

topologies.

Slice From, Slice To—Sets the number of degrees

around the local Z axis from a zero point at the

local X axis.

For both settings, positive values move the end of

the slice counterclockwise; negative values move it

clockwise. Either setting can be made first. When

theendsmeet,thewholespindlereappears.

Generate Mapping Coords—Sets up the required

coordinates for applying mapped materials to the

spindle. Default=on.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625). Default=off.

L-Ext Extended Primitive

Create panel > Geometry button > Extended Primitives

>ObjectTyperollout>L-Extbutton

Create menu > Extended Primitives > L-Extrustion

Use L-Ext to create an extruded L-shaped object.

Example of L-Ext

Procedure

To create an L-Ext object:

1. FromtheCreatemenu,chooseExtended

Primitives > L-Ext.

2. Drag the mouse to define the base. (Press Ctrl

to constrain the base to a square.)

3. Release the mouse and move it vertically to

define the height of the L-extrusion.

4. Click, and then move the mouse vertically to

define the thickness or width of the walls of the

L-extrusion.

5. Click to finish the L-extrusion.

Interface

Creation Method rollout

Corners—Draws the object from corner to corner.

You can change the center location by moving the

mouse.

Center—Draws the object from the center out.

Gengon Extended Primitive 199

Parameters rollout

Side/Front Length—Specify the lengths of each

"leg" of the L.

Side/Front Width—Specify the widths of each "leg"

of the L.

Height—Specifies the height of the object.

Side/Front Segs—Specify the number of segments

for a specific "leg" of the object.

Width/Height Segs—Specify the number of

segments for the overall width and height.

Note: Theobject’sdimensions(Back,Side,Front)

are labeled as though it were created in the Top or

Perspective viewports, and seen from the front in

world space.

Generate Mapping Coords—Sets up the required

coordinates for applying mapped materials to the

object. Default=on.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625).Default=off.

Gengon Extended Primitive

Create panel > Geometry button > Extended Primitives >

Object Type rollout > Gengon button

Create menu > Extended Primitives > Gengon

UseGengontocreateanextruded,regular-sided

polygon with optionally filleted side edges.

Examples of gengons

Procedure

To create a gengon:

1. FromtheCreatemenu,chooseExtended

Primitives > Gengon.

2. Set the Sides spinner to specify the number of

side wedges in the gengon.

3. Dragthemousetocreatetheradiusofthe

gengon.

4. Releasethemousebutton,thenmovethe

mouse vertically to define the height of the

gengon. Click to set the height.

5. Move the mouse diagonally to specify the size

of the chamfer along the side angles (toward the

upper left to increase the size; toward the lower

right to decrease it).

200 Chapter 5: Creating Geometry

6. Click to finish the gengon.

Tip: In the Parameters rollout, increase the Fillet

Segs spinner to round the chamfered corners into

fillets.

Interface

Creation Method rollout

Edge—Draws the object from edge to edge. You

can change the center location by moving the

mouse.

Center—Draws the object from the center out.

Parameters rollout

Sides—Sets the number of sides around the

gengon. Higher numbers shade and render as true

circleswithSmoothon.Lowernumberscreate

regular polygonal objects with Smooth off.

Radius—Sets the radius of the gengon.

Fillet—Sets the width of the chamfered corners.

Height—Sets the dimension along the central

axis. Negative values create the gengon below the

construction plane.

Side Segs—Sets the number of divisions around

the gengon.

Height Segs—Sets the number of divisions along

the gengon’s major axis.

Fillet Segs—Sets the number of divisions for the

edge filleting. Increasing this setting will produce

round, filleted corners instead of chamfers.

Smooth—Blendsthefacesofthegengon,creatinga

smooth appearance in rendered views.

Generate Mapping Coords—Sets up the required

coordinates for applying mapped materials to the

gengon. Default=on.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625).Default=off.

C-Ext Extended Primitive

Create panel > Geometry > Extended Primitives > Object

Typerollout>C-Extbutton

Create menu > Extended Primitives > C-Extrusion

Use C-Ext to create an extruded C-shaped object.

Example of C-Ext

C-Ext Extended Primitive 201

Procedure

To create a C-Ext object:

1. FromtheCreatemenu,chooseExtended

Primitives > C-Extrusion.

2. Drag the mouse to define the base. (Press Ctrl

to constrain the base to a square.)

3. Release the mouse and move it vertically to

define the height of the C-extrusion.

4. Click, and then move the mouse vertically to

definethethicknessorwidthofthewallsofthe

C-extrusion.

5. Click to finish the C-extrusion.

Interface

Creation Method rollout

Corners—Draws the object from corner to corner.

You can change the center location by moving the

mouse.

Center—Draws the object from the center out.

Parameters rollout

Back/Side/Front Length—Specify the length of each

of the three sides.

Back/Side/Front Width—Specify the width of each

of the three sides.

Height—Specifies the overall height of the of the

object.

Back/Side/Front Segs—Specify the number of

segments for a specific side of the object.

Note: Theobject’sdimensions(Back,Side,Front)

are labeled as though it were created in the Top or

Perspective viewports, and seen from the front in

world space.

Width/Height Segs—Set these to specify the

number of segments for the overall width and

height of the object.

202 Chapter 5: Creating Geometry

Generate Mapping Coords—Sets up the required

coordinates for applying mapped materials to the

object. Default=on.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625). Default=off.

RingWave Extended Primitive

Create panel > Geometry button > Extended Primitives >

Object Type rollout > RingWave button

Create menu > Extended Primitives > RingWave

Example of ringwave

Use the RingWave object to create a ring,

optionally with irregular inner and outer edges

whose shapes can be animated. You can also

animatethegrowthoftheringwaveobject,and

you can use keyframing to animate all numeric

settings. Use RingWave for various types of

special-effects animation, for example, to depict

the shock wave emanating from the explosion of a

star or planet.

Procedure

To create a basic animated ringwave:

1. On the menu bar choose Create > Extended

Primitives > Ringwave.

2. Drag in a viewport to set the outer radius of the

ringwave.

3. Release the mouse button, and then move the

mousebacktowardthecenteroftheringtoset

the inner radius.

4. Click to create the ringwave object.

5. Dragthetimeslidertoseethebasicanimation.

This is determined by the Inner Edge Breakup

group > Crawl Time settings.

6. To animate the ring’s growth, choose RingWave

Timing group > Grow And Stay or Cyclic

Growth.

RingWave Extended Primitive 203

Interface

Parameters rollout

RingWave Size group

Use these settings to change the ringwave’s basic

parameters.

Radius—Sets the outside radius of the ringwave.

Radial Segs—Sets the segment count between the

innerandoutersurfacesinthedirectionofthe

radius.

Ring Width—Sets the mean ring width as measured

inward from the outer radius.

Sides—Sets the number of segments in the

circumferential direction for both the inner, outer,

and end (cap) surfaces.

Height—Sets the height of the ringwave along its

major axis.

Tip: If you leave the Height at 0 for an effect like

ashockwave,youwillwanttoapplyatwo-sided

material so that the ring can be seen from both

sides.

Height Segs—Sets the number of segments in the

direction of the height.

RingWave Timing group

Use these settings for ringwave animation where

theringwavegrowsfromnothingtoitsfullsize.

No Growth—Sets a static ringwave, which appears

at Start Time and disappears after End Time.

Grow and Stay—Animates a single growth cycle.

TheringwavebeginsgrowingattheStartTimeand

reaches its full size at Start Time plus Grow Time.

Cyclic Growth—Theringwavegrowsrepeatedly

fromtheStartTimetoStartTimeplusGrowTime.

For example, if you set Start Time to 0 and Grow

Time to 25, leaving End Time at the default value

of 100, and choose Cyclic Growth, the ringwave

grows from nothing to its full size four times over

thecourseoftheanimation.

204 Chapter 5: Creating Geometry

Start Time—The frame number where the ringwave

appears, and begins to grow if you choose Grow

and Stay or Cyclic Growth.

Grow Time—The number of frames after Start

Timetheringwavetakestoreachfullsize.Grow

Time is available only if Grow and Stay or Cyclic

Growth is chosen.

End Time—The frame number after which the

ringwave disappears.

Outer Edge Breakup group

Use these settings to change the shape of the

ringwave’s outer edge.

Tip: For effects like shock waves, the ringwave

typically has little or no breakup on the outer edge

but relatively massive breakup on the inner edge.

On—Turns on breakup of the outer edge. The

remaining parameters in this group are active only

when this is on. Default=off.

Major Cycles—Sets the number of major waves

around the outer edge.

Width Flux—Sets the size of the major waves,

expressed as a percentage of the unmodulated

width.

Crawl Time—Sets the number of frames each

major wave takes to move around the outer

circumference of the RingWave.

Minor Cycles—Sets the number of random-sized

smaller waves in each major cycle.

Width Flux—Sets the average size of the

smaller waves, expressed as a percentage of the

unmodulated width.

Crawl Time—Sets the number of frames each minor

wavetakestomoveacrossitsrespectivemajor

wave.

Inner Edge Breakup group

Use these settings to change the shape of the

ringwave’s inner edge.

On—Turns on the breakup of the inner edge. The

remaining parameters in this group are active only

when this is on. Default=on.

Major Cycles—Sets the number of major waves

around the inner edge.

Width Flux—Sets the size of the major waves,

expressed as a percentage of the unmodulated

width.

Crawl Time—Sets the number of frames each

major wave takes to move around the inner

circumference of the RingWave.

Minor Cycles—Sets the number of random-sized

smallerwavesineachmajorcycle.

Width Flux—Sets the average size of the

smaller waves, expressed as a percentage of the

unmodulated width.

Crawl Time—Sets the number of frames each minor

wavetakestomoveacrossitsrespectivemajor

wave.

Note: Negative values in the Crawl Time parameters

change the direction of the wave. To produce

interference patterns, use Crawl Time settings

of opposite sign for major and minor waves, but

similar Width Flux and Cycles settings.

Tip: To produce the best "random" results, use

prime numbers for major and minor cycles that

differ by a multiple of two to four. For example, a

majorwaveof11or17cyclesusingawidthflux

of 50 combined with a minor wave of 23 or 31

cycles with a width flux of 10 to 20 makes a nice

random-appearing edge.

Texture Coordinates—Sets up the required

coordinates for applying mapped materials to the

object. Default=on.

Prism Extended Primitive 205

Smooth—Applies smoothing to the object by

setting all polygons to smoothing group 1.

Default=on.

Prism Extended Primitive

Create panel > Geometry button > Extended Primitives

>ObjectTyperollout>Prismbutton

Create menu > Extended Primitives > Prism

Use Prism to create a three-sided prism with

independently segmented sides.

Example of a prism

Procedures

To create a prism with an isosceles triangle as its

base:

1. Choose Isosceles on the Creation Method

rollout.

2. Drag horizontally in the viewport to define

thelengthofSide1(alongtheXaxis).Drag

vertically to define the length of Sides 2 and 3

(along the Y axis).

(Toconstrainthebasetoanequilateraltriangle,

press Ctrl before performing this step.)

3. Release the mouse, and move it vertically to

define the height of the prism.

4. Click to complete the prism.

5. On the Parameters rollout, alter the length of

the sides as needed.

To create a prism with a scalene or obtuse triangle

at its base:

1. Choose Base/Apex in the Creation Method

rollout.

2. Drag horizontally in the viewport to define

thelengthofSide1(alongtheXaxis).Drag

vertically to define the length of Sides 2 and 3

(along the Y axis).

3. Click, and then move the mouse to specify

the placement of the apex of the triangle. This

alters the length of sides 2 and 3, and the angles

of the corners of the triangle.

4. Click, and then move the mouse vertically to

define the height of the prism.

5. Click to complete the prism.

Interface

Creation Method rollout

Isosceles—Draws a prism with an isosceles triangle

at its base.

Base/Apex—Draws a prism with a scalene or

obtuse triangle at its base.

Parameters rollout

206 Chapter 5: Creating Geometry

Side (n) Length—Sets the length of triangle’s

corresponding side (and thus the triangle’s corner

angles).

Height—Sets the dimension of the prism’s central

axis.

Side (n) Segs—Specifies the number of segments

for each side of the prism.

Height Segs—Sets the number of divisions along

the prism’s central axis.

Generate Mapping Coordinates—Sets up the

required coordinates for applying mapped

materials to the prism. Default=off.

Hose Extended Primitive

Create panel > Geometry > Extended Primitives > Object

Type rollout > Hose button

Create menu > Extended Primitives > Hose

The Hose object is a flexible object that you can

connect between two objects, whereupon it reacts

to their movement. It’s similar to Spring (page

1–400),butdoesnothavedynamicsproperties.

You can specify the overall diameter and length of

thehose,thenumberofturns,andthediameter

and shape of its "wire."

Hose models a workable spring on a motorcycle

Procedures

To create a hose:

1. Fromthemenubar,chooseCreate>Extended

Primitives > Hose.

2. Drag the mouse to define the radius of the hose.

3. Release the mouse, and then move it to define

the length of the hose.

4. Click to finish the hose.

To bind a hose to two objects:

1. Add a hose and two other objects. Select the

hose.

2. IntheModifypanel>HoseParametersrollout

> End Point Method group, choose Bound To

Object Pivots.

3. In the Binding Objects group, click Pick Top

Object, and then select one of the two objects.

4. In the Binding Objects group, click Pick Bottom

Object, and then select the second of the two

objects.

Thetwoendsofthehoseattachthemselvesto

the two objects.

5. Move one of the objects.

The hose adjusts itself to remain attached to

both objects.

Interface

Hose Parameters rollout > End Point Method

group

Free Hose—Choose this when using the hose as a

simple object that’s not bound to other objects.

Hose Extended Primitive 207

Bound to Object Pivots—Choose this when binding

thehosetotwoobjects,usingthebuttonsinthe

Binding Objects group.

Hose Parameters rollout > Binding Objects

group

Available only when Bound To Object Pivots is

chosen. Use the controls to pick the objects to

which the hose is bound and to set the tension

between them. "Top" and "Bottom" are arbitrary

descriptors; the two bound objects can have any

positional relationship to each other.

Each end point of the hose is defined by the center

oftheoveralldiameter.Thisendpointisplacedat

the pivot point of the object to which it is bound.

Youcanadjusttherelativepositionofthebinding

object to the hose by transforming the binding

object while the Affect Object Only button is

turned on in the Hierarchy panel > Adjust Pivot

rollout.

Top (label)—Displaysthenameofthe"top"binding

object.

Pick Top Object—Click this button and then select

the "top" object.

Tension—Determinesthetensionofthehosecurve

near the Top object as it reaches for the Bottom

object.Lowerthetensiontohavethebendoccur

closer to the Top object, raise the tension to have

the bend occur further away from the Top object.

Default=100.

Bottom (label)—Displaysthenameofthe"bottom"

binding object.

Pick Bottom Object—Click this button and then

select the "bottom" object.

Tension—Determinesthetensionofthehosecurve

near the Bottom object as it reaches for the Top

object. Lower the tension to have the bend occur

closer to the Bottom object, raise the tension to

have the bend occur further away from the Bottom

object. Default=100.

Hose Parameters rollout > Free Hose Parameters

group

Height—Use this field to set the straight-line height

or length of the hose when it is not bound. This

is not necessarily the actual length of the hose.

AvailableonlywhenFreeHoseischosen.

208 Chapter 5: Creating Geometry

Hose Parameters rollout > Common Hose

Parameters group

Segments—The total number of segments in the

hose’s length. Increase this setting for a smooth

profile when the hose is curved. Default=45.

Flex Section Enable—When on, lets you set the

following four parameters for the central, flexible

section of the hose. When off, the hose’s diameter

is uniform throughout its length.

Starts—Thepercentageofthehoselengthfrom

the starting extremity of the hose at which the flex

section begins. By default, the starting end of the

hose is the end at which the object pivot appears.

Default=10%.

Ends—Thepercentageofthehoselengthfromthe

endextremityofthehoseatwhichtheflexsection

ends. By default, the end extremity of the hose is

opposite the end at which the object pivot appears.

Default=90%.

Cycles—The number of corrugations in the flex

section. The number of visible cycles is limited by

the number of segments; if Segments isn’t high

enough to support the number of cycles, then not

all cycles will appear. Default=5.

Tip: To set the appropriate number of segments,

first set Cycles, and then increase Segments until

the number of visible cycles stops changing.

Diameter—The relative width of the "outside"

parts of the cycles. At negative settings, these are

smaller than the overall hose diameter. At positive

settings, these are larger than the overall hose

diameter. Default=-20%. Range=-50% to 500%.

Smoothing—Defines the geometry that gets

smoothed. Default=All:

•All—Theentirehoseissmoothed.

•Sides—Smoothingisappliedalongthelength

of the hose but not around its circumference.

•None—No smoothing is applied.

•Segments—Smoothingisappliedonlyonthe

inner section of the hose.

Renderable—When on, the hose is rendered using

the specified settings. When off, the hose is not

rendered. Default=on.

Generate Mapping Coords—Sets up required

coordinates for applying mapped materials to the

hose. Default=on.

Architectural Objects 209

Hose Parameters rollout > Hose Shape group

Sets the shape of the hose cross section.

Default=Round Hose.

Round Hose—Sets a circular cross section.

Diameter—The maximum width of the hose at the

ends.

Sides—Thenumberofsidesofthehose.ASides

settingof3givesatriangularcrosssection;4gives

a square cross section; and 5 gives a pentagonal

cross section. Increase Sides for a circular cross

section. Default=8.

Rectangular Hose—Lets you specify different

settings for width and depth.

Width—The width of the hose.

Depth—The height of the hose.

Fillet—The amount by which the cross-section

corners are rounded. For this to be visible, Fillet

Segs must be set to 1 or higher. Default=0.

Fillet Segs—The number of segments across each

filleted corner. A Fillet Segs setting of 1 cuts the

corner straight across; use higher settings for

rounded corners. Default=0.

Rotation—The orientation of the hose along its

long axis. Default=0.

D-Section Hose—Similar to Rectangular Hose, but

rounds one side for a D-shaped cross-section.

Width—The width of the hose.

Depth—The height of the hose.

Round Sides—The number of segments on the

rounded side. Increase for a smoother profile.

Default=4.

Fillet—The amount by which the two cross-section

corners opposite the rounded side are rounded.

For this to be visible, Fillet Segs must be set to 1 or

higher. Default=0.

Fillet Segs—The number of segments across each

filleted corner. A Fillet Segs setting of 1 cuts the

corner straight across; use higher settings for

rounded corners. Default=0.

Rotation—The orientation of the hose along its

long axis. Default=0.

Architectural Objects

3ds Max provides an array of architectural objects,

useful as building blocks for models of homes,

businesses, and similar projects. These include:

AEC Extended Objects (page 1–210):Foliage,

Railing, and Wall

Stairs (page 1–231)

210 Chapter 5: Creating Geometry

Doors (page 1–246)

Windows (page 1–253)

AEC Extended Objects

Create panel > Geometry > AEC Extended

Create menu > AEC Objects

AEC Extended objects are designed for use in

the architectural, engineering, and construction

fields.UseFoliagetocreateplants,Railingtocreate

railings and fences, and Wall to create walls.

Interface

Foliage (page 1–214)

Railing (page 1–217)

Wall (page 1–223)

The Object Name and Wireframe Color rollout (page

3–757) in each AEC Extended object’s creation

panel functions identically. The remaining rollouts

are covered in each object’s topic.

Working with AEC Design

Elements

3ds Max includes such features as Foliage, Doors,

Windows, Stairs, Railing, and Wall to make

exploring three-dimensional design ideas much

easier.

This section provides general information about

these features. For detailed explanations and

procedures, see the topics listed below:

Doors (page 1–246)

Windows (page 1–253)

Stairs (page 1–231)

Railing (page 1–217)

Wall (page 1–223)

Foliage (page 1–214)

Doors and Windows

3ds Max supplies a number of parametric window

and door objects that you can place into wall

openings to add realism to an architectural model.

These objects let you control details like trim and

panelfillinyourmodel.

Tip: Use Snaps (page 2–46) for added precision

when adding doors and windows.

When you create a new door or window, you must

select four points in the scene that define the size

and orientation of the rectangle that will be the

door or window. You may find it easier to select

thesepointsinagivensequence,dependingon

your scene and views of the scene.

If you already have a rectangular hole you want to

fill, you can still create a door or window to your

specifications by using the following procedure.

To create a door or window:

1. Set up an angled User view so that you can see

thebottomandoneverticaledgeoftheopening

and its full height.

2. Settheappropriateobjectsnaps,suchasVertex

or Endpoint. This helps make the model more

precise.

Working with AEC Design Elements 211

3. After clicking Window or Door, choose one of

two Creation Methods: Width/Depth/Height

or Width/Height/Depth.

4. Make parameter adjustments to define details.

The width and orientation of the door/window

is always defined by the first mouse click and

subsequent mouse drag. Depending on the

creation method you use, either the height or

depth of the object is defined next.

Ifyouhavenoobjectsnapssetandareworking

in a Perspective or User Viewport, using

the Width/Depth/Height Creation Method

creates an upright Door or Window. The

Width/Height/Depth Creation Method creates the

object as if it were lying on its side.

Allowing Non-vertical Jambs

TheAllowNon-verticalJambstoggleisuseful

for creating doors or windows that do not fit in

a vertical plane, such as a skylight window in a

sloping roof. By default, this toggle is off, making

the third point in the creation sequence either

directly above (Width/Height/Depth) or on the

same horizontal plane (Width/Depth/Height)

with the second point.

WhenyouturnonAllowNon-verticalJambs,the

third point in the creation sequence falls wherever

youchooseandthefourthpointisaddedbythe

program. Its offset from the plane is determined

by the first three points.

Using the Width/Height/Depth Creation Method

in Perspective and User viewports with Allow

Non-vertical Jambs off can be an efficient way

to create doors and windows with Object Snaps.

However, it can also be confusing at first. Keep in

mind that the third point you define, the Height,

is interpreted as a point on the home grid until

you indicate a point higher or lower than the grid.

If you are using an Object Snap setting, 3ds Max

mightnotknowyoumeanapointoffthegrid

unless you bring the cursor in proximity to a

nonplanar point to which it can snap.

Additional Parameters

There are additional parameters specific to

each door and window type that control overall

dimension parameters, as well as detailed

parameters for sub-object components such as

mullions, trim, and panels within leaves. See Doors

(page 1–246) and Windows (page 1–253) for more

information on these parameters.

Animating Doors and Windows

Certain door and window creation parameters,

including the Open parameter, can be animated.

See Doors (page 1–246) and Windows (page 1–253)

for more information.

Creating Stairs and Railings

3ds Max contains four types of stair objects: spiral

stairs (page 1–235),U-type stairs (page 1–243) with

an intermediate landing, L-type stairs (page 1–232)

with a landing at the bend in the stair, and straight

stairs (page 1–239) with no intermediate landing.

A complementary Railing object can be used to

create any number of handrail designs that follow

along a spline path.

For more information, see Stairs (page 1–231).

The Railing Object

UsetheRailingbuttonontheCreatepanelinthe

to produce railing objects. Railing components

include rails, AEC Extended category (page

1–210)posts, and fencing. Fencing includes pickets

(balusters) or solid-filled material (such as glass or

wood strips).

You can create a railing in two ways: specify the

orientation and height of the railing, or pick a

spline path and apply the railing to that path.

Thesplinepathwitharailingiscalledarailpath.

Later, if you edit the rail path, the Railing object

212 Chapter 5: Creating Geometry

automatically updates to follow the changes you

make. Rail paths can occupy three-dimensional

space.

When you create the lower rails, posts, and fencing

components of a Railing object, you use a special

version of the Spacing Tool to specify the spacing

ofthosecomponents.Theprogramdisplaysthe

Spacing Tool dialog for each railing component:

Lower Rail, Post Spacing, or Picket Spacing. For

moreinformationontheSpacingTool,seeSpacing

Tool (page 1–455).

For details on Railing parameters and information

on creating a Railing object, see Railing (page

1–217).

Creating Walls

Use the Wall button (page 1–223) on the Create

panel, in the AEC Extended category, to produce

straight-wall objects. A wall object is made up of

sub-object segments that you can edit with the

Modify panel.

Yo u c a n :

• Break or insert wall segments to create separate

wall objects.

• Delete wall segments.

• Connect two wall objects.

When you create two wall segments that meet at a

corner, 3ds Max removes any duplicate geometry.

This “cleaning up” of the corners might involve

trimming. 3ds Max cleans up only the first two

wall segments of a corner, not other wall segments

that might share the corner. 3ds Max does not

clean up intersections.

You can edit the segments of a wall using

sub-objectselectionmodeontheModifypanel.

For example, you can define a wall’s height profile.

3dsMaxmovestheactivegridtotheplaneofthe

wall you’re editing. This allows you to snap to the

profileverticesintheplaneofthewall.

If you move, scale, or rotate the wall object, the

linked door and window moves, scales, or rotates

along with the wall. If you move the linked door or

windowalongthewall,usingthedoororwindow’s

Local coordinate system and activating Restrict

to XY Plane in the Axis Constraints toolbar (page

1–437), the opening will follow. Also, if you change

adoororwindow’soverallwidthandheightinthe

Modifypanel,theholewillreflectthosechanges.

Usage Tips

The following are a few tips for working with wall

objects:

• Use the Top viewport when creating wall

objects.

• Single walls with many windows and doors can

slow down snap calculations and movement

of the wall object. To speed up insertion and

editing, use multiple walls instead of a single

wall.

• Youcanspeedupperformanceinascenewith

many walls, windows, and doors by collapsing

them. First save an uncollapsed version for any

future parametric changes you might want to

make. Then right-click the wall and pick Select

Children from the right-click menu. Next use

Collapse in the Utility rollout to collapse them

all.

For complete information, see Wall (page 1–223).

To create a wall:

1. OntheCreatepanel,intheAECExtended

category, click Wall.

2. Use Customize > Units Setup to establish

precision, and then set the parameters for the

Width, Height, and Justification of the wall.

3. In any viewport, click, release the mouse, drag

thewallsegmenttothelengthyouwantand

click again.

Working with AEC Design Elements 213

This creates a wall segment. You can end the

wall or you can continue to create another wall

segment.

4. To complete the wall, right-click, or to add

another wall segment, drag the next wall

segmenttothelengthyouwantandclickagain.

If you create a room by ending a segment at

the end of another segment of the same wall

object, the program displays the Weld Point

dialog.Thisdialogletsyouconvertthetwoend

vertices into a single vertex, or keep the two end

vertices separate.

5. If you want the wall segments to be welded at

a corner (when you move one wall, the other

wall stays at the corner), click Yes. Otherwise,

click No.

6. Right-click to complete the wall, or continue to

add another wall segment.

To attach separate walls:

1. Select a wall object.

2. On the Modify panel, click Attach, and then

pick another wall object.

Thetwowallobjectsbecomepartofthesame

wall object, but are not physically connected.

Attach stays active, and you can continue

clicking wall segments to attach. To stop

attaching, click the Attach button or right-click

in the active viewport.

To attach multiple wall objects simultaneously

to the selected wall object, click Attach Multiple

on the Modify panel to open the Attach

Multipledialog.Thisworksthesameasthe

Select Objects dialog (page 1–78),exceptthatit

shows only wall objects; choose multiple walls

to attach, and then click the Attach button.

To connect vertices in a wall:

This method lets you connect two separate wall

sections with a new segment.

Tip: It is easier to work with wall vertices in

wireframe view mode.

1. Selectawallobjectthathasmorethanone

section. Typically you would use Attach to

create such an object.

2. In the modifier stack (page 3–760),gotothe

Vertex sub-object level.

3. Click Connect and point the mouse over an end

vertex until the cursor changes to a cross.

4. Click once over the end vertex.

5. Move the cursor to another end vertex, and

then click to connect the two segments.

To insert a vertex in a wall:

It is easier to work with wall vertices in wireframe

view mode.

1. Select a wall segment.

2. In the modifier stack (page 3–760),gotothe

Vertex sub-object level.

3. Click Insert.

A highlighted line appears along the bottom of

the wall, showing where you can insert vertices.

4. Click anywhere on the highlighted line to insert

avertex.

The new vertex is attached to the mouse cursor.

5. Move the mouse to position the vertex, and

then click to place it.

Now the mouse is attached to one of the new

segments.

6. Move the mouse along the segment and click to

add vertices.

7. Right-click to finish working on this segment.

You can now insert vertices in other segments,

or right-click again to exit Insert mode.

214 Chapter 5: Creating Geometry

Foliage

Create panel > Geometry > AEC Extended > Foliage

button

Create menu > AEC Objects > Foliage

Foliageproducesvarioustypesofplantobjects

such tree species. 3ds Max generates mesh

representations to create fast, efficient, and

good-looking plants.

Youcontrolheight,density,pruning,seed,canopy

display, and level of detail. The seed option

controls creation of different representations of the

same species. You can create millions of variations

ofthesamespecies,soeachobjectcanbeunique.

With the viewport canopy mode (page 1–217)

option, you can control the amount of plant detail,

reducing the number of vertices and faces 3ds Max

uses to display the plant.

Some of the plants that can be created from the standard

library

Tips

•UsetheSpacing tool (page 1–455) to place plants

along a path.

• Use vertex or face snapping (see Snaps Settings

(page 2–41)) to position plants on a surface.

Using the Spacing tool to distribute trees along paths

Procedure

To add plants to a scene:

1. Click the Favorite Plants rollout > Plant Library

button to display the Configure Palette dialog.

2. Double-click the row for each plant you want to

addorremovefromthePaletteandclickOK.

3. OntheFavoritePlantsrollout,selectaplantand

dragittoalocationinaviewport.Alternatively,

select a plant in the rollout and then click in the

viewport to place the plant.

4. On the Parameters rollout, click the New button

to display different seed variations of the plant.

5. Adjust the remaining parameters to show

elements of the plants, such as leaves, fruit,

branches, and if you want, to view the plant in

canopy mode.

Interface

Object Name and Wireframe Color rollout

This rollout lets you set the foliage object’s

name, color, and default material. For detailed

Foliage 215

information, see Object Name and Wireframe

Color (page 3–757).

When Favorite Plants rollout > Automatic

Materialsison,eachplantisassigneditsown

default material. For more information, see

Favorite Plants rollout, following.

Keyboard Entry rollout

See Creating Primitives from the Keyboard (page

1–169).

Favorite Plants rollout

Thepalettedisplaystheplantscurrentlyloaded

from the Plant Library.Therearethreewaysto

add a plant to the scene:

•Usekeyboardentry.

• Click the icon in the Favorite Plants list and then

click a location in a viewport. Double-click the

icon to place the plant at the world origin.

• Drag the plant from the palette and drop it into

aviewport.

Automatic Materials—Assigns default materials for

the plant. To modify these material assignments,

use the Material Editor (page 2–1409).Selectthe

plant in the viewport, and click Main toolbar >

Material Editor. Click the Get Material button

(page 2–1439) to display the Material/Map

Browser. Under Browse From, choose Selected.

Then,fromthelistpane,double-clickthematerial

list item for the plant to display the materials in the

Basic Parameters rollout of the Material Editor.

If you turn off Automatic Materials, 3ds Max

assigns no materials to the object, unless the Name

And Color rollout > Default Material check box

is on and a default material is assigned. This way

you can specify a particular default material for all

foliage objects. For more information, see Object

Name and Wireframe Color (page 3–757).

When on, Automatic Materials overrides the

Default Material settings.

Note: Even if Automatic Materials is off, 3ds Max

still assigns material IDs to the foliage objects,

so that the object is ready for a multi/sub-object

material.

Plant Library—Displays the Configure Palette

dialog. Using this window, you can view

information on the available plants including

their names, whether they’re in the palette, their

scientific names, types, descriptions, and the

approximate number of faces per object. You can

also add and remove plants from the palette, and

clear the palette, which removes all plants from the

palette.

Tip: To quickly add or remove a plant from the

palette, double-click its row in the Configure

Palette dialog. The Fav. (Favorite Plants) column

216 Chapter 5: Creating Geometry

entry switches between "no" and "yes." Click OK

to accept the changes and exit the window.

Parameters rollout

Height—Controls the approximate height of the

plant. 3ds Max applies a random noise factor to

the height of all of the plants. Therefore, the actual

height of a plant, as measured in the viewports,

won’t necessarily match the setting given in the

Height parameter.

Density—Controls the amount of leaves and

flowers on the plant. A value of 1 displays a plant

with all its leaves and flowers, .5 displays a plant

withhalfitsleavesandflowers,and0displaysa

plant with no leaves or flowers.

Two trees with varying foliage densities

Pruning—Appliesonlytoplantswithbranches.

Removes branches that lie below an invisible plane

parallel to the construction plane. A value of 0

prunes nothing, a value of .5 prunes the plant at a

plane halfway up its height from the construction

plane, and a value of 1 prunes everything possible

from the plant. What 3ds Max prunes from the

plant depends on the type of plant. The trunk is

never pruned.

Three pairs of trees, showing different values of pruning

New—Displays a random variation of the current

plant. 3ds Max displays the seed value in the

numeric field next to the button.

Tip: Click the New button repeatedly until you find

the variation you want. This is often easier than

trying to adjust the tree using modifiers.

Seed—A value between 0 and 16,777,215

representing the possible variations of branch and

leaf placement and shape and angle of the trunk of

the current plant.

Generate Mapping Coords—Applies default

mapping coordinates (page 3–967) to the plant.

Default=on.

Railing 217

Show group

Controls the display of leaves, fruit, flowers,

trunk, branches, and roots of plants. Available

options depend on the type of plant you select.

For example, if a plant doesn’t have fruit, 3ds Max

disables that option. Turning off options reduces

the number of vertices and faces displayed.

Viewport Canopy Mode group

In3dsMax,thecanopyofaplantisashellcovering

the outermost parts of the plant, such as the leaves

or the tips of the branches and trunk. The term

derives from "forest canopy." Use reasonable

parameters when you create many plants and want

to optimize display performance.

Because this setting applies only to the plant’s

representation in the viewports, it has no effect on

how 3ds Max renders the plant. For information on

how 3ds Max renders the plant, see Level-of-Detail

(page 1–217).

When Not Selected—Displays the plant in canopy

mode when it’s not selected.

Always—Always displays the plant in canopy

mode.

Never—Never displays the plant in canopy mode.

3ds Max displays all the features of the plant.

Level-of-Detail group

Controls how 3ds Max renders the plant. For

information on how 3ds Max displays the plant in

the viewports, see Viewport Canopy Mode (page

1–217).

Low—Renders the plant canopy, providing the

lowest level of detail.

Medium—Renders a reduced-face-count version

of the plant. How 3ds Max reduces the face count

varies from plant to plant, but it usually involves

removing smaller elements of the plant or reducing

the number of faces in the branches and trunk.

High—Renders all the faces of the plant, providing

the highest level of detail.

Tip: Set the parameters before creating multiple

plants. This can avoid slowing down the display,

and might reduce editing you have to do on the

plants.

Railing

Create panel > Geometry > AEC Extended > Railing

button

Create menu > AEC Objects > Railing

Components of the railing object include rails,

posts, and fencing. Fencing includes either pickets

(balusters) or solid-filled material, such as glass

or wood strip.

218 Chapter 5: Creating Geometry

Railings used to create fences in a field.

You can create a railing object either by specifying

the orientation and height of the railing, or by

picking a spline path and applying the railing to

that path. When 3ds Max applies railing to a spline

path, the latter is called a rail path.Later,ifyou

edittherailpath,therailingobjectautomatically

updatestofollowthechangesyoumade.Youcan

use three-dimensional splines as rail paths.

When you create the lower rails, posts, and fencing

components of a railing, you use the Spacing

tool (page 1–455) to specify the spacing of those

components. 3ds Max names the Spacing tool

dialog for each railing component: Lower Rail

Spacing, Post Spacing, or Picket Spacing.

Tip: Use Railing to create complete railings

for stairs. See Stairs (page 1–231) for more

information.

Railings and Materials

By default, 3ds Max assigns five different material

IDs to railings. The aectemplates.mat material

library includes Rail-Template,amulti/sub-object

material (page 2–1594) designed to be used with

railings. Each component of the railing/material is

listed below along with its corresponding Material

ID.

Material ID Railing/Material Component

1Lower rails

2Posts of the railing

3Solid fill of the railing

4Top of the railing

5Pickets of the railing

Note: 3ds Max does not automatically assign a

material to the railing object. To use the included

material, open the library and then assign the

material to your object.

Procedures

The following procedures describe how to create

railings combining each of the components: upper

rail, lower rails, posts, picket fencing, and solid

filled fencing.

You can create a railing object in any viewport,

but for best results, use a Perspective, Camera, or

To p v i e w p o r t .

To create a railing:

1. Click and drag the railing to the desired length.

2. Release the mouse button, and then move the

mouse vertically to set the height. Click to

finish.

Bydefault,3dsMaxcreatesthetoprailalong

with two posts, a lower rail at half the railing

height, and two evenly spaced pickets.

3. If you need to, change any of the parameters

to adjust the segments, length, profile, depth,

width, and height of the rail.

To adjust lower rails:

1. To modify the lower rail, or add more, choose

an option from the Lower Rail(s) group >

Profile list.

Railing 219

2. Specifythedepthandwidthforthelower

rails and then click the Lower Rail(s) > Spacing

button.

3. Specify the number of lower rails you want

using the Count option. Click Close to apply

your changes. For more information on spacing

optionsinthisdialog,seeSpacing Tool (page

1–455).

To create posts:

1. If you want to modify the posts, or add more,

chooseanoptionfromtheProfilelistunderthe

Posts rollout.

2. Specify the depth and width of the posts

and how much they should extend above the

toprail.ThenclickthePostsrollout>Spacing

button.

3. Specify the number of posts you want using

the Count option. Click Close to apply your

changes. For more information on spacing

optionsinthisdialog,seeSpacing Tool (page

1–455).

To create pick et fencing:

1. Choose Fencing rollout > Type list > Pickets.

The Solid Fill options will be unavailable.

2. Choose an option from the Profile list,

specifythedepthandwidthofthepickets,and

then click the Picket rollout > Spacing button.

3. Specify the number of pickets you want using

the Count option. Click Close to apply your

changes. For more information on spacing

options in this dialog, Spacing Tool (page

1–455).

To create solid-fill fencing:

1. Choose Fencing rollout > Type list > Solid Fill.

(The options under Picket are unavailable).

2. Under Solid Fill, adjust the options for

Thickness and offsets.

To create railings along a spline path:

Before you can create railings along a spline path,

you need to create a spline, or use an existing

spline from your scene.

1. Click Create panel > Geometry > AEC

Extended > Railing.

2. Click Pick Railing Path, then select a spline in

your scene.

Since the number of segments is 1 by default,

the upper rail extends for one segment between

the start and end of the spline.

3. Change the amount of segments using the

Modify panel > Segment setting.

The higher the segment value, the more closely

therailingapproximatesthesplineshape.

4. If you want the railing to contain corners where

thesplinedoes,turnonRespectCorners.

5. Complete the remainder of the railing options

as described in the preceding procedures.

Thereafter, the spline is associated with the

railing; any changes you make to the spline

shape are reflected in the railing.

Interface

Name and Color rollout

This rollout lets you set the selected railing’s name

and color. For detailed information, see Object

Name and Wireframe Color (page 3–757).

220 Chapter 5: Creating Geometry

Railing rollout

Pick Railing Path—Click this, and then click a spline

intheviewporttouseastherailingpath.3dsMax

uses the spline as the path along which to apply

the railing object.

If you edit the spline you’ve used as a railing

path, the railing adjusts to the changes you make.

3ds Max doesn’t immediately recognize 2D Shapes

from a linked AutoCAD drawing. To recognize

Shapes from a linked AutoCAD drawing, edit the

Shape with Edit Spline (page 1–680) in the Modify

panel.

Tip: When you create a railing using a closed spline

for the rail path, open the PostSpacingdialog(page

1–455), turn off Start Offset and End Offset, and

lock End Offset. This will ensure that 3ds Max

properly creates the railing with any fill, pickets,

and posts you specify.

Note: Railing objects that use Pick Path do not stay

on the path when substituted using the Substitute

modifier. Substituted externally referenced

railings do not undo when railings are associated

with a path.

Segments—Sets the number of segments of the

railing object. Available only when you’re using

arailingpath.

For a close approximation to a railing path,

increase the number of segments. Be aware that a

high number of segments increases file size and

slows down the rendering speed. You might use

fewer segments when the spline path has a low

curvature (or none) and fewer segments provide

an adequate approximation.

Respect Corners—Puts corners in the railing to

match the corners of the railing path.

Length—Sets the length of the Railing object.

When you drag the mouse, the length displays in

the edit box.

Top Rail group

The defaults produce a top rail component,

consisting of one segment by the length you

specify, a square profile, four units deep, three

units wide, and the height you specify.

1. Width

2. Depth

3. Height

4. Profile for the square top rail

5. Profile for the round top rail

Profile—Sets the cross-section shape of the top rail.

Depth—Sets the depth of the top rail.

Railing 221

Width—Sets the width of the top rail.

Height—Sets the height of the top rail. During

creation, you can drag the top rail to the height

you want using the mouse in the viewport. Or you

can enter the height amount from the keyboard

or use the spinners.

Lower Rail(s) group

Controls the profile, depth, width, and spacing

between the lower rails. You specify how many

lower rails you want using the Lower Rail Spacing

button.

A railing with the rails defined by their profile, depth, and width

as planks.

Profile—Sets the cross-section shape of the lower

rails.

Depth—Sets the depth of the lower rails.

Width—Sets the width of the lower rails.

Lower Rail Spacing—Sets the spacing of the

lower rails. When you click this button, the Lower

Rail Spacing dialog displays. Specify the number

of lower rails you want using the Count option.

For more information on spacing options in this

dialog, see Spacing Tool (page 1–455).

Generate Mapping Coords—Assigns mapping

coordinates (page 3–967) to the railing object.

Note: If a visible viewport is set to a non-wireframe

or non-bounding-box display, Generate Mapping

Coordinatesisonforallprimitivestowhichyou

apply a material containing a map with Show

Map In Viewport on. If all viewports are set to

wireframe or bounding box, 3ds Max turns on

Generate Mapping Coordinates for primitives

containing mapped materials at render time.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625).Default=off.

Posts rollout

Controlstheprofile,depth,width,extension,and

spacing between the posts. You specify how many

posts you want using the Post Spacing button.

Profile—Sets the cross-section shape of the posts:

none, Square, or Round.

Depth—Sets the depth of the posts.

Width—Sets the width of the posts.

Extension—Sets the amount the posts extend above

the bottom of the top railing.

Post Spacing—Sets the spacing of the posts.

When you click this button, the Post Spacing

dialog displays. Specify the number of posts

you want using the Count option. For more

information on spacing options in this dialog, see

Spacing Tool (page 1–455).

222 Chapter 5: Creating Geometry

Tip: Setting Profile to (none) makes an "invisible"

post.Youmightwanttodothistocreatearailing

with gaps between solid fill fencing. Or you could

useittomakearailingwithopeningsbetween

groups of pickets. This is different from setting the

postcountto0inthePostSpacingdialog.

Fencing rollout

Type—Sets the type of fencing between the posts:

none,Pickets,orSolidFill.

Picket group

Controls the profile, depth, width, and spacing

between the pickets. Specify how many pickets you

wantusingthePicketSpacingbutton. Available

only when you set Type to Pickets.

1. A railing with pickets using a square profile

2. A railing with pickets using a round profile

Profile—Sets the cross-section shape of the pickets.

Depth—Sets the depth of the pickets.

Width—Sets the width of the pickets.

Extension—Sets the amount the pickets extend

above the bottom of the top railing.

Bottom Offset—Sets the amount the pickets are

offset from the bottom of the railing object.

Picket Spacing—Sets the spacing of the

pickets. When you click this button, the Picket

Spacing dialog displays. Specify the number of

pickets you want using the Count option. For more

information on spacing options in this dialog, see

Spacing Tool (page 1–455).

Solid Fill group

Controls the thickness and offsets of the solid fill

between the posts. Available only when you set

Type to Solid.

Thickness—Sets the thickness of the solid fill.

Top Offset—Sets the offset of the solid fill from the

bottom of the top rail.

Bottom Offset—Sets the offset of the solid fill from

the bottom of the railing object.

Left Offset—Sets the offset between the solid fill

and the adjacent left post.

Right Offset—Sets the offset between the solid fill

and the adjacent right post.

Wall 223

Wall

Create panel > Geometry > AEC Extended > Object Type

rollout > Wall button

Create menu > AEC Objects > Wall

The Wall object is made up of three sub-object

typesthatyoucaneditintheModifypanel.

Similarly to the way you edit splines, you can edit

the wall object (page 1–228),itsvertices (page

1–228),itssegments (page 1–229),anditsprofile

(page 1–230).

When you create two wall segments that meet at a

corner, 3ds Max removes any duplicate geometry.

This "cleaning up" of the corners might involve

trimming. 3ds Max cleans up only the first two

wall segments of a corner, not any other wall

segments that might share the corner. 3ds Max

does not clean up intersections.

Inserting Doors and Windows in a Wall

3ds Max can automatically make openings for

doorsandwindowsinawall.Atthesametime,it

links the door or window to the wall as it child.

The most effective way of doing both is to create

the doors and windows directly on a wall segment

by snapping to the faces, vertices, or edges of the

wall object.

If you move, scale, or rotate the wall object, the

linked door or window moves, scales, or rotates

along with the wall. If you move the linked door or

window along the wall, using the door or window’s

local coordinate system and constraining motion to

the XY plane (page 3–687),theopeningwillfollow.

Also,ifyouchangeadoororwindow’soverall

width and height on the Modify panel, the hole

will reflect those changes.

For further information, see the procedure To

createandplaceawindowordoorinawall(page

1–226).

Walls and Materials

Bydefault,3dsMaxassignsfivedifferentmaterial

IDs to walls. The aectemplates.mat material

library includes Wall-Templ ate,amulti/sub-object

material (page 2–1594) designed to be used with

walls. Each component of the wall/material is

listed below along with its corresponding Material

ID.

Material ID Wall/Material Component

1Vertical ends of the wall

2Outside of the wall

3Inside of the wall

4Top of the wall, including any edges cut

out of the wall

5Bottom of the wall

Note: 3ds Max does not automatically assign a

material to the wall object. To use the included

material, open the library and then assign the

material to your object.

Note: The definitions of slots 2 and 3 are

interchangeable; inside and outside simply depend

on your point of view, and how you created the

wall.

See also

Editing Wall Objects (page 1–228)

Tips

• To make a passageway through a wall you can

perform a Boolean operation (page 1–338) with

the wall as Operand A, and another object,

such as a box or an extruded archway shape,

as Operand B. The wall will still be accessible

at the Boolean sub-object level. Then, you can

add a window or door in the passageway, and

link (page 2–421) it as a child of the wall.

• Single walls with many windows and doors

can become slow to use because of the amount

of boolean calculations used. To speed up

224 Chapter 5: Creating Geometry

movement and editing, you might consider

using multiple walls instead of a single wall.

• You can speed up performance in a scene with

manywalls,windowsanddoorsbycollapsing

them. First save an uncollapsed version for any

future parametric changes you might want to

make. Then double-click the wall to select it

and its children. Next use Convert To from the

right-click menu to convert them to an editable

mesh, and so on.

Procedures

To create a wall:

Yo u c a n c r e a t e a w a l l i n a n y v i e w p o r t , b u t f o r

vertical walls, use a Perspective, Camera, or Top

viewport.

1. Set parameters for the Width, Height, and

Justification of the wall.

2. In a viewport, click and release, move the

mouse to set the desired length for the wall

segment, and click again.

This creates a wall segment. You can end the

wall by right-clicking or you can continue to

create another wall segment.

3. To add another wall segment, move the mouse

to set the length of the next wall segment and

click again.

If you create a room by ending a segment at the

end of another segment of the same wall object,

3ds Max displays the Weld Point dialog. This

dialog lets you convert the two end vertices into

a single vertex, or to keep the two end vertices

distinct.

4. If you want the wall segments to be welded at

that corner so that when you move one wall,

the other wall stays correct at the corner, click

Yes. Otherwise, click No.

5. Right-click to end the wall, or continue to add

other wall segments.

To attach separate walls:

1. Select a wall object.

2. On the Modify panel, click Attach, and then

pick another wall object.

Thetwowallobjectsbecomepartofthesame

wall object, but are not physically connected.

Attach stays active, and you can continue

clicking wall segments to attach. To stop

attaching, click the Attach button or right-click

in the active viewport.

To attach multiple wall objects simultaneously

to the selected wall object, click Attach Multiple

on the Modify panel to open the Attach

Multipledialog.Thisworksthesameasthe

Select Objects dialog (page 1–78),exceptthatit

shows only wall objects; choose multiple walls

to attach, and then click the Attach button.

To connect vertices in a wall:

This method lets you connect two separate wall

sections with a new segment.

Tip: It is easier to work with wall vertices in

wireframe view mode.

1. Selectawallobjectthathasmorethanone

section. Typically you would use Attach to

create such an object.

2. In the modifier stack (page 3–760),gotothe

Vertex sub-object level.

3. Click Connect and point the mouse over an end

vertex until the cursor changes to a cross.

4. Click once over the end vertex.

5. Move the cursor to another end vertex, and

then click to connect the two segments.

To insert a vertex in a wall:

It is easier to work with wall vertices in wireframe

view mode.

1. Select a wall segment.

Wall 225

2. In the modifier stack (page 3–760),gotothe

Vertex sub-object level.

3. Click Insert.

A highlighted line appears along the bottom of

the wall, showing where you can insert vertices.

4. Click anywhere on the highlighted line to insert

avertex.

The new vertex is attached to the mouse cursor.

5. Move the mouse to position the vertex, and

then click to place it.

Now the mouse is attached to one of the new

segments.

6. Move the mouse along the segment and click to

add vertices.

7. Right-click to finish working on this segment.

You can now insert vertices in other segments,

or right-click again to exit Insert mode.

To detach and reorient a copy of a wall segment:

Tip: It is easier to work with wall vertices in

wireframe view mode.

1. Select a wall.

2. In the modifier stack (page 3–760),gotothe

Segment sub-object level.

3. Select a wall segment.

4. Turn on both Reorient and Copy, and then

click Detach.

5. Enteranameforthenewwallobjectinthe

Detach dialog or click OK to accept the default

name.

3ds Max copies the original wall’s Local

coordinate system (page 3–963) when it makes

the copy of the detached segment. It places the

new object so that its Local coordinate system

is coincident with the World space or ig in (page

3–1035).

To add a gable point to a wall profile or adjust for

uneven terrain:

Tip: It is easier to work with wall vertices in

wireframe view mode.

1. Select a wall.

2. In the modifier stack (page 3–760),gotothe

Profile sub-object level.

3. Select a wall profile by clicking a wall segment.

Agridappears.

4. To add a gable point procedurally, set the height

and click Create Gable.

If you prefer to add the profile point manually,

click Insert, click a point on the highlighted top

profile, drag the new point into place and then

release where you want to place the new gable

point. You can move profile points you create

with Insert only within the plane of the wall

segment, and you cannot move them below the

original top edge.

If you want to adjust the profile for uneven

terrain below a wall, click Insert, pick the

highlighted bottom profile and add points as

necessary.

If you want to extend multiple segments

uniformly downward below floor level, do the

following: At the Segment sub-object level,

select the segments and, on the Edit Segment

rollout, enter a negative Bottom Offset value

to move the segments downward. Add the

absolute value of the Bottom Offset setting back

to the Height value to bring the top of the wall

height back up and make it flush with the other

wall segments.

To apply a texture to a wall:

Walls are created with five different material IDs

(page 3–969) for their various parts.

The aectemplates.mat material library includes

Wall- Templ ate,aMulti/Sub-Objectmaterial

226 Chapter 5: Creating Geometry

designed for use with walls. You can copy or copy

and modify this template, or create your own

material as follows:

1. Create a Multi/Sub-Object material (page

2–1594) using five textures for the following

Material IDs:

• Slot #1 is the material for the vertical ends

on the wall

• Slot #2 is the material for the outside of the

wall

•Slot#3isthematerialfortheinsideofthe

wall

• Slot #4 is the material for the top of the wall,

as well as any inside edges cut out of the wall

• Slot #5 is the material for the bottom of the

wall

Note: The definitions of slots 2 and 3 are

interchangeable; inside and outside simply

depend on your point of view, and how you

created the wall.

2. If the top and bottom surfaces of the wall aren’t

visible in the rendered scene, you can use a

three-sided material instead. The inside and

outsideofthewallarerelativetothedirection

in which the wall was created. To swap a texture

between slots in the Material Editor, drag one

of the textures over the other slot in the Basic

Parameters rollout of the Multi/Sub-Object

material, and then choose Swap.

3. For greater control in tiling across the wall

surface, apply a Map Scaler world-space modifier

(page 1–551) tothewall.Thenadjustthescale

of the map in the Map Scaler’s Parameters

rollout.

To create and place a window or door in a wall:

For best results, perform this procedure in a

wireframe viewport.

1. Create a window (page 1–253) or door (page

1–246) (hereafter referred to as "window" for

brevity) directly on an existing wall. You can

define the window’s exact dimensions after

insertion. Use edge snap (page 2–41) for the

firstsnapstoplaceandalignthewindowonthe

wall and to establish its exact depth. Snap to

and then click the near top edge of the wall to

start creation. Drag to another edge snap point

on the near top edge of the wall and release to

align the window with the wall segment and to

set its width. Snap to the rear top edge of the

wall to set the proper depth and click. Move

thecursordownwardandclicktodefinethe

window height. This final click doesn’t require

asnap,asitsimplydefinesaroughheight.

2. The window should now be cut out of the wall.

On the Modify panel for windows or doors,

set the correct width and height. Change the

depth if it’s different from the snap depth you

set above.

3. Use vertex snap to move the window or door

from a reference point to a known point on the

wall segment. Then

Next, use relative offset values from this new

position to accurately locate the window or

door. As an example, following the next two

steps, you could move a window from its top

left corner to the top left corner of the wall

segmentsothatyoucanthenmoveit3feetto

the right and 2 feet down.

4. With the window or door selected, set the

coordinate system to Local.

5. On the Coordinate Display (page 3–708),

activate Offset mode and then enter the offset

distances on the X axis for horizontal and the Y

axis for vertical.

Note: For best results, do not position an inserted

window or door at the bottom of a wall.

Wall 227

Interface

Keyboard Entry rollout

X—Sets the coordinate position along the X axis

for the start point of a wall segment in the active

construction plane.

Y—Sets the coordinate position along the Y axis

for the start point of a wall segment in the active

construction plane.

Z—Sets the coordinate position along the Z axis

for the start point of a wall segment in the active

construction plane.

Add Point—Adds the point from the X, Y, and Z

coordinate values you enter.

Close—Ends creation of the wall object and creates

a segment between the end point of the last

segmentandthestartpointofthefirstsegment,to

make a closed wall.

Finish—Ends creation of the wall object, leaving

it open ended.

Pick Spline—Lets you use a spline as the wall path.

Clickthis,andthenclickasplineintheviewport

touseasthewallpath.3dsMaxusesthespline

asthepathalongwhichtoapplythewallobject.

3ds Max doesn’t immediately recognize 2D Shapes

from a linked AutoCAD drawing. To recognize

Shapes from a linked AutoCAD drawing, edit

the Shape with Edit Spline (page 1–680) from the

Modify panel.

Note: If you designate a curved spline as the

path, 3ds Max creates straight wall segments that

approximate the spline as closely as possible, with

onewallsegmentpersplinesegment.

Parameters rollout

Thedefaultsproduceawallobject5unitswide,96

units high, and justified at the center of the wall.

Width—Sets the thickness of the wall. Range=0.01

unit to 100,000 units. Default=5.

Height—Sets the height of the wall. Range=0.01

unit to 100,000 units. Default=96.

Justification group

Left—Justifiesthewallattheleftedgeofitsbaseline

(the line between the wall’s front and back sides,

which is equal to the wall thickness). If you turn

Grid Snap on, the left edge of the wall’s baseline

snaps to the grid line.

Center—Justifies the wall at the center of its

baseline. If you turn Grid Snap on, the center of

thewall’sbaselinesnapstothegridline. Thisis

the default.

228 Chapter 5: Creating Geometry

Right—Justifies the wall at the right edge of its

baseline. If you turn Grid Snap on, the right edge

ofthewall’sbaselinesnapstothegridline.

Generate Mapping Coords—Assigns mapping

coordinates (page 3–967) to the wall. Default=on.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625). Default=off.

Editing Wall Objects

Select a wall object. > Modify panel

ThefollowingreferencedescribestheWalloptions

on the Modify panel. It’s generally easiest to edit

wall objects in wireframe mode.

See also

Wall (page 1–223)

Interface

Edit Object rollout

This rollout appears when you select a wall object

at the object level; other rollouts, discussed below

appear at the different sub-object levels.

Attach—Attaches another wall in a viewport to the

selected wall by a single pick. The object you attach

must also be a wall. 3ds Max applies the material

of the selected wall to the wall being attached.

Attach Multiple—Attaches other walls in a viewport

to the selected wall. Click this button to open the

Attach Multiple dialog, which lists all the other

wall objects in the scene. Select the walls you want

to attach from the list and click the Attach button.

3ds Max applies the material of the selected wall to

the walls being attached.

Justification group

See Justification (page 1–227).

Generate Mapping Coords.—Assigns mapping

coordinates (page 3–967) to the wall. Default=on.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625).Default=off.

Edit Vertex rollout

Appears at the Vertex sub-object level. Each wall

segment has two vertices; one in each bottom

corner. In wireframe views, wall vertices appear as

+ symbols. Connected segments in the same wall

object each share a vertex. Moving a wall vertex

has the effect of scaling attached segments as well

as rotating them about their other vertices. You

cannot rotate or scale wall vertices.

Connect—Lets you connect any two vertices,

creating a new linear segment between the vertices.

Click this button, click a vertex, and then click a

second vertex on a different segment. When you

movethecursoroveravalidsecondvertex,the

mouseiconchangestoaConnecticon.

Break—Lets you disconnect segments at a shared

vertex.

Tip: Select a vertex shared between wall segments,

and then click the Break button. The segments

Editing Wall Objects 229

become disconnected, and each has its own end

vertex at the position of the previously shared

vertex.

Refine—Adds a vertex to the position along a wall

segmentthatyouclick.Whenyoumovethecursor

over a valid Refine point, the mouse icon changes

to a Refine icon.

Insert—Inserts one or more vertices, creating

additional segments. When you move the cursor

overtheavalidInsertpoint,themouseicon

changes to an Insert icon. Right-click to stop

inserting new vertices and segments.

Delete—Deletes the currently selected vertex or

vertices, including any segments in between.

Deleting vertices shared by two or more segments

doesn’tcreateagap,butratherresultsinasingle

segment connecting vertices adjacent to those

being deleted.

Edit Segment rollout

This rollout appears when you select a wall object

and then access Segment sub-object level.

Each wall segment is defined by, and effectively

connects, two wall vertices. Moving a segment is

the same as moving its two vertices in tandem. It

has the effect of scaling adjacent wall segments as

well as rotating them about their other vertices.

You can scale a wall segment horizontally only

(any Scale function does this). You cannot rotate

asegment.

Break—Specifies a break point in a wall segment.

Youneedn’tselectasegmentfirst.Whenyoumove

the cursor over the object, the mouse icon changes

to a Break icon. The position you select on the

segment becomes two coincident vertices, and

3ds Max breaks the segment in two.

Detach—Detaches wall segments you select and

creates a new wall object out of them.

Same Shape—Detaches the wall segment keeping

itpartofthesamewallobject. Ifyoualsoturn

on Copy, 3ds Max places a detached copy of the

segment in the same location.

Reorient—Detaches the wall segment, copies the

object’s Local coordinate system (page 3–963),

and places the segment so that its object Local

coordinate system is coincident with the Wor ld

space origin (page 3–1035).Ifyoualsoturnon

Copy, 3ds Max detaches a copy of the segment and

leaves the original segments in place.

Copy—Copies the detached wall segment rather

than moving it.

230 Chapter 5: Creating Geometry

Divide—Subdivides each segment by the number

of vertices specified in the Divisions spinner.

Select one or more segments, set the Divisions

spinner, and then click Divide.

Divisions—Sets the number by which to divide the

segment.

Insert—ProvidesthesamefunctionastheInsert

button in Vertex sub-object selection. Inserts one

or more vertices, creating additional segments.

When you move the cursor over the a valid Insert

point, the mouse icon changes to an Insert icon.

Right click to stop inserting new vertices and

segments.

Delete—Deletes any selected wall segments in the

current wall object.

Refine—ProvidesthesamefunctionastheRefine

button at the Vertex sub-object level. Adds a vertex

to the position along a wall segment you select.

When you move the cursor over a valid Refine

point, the mouse icon changes to a Refine icon.

Parameters group

Width—Changes the width of a selected segment

or segments.

Height—Changes the height of a selected segment

or segments.

Bottom Offset—Sets the distance of the bottom of

the selected segment or segments from the floor.

Edit Profile rollout

This rollout appears when you select a wall object

and then access Profile sub-object level.

The term "profile" refers to the outline of a wall

segment’s top and bottom edges. When in Profile

sub-object mode, the selected wall object’s inner

horizontal edges appear dark orange. Click any of

these edges to select the corresponding segment,

highlightitinred,andplaceatemporaryactive

grid in the plane of the segment. At that point, you

can insert and delete vertices along the horizontal

edges, move an inserted vertex along the grid to

changetheprofile,creategables,andchangethe

grid properties.

Insert—Inserts a vertex so that you can adjust the

profile of the selected wall segment.

Usethisoptiontoadjusttheprofileofwallsunder

gables or to align walls to a slope. When you move

the cursor over the selected segment, the mouse

icon changes to an Insert icon. Click to insert a

new profile point, then drag and release to position

and place it. You can add new profile points to

both the top and the bottom of the wall, but you

cannot position profile points below the original

top edge or above the original bottom edge.

Delete—Deletes the selected vertices on the profile

of the selected wall segment.

Create Gable—Createsagablebymovingthecenter

point of the top profile of the selected wall segment

to a height you specify.

Select the segment, set the height, and then click

Create Gable.

Height—Specifies the height of a gable.

Stairs 231

Grid Properties group

The grid constricts profile point insertion and

movement to the plane of the wall and allows you

to snap to grid points on the plane of the wall.

Width—Sets the width of the active grid.

Length—Sets the length of the active grid.

Spacing—Sets the size of the smallest square in the

active grid.

Stairs

Create panel > Geometry > Stairs

Create menu > AEC Objects

You can create four different types of stairs in

3ds Max:

Spiral Stair (page 1–235)

Straight Stair (page 1–239)

L-Type Stair (page 1–232)

U-Type Stair (page 1–243)

Railings and Materials

By default, 3ds Max assigns seven different material

IDs to stairs. The aectemplates.mat material

library includes Stair-Template,amulti/sub-object

material (page 2–1594) designed to be used with

stairs. Each component of the stair/material is

listed below along with its corresponding Material

ID.

Material ID Railing/Material Component

1Treads of the stairs

2Front riser of the stairs

3Bottom, back, and sides of the risers of

the stairs

Material ID Railing/Material Component

4Center pole of the stairs

5Handrails of the stairs

6Carriage of the stairs

7Stringers of the stairs

Note: 3ds Max does not automatically assign a

material to the stairs object. To use the included

material, open the library and then assign the

material to your object.

Procedure

To create railings on stairs:

1. Create the stairs. See individual stair-type

topics for more information.

2. In the Generate Geometry group, turn on Rail

Path > Left and Right.

3ds Max places left and right rail paths above

the stairs.

3. In the Railings rollout, set Height to 0.0.

4. Click Create panel > AEC Extended > Railing

(page 1–217) to create the first railing.

5. Click Railing rollout > Pick Railing Path and

select one of the rail paths on the stairs.

6. Adjust the railing parameters.

3ds Max remembers the parameters you set.

When you create the next railing, it will have the

same parameters as you set for the first railing.

7. Right-click to end the creation of the first

railing.

8. Click Railing again to create the second railing.

9. Click Pick Railing Path and select the other rail

path on the stairs.

232 Chapter 5: Creating Geometry

Interface

Object Type rollout

Stair Selection Buttons—Click one of these to

specify the type of stairs you want to create.

Name and Color rollout

This rollout lets you set the stairs object’s name

and color. For detailed information, see Object

Name and Wireframe Color (page 3–757).

L-Type Stair

Create panel > Geometry > Stairs > L-Type Stair button

Create menu > AEC Objects > L-Type Stair

TheL-TypeStairobjectletsyoucreateastaircase

with two flights at right angles to each other.

Types of L-type stair: open, closed, and boxed

L-type stairs have two flights at right angles, and a landing.

Procedure

To create L-Type stairs:

1. In any viewport, drag to set the length for the

firstflight. Releasethemousebutton,then

move the cursor and click to set the length,

width, and direction for the second flight.

2. Movethecursorupordowntodefinetherise

of the stairs, then click to end.

3. Adjust the stairs by using the options in the

Parameters rollout.

Interface

Parameters rollout > Type group

Open—Creates an open riser stair, as shown on the

left in the illustration above.

Closed—Creates a closed riser stair, as shown in

the center in the illustration above.

Box—Creates a stair with closed risers and closed

stringers on both sides, as shown on the right in

the illustration above.

Generate Geometry group

Stringers—Createsstringersalongtheendsof

the treads of the stairs. To modify the stringers’

depth, width, offset and spring from the floor, see

Stringers rollout (page 1–234).

Carriage—Creates an inclined, notched beam

under the treads which supports the steps or adds

support between the stringers of the stairs. You

mightalsoknowthisasacarriage piece,ahorse,or

arough string.SeeCarriage rollout (page 1–234) to

modify the parameters.

Handrail—Createsleftandrighthandrails. See

Railings rollout (page 1–235) to modify the

L-Type Stair 233

handrails’ height, offset, number of segments, and

radius.

Rail Path—Creates left and right paths you can use

to install railings on the stairs. See Stairs (page

1–231) for the instructions on how to do this.

Layout group

Length 1—Controls the length of the first flight of

stairs.

Length 2—Controls the length of the second flight

of stairs.

Width—Controls the width of the stairs, including

the steps and the landing.

Angle—Controls the angle of the second flight

from the landing. Range=-90 to 90 degrees.

Offset—Controlsthedistanceofthesecondflight

from the landing. The length of the landing adjusts

accordingly.

Rise group

3dsMaxkeepsoneRiseoptionlockedwhileyou

adjust the other two. To lock an option, you click a

push pin. To unlock an option you click a raised

push pin. 3ds Max locks the spinner value of the

parameterwiththedepressedpushpinandallows

the spinner values of the parameter with the raised

push pins to change.

Overall—Controls the height of the flight of stairs.

Riser Ht—Controls the height of the risers.

Riser Ct—Controls the number of risers. There will

always be one more riser than steps. This implied

riser is between the top step of the stair and the

upper floor.

Linear stair with five risers

1through4. Risers

5. The implied riser

6. The upper floor you snap to

7. The lower floor you snap to

8. The steps

Steps group

Thickness—Controlsthethicknessofthesteps.

Step thickness variance between two stairs

234 Chapter 5: Creating Geometry

Depth—Controls the depth of the steps.

Step depth variance between two stairs

Generate Mapping Coords—Applies default

mapping coordinates (page 3–967) to the stairs.

Note: If a visible viewport is set to a non-wireframe

or non-bounding-box display, Generate Mapping

Coordinatesisonforallprimitivestowhichyou

apply a material containing a map with Show

Map In Viewport on. If all viewports are set to

wireframe or bounding box, 3ds Max turns on

Generate Mapping Coordinates for primitives

containing mapped materials at render time.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625). Default=off.

Stringers rollout

These controls are available only when you turn

on Stringers on the Parameters rollout > Generate

Geometry group.

Depth—Controls how far down the stringers reach

toward the floor.

Width—Controls the width of the stringers.

Offset—Controls the vertical distance of the

stringers from the floor.

Spring from Floor—Controls whether the stringer

starts at the floor, flush with the start of the first

riser, or if the stringer extends below the floor. You

control the amount the stringer extends below the

floor with the Offset option.

Left: The stringer extending below the floor. (Spring From Floor

off.)

Right: The stringer springing from the floor. (Spring From Floor

on.)

Carriage rollout

Thesecontrolsareavailableonlywhenyouturn

on Carriage on the Parameters rollout > Generate

Geometry group.

Depth—Controls how far down the carriage

reaches toward the floor.

Width—Controls the width of the carriage.

Carriage Spacing—Sets the spacing of the carriage.

Whenyoupickthisbutton,theCarriageSpacing

dialog displays. Specify the number of carriages

you want using the Count option. For more

Spiral Stair 235

informationonspacingoptionsinthisdialog,see

Spacing Tool (page 1–455).

Spring from Floor—Controls whether the carriage

starts at the floor, flush with the start of the first

riser, or if the carriage extends below the floor. You

control the amount the carriage extends below the

floor with the Offset option.

Left: The carriage springing from the floor. (Spring From Floor

on.)

Right: The carriage extending below the floor. (Spring from

Floor off.)

Railings rollout

These controls are available only when you turn on

one or more of the Handrail or Rail Path options

on the Parameters rollout > Generate Geometry

group. Also, Segments and Radius aren’t available

if neither of the Handrail options is on.

Height—Controls the height of the railings from

the steps.

Offset—Controls the offset of the railings from the

ends of the steps.

Segments—Controls the number of segments

in the railings. Higher values display smoother

railings.

Radius—Controls the thickness of the railings.

Spiral Stair

Create panel > Geometry > Stairs > Spiral Stair button

Create menu > AEC Objects > Spiral Stair

The Spiral Stair object lets you specify the radius

and number of revolutions, add stringers and a

center pole, and more.

Types of spiral stair: open, closed, and boxed

Spiral stairs wind around a center

Procedure

To create spiral stairs:

1. In any viewport, click for the start point of the

stairs, and drag to the specify the radius you

want.

2. Release the mouse button, move the cursor up

or down to specify the overall rise, and click

to end.

3. Adjust the stairs with options in the Parameters

rollout.

Interface

Parameters rollout > Type group

Open—Creates an open riser stair, as shown on the

left of the illustration above.

236 Chapter 5: Creating Geometry

Closed—Creates a closed riser stair, as shown in

the center of the illustration above.

Box—Creates a stair with closed risers and closed

stringersonbothsides,asshownontherightof

the illustration above.

Generate Geometry group

Stringers—Createsstringersalongtheendsof

the treads of the stairs. To modify the stringers’

depth, width, offset and spring from the floor, see

Stringers rollout (page 1–237).

Carriage—Creates an inclined, notched beam

under the treads which supports the steps or adds

support between the stringers of the stairs. You

mightalsoknowthisasacarriage piece,ahorse,or

arough string.SeeCarriage rollout (page 1–238) to

modify the parameters.

Center Pole—Creates a pole at the center of the

spiral. See Center Pole rollout (page 1–238) to

modify the parameters of the pole.

Handrail—Creates inside and outside handrails.

See Railings rollout (page 1–239) to modify the

handrails’ height, offset, number of segments, and

radius.

Rail Path—Creates inside and outside paths which

you can use to install railings on the stairs. See

Stairs (page 1–231) for the instructions on how to

do this.

Layout group

CCW—Orients the spiral stairs to be a right-hand

flight of stairs.

CW—Orients the spiral stairs to be a left-hand

flight of stairs.

Left: CCW (counterclockwise) right-hand spiral stairs. The

arrow indicates “Up.”

Right: CW (clockwise) left-hand spiral stairs. The arrow

indicates “Up.”

Radius—Controlsthesizeoftheradiusofthe

spiral.

Revs—Controls the number of revolutions in the

spiral.

Width—Controls the width of the spiral stairs.

Rise group

3dsMaxkeepsoneRiseoptionlockedwhileyou

adjust the other two. To lock an option, click a

pushpin button. To unlock an option, click a

raised pushpin. 3ds Max locks the spinner value

of the parameter with the depressed pushpin and

Spiral Stair 237

allows the spinner values of the parameter with the

raised pushpins to change.

Overall—Controls the height of the flight of stairs.

Riser Ht—Controls the height of the risers.

Riser Ct—Controls the number of risers. There will

always be one more riser than steps. This implied

riser is between the top step of the stair and the

upper floor.

Linear stair with five risers

1 through 4. Risers

5. The implied riser

6. The upper floor you snap to

7. The lower floor you snap to

8. The steps.

Steps group

Thickness—Controls the thickness of the steps.

Step thickness variance between two stairs

Depth—Controls the depth of the steps.

Step depth variance between two stairs

Segs—Controls the number of segments 3ds Max

uses to construct the steps.

Generate Mapping Coords—Applies default

mapping coordinates (page 3–967) to the stairs.

Note: If a visible viewport is set to a non-wireframe

or non-bounding-box display, Generate Mapping

Coordinatesisonforallprimitivestowhichyou

apply a material containing a map with Show

Map In Viewport on. If all viewports are set to

wireframe or bounding box, 3ds Max turns on

Generate Mapping Coordinates for primitives

containing mapped materials at render time.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625).Default=off.

Stringers rollout

Thesecontrolsareavailableonlywhenyouturn

on Stringers on the Parameters rollout > Generate

Geometry group.

238 Chapter 5: Creating Geometry

Depth—Controls how far down the stringers reach

toward the floor.

Width—Controls the width of the stringers.

Offset—Controls the vertical distance of the

stringers from the floor.

Spring from Floor—Controls whether the stringer

starts at the floor, flush with the start of the first

riser, or if the stringer extends below the floor. You

control the amount the stringer extends below the

floor with the Offset option.

Left: The stringer extending below the floor. (Spring From Floor

turned off.)

Right: the stringer springing from the floor. (Spring From Floor

turned on.)

Carriage rollout

These controls are available only when you turn

on Carriage on the Parameters rollout > Generate

Geometry group.

Depth—Controls how far down the carriage

reaches toward the floor.

Width—Controls the width of the carriage.

Carriage Spacing—Sets the spacing of the carriage.

Whenyoupickthisbutton,theCarriageSpacing

dialog displays. Specify the number of carriages

you want using the Count option. For more

information on spacing options in this dialog, see

Spacing Tool (page 1–455).

Spring from Floor—Controls whether the carriage

starts at the floor, flush with the start of the first

riser, or if the carriage extends below the floor. You

control the amount the carriage extends below the

floor with the Offset option.

Left: The carriage springing from the floor. (Spring From Floor

turned on.)

Right: The carriage extending below the floor. (Spring From

Floor turned off.)

Center Pole rollout

These controls are available only when you turn on

Center Pole on the Parameters rollout > Generate

Geometry group.

Straight Stair 239

Radius—Controls the radius size of the center pole.

Segments—Controls the number of segments in

the center pole. Higher values display a smoother

pole.

Height—Thespinnercontrolstheheightofthe

center pole. Turning on Height lets you adjust

the height of the pole independently of the stairs.

Turning off Height makes the spinner unavailable

and locks the top of the pole to the top of the

implied last riser. Typically, this riser would attach

to the fascia of a landing.

Left: The center pole locked to the top of the implied last riser.

(Height turned off.)

Right: The center pole adjusted to the height you specify.

(Height turned on.)

Railings rollout

These controls are available only when you turn on

one or more of the Handrail or Rail Path options

on the Parameters rollout > Generate Geometry

group. Also, Segments and Radius aren’t available

if neither of the Handrail options is on.

Height—Controls the height of the railings from

the steps.

Offset—Controls the offset of the railings from the

ends of the steps.

Segments—Controls the number of segments

in the railings. Higher values display smoother

railings.

Radius—Controls the thickness of the railings.

Straight Stair

Create panel > Geometry > Stairs > Straight Stair button

Create menu > AEC Objects > Straight Stair

The Straight Stair object lets you create a simple

staircase, with optional stringers, carriage, and

handrail.

Types of straight stair: open, closed, and boxed

Straight stairs have a single flight.

240 Chapter 5: Creating Geometry

Procedures

To create straight stairs:

1. In any viewport, drag to set the length. Release

the mouse button, then move the cursor and

click to set the width you want.

2. Movethecursorupordowntodefinetherise

of the stairs, and click to end.

3. Adjustthestairswiththeoptionsinthe

Parameters rollout.

Interface

Parameters rollout > Type group

Open—Createsanopenriserstairasshownonthe

left of the illustration above.

Closed—Creates a closed riser stair as shown in the

center of the illustration above.

Box—Creates a stair with closed risers and closed

stringers on both sides as shown on the right of the

illustration above.

Generate Geometry group

Stringers—Createsstringersalongtheendsof

the treads of the stairs. To modify the stringers’

depth, width, offset and spring from the floor, see

Stringers rollout (page 1–241).

Carriage—Creates an inclined, notched beam

under the treads which supports the steps or adds

support between the stringers of the stairs. You

mightalsoknowthisasacarriage piece,ahorse,or

arough string.SeeCarriage rollout (page 1–242) to

modify the parameters.

Handrail—Createsleftandrighthandrails. See

Railings rollout (page 1–242) to modify the

handrails’ height, offset, number of segments, and

radius.

Rail Path—Createsleftandrightpathsyoucanuse

to install railings on the stairs. See Stairs (page

1–231) for the instructions on how to do this.

Layout group

Length—Controls the length of the stairs.

Width—Controls the width of the stairs.

Rise group

3dsMaxkeepsoneRiseoptionlockedwhileyou

adjust the other two. To lock an option, you click a

push pin. To unlock an option you click a raised

push pin. 3ds Max locks the spinner value of the

parameterwiththedepressedpushpinandallows

the spinner values of the parameter with the raised

push pins to change.

Overall—Controls the height of the flight of stairs.

Riser Ht—Controls the height of the risers.

Straight Stair 241

Riser Ct—Controls the number of risers. There will

always be one more riser than steps. This implied

riser is between the top step of the stair and the

upper floor.

Linear stair with five risers

1 through 4. Risers

5. The implied riser

6. The upper floor you snap to

7. The lower floor you snap to

8. The steps.

Steps group

Thickness—Controls the thickness of the steps.

Step thickness variance between two stairs

Depth—Controls the depth of the steps.

Step depth variance between two stairs

Generate Mapping Coords—Applies default

mapping coordinates (page 3–967) to the stairs.

Note: If a visible viewport is set to a non-wireframe

or non-bounding-box display, Generate Mapping

Coordinatesisonforallprimitivestowhichyou

apply a material containing a map with Show

Map In Viewport on. If all viewports are set to

wireframe or bounding box, 3ds Max turns on

Generate Mapping Coordinates for primitives

containing mapped materials at render time.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625).Default=off.

Stringers rollout

Thesecontrolsareavailableonlywhenyouturn

on Stringers on the Parameters rollout > Generate

Geometry group.

Depth—Controls how far down the stringers reach

toward the floor.

Width—Controls the width of the stringers.

242 Chapter 5: Creating Geometry

Offset—Controls the vertical distance of the

stringers from the floor.

Spring from Floor—Controls whether the stringer

starts at the floor, flush with the start of the first

riser, or if the stringer extends below the floor. You

control the amount the stringer extends below the

floor with the Offset option.

Left: The stringer extending below the floor. (Spring From Floor

off.)

Right: The stringer springing from the floor. (Spring From Floor

on.)

Carriage rollout

These controls are available only when you turn

on Carriage on the Parameters rollout > Generate

Geometry group.

Depth—Controls how far down the carriage

reaches toward the floor.

Width—Controls the width of the carriage.

Carriage Spacing—Sets the spacing of the carriage.

Whenyoupickthisbutton,theCarriageSpacing

dialog displays. Specify the number of carriages

you want using the Count option. For more

information on spacing options in this dialog, see

Spacing Tool (page 1–455).

Spring from Floor—Controls whether the carriage

starts at the floor, flush with the start of the first

riser, or if the carriage extends below the floor. You

control the amount the carriage extends below the

floor with the Offset option.

Left: The carriage springing from the floor. (Spring From Floor

on.)

Right: The carriage extending below the floor. (Spring From

Floor off.)

Railings rollout

These controls are available only when you turn on

one or more of the Handrail or Rail Path options

on the Parameters rollout > Generate Geometry

group. Also, Segments and Radius aren’t available

if neither of the Handrail options is on.

Height—Controls the height of the railings from

the steps.

Offset—Controls the offset of the railings from the

ends of the steps.

Segments—Controls the number of segments

in the railings. Higher values display smoother

railings.

U-Type Stair 243

Radius—Controls the thickness of the railings.

U-Type Stair

Create panel > Geometry > Stairs > U-Type Stair button

Create menu > AEC Objects > U-Type Stair

TheU-TypeStairobjectletsyoucreateatwo-flight

staircase, with the two flights parallel to each other

and a landing between them.

Types of U-type stair: open, closed, and boxed

U-type stairs have two flights in opposite directions, and a

landing.

Procedure

To create U-Type stairs:

1. In any viewport, drag to set the length for the

firstflight. Releasethemousebutton,then

movethecursorandclicktosetthewidthof

the landing, or the distance separating the two

flights.

2. Clickandmovethecursorupordowntodefine

theriseofthestairs,thenclicktoend.

3. Adjust the stairs by using the options in the

Parameters rollout.

Interface

Parameters rollout > Type group

Open—Createsanopenriserstairasshownonthe

left in the illustration above.

Closed—Creates a closed riser stair as shown in the

center in the illustration above.

Box—Creates a stair with closed risers and closed

stringersonbothsidesasshownontherightinthe

illustration above.

Generate Geometry group

Stringers—Createsstringersalongtheendsof

the treads of the stairs. To modify the stringers’

depth, width, offset and spring from the floor, see

Stringers rollout (page 1–245).

Carriage—Creates an inclined, notched beam

under the treads which supports the steps or adds

support between the stringers of the stairs. You

might also know this as a carriage piece, a horse,

or a roughstring. See Carriage rollout (page 1–245)

to modify the parameters.

Handrail—Createsleftandrighthandrails. See

Railings rollout (page 1–246) to modify the

handrails’ height, offset, number of segments, and

radius.

Rail Path—Createsleftandrightpathsyoucanuse

to install railings on the stairs. See Stairs (page

1–231) for the instructions on how to do this.

244 Chapter 5: Creating Geometry

Layout group

Left/Right—Controls the position of the two flights

(Length 1 and Length 2) relative to each other.

If you select left, then the second flight is on the

left from the landing. If you select right, then the

second flight is the right from the landing.

Length 1—Controls the length of the first flight of

stairs.

Length 2—Controls the length of the second flight

of stairs.

Width—Controls the width of the stairs, including

the steps and the landing.

Offset—Controlsthedistanceseparatingthetwo

flights and thus the length of the landing.

Rise group

3dsMaxkeepsoneRiseoptionlockedwhileyou

adjust the other two. To lock an option, you click a

push pin. To unlock an option you click a raised

push pin. 3ds Max locks the spinner value of the

parameterwiththedepressedpushpinandallows

thespinnervaluesoftheparameterwiththeraised

push pins to change.

Overall—Controls the height of the flight of stairs.

Riser Ht—Controls the height of the risers.

Riser Ct—Controls the number of risers. There will

always be one more riser than steps. This implied

riser is between the top step of the stair and the

upper floor.

Linear stair with five risers

1through4. Risers

5. The implied riser

6. The upper floor you snap to

7. The lower floor you snap to

8. The steps.

Steps group

Thickness—Controlsthethicknessofthesteps.

Step thickness variance between two stairs

Depth—Controls the depth of the steps.

U-Type Stair 245

Step depth variance between two stairs

Generate Mapping Coords—Applies default

mapping coordinates (page 3–967) to the stairs.

Note: If a visible viewport is set to a non-wireframe

or non-bounding-box display, Generate Mapping

Coordinatesisonforallprimitivestowhichyou

apply a material containing a map with Show

Map In Viewport on. If all viewports are set to

wireframe or bounding box, 3ds Max turns on

Generate Mapping Coordinates for primitives

containing mapped materials at render time.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625). Default=off.

Stringers rollout

These controls are available only when you turn

on Stringers on the Parameters rollout > Generate

Geometry group.

Depth—Controls how far down the stringers reach

toward the floor.

Width—Controls the width of the stringers.

Offset—Controls the vertical distance of the

stringers from the floor.

Spring from Floor—Controls whether the stringer

starts at the floor, flush with the start of the first

riser, or if the stringer extends below the floor. You

control the amount the stringer extends below the

floor with the Offset option.

Left: The stringer extending below the floor. (Spring From Floor

off.)

Right: The stringer springing from the floor. (Spring From Floor

on.)

Carriage rollout

Thesecontrolsareavailableonlywhenyouturn

on Carriage on the Parameters rollout > Generate

Geometry group.

Depth—Controls how far down the carriage

reaches toward the floor.

Width—Controls the width of the carriage.

Carriage Spacing—Sets the spacing of the carriage.

Whenyoupickthisbutton,theCarriageSpacing

dialog displays. Specify the number of carriages

you want using the Count option. For more

246 Chapter 5: Creating Geometry

informationonspacingoptionsinthisdialog,see

Spacing Tool (page 1–455).

Spring from Floor—Controls whether the carriage

starts at the floor, flush with the start of the first

riser, or if the carriage extends below the floor. You

control the amount the carriage extends below the

floor with the Offset option.

Left: The carriage springing from the floor. (Spring From Floor

on.)

Right: The carriage extending below the floor. (Spring From

Floor off.)

Railings rollout

These controls are available only when you turn on

one or more of the Handrail or Rail Path options

on the Parameters rollout > Generate Geometry

group. Also, Segments and Radius aren’t available

if neither of the Handrail options is on.

Height—Controls the height of the railings from

the steps.

Offset—Controls the offset of the railings from the

ends of the steps.

Segments—Controls the number of segments

in the railings. Higher values display smoother

railings.

Radius—Controls the thickness of the railings.

Doors

Create panel > Geometry > Doors

Create menu > AEC Objects

The door models provided let you control details

of a door’s appearance. You can also set the door

to be open, partially open, or closed and you can

animate the opening.

Different door types in a model of a house

There are three kinds of doors. The Pivot door

(page 1–251) is the familiar door that is hinged

ononesideonly.TheBifold door (page 1–252) is

hingedinthemiddleaswellastheside,likemany

closet doors. You can also make these kinds of

doors a set of double doors. The Sliding door (page

1–251) has a fixed half and a sliding half.

Thetopicforeachkindofdoordescribesitsunique

controls and behavior. Most door parameters are

common to all kinds of doors, and are described

here.

Doors 247

Doors and Materials

By default, 3ds Max assigns five different material

IDs to doors. The aectemplates.mat material

library includes Door-Template,amulti/sub-object

material designed to be used with doors. Each

component of the door/material is listed below

along with its corresponding Material ID.

Material ID Door/Material Component

1Front

2Back

3Inner Bevel (used for glazing when

Panels set to Glass or Beveled).

4Frame

5Inner Door

Note: 3ds Max does not automatically assign a

material to the door object. To use the included

material, open the library and then assign the

material to your object.

Making an Opening for a Door

To m a ke a n o p e n i ng in a wa l l , yo u c a n p e r f or m a

Boolean operation (page 1–338) with the wall as

Operand A, and another object, such as a box, as

Operand B. Then, you can create and add a door

in the opening, and link (page 2–421) it, if you

choose, as a child of the wall.

Note: Using snaps, you can insert a door in a wall

object, automatically linking the two and creating

a cutout for the door. See the procedure To c re at e

and place a window or door in a wall: (page 1–226).

Procedures

To create a door:

1. On the Object Type rollout, click the button for

thetypeofdooryouwanttocreate.

2. Choose options as needed, such as changing

the default creation method. Turn off Create

Frame to eliminate the door frame. Turn

on Allow Non-vertical Jambs if you want an

inclined door.

3. Drag the mouse in the viewport to create the

first two points, defining the width and angle

of the base of the door.

4. Release the mouse and move to adjust the depth

of the door (default creation method), and then

click to set.

By default, the depth is perpendicular to the

line between the first two points and parallel

to the active grid.

5. Move the mouse to adjust the height, and then

click to finish.

The height is perpendicular to the plane defined

by the first three points and perpendicular to

theactivegrid.

You can adjust the Height, Width, and Depth

values on the Parameters rollout.

On the Creation Method rollout, you can change

the creation order to width-height-depth instead

of width-depth-height.

To create a door material:

1. Createadoororselectanexistingdoor.

2. Open the Material Editor, and select a slot for

the material.

3. Click the Type button below the Material Editor

toolbar.

The Material/Map Browser dialog opens.

4. In the Material list, double-click the

Multi/Sub-Object item, and then on the

Replace Material dialog that appears, choose

either option and click OK.

5. On the Multi/Sub-Object Basic Parameters

rollout, click Set Number and change Number

Of Materials to 5. Click OK.

6. Optionally, change the sub-material names to

those specified in the above table.

248 Chapter 5: Creating Geometry

7. Edit the material as you would any

Multi/Sub-Object material.

To animate a door:

You can animate a door opening and closing by

keyframing the Open setting.

1. Createadoororselectanexistingdoor.

If using an existing door, also access the Modify

panel.

2. SettheParametersrollout>Openparameter

to the amount you want the door to be open at

the start of the animation. If you want it to be

closed, set it to 0.

3. Click the Auto Key button and advance to the

first keyframe.

4. Change the Open setting.

5. Continue moving to any additional keyframes

and changing the Open setting as necessary.

6. Play the animation.

Interface

The topic for each kind of door describes its unique

controls and behavior. Most door parameters are

common to all kinds of doors, and are described

here.

Object Type rollout

There are three kinds of doors in 3ds Max:

Pivot—Thefamiliardoortypethatishingedon

onesideonly.SeePivot Door (page 1–251).

Sliding—Has a fixed half and a sliding half. See

Sliding Door (page 1–251).

BiFold—Hinged in the middle as well as the side,

like many closet doors. You can also use this type

of door to make a set of double doors. See BiFold

Door (page 1–252).

Name and Color rollout

See Object Name and Wireframe Color (page

3–757).

Creation Method rollout

Youdefineeachtypeofdoorwithfourpoints:

Drag the first two, followed by two move-click

sequences. The Creation Method setting

determines the order in which these actions define

the door’s dimensions.

Width/Depth/Height—The first two points define

the width and angle of the base of the door. You

set these points by dragging in a viewport, as the

first step in creating a door. The first point, where

youclickandholdbeforedragging,definesa

point on the jamb at the hinge for single-pivot and

bifolddoors(bothjambshavehingesondouble

doors, and sliding doors have no hinge). The

second point, where you release the button after

dragging, specifies the width of the door, as well as

the direction from one jamb to the other. This lets

you align the door with a wall or opening when

you place it. The third point, where you click after

moving the mouse, specifies the depth of the door,

and the fourth click, where you click after moving

the mouse again, specifies the height.

Width/Height/Depth—Wo rk s l ike t he

Width/Depth/Height option, except that

the last two points create first the height and then

the depth.

Doors 249

Note: With this method, the depth is perpendicular

totheplanesetbythefirstthreepoints. Thus,

if you draw the door in the Top or Perspective

viewport, the door lies flat on the active grid.

Allow Non-vertical Jambs—Lets you create tilted

doors. Set snaps (page 2–35) to define points off

the construction plane. Default=off.

Parameters rollout

Height—Sets the overall height of the door unit.

Width—Sets the overall width of the door unit.

Depth—Sets the depth of the door unit.

Open—With Pivot doors, specifies in degrees the

extent to which the door is open. With Sliding and

BiFold doors, Open specifies the percent that the

door is open.

Frame group

This rollout has controls for the door-jamb frame.

Though part of the door object, the frame behaves

as if it were part of the wall. It doesn’t move when

you open or close the door.

Create Frame—This is turned on as a default to

display the frame. Turn this off to disable display

of the frame.

Width—Sets the width of the frame parallel to the

wall. Available only when Create Frame is on.

Depth—Sets the depth of the frame as it projects

from the wall. Available only when Create Frame

is on.

Door Offset—Sets the location of the door relative

totheframe. At0.0,thedoorisflushwithone

edge of the trim. Note that this can be a positive or

negative value. Available only when Create Frame

is on.

Generate Mapping Coords—Assigns mapping

coordinates to the door.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625).Default=off.

250 Chapter 5: Creating Geometry

Leaf Parameters rollout

Provides controls that affect the door itself (as

opposed to the door unit, which includes the

frame). You can adjust the dimensions of the

door, add panels, and adjust the dimensions and

placement of those panels. The total number of

panelsforeachdoorelementisthenumberof

horizontal divisions times the number of vertical

divisions. Pivot doors have a single door element

unlesstheyaredoubledoors.BiFolddoorshave

two door elements, or four if they are double

doors. Sliding doors have two door elements.

Thickness—Sets the thickness of the door.

Stiles/Top Rail—Sets the width of the panel framing

on the top and sides. This setting is apparent only

if the door is paneled.

Bottom Rail—Sets the width of the panel framing at

thebaseofthedoor.Thissettingisapparentonly

if the door is paneled.

#PanelsHoriz.—Sets the number of panel divisions

along the horizontal axis.

# Panels Vert.—Sets the number of panel divisions

along the vertical axis.

Muntin—Sets the width of the separations between

the panels.

Panels group

Determines how panels are created in the door.

None—The door has no paneling.

Glass—Creates glass panels with no beveling.

Thickness—Sets the thickness of the glass panels.

Beveled—Choose this to have beveled panels.

The remaining spinners affect the beveling of the

panels.

Bevel Angle—Specifies the angle of the bevel

between the outer surface of the door and the

surface of the panel.

Thickness 1—Sets the outer thickness of the panel.

Thickness 2—Sets the thickness where the bevel

begins.

Middle Thick.—Sets the thickness of the inner part

of the panel.

Width 1—Sets the width where the bevel begins.

Width 2—Sets the width of the inner part of the

panel.

Pivot Door 251

Pivot Door

Create panel > Geometry > Doors > Pivot button

Create menu > AEC Objects > Pivot Door

The Pivot door is hinged on one side only. You can

also make the door a double door, with two door

elements, each hinged on its outer edge.

Single and double pivot doors

This topic describes only controls and behavior

unique to the Pivot door. Most door parameters

are common to all kinds of doors; see Doors (page

1–246).

Interface

Parameters rollout

The Parameters rollout contains three check boxes

specific to Pivot doors.

Double Doors—Makes a double door.

Flip Swing—Changes the direction the door

swings.

Flip Hinge—Places the door hinges on the opposite

side of the door. This option is unavailable for

double doors.

Sliding Door

Create panel > Geometry > Doors > Sliding button

Create menu > AEC Objects > Sliding Door

The Sliding door slides as if on a track or railing.

It has two door elements: one remains stationary

while the other moves.

252 Chapter 5: Creating Geometry

Sliding doors with different numbers of panels

This topic describes only controls and behavior

unique to the Sliding door. Most door parameters

are common to all kinds of doors; see Doors (page

1–246).

Interface

Parameters rollout

Flip Front Back—Changes which element is in front,

compared to the default.

Flip Side— Changes the current sliding element to

the stationary element, and vice versa.

BiFold Door

Create panel > Geometry > Doors > BiFold button

Create menu > AEC Objects > BiFold Door

The BiFold door is hinged in the middle as well

as on the side. It has two door elements. You can

also make the door a double door, with four door

elements.

Single and double bifold doors

This topic describes only controls and behavior

unique to the BiFold door. Most door parameters

are common to all kinds of doors; see Doors (page

1–246).

Windows 253

Interface

Parameters rollout

The Parameters rollout contains three check boxes

specific to BiFold doors.

Double Doors—Makes the door a double door,

with four door elements, meeting in the center.

Flip Swing—Makes the door swing in the opposite

direction from the default.

Flip Hinge—Makes the door hinged on the opposite

side from the default. Flip Hinge is unavailable

when Double Doors is on.

Windows

Create panel > Geometry > Windows

Create menu > AEC Objects

The window object lets you control details of a

window’s appearance. You can also set the window

to be open, partially open, or closed, and you can

animate the opening over time.

Different types of windows in a model of a house

3ds Max offers six kinds of windows:

•TheCasement window (page 1–257) has one

or two door-like sashes that swing inward or

outward.

•ThePivoted window (page 1–259) pivots

at the center of its sash, either vertically or

horizontally.

•TheProjected window (page 1–260) has three

sashes, two of which open like awnings in

opposite directions.

•TheSliding window (page 1–261) has two

sashes, one of which slides either vertically or

horizontally.

•TheFixed window (page 1–258) doesn’t open.

•TheAwning window (page 1–256) has a sash

that is hinged at the top.

254 Chapter 5: Creating Geometry

Windows and Materials

By default, 3ds Max assigns five different

material IDs to windows. The aectemplates.mat

material library includes Window-Template,

a multi/sub-object material designed to be

used with windows. Each component of the

window/material is listed below along with its

corresponding Material ID.

Material ID Window/Material Component

1Front Rails

2Back Rails

3Panels (glazing), with 50% opacity

4Front Frame

5Back Frame

Note: 3ds Max does not automatically assign a

material to the window object. To use the included

material, open the library and then assign the

material to your object.

Making an Opening for a Window

To m a ke a n o p e n i ng in a wa l l , yo u c a n p e r f or m a

Boolean operation (page 1–338) with the wall as

Operand A, and another object, such as a box,

as Operand B. Then, you can create and add a

window in the opening, and link (page 2–421) it, if

you choose, as a child of the wall.

Note: Using snaps, you can insert a window

in a wall object, automatically linking the two

and creating a cutout for the window. See the

procedure To c r ea te a n d p l a ce a w i n d o w o r d o o r

in a wall: (page 1–226).

Procedures

To create a window:

1. On the Object Type rollout, click the button for

the type of window you want to create.

2. Choose options as needed, such as changing

thedefaultcreationmethod.TurnonAllow

Non-vertical Jambs if you want an inclined

window.

3. Drag the mouse in the viewport to create the

first two points, defining the width and angle of

the base of the window.

4. Release the mouse and move to adjust the depth

of the window (default creation method), and

then click to set.

By default, the depth is perpendicular to the

line between the first two points and parallel

to the active grid.

5. Move the mouse to adjust the height, and then

click to finish.

The height is perpendicular to the plane defined

by the first three points and perpendicular to

theactivegrid.

You can adjust the height, width, and depth

values on the Parameters rollout.

In the Creation Method rollout, you can change

the creation order to width-height-depth instead

of width-depth-height.

To create a window material:

1. Create a window or select an existing window.

2. Open the Material Editor, and select a slot for

the material.

3. Click the Type button below the Material Editor

toolbar.

The Material/Map Browser dialog opens.

4. In the Material list, double-click the

Multi/Sub-Object item, and then on the

Replace Material dialog that appears, choose

either option and click OK.

5. On the Multi/Sub-Object Basic Parameters

rollout, click Set Number and change Number

Of Materials to 5. Click OK.

6. Optionally, change the sub-material names to

those specified in the above table.

Windows 255

7. Edit the material as you would any

Multi/Sub-Object material.

To animate a window:

You can animate a window opening and closing by

keyframing the Open setting.

1. Create a window or select an existing window.

2. Ifusinganexistingwindow,alsoaccessthe

Modify panel.

3. SettheParametersrollout>Openparameterto

the amount you want the window to be open at

the start of the animation. If you want it to be

closed, set it to 0.

4. Click the Auto Key button (page 3–717) to turn

it on, and advance to the first keyframe.

5. Change the Open setting.

6. Continue moving to any additional keyframes

and changing the Open setting as necessary.

7. Play the animation.

Interface

Most window parameters are common to all kinds

of windows, and are described here. The topic for

each window type describes its unique controls

and behavior.

Object Type rollout

Six types of window are available in 3ds Max:

Awning—Has a sash that is hinged at the top. See

Awning (page 1–256).

Casement—Has one or two door-like sashes that

swing inward or outward. See Casement (page

1–257).

Fixed—Doesn’t open. See Fixed (page 1–258).

Pivoted—Pivots at the center of its sash, either

vertically or horizontally. See Pivoted (page 1–259).

Projected—Has three sashes, two of which open

like awnings in opposite directions. See Projected

(page 1–260).

Sliding—Has two sashes, one of which slides

vertically or horizontally. See Sliding (page 1–261).

Name and Color rollout

See Object Name and Wireframe Color (page

3–757).

Creation Method rollout

You define each type of window with four points:

Drag the first two, followed by two move-click

sequences. The Creation Method setting

determines the order in which these actions define

the window’s dimensions.

Width/Depth/Height—The first two points define

the width and angle of the base of the window. You

set these points by dragging in a viewport, as the

firststepincreatingawindow.Thisletsyoualign

the window with a wall or opening when you place

it. The third point, where you click after moving

the mouse, specifies the depth of the window, and

the fourth click, where you click after moving the

mouseagain,specifiestheheight.

Width/Height/Depth—Wo rk s l ike t he

Width/Depth/Height option, except that

the last two points create first the height and then

the depth.

256 Chapter 5: Creating Geometry

Note: With this method, the depth is perpendicular

to the plane set by the first three points. Thus, if

you draw the window in the Top or Perspective

viewport, the door lies flat on the active grid.

Allow Non-vertical Jambs—Select to create tilted

windows. Set snaps (page 2–35) to define points

off the construction plane. Default=off.

Parameters rollout

Height/Width/Depth—Specifies the overall

dimensions of the window.

Frame group

Horiz. Width—Sets the width of the horizontal part

of the window frame (at the top and bottom).

This setting also affects the glazed portion of the

window’s width.

Vert. Width—Sets the width of the vertical part of

the window frame (at the sides). This setting also

affects the glazed portion of the window’s height.

Thickness—Sets the thickness of the frame. This

also controls the thickness of casements or railings

on the window’s sashes.

Glazing group

Thickness—Specifiesthethicknessoftheglass.

Generate Mapping Coordinates—Creates the object

with the appropriate mapping coordinates (page

3–967) already applied.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625).Default=off.

Awning Window

Create panel > Geometry > Windows > Awning button

Create menu > AEC Objects > Awning Window

The Awning window has one or more sashes that

are hinged at the top.

Awning window

Casement Window 257

Interface

Parameters rollout

The topic for each kind of window describes its

unique controls and behavior. Some window

parameters are common to all kinds of windows;

see Windows (page 1–253).

Rails and Panels group

Width—Sets the width (depth) of the rails in the

sashes.

Panel Count—Sets the number of sashes in the

window. If you use more than one sash, each is

hinged at its top edge. Range=1 to 10.

Open Window group

Open—Specifies the percent the window is open.

This control is animatable.

Casement Window

Create panel > Geometry > Windows > Casement button

Create menu > AEC Objects > Casement Window

The Casement window has one or two sashes that

are hinged on the side, like a door.

Casement window

258 Chapter 5: Creating Geometry

Interface

Parameters rollout

The topic for each kind of window describes its

unique controls and behavior. Some window

parameters are common to all kinds of windows;

see Windows (page 1–253).

Casements group

Panel Width—Changes the size of the glazed panel

within each sash.

One/Two—Specifies the number of window panels:

one or two. Using two panels creates a window like

a double door; each panel is hinged on its outside

side edge.

Open Window group

Open—Specifies the percent that the window is

open. This control is animatable.

Flip Swing—Turn this on to have the sashes open in

theoppositedirection.

Fixed Window

Create panel > Geometry > Windows > Fixed button

Create menu > AEC Objects > Fixed Window

Fixed windows do not open, thus have no Open

Window control. In addition to the standard

window object parameters, the Fixed window

provides the Rails And Panels group of settings for

subdividing the window.

Fixed windows

Pivoted Window 259

Interface

Parameters rollout

The topic for each kind of window describes its

unique controls and behavior. Some window

parameters are common to all kinds of windows;

see Windows (page 1–253).

Rails and Panels group

Width—Sets the width (depth) of the rails in the

sashes.

#PanelsHoriz—Sets the number of horizontal

divisions in the window.

# Panels Vert—Sets the number of vertical divisions

in the window.

Chamfered Profile—Chamfers the rails between

the glazed panels, as in a conventional wooden

window. When Chamfered Profile is off, the rails

have a rectangular profile.

Pivoted Window

Createpanel>Geometry>Windows>Pivotedbutton

Create menu > AEC Objects > Pivoted Window

A pivoted window has one sash only, hinged

midway through the side of the sash. It can swing

open either vertically or horizontally.

Pivoted windows

260 Chapter 5: Creating Geometry

Interface

Parameters rollout

The topic for each kind of Window describes its

unique controls and behavior. Most Window

parameters are common to all kinds of Windows;

see Windows (page 1–253).

Rails group

Width—Sets the width of the rails in the sash.

Pivots group

Vertical Rotation—Switches the pivot axis from

horizontal to vertical.

Open Window group

Open—Specifies the percent that the window is

open. This control is animatable.

Projected Window

Create panel > Geometry > Windows > Projected button

Create menu > AEC Objects > Projected Window

Projected windows have three sashes: The top

sash doesn’t move, while the bottom two sashes

swing open like awning windows, but in opposite

directions.

Projected window

Sliding Window 261

Interface

Parameters rollout

The topic for each kind of window describes its

unique controls and behavior. Some window

parameters are common to all kinds of windows;

see Windows (page 1–253).

Rails and Panels group

Width—Sets the width (depth) of the rails in the

sashes.

Middle Height—Sets the height of the middle sash,

relative to the window’s frame.

Bottom Height—Sets the height of the bottom sash,

relative to the window’s frame.

Open Window group

Open—Specifies the percent that the two movable

sashes are open. This control is animatable.

Sliding Window

Create panel > Geometry > Windows > Sliding button

Create menu > AEC Objects > Sliding Window

Sliding windows have two sashes: one fixed,

one movable. The sliding part can move either

vertically or horizontally.

Sliding windows

262 Chapter 5: Creating Geometry

Interface

Parameters rollout

The topic for each kind of Window describes its

unique controls and behavior. Most Window

parameters are common to all kinds of Windows;

see Windows (page 1–253).

Rails and Panels group

Rail Width—Sets the width of the rails in the sash.

#PanelsHoriz—Sets the number of horizontal

divisions in each sash.

# Panels Vert—Sets the number of vertical divisions

in each sash.

Chamfered Profile—Chamfers the rails between

the glazed panels, as in a conventional wooden

window. When Chamfered Profile is off, the rails

have a rectangular profile.

Open Window group

Hung—When on, the window slides vertically.

When off, the window slides horizontally.

Open— Specifies the percent that the window is

open. This control is animatable.

Shapes

Create panel > Shapes

Create menu > Shapes

A shape is an object made from one or more

curved or straight lines.

3ds Max includes the following shape types:

Splines and Extended Splines (page 1–266)

NURBS Curves (page 1–1106)

Using Shapes

Shapes are 2D and 3D lines and groups of lines that

youtypicallyuseascomponentsofotherobjects.

Mostofthedefaultshapesaremadefromsplines.

Youusethesesplineshapestodothefollowing:

• Generate planar and thin 3D surfaces

• Define loft components such as paths, shapes,

and fit curves

• Generate surfaces of revolution

•Generateextrusions

•Definemotionpaths

Theprogramsupplies11basicsplineshape

objects, plus two types of NURBS curves. You

Shapes 263

can quickly create these shapes using mouse

or keyboard entry and combine them to form

compound shapes. See Splines (page 1–266) for

information about the methods and parameters

used to create these shapes.

Creating Shapes

To access the shape creation tools, go to

the Create panel and click the Shapes button.

You’ll find the standard shapes under Splines in

the category list, and Point Curve and CV Curve

under NURBS Curves.

As you add plug-ins, other shape categories might

appear in this list.

TheObjectTyperolloutcontainsthespline

creation buttons. You can combine one or more of

these spline types into a single shape.

Create Shape from Edges

You can create shapes from edge selections in

mesh objects. In Edit/Editable Mesh objects, at the

Edgeselectionlevel,intheEditGeometryrollout,

is a button called Create Shape from Edges that

creates a spline shape based on selected edges. See

Editable Mesh (Edge) (page 1–1006).Similarly,

with Editable Poly objects, you can use the Create

ShapebuttonattheEdgeselectionlevel. See

Editable Poly (Edge) (page 1–1035)

Editable Splines

Yo u c a n c o n v e r t a b a s i c s p l i n e t o a n editable spline

object (page 1–289). The editable spline has a

variety of controls that let you directly manipulate

it and its sub-objects. For example, at the Vertex

sub-object level you can move vertices or adjust

their Bezier handles. Editable splines let you create

shapes that are less regular, more free-form than

the basic spline options.

Whenyouconvertasplinetoaneditablespline,

you lose the ability to adjust or animate its creation

parameters.

Renderable Shapes

When you use a shape to create a 3D object by

lofting, extruding, or other means, the shape

becomes a renderable 3D object. However, you

canmakeashaperenderwithoutmakingitintoa

3D object. There are three basic steps to rendering

ashape:

1. On the Rendering rollout of the shape’s creation

parameters,turnonEnableInRenderer.

2. Specify the thickness for the spline using the

Thickness spinner in the Rendering rollout.

3. Ifyouplantoassignamappedmaterialtothe

spline, turn on Generate Mapping Coords.

264 Chapter 5: Creating Geometry

When Enable in Renderer is on, the shape is

rendered using a circle as a cross section. Mapping

coordinates are generated with U mapped once

around the perimeter, and V mapped once along

the length.

The software provides more control over

renderable shapes; viewports, including wireframe

viewports, can display the geometry of renderable

shapes. The rendering parameters for shapes

appear in their own rollout.

The Steps settings affect the number of cross

sections in the renderable shape.

Please observe the following:

• When you apply a modifier that converts a

shape into a mesh (such as Extrude (page

1–680) or Lathe (page 1–707)), the object

automatically becomes renderable, regardless

of the state of the Enable in Renderer check box.

You need to turn on the Enable in Renderer

check box only when you want to render an

unmodified spline shape in the scene.

• As with all objects, a shape’s layer must be on

for the shape to render. See Layer Properties

(page 3–656).

•TheObject Properties dialog (page 1–117) also

has a Renderable check box, which is turned on

by default. Both this check box and the General

rollout > Renderable check box must be turned

on in order to render a shape.

Shapes as Planar Objects

A straightforward usage for shapes is 2D cutouts or

planar objects. Examples include ground planes,

text for signs, and cutout billboards. You create a

planar object by applying an Edit Mesh modifier

(page 1–634) to a closed shape, or by converting it

to an editable mesh object (page 1–996).

2D objects

Yo u c a n a l s o a p p l y a n E d i t M e s h m o d i f i e r t o a 3 D

shape (for example, a shape whose vertices have

been moved vertically away from the construction

plane by different amounts) to create a curved

surface. The resulting 3D surface often requires

manual editing of faces and edges to smooth

surface ridges.

Extruded and Lathed Shapes

You can apply modifiers to a shape to create a 3D

object. TwoofthesemodifiersareExtrudeand

Lathe. Extrude (page 1–680) creates a 3D object

by adding height to a shape. Lathe (page 1–707)

creates a 3D object by rotating a shape about an

axis.

Shape Check Utility 265

Initial text shape with extruded shape below

Lathed object with initial shape on right

Lofting Shapes

Yo u c r e a t e Lofts (page 1–352) by combining two

or more splines in special ways. Shapes form the

lofting path, loft cross-sections, and loft fit curves.

Shapes as Animation Paths

You can use shapes to define the position of an

animated object. You create a shape and use it to

define a path that some other object follows.

Some possible ways for a shape to control animated

position are:

•YoucanuseaPath constraint (page 2–398) to

use a shape to control object motion.

• You can convert a shape into position keys using

the Motion panel > Trajectories > Convert

From function (see Trajectories (page 2–301)).

See also

Edit Modifiers and Editable Objects (page 1–506)

Modifying at the Sub-Object Level (page 1–506)

Modifier Stack Controls (page 3–760)

Shape Check Utility

Utilities panel > Utilities rollout > More button Utilities

dialog > Shape Check

The Shape Check utility tests spline and

NURBS-based shapes and curves for

self-intersection and graphically displays

any instances of intersecting segments.

Self-intersecting shapes used to produce lathed,

extruded, lofted, or other 3D objects can result in

rendering errors.

The utility is "sticky" in that once you’ve picked

a shape object for it to check, you can pan/zoom

viewports and it will continually display the

locations of intersecting curves in the shape you

pick.

If a shape is animated, moving the time slider will

recheck the shape on each frame of the animation,

allowing for easy checking of these changing

shapes.

266 Chapter 5: Creating Geometry

Intersection points highlighted by Shape Check

Interface

Pick Object—Click this button, and then click the

shapefortheutilitytocheck.Youcanpickonly

spline- and NURBS-based shapes and curves.

Points of intersection discovered by the utility are

highlighted with red boxes. The text below the

button indicates whether any points of intersection

occur.

Close—Closes the utility.

Splines

Create panel > Shapes > Splines

Create menu > Shapes

Create panel > Shapes > Extended Splines

Splines include the following object types:

Line Spline (page 1–270)

Rectangle Spline (page 1–272)

Circle Spline (page 1–273)

Ellipse Spline (page 1–274)

Arc Spline (page 1–274)

Donut Spline (page 1–276)

NGon Spline (page 1–277)

Star Spline (page 1–277)

Text Spline (page 1–278)

Helix Spline (page 1–281)

Section Spline (page 1–282)

Extended Splines include the following object

types:

WRectangle Spline (page 1–284)

Channel Spline (page 1–285)

Angle Spline (page 1–286)

Tee Spline (page 1–287)

Wide Flange Spline (page 1–288)

This topic covers aspects of spline and extended

spline creation that are common to all spline

object types, including the parameters available

in the General rollout. For parameters unique to

a particular spline or extended spline type, see its

section by clicking the appropriate link above.

Procedures

To control starting a new shape manually:

1. OntheCreatepanel,turnoffthecheckbox

next to the Start New Shape button.

2. Click the Start New Shape button.

3. Begin creating splines.

Each spline is added to the compound shape.

Youcantellyouarecreatingacompoundshape

because all the splines remain selected.

4. Click Start New Shape to complete the current

shapeandpreparetostartanother.

Issues to remember about creating shapes:

Splines and Extended Splines 267

• You can go back and change the parameters

of a shape containing a single spline after the

shape is created.

• You can create a compound shape by adding

splines to a shape: Select the shape, turn off

Start New Shape, and then create more splines.

• You cannot change the parameters of a

compound shape. For example, create a

compound shape by creating a circle and then

adding an arc. Once you create the arc, you

cannot change the circle parameters.

To create a spline using keyboard entry:

1. Click a spline creation button.

2. Expand the Keyboard Entry rollout.

3. EnterX,Y,andZvaluesforthefirstpoint.

4. Enter values in any remaining parameter fields.

5. Click Create.

Interface

Object Type rollout (Splines and Extended

Splines)

AutoGrid—Lets you automatically create objects

on the surface of other objects by generating and

activating a temporary construction plane based

on normals of the face that you click.

For more information, see AutoGrid (page 2–7).

Start New Shape—Ashapecancontainasingle

spline or it can be a compound shape containing

multiple splines. You control how many splines are

inashapeusingtheStartNewShapebuttonand

check box on the Object Type rollout. The check

box next to the Start New Shape button determines

when new shapes are created. When the box is on,

the program creates a new shape object for every

spline you create. When the box is off, splines are

added to the current shape until you click the Start

New Shape button.

Shape Selection buttons—Lets you specify the type

of shape to create.

Name and Color rollout

Lets you name an object and assign it a viewport

color. For details, see Object Name and Wireframe

Color (page 3–757).

Rendering rollout

Letsyouturnonandofftherenderabilityofa

spline or NURBS curve, specify its thickness in the

rendered scene, and apply mapping coordinates.

268 Chapter 5: Creating Geometry

You can animate render parameters, such as the

number of sides, but you cannot animate the

Viewport settings.

You can convert the displayed mesh into a mesh

object by applying an Edit Mesh or Edit Poly

modifier or converting to an editable mesh or

editable poly object. If Enable In Viewport is off

when converting, closed shapes will be “filled

in” and open shapes will contain only vertices;

no edges or faces. If Enable In Viewport is on

when converting, the system will use the Viewport

settings for this mesh conversion. This gives

maximum flexibility, and will always give the

conversion of the mesh displayed in the viewports.

Enable In Renderer—When on, the shape is

rendered as a 3D mesh using the Radial or

Rectangular parameters set for Renderer. In

previous versions of the program, the Renderable

switch performed the same operation.

Enable In Viewport—When on, the shape is

displayedintheviewportasa3Dmeshusingthe

Radial or Rectangular parameters set for Renderer.

In previous versions of the program, the Display

Render Mesh performed the same operation.

Use Viewport settings—Lets you set different

rendering parameters, and displays the mesh

generated by the Viewport settings. Available only

when Enable in Viewport is turned on.

Generate Mapping Coords—Tur n t hi s on to a pp ly

mapping coordinates. Default=off.

3ds Max generates the mapping coordinates in

the U and V dimensions. The U coordinate

wraps once around the spline; the V coordinate is

mappedoncealongitslength.Tilingisachieved

using the Tiling parameters in the applied material.

For more information, see Mapping Coordinates

(page 2–1405).

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625).Default=off.

Viewport—Choose this to specify Radial or

Rectangular parameters for the shape as it will

displayintheviewportswhenEnableInViewport

is on.

Renderer—Choose this on to specify Radial or

Rectangular parameters for the shape as it will

displaywhenrenderedorviewedintheviewport

when Enable in Viewport is turned on.

Radial—Displays the 3D mesh as a cylindrical

object.

Thickness—Specifies the diameter of the viewport

or rendered spline mesh. Default=1.0. Range=0.0

to 100,000,000.0.

Splines rendered at thickness of 1.0 and 5.0, respectively

Sides—Sets the number of sides (or facets) for

thesplinemeshntheviewportorrenderer.For

example, a value of 4 results in a square cross

section.

Angle—Adjusts the rotational position of the

cross-section in the viewport or renderer. For

example, if the spline mesh has a square cross

section you can use Angle to position a "flat" side

down.

Rectangular—Displays the spline’s mesh shape as

arectangle.

Splines and Extended Splines 269

Length—Specifies the size of the cross–section

along the local Yaxis.

Width—Specifies the size of the cross–section

along the local Xaxis.

Angle—Adjusts the rotational position of the

cross-section in the viewport or renderer. For

example, if you have a square cross-section you

canuseAngletopositiona"flat"sidedown.

Aspect—Sets the aspect ratio for rectangular

cross-sections. The Lock check box lets you lock

the aspect ratio. When Lock is turned on, Width is

locked to Length that results in a constant ratio of

Width to Length.

Auto Smooth—If Auto Smooth is turned on, the

spline is auto-smoothed using the threshold

specified by the Threshold setting below it. Auto

Smooth sets the smoothing based on the angle

between spline segments. Any two adjacent

segmentsareputinthesamesmoothinggroupif

the angle between them is less than the threshold

angle.

Note: Turning Auto Smooth on for every situation

doesnotalwaysgiveyouthebestsmoothing

quality. Altering the Threshold angle may be

necessary or turning Auto Smooth off may

produce the best results.

Threshold—Specifies the threshold angle in

degrees. Any two adjacent spline segments are put

inthesamesmoothinggroupiftheanglebetween

them is less than the threshold angle.

Interpolation rollout

These settings control how a spline is generated.

All spline curves are divided into small straight

linesthatapproximatethetruecurve.Thenumber

of divisions between each vertex on the spline are

called steps. The more steps used, the smoother

the curve appears.

Steps—Spline steps can be either adaptive (that

is,setautomaticallybyturningonAdaptive)or

specified manually.

When Adaptive is off, use the Steps field/spinner

to set the number of divisions between each vertex.

Splines with tight curves require many steps to

look smooth while gentle curves require fewer

steps. Range=0 to 100.

Optimize—When on, removes unneeded steps

from straight segments in the spline. Optimize is

not available when Adaptive is on. Default=on.

Adaptive—When off, enables manual interpolation

control using Optimize and Steps. Default=off.

When on, Adaptive sets the number of steps for

each spline to produce a smooth curve. Straight

segments always receive 0 steps.

Optimized spline left and adaptive spline right. Resulting

wireframe view of each, respectively, on the right.

The main use for manual interpolation of splines is

in morphing or other operations where you must

have exact control over the number of vertices

created.

Creation Method rollout

270 Chapter 5: Creating Geometry

Many spline tools use the Creation Methods

rollout. On this rollout you choose to define

splines by either their center point or their

diagonal.

Edge—Your first click defines a point on the side or

at a corner of the shape and you drag a diameter

or the diagonal corner.

Center—Your first click defines the center of the

shape and you drag a radius or corner point.

Text (page 1–278) and Star (page 1–277) do not

haveaCreationMethodsrollout.

Line (page 1–270) and Arc (page 1–274) have

unique Creation Methods rollouts that are

discussed in their respective topics.

Keyboard Entry rollout

You can create most splines using keyboard entry.

The process is generally the same for all splines

and the parameters are found under the Keyboard

Entry rollout. Keyboard entry varies primarily in

the number of optional parameters. The image

aboveshowsasampleKeyboardEntryrolloutfor

theCircleshape.

The Keyboard Entry rollout contains three

fields for the X, Y, and Z coordinates of the

initial creation point, plus a variable number of

parameters to complete the spline. Enter values

in each field and click the Create button to create

the spline.

Line Spline

Create panel > Shapes > Splines > Object Type rollout

>Line

Create menu > Shapes > Line

UseLinetocreateafree-formsplinemadeof

multiple segments.

Example of line

Procedures

To create a line:

1. Go to the Create panel and choose

Shapes.

2. OntheObjectTyper

ollout, click the Line

button.

3. Chooseacreationmethod.

4. Click or drag the start point.

Clicking creates a corner vertex; dragging

creates a Bezier vertex.

5. Click or drag additional points.

Clicking creates a corner vertex; dragging

creates a Bezier vertex.

6. Do one of the following:

•Right-clicktocr

eate an open spline.

Line Spline 271

• Click the first vertex and click Yes in the

"Close spline?" dialog to create a closed

spline.

To create a line using rectilinear and angle-snap

options:

These two options aid in creating regular shapes:

• While creating a spline with the mouse, press

and hold Shift to constrain new points to

90-degree-angle increments from previous

points. Use the default Initial type setting of

Corner and click all subsequent points to create

fully rectilinear shapes.

• While creating a spline with the mouse, press

and hold Ctrl to constrain new points to angle

increments determined by the current Angle

Snap setting (page 2–12). To set this angle, go

to Customize menu > Grid and Snap Settings,

click the Options tab (page 2–46) in the Grid

and Snap Settings dialog, and change the value

in the Angle (deg) field.

The angle for each new segment relates to the

previous segment, so the angle snap works only

after you’ve placed the first two spline vertices

(that is, the first segment). Angle Snap need not be

enabled for this feature to work.

To create a line from the keyboard:

1. Enter values in the X, Y, and Z fields to specify a

vertex coordinate.

2. Click Add Point to add a vertex to the current

line at the specified coordinate.

3. Repeat steps 1 and 2 for each additional vertex.

4. Do one of the following:

• Click Finish to create an open spline.

• ClickClosetoconnectthecurrentvertexto

thefirstvertexandcreateaclosedspline.

Interface

Automatic Conversion to an Editable Spline

Because the Line object has no dimension

parameters to be carried over to the Modify panel,

it converts to an editable spline (page 1–289) when

you move from the Create panel to the Modify

panel. While you are creating the line, the Create

panel displays the original controls, such as

Interpolation, Rendering, Creation Method, and

Keyboard Entry. After creating the line, when you

go to the Modify panel you have immediate access

to the Selection and Geometry rollouts to edit the

vertices or any part of the shape.

Rendering and Interpolation rollouts

All spline-based shapes share these parameters.

See Splines (page 1–266) for an explanation of

these parameters.

Creation Method rollout

Creation method options for lines are different

from other spline tools. You choose options to

control the type of vertex created when you click

or drag vertices.

You can preset the default types of spline vertices

during line creation with these settings:

Initial Type group

Sets the type of vertex you create when you click

avertexlocation.

272 Chapter 5: Creating Geometry

Corner—Produces a sharp point. The spline is

linear to either side of the vertex.

Smooth—Produces a smooth, nonadjustable curve

through the vertex. The amount of curvature is set

bythespacingofthevertices.

Drag Type group

Sets the type of vertex you create when you drag a

vertex location. The vertex is located at the cursor

position where you first press the mouse button.

Thedirectionanddistancethatyoudragareused

only when creating Bezier vertices.

Corner—Produces a sharp point. The spline is

linear to either side of the vertex.

Smooth—Produces a smooth, nonadjustable curve

through the vertex. The amount of curvature are

set by the spacing of the vertices.

Bezier—Produces a smooth, adjustable curve

through the vertex. The amount of curvature

and direction of the curve are set by dragging the

mouse at each vertex.

Keyboard Entry rollout

Keyboard entry for lines is different from keyboard

entry for other splines. Entering keyboard values

continues to add vertices to the existing line until

you click Close or Finish.

Add Point—Adds a new point to the line at the

current X/Y/Z coordinates.

Close—Closes the shape, adding a final spline

segment between the most recent vertex and the

first.

Finish—Finishes the spline without closing it.

Rectangle Spline

Create panel > Shapes > Splines > Object Type rollout

>Rectangle

Create menu > Shapes > Rectangle

Use Rectangle to create square and rectangular

splines.

Examples of rectangles

Procedure

To create a rectangle:

1. Go to the Create panel and choose

Shapes.

2. Click Rectangle.

3. Chooseacreationmethod.

4. Drag in a viewport to create a rectangle.

Optionally, press Ctrl while dragging to

constrain the spline toasquare.

Interface

Rendering and Interpolation rollouts

All spline-based shapes share these parameters.

See Splines (page 1–266) for an explanation of

these parameters.

Circle Spline 273

Creation Method rollout

The Rectangle shape uses the standard creation

methods of Center or Edge. Most spline-based

shapes share the same Creation Method

parameters. See Splines (page 1–266) for an

explanation of these parameters.

Parameters rollout

Once you have created a rectangle, you can make

changes using the following parameters:

Length—Specifies the size of the rectangle along

the local Y axis.

Width—Specifies the size of the rectangle along the

local X axis.

Corner Radius—Creates rounded corners. When

set to 0, the rectangle contains 90-degree corners.

Circle Spline

Create panel > Shapes > Splines > Object Type rollout >

Circle

Create menu > Shapes > Circle

Use Circle to create closed circular splines made of

four vertices.

Example of circle

Procedure

To create a circle:

1. Go to the Create panel and choose

Shapes.

2. Click Circle.

3. Chooseacreationmethod.

4. Drag in a viewport to draw the circle.

Interface

Rendering and Interpolation rollouts

All spline-based shapes share these parameters.

See Splines (page 1–266) for explanations of these

parameters.

Creation Method rollout

TheCircleshapeu

ses the standard creation

methodsofCenterorEdge. Mostspline-based

shapes share the same Creation Method

parameters. See Splines (page 1–266) for an

explanation of these parameters.

Parameters rollout

274 Chapter 5: Creating Geometry

Once you have created a circle, you can make

changes using the following parameter:

Radius—Specifies the radius of the circle.

Ellipse Spline

Create panel > Shapes > Splines > Object Type rollout

> Ellipse

Create menu > Shapes > Ellipse

Use Ellipse to create elliptical and circular splines.

Examples of ellipses

Procedure

To create an ellipse:

1. GototheCreatepanelandchoose

Shapes.

2. Click Ellipse.

3. Chooseacreationmethod.

4. Drag in a viewport to draw the ellipse.

Optionally, press Ctrl while dragging to

constrain the spline to a circle.

Interface

Rendering and Interpolation rollouts

All spline-based shapes share these parameters.

See Splines (page 1–266) for explanations of these

parameters.

Creation Method rollout

The Ellipse shape uses the standard creation

methodsofCenterorEdge. Mostspline-based

shapes share the same Creation Method

parameters. See Splines (page 1–266) for an

explanation of these parameters.

Parameters rollout

Once you have created an Ellipse, you can make

changes using the following parameters:

Length—Specifies the size of the Ellipse along the

local Y axis.

Width—Specifies the size of the Ellipse local X axis.

Arc Spline

Create panel > Shapes > Splines > Object Type rollout

>Arc

Create menu > Shapes > Arc

Use Arc to create open and closed circular arcs

made of four vertices.

Procedures

To create an arc using the end-end-middle method:

1. Go to the Create panel and choose

Shapes.

2. Click Arc.

3. ChoosetheEnd-End-Middlecreationmethod.

4. Drag in a viewport to set the two ends of the arc.

5. Releasethemousebutton,thenmovethe

mouse and click to specify a third point on an

arc between the two endpoints.

Arc Spline 275

Creating an arc using the End-End-Middle creation method

To create an arc using the center-end-end method:

1. GototheCreatepanelandchoose

Shapes.

2. Click Arc.

3. Choose the Center-End-End creation method.

4. Press the mouse button to define the center of

the arc.

5. Drag and release the mouse button to specify

the start point of the arc.

6. Move the mouse and click to specify the other

end of the arc.

Creating an arc using the Center-End-End creation method

Interface

Rendering and Interpolation rollouts

All spline-based shapes share these parameters.

See Splines (page 1–266) for an explanation of

these parameters.

Creation Method rollout

Theseoptionsdeterminethesequenceofmouse

clicks involved in the creation of the arc.

End-End-Middle—Drag and release to set the two

endpoints of the arc, and then click to specify the

third point between the two endpoints.

Center-End-End—Press the mouse button to specify

the center point of the arc, drag and release to

specify one endpoint of the arc, and click to specify

the other endpoint of the arc.

Parameters rollout

Once you have created an arc, you can make

changes using the following parameters:

Radius—Specifies the arc radius.

From—Specifies the location of the start point as

an angle measured from the local positive X axis.

To—Specifies the location of the end point as an

angle measured from the local positive X axis.

Pie Slice—Whenon,createsaclosedsplineinthe

form of a pie. The start point and end point are

connected to the center with straight segments.

276 Chapter 5: Creating Geometry

Closed pie slice arcs

Reverse—When on, the direction of the arc spline

is reversed, and the first vertex is placed at the

opposite end of an open arc. As long as the shape

remains an original shape (and not an editable

spline), you can switch its direction by toggling

Reverse. Once the arc is converted to an editable

spline, you can use Reverse at the Spline sub-object

level to reverse direction.

Donut Spline

Create panel > Shapes > Splines > Object Type rollout

>Donut

Create menu > Shapes > Donut

Use Donut to create closed shapes from two

concentric circles. Each circle is made of four

vertices.

Example of donut

Procedure

To create a donut:

1. GototheCreatepanelandchoose

Shapes.

2. Click Donut.

3. Chooseacreationmethod.

4. Drag and release the mouse button to define

the first donut circle.

5. Move the mouse and then click to define the

radius of the second concentric donut circle.

Thesecondcirclecanbelargerorsmallerthan

the first.

Interface

Rendering and Interpolation rollouts

All spline-based shapes share these parameters.

See Splines (page 1–266) for explanations of these

parameters.

Creation Method rollout

The Donut shape uses the standard creation

methodsofCenterorEdge. Mostspline-based

shapes share the same Creation Method

parameters. See Splines (page 1–266) for an

explanation of these parameters.

Parameters rollout

Once you have created a donut, you can make

changes using the following parameters:

Radius 1—Sets the radius of the first circle.

Radius 2—Sets the radius of the second circle.

NGon Spline 277

NGon Spline

Create panel > Shapes > Splines > Object Type rollout >

NGon

Create menu > Shapes > NGon

Use NGon to create closed flat-sided or circular

splines with any number (N) of sides or vertices.

Examples of NGons

Procedure

To create an NGon:

1. GototheCreatepanelandchoose

Shapes.

2. Click NGon.

3. Chooseacreationmethod.

4. Drag and release the mouse button in a

viewport to draw the NGon.

Interface

Rendering and Interpolation rollouts

All spline-based shapes share these parameters.

See Splines (page 1–266) for an explanation of

these parameters.

Creation Method rollout

TheNGonshapeusesthestandardcreation

methods of Center or Edge. Most spline-based

shapes share the same Creation Method

parameters. See Splines (page 1–266) for an

explanation of these parameters.

Parameters rollout

Once you have created an NGon, you can make

changes using the following parameters:

Radius—Specifies the NGon radius. You can use

either of two methods to specify the radius:

•Inscribed—The radius from the center to the

corners of the NGon

•Circumscribed—The radius from the center to

the sides of the NGon.

Sides—Specifies the number of sides and vertices

used by the NGon. Range=3 to 100.

Corner Radius—Specifies the degree of rounding to

apply to the corners of the NGon. A setting of 0

specifies a standard unrounded corner.

Circular—When on, specifies a circular NGon.

Star Spline

Create panel > Shapes > Splines > Object Type rollout

>Star

Create menu > Shapes > Star

Use Star to create closed star-shaped splines with

any number of points. Star splines use two radiuses

to set the distance between the outer points and

inner valleys.

278 Chapter 5: Creating Geometry

Examples of stars

Procedure

To create a star:

1. GototheCreatepanela

nd choose

Shapes.

2. Click Star.

3. Drag and release the mouse button to define

the first star radius.

4. Move the mouse and then click to define the

second star radius.

Interface

Rendering and Interpolation rollouts

All spline-based shapes share these parameters.

See Splines (page 1–266) for explanations of these

parameters.

Parameters rollout

Once you have created a star, you can make

changes using the following parameters:

Radius 1—Specifies the radius of the inner vertices

(the valley) of the star.

Radius 2—Specifies the radius of the outer vertices

(the points) of the star.

Points—Specifies the number of points on the star.

Range=3 to 100.

A star has twice as many vertices as the specified

number of points. Half the vertices lie on one

radius, forming points, and the remaining vertices

lie on the other radius, forming valleys.

Distortion—Rotates the outer vertices (the points)

about the center of the star. This produces a

sawtooth affect.

Fillet Radius 1—Rounds the inner vertices (the

valleys) of the star.

Fillet Radius 2—Rounds the outer vertices (the

points) of the star.

Text Spline

Create panel > Shapes > Splines > Object Type rollout

>Text

Create menu > Shapes > Text

UseTexttocreatesplinesintheshapeoftext.

ThetextcanuseanyWindowsfontinstalledon

your system, or a Type 1 PostScript font installed

in the directory pointed to by the Fonts path on

the Configure System Paths dialog (page 3–810).

Because fonts are loaded only at first use, changing

the font path later in the program has no effect.

The program must be restarted before the new

path is used, if the font manager has been used by

the program.

Text Spline 279

Examples of text

You can edit the text in the Create panel, or later in

the Modify panel.

Using Text Shapes

Text shapes maintain the text as an editable

parameter. You can change the text at any time.

If the font used by your text is deleted from the

system, 3ds Max still properly displays the text

shape. However, to edit the text string in the edit

box you must choose an available font.

Thetextinyoursceneisjustashapewhereeach

letter and, in some cases, pieces of each letter are

individual splines. You can apply modifiers like

Edit Spline (page 1–680),Bend (page 1–560),and

Extrude (page 1–680) to edit Text shapes just like

any other shape.

Procedures

To create text:

1. Go to the Create panel and choose

Shapes.

2. Click Text.

3. Enter text in the Text box.

4. Do either of the following to define an insertion

point:

• Click in a viewport to place the text in the

scene.

• Drag the text into position and release the

mouse button.

To enter a special Windows character:

1. Hold down the Alt key.

2. Enter the character’s numeric value on the

numeric keypad.

Yo u must use the numeric keypad, not the row

of numbers above the alphabetic keys.

For some characters, you must enter a leading

zero. For example, 0233 to enter an e with an

acute accent.

3. Release the Alt key.

Interface

Settings available for text include kerning, leading,

justification, multiple lines, and a manual update

option.

Rendering and Interpolation rollouts

All spline-based shapes share these parameters.

See Splines (page 1–266) for an explanation of

these parameters.

280 Chapter 5: Creating Geometry

Parameters rollout

Onceyouhavecreatedtext,youcanmakechanges

using the following parameters:

Font list—Choose from a list of all available fonts.

Available fonts include:

•FontsinstalledinWindows.

• Type1PostScriptfontslocatedinthedirectory

pointed to by the Fonts path on the Configure

System Paths dialog (page 3–810).

Italic style button—Toggles italicized text.

Underline style button—Toggles underlined

text.

Align Left—Aligns text to the left side of its

bounding box.

Center—Aligns text to the center of its

bounding box.

Align Right—Aligns text to the right side of

its bounding box.

Justify—Spaces all lines of text to fill the

extents of the bounding box.

Note: The four text-alignment buttons require

multiple lines of text for effect because they act

on the text in relation to its bounding box. If

there’sonlyonelineoftext,it’sthesamesizeas

its bounding box.

Size—Sets the text height where the height

measuring method is defined by the active font.

The first time you enter text, the default size is 100

units.

Kerning—Adjusts the kerning (the distance

between letters).

Leading—Adjusts the leading (the distance

between lines). This has an effect only when

multiple lines of text are included in the shape.

Text edit box—Allows for multiple lines of text.

Press Enter aftereachlineoftexttostartthenext

line.

• The initial session default is "MAX Text."

• The edit box does not support word wrap.

• You can cut and paste single- and multi-line

text from the Clipboard.

Update group

These options let you select a manual update

option for situations where the complexity of the

text shape is too high for automatic updates.

Update—Updates the text in the viewport to match

the current settings in the edit box. This button is

available only when Manual Update is on.

Manual Update—When on, the text that you type

into the edit box is not shown in the viewport until

youclicktheUpdatebutton.

Helix Spline 281

Helix Spline

Create panel > Shapes > Splines > Object Type rollout >

Helix

Create menu > Shapes > Helix

Use Helix to create open flat or 3D spirals.

Examples of helixes

Procedure

To create a helix:

1. GototheCreatepanelandchoose

Shapes.

2. Click Helix.

3. Chooseacreationmethod.

4. Press the mouse button to define the first point

of the Helix start circle.

5. Drag and release the mouse button to define

the second point of the Helix start circle.

6. Move the mouse and then click to define the

height of the Helix.

7. Move the mouse and then click to define the

radius of the Helix end.

Interface

Rendering rollout

All spline-based shapes share these parameters.

See Splines (page 1–266) for explanations of these

parameters.

Interpolation

The helix differs from other spline-based shapes

in that it always uses adaptive interpolation:the

number of vertices in a helix is determined by the

number of turns.

Creation Method rollout

The Helix shape uses the standard creation

methodsofCenterorEdge. Mostspline-based

shapes share the same Creation Method

parameters. See Splines (page 1–266) for an

explanation of these parameters.

Parameters rollout

Onceyouhavecreatedahelix,youcanmake

changes using the following parameters:

Radius 1—Specifies the radius for the Helix start.

Radius 2—Specifies the radius for the Helix end.

Height—Specifies the height of the Helix.

Turns—SpecifiesthenumberofturnstheHelix

makes between its start and end points.

Bias—Forces the turns to accumulate at one end of

the helix. Bias has no visible affect when the height

is 0.0.

282 Chapter 5: Creating Geometry

Helical spline varied only by bias settings

• A bias of –1.0 forces the turns toward the start

of the helix.

• A bias of 0.0 evenly distributes the turns

between the ends.

• A bias of 1.0 forces the turns toward the end of

the helix.

CW/CCW—The direction buttons set whether the

Helix turns clockwise (CW) or counterclockwise

(CCW).

Section Spline

Create panel > Shapes > Splines > Object Type rollout

>Section

Create menu > Shapes > Section

This is a special type of object that generates other

shapes based on a cross-sectional slice through

mesh objects. The Section object appears as a

bisected rectangle. You simply move and rotate

it to slice through one or more mesh objects, and

then click the Create Shape button to generate a

shape based on the 2D intersection.

Red line shows the section shape based on the structure.

Procedure

To create and use a section shape:

1. Go to the Create panel and choose

Shapes.

2. Click Section.

3. Drag a rectangle in the viewport in which you

want to orient the plane. (For example, create it

intheTopviewporttoplacetheSectionobject

parallel with the XY home grid.)

The Section object appears as a simple rectangle

with crossed lines indicating its center. With

the default settings, the rectangle is for display

purposes only, because the effect of the Section

objectextendsalongitsplanetothefullextents

of the scene.

4. Move and rotate the section so that its plane

intersects mesh objects in the scene.

Yellow lines are displayed where the sectional

plane intersects objects.

5. On the Create panel, click Create Shape, enter a

name in the resulting dialog, and click OK.

An editable spline (page 1–289) is created, based

on the displayed cross sections.

Section Spline 283

Interface

Rendering and Interpolation rollouts

All spline-based shapes share these parameters.

See Splines (page 1–266) for an explanation of

these parameters.

Section Parameters rollout

Create Shape—Creates a shape based on the

currently displayed intersection lines. A dialog is

displayed in which you can name the new object.

Theresultingshapeisaneditablesplineconsisting

of curve segments and corner vertices, based on all

intersected meshes in the scene.

Update group

Provides options for specifying when the

intersection line is updated.

When Section Moves—Updates the intersection line

when you move or resize the Section shape.

When Section Selected—Updates the intersection

line when you select the section shape, but not

while you move it. Click the Update Section button

to update the intersection.

Manually—Updates the intersection line only when

youclicktheUpdateSectionbutton.

Update Section—Updates the intersection to match

the current placement of the Section object when

using When Section Selected or Manually option.

Note: When using When Section Selected or

Manually, you can offset the generated cross

section from the position of the intersected

geometry. As you move the section object, the

yellow cross-section lines move with it, leaving

the geometry behind. When you click Create

Shape, the new shape is generated at the displayed

cross-section lines in the offset position.

Section Extents group

Choose one of these options to specify the extents

of the cross-section generated by the section

object.

Infinite—Thesectionplaneisinfiniteinall

directions, resulting in a cross section at any mesh

geometry in its plane.

Section Boundary—The cross-section is generated

only in objects that are within or touched by the

boundary of the section shape.

Off—No cross section is displayed or generated.

TheCreateShapebuttonisdisabled.

Color swatch—Click this to set the display color of

the intersection.

Section Size rollout

284 Chapter 5: Creating Geometry

Provides spinners that let you adjust the length

and width of the displayed section rectangle.

Length/Width—Adjustthelengthandwidthofthe

displayed section rectangle.

Note: If you convert the section grid to an editable

spline, it’s converted to a shape based on the

current cross section.

Extended Splines

WRectangle Spline

Create panel > Shapes > Extended Splines > Object Type

rollout > WRectangle

Create menu > Shapes > WRectangle

UseWRectangletocreateclosedshapesfromtwo

concentric rectangles. Each rectangle is made of

four vertices. The WRectangle is similar to the

Donuttoolexceptitusesrectanglesinsteadof

circles.

WRectangle stands for “walled rectangle”.

Example of WRectangle

Procedure

To create a wrectangle:

1. GototheCreatepanelandchoose

Shapes.

2. Open the Shapes List and choose Extended

Splines.

3. Click WRectangle.

4. Drag and release the mouse button to define

the outer rectangle.

5. Move the mouse and then click to define the

inner rectangle.

Interface

Rendering and Interpolation rollouts

All spline-based shapes share these parameters.

For explanations, see Splines and Extended Splines

(page 1–266).

Creation Method rollout

TheWRectangleshapeusesthestandard

creation methods of Center or Edge. Most

spline-based shapes share the same Creation

Method parameters. For explanations, see Splines

and Extended Splines (page 1–266).

Parameters rollout

Length—Controls the height of the wrectangle

section.

Width—Controls the width of the wrectangle

section.

Thickness—Controls the thickness of the walls of

the wrectangle.

Sync Corner Fillets—When turned on, Corner

Radius 1 controls the radius of both the interior

Channel Spline 285

and exterior corners of the wrectangle. It also

maintains the thickness of the section. Default=on.

Corner Radius 1—Controls the radius of all four

interior and exterior corners of the section.

IfSyncCornerFilletsisturnedoff,CornerRadius

1 controls the radius of the four exterior corners

of the wrectangle.

Corner Radius 2—Controls the radius of the four

interior corners of the wrectangle.

Corner Radius 2 is only available when Sync

Corner Fillets is turned off.

Note: Take care when adjusting these settings.

There are no constraining relationships between

them. Therefore, it’s possible to set an inside

radius(CornerRadius2)thatisgreaterthanthe

length and width of the sides.

Channel Spline

Create panel > Shapes > Extended Splines > Object Type

rollout > Channel

Create menu > Shapes > Channel

Use Channel to create a closed “C” shaped spline.

You have the option to specify the interior and

exterior corners between the vertical web and

horizontal legs of the section.

Example of Channel

Procedure

To create a channel:

1. Go to the Create panel and choose

Shapes.

2. Open the Shapes List and select Extended

Splines.

3. Click Channel.

4. Drag and release the mouse button to define

the outer perimeter of the channel.

5. Move the mouse and then click to define the

thicknessofthewallsofthechannel.

Interface

Rendering and Interpolation rollouts

All spline-based shapes share these parameters.

For explanations, see Splines and Extended Splines

(page 1–266).

Creation Method rollout

TheChannelshapeusesthestandardcreation

methodsofCenterorEdge. Mostspline-based

shapes share the same Creation Method

parameters. For explanations, see Splines and

Extended Splines (page 1–266).

Parameters rollout

286 Chapter 5: Creating Geometry

Length—Controls the height of the vertical web

of the channel.

Width—Controls the width of the top and bottom

horizontal legs of the channel.

Thickness—Controls the thickness of both legs of

the angle.

Sync Corner Fillets—When turned on, Corner

Radius 1 controls the radius of both the interior

and exterior corners between the vertical web and

horizontal legs. It also maintains the thickness of

the channel. Default=on.

Corner Radius 1—Controls the exterior radius

between the vertical web and horizontal legs of the

channel.

Corner Radius 2—Controls the interior radius

between the vertical web and horizontal legs of the

channel.

Note: Take care when adjusting these settings.

There are no constraining relationships between

them. Therefore, it’s possible to set an inside

radius(CornerRadius2)thatisgreaterthanthe

length of the web or width of the legs.

Angle Spline

Create panel > Shapes > Extended Splines > Object Type

rollout > Angle

Create menu > Shapes > Angle

Use Angle to create a closed “L” shaped spline. You

have the option to specify the radii of the corners

between the vertical and horizontal legs of the

section.

Example of Angle

Procedure

To create an Angle spline:

1. Go to the Create panel and choose

Shapes.

2. Open the Shapes List and select Extended

Splines.

3. Click Angle.

4. Drag and release the mouse button to define

the initial size of the angle.

5. Move the mouse and then click to define the

thicknessofthewallsoftheangle.

Interface

Rendering and Interpolation rollouts

All spline-based shapes share these parameters.

For explanations, see Splines and Extended Splines

(page 1–266).

Creation Method rollout

The Angle shape uses the standard creation

methodsofCenterorEdge. Mostspline-based

shapes share the same Creation Method

parameters. For explanations, see Splines and

Extended Splines (page 1–266).

Tee Spline 287

Parameters rollout

Length—Controls the height of the vertical leg of

the angle.

Width—Controls the width of the horizontal leg

of the angle.

Thickness—Controls the thickness of both legs of

the angle.

Sync Corner Fillets—When turned on, Corner

Radius 1 controls the radius of both the interior

and exterior corners between the vertical and

horizontal legs. It also maintains the thickness of

the section. Default=on.

Corner Radius 1—Controls the exterior radius

between the vertical and horizontal legs of the

angle.

Corner Radius 2—Controls the interior radius

between the vertical and horizontal legs of the

angle.

Edge Radii—Controls the interior radius at the

outermost edges of the vertical and horizontal legs.

Note: Take care when adjusting these settings.

There are no constraining relationships between

them. Therefore, it’s possible to set an inside

radius(CornerRadius2)thatisgreaterthanthe

length or width of the legs of the angle.

Tee Spline

Create panel > Shapes > Extended Splines > Object Type

rollout > Tee

Create menu > Shapes > Tee

Use Tee to create a closed T-shaped spline. You

can specify the radius of the two interior corners

between the vertical web and horizontal flange of

the section.

Example of Tee

Procedure

To create a Tee spline:

1. Go to the Create panel and choose

Shapes.

2. Open the Shapes List and select Extended

Splines.

3. Click Tee.

4. Drag and release the mouse button to define

the initial size of the tee.

5. Move the mouse and then click to define the

thickness of the walls of the tee.

Interface

Rendering and Interpolation rollouts

All spline-based shapes share these parameters.

For explanations, see Splines and Extended Splines

(page 1–266).

288 Chapter 5: Creating Geometry

Creation Method rollout

The Tee shape uses the standard creation methods

of Center or Edge. Most spline-based shapes

share the same Creation Method parameters. For

explanations, see Splines and Extended Splines

(page 1–266).

Parameters rollout

Length—Controls the height of the vertical web of

the tee.

Width—Controls the width of the flange crossing

the tee.

Thickness—Controls the thickness of the web and

flange.

Corner Radius—Controls the radius of the two

interior corners between the vertical web and

horizontal flange of the section.

Note: Take care when adjusting these settings.

There are no constraining relationships between

them. Therefore, it’s possible to set a radius

(Corner Radius) that is greater than the length of

the web or width of the flange.

Wide Flange Spline

Create panel > Shapes > Extended Splines > Object Type

rollout > Wide Flange

Create menu > Shapes > Wide Flange

Use Wide Flange to create a closed spline shaped

like a capital letter I. You can specify the interior

corners between the vertical web and horizontal

flanges of the section.

ExampleofWideFlange

Procedure

To create a Wide Flange spline:

1. Go to the Create panel and choose

Shapes.

2. Open the Shapes List and select Extended

Splines.

3. Click Wide Flange.

4. Drag and release the mouse button to define

theinitialsizeofthewideflange.

5. Move the mouse and then click to define the

thickness of the wallsofthewideflange.

Interface

Rendering and Interpolation rollouts

All spline-based shapes share these parameters.

For explanations, see Splines and Extended Splines

(page 1–266).

Creation Method rollout

TheWideFlangeshapeusesthestandard

creation methods of Center or Edge. Most

spline-based shapessharethesameCreation

Method parameters. For explanations, see Splines

and Extended Splines (page 1–266).

Editable Spline 289

Parameters rollout

Length—Controls the height of the vertical web

of the wide flange.

Width—Controls the width of the horizontal

flanges crossing the wide flange.

Thickness—Controls the thickness of the web and

flanges.

Corner Radius—Controls the radius of the four

interior corners between the vertical web and

horizontal flanges.

Note: Take care when adjusting these settings.

There are no constraining relationships between

them. Therefore, it’s possible to set a radius

(Corner Radius) that is greater than the length of

the web or width of the flanges.

Editable Spline

Create or select a spline > Modify panel > Right-click

spline entry in the stack display > Convert To: Editable

Spline

Create a line > Modify panel

Create or select a spline > Right-click the spline >

Transform (lower-right) quadrant of the quad menu >

Convert To: > Convert to Editable Spline

Editable Spline provides controls for manipulating

an object as a spline object and at three sub-object

levels: vertex, segment, and spline.

The functions in Editable Spline are the same as

those in the Edit Spline modifier (page 1–680).The

exceptionisthatwhenyouconvertanexisting

spline shape to an editable spline, the creation

parameters are no longer accessible or animatable.

However, the spline’s interpolation settings (step

settings) remain available in the editable spline.

When a spline-editing operation (typically,

moving a segment or vertex) causes end vertices

to overlap, you can use the Weld command to

weld the overlapping vertices together or the Fuse

command if you want the two overlapping vertices

tooccupythesamepointinspacebutremain

separate vertices.

Note: Welding coincident vertices is controlled by

the End Point Auto-Welding feature.

Show End Result

If you have several modifiers higher in

themodifierstack,andwanttoseetheresults

of edits in an Edit Spline modifier or Editable

Spline object, then turn on Show End Result on

theModifypanel.Asyoueditthesplinenetwork,

you’ll be able to see the result of modifiers above

theEditableSplineobject. Thisisusefulfor

SurfaceToolsworkwhereyouaddaSurface

modifieraboveanEditableSplineobjectinthe

modifier stack.

See also

Edit Modifiers and Editable Objects (page 1–506)

Modifying at the Sub-Object Level (page 1–506)

Modifier Stack Controls (page 3–760)

Procedures

Toproduceaneditablesplineobject,firstselectthe

shape, and then do one of the following:

• Right-click the shape entry in the stack display

andchooseConvertTo:EditableSpline.

290 Chapter 5: Creating Geometry

• In a viewport, right-click the object and choose

Convert To: > Convert to Editable Spline from

the Transform (lower-right) quadrant of the

quad menu.

• Create a shape with two or more splines by first

turning off Start New Shape (on the Create

panel). Any shape made up of two or more

splinesisautomaticallyaneditablespline.

•ApplyanEditSplinemodifiertoashape,and

then collapse the stack. If you use the Collapse

utility (page 1–966) to collapse the stack, be sure

to choose Output Type > Modifier Stack Result.

•Importa.shp file.

To select shape sub-objects:

1. Expandtheobject’shierarchyinthestack

display and choose a sub-object level, or click

one of the sub-object buttons at the top of the

Selection rollout.

You can also right-click the object in the

viewports and choose a sub-object level from

the quad menu: Tools 1 (upper-left) quadrant

>Sub-objects>Choosethesub-objectlevel.

2. Click a selection or transform tool, and then

select sub-objects using standard click or

region-selection techniques.

Because sub-object selections can be complex,

you might consider using one of the following

techniques to prevent clearing the sub-object

selection by accident:

•UseLock Selection (page 3–707).

• Name the sub-object selection (see Named

Selection Sets List (page 1–67)).

To clone sub-object selections:

•HolddowntheShift key while transforming

the sub-objects.

You can clone segment and spline sub-objects,

but not vertices.

To draw a spline cage:

1. Select a segment sub-object on a spline.

2. On the Geometry rollout in the Connect Copy

group, turn on Connect.

3. Hold down the Shift key and transform the

selected segment. You can move, rotate or

scale using the transform gizmo to control the

direction.

Notice that with Connect Copy on, new splines

are drawn between the locations of the segment

and its clone.

Tip: Use Area Selection or Fuse before selecting

and moving these vertices. They will not move

together as they do with the Cross-Section

modifier. Or use Fuse to keep the vertices

together.

Interface

The following controls are available at the object

(top) level and at all sub-object levels.

Editable Spline 291

Rendering and Interpolation rollouts

These creation parameters appear in these rollouts

for editable splines. For splines to which the

Edit Spline modifier has been applied, creation

parameters are available by selecting the object

type entry (for example, Circle or NGon) at the

bottom of the modifier stack (page 3–760).

Rendering rollout

Controls here let you turn on and off the

renderability of the shape, specify its thickness

in the rendered scene, and apply mapping

coordinates. The spline mesh can be viewed

in the viewports. You can animate the render

parameters, such as the number of sides. Viewport

settings cannot be animated.

You can also convert the displayed mesh into a

mesh object by applying an Edit Mesh modifier

or converting to an Editable Mesh. The system

will use the Viewport settings for this mesh

conversion if Use Viewport Settings is turned on;

otherwise it will use the Renderer settings. This

gives maximum flexibility, and will always give the

conversion of the mesh displayed in the viewports.

The U coordinate wraps once around the thickness

of the spline; the V coordinate is mapped once

along the length of the spline. Tiling is achieved

using the Tiling parameters in the material itself.

Enable In Renderer—When on, the shape is

rendered as a 3D mesh using the Radial or

Rectangular parameters set for Renderer. In

previous versions of the program, the Renderable

switch performed the same operation.

Enable In Viewport—When on, the shape is

displayedintheviewportasa3Dmeshusingthe

Radial or Rectangular parameters set for Renderer.

In previous versions of the program, the Display

Render Mesh performed the same operation.

Use Viewport settings—Lets you set different

rendering parameters, and displays the mesh

generated by the Viewport settings. Available only

when Enable in Viewport is turned on.

Generate Mapping Coords—Tur n this on to apply

mapping coordinates. Default=off.

The U coordinate wraps once around the thickness

of the spline; the V coordinate is mapped once

along the length of the spline. Tiling is achieved

using the Tiling parameters in the material itself.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625).Default=off.

Viewport—Turn this on to specify Radial or

Rectangular parameters for the shape as it will

display in the viewport when Enable in Viewport

is turned on.

292 Chapter 5: Creating Geometry

Renderer—Turn this on to specify Radial or

Rectangular parameters for the shape as it will

displaywhenrenderedorviewedintheviewport

when Enable in Viewport is turned on.

Radial—Displays the 3D mesh as a cylindrical

object.

Thickness—Specifies the diameter of the viewport

or rendered spline mesh. Default=1.0. Range=0.0

to 100,000,000.0.

Splines rendered at thickness of 1.0 and 5.0, respectively

Sides—Sets the number of sides (or facets) for

thesplinemeshntheviewportorrenderer. For

example, a value of 4 results in a square cross

section.

Angle—Adjusts the rotational position of the

cross-section in the viewport or renderer. For

example, if the spline mesh has a square cross

section you can use Angle to position a "flat" side

down.

Rectangular—Displays the spline’s mesh shape as

rectangular.

Aspect—Sets the aspect ratio for rectangular

cross-sections. The Lock check box lets you lock

the aspect ratio. When Lock is turned on, Width

is locked to Depth that results in a constant ratio

of Width to Depth.

Length—Specifies the size of the cross–section

along the local Yaxis.

Width—Specifies the size of the cross–section

along the local Xaxis.

Angle—Adjusts the rotational position of the

cross-section in the viewport or renderer. For

example, if you have a square cross-section you

can use Angle to position a "flat" side down.

Auto Smooth—If Auto Smooth is turned on, the

spline is auto-smoothed using the threshold

specified by the Threshold setting below it. Auto

Smooth sets the smoothing based on the angle

between spline segments. Any two adjacent

segmentsareputinthesamesmoothinggroupif

the angle between them is less than the threshold

angle.

Threshold—Specifies the threshold angle in

degrees. Any two adjacent spline segments are put

inthesamesmoothinggroupiftheanglebetween

them is less than the threshold angle.

Interpolation rollout

The Interpolation controls set how the program

generates a spline. All spline curves are divided

into small straight lines that approximate the true

curve. The number of divisions between each

vertex on the spline is called steps.Themoresteps

used, the smoother the curve appears.

Splines used in above lathed objects contained two steps (left)

and 20 steps (right)

Steps—Use the Steps field to set the number of

divisions, or steps, the program uses between each

vertex. Splines with tight curves require many

steps to look smooth while gentle curves require

fewer steps. Range=0 to 100.

Editable Spline 293

Spline steps can be either adaptive or manually

specified. The method used is set by the state of

theAdaptivecheckbox.Themainuseformanual

interpolation is to create splines for morphing

or other operations where you must have exact

control over the number of vertices created.

Optimize—When on, removes unneeded steps

from straight segments in the spline. Default=on.

Note: Optimize is not available when Adaptive is

on.

Optimize was used to create spline in this lathed object.

Adaptive—When on, automatically sets the

number of steps for each spline to produce a

smooth curve. Straight segments always receive

0 steps. When off, enables manual interpolation

control using Optimize and Steps. Default=off.

Selection rollout

Provides controls for turning different sub-object

modes on and off, working with named selections

and handles, display settings, and information

about selected entities.

When you first access the Modify panel with

an editable spline selected, you’re at the Object

level, with access to several functions available as

described in Editable Spline (Object) (page 1–295).

You can toggle the sub-object modes and access

relevant functions by clicking sub-object buttons

at the top of the Selection rollout.

You can work with parts of shapes and splines

using shape sub-object selection of the Editable

Spline object. Clicking a button here is the same

as selecting a sub-object type in the Modifier List.

Click the button again to turn it off and return to

object selection level.

Vertices—Define points and curve tangents.

Segments—Connect vertices.

294 Chapter 5: Creating Geometry

Splines—Are a combination of one or more

connected segments.

Named Selections group

Copy—Places a named selection into the copy

buffer.

Paste—Pastes a named selection from the copy

buffer.

Lock Handles—Normally you can transform the

tangent handles of only one vertex at a time, even

when multiple vertices are selected. Use the Lock

HandlescontrolstotransformmultipleBezierand

Bezier Corner handles simultaneously.

Alike—As you drag the handle of an incoming

vector, all incoming vectors of the selected vertices

move simultaneously. Likewise, moving the

outgoing tangent handle on one vertex moves the

outgoing tangent handle for all selected vertices.

All—Anyhandleyoumoveaffectsallhandlesin

the selection, regardless of whether they’re broken.

This option is also useful when working with a

single Bezier Corner vertex when you want to

move both handles.

Shift +click a handle to "break" the tangent

and move each handle independently. The Alike

option must be chosen to break the tangent.

Area Selection—Lets you select automatically all

vertices within a specific radius of the vertex you

click. At the Vertex sub-object level, turn on Area

Selection, and then set the radius with the spinner

to the right of the Area Selection check box. This

is useful when moving vertices that have been

created using Connect Copy or Cross Section

button.

Segment End—Select a vertex by clicking a

segment.InVertexsub-object,turnonandselecta

segment close to the vertex that you want selected.

Use this when there are a number of coincident

vertices and you want to select a vertex on a

specific segment. The cursor changes to a cross

when it is over a segment. By holding down the

Ctrl key you can add to the selection.

Select By—Selectsverticesontheselectedspline

or segment. First select a spline or segment in

sub-object spline or segment, then turn on vertex

sub-object and click Select By and choose Spline

or Segment. All the vertices on the selected spline

or segment are selected. You can then edit the

vertices.

Display group

Show Vertex Numbers—When on, the program

displays vertex numbers next to the selected

spline’s vertices at any sub-object level.

Selected Only—When on, the vertex number or

numbers appear only next to selected vertices.

Soft Selection

For information on the Soft Selection rollout

settings, see Soft Selection Rollout (page 1–963).

Selection Info

At the bottom of the Selection rollout is a text

display giving information about the current

selection. If 0 or more than one sub-object is

selected, the text gives the number selected.

At the Vertex and Segment sub-object levels,

if one sub-object is selected, the text gives the

identification numbers of the current spline (with

respect to the current object) and of the current

selected sub-object. Each spline object contains

a spline number 1; if it contains more than one

spline, the subsequent splines are numbered

consecutively higher.

When a single spline is selected at the Spline

sub-object level, the first line displays the

identification number of the selected spline and

whetherit’sopenorclosed,andthesecondline

Editable Spline (Object) 295

displays the number of vertices it contains. When

morethanonesplineisselected,thenumber

ofsplinesselectedisdisplayedonthefirstline,

and the total number of vertices they contain is

displayed on the second line.

Geometry rollout

The Geometry rollout provides functions for

editing a spline object and sub-objects. The

functions available at the spline object level (when

no sub-object level is active; see Editable Spline

(Object) (page 1–295))arealsoavailableatall

sub-object levels, and work exactly the same at

each level. Other functions are also available,

depending on which sub-object level is active.

Thosethatapplytoothersub-objectlevelsare

unavailable.

For specific information, see these topics:

Editable Spline (Object) (page 1–295)

Editable Spline (Vertex) (page 1–297)

Editable Spline (Segment) (page 1–303)

Editable Spline (Spline) (page 1–308)

Editable Spline (Object)

Select an editable spline > Modify panel > Editable spline

(not a sub-object level) selected in the modifier stack

Select an editable spline > Right-click the spline > Tools

1 (upper-left) quadrant of the quad menu > Sub-objects

> Top-level

The functions available at the editable spline object

level (that is, when no sub-object level is active)

are also available at all sub-object levels, and work

exactly the same at each level.

Interface

Rendering, Interpolation, and Selection rollouts

See the Editable Spline topic for information on

the Rendering and Interpolation rollouts (page

1–291),andSelection rollout (page 1–293) settings.

Geometry rollout

New Vertex Type group—The radio buttons in this

group let you determine the tangency of the new

vertices created when you Shift +Clone segments

or splines. If you later use Connect Copy, vertices

on the splines that connect the original segment or

splinetothenewonewillhavethetypespecified

in this group.

This setting has no effect on the tangency of

vertices created using tools such as the Create Line

button, Refine, and so on.

•Linear—New vertices will have linear tangency.

•Smooth—New vertices will have smooth

tangency.

296 Chapter 5: Creating Geometry

When this option is chosen, new vertices that

overlap are automatically welded.

•Bezier—New vertices will have bezier tangency.

•Bezier Corner—New vertices will have bezier

corner tangency.

Create Line—Adds more splines to the selected

spline. These lines are separate spline sub-objects;

create them in the same way as the line spline (page

1–270). To exit line creation, right-click or click

to turn off Create Line.

Break—Splits a spline at the selected vertex or

vertices. Select one or more vertices and then

click Break to create the split. There are now two

superimposed non-connected vertices for every

previous one, allowing the once-joined segment

ends to be moved away from each other.

Attach—Lets you attach another spline in the scene

to the selected spline. Click the object you want to

attach to the currently selected spline object. The

object you’re attaching to must also be a spline.

Unattached splines (left) and attached splines (right)

When you attach an object, the materials of the

two objects are combined in the following way:

• If the object being attached does not have a

material assigned, it inherits the material of the

object it is being attached to.

• Likewise if the object you’re attaching to doesn’t

have a material, it inherits the material of the

object being attached.

• If both objects have materials, the resulting new

material is a multi/sub-object material (page

2–1594) that encompasses the input materials.

A dialog appears offering three methods of

combining the objects’ materials and material

IDs. For more information, see Attach Options

Dialog (page 1–1018).

Attached shapes lose their identity as individual

shapes, with the following results:

• The attached shape loses all access to its

creation parameters. For example, once you

attach a circle to a square you cannot go back

and change the radius parameter of the circle.

• The modifier stack of the attached shape is

collapsed.

Any edits, modifiers, and animation applied

to the attached shape are frozen at the current

frame.

Reorient—When on, rotates the attached spline so

that its creation local coordinate system is aligned

with the creation local coordinate system of the

selected spline.

Attach Mult.—Click this button to display the

Attach Multiple dialog, which contains a list of all

other shapes in the scene. Select the shapes you

want to attach to the current editable spline, then

click OK.

Cross Section—Creates a spline cage out of

cross-sectional shapes. Click Cross Section,

select one shape then a second shape, splines are

created joining the first shape with the second.

Continue clicking shapes to add them to the cage.

This functionality is similar to the Cross Section

modifier, but here you can determine the order

of the cross sections. Spline cage tangency can be

defined by choosing Linear, Bezier, Bezier Corner

or Smooth in New Vertex Type group.

Editable Spline (Vertex) 297

End Point Auto-Welding group

•Automatic Welding—When Automatic Welding

is turned on, an end point vertex that is

placed or moved within the threshold distance

of another end point of the same spline is

automatically welded. This feature is available

at the object and all sub-object levels.

•Threshold—Aproximitysettingthatcontrols

how close vertices can be to one another before

they are automatically welded. Default=6.0.

Insert—Inserts one or more vertices, creating

additional segments. Click anywhere in a segment

to insert a vertex and attach the vertex to the

mouse. Optionally move the mouse and then

click to place the new vertex. Continue moving

the mouse and clicking to add vertices. A single

click inserts a corner vertex, while a drag creates a

Bezier (smooth) vertex.

Right-click to complete the operation and release

the mouse. At this point, you’re still in Insert

mode, and can begin inserting vertices in a

different segment. Otherwise, right-click again or

clickInserttoexitInsertmode.

Editable Spline (Vertex)

Select an editable spline > Modify panel > Expand the

editable spline in the stack display > Vertex sub-object

level

Select an editable spline > Modify panel > Selection

rollout > Vertex button

Select an editable spline > Right-click the spline > Tools

1 (upper-left) quadrant of the quad menu > Sub-objects

>Vertex

While at the Editable Spline (Vertex) level, you can

select single and multiple vertices and move them

using standard methods. If the vertex is of the

Bezier or Bezier Corner type, you can also move

and rotate handles, thus affecting the shapes of any

segments joined at the vertex. You can copy and

paste the handles between vertices using tangent

copy/paste. You can reset them or switch between

types using the quad menu. The tangent types are

alwaysavailableonthequadmenuwhenavertex

is selected; your cursor doesn’t have to be directly

over them in the viewport.

Procedures

To set a vertex type:

1. Right-click any vertex in a selection.

2. Choose a type from the shortcut menu. Each

vertex in a shape can be one of four types:

•Smooth: Nonadjustable vertices that create

smooth continuous curves. The curvature

at a smooth vertex is determined by the

spacing of adjacent vertices.

•Corner: Nonadjustable vertices that create

sharp corners.

•Bezier: Adjustable vertex with locked

continuous tangent handles that create a

smooth curve. The curvature at the vertex

is set by the direction and magnitude of the

tangent handles.

•Bezier Corner: Adjustable vertex with

discontinuous tangent handles that create a

sharp corner. The curvature of the segment

as it leaves the corner is set by the direction

and magnitude of the tangent handles.

Smooth vertex (left) and Corner vertex (right)

298 Chapter 5: Creating Geometry

Bezier vertex (left) and Bezier Corner vertex (right)

To copy and paste vertex tangent handles:

1. Turn on Vertex Selection, then Select the

vertex you want to copy from.

2. On the Geometry rollout scroll down to the

Ta nge nt g ro up a n d cl ic k C op y.

3. Move your cursor over the vertices in the

viewport. The cursor changes to a copy cursor.

Click the handle you wish to copy.

4. On the Geometry rollout scroll down to the

Ta nge nt g ro up a n d cl ic k Pa s te .

5. Move your cursor over the vertices in the

viewport. The cursor changes to a paste cursor.

Click the handle you wish to paste to.

The vertex tangency changes in the viewport.

To reset vertex handle tangency:

It is easy to make the handles very small and

coincident with the vertex, which makes them

hard to select and edit. Reset the vertex handle

tangency to redraw your handles

1. Select the vertex that is problematic.

2. Right-click and choose Reset Tangents.

Anyvertexhandleeditingyouhavedoneis

discarded and the handles are reset.

Interface

Soft Selection rollout

For information on the Soft Selection rollout

settings, see Soft Selection Rollout (page 1–963).

Geometry rollout

New Vertex Type group

The radio buttons in this group let you determine

thetangencyofthenewverticescreatedwhenyou

Shift +Clone segments or splines. If you later use

Connect Copy, vertices on the splines that connect

the original segment or spline to the new one will

havethetypespecifiedinthisgroup.

This setting has no effect on the tangency of

vertices created using tools such as the Create Line

button, Refine, and so on.

•Linear—New vertices will have linear tangency.

•Smooth—New vertices will have smooth

tangency.

When this option is chosen, new vertices that

overlap are automatically welded.

•Bezier—New vertices will have bezier tangency.

•Bezier Corner—New vertices will have bezier

corner tangency.

Create Line—Adds more splines to the selected

object. These lines are separate spline sub-objects;

createtheminthesamewayastheline spline (page

1–270). To exit line creation, right-click or click

to turn off Create Line.

Break—Splits a spline at the selected vertex or

vertices. Select one or more vertices and then

click Break to create the split. There are now two

Editable Spline (Vertex) 299

superimposed non-connected vertices for every

previous one, allowing the once-joined segment

ends to be moved away from each other.

Attach—Attaches another spline in the scene to the

selected spline. Click the object you want to attach

to the currently selected spline object. The object

you’re attaching must also be a spline.

For further details, see Attach.

Attach Mult.—Click this button to display the

Attach Multiple dialog, which contains a list of all

other shapes in the scene. Select the shapes you

want to attach to the current editable spline, then

click OK.

•Reorient—When on, reorients attached splines

so that each spline’s creation local coordinate

system is aligned with the creation local

coordinate system of the selected spline.

Cross Section—Creates a spline cage out of

cross-sectional shapes. Click Cross Section,

select one shape then a second shape, splines are

created joining the first shape with the second.

Continue clicking shapes to add them to the cage.

This functionality is similar to the Cross Section

modifier, but here you can determine the order

of the cross sections. Spline cage tangency can be

defined by choosing Linear, Bezier, Bezier Corner

or Smooth in New Vertex Type group.

Tip: When you edit the spline cage, use Area

Selection before selecting your vertices. This will

keep their positions together as you transform

them.

Refine group

TheRefinegroupincludesanumberoffunctions

useful for building spline networks for use with

the Surface modifier (page 1–842).

Refine—Lets you add vertices without altering the

curvature values of the spline. Click Refine, and

then select any number of spline segments to add

a vertex each time you click (the mouse cursor

changes to a "connect" symbol when over an

eligible segment). To finish adding vertices, click

Refine again, or right-click in the viewport.

Youcanalsoclickexistingverticesduringarefine

operation, in which case 3ds Max displays a dialog

asking if you want to Refine or Connect Only to

thevertex.IfyouchooseConnectOnly,3dsMax

willnotcreateavertex:itsimplyconnectstothe

existing vertex.

The Refine operation creates a different type of

vertex depending on the types of vertices on the

endpoints of the segment being refined.

• If the bordering vertices are both Smooth types,

theRefineoperationcreatesaSmoothtype

vertex.

• If the bordering vertices are both Corner types,

theRefineoperationcreatesaCornertype

vertex.

• If either of the bordering vertices is a Corner

or Bezier Corner, the Refine operation creates

aBezierCornertype.

• Otherwise, the operation creates a Bezier type

vertex.

Connect—When on, creates a new spline

sub-object by connecting the new vertices. When

you finish adding vertices with Refine, Connect

makes a separate copy of each new vertex and then

connects all of the copies with a new spline.

Note: For Connect to work, you must turn it on

before you click Refine.

300 Chapter 5: Creating Geometry

After turning on Connect and before beginning

the refinement process, turn on any combination

of these options:

•Linear—When on, makes all segments in the

new spline straight lines by using Corner

vertices. When Linear is off, the vertices used

to create the new spline are of the Smooth type.

•Bind First—Causes the first vertex created in a

refinement operation to be bound to the center

of the selected segment. See Bound Vertex (page

3–919).

•Closed—When on, connects the first and last

vertices in the new spline to create a closed

spline. When Closed is off, Connect always

creates an open spline.

•Bind Last—Causes the last vertex created in a

refinement operation to be bound to the center

of the selected segment. See Bound Vertex (page

3–919).

End Point Auto-Welding group

Automatic Welding—When Automatic Welding is

turned on, an end point vertex that is placed or

moved within the threshold distance of another

endpointofthesamesplineisautomatically

welded. This feature is available at the object and

all sub-object levels.

Threshold—The threshold distance spinner is a

proximity setting that controls how close vertices

can be to one another before they are automatically

welded. Default=6.0.

Weld—Converts two end vertices, or two adjacent

vertices within the same spline, into a single vertex.

Move either two end vertices or two adjacent

vertices near each other, select both vertices, and

then click Weld. If the vertices are within the unit

distance set by the Weld Threshold spinner (to the

right of the button), they’re converted into a single

vertex.Youcanweldaselectionsetofvertices,as

long as each pair of vertices is within the threshold.

Connect—Connects any two end vertices, resulting

in a linear segment, regardless of the tangent

values of the end vertices. Click the Connect

button, point the mouse over an end vertex until

the cursor changes to a cross, and then drag from

one end vertex to another end vertex.

Insert—Inserts one or more vertices, creating

additional segments. Click anywhere in a segment

to insert a vertex and attach the mouse to the

spline. Then optionally move the mouse and

click to place the new vertex. Continue moving

the mouse and clicking to add vertices. A single

click inserts a corner vertex, while a drag creates a

Bezier (smooth) vertex.

Right-click to complete the operation and release

the mouse. At this point, you’re still in Insert

mode, and can begin inserting vertices in a

different segment. Otherwise, right-click again or

click Insert to exit Insert mode.

Editable Spline (Vertex) 301

Make First—Specifies which vertex in the selected

shape is the first vertex. The first vertex of a spline

is indicated as a vertex with a small box around

it. Select one vertex on each spline within the

currently edited shape that you want to change and

click the Make First button.

On open splines, the first vertex must be the

endpoint that is not already the first vertex. On

closedsplines,itcanbeanypointthatisn’talready

the first vertex. Click the Make First button, and

the first vertices will be set.

The first vertex on a spline has special significance.

The following table defines how the first vertex is

used.

Shape Use First Vertex Meaning

Loft Path Start of the path. Level 0.

Loft Shape Initial skin alignment.

Path

Constraint

Start of the motion path. 0% location on

the path.

Trajectory First position key.

Fuse—Moves all selected vertices to their averaged

center.

Fuse is useful for making vertices coincide when

building a spline network for use with the Surface

modifier (page 1–842).

Note: Fuse doesn’t join the vertices; it simply moves

them to the same location.

Three selected vertices (left); fused vertices (right)

Cycle—Selects successive coincident vertices.

Select one of two or more vertices that share the

exactsamelocationin3Dspace,andthenclick

Cycle repeatedly until the vertex you want is

selected.

Cycle is useful for selecting a specific vertex from a

group of coincident vertices at a spline intersection

when building a spline network for use with the

Surface modifier (page 1–842).

Tip: Watch the info display at the bottom of the

Selection rollout to see which vertex is selected.

CrossInsert—Adds vertices at the intersection of

two splines belonging to the same spline object.

Click CrossInsert, and then click the point of

intersection between the two splines. If the

distance between the splines is within the unit

distance set by the CrossInsert Threshold spinner

(to the right of the button), the vertices are added

to both splines.

You can continue using CrossInsert by clicking

different spline intersections. To finish, right-click

intheactiveviewportorclicktheCrossInsert

button again.

CrossInsert is useful for creating vertices at spline

intersectionswhenbuildingasplinenetworkfor

use with the Surface modifier (page 1–842).

Note: CrossInsert doesn’t join the two splines, but

simply adds vertices where they cross.

Fillet—Lets you round corners where segments

meet, adding new control vertices. You can apply

this effect interactively (by dragging vertices) or

numerically (using the Fillet spinner). Click the

Fillet button, and then drag vertices in the active

object. The Fillet spinner updates to indicate the

fillet amount as you drag.

302 Chapter 5: Creating Geometry

Original rectangle (left), after applying Fillet (top right), and

after applying Chamfer (bottom right)

If you drag one or more selected vertices, all

selected vertices are filleted identically. If you drag

an unselected vertex, any selected vertices are first

deselected.

You can continue using Fillet by dragging on

different vertices. To finish, right-click in an active

viewport or click the Fillet button again.

A fillet creates a new segment connecting new

points on both segments leading to the original

vertex. These new points are exactly <fillet

amount> distance from the original vertex along

both segments. New fillet segments are created

with the material ID of one of the neighboring

segments (picked at random).

For example, if you fillet one corner of a rectangle,

thesinglecornervertexisreplacedbytwovertices

movingalongthetwosegmentsthatleadtothe

corner, and a new rounded segment is created at

the corner.

Note: Unlike the Fillet/Chamfer modifier, you can

apply the Fillet function to any type of vertex, not

just Corner and Bezier Corner vertices. Similarly,

adjoining segments need not be linear.

•Fillet Amount—Adjust this spinner (to the right

of the Fillet button) to apply a fillet effect to

selected vertices.

Chamfer—Lets you bevel shape corners using

a chamfer function. You can apply this effect

interactively (by dragging vertices) or numerically

(using the Chamfer spinner). Click the Chamfer

button, and then drag vertices in the active object.

The Chamfer spinner updates to indicate the

chamfer amount as you drag.

If you drag one or more selected vertices, all

selected vertices are chamfered identically. If you

drag an unselected vertex, any selected vertices are

first deselected.

You can continue using Chamfer by dragging on

different vertices. To finish, right-click in an active

viewport or click the Chamfer button again.

A chamfer "chops off " the selected vertices,

creating a new segment connecting new points

on both segments leading to the original vertex.

These new points are exactly <chamfer amount>

distance from the original vertex along both

segments. New chamfer segments are created with

thematerialIDofoneoftheneighboringsegments

(picked at random).

For example, if you chamfer one corner of a

rectangle,thesinglecornervertexisreplacedby

two vertices moving along the two segments that

lead to the corner, and a new segment is created

at the corner.

Note: Unlike the Fillet/Chamfer modifier, you

can apply the Chamfer function to any type of

vertex, not just Corner and Bezier Corner vertices.

Similarly, adjoining segments need not be linear.

•Chamfer Amount—Adjust this spinner (to the

right of the Chamfer button) to apply a chamfer

effect to selected vertices.

Editable Spline (Segment) 303

Tangent group

Toolsinthisgroupletyoucopyandpastevertex

handles from one vertex to another.

Copy— Turn this on, then choose a handle. This

action copies the selected handle tangent into a

buffer.

Paste—Turn this on, then click a handle. This

pastes the handle tangent onto the selected vertex.

Paste Length—When this is on, the handle length is

also copied. When this is off, only the handle angle

is considered, the handle length is unchanged.

HideandBindgroup

Hide—Hides selected vertices and any connected

segments. Select one or more vertices, and then

click Hide.

Unhide All—Displays any hidden sub-objects.

Bind—Lets you create bound vertices (page 3–919).

Click Bind, and then drag from any end vertex

in the current selection to any segment in the

current selection except the one connected to the

vertex. Before dragging, when the cursor is over

an eligible vertex, it changes to a + cursor. While

dragging, a dashed line connects the vertex and

the current mouse position, and when the mouse

cursor is over an eligible segment, it changes to

a"connect"symbol. Whenyoureleaseoveran

eligible segment, the vertex jumps to the center of

the segment and is bound to it.

Bind is useful for connecting splines when building

a spline network for use with the Surface modifier

(page 1–842).

Unbind—Lets you disconnect bound vertices

(page 3–919) from the segments to which they’re

attached. Select one or more bound vertices, and

theclicktheUnbindbutton.

Delete—Deletes the selected vertex or vertices,

along with one attached segment per deleted

vertex.

Display group

Show selected segs—When on, any selected

segments are highlighted in red at the Vertex

sub-object level. When off (the default), selected

segments are highlighted only at the Segment

sub-object level.

Thisfeatureisusefulforcomparingcomplex

curves against each other.

Editable Spline (Segment)

Select an editable spline > Modify panel > Expand the

editable spline in the stack display > Segment sub-object

level

Select an editable spline > Modify panel > Selection

rollout>Segmentbutton

Select an editable spline > Right-click the spline > Tools

1 (upper-left) quadrant of the quad menu > Sub-objects

>Segment

A segment is the portion of a spline curve between

two of its vertices. While at the Editable Spline

(Segment) level, you can select single and multiple

segments and move, rotate, scale or clone them

using standard methods.

304 Chapter 5: Creating Geometry

Procedure

To change segment properties:

1. Select an editable spline segment, and then

right-click.

2. On the Tools 1 (upper-left) quadrant of the

quadmenu,chooseLineorCurve.

The effect of changing segment properties

varies according to the type of vertices at the

segment end.

•Cornerverticesalwaysresultinline

segments regardless of the segment property.

• Smooth vertices can support both line or

curve segment properties.

• Bezier and Bezier Corner vertices apply their

tangent handles only to curve segments.

Tangent handles are ignored by line

segments.

•Atangenthandleassociatedwithaline

segment displays an X at the end of the

handle. You can still transform the handle,

butithasnoeffectuntilthesegmentis

converted to a curve segment.

Tip: Ifyouhaveproblemstransformingthe

handles, display the axis constraints toolbar

and change the transform axis there.

Interface

Rendering, Interpolation, and Selection rollouts

For information on the Rendering, Interpolation

(page 1–291) and Selection rollout (page 1–293)

settings, see Editable Spline (page 1–289).

Soft Selection rollout

For information on the Soft Selection rollout

settings, see Soft Selection Rollout (page 1–963).

Geometry rollout

New Vertex Type group

The radio buttons in this group let you determine

thetangencyofthenewverticescreatedwhenyou

Shift +Clone segments or splines. If you later use

Connect Copy, vertices on the splines that connect

the original segment or spline to the new one will

havethetypespecifiedinthisgroup.

This setting has no effect on the tangency of

vertices created using tools such as the Create Line

button, Refine, and so on.

•Linear—New vertices will have linear tangency.

•Smooth—New vertices will have smooth

tangency.

When this option is chosen, new vertices that

overlap are automatically welded.

•Bezier—New vertices will have bezier tangency.

•Bezier Corner—New vertices will have bezier

corner tangency.

Create Line—Adds more splines to the selected

spline. These lines are separate spline sub-objects;

createtheminthesamewayastheline spline (page

1–270). To exit line creation, right-click or click

to turn off Create Line.

Break—Letsyouspecifyabreakpointatany

segment in the shape (you do not have to first select

a segment). When on, the mouse icon changes

Editable Spline (Segment) 305

to a Break icon. You can now click any spot on a

segment. The clicked spot becomes two coincident

vertices, and the segment is split into two parts.

Attach—Attaches another spline in the scene to the

selected spline. Click the object you want to attach

to the currently selected spline object. The object

you’reattachingtomustalsobeaspline.

For further details, see Attach.

Reorient—Reorients the attached spline so that its

creation local coordinate system is aligned with

the creation local coordinate system of the selected

spline.

Attach Mult.—Click this button to display the

Attach Multiple dialog, which contains a list of all

other shapes in the scene. Select the shapes you

want to attach to the current editable spline, then

click OK.

Cross Section—Creates a spline cage out of

cross–sectional shapes. Click Cross Section, select

one segment then another sub-object segment,

splines are created joining the first shape with the

second. Continue clicking segments to add them

tothecage.Allsegmentsmustbepartofthesame

object to build cross sections. This functionality

is similar to the Cross Section modifier, but here

you can determine the order of the cross sections.

Spline cage tangency can be defined by choosing

Linear, Bezier, Bezier Corner or Smooth in New

Ve r t e x Ty p e g r o u p.

Tip: When you want to move these vertices, turn

on Area Selection before you select them. When

you transform them, the vertices will stay together.

Refine group

TheRefinegroupincludesanumberoffunctions

useful for building spline networks for use with

the Surface modifier (page 1–842).

Refine—Lets you add vertices without altering the

curvature values of the spline. Click Refine, and

then select any number of spline segments to add

a vertex each time you click (the mouse cursor

changes to a "connect" symbol when over an

eligible segment). To finish adding vertices, click

Refine again, or right-click in the viewport.

Youcanalsoclickexistingverticesduringarefine

operation, in which case 3ds Max displays a dialog

asking if you want to Refine or Connect to the

vertex. If you choose Connect, 3ds Max will not

create a vertex: it simply connects to the existing

vertex.

The Refine operation creates a different type of

vertex depending on the types of vertices on the

endpoints of the segment being refined.

• If the bordering vertices are both Smooth types,

theRefineoperationcreatesaSmoothtype

vertex.

• If the bordering vertices are both Corner types,

theRefineoperationcreatesaCornertype

vertex.

• If either of the bordering vertices is a Corner

or Bezier Corner, the Refine operation creates

aBezierCornertype.

• Otherwise, the operation creates a Bezier type

vertex.

Connect—When on, creates a new spline

sub-object by connecting the new vertices. When

you finish adding vertices with Refine, Connect

makes a separate copy of each new vertex and then

connects all of the copies with a new spline.

Note: For Connect to work, you must turn it on

before you click Refine.

306 Chapter 5: Creating Geometry

After turning on Connect and before beginning

the refinement process, turn on any combination

of these options:

•Linear—When on, makes all segments in the

new spline linear by using Corner vertices.

When Linear is off, the vertices used to create

the new spline are of the Smooth type.

•Bind First—Causes the first vertex created in a

refinement operation to be bound to the center

of the selected segment.

For more information, see Bound Vertex (page

3–919).

•Closed—When on, connects the first and last

vertices in the new spline to create a closed

spline. When Closed is off, Connect always

creates an open spline.

•Bind Last—Causes the last vertex created in a

refinement operation to be bound to the center

of the selected segment.

For more information, see Bound Vertex (page

3–919).

Connect Copy group

Connect Copy—When on, Shift +Cloning a

segment creates a new spline sub-object with

additional splines that connect the new segment’s

vertices to the vertices of the original segment. It

is analogous to Shift +Cloning edges in Editable

Mesh and Editable Poly objects.

Note: For Connect Copy to work, you must turn it

on before you Shift +Clone.

Threshold— Determinesthedistancesoftselection

will use when Connect Copy is on. A higher

threshold results in more splines being created; a

lower threshold results in fewer splines.

End Point Auto-Welding group

Automatic Welding—When Automatic Welding is

turned on, an end point vertex that is placed or

moved within the threshold distance of another

endpointofthesamesplineisautomatically

welded. This feature is available at the object and

all sub-object levels.

Threshold—The threshold distance spinner is a

proximitysettingthatcontrolshowclosevertices

canbetooneanotherbeforetheyareautomatically

welded. Default=6.0.

Insert—Inserts one or more vertices, creating

additional segments. Click anywhere in a segment

to insert a vertex and attach the mouse to the

spline. Then optionally move the mouse and

click to place the new vertex. Continue moving

the mouse and clicking to add vertices. A single

click inserts a corner vertex, while a drag creates a

Bezier (smooth) vertex.

Right-click to complete the operation and release

the mouse. At this point, you’re still in Insert

mode, and can begin inserting vertices in a

different segment. Otherwise, right-click again or

click Insert to exit Insert mode.

Editable Spline (Segment) 307

Hide—Hides selected segments. Select one or more

segments, and then click Hide.

Unhide All—Displays any hidden sub-objects.

Delete—Deletes any selected segments in the

current shape.

Selected and deleted segment

Divide—Subdivides the selected segment or

segments by adding the number of vertices

specified by the spinner. Select one or more

segments, set the Divisions spinner (to the button’s

right), and then click Divide. Each selected

segment is divided by the number of vertices

specified in the Divisions spinner. The distance

between the vertices depends on the segment’s

relative curvature, with areas of greater curvature

receiving more vertices.

Selected and divided segment

Detach—Lets you select several segments in

various splines and then detach them (or copy

them) to form a new shape. Three options are

available:

•Same Shp—(Same Shape) When on, Reorient

is disabled, and a Detach operation keeps the

detached segment as part of the shape (rather

than producing a new shape). If Copy is also

on, you end up with a detached copy of the

segment in the same location.

•Reorient—The detached segment copies the

position and orientation of the source object’s

creation Local coordinate system. The new

detached object is moved and rotated so that

its Local coordinate system is positioned and

aligned with the origin of the current active

grid.

•Copy—Copies the detached segment rather

than moving it.

Original and detached splines

Display group

Show selected segs—When on, any selected

segments are highlighted in red at the Vertex

sub-object level. When off (the default), selected

segments are highlighted only at the Segment

sub-object level.

Thisfeatureisusefulforcomparingcomplex

curves against each other.

308 Chapter 5: Creating Geometry

Surface Properties rollout

Material group

You can apply different material IDs to spline

segments (see Material ID (page 3–969)). You

canthenassignamulti/sub-object material (page

2–1594) to such splines, which appears when the

spline is renderable, or when used for lathing or

extrusion. Be sure to turn on Generate Material

IDs and Use Shape IDs when lofting, lathing or

extruding.

Set ID—Lets you assign a particular material

ID number to selected segments for use with

multi/sub-object materials and other applications.

Usethespinnerorenterthenumberfromthe

keyboard. The total number of available IDs is

65,535.

Select ID—Selects the segments or splines

corresponding to the Material ID specified in

theadjacentIDfield.Typeorusethespinnerto

specify an ID, then click the Select ID button.

Select By Name—This drop-down list shows

the names of sub-materials if an object has a

Multi/Sub-object material assigned to it. Click

the drop arrow and select a material from the list.

The segments or splines that are assigned that

material are selected. If a shape does not have a

Multi/Sub-Object material assigned to it, the name

list will be unavailable. Likewise, if multiple shapes

areselectedthathaveanEditSplinemodifier

appliedtothem,thenamelistisinactive.

Clear Selection—When turned on, selecting a new

ID or material name forces a deselection of any

previously selected segments or splines. When

turnedoff,selectionsarecumulativesonewID

or material name selections add to a previous

selection set of segments or splines. Default=on.

Editable Spline (Spline)

Select an editable spline > Modify panel > Expand the

editable spline in the stack display > Spline sub-object

level

Select an editable spline > Modify panel > Selection

rollout > Spline button

Select an editable spline > Right-click the spline > Tools

1 (upper-left) quadrant of the quad menu > Sub-objects

>Spline

While at the Editable Spline (Spline) level, you can

select single and multiple splines within a single

spline object and move, rotate, and scale them

using standard methods.

Procedure

To change spline properties:

• You change the properties of a spline from Line

to Curve by right-clicking and choosing Line or

Curve from the Tools 1 (upper-left) quadrant

of the quad menu.

Changingthesplinepropertyalsochangesthe

property of all vertices in the spline:

• Choosing Line converts vertices to Corners.

• Choosing Curve converts vertices to Beziers.

Interface

Rendering, Interpolation and Selection rollouts

For information on the Rendering, Interpolation

(page 1–291) and Selection rollout (page 1–293)

settings, see Editable Spline (page 1–289).

Editable Spline (Spline) 309

Soft Selection rollout

See Soft Selection Rollout (page 1–963) for

informationontheSoftSelectionrolloutsettings.

Geometry rollout

New Vertex Type group

The radio buttons in this group let you determine

thetangencyofthenewverticescreatedwhenyou

Shift +Clone segments or splines. If you later use

Connect Copy, vertices on the splines that connect

the original segment or spline to the new one will

havethetypespecifiedinthisgroup.

This setting has no effect on the tangency of

vertices created using tools such as the Create Line

button, Refine, and so on.

•Linear—New vertices will have linear tangency.

•Smooth—New vertices will have smooth

tangency.

When this option is chosen, new vertices that

overlap are automatically welded.

•Bezier—New vertices will have bezier tangency.

•Bezier Corner—New vertices will have bezier

corner tangency.

Create Line—Adds more splines to the selected

spline. These lines are separate spline sub-objects;

createtheminthesamewayastheline spline (page

1–270). To exit line creation, right-click or click

to turn off Create Line.

Attach—Attaches another spline in the scene to the

selected spline. Click the object you want to attach

to the currently selected spline object. The object

you’reattachingtomustalsobeaspline.

For further details, see Attach.

Reorient—Reorients the attached spline so that its

creation local coordinate system is aligned with

the creation local coordinate system of the selected

spline.

Attach Mult.—Click this button to display the

Attach Multiple dialog, which contains a list of all

other shapes in the scene. Select the shapes you

310 Chapter 5: Creating Geometry

want to attach to the current editable spline, then

click OK.

Cross Section—Creates a spline cage out of

cross–sectional shapes. Click Cross Section,

select one shape then a second shape, splines are

created joining the first shape with the second.

Continue clicking shapes to add them to the cage.

This functionality is similar to the Cross Section

modifier, but here you can determine the order

of the cross sections. Spline cage tangency can be

defined in the New Vertex Type group.

Tip: When you edit the spline cage, use Area

Selection before selecting your vertices. This will

keep their positions together as you transform

them.

Connect Copy group

Connect Copy—When on, Shift +Cloning a spline

creates a new spline sub-object with additional

splines that connect the new spline’s vertices to the

vertices of the original segment. It is analogous

to Shift +Cloning edges in Editable Mesh and

Editable Poly objects.

Note: For Connect Copy to work, you must turn it

on before you Shift +Clone.

Threshold—Determines the distance soft selection

uses when Connect Copy is on. A higher value

results in more splines being created, a lower value

results in fewer splines.

End Point Auto-Welding group

Automatic Welding—When Automatic Welding is

turnedon,anendpointvertexthatisplacedor

moved within the threshold distance of another

endpoint of the same spline is automatically

welded. This feature is available at the object and

all sub-object levels.

Threshold—Aproximitysettingthatcontrolshow

close vertices can be to one another before they are

automatically welded. Default=6.0.

Insert—Inserts one or more vertices, creating

additional segments. Click anywhere in a segment

to insert a vertex and attach the mouse to the

spline. Then optionally move the mouse and

click to place the new vertex. Continue moving

the mouse and clicking to add vertices. A single

click inserts a corner vertex, while a drag creates a

Bezier (smooth) vertex.

Right-click to complete the operation and release

the mouse. At this point, you’re still in Insert

mode, and can begin inserting vertices in a

different segment. Otherwise, right-click again or

click Insert to exit Insert mode.

Reverse—Reverses the direction of the selected

spline. If the spline is open, the first vertex will

be switched to the opposite end of the spline.

Reversing the direction of a spline is usually done

in order to reverse the effect of using the Insert

tool at vertex selection level.

Original and reversed splines

Outline—Makes a copy of the spline, offset on

allsidestothedistancespecifiedbytheOutline

Width spinner (to the right of the Outline button).

Editable Spline (Spline) 311

Select one or more splines and then adjust the

outline position dynamically with the spinner, or

click Outline and then drag a spline. If the spline is

open, the resulting spline and its outline will make

asingleclosedspline.

Original and outlined splines

Note: Normally, if using the spinner, you must first select a spline

beforeusingOutline.If,however,thesplineobjectcontainsonly

one spline, it is automatically selected for the outlining process.

Center—When off (default), the original spline

remains stationary and the outline is offset on

one side only to the distance specified by Outline

Width. When Center is on, the original spline and

the outline move away from an invisible center line

to the distance specified by Outline Width.

Boolean—Combines two closed polygons by

performinga2DBooleanoperationthatalters

the first spline you select, and deletes the second

one. Select the first spline, then click the Boolean

buttonandthedesiredoperation,andthenselect

the second spline.

Note: 2D Booleans only work on 2D splines that

are in the same plane.

There are three Boolean operations:

•Union—Combines two overlapping splines

into a single spline, in which the overlapping

portion is removed, leaving non-overlapping

portionsofthetwosplinesasasinglespline.

312 Chapter 5: Creating Geometry

•Subtraction—Subtracts the overlapping portion

of the second spline from the first spline, and

deletes the remainder of the second spline.

•Intersection—Leaves only the overlapping

portions of the two splines, deleting the

non-overlapping portion of both.

Original splines (left), Boolean Union, Boolean Subtraction,

and Boolean Intersection, respectively

Mirror—Mirrors splines along the length, width, or

diagonally. Click the direction you want to mirror

first so it is active, then click Mirror.

•Copy—When selected, copies rather than moves

thesplineasitismirrored.

•About Pivot—When on, mirrors the spline

about the spline object’s pivot point (see Pivot

(page 2–487)). When off, mirrors the spline

about its geometric center.

Mirrored splines

Trim—Use Trim to clean up overlapping segments

in a shape so that ends meet at a single point.

To trim, you need intersecting splines. Click the

portion of the spline you want to remove. The

spline is searched in both directions along its

lengthuntilithitsanintersectingspline,and

deleted up to the intersection. If the section

intersects at two points, the entire section is

deleteduptothetwointersections.Ifthesection

is open on one end and intersects at the other, the

entire section is deleted up to the intersection and

the open end. If the section is not intersected, or

ifthesplineisclosedandonlyoneintersectionis

found, nothing happens.

Extend—Use Extend to clean up open segments in

a shape so that ends meet at a single point.

To extend, you need an open spline. The end of

thesplinenearestthepickedpointisextended

until it reaches an intersecting spline. If there is

no intersecting spline, nothing happens. Curved

splines extend in a direction tangent to the end of

the spline. If the end of a spline lies directly on a

boundary (an intersecting spline), then it looks for

an intersection further along.

Infinite Bounds—For the purposes of calculating

intersections, turn this on to treat open splines as

infinite in length. For example, this lets you trim

onelinearsplineagainsttheextendedlengthof

another line that it doesn’t actually intersect.

Hide—Hides selected splines. Select one or more

splines, and then click Hide.

Unhide All—Displays any hidden sub-objects.

Delete—Deletes the selected spline.

Close—Closes the selected spline by joining its end

vertices with a new segment.

Compound Objects 313

Detach—Copies selected splines to a new spline

object, and deletes them from the currently

selected spline if Copy is clear.

•Reorient—The spline being detached is moved

and rotated so that its creation local coordinate

system is aligned with the creation local

coordinate system of the selected spline.

•Copy—When selected, copies rather than moves

thesplineasitisdetached.

Explode—Breaks up any selected splines by

converting each segment to a separate spline

orobject. Thisisatime-savingequivalentof

using Detach on each segment in the spline in

succession.

You can choose to explode to splines or objects. If

you choose Object, you’re prompted for a name;

each successive new spline object uses that name

appended with an incremented two-digit number.

Surface Properties rollout

Material group

You can apply different material IDs (see

material ID (page 3–969)) to splines in shapes

containing multiple splines. You can then assign

amulti/sub-object material (page 2–1594) to

such shapes, which appears when the spline is

renderable, or when used for lathing or extrusion.

Set ID—Lets you assign a particular material

ID number to selected segments for use with

multi/sub-object materials and other applications.

Usethespinnerorenterthenumberfromthe

keyboard. The total number of available IDs is

65,535.

Select ID—Selects the segments or splines

corresponding to the Material ID specified in

theadjacentIDfield.Typeorusethespinnerto

specify an ID, then click the Select ID button.

Select By Name—This drop-down list shows

the names of sub-materials if an object has a

Multi/Sub-object material assigned to it. Click

the drop arrow and select a material from the list.

The segments or splines that are assigned that

material are selected. If a shape does not have a

Multi/Sub-Object material assigned to it, the name

list will be unavailable. Likewise, if multiple shapes

areselectedthathaveanEditSplinemodifier

appliedtothem,thenamelistisinactive.

Clear Selection—When turned on, selecting a new

ID or material name, forces a deselection of any

previously selected segments or splines. If turned

off, selections are cumulative so new ID or material

name selections add to a previous selection set of

segments or splines. Default=on.

Compound Objects

Create panel > Geometry > Compound Objects

Create menu > Compound

Compound objects generally combine two or

more existing objects into a single object.

314 Chapter 5: Creating Geometry

Compound objects include the following object

types:

Morph Compound Object (page 1–314)

Scatter Compound Object (page 1–318)

Conform Compound Object (page 1–324)

Connect Compound Object (page 1–328)

BlobMesh Compound Object (page 1–331)

ShapeMerge Compound Object (page 1–336)

Boolean Compound Object (page 1–338)

Terrain Compound Object (page 1–347)

Loft Compound Object (page 1–352)

Mesher Compound Object (page 1–374)

ProBoolean Compound Object (page 1–378)

ProCutter Compound Object (page 1–388)

Morph Compound Object

Select an object. > Create panel > Geometry > Compound

Objects > Object Type rollout > Morph

Select an object. > Create menu > Compound > Morph

Seed or base object, and the target objects at specific frames

The resulting animation

Morphing is an animation technique similar

to tweening in 2D animation. A Morph object

combines two or more objects by interpolating

the vertices of the first object to match the

vertex positions of another object. When this

interpolation occurs over time, a morphing

animation results.

Morph Compound Object 315

The original object is known as the seed or base

object. The object into which the seed object

morphs is known as the target object.

You can morph one seed into multiple targets; the

seed object’s form changes successively to match

the forms of the target objects as the animation

plays.

Before you can create a morph, the seed and target

objects must meet these conditions:

• Both objects must be mesh, patch, or poly

objects.

• Both objects must have an equal number of

vertices.

If these conditions don’t apply, the Morph button

is unavailable.

You can use any kind of object as a morph target,

including an animated object or another morph

object,aslongasthetargetisameshthathasthe

same number of vertices as the seed object.

Creating a morph involves the following steps:

• Modelthebaseobjectandtargetobjects.

•Selectthebaseobject.

• Click Create panel > Geometry > Compound

Objects > Morph.

• Add the target objects.

•Animate.

Setting Up the Morph Geometry

Make sure that the objects you want to use as the

seed and targets have the same number of vertices.

Tip: When you create Loft objects that you want

to use as morph seeds and targets, make sure that

Morph Capping is on and Adaptive Path Steps and

Optimize are turned off. All shapes in the Loft

object must have the same number of vertices.

You should also turn off Adaptive and Optimize

for other shape-based objects that you want to use

with Morph, such as those with Extrude or Lathe

modifiers.

Warning: The selected object is permanently converted

to a morph object as soon as you click Morph, whether or

not you proceed to select a target object. The only way

to restore the original object is to undo the Morph click.

Morph Object and Morpher Modifier

Therearetwowaystosetupmorphinganimations:

the Morph compound object and the Morpher

modifier.

The Morpher modifier (page 1–729) is more

flexible because you can add it multiple times at

any place in an object’s modifier stack display.

This flexibility lets you animate the base object or

the morph targets before reaching the Morpher

modifier, for example with a noise modifier. The

Morpher modifier works hand in hand with the

Morpher material. The Morpher modifier is the

ideal way to morph characters.

The Barycentric Morph controller can be simpler

to use in Track View. The Track View display for

Compound Morph has only one animation track

regardless of the number of targets. Each key on

the track represents a morph result based on a

percentage of all the targets. For basic morphing

needs, Compound Morph may be preferable to

the Morpher modifier.

Lastly, you can add the Morpher modifier to the

stack of a Compound Morph object.

Procedures

Example: To create a basic morph:

1. On the Create panel > Geometry > Patch Grids

>ObjectTyperollout,clickQuadPatch.

2. In the Top viewport, click and drag to create a

patch on the left side of the viewport.

316 Chapter 5: Creating Geometry

3. Right-click the modifier stack display in the

Modify panel and select Convert To Editable

Patch from the pop-up menu.

4. Right-click the patch, and then click Move in

the Transform quadrant of the quad menu.

5. In the Top viewport, hold Shift and drag with

the patch to create a copy on the right side of

the viewport.

6. On the Modify panel > Selection rollout, go to

the Vertex sub-object level.

7. In the Front viewport, select and move vertices

on the selected patch to alter its shape.

8. On the Modify panel, in the stack display, click

Editable Patch again to return to the top level.

9. Select the original patch in the viewports.

10.On the Create panel > Geometry > Compound

Objects > Objects Type rollout, click Morph.

11.On the Pick Targets rollout, click Pick Target.

12.In the viewports, click the second patch object.

Both patch objects are listed in the Morph

Targets list.

13.Click Modify panel.

MorphdisplaysabovetheEditablePatchinthe

modifier stack.

14.Move the time slider to frame 10.

15.In the Morph Targets list, click

M_QuadPatch01.

16.On the Current Targets rollout, click Create

Morph Key.

On the track bar, a key is displayed at frame 10.

17.On the track bar, right-click the key at frame 10

and click QuadPatch01:Morph in the menu.

AKeyInfodialogdisplays.

18.On the Key Info dialog, select M_QuadPatch01

from the list.

19.On the Key Info dialog, drag the percentage

spinner.

The base object changes shape.

20.Close the Key Info dialog and drag the time

slider back and forth. The patch morphs its

shape.

To select the targets for a morph:

1. Select the seed object.

2. On the Create panel > Geometry > Compound

Objects, click Morph.

The name of the seed object is displayed at the

top of the Morph Targets list on the Current

Ta r ge t s r o l l ou t .

3. On the Pick Targets rollout, choose the method

for creating targets: Reference, Move, Copy, or

Instance.

4. Click Pick Target.

5. Selectoneormoretargetobjectsinthe

viewports.

As you select each target, its name is added to

the Morph Targets list. If an object can’t be a

target (for example, if it has a different number

of vertices than the morph seed), you can’t

select it.

If you select a target object while you are not at

frame 0, creating the target also creates a morph

key. You can create additional morph keys from

targets you’ve already selected, as described in

the following procedure.

To create morph keys from existing targets:

1. Dragthetimeslidertotheframewhereyou

want to place the morph key.

Note: The Auto Key button does not need to be

on to set morph keys.

2. Highlight the name of a target object on the

Morph Targets list.

Morph Compound Object 317

TheCreateMorphKeybuttonisavailableonly

when a target object name is selected.

3. Click Create Morph Key.

3ds Max places a morph key at the active frame.

4. To preview the effect of the morph, drag the

time slider back and forth. You can view and

edit the morph keys in Track View, which

also lets you view the morph’s target object

parameters.

Interface

Pick Targets rollout

When you pick target objects, you designate each

target as a Reference, Move (the object itself),

Copy, or Instance. Base your selection on how you

wanttousethescenegeometryafteryoucreate

the morph.

Pick Target—Use this button to designate the target

object or objects.

Reference/Copy/Move/Instance—Lets you specify

how the target is transferred to the compound

object. It can be transferred either as a reference

(page 3–1002),acopy,aninstance (page 3–957),or

it can be moved, in which case the original shape

isnotleftbehind.

• Use Copy when you want to reuse the target

geometry for other purposes in the scene.

• Use Instance to synchronize morphing with

animated changes to the original target object.

• Use Move if you’ve created the target geometry

to be only a morph target, and have no other

use for it.

You can use an animated object or another morph

as the target of a morph.

Current Targets rollout

Morph Targets—Displays a list of the current

morph targets.

Morph Target Name—Use this field to change the

name of the selected morph target in the Morph

Targets list.

Create Morph Key—Adds a morph key for the

selected target at the current frame.

Delete Morph Target—Deletes the currently

highlighted morph target. If morph keys reference

the deleted target, then those keys are deleted as

well.

318 Chapter 5: Creating Geometry

Scatter Compound Object

Select an object. > Create panel > Geometry > Compound

Objects > Object Type rollout > Scatter

Select an object. > Create menu > Compound > Scatter

Scatter is a form of compound object that

randomly scatters the selected source object either

as an array, or over the surface of a distribution

object.

The plane of the hill is used to scatter the trees and two different

sets of rocks.

Procedures

To create a Scatter object:

1. Create an object to be used as a source object.

2. Optionally,createanobjecttobeusedasa

distribution object.

3. Select the source object, and then click Scatter

in the Compound Objects panel.

Note: Thesourceobjectmustbeeitheramesh

object or an object that can be converted to a

mesh object. If the currently selected object is

invalid, the Scatter button is unavailable.

Results of scattering source object with distribution object

visible (above) and hidden (below)

You now have two choices. You can either

scatter the source object as an array without

using a distribution object, or use a distribution

object to scatter the object. See the following

procedures.

To scatter the source object without a distribution

object:

1. Choose Use Transforms Only in the Scatter

Objects rollout > Distribution group.

2. Set the Duplicates spinner to specify the desired

total number of duplicates of the source object.

3. Adjust the spinners on the Transforms rollout

to set random transformation offsets of the

source object.

To scatter the source object using a distribution

object:

1. Makesurethesourceobjectisselected.

2. Choose the method by which you want to clone

the distribution object (Reference, Copy, Move,

or Instance.)

3. Click Pick Distribution Object, and then select

the object you want to use as a distribution

object.

4. Make sure that Use Distribution Object on the

Scatter Object rollout is chosen.

Scatter Compound Object 319

5. Use the Duplicates spinner to specify the

number of duplicates. (This is not necessary

ifyou’reusingtheAllVertices,AllEdge

Midpoints or All Face Centers distribution

methods.)

6. Choose a distribution method in the Scatter

Object rollout > Distribute Object Parameters

group under Distribute Using.

7. Optionally, adjust the Transform spinners to

randomly transform the duplicates.

8. If the display is too slow, or the meshes too

complicated, consider choosing Proxy on the

Display rollout or decreasing the percentage of

displayed duplicates by reducing the Display

percentage.

Mostofthespinnervaluesareanimatable,soyou

can animate things like the number of duplicates,

their transformations, and so on.

Scatter objects (the grass) with a high number of duplicates

Interface

Pick Distribution Object rollout

Contains the options for selecting a distribution

object.

Object—Displaysthenameofthedistribution

object selected with the Pick button.

Pick Distribution Object—Click this button, then

clickanobjectinthescenetospecifyitasa

distribution object.

Reference/Copy/Move/Instance—Lets you specify

how the distribution object is transferred to the

scatter object. It can be transferred either as a

reference (page 3–1002),acopy,aninstance (page

3–957), or moved, in which case the original shape

is not left behind.

320 Chapter 5: Creating Geometry

Scatter Objects rollout

The options on this rollout let you specify how the

source object is scattered, and let you access the

objects that make up the compound Scatter object.

Distribution group

Thesetwooptionsletyouchoosethebasicmethod

of scattering the source object.

Use Distribution Object—Scattersthesourceobject

based on the geometry of the distribution object.

Use Transforms Only—This options doesn’t need

a distribution object. Instead, duplicates of the

source object are positioned using the offset values

on the Transforms rollout. If all of the Transform

offsets remain at 0, you won’t see the array because

the duplicates occupy the same space.

Objects group

Contains a list window showing the objects that

make up the Scatter object.

List Window—Click to select an object in the

window so that you can access it in the Stack. For

example, if your distribution object is a sphere,

you can click Distribution: D_Sphere01, open the

Stack list, and select Sphere to access the sphere’s

parameters.

Source Name—Lets you rename the source object

within the compound Scatter object.

Distribution Name—Lets you rename the

distribution object.

Extract Operand—Extract a copy or an instance of

theselectedoperand.Chooseanoperandinthe

list window to enable this button.

Note: This button is available only on the Modify

panel. You can’t extract an operand while the

Create panel is active.

Instance/Copy—This option lets you specify how

the operand is extracted: as either an instance

(page 3–957) or a copy.

Source Object Parameters group

Theseoptionsaffectthesourceobjectlocally.

Duplicates—Specifies the number of scattered

duplicates of the source object.

This number is set to 1 by default, but you can

setitto0ifyouwanttoanimatethenumberof

duplicates, beginning with none. Note that the

Duplicates number is ignored if you’re distributing

the duplicates using either Face Centers or Vertices.

In these cases, one duplicate is placed at each

vertex or face center, depending on your choice.

Scatter Compound Object 321

Base Scale—Altersthescaleofthesourceobject,

affecting each duplicate identically. This scale

occurs before any other transforms.

Vertex Chaos—Applies a random perturbation to

the vertices of the source object.

Animation Offset—Lets you specify the number of

frames by which each source object duplicate’s

animation is offset from the previous duplicate.

You can use this feature to produce wave-type

animation. At the default setting of 0, all duplicates

move identically.

Distribution Object Parameters group

These options affect how the duplicates of

the source object are arranged, relative to the

distribution object. These options have an effect

only when a distribution object is used.

Perpendicular—When on, orients each duplicate

object perpendicular to its associate face, vertex,

or edge in the distribution object. When off, the

duplicates maintain the same orientation as the

original source object.

Use Selected Faces Only—When on, limits

distribution to the selected faces passed up the

Stack. Perhaps the easiest way to do this is to use

the Instance option when picking the distribution

object.YoucanthenapplyaMeshSelectmodifier

to the original object and select only those

faces you want to use for the distribution of the

duplicates.

Distribute Using

The following options let you specify how the

geometry of the distribution object determines the

distribution of the source object. These options are

ignored if you’re not using a distribution object.

Area—Distributes duplicate objects evenly over the

total surface area of the distribution object.

Objects distributed over a spherical surface with Area turned on

Even—Dividesthenumberoffacesinthe

distribution object by the number of duplicates,

and skips the appropriate number of faces in the

distribution object when placing duplicates.

Skip N—Skips N number of faces when placing

duplicates. The editable field specifies how many

facestoskipbeforeplacingthenextduplicate.

When set to 0, no faces are skipped. When set to 1,

every other face is skipped, and so on.

Random Faces—Appliesduplicatesrandomlyover

the surface of the distribution object.

Along Edges—Assignsduplicatesrandomlytothe

edges of the distribution object.

322 Chapter 5: Creating Geometry

All Vertices—Places a duplicate object at each

vertex in the distribution object. The Duplicates

value is ignored.

All Edge Midpoints—Places a duplicate at the

midpoint of each segment edge.

All Face Centers—Places a duplicate object at the

center of each triangular face on the distribution

object. The Duplicates value is ignored.

Volume—Scatters objects throughout the

distribution object’s volume. All other options

restrict distribution to the surface. Consider

turning on Display rollout > Hide Distribution

Object with this option.

ObjectsfillasphericalvolumewithVolumeturnedon

Display group

Result/Operands—Choose whether to display the

results of the scatter operation or the operands

before the scattering.

Transforms rollout

The settings in the Transforms rollout let you

apply random transform offsets to each duplicate

object. The values in the transform fields specify

a maximum offset value that’s applied randomly

with a positive or negative value to each duplicate.

Thus, if you set a rotation angle of 15 degrees,

duplicates are rotated randomly from -15 to +15

degrees. For example, one duplicate might be

rotated 8 degrees, another -13, another 5, and so

on. You can use the Transform settings with or

without a distribution object. When there is no

Scatter Compound Object 323

distribution object, you must adjust the Transform

settings in order to see the duplicates.

Rotation group

Specifies random rotation offsets.

X, Y, Z deg—Enterthemaximumrandomrotational

offset you want about the local X, Y, or Z axis of

each duplicate.

Use Maximum Range—When on, forces all three

settings to match the maximum value. The other

two settings become disabled, and the setting

containing the maximum value remains enabled.

Local Translation group

Specifies translation of the duplicates along their

local axes.

X, Y, Z—Enterthemaximumrandommovement

you want along the X, Y, or Z axis of each duplicate.

Use Maximum Range—When on, forces all three

settings to match the maximum value. The other

two settings become disabled, and the setting

containing the maximum value remains enabled.

Translation on Face group

Lets you specify the translation of duplicates

along barycentric (page 3–914) face coordinates

of the associate face in the distribution object.

Thesesettingshavenoeffectifyou’renotusinga

distribution object.

A, B, N—The first two settings specify the

barycentric coordinates on the surface of the face,

whiletheNsettingsetstheoffsetalongthenormal

of the face.

Use Maximum Range—When on, forces all three

settings to match the maximum value. The other

two settings become disabled, and the setting

containing the maximum value remains enabled.

Scaling group

Lets you specify the scaling of duplicates along

their local axes.

X, Y, Z %—Specifies the percent of random scaling

along the X, Y, or Z axis of each duplicate.

Use Maximum Range—When on, forces all three

settings to match the maximum value. The

other two settings become disabled, and the one

containing the maximum value remains enabled.

Lock Aspect Ratio—When on, maintains the

original aspect ratio of the source object. Typically,

this provides uniform scaling of duplicates. When

LockAspectRatioisoff,andanyoftheX,Y,and

Z settings contain values greater than 0, the result

is non-uniform scaling of duplicates because the

values represent random scaling offsets in both

positive and negative directions.

Display rollout

Provides options that affect the display of the

Scatter object.

Display Options group

Theseoptionsaffectthedisplayofthesourceand

destination objects.

Proxy—Displaysthesourceduplicatesassimple

wedges and speeds up viewport redraws when

manipulating a complex Scatter object. This has

324 Chapter 5: Creating Geometry

no effect on the rendered image, which always

displays the mesh duplicates.

Mesh—Displays the full geometry of the duplicates.

Display %—Specifies the percentage of the total

duplicate objects that appear in the viewports.

This has no effect on the rendered scene.

Hide Distribution Object—Hides the distribution

object. The hidden object does not appear in the

viewport or in the rendered scene.

Uniqueness group

Lets you set a seed number upon which the

random values are based. Thus, altering this value

changes the overall effect of the scattering.

New—Generates a new, random seed number.

Seed—Use this spinner to set the seed number.

Load/Save Presets rollout

Lets you store preset values to use in other Scatter

objects. For example, after setting all of your

parameters for a specific Scatter object and saving

the settings under a specific name, you can then

select another Scatter object and load the preset

values into the new object.

Preset Name—Lets you define a name for your

settings. Click the Save button to save the current

settings under the preset name.

Saved Presets group

A list window containing saved preset names.

LOAD—Loads the preset currently highlighted in

the Saved Presets list.

SAVE—Saves the current name in the Preset Name

field and places it in the Saved Presets window.

DELETE—Deletes the selected items in the Save

Presets window.

Note: Animated parameter values subsequent to

frame 0 are not stored.

Conform Compound Object

Select an object. > Create panel> Geometry > Compound

Objects > Object Type rollout > Conform

Select an object. > Create menu > Compound > Conform

Conform fits the road to the surface of the hills.

Conform is a compound object created by

projecting the vertices of one object, called the

Wrapper, onto the surface of another object, called

Conform Compound Object 325

the Wrap-To. There is also a space-warp version

of this function; see Conform space warp (page

2–103).

Because the space-warp version is somewhat easier

to use, it’s a good idea to read that topic first, try

the example, and then return here. This topic

provides additional methods of projecting the

wrapper vertices.

Note: This tool gives you the ability to morph

between any two objects, regardless of the

number of vertices in each object. See Ve r t e x

Projection Direction group (page 1–326) for more

information.

Procedure

Example: To create a Conform object:

1. Position two objects, one of which will be the

Wrapper, and the other the Wrap-To. (For this

example, create a box as the Wrap-To object,

and then create a larger sphere that completely

surroundsit.ThespherewillbetheWrapper.)

2. Select the Wrapper object (the sphere), and

click Create panel> Geometry > Compound

Objects > Object Type rollout > Conform

button.

Note: Both objects used in Conform must be

either mesh objects or objects that can be

converted to mesh objects. If the selected

Wrapper object is inv alid, the Confor m button

is unavailable.

3. Specify the method of vertex projection in the

Vertex Projection Direction group. (Use Along

Vertex Normals for this example.)

Note: IfyouweretochooseUseActive

Viewport, you would next activate whichever

viewportlooksinthedirectionthatyouwant

to project the vertices. For example, if the

Wrapper hovered over a Wrap-To terrain on the

home plane, you’d activate the Top viewport.

4. Choose Reference, Copy, Move, or Instance

to specify the type of cloning to perform on

the Wrap-To object. (Choose Instance for this

example.)

5. Click Pick Wrap-To Object, and then click the

object onto which to project the vertices. (You

can press the Hkey and use the Select Objects

dialog (page 1–78) to select the box.)

The list windows display the two objects,

andthecompoundobjectiscreatedwiththe

Wrapper objec t confor ming to the Wrap-To

object. (In the example, the sphere is wrapped

into the shape of the box.)

6. Use the various parameters and settings to alter

the vertex projection direction, or adjust the

vertices that are being projected.

To project a road onto terrain:

1. Create the road and terrain objects.

Tip: You can quickly make a terrain by creating a

patch grid (page 1–993) and applying the Noise

modifier (page 1–743) to it. For the road, you

can use a Loft compound object (page 1–352)

by lofting a rectangle along a curved line. Both

objects must have a sufficient level of detail to

conform smoothly.

2. Orient both the road and the terrain so you

are looking straight down at them in the Top

viewport. Position the road so it’s completely

abovetheterrain(higherontheworldZaxis).

Note: For the conform projection to work

correctly,theroadshouldnotextendbeyond

the boundaries of the terrain when viewed in

the Top viewport.

3. Select the road object.

4. Click Conform.

5. In the Pick Wrap-To Object rollout, make sure

the Instance option is selected.

6. ClickPickWrap-ToObject,andclickthe

terrain.

326 Chapter 5: Creating Geometry

An instance of the terrain object is created, with

thesameobjectcolorastheroad.

7. Activate the Top viewport. In the Parameters

rollout > Vertex Projection Direction group,

choose Use Active Viewport, and click

Recalculate Projection.

8. IntheUpdategroup,turnonHideWrap-To

Object.

This hides the instance of the terrain so you can

clearly see the road projected onto it.

The Parameters rollout > Wrapper Parameters

group > Standoff Distance value sets the

numberofunitsbywhichtheroadsitsabove

the terrain along the world Z axis.

9. If necessary, adjust the Standoff Distance to

raise or lower the road.

Interface

Pick Wrap-To Object rollout

Object—Displays the name of the selected Wrap-To

object.

Pick Wrap-To Object—Click this button, and then

selecttheobjecttowhichyouwantthecurrent

object to wrap.

Reference/Copy/Move/Instance—This option lets

you specify how the Wrap-To object is transferred

to the Conform object. It can be transferred either

as a reference (page 3–1002),acopy,aninstance

(page 3–957), or it can be moved, in which case the

original is not left behind.

Parameters rollout

Contains all parameters for the Conform object.

Objects group

Provides a list window and two edit fields that let

you navigate the compound object and rename its

components.

List Window—Lists the Wrapper and the Wrap-To

objects. Click to select an object in the window so

that you can access it in the Modifier stack.

Wrapper Name—Lets you rename the wrapper

object within the compound Conform object.

Wrap-To Object Name—Lets you rename the

Wrap-To object.

Vertex Projection Direction group

Conform Compound Object 327

Choose one of these seven options to determine

the projection of the vertices.

UseActiveViewport—The vertices are projected

away (inward) from the active viewport.

Recalculate Projection—Recalculates the projection

direction for the currently active viewport.

Because the direction is initially assigned when

you pick the Wrap-To object, if you want to change

viewports after assignment, click this button to

recalculate the direction based on the new active

viewport.

Use Any Object’s Z Axis—Lets you use the local Z

axis of any object in the scene as a direction. Once

an object is assigned, you can alter the direction of

vertex projection by rotating the direction object.

Pick Z-Axis Object—Click this button, and then

click the object you want to use to indicate the

direction of the projection source.

Object—Displaysthenameofthedirectionobject.

•Along Vertex Normals—Projects the vertices of

the Wrapper object inward along the reverse

direction of its vertex normals. A vertex normal

is a vector produced by averaging the normals

of all faces attached to that vertex. If the

Wrapper object encloses the Wrap-To object,

the Wrapper takes on the form of the Wrap-To

object.

•Towards Wrapper Center—Projects the vertices

toward the bounding center of the Wrapper

object.

•Towards Wrapper Pivot—Projects the vertices

toward the original pivot center of the Wrapper

object.

•Towards Wrap-To Center—Projects the vertices

toward the bounding center of the Wrap-To

object.

•Towards the Wrap-To Pivot—Projects the vertices

towardthepivotcenteroftheWrap-Toobject.

Note: Towards Wrapper Pivot and Towards the

Wrap-To Pivot operate on the position of the

original pivot point of the object before the

Conform object is created. Once you create the

Conform object, it’s a new compound object with

a single pivot point.

Tip: You can animate the conforming effect by

morphing between the compound object and a

previously made copy of the original wrapper

object. Todothis,however,youmustturnon

Hide Wrap-To Object in the Update group so that

the original object and the compound object have

the same number of vertices. Using this technique,

you can effectively morph between two objects

with a different number of vertices.

Wrapper Parameters group

Provides controls that determine how far the

vertices are projected.

Default Projection Distance—The distance a vertex

in the Wrapper object will move from its original

location if it does not intersect the Wrap-To object.

Standoff Distance—Thedistancemaintained

between the vertex of the Wrapper object and the

surface of the Wrap-To object. For example, if

you set Standoff Distance to 5, the vertices can be

pushed no closer than 5 units from the surface of

the Wrap-To object.

Use Selected Vertices—When turned on, only the

selected vertex sub-objects of the Wrapper object

are pushed. When turned off, all vertices in the

object are pushed, regardless of the Modifier stack

328 Chapter 5: Creating Geometry

selection. To access the Modifier stack of the

Wrapper object, select the Wrapper object in the

list window, open the Modifier stack, and select

thebaseobjectname.Atthispointyoucanapplya

Mesh Select modifier, for example, and select the

vertices you want to affect.

Update group

The items in this group determine when the

projection for the compound object is recalculated.

Because complex compound objects can slow

performance, you can use these options to avoid

constant calculation.

•Always—The object is updated constantly.

•When Rendering—The object is recalculated

only when the scene is rendered.

•Manually—Activates the Update button for

manual recalculation.

Update—Recalculates the projection.

Hide Wrap-To Object—When on, hides the Wrap-To

object.

Display group

Determines whether the shape operands are

displayed.

•Result—Displays the result of the operation.

•Operands—Displays the operands.

Connect Compound Object

Select an object. > Create panel > Geometry > Compound

Objects > Object Type rollout > Connect

Select an object. > Create menu > Compound > Connect

The Connect compound object lets you connect

two or more objects between "holes" in their

surfaces. To do this, you delete faces in each object

to create one or more holes in their surfaces,

position them so that the holes face one another,

and then apply Connect.

Left: Before connect

Right: After connect

Note: Connect is not suited to NURBS objects,

because they convert into many separate meshes

instead of one big mesh. The workaround is

simple: apply a Weld modifier to the NURBS

object(thusconvertingittoameshandzippingup

its seams) before using it as part of a connect.

Connect generates the best mapping coordinates it

can for the bridges between the various holes in the

meshes. While some ideal cases, such as a cylinder

above another cylinder, can generate good UVW

map interpolations, most cases cannot. You’ll need

to apply mapping to the bridge faces with a UVW

Map modifier (page 1–922).

Connect Compound Object 329

Vertex colors, on the other hand, interpolate

smoothly.

Notes:

• You can use Connect on objects that have

multiple sets of holes. Connect will do its best

to match up the holes between the two objects.

• The mapping coordinates assigned to the

original two objects are maintained to the

extent possible. You might find irregularities in

the bridged area, depending on the complexity

and difference between the two original sets

of mapping coordinates and the types of

geometry.

Procedures

To create a Connect object:

1. Create two mesh objects.

2. Delete faces on each to create holes where you

want to bridge the objects.

Position the objects so that the normals of

the deleted faces of one object point toward

the normals of the deleted faces of the other

object (assuming that deleted faces could have

normals).

3. Selectoneoftheobjects.OntheCreatepanel>

Geometry > Compound Object Type rollout,

click Connect.

4. Click the Pick Operand button, and then select

the other object.

5. Faces are generated connecting the holes in the

two objects.

6. Adjust the connection with the various options.

Example: To connect two cylinders:

1. Create a cylinder with a radius of 15 and a

height of 30. Use the default settings for the

remaining parameters.

2. Create a second cylinder centered on the first

with a radius of 30, a height of 30, and 13 sides.

(Thefewersidesaretodemonstratethemesh

interpolation in the connection.)

3. Move the first, narrower cylinder straight up

alongZsoitsbottomcapisabout15units

abovethetopcapofthelargercylinder.

4. Convert both cylinders to editable meshes.

5. Delete the lower cap of the upper cylinder, and

the upper cap of the bottom cylinder. (Hint: Go

to Editable Mesh (Polygon) mode, select each

end in turn, and then press the Delete key.)

6. Exit sub-object mode, select the lower cylinder,

and click Connect.

7. Click the Pick Operand button, and then click

the upper cylinder.

New faces are created that span the openings in

the two cylinders.

Example continued: To try out some options and

create animation:

1. Go to the Modify panel and increase the

Segments spinner to 5or more.

As the segments increase, the connection

becomes curved.

2. Set the Tension spinner to 0to straighten the

connecting surface, increase it to 1, and then

return it to 0.5.

3. Try different combinations of the Bridge and

Ends options.

4. Select the upper cylinder, turn on the Auto

Keybutton,andapplyvarioustransformsat

different frames.

5. Play the animation.

330 Chapter 5: Creating Geometry

Interface

Pick Operand rollout

Pick Operand—Click this button to connect an

additional operand to the original object.

For example, you might begin with a single object

with two holes, and arrange two additional objects,

each with one hole, outside of those holes. Click

the Pick Operand button and select one of the

objects, which is connected, and then click Pick

Operand again and select the other object, which

is connected. Both connected objects are added to

the Operands list.

Reference/Copy/Move/Instance—Lets you specify

how the operand is transferred to the compound

object. It can be transferred either as a reference

(page 3–1002),acopy,aninstance (page 3–957),

or moved, in which case the original is not left

behind.

Note: Connect works only with objects that are

capable of being converted into editable surfaces,

such as editable meshes (page 1–996).

Parameters rollout

Operands group

Operands list—Displays the current operands.

Select an operand to rename, delete or extract by

clicking it in this list.

Name—Renames a selected operand. Type in a

new name, and then press Ta b or Enter .

Delete Operand—Deletes a selected operand from

the list.

Extract Operand—Extracts a copy or an instance of

theselectedoperand.Chooseanoperandinthe

list to enable this button.

Note: This button is available only in the Modify

panel. You can’t extract an operand while in the

Create panel.

Instance/Copy—Lets you specify how the operand

is extracted: as either an instance (page 3–957) or a

copy.

BlobMesh Compound Object 331

Interpolation group

Segments—Sets the number of segments in the

connecting bridge.

Tension—Controls the curvature in the connecting

bridge. A value of 0 provides no curvature, while

higher values create curves that attempt to more

smoothly match the surface normals on either

end of the connecting bridge. This spinner has no

apparent effect when Segments is set to 0.

Smoothing group

Bridge—Applies smoothing between the faces in

the connecting bridge.

Ends—Applies smoothing between the faces that

border the old and new surfaces of the connecting

bridge and the original objects. When turned off,

3dsMaxassignsanewmaterialIDnumberto

thebridge. Thenewnumberisonehigherthan

the highest ID number assigned to either of the

original objects. When on, the ID number is taken

from one of the original objects.

Note: If both Bridge and Ends are on, but the

original objects contain no smoothing groups,

thensmoothingisassignedtothebridgeandto

the faces bordering the bridge.

Display/Update rollout

Display group

Determines whether the shape operands are

displayed.

•Result—Displays the result of the operation.

•Operands—Displays the operands.

Update group

Theseoptionsdeterminewhentheprojectionfor

the compound object is recalculated. Because

complex compound objects can slow performance,

you can use these options to avoid constant

calculation.

•Always—The object is updated constantly.

•When Rendering—The object is recalculated

only when the scene is rendered.

•Manually—Activates the Update button for

manual recalculation.

Update—Recalculates the projection.

BlobMesh Compound Object

Create panel > Geometry > Compound Objects > Object

Type rollout > BlobMesh

Create menu > Compound > BlobMesh

The BlobMesh compound object creates a set of

spheres from geometry or particles, and connects

the spheres together as if they were made of a soft,

liquid substance. When the spheres move within

a certain distance of one another, they connect

together. When they move apart, they take on a

spherical form again.

332 Chapter 5: Creating Geometry

In the 3D industry, the general term for spheres

that operate in this way is metaballs (page 3–972).

The BlobMesh compound object generates

metaballs based on specified objects in the

scene, and the metaballs, in turn, form a mesh

result called a blobmesh.Ablobmeshisidealfor

simulating thick liquids and soft substances that

move and flow when animated.

When you associate an object or particle

system with the BlobMesh compound object,

themetaballsareplacedandsizeddifferently

depending on the object used to generate them:

• For geometry and shapes, a metaball is placed

ateachvertex,andthesizeofeachmetaballis

determined by the size of the original BlobMesh

object. Soft selection can be used to vary the

sizes of the metaballs.

• For particles, a metaball is placed at each

particle, and the size of each metaball is

determined by the size of the particle on which

it’s based.

• For helpers, a metaball is placed at the pivot

point, and the size of the metaball is determined

by the original BlobMesh object.

Note: Yo u c a n a p p l y motion blur (page 3–975) to a

BlobMesh object to enhance the effects of motion

in renderings. For particle systems other than

Particle Flow, use Image motion blur. For Particle

Flow particle systems and all other types of objects

including geometry, shapes, and helpers, use

Object motion blur.

Procedures

To create a blobmesh from geometry or helpers:

1. Createoneormoregeometryorhelperobjects.

If the scene requires animation, animate the

objects as desired.

2. Click BlobMesh, and click anywhere on the

screen to create the initial metaball.

3. Go to the Modify panel.

4. In the Blob Objects group, click Add. Select the

objects you wish to use to create metaballs. A

metaball appears at each vertex of each selected

object,oratthecentersofhelperobjects.

5. In the Parameters rollout, set the Size parameter

as necessary to cause the metaballs to connect.

To create a blobmesh with soft selection on

geometry:

1. Create a geometry object, and convert it to an

Editable Mesh or Editable Poly.

2. Apply a Mesh Select modifier to the object, and

select some of the vertices on the object.

3. In the Soft Selection rollout, turn on Use Soft

Selection. Set the Falloff value as desired.

4. Apply a Tur n to Mesh or Tur n to Poly modifier

to the object.

BlobMesh Compound Object 333

This will retain the soft selection and pass it

up the stack regardless of whether you exit the

sub-object mode.

5. Click Create panel > Compound Objects >

BlobMesh, and click anywhere on the screen to

create the initial metaball.

6. Go to the Modify panel.

7. In the Blob Objects group, click Add. Select the

Editable Mesh or Editable Poly object.

A metaball appears at each vertex of the selected

object.

8. In the Parameters rollout, turn on Use Soft

Selection.

Metaballs are limited to those vertices that are

affected by the soft selection.

9. Set the Size and Min. Size parameters to set the

sizes of the metaballs.

To create a blobmesh with soft selection on a spline:

1. Create the spline, and convert it to an Editable

Spline.

2. In the Rendering rollout, turn on both

Renderable and Display Render Mesh.

3. Apply a Mesh Select modifier, and select the

appropriate vertices for soft selection.

4. In the Soft Selection rollout, turn on Use Soft

Selection. Set the Falloff value as desired.

5. Apply a Turn to Mesh or Turn to Poly modifier

to the object.

This will retain the soft selection and pass it

up the stack regardless of whether you exit the

sub-object mode.

6. Click Create panel > Compound Objects >

BlobMesh, and click anywhere on the screen to

create the initial metaball.

7. Go to the Modify panel.

8. In the Blob Objects group, click Add. Select the

Editable Spline.

A metaball appears at each vertex of the selected

object.

9. IntheParametersrollout,turnonUseSoft

Selection.

Metaballs are limited to those vertices that are

affected by the soft selection.

10.Set the Size and Min. Size parameters to set the

sizes of the metaballs.

To create a blobmesh from a particle system:

When you use BlobMesh with a particle system, a

metaball is created at each particle’s location. The

size of the metaball is determined by the size of

the particle.

1. Create a particle system (page 2–108),andset

up its parameters to animate the particles.

2. Click Create panel > Compound Objects >

BlobMesh, and click anywhere on the screen to

create the initial metaball.

3. Go to the Modify panel.

4. In the Blob Objects group, click Add. Select

the particle system. A metaball appears at each

particle in the system.

5. If you have added a Particle Flow system (page

2–109) to the blobmesh and you want to create

metaballs only for particles in specific events,

clickAddontheParticleFlowParameters

rollout to choose the events from a list.

Tip: If you need to prevent the particles

from rendering, do not hide them as this

can prevent the blobmesh from generating

correctly. Instead, turn off the particle system’s

Renderable option on the Object Properties

dialog (page 1–117).

334 Chapter 5: Creating Geometry

Interface

Parameters rollout

Size—The radius of each metaball for objects

otherthanparticles.Forparticles,thesizeofeach

metaball is determined by the size of the particle,

whichissetbyparametersintheparticlesystem.

Default=20.

Note: Theapparentsizeofthemetaballsisaffected

by the Tension value. When Tension is set to its

lowest possible value, the radius of each metaball

accurately reflects the Size setting. Higher Tension

values will tighten the surface, and make the

metaballs smaller.

Tension—Determines how relaxed or tight the

surface will be. A smaller value makes a looser

surface. Thisvaluecanrangefrom0.01to1.0.

Default=1.0.

Evaluation Coarseness—Sets the coarseness, or

density, of the resulting blobmesh. When Relative

Coarseness (see following) is off, the Render

andViewportvaluessettheabsoluteheight

and width of blobmesh faces, and lower values

create a smoother, denser mesh. When Relative

Coarseness is on, the height and width of blobmesh

facesisdeterminedbytheratioofmetaballsize

to this value. In this case, higher values create

a denser mesh. Range (both)=0.001 to 1000.0.

Render default=3.0, Viewport default =6.0.

The lower end of the range for both Coarseness

settings, previously limited to 0.5, is now 0.001,

which allows for much higher-resolution metaball

geometry when Relative Coarseness is off. Using

such low values can also cause lengthy calculation

delays; if this happens and you wish to halt

calculation, press Esc .

Relative Coarseness—Determines how the

coarseness values will be used. If this option

is turned off, the Render Coarseness and View

Coarseness values are absolute, where the height

and width of each face on the blobmesh is always

equal to the coarseness value. This means the faces

ontheblobmeshwillretainafixedsizeevenif

themetaballschangesize.Ifthisoptionisturned

on, the size of each blobmesh face is based on the

ratio of the metaball size to the coarseness, which

will cause the blobmesh face size to change as the

metaballs become larger or smaller. Default=Off.

Large Data Optimization—This option provides an

alternate method for calculating and displaying

the blobmesh. This method is more efficient than

the default method only when a large number of

BlobMesh Compound Object 335

metaballs are present, such as 2,000 or more. Turn

on this option only when using a particle system

or other object that produces a large number of

metaballs. Default=Off.

Off in Viewport—Turns off the display of the

blobmesh in viewports. The blobmesh will still

appearing in renderings. Default=Off.

Use Soft Selection—If soft selection has been used

on geometry you add to the blobmesh, turning on

this option causes the soft selection to be used for

the size and placement of metaballs. Metaballs

areplacedatselectedverticeswiththesizesetby

the Size parameter. For vertices that lie within the

falloff set on the geometry’s Soft Selection rollout,

smaller metaballs are placed. For vertices outside

the falloff, no metaballs are placed. This option has

an effect only if the Vertex sub-object level for the

geometry is still enabled, and Use Soft Selection

on the geometry’s Soft Selection rollout is turned

on. If Use Soft Selection is turned off either for the

blobmesh for the geometry, metaballs are placed at

all vertices on the geometry. Default=Off.

Min Size—Sets the minimum size for metaballs

within the falloff when Use Soft Selection is turned

on. Default=10.0.

Pick—Allows you to pick objects or particle

systems from the screen to add to the blobmesh.

Add—Displays a selection dialog where you can

select objects or particle systems to add to the

blobmesh.

Remove—Removes objects or particles from the

blobmesh.

Particle Flow Parameters rollout

UsethisrolloutifyouhaveaddedaParticleFlow

system to the blobmesh, and want particles to

generate metaballs only during specific events.

Beforeyoucanspecifyeventsonthisrollout,you

must add the Particle Flow system to the blobmesh

on the Parameters rollout.

All Particle Flow Events—When turned on, all

Particle Flow Events will generate metaballs. When

turned off, only Particle Flow Events specified in

the PFlow Events list will generate metaballs.

Add—Displays a list of PFlow events in the scene so

you can pick events to add to the PFlow Events list.

Remove—Removes the selected event from the

PFlow Events list.

336 Chapter 5: Creating Geometry

ShapeMerge Compound Object

Select an object. > Create panel > Geometry > Compound

Objects > Object Type rollout > ShapeMerge

Select an object. > Create menu > Compound >

ShapeMerge

ShapeMerge combines the lettering, a text shape, with the

mesh that models the cake.

ShapeMerge creates a compound object consisting

of a mesh object and one or more shapes. The

shapes are either embedded in the mesh, altering

theedgeandfacepatterns,orsubtractedfromthe

mesh.

Procedure

To create a ShapeMerge object:

1. Create a mesh object and one or more shapes

2. Align the shapes in the viewport so they can be

projected toward the surface of the mesh object.

3. Select the mesh object, and click the

ShapeMerge button.

4. Click Pick Shape, and then select the shape.

The geometry of the surface of the mesh object is

altered to embed a pattern matching that of the

selected shape.

Interface

Pick Operand rollout

Pick Shape—Click this button, and then click the

shape you want to embed in the mesh object. The

shape is projected onto the mesh object in the

direction of the shape’s local negative Z axis. For

example, if you create a box, and then create a

shape in the Top viewport, the shape is projected

onto the top of the box. You can repeat this process

toaddshapes,andtheshapescanbeprojectedin

different directions. Simply click Pick Shape again,

and then pick another shape.

Reference/Copy/Move/Instance—Lets you specify

how the shape is transferred to the compound

object. It can be transferred either as a reference

(page 3–1002),acopy,aninstance (page 3–957),

or moved, in which case the original shape is not

left behind.

ShapeMerge Compound Object 337

Parameters rollout

Operands group

Operands list—Lists all operands in the compound

object. The first operand is the mesh object, and

any number of shape-based operands can follow.

Delete Shape—Remove selected shapes from the

compound object.

Extract Operand—Extractsacopyoraninstanceof

theselectedoperand.Chooseanoperandinthe

list window to enable this button.

Instance/Copy—Lets you specify how the operand

is extracted. It can be extracted either as an

instance (page 3–957) or a copy.

Operation group

Theseoptionsdeterminehowtheshapeisapplied

to the mesh.

Cookie Cutter—Cuts the shape out of the mesh

object’s surface.

Merge—Merges the shape with the surface of the

mesh object.

Invert—Reverses the effect of Cookie Cutter or

Merge.WiththeCookieCutteroption,theeffect

is obvious. When Invert is off, the shape is a hole

in the mesh object. When Invert is on, the shape

is solid and the mesh is missing. When you’re

using Merge, Invert reverses the sub-object mesh

selection. As an example, if you merge a circle

shapeandapplyaFaceExtrude,thecircularareais

extruded when Invert is off, and all but the circular

area is extruded when Invert is on.

Output Sub-Mesh Selection group

Provides options that let you specify what selection

level is passed up the Stack. The ShapeMerge

object stores all selection levels; that is, it stores the

vertices, faces, and edges of the merged shape with

the object. (If you apply a Mesh Select modifier

and go to the various sub-object levels, you’ll see

that the merged shape is selected.) Thus, if you

followtheShapeMergewithamodifierthatactson

aspecificlevel,suchasFaceExtrude,thatmodifier

will work properly.

If you apply a modifier that can work on any

selection level, such as Volume Select or XForm,

the options will specify which selection level is

passed to that modifier. Although you can use

aMesh Select modifier (page 1–719) to specify a

selection level, the Mesh Select modifier considers

the selection only at frame 0. If you’ve animated

the shape operand, that animation will be passed

up the Stack for all frames only by using the

Output Sub-Mesh Selection options.

•None—Outputs the full object.

•Face—Outputsthefaceswithinthemerged

shape.

•Edge—Outputs the edge of the merged shape.

338 Chapter 5: Creating Geometry

•Vertex—Outputs the vertices defined by the

spline of the shape.

Display/Update rollout

Display group

Determines whether the shape operands are

displayed.

•Result—Displays the result of the operation.

•Operands—Displays the operands.

Update group

These options specify when the display is updated.

Typically, you use them when you’ve animated the

merged shape operands and the viewport display

is slow.

•Always—Updates the display at all times.

•When Rendering—Updates the display only

when the scene is rendered.

•Manually—Updates the display only when you

click the Update button.

Update—Updates the display when any option

except Always is chosen.

Boolean Compound Object

Select an object. > Create panel > Geometry > Compound

Objects > Object Type rollout > Boolean

Select an object. > Create menu > Compound > Boolean

A Boolean object combines two other objects by

performing a Boolean operation on them.

Operand A (left); Operand B (right)

These are the Boolean operations for geometry:

Union—The Boolean object contains the volume

of both original objects. The intersecting or

overlapping portion of the geometry is removed.

Intersection—The Boolean object contains only

the volume that was common to both original

objects (in other words, where they overlapped).

Subtraction (or difference)— The Boolean object

contains the volume of one original object with the

intersection volume subtracted from it.

The two original objects are designated as operand

AandB.

Beginning with version 2.5 of 3ds Max, a new

algorithm computes the Boolean operation. This

algorithm produces more predictable results and

less complex geometry than earlier 3D Studio

Booleans. If you open a file that contains a Boolean

Boolean Compound Object 339

from an earlier version of 3ds Max, the Modify

paneldisplaystheinterfacefortheearlierBoolean

operation.

You can layer Booleans in the stack display, so that

a single object can incorporate many Booleans. By

navigating through the stack display, it’s possible

to revisit the components of each Boolean and

make changes to them.

Subtraction: A-B (above); B-A (below)

Union (above); Intersection (below)

Booleans with Objects That Have

Materials Assigned to Them

Most primitives use several material IDs (page

3–969) ontheirsurfaces. Forexample,abox

uses material IDs 1–6 on its sides. If you assign a

Multi/Sub-Object material (page 2–1594) with six

sub-materials, 3ds Max assigns one to each side. If

you assign a multi/sub-object material with two

sub-materials, 3ds Max assigns the first material

to sides 1, 3, and 5, and the second goes to sides

2, 4, and 6.

When you create a Boolean from objects that have

materials assigned to them, 3ds Max combines the

materialsinthefollowingway:

340 Chapter 5: Creating Geometry

• If operand A doesn’t have a material, it inherits

operand B’s material.

• If operand B doesn’t have a material, it inherits

operand A’s material.

•Ifbothoperandshavematerials,thenew

material is a multi/sub-object material that

combines the materials from both operands.

For more information, see Material Attach Options

Dialog (page 1–345).

Solutions When Working with Booleans

The Boolean algorithm caused unpredictable

behavior in earlier releases. The solutions are

discussed here.

Surface Topology

Boolean requires that operands’ surface topology

be intact: This means no missing or overlapping

faces and no unwelded vertices. The surface

should be one continuous closed surface.

The Boolean corrects operands that fail to

meet this requirement. However, the automatic

correctionmaynotbeexactlywhatyouwant,soin

some cases it might be safer to correct the surfaces

manually.

To check for holes in the geometry, use the

STL-Check modifier (page 1–834) or the Measure

utility (page 2–52).

To f i l l h o l es , u s e t h e Cap Holes modifier (page

1–569).

Face Normals

Booleans require that the face normals of the

surface be consistent. Flipped normals can

produce unexpected results. Surfaces where some

faces are facing one way and adjacent faces are

flipped are also problematic, and are commonly

found in geometry imported from CAD programs.

TheBooleanfixesthesefacesasbestitcan.

Again, it might make more sense to correct these

manually.

Use shaded viewports to look for normal problems,

watching for objects that appear inside-out or look

otherwise incorrect. You can also turn on Show in

the Editable Mesh (Face) (page 1–1009) >Surface

Properties rollout > Normals group. Fix normals

here, or with a Normal modifier (page 1–746).

Overlapping Elements

Because Boolean operations depend on a clear

understanding of what is inside and what is outside

a mesh, meshes that overlap themselves can

produce invalid results. For instance, if you use the

Collapse utility (page 1–966) with two overlapping

objectswithoutturningontheBooleanfeature,

the resulting object will not make a good Boolean

operand. This is also a problem for the Teap ot

primitive (page 1–183) (with all parts turned on),

which overlaps itself.

If you need to use such an object as a Boolean

operand, you might reconstruct it as a single

non-overlapping mesh by separating the

components and combining them with Boolean.

Working with Inverted Meshes

Boolean doesn’t always produce the ideal result on

"inverted meshes" (meshes that have been turned

inside-out by having their normals flipped).

The problem is that the area inside the flipped

mesh is correctly seen as "outside," but the area

outside it may also be seen as “outside.” To remedy

this, instead of inverting the mesh, make a very

large box or other primitive centered on (but not

touching) the mesh and subtract the mesh from

it using Boolean. Then convert it to an editable

mesh, and delete the box faces. This produces a

correctly inverted mesh that works correctly with

Boolean.

Boolean Compound Object 341

Alignment

If two Boolean operands are perfectly aligned

without actually intersecting, the Boolean

operation might produce the wrong result.

Although this is rare, if it does occur, you can

eliminate it by making the operands overlap

slightly.

Relative Complexity Between Operands

Boolean works best when the two operands are

of similar complexity. If you wish to subtract

text (a complex object made of many faces and

vertices) from a box without any segments, the

result is many long, skinny faces that are prone to

rendering errors. Increasing the number of box

segments produces better results. Try to maintain

a similar complexity between operands.

Coplanar Faces/Colinear Edges

Previously, Boolean required that objects overlap.

If two objects did not overlap but merely touched

an edge to an edge, or a face to a face, the Boolean

would fail.

Boolean allows for non-overlapping objects.

Coincident faces/edges and vertices are no longer

aproblem.Youcanuseobjectscompletelyencased

within another object, where no edges intersect,

to create Booleans.

See also Collapse Utility (page 1–966) to create

Booleans with multiple objects.

See also

Fixing Boolean Problems (page 3–885)

Procedures

To create a Boolean object:

1. Select an object. This object becomes operand

2. Click Boolean. The name of operand A appears

in the Operands list on the Parameters rollout.

3. On the Pick Boolean rollout, choose the copy

method for operand B: Reference, Move, Copy,

or Instance. (These methods are described in

the Pick Boolean rollout section, later in this

topic.)

4. On the Parameters rollout, choose the Boolean

operation to perform: Union, Intersection,

Subtraction (A-B), or Subtraction (B-A). You

canalsochooseoneoftheCutoperations,

described later in the Operation group section.

5. On the Pick Boolean rollout, click Pick

Operand B.

6. Click in a viewport to select operand B. 3ds Max

performs the Boolean operation.

The operand objects remain as sub-objects

of the Boolean object. By modifying the

creation parameters of the Boolean’s operand

sub-objects, you can later change operand

geometryinordertochangeoranimatethe

Boolean result.

Example: To create and modify a single object that

contains multiple Booleans:

Suppose you want to create a box with two holes

in it. One hole is to be cut by a sphere, and the

second by a cylinder. If you want to make changes

tothesphereorthecylinderlater,youcandoso

by following these steps:

1. CreateaBooleanfollowingthestepsinthe

previous sections. The original object (the box)

isconvertedtoaBoolean,andisdesignated

operand A. The second object (the sphere) is

converted to operand B.

2. Deselect the Boolean object. Build the cylinder

if it does not already exist.

3. Select the Boolean object; and under

Compound Objects, click Boolean again.

4. Click Pick Operand B and click the cylinder in

the viewport. It is converted to operand B.

342 Chapter 5: Creating Geometry

5. On the Modify panel, choose Operand B from

the Parameters rollout > Operands list. If you

want to see operand B, choose Display/Update

rollout > Display group > Operands or Result

+ Hidden Ops.

IfyouwanttoanimatetheCylinderorthe

Cylinder’s parameters you can now access them

in the modifier stack display.

6. If you want to modify the sphere’s parameters,

choose the box in the Operands list.

7. Now there are two entries labeled Boolean in

the stack display. Choose the lower entry. The

Sphere is displayed in the Operands list.

8. Choose the Sphere from the Operands list. The

sphere’s parameters are available by clicking the

sphere’s name in the modifier stack display.

9. Use this technique to change parameters or

animateanyoftheoperandswithinthemultiple

Boolean.

You can also navigate multiple Booleans through

Track View. Clicking the operand in Track View

gives you direct access to its entry in the modifier

stack display. In complex objects with many

Booleans, this is an easier method than the one

outlined above.

Interface

Pick Boolean rollout

When you select operand B, you designate it

as a Reference, Move (the object itself), Copy,

or Instance, according to your choice in the

Pick Boolean rollout for Boolean objects. Base

yourselectiononhowyouwanttousethescene

geometry after you create the Boolean.

Because you usually create Boolean objects from

overlapping objects, if the B object isn’t removed

(if you don’t use the default Move option), it often

obstructs your view of the completed Boolean.

You can move the Boolean or the B object to better

see the result.

Pick Operand B—Use this button to select the

second object to use to complete the Boolean

operation.

Reference/Copy/Move/Instance—Lets you specify

how operand B is transferred to the Boolean

object. It can be transferred either as a reference

(page 3–1002),acopy,aninstance (page 3–957),

or moved.

• Use Reference to synchronize modifier-induced

changes to the original object with operand B,

but not vice-versa.

• Use Copy when you want to reuse the operand

B geometry for other purposes in the scene.

• Use Instance to synchronize animation of the

Boolean object with animated changes to the

original B object, and vice-versa.

• Use Move (the default) if you’ve created the

operand B geometry only to create a Boolean,

andhavenootheruseforit.

Object B geometry becomes part of the Boolean

object regardless of which copy method you

use.

Boolean Compound Object 343

Parameters rollout

Operands group

Operands list field—Displays the current operands.

Name—Edit this field to change the name of the

operands.ChooseanoperandintheOperandslist

and it will also appear in the Name box.

Extract Operand—Extractsacopyoraninstanceof

the selected operand. Choose one of the operands

in the list window to enable this button.

Note: This button is available only in the Modify

panel. You can’t extract an operand while the

Create panel is active.

Instance/Copy—Lets you specify how the operand

is extracted: as either an instance (page 3–957) or a

copy.

Operation group

Union—The Boolean object contains the volume

of both original objects. The intersecting or

overlapping portion of the geometry is removed.

Intersection—The Boolean object contains only

the volume that was common to both original

objects (in other words, where they overlapped).

Subtraction (A-B)—Subtracts the intersection

volume of operand B from operand A. The

Boolean object contains the volume of operand A

with the intersection volume subtracted from it.

Subtraction (B-A)—Subtracts the intersection

volume of operand A from operand B. The

Boolean object contains the volume of operand B

with the intersection volume subtracted from it.

Cut—Cuts operand A with operand B, but doesn’t

addanythingtothemeshfromoperandB.This

works like the Slice modifier (page 1–825),but

instead of using a planar gizmo, Cut uses the shape

of operand B as the cutting plane. Cut treats the

geometry of the Boolean object as volumes rather

than closed solids. Cut does not add geometry

from operand B to operand A. Operand B

intersections define cut areas for altering geometry

in operand A.

There are four types of Cut:

•Refine—Adds new vertices and edges to

operand A where operand B intersects the faces

of operand A. 3ds Max refines the resulting

geometry of operand A with additional faces

inside the intersected area of operand B. Faces

cut by the intersection are subdivided into new

faces. You might use this option to refine a

boxwithtextsothatyoucanassignaseparate

material ID to the object.

•Split—Works like Refine but also adds a second

or double set of vertices and edges along the

boundary where operand B cuts operand A.

Split produces two elements belonging to the

344 Chapter 5: Creating Geometry

same mesh. Use Split to break an object into

two parts along the bounds of another object.

•Remove Inside—Deletes all operand A faces

inside operand B. This option modifies and

deletes faces of operand A inside the area

intersected by operand B. It works like the

subtraction options, except that 3ds Max adds

no faces from operand B. Use Remove Inside to

delete specific areas from your geometry.

•Remove Outside—Deletes all operand A faces

outside operand B. This option modifies and

deletes faces of operand A outside the area

intersected by operand B. It works like the

Intersection option, except that 3ds Max adds

no faces from operand B. Use Remove to delete

specific areas from your geometry.

Display/Update rollout

Display group

Visualizing the result of a Boolean can be tricky,

especially if you want to modify or animate it. The

Display options on the Boolean Parameters rollout

help you visualize how the Boolean is constructed.

The display controls have no effect until you’ve

created the Boolean.

•Result—Displays the result of the Boolean

operation; that is, the Boolean object itself.

•Operands—Displays the operands instead of the

Boolean result.

Tip: When operands are difficult to see in a

viewport, you can use the Operand list to select

one or the other. Click the name of the A or B

operand to select it.

•Results + Hidden Ops—Displays the "hidden"

operands as wireframe.

Operand geometry remains part of the

compound Boolean object, although it isn’t

visible or renderable. The operand geometry is

displayedaswireframesinallviewports.

Displaying the operands

Displaying the result (A-B)

Material Attach Options Dialog 345

Displaying the hidden operand after A-B

Displaying the hidden operand after B-A

Update group

By default, Booleans are updated whenever you

change the operands. A scene that contains one

or more complicated, animated Booleans can

impede performance. The update options provide

alternate methods to improve performance.

•Always—UpdatesBooleansimmediatelywhen

you change an operand, including the original

object of an instanced or referenced B operand.

This is the default behavior.

•When Rendering—Updates Booleans only when

you render the scene or click Update. With this

option, viewports don’t always show current

geometry, but you can force an update when

necessary.

•Manually—UpdatesBooleansonlywhenyou

click Update. With this option, the viewports

and the render output don’t always show

current geometry, but you can force an update

when necessary.

Update—UpdatestheBoolean.TheUpdatebutton

is not available when Always is selected.

Material Attach Options Dialog

Use objects with different materials assigned to them. >

Create panel > Geometry > Compound Objects > Object

Type rollout > Boolean > Pick Boolean rollout > Pick

Operand B button > Select object in the viewport that

is operand B.

When you use Boolean operations with objects

that have been assigned different materials,

3ds Max displays the Material Attach Options

dialog. This dialog offers five methods for

handling the materials and the material IDs (page

3–969) in the resultant Boolean object.

Note: If operand A has no material, and operand

B has a material assigned, the Boolean dialog lets

youchoosetoinheritthematerialfromoperandB.

If operand A has a material assigned and operand

B has no material assigned, the Boolean object

automatically inherits materials from operand A.

346 Chapter 5: Creating Geometry

Procedure

To create a Boolean from objects that match material

IDs to material:

1. Create a Boolean (page 1–341) using at least one

object that has a multi/sub-object material (page

2–1594) assigned to it.

2. On the Pick Boolean rollout, click Pick

Operand B.

3. Click in a viewport and select the B operand.

3ds Max displays the Match Attach Options

dialog.

4. Choose Match Material IDs to Material to

complete the Boolean operation.

Interface

Match Material IDs to Material—3ds Max modifies

the number of material IDs in the combined object

to be no greater than the number of sub-materials

assigned to the operands. For example, if you

combinetwoboxesthathavestandardmaterials

and each box is assigned six material IDs (the

default), the resulting combined object has two

operands with one material ID each, rather

than the 12 that would result from using the

Match Material to Material ID option. After you

complete the operation, 3ds Max creates a new

multi/sub-object material with two slots. 3ds Max

assigns the sub-materials to the operands as they

appeared before the operation. The number of

resultingmaterialIDsmatchesthenumberof

materials between the original objects. You might

use this option to reduce the number of material

IDs.

Match Material to Material IDs—Maintains the

original material ID assignment in the operands

by adjusting the number of sub-materials in

the resultant multi/sub-object material. For

example, if you combine two boxes, both

assigned single materials, but with their default

assignment of six material IDs, the result would

be a multi/sub-object material with 12 slots (six

containing instances of one box’s material, and six

containing instances of the other box’s material).

Use this option when it’s important to maintain

the original material ID assignments in your

geometry. Also use this option when material IDs

have been assigned, but materials have not been

assigned.

Note: To make the instanced sub-materials unique,

select them in Track View, and click the Make

Unique button on the Track View toolbar. You

canalsomakethemuniqueoneatatimewiththe

Make Unique button (page 2–1442) in the Material

Editor.

Do Not Modify Mat IDs or Material—If the number of

materialIDsinanobjectisgreaterthanthenumber

of sub-materials in its multi/sub-object material,

then the resultant face-material assignment might

be different after the Boolean operation.

Discard New Operand Material—Discards the

material assignment of operand B. 3ds Max assigns

operand A’s material to the Boolean object.

Discard Original Material—Discards the material

assignment of operand A. 3ds Max assigns

operand B’s material to the Boolean object.

Note: AUVW Map modifier (page 1–922) must be

used with compound objects to apply mapping

coordinates.

Terrain Compound Object 347

Terrain Compound Object

Select spline contours. > Create panel > Geometry >

Compound Objects > Object Type rollout > Terrain

Select spline contours. > Create menu > Compound >

Terrain

The Terrain button lets you produce terrain

objects. 3dsMaxgeneratestheseobjectsfrom

contourlinedata. Youselecteditablesplines

representing elevation contours and create a mesh

surface over the contours. You can also create a

"terraced" representation of the terrain object so

that each level of contour data is a step, resembling

traditional study models of land forms.

Using contours to build a terrain

Upper left: The contours

Upper right: The terrain object

Lower left: Terrain object used as the basis of a landscape

If you import an AutoCAD drawing file to use as

contour data, 3ds Max names each object based on

the AutoCAD object’s layer, color, or object type.

A number is appended to each name. For example,

an AutoCAD object on the layer BASE becomes an

object named BASE.01.SeeImporting DWG Files

(page 3–536) for more information.

After you import or create the contour data, select

the objects, and click the Terrain button, 3ds Max

creates a new triangulated mesh object based on

the contour data. The name of the first selected

spline becomes the name of the terrain object.

Other splines in the selection are treated according

to the previously set Reference, Move, Copy, or

Instance selection in the Pick Operand rollout,

described below.

Keep in mind that the Terrain object can use

any spline objects as operands, whether they

are horizontal splines or not. Though the most

common scenario is when sets of elevational

contours are used to create terrain forms, it is

possible to append or refine Terrain objects by

using non-horizontal splines.

Note: To ensure that 3ds Max imports polylines as

splines, when you import an AutoCAD drawing

file, turn off Import AutoCAD DWG File dialog >

Geometry Options group > Cap Closed Entities.

Following are examples of uses of the Terrain

feature:

• Visualizing the effects of grading plans in 3D.

• Maximizing views or sunlight by studying

topographical undulation of land forms.

• Analyzing elevation changes by using color on

the data.

• Adding buildings, landscaping, and roads

to a terrain model to create virtual cities or

communities.

• Viewing corridors and completing ridge

analyses from particular locations on a site by

adding cameras to the scene.

Procedure

To analyze elevation changes:

1. Import or create contour data.

2. Select the contour data, and click the Terrain

button.

3. On the Color By Elevation rollout, enter

elevation zone values between the maximum

348 Chapter 5: Creating Geometry

and minimum elevations in the Base Elev box.

Click Add Zone after entering the value.

3ds Max displays the zones in the list under the

Create Defaults button.

4. Click the Base Color swatch to change the color

of each elevation zone. For example, you could

use a deep blue for low elevations, a light blue

for intermediate elevations, and perhaps greens

forhigherelevations.

5. Click Solid To Top of Zone to see the elevation

changes in a striped effect.

6. Click Blend To Color Above to see the elevation

changes blended.

Interface

Name and Color rollout

Displays the name of the terrain object. 3ds Max

uses the name of one of the selected objects to

name the terrain object.

Pick Operand rollout

Pick Operand—Adds splines to the terrain object.

You might do this if you didn’t select all the objects

before generating the terrain object, or if some

objects in the imported data weren’t included in

the terrain object. You can also use this option

to add existing splines in the current scene to the

terrain object.

Reference/Copy/Move/Instance—When you click

Pick Operand, the copy method you designate

determines how the operands are used. When

Move is the method, the original contour data

ismovedfromthesceneandintotheoperands

of the new terrain object. Copy, Reference, and

Instance retain the original contour data in the

scene and create copies, references or instances of

the contour data as operands in the terrain object.

This is similar to the copy method for Boolean

(page 1–338).

Override—Allows you to select closed curves that

override any other operand data within their

interior. Within the area an Override operand

encloses (as seen in plan), other curves and points

ofthemesharedisregardedandtheelevation

of the Override operand supersedes them. An

Override operand is indicated in the operands list

by a # after its name. Override is only effective

on closed curves. If multiple override operands

overlap, later overrides (higher operand numbers)

take preference.

Terrain Compound Object 349

Parameters rollout

Operands group

Operand list—Displays the current operands. Each

operandislistedas"Op"followedbyanumber

and the name of the object that is being used as

the operand. The operand name comprises layer,

color, or object type name plus a numeric suffix.

Delete Operand—Deletes a selected operand from

the Operands list.

Form group

•Graded Surface—Creates a graded surface of the

mesh over the contours.

Terrain created as a graded surface

•Graded Solid—Creates a graded surface with

skirts around the sides and a bottom surface.

This represents a solid that is visible from every

direction.

•Layered Solid—Creates a "wedding cake"

or laminated solid similar to cardboard

architectural models.

Terrain created as a "layered solid" surface, with levels

Stitch Border—When on, suppresses the creation of

new triangles around the edges of terrain objects

when edge conditions are defined by splines that

are not closed. Most terrain forms display more

reasonably when this is turned off.

Retriangulate—The basic Terrain algorithm tends

to flatten or notch contours when they turn

sharply upon themselves. A typical situation in

which this may happen is when a narrow creek

350 Chapter 5: Creating Geometry

bed is described with contours; the resulting

form may look more like a series of cascades at

each elevational contour, rather than a smoothly

descending ravine. When Retriangulate is

checked, a somewhat slower algorithm is used

thatfollowscontourlinesmoreclosely. This

maybeparticularlyevidentintheLayeredSolid

display mode. For additional precision, try using

Retriangulate in conjunction with horizontal

interpolation.

Display group

•Terrain—Displays only the triangulated mesh

over the contour line data.

•Contours—Displays only the contour line data

of the terrain object.

•Both—Displays both the triangulated mesh

and the contour line data of the terrain object.

Yo u c a n s e l e c t t h e t e r r a i n o b j e c t b y c l i c k i n g

itssurface,butnotbyclickingacontourline.

When Both is selected, contour lines may not

be apparent in Wireframe display modes or

when Edged Faces are displayed.

Update group

The items in this group box determine when

3ds Max recalculates the projection for the terrain

object. Because complex terrain objects can slow

performance, you can use these options to avoid

constant calculation.

•Always—Updates the terrain object immediately

when you change an operand, including the

original object of an instanced or referenced

operand.

•When Rendering—Updates the terrain object

when you render the scene or when you click

Update. With this option, viewports won’t

show current geometry unless you click Update.

•Manually—Updates the terrain object when you

click Update.

Update—Updates the terrain object. This button is

not enabled only when Always is the active option.

Simplification rollout

Horizontal group

•No Simplification—Uses all the operands’

vertices to create a complex mesh. This results

in greater detail and a larger file size than the

two fractional options.

•Use 1/2 of Points—Uses half the set of vertices

intheoperandstocreatealesscomplexmesh.

This results in less detail and a smaller file size

than using No Simplification.

•Use 1/4 of Points—Uses a quarter of the of

vertices in the operands to create a less complex

mesh. This results in the least detail and

smallest file size of these options.

•Interpolate Points * 2—Doubles the set of

vertices in the operands to create a more refined

but more complex mesh. This is most effective

in terrain forms that use constructive curves

such as circles and ellipses. This results in

more detail and a larger file size than using No

Simplification.

•Interpolate Points * 4—Quadruples the set

ofverticesintheoperandstocreateamore

Terrain Compound Object 351

refined but more complex mesh. This is most

effective in terrain forms that use constructive

curves such as circles and ellipses. This results

in more detail and a larger file size than using

No Simplification.

Vertical group

•No Simplification—Uses all the spline

operandsvertices of the terrain object to create

a complex mesh. This results in greater detail

and a larger file size than the other two options.

•Use 1/2 of Lines—Uses half the set of spline

operands of the terrain object to create a less

complexmesh.Thisresultsinlessdetailanda

smallerfilesizethanusingNoSimplification.

•Use 1/4 of Lines—Uses a quarter of the of spline

operands of the terrain object to create a less

complex mesh. This results in the least detail

andsmallestfilesizeofthethreeoptions.

Color by Elevation rollout

Maximum Elev.—Displays the maximum elevation

in the Z axis of the terrain object. 3ds Max derives

this data from the contour data.

Minimum Elev.—Displays the minimum elevation

in the Z axis of the terrain object. 3ds Max derives

this data from the contour data.

Reference Elev.—This is the reference elevation, or

datum, that 3ds Max uses as a guide for assigning

colors to zones of elevation. After entering a

reference elevation, click the Create Defaults

button. 3ds Max treats elevations above the

reference elevation as solid land and those below

the reference elevation as water.

352 Chapter 5: Creating Geometry

If you enter a value no greater than the minimum

elevationintheobject,3dsMaxdividestherange

between the reference and minimum elevations

into five color zones: dark green, light green,

yellow, purple, and light gray.

If you enter a value between the minimum and

maximumelevations,3dsMaxcreatessixcolor

zones. Two zones (dark blue and light blue) are

used for elevations below the reference elevation.

These are considered to be under water. One zone

(dark yellow) is used for a narrow range around

the reference elevation. Three zones (dark green,

light green, light yellow) are used for elevations

above the reference elevation.

If you enter a value at or above the maximum

elevation, 3ds Max divides the range between

the minimum and reference elevations into three

zones (dark blue, medium blue, light blue).

Zones by Base Elevation group

Create Defaults—Creates elevation zones. 3ds Max

lists the elevation at the bottom of each zone,

referenced to the datum (the reference elevation).

3dsMaxappliesthecolorofthezoneatthebase

elevation. Whether the colors blend between zones

depends on your choice of the Blend to Color

Above or Solid to Top of Zone option.

Color Zone group

The items in this group box assign colors to

elevation zones. For example, you might want

to change levels of blue to indicate the depth for

water. Your changes in the Color Zone area don’t

affect the terrain object until you click the Modify

Zone or Add Zone button.

Base Elev—This is the base elevation of a zone to

which you assign color. After entering a value,

click Add Zone to display the elevation in the list

under Create Defaults.

Base Color—Click the color swatch to change the

color of the zone.

•Blend to Color Above—Blends the color of the

current zone to the color of the zone above it.

•Solid to Top of Zone—Makes a solid color at the

top of the zone without blending to the color of

thezoneaboveit.

Modify Zone—Modifies selected options of a zone.

Add Zone—Adds values and selected options for a

new zone.

Delete Zone—Deletes a selected zone.

Loft Compound Object

Select a path or shape. > Create panel > Geometry >

Compound Objects > Object Type rollout > Loft

Select a path or shape. > Create menu > Compound

Objects > Loft

Roadway created as a lofted shape

Loft objects are two-dimensional shapes extruded

along a third axis. You create loft objects from

two or more existing spline objects. One of these

splinesservesthepath. Theremainingsplines

serve as cross-sections, or shapes, of the loft object.

Loft Compound Object 353

As you arrange shapes along the path, 3ds Max

generates a surface between the shapes.

You create shape objects to serve as a path for

any number of cross-section shapes. The path

becomes the framework that holds the cross

sections forming your object. If you designate

only one shape on the path, 3ds Max assumes an

identical shape is located at each end of the path.

The surface is then generated between the shapes.

3ds Max places few restrictions on how

you create a loft object. You can create

curved, three-dimensional paths and even

three-dimensional cross sections.

When using Get Shape, as you move the cursor

over an invalid shape, the reason the shape is

invalid is displayed in the prompt line.

Unlike other compound objects, which are created

from the selected object as soon as you click the

compound-objectbutton,aLoftobjectisnot

created until you click Get Shape or Get Path, and

then select a shape or path.

Loft is enabled when the scene has one or more

shapes. To create a loft object, first create one

or more shapes and then click Loft. Click either

Get Shape or Get Path and select a shape in the

viewports.

Once you create a loft object, you can add and

replace cross-section shapes or replace the path.

You can also change or animate the parameters of

the path and shapes.

You can’t animate the path location of a shape.

YoucanconvertloftobjectstoNURBS surfaces

(page 1–1116).

Procedures

To create a loft object:

Creatingloftobjectsisdetailedandoffersmany

choices, but the basic process is quite simple.

1. Create a shape to be the loft path.

2. Create one or more shapes to be loft cross

sections.

3. Do one of the following:

• Select the path shape and use Get Shape to

addthecrosssectionstotheloft.

• Select a shape and use Get Path to assign

a path to the loft. Use Get Shape to add

additional shapes.

You can use the loft display settings to view the

skin generated by your loft in both wireframe and

shaded views.

To create a loft with Get Path:

1. Select a shape as the first cross-section shape.

2. Click Create panel > Geometry > Compound

Objects > Loft.

3. On the Creation Method rollout, click Get Path.

4. Choose Move, Copy, or Instance.

5. Clickashapeforthepath.

ThecursorchangestotheGetPathcursorasyou

move it over valid path shapes. If the cursor does

not change over a shape, that shape is not a valid

path shape and cannot be selected. The first vertex

oftheselectedpathisplacedatthefirstshape’s

pivot and the path tangent is aligned with the

shape’s local Z axis.

To create a loft with Get Shape:

1. Select a valid path shape as the path.

2. Iftheselectedshapeisnotavalidpath,theGet

Shape button is unavailable.

3. Click Create panel > Geometry > Compound

Objects > Loft.

4. On the Creation Method rollout, click Get

Shape.

5. Choose Move, Copy, or Instance.

354 Chapter 5: Creating Geometry

6. Click a shape.

ThecursorchangestotheGetShapecursorasyou

move it over potential shapes. The selected shape

is placed at the first vertex of the path.

Tip: You can flip the shape along the path by

holding down Ctrl when using Get Shape. For

example, if you select the lowercase letter "b" with

aCtrl +click, the loft will look like the letter "d".

Interface

You use the following rollouts for setting loft object

parameters:

Creation Method Rollout (page 1–354)

Surface Parameters Rollout (page 1–354)

Path Parameters Rollout (page 1–356)

Skin Parameters Rollout (page 1–358)

Once you’ve created a loft object, you can also use

the Modify panel’s Deformations rollout to add

complexity. See Deformations (page 1–363) for

further information.

Creation Method Rollout

Select a path or shape. > Create panel > Geometry

> Compound Objects > Object Type rollout > Loft >

Creation Method rollout

Select a path or shape. > Create menu > Compounds >

Loft > Creation Method rollout

You can choose between a shape or a path for

creating the loft object using the Creation Method

rollout, as well as the type of action for the loft

object.

Interface

On the Creation Method rollout, you determine

whether to use a shape or path for creating the loft

object,andthetypeofactionyouwantforthe

resulting loft object.

Get Path—Assigns a path to the selected shape or

changes the current assigned path.

Get Shape—Assigns a shape to the selected path or

changes the current assigned shape.

Tip: Hold down Ctrl whilegettingtheshapeto

flip the direction of the shape’s Z axis.

Move/Copy/Instance—Lets you specify how the

path or shape is transferred to the loft object. It can

be moved, in which case no copy is left behind, or

transferred as a copy or an instance (page 3–957).

Tip: UsetheInstanceoptionifyouexpecttoeditor

modify the path after the loft is created.

Surface Parameters Rollout

Select a path or shape. > Create panel > Geometry >

Compound Objects > Object Type rollout > Loft > Surface

Parameters rollout

Select a path or shape. > Create menu > Compounds >

Loft > Surface Parameters rollout

On the Surface Parameters rollout, you control

smoothingofthesurfaceoftheloftaswellas

designateiftexturemappingisappliedalongthe

loft object.

Surface Parameters Rollout 355

Interface

Smoothing group

Left: Smoothing the length

Right: Smoothing the width

Rear: Smoothing both length and width

Smooth Length—Provides a smooth surface along

the length of the path. This type of smoothing is

useful when your path curves or when shapes on

thepathchangesize.Default=on.

Smooth Width—Provides a smooth surface around

the perimeter of the cross-section shapes. This

type of smoothing is useful when your shapes

change the number of vertices or change form.

Default=on.

Mapping group

Bitmap used to create the lines on the road

Mapped roadway showing U and V dimensions for the loft

Apply Mapping—Turns lofted mapping coordinates

on and off. Apply Mapping must be on in order to

access the remaining items.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625).Default=off.

Length Repeat—Sets the number of times a map

repeats along the length of the path. The bottom

of the map is placed at the first vertex of the path.

356 Chapter 5: Creating Geometry

Width Repeat—Sets the number of times a map

repeats around the perimeter of cross-section

shapes. The left edge of a map is aligned with the

first vertex of each shape.

Normalize—Determines how path vertex spacing

affects a map along both the path length and

shape width. When on, vertices are ignored.

Map coordinates and Repeat values are applied

evenly along the length of the path and around the

shapes. When off, major path divisions and shape

vertex spacing affects map coordinate spacing.

Map coordinates and Repeat values are applied

proportionally according to the path division

spacing or shape vertex spacing.

Before and after applying Normalize to loft

Materials group

Generate Material IDs—Creates Material IDs during

the loft process.

Use Shape IDs—Offers the choice of using the

spline material IDs to define the material IDs.

Note: Prior to version 3 of 3ds Max, splines could

not hold material IDs.

Note: ShapeIDsareinheritedfromshapecross

sections, not from the path spline.

Shape material IDs used to give the roadway two materials:

concrete for supports and railings, asphalt with white lines for

the traffic lanes

Output Group

Patch—Theloftingprocessproducesapatch

object.

Mesh—Theloftingprocessproducesamesh

object.Thisisthedefault,andwastheonlyoutput

type available with Loft in versions prior to version

3of3dsMax.

You can also create NURBS objects from lofting by

choosing Convert To: NURBS from the modifier

stack right-click menu (page 3–766).

Path Parameters Rollout

Select a path or shape. > Create panel > Geometry >

Compound Objects > Object Type rollout > Loft > Path

Parameters rollout

Select a path or shape. > Create menu > Compounds >

Loft > Path Parameters rollout

The Path Parameters rollout lets you control the

position of shapes at various intervals along the

path of the loft object.

Path Parameters Rollout 357

Interface

On the Path Parameters rollout, you control the

position of multiple shapes at different intervals

along the path of the loft object.

Path—Lets you set a path level by entering a value

or dragging the spinner. If Snap is on, the value

will jump to the previous snap increment. The

Path value depends on the selected measuring

method. Changing the measuring method causes

the Path value to change.

Inserting different shapes at different positions on the path

Snap—Lets you set a consistent distance between

shapes along the path. The Snap value depends

on the selected measuring method. Changing the

measuring method also changes the Snap value to

keep snap spacing constant.

On—When On is turned on, Snap is active.

Default=off.

Percentage—Expresses the path level as a

percentage of the total path length.

Distance—Expresses the path level as an absolute

distance from the first vertex of the path.

Path Steps—Places shapes on path steps and

vertices, rather than as a percentage or a distance

along the path.

When Path Steps is on, the following take place:

• The Path spinner specifies the step along the

path. The first step, at 0, is the first vertex.

• The total number of steps, including vertices,

appears in parentheses beside the Path spinner.

• The current path level is indicated by the

standard yellow X when it’s a step, and by a

small boxed X when it’s a vertex.

• Get Shape places a selected shape on the

specified step or a vertex of the path.

• Adaptive Path Steps on the Skin Parameters

rollout is unavailable. (If it were available, the

path steps and shapes would change positions

along the path, depending on the result of the

adaptive algorithm.)

Please note the following when using the Path

Steps option:

• When you switch to Path Steps with a loft object

that already contains one or more shapes, an

alert message tells you that this action may

relocate shapes. This is because there are a

limited number of path steps, and only one

shape can be on a single step or vertex. The

Percentage and Distance options, on the other

hand, provide an almost unlimited number of

levels on which to place shapes. Thus, if you

change from Percentage or Distance to Path

Steps, the shapes must be moved to existing

steps. If there are more shapes than can be

movedtonearbysteps,youcouldendupwith

more than one shape on a step. Switching from

Path Steps to either Percentage or Distance,

however,canalwaysbedonewithoutlossof

data.

358 Chapter 5: Creating Geometry

•IfyoualterthePathStepsspinnerwhileinPath

Steps mode, the location of your shapes might

change. An alert message warns you of this.

• If you animate the topology of the path while

in Path Steps mode (such as animating the

number of sides of an NGon), your shapes

might jump around trying to find a legitimate

position, and you could end up with more than

oneshapeonthesamepathlevel.

Pick Shape—Sets the current level at any shape

onthepath.Whenyoupickashapeonthepath,

Snap is turned off and Path is set to the level of

the picked shape, where a yellow X appears. Pick

Shape is available only from the Modify panel.

Previous Shape—Jumps the path level from its

current location to the previous shape along the

path. A yellow X appears at the current level.

Clicking this button turns Snap off.

Next Shape—Jumps the path level from its current

location to the next shape along the path. A yellow

X appears at the current level. Clicking this button

turns Snap off.

Skin Parameters Rollout

Select a path or shape. > Create panel > Geometry >

Compound Objects > Object Type rollout > Loft > Skin

Parameters rollout

Select a path or shape. > Create menu > Compounds >

Loft > Skin Parameters rollout

On the Skin Parameters rollout, you adjust the

complexity of the mesh of the loft object. You can

also optimize the mesh by controlling the face

count.

Procedure

Example: To use a constant cross-section:

1. Enlarge the Front viewport to full screen, and

then draw a Rectangle object (page 1–272) with

Ctrl held down to create a square about 20

x20units.

2. Create another rectangle beside it about 200 x

100 units.

3. Apply a Skew modifier to the large rectangle,

but don’t alter the Skew parameters.

4. Create a loft object in which the larger rectangle

isthepathandthesquareistheshape.

5. On the Modify panel, open the Skin Parameters

rollout,andturnonSkinintheDisplaygroup.

Youcannowseethewireframestructureof

the lofted rectangle, with cross-sectional sides

parallel to its corners.

Make sure the color assigned the loft object is

easily visible. Change it if necessary.

6. Turn off Constant Cross-Section, and observe

the corners.

When Constant Cross-Section is off, the

corners become pinched.

7. Turn on Constant Cross-Section to restore the

corners.

Acuteanglescancauseproblemswhenthecross

sections formed by the path steps intersect at

the corners. You can mitigate this by avoiding

acute angles or by reducing the path steps.

8. Press Hon the keyboard to display the

Select Objects dialog (page 1–78),andchoose

Rectangle02 (the second larger rectangle).

9. On the Skew panel, change the Skew Axis to Y,

and then set the Amount spinner to 95.

10.Use Zoom Region to zoom in on the upper-left

corner of the rectangle so you can see the mesh

in detail.

At a skew of less than 100, the acute angle still

works because the path cross-sections haven’t

intersected.

11.Set the Skew Amount to 300,andexaminethe

same corner.

Skin Parameters Rollout 359

At this angle, the path cross sections intersect,

causingproblemsinthemesh.

12.Select the loft object, and set the Path Steps to 1.

The cross sections no longer intersect, and the

corner is clean.

When creating straight-edge molding for

architectural modeling, you can avoid mangled

cornersbysimplyreducingthepathstepsto0.

Interface

Capping group

Cap Start—When on, the end of a loft at the first

vertex of the path is covered, or capped. When off,

the end is open, or uncapped. Default=on.

Cap End—When on, the end of a loft at the last

vertex of the path is covered, or capped. When off,

the end is open, or uncapped. Default=on.

Morph—Arranges cap faces in a predictable,

repeatable pattern necessary for creating morph

targets. Morph capping can generate long, thin

faces that do not render or deform as well as those

created with grid capping.

Grid—Arranges cap faces in a rectangular grid

trimmed at the shape boundaries. This method

produces a surface of evenly sized faces that can be

deformed easily by other modifiers.

Roadway lofted with capping turned off

Roadway lofted with capping turned on

Options group

Shape Steps—Sets the number of steps between

each vertex of the cross-section shapes. This value

affectsthenumberofsidesaroundtheperimeter

of the loft.

360 Chapter 5: Creating Geometry

Left: Shape Steps=0.

Right: Shape Steps=4.

Path Steps—Sets the number of steps between each

main division of the path. This value affects the

number of segments along the length of the loft.

Frame lofted with Path Steps=1

Frame lofted with Path Steps=5

Optimize Shapes—When on, the Shape Steps

settingisignoredforstraightsegmentsof

cross-section shapes. If multiple shapes are on the

path,onlystraightsegmentsthathaveamatchon

all shapes are optimized. Default=off.

Left: Optimize Shapes turned on

Right: Optimize Shapes turned off

Optimize Path—When on, the Path Steps setting is

ignored for straight segments of the path. Curved

sections respect the Path steps setting. Available

only with Path Steps mode. Default=off.

Skin Parameters Rollout 361

When Optimize Path is off, the lofted roadway uses more steps.

When Optimize Path is on, straight sections of the lofted

roadway don’t require additional steps.

Adaptive Path Steps—When on, analyzes the

loft and adapts the number of path divisions

to generate the best skin. Main divisions along

the path occur at path vertices, shape locations,

and deformation curve vertices. When off,

main divisions along the path occur only at path

vertices. Default=on.

Contour—When on, each shape follows the

curvature of the path. The positive Z axis of each

shape is aligned with the tangent to the path at the

shape’s level. When off, shapes remain parallel

and have the same orientation as a shape placed

at level 0. Default=on.

Lofting the roadway with Contour off causes it to twist.

Roadway lofted with Contour turned on

Banking—Whenon,shapesrotateaboutthepath

whenever the path bends and changes height in the

path’s local Z axis. The bank amount is controlled

by 3ds Max. Banking is ignored if the path is 2D.

When off, shapes do not rotate about their Z axis

as they traverse a 3D path. Default=on.

362 Chapter 5: Creating Geometry

Roadway lofted with Banking turned on

Constant Cross Section—When on, the cross

sections are scaled at angles in the path to maintain

uniform path width. When off, the cross sections

maintain their original local dimensions, causing

pinching at path angles.

Frame lofted with Constant Cross Section turned off

Frame lofted with Constant Cross Section turned on

Linear Interpolation—When on, generates a loft

skin with straight edges between each shape.

When off, generates a loft skin with smooth curves

between each shape. Default=off.

Left: Object lofted with Linear Interpolation turned off

Right: Object lofted with Linear Interpolation turned on

Flip Normals—When on, reverses the normals 180

degrees. Use this option to correct objects that are

inside-out. Default=off.

Quad sides—When on, and when two sections of

aloftobjecthavethesamenumberofsides,the

faces that stitch the sections together are displayed

as quads. Sides between sections with different

numbers of sides are not affected, and are still

connected with triangles. Default=off.

Deformations 363

Transform Degrade—Causes the loft skin

to disappear during sub-object shape/path

transformations. For example, moving a vertex

on the path causes the loft to disappear. When

off, you can see the skin during these Sub-Object

transformations. Default=off.

Display group

Skin—When on, displays a loft’s skin in all views

using any shading level and ignores the Skin In

Shaded setting. When off, displays only the loft

sub-objects. Default=on.

Skin in Shaded—When on, displays a loft’s skin in

shaded views regardless of the Skin setting. When

off, skin display is controlled by the Skin setting.

Default=on.

TheloftobjectnowretainstheSkinandSkinIn

Shaded settings from one loft object to the next

one created.

Deformations

Select a Loft object. > Modify panel > Deformations

rollout

Deformation controls let you scale, twist, teeter,

bevel or fit shapes along the path. The interface

for all deformations is a graph. Lines with control

points on the graph represent the deformations

along the path. Control points on the graphs can

bemovedoranimatedformodelingpurposesor

for various special effects.

Manually creating and placing shapes along the

path to produce these models would be a difficult

task. Lofts solve this problem through the use

of deformation curves. The deformation curves

define changes in scale, twisting, teetering, and

beveling along the path.

Yougainaccesstoloftdeformationcurves

throughtheModifypanel’sDeformationsrollout.

DeformationsarenotavailableintheCreatepanel.

You must open the Modify panel after you’ve lofted

to access the Deformations rollout, which offers

the following features:

• Each deformation button displays its own

deformation dialog.

• You can display any or all of the deformation

dialogs simultaneously.

• The button to the right of each deformation

buttonisatoggletoenableordisablethe

deformation’s effect.

Procedures

To apply deformations to a loft:

1. Select a loft object.

2. Go to the Modify panel and choose Loft from

the modifier stack display if it’s not already

displayed.

3. Expand the Deformations rollout.

4. Click the deformation that you want to use.

The window for the selected deformation

appears.

To toggle the deformation effect:

• Click Enable/Disable to the right of the

deformation buttons.

Interface

Deform Scale (page 1–364)

364 Chapter 5: Creating Geometry

Deform Twist (page 1–364)

Deform Teeter (page 1–365)

Deform Bevel (page 1–366)

Deform Fit (page 1–367)

Deformation Dialog (page 1–368)

Deform Scale

Select a Loft object. > Modify panel > Deformations

rollout > Scale

Youcanloftobjectssuchascolumnsandbugles

from a single shape that changes only its scale as it

travels along a path. Use Scale deformation when

you want to make these types of objects.

Tip: By animating scale, a loft object can appear to

travel along a path. Using this technique, you can

create animations in which letters or lines write

themselves onto the screen.

ThesearethepropertiesofScaledeformation

curves:

• The two curves are red for X-axis scaling and

green for Y-axis scaling.

• Default curve values are at 100%.

• Values greater than 100% make the shape larger.

• Values between 100% and 0% make the shape

smaller.

• Negative values scale and mirror the shape.

See Deformation Dialog (page 1–368) for specific

information on the dialog controls.

Scale deformation curve dialog

Procedure

To use Scale deformation:

1. Select a loft object.

2. Click Loft in the modifier stack display.

3. Click Scale on the Deformations rollout.

4. Edit the deformation curves for the X axis and

Yaxis.

Deform Twist

Select a Loft object. > Modify panel > Deformations

rollout > Twist

Twist deformation lets you create objects that

spiral or twist along their length. Twist specifies

the amount of rotation about the path.

Twist deformation curve dialog

Deform Teeter 365

Using twist to deform the lofted roadway

These are the properties of Twist deformation

curves:

• A single red curve determines shape rotation

about the path.

• The default curve value is 0 degrees of rotation.

• Positive values produce counterclockwise

rotation, when viewed from the start of the

path.

• Negative values produce clockwise rotation.

•Bothtwistdeformationandbankingproduce

rotation about the path. Twist rotation is added

to a shape after the banking angle is applied.

You can use Twist deformation to exaggerate or

reduce the amount of banking.

See Deformation Dialog (page 1–368) for specific

information on the dialog controls.

Procedure

To use Twist deformation:

1. Select a loft object.

2. Click Loft in the modifier stack display.

3. Click Twist on the Deformations rollout.

4. Editthesingledeformationcurvetospecify

rotation about the path.

Deform Teeter

Select a Loft object. > Modify panel > Deformations

rollout > Teeter

Teeter deformation rotates shapes about their local

X axis and Y axis. Teetering is what 3ds Max does

automatically when you select Contour on the Skin

Parameters rollout. Use Teeter deformation when

you want to manually control contour effects.

Teeter deformation curve dialog

Roadway lofted with no teeter

366 Chapter 5: Creating Geometry

Roadway lofted with teeter turned on. Teeter affects the X and

Y axis orientation of the shape in relation to the path.

ThesearethepropertiesofTeeterdeformation

curves:

• The two curves are red for X-axis rotation and

green for Y-axis rotation.

• Default curve values are at 0 degrees rotation.

•Positivevaluesrotatetheshape

counterclockwise about the shape’s

positive axis.

• Negativevaluesrotatetheshapeclockwise

about the shape’s positive axis.

See Deformation Dialog (page 1–368) for specific

information on the dialog controls.

Procedure

To use Teeter deformation:

1. Select a loft object.

2. Click Loft in the modifier stack display.

3. Click Teeter on the Deformations rollout.

4. Edit the deformation curves for X axis and Y

axis rotation.

Deform Bevel

Select a Loft object. > Modify panel > Deformations

rollout > Bevel

Roadway with beveled edges

Nearly every object that you encounter in the

real world is beveled. Because it is difficult and

expensive to manufacture a perfectly sharp edge,

most objects are created with chamfered, filleted,

or eased edges. Use Bevel deformation to simulate

these effects.

Note: Bevelisnotavailablewhenloftoutputisset

to Patch.

ThesearethepropertiesofBeveldeformation

curves:

•Thesingleredcurveisforbevelamount.

• Bevel values are specified in current units.

• The default curve value is 0 units.

• Positive values reduce the shape, bringing it

closer to the path.

• Negativevaluesaddtotheshape,movingit

away from the path.

When shapes are nested, the bevel direction is

reversed for interior shapes.

See Deformation Dialog (page 1–368) for specific

information on the dialog controls.

Deform Fit 367

Normal and Adaptive Beveling

The Bevel Deformation dialog provides three

types of beveling: Normal, Adaptive Linear, and

AdaptiveCubic.Theseareavailablefromaflyout

at the right end of the dialog toolbar.

With normal beveling, the beveled shape

remains parallel to the original, regardless of the

crotch angle of the shape. Steep crotch angles

combined with excessive bevel amounts result in

overshooting at the crotch.

Adaptive beveling alters the length of the bevel

shapebasedonthecrotchangle.AdaptiveLinear

alters the length-to-angle in a linear fashion.

Adaptive Cubic alters it more on steep angles than

on shallow angles, producing a subtly different

effect. Both forms of adaptive beveling result in

nonparallel beveled edges, and both are less likely

to produce invalid bevels due to overshoots at the

crotch.

To see the differences in the three types of beveling,

loft a star shape along a straight path and apply

a bevel. When you switch among the three types

of beveling, you’ll see the difference in the bevel

outline. Alter one radius of the star to examine

thebevelingwithshallowandwithsharpcrotch

angles.

Procedure

To use Bevel deformation:

1. Select a loft object.

2. Click Loft in the modifier stack display.

3. Click Bevel on the Deformations rollout.

4. Adjust the deformation curve.

Deform Fit

Select a Loft object. > Modify panel > Deformations

rollout > Fit

Fit curves define a lofted shape.

Fit deformation lets you use two Fit curves to

definethetopandsideprofilesofyourobject.Use

Fitdeformationwhenyouwanttogenerateloft

objects by drawing their profiles.

Fit shapes are really scale boundaries. As your

cross-section shape travels along the path, its X

axis is scaled to fit the boundaries of the X-axis fit

shape and its Y axis is scaled to fit the boundaries

of the Y-axis fit shape.

Note: Fitisnotavailablewhenloftoutputissetto

Patch.

Procedure

To use Fit deformation:

1. Select a loft object.

2. Click Loft in the modifier stack display.

3. Click Fit on the Deformations rollout.

4. Select shapes in the viewport to use as fit curves.

368 Chapter 5: Creating Geometry

Interface

Fit Deformation dialog

The Fit Deformation dialog contains different

buttons than the other deformations. For

descriptions of the first eight buttons on the

toolbar, see Deformation Dialog (page 1–368).The

following descriptions apply to the tools specific to

Fit deformation, and are listed from left to right in

the order they appear on the toolbar.

Fit Deformation toolbar

Mirror Horizontally—Mirrorstheshapeacrossthe

horizontal axis.

Mirror Vertically—Mirrorstheshapeacrossthe

vertical axis.

Rotate 90 CCW—Rotates the shape 90 degrees

counterclockwise.

Rotate 90 CW—Rotates the shape 90 degrees

clockwise.

Delete Control Point—Deletes the selected control

point.

Reset Curve—Replaces the displayed Fit curve with

a rectangle 100 units wide and centered on the

path. If Make Symmetrical is on, both Fit curves

are reset even though only one might be displayed.

Delete Curve—Deletes the displayed Fit curve.

IfMakeSymmetricalison,bothFitcurvesare

deleted even though only one might be displayed.

Get Shape—Lets you select the shape to use for Fit

deformation. Click Get Shape, and then click the

shape to use in a viewport.

Generate Path—Replacestheoriginalpathwitha

new straight-line path.

Deformation Dialog

Select a Loft object. > Modify panel > Deformations

rollout > Scale, Twist, Teeter, Bevel, or Fit

The Deformation dialogs for Scale, Twist, Teeter,

Bevel, and Fit use the same basic layout. The

buttons in the window’s toolbar and prompt area

perform the following functions:

• Changedeformationcurvedisplay.

• Edit control points (these can be animated).

• Navigate the Deformation dialog.

Editing Deformation Curves

A deformation curve starts as a straight line using

a constant value. To produce more elaborate

curves, you insert control points and change their

properties.

Use the buttons in the center of the Deformation

dialog toolbar to insert and change deformation

curve control points (see Interface, later in this

topic).

Control Point Types

Control points on a deformation curve can

produce curves or sharp corners, depending on

the control point type. To change a control point

type, right-click the control point and choose one

of these from the shortcut menu:

•Corner—Non-adjustable linear control point

producing a sharp corner.

•Bezier Corner—Adjustable Bezier control point

with discontinuous tangent handles set to

Deformation Dialog 369

produce a sharp corner. This type produces a

curvethatlookslikethecornertypebuthas

control handles like the Bezier Smooth type.

•Bezier Smooth—Adjustable Bezier control point

with locked continuous tangent handles set to

produce a smooth curve.

Selecting Control Points

Use the Move Control Point and Scale Control

Point buttons with standard selection techniques

to select control points.

Procedures

To drag Bezier tangent handles:

1. SelectoneormoreBezierSmoothorBezier

Corner control points to display their tangent

handles.

2. Click one of the Move Control Point buttons.

3. Drag any tangent handle.

• Only the tangent handle you drag is affected.

Tangent handles on other selected control

points do not change.

• If the tangent handle you drag is part of a

Bezier Smooth control point, both handles

move to maintain the Bezier Smooth type.

• If the tangent handle you drag is part of

a Bezier Corner control point, only that

handle moves.

To move a control point using the Position and

Amount fields:

1. Select a single control point.

2. Do one of the following:

• Move the control point horizontally by

entering a value in the Position field.

• Move the control point vertically by entering

a value in the Amount field.

To change the control point type:

You can change control point types at any time by

right-clicking a selection of one or more control

points.

1. Selectoneormorecontrolpoints.

2. Right-click any selected control point.

3. Choose a control point type from the shortcut

menu.

The following conditions apply to changing

control point types:

• The first and last control points must use the

Corner or Bezier Corner type.

•ConvertingaBezierSmoothpointtoa

Bezier Corner point unlocks the tangent

handles but does not change their position.

The curve appears smooth until you drag

one of the tangent handles.

• Converting a Bezier Corner point or inserted

Bezier point to Bezier Smooth locks the

tangent handles and changes their position

and magnitude. The handles are rotated to

the average between their two angles. The

handle magnitudes are averaged and set

equal.

Interface

Toolbar

Buttons for working with a second curve are

disabled for the Twist and Bevel deformations,

which use only one curve. The disabled buttons

370 Chapter 5: Creating Geometry

areMakeSymmetrical,DisplayXAxis,DisplayY

Axis, Display XY Axes, and Swap Deform Curves.

Make Symmetrical—Yo u c a n a pp l y t h e s a m e

deformation to both axes of a shape using Make

Symmetrical, which is both an action button

and a curve editing mode. Turning on Make

Symmetrical has the following effect:

• When a single curve is displayed, it copies the

displayed deformation curve to the curve for

the hidden axis.

• When both axes are displayed, the Apply

Symmetrydialogisalsodisplayed.Clickthe

button for the curve you want to apply to both

axes.

• Changes you make to the selected curve are

duplicated on the other curve.

When Make Symmetrical is not active, curve

editing is applied only to the selected curve.

Display X Axis/Y Axis/XY Axes—Yo u c a n d i s p l a y

one or both deformation curves using the curve

display buttons near the upper-left corner of the

Deformation dialog.

Turn on the following buttons to display

deformation curves:

•Display X Axis—Displays only the X axis

deformation curve in red.

•Display Y Axis—Displays only the Y axis

deformation curve in green.

•Display XY Axes—Displays X axis and Y axis

deformation curves together, each using its

own color.

Swap Deform Curves—Copies curves between the

X axis and Y axis. This button has no effect when

Make Symmetrical is on.

Click Swap Deform Curves to copy the X axis

curve to the Y axis, and the Y axis curve to the X

axis. It doesn’t matter which curve is currently

displayed or selected.

Move Control Points—This flyout contains three

buttons for moving control points and Bezier

handles:

•Move Control Point—Changes the amount

of deformation (vertical movement) and

the location of the deformation (horizontal

movement).

•Move Vertical—Changes the amount of

deformation without changing the location.

•Move Horizontal—Changes the location of the

deformation without changing the amount.

If one control point is selected, you can move it by

entering values in the control point Position and

Amount fields at the bottom of the Deformation

dialog.

You cannot move end points horizontally.

Intermediate control points are constrained

horizontally to stay between the points on either

side. The amount of horizontal constraint is

determined by the control point type.

• You can move corner control points very close

together, until one is directly above the other.

• You can move Bezier control points no closer

than the length of their tangent handles.

Moving Bezier Tangent Handles—Yo u c a n u s e t h e

Move Control Point buttons to drag a tangent

handle’s angle and magnitude on Bezier Smooth

and Bezier Corner vertices.

Dragging a tangent handle has the following

constraints:

• You cannot move tangent angles beyond

vertical. This prevents deformation curves

from doubling back on themselves.

• You cannot move tangent magnitudes beyond

the preceding or next control point on the path.

Pressing Shift while moving a Bezier Smooth

tangent handle converts the control point to a

Bezier Corner type.

Deformation Dialog 371

Scale Control Point—Scales the value of one or

more selected control points with respect to 0. Use

this function when you want to change only the

deformation amounts of selected control points

while maintaining their relative ratio of values.

•Dragdownwardtoreducevalues.

•Dragupwardtoincreasevalues.

Insert Control Point—This flyout contains buttons

for inserting two control point types.

Insert Corner Point—Click anywhere on a

deformation curve to insert a corner control point

at that location.

Insert Bezier Point—Click anywhere on a

deformation curve to insert a modified Bezier

control point at that location. The tangent handles

of the Bezier control point are set to maintain the

shapeofthecurvebeforethepointwasinserted.

If you are not sure which type of control point

you need, or if you change your mind, you can

convert the point to another type by right-clicking

thepointandselectingthetypefromtheshortcut

menu.

Both Insert Control Point buttons put you in

insertion mode. Right-click or choose another

button to exit the mode.

Delete Control Point—Deletes selected control

points. You can also delete selected points by

pressing the DELETE key.

Reset Curve—Deletes all but the end control points

and sets the curves back to their default values.

Bevel Type—This flyout, available only in the Bevel

Deformation dialog, lets you choose Normal,

Adaptive Linear or Adaptive Cubic as the bevel

type. For more information, see Deform Bevel

(page 1–366).

Deformation grid

TheareaintheDeformationdialogthatdisplays

the deformation curves is called the deformation

grid. This grid charts the value of the deformation

along the length of the path.

These are the main grid components:

Active area—The light-colored area of the grid

defines the first and last vertex boundaries of

the path. The ends of the deformation curve lie

on each boundary and cannot be moved off the

boundary.

Horizontal lines—Mark deformation values on

the vertical scale. The following table lists each

deformation curve type and the meaning of the

deformation values.

Deformation Type Deformation Value

Scale Percentage

Twist Rotation Angle

Teeter Rotation Angle

Bevel Current Units

The thick horizontal line at 0 represents the

deformation value at the loft path.

Vertical lines—Mark levels of the path. The levels

displayed vary with the Adaptive Path Steps setting

on the Skin Parameters rollout (page 1–358).

IfAdaptivePathStepsison,levelsaredisplayedat

all path vertices and shape locations.

IfAdaptivePathStepsisoff,levelsaredisplayed

only at path vertices.

Path ruler—Measures the length of the path. The

valuesontherulermeasurepercentagealongthe

path. You can drag the path ruler vertically in the

Deformation dialog.

Deformation curves—Yo u c a n s e e o n e o r t w o

curves in the Deformation dialog, based on the

372 Chapter 5: Creating Geometry

deformationtypeandthecurvedisplaysetting.

The curves are color-coded by axis.

A red curve displays deformation along the shape’s

local X axis. A green curve displays deformation

alongtheshape’slocalYaxis.

Control Point fields—At the bottom of the

Deformation dialog are two edit fields. When a

single control point is selected these fields display

the path location and deformation amount of the

control point.

Control Point Position—The left field displays the

location of the control point on the loft path as a

percentage of the total path length.

Control Point Amount—The right field displays the

deformation value of the control point.

Deformation Dialog status bar

The Deformation dialogs have their own view

navigation buttons in the lower-right corner.

Thesegiveyoucontrolsforzoomingandpanning

the view of the deformation grid as you edit

the curve values. The status bar also displays

information about the current tool and the selected

control point.

Numeric fields—These two fields are accessible only

if a single control point is selected. The first gives

the point’s horizontal position, and the second

gives its vertical position, or value. You can edit

these fields with the keyboard.

Lock Aspect—This button is present only in the

Fit Deformation dialog. When active, it restricts

zooming to vertical and horizontal at the same

time.

Zoom Extents—Changes the view magnification so

theentiredeformationcurveisvisible.

Zoom Horizontal Extents—Changes the view

magnification along the path length so the entire

path area is visible in the dialog.

Zoom Vertical Extents—Changes the view

magnification along the deformation values so the

entire deformation curve is displayed in the dialog.

Zoom Horizontally—Changes magnification along

the path length.

• Dragtotherighttoincreasemagnification.

• Drag to the left to decrease magnification.

Zoom Vertically—Changes magnification along the

deformation value.

• Drag upward to increase magnification.

• Drag downward to decrease magnification.

Zoom—Changes magnification along both the

path length and the deformation value, preserving

the curve aspect ratio.

• Drag upward to increase magnification.

• Drag downward to decrease magnification.

Zoom Region—Dragaregiononthedeformation

grid. The region is then magnified to fill the

deformation dialog.

Pan—Drag in the view to move in any direction.

Scroll bars—Drag the horizontal and vertical scroll

bars to pan the view in a single direction.

Path Commands

Select a Loft object. > Modify panel > Modifier stack

display > Sub-object level > Path > Path Commands

ThePathCommandsrolloutappearsonlywhen

you are modifying an existing loft object and have

selected Path from the Sub-Object list. The Put

command allows you to make a copy or instance

of the loft path.

Shape Commands 373

Interface

Put group

Put—Places the path into the scene as a separate

object (as a Copy or Instance).

Shape Commands

Select a Loft object. > Modify panel > Modifier stack

display > Sub-object level > Shape > Shape Commands

rollout

These controls let you align and compare shapes

along the loft path.

Interface

Path Level—Adjuststheshape’spositiononthe

path.

Compare—Displays the Compare dialog (page

1–374) in which you can compare any number of

cross-section shapes.

Reset—Undoes rotation and scale of the shape

performedwiththeSelectandRotateorSelect

and Scale.

Delete—Deletes the shape from the loft object.

Align group

Thesixbuttonsinthisgroupletyoualignthe

selectedshapeinrelationtothepath. Looking

down at a shape from the viewport in which it’s

created, the orientation is left to right along the X

axis, and top to bottom along the Y axis.

Yo u c a n u s e a c o m b i n a t i o n o f t h e s e b u t t o n s

forplacementssuchascorneralignment. The

operations are additive. In other words, you can

use both Bottom and Left to place the shape in the

lower-left quadrant.

Center—Centers the shape on the path, based on

the bounding box of the shape.

Default—Returns the shape to its position when

first placed on the loft path. When you use Get

Shape, the shape is placed so that the path goes

through its pivot point. This is not always the

same as the center of the shape. Therefore, clicking

Center is different than clicking Default.

Left—Alignstheleftedgeoftheshapetothepath.

Right—Aligns the right edge of the shape to the

path.

Top—Alignsthetopedgeoftheshapetothepath.

Bottom—Alignsthebottomedgeoftheshapeto

the path.

Put group

Put—Puts the shape into the scene as a separate

object.

374 Chapter 5: Creating Geometry

Compare Dialog

Select a Loft object. > Modify panel > Modifier stack

display > Sub-object level > Shape > Shape Commands

rollout > Compare button

The Compare dialog lets you compare any number

of cross-section shapes in a loft object for purposes

of making sure their first vertices are properly

aligned. Ifshapes’firstverticesaren’taligned,

unexpected lofting results can occur.

Interface

Pick Shape—Lets you select shapes to display from

the selected loft object. Click the Pick Shape

button in the upper-left corner of the dialog. Then,

in the viewport, select the shapes to display. Select

ashapeasecondtimetoremoveitfromthedisplay.

When you position the mouse cursor over a shape

in the loft object, the cursor image changes to

show whether the shape appears in the dialog

window: a + sign appears if the shape isn’t selected

(indicating that if you select the shape, it will be

added to the dialog window), and a - sign appears

if the shape is already selected.

With each shape, the Compare dialog displays the

first vertex as a small square. For correct lofting,

the first vertices of all shapes on the path need to

be in the same position.

Reset—Removes all shapes from the display.

Dialog controls

You can scroll the Compare dialog with the scroll

bars at the bottom and right sides. You can also use

the buttons in the lower-right corner to perform

View Extents, Pan, Zoom, and Zoom Region

functions.

Align group

WhiletheComparedialogisopen,youcanaffect

the shapes’ positions in the dialog window with the

Shape Commands rollout > Align group buttons.

Turn off Pick Shape, select a shape in the viewport,

and then click the Align group buttons. See Shape

Commands (page 1–373) for further information.

Mesher Compound Object

Create panel > Geometry > Compound Objects > Object

Type rollout > Mesher

Create menu > Compound > Mesher

The Mesher compound object converts procedural

objects to mesh objects on a per-frame basis so

that you can apply modifiers such as Bend or

UVW Map. It can be used with any type of object,

but is designed primarily to work with particle

systems (page 2–237).Mesherisalsousefulfor

low-overhead instancing of objects with complex

modifier stacks.

Mesher Compound Object 375

Procedure

To use a Mesher object:

1. Add and set up a particle system.

2. Click the Create panel> Geometry >

Compound Objects > Object Type rollout >

Mesher button.

3. DraginaviewporttoaddtheMesherobject.

The size doesn’t matter, but the orientation

shouldbethesameasthatoftheparticle

system.

4. Go to the Modify panel, click the Pick Object

button, and then select the particle system.

The Mesher object becomes a clone of the

particlesystem,andshowstheparticlesasmesh

objectsintheviewportsnomatterwhatthe

particle system’s Viewport Display setting is.

5. Apply a modifier to the Mesher object, and set

its parameters. For example, you might apply

a Bend modifier and set its Angle parameter

to 180.

6. Play the animation.

Depending on the original particle system and

its settings, as well as any modifiers applied

to the Mesher object, you might be getting

unexpected results. This typically occurs

because the bounding box for the modifier, as

applied to the particle system, is recalculated

at each frame. For example, with a bent Super

Spray particle system set to spread out over

time,astheparticlesstreamawayandseparate,

the bounding box becomes longer and thicker,

potentially causing unexpected results. To

resolvethis,youcanuseanotherobjectto

specify a static bounding box.

7. To use another object’s bounding box to limit

the modified Mesher object, first add and set

up the object. Its position, orientation, and size

are all used in calculating the bounding box.

8. SelecttheMesherobject,andgototheMesher

stack level.

9. In the Parameters rollout, turn on Custom

Bounding Box, click the Pick Bounding box

button, and then select the bounding box

object.

Theparticlestreamusesthenew,static

bounding box.

Tip: Yo u c a n u s e a n y o b j e c t a s a b o u n d i n g b o x ,

so it is often fastest to use the particle system

itself. Movetotheframewheretheparticle

system is the size you want and pick it.

In the following illustration, you can see a Super

Spray particle system (left) and a Mesher object

derived from the Super Spray (right). A Bend

modifier is applied to the Mesher. In the center

isaboxobjectbeingusedasacustombounding

box. The bounding box applied to the Bend

modifier is visible as an orange wireframe when

the modifier is highlighted in the stack.

Using a custom bounding box with a bent particle system

To modify the particles aspect of the Mesher,

edit the original particle system.

To m o d i f y t h e c u s t om b o u n d i n g b o x , m o ve ,

rotate,orscaletheboundingboxobject,and

then reapply it using the Mesher object.

At this point, both particle systems will render.

The original particle system must exist in order

376 Chapter 5: Creating Geometry

to be able to be used by the Mesher object, so

if you want only the Mesher replica to render,

hidetheoriginalsystembeforerendering.

Interface

Parameters rollout

Pick Object—Click this button and then select the

object to be instanced by the Mesher object. After

doingso,thenameoftheinstancedobjectappears

on the button.

Time Offset—The number of frames ahead of

or behind the original particle system that the

Mesher’s particle system will run. Default=0.

Build Only At Render Time—When on, the Mesher

results do not appear in the viewports, but only

when you render the scene. Default=off.

Usethisoptiontoreducetheamountof

computation required for the viewport display.

Update—After editing the original particle system

settings or changing the Mesher Time Offset

setting, click this button to see the changes in the

Mesher system.

Custom Bounding Box—When on, Mesher

replaces the dynamic bounding box derived from

theparticlesystemandmodifierwithastatic

bounding box of the user’s choice.

Pick Bounding Box—To specify a custom bounding

box object, click this button and then select the

object.

Thecustomboundingboxappearsasanorange

wireframe when the modifier is highlighted in the

stack.

Tip: You can use any object as a bounding box, so

it is often fastest to use the particle system itself.

Movetotheframewheretheparticlesystemisthe

size you want and pick it.

(coordinate values)—Displays the coordinates of

theoppositecornersofthecustomboundingbox.

Use All PFlow Events—When on, and you’ve applied

Mesher to a Particle Flow (page 2–109) system,

Mesher automatically creates mesh objects for

every event (page 3–935) in the system.

To use only certain events, turn this off and specify

the events to use with the PFlow Events group

controls (see following).

ProBoolean/ProCutter Compound Objects 377

PFlow Events group

When the Mesher object is applied to a Particle

Flow system, use these controls to create meshes

for specific events in the system. Mesher does not

create meshes for the remaining events.

[list box]—Displays all Particle Flow events

currently affected by Mesher.

Add—Lets you specify Particle Flow events to be

affected by Mesher.

If the Mesher object is applied to a Particle Flow

system, when you click Add, an Add PF Events

dialog opens listing all events in the system.

Highlight the events to add, and then click OK.

Theeventsnowappearinthelist.

Remove—Deletes highlighted events from the list.

ProBoolean/ProCutter

Compound Objects

The ProBoolean and ProCutter compound objects

provide you with modeling tools for combining 2D

and3Dshapesinwaysthatwouldbedifficultor

impossible otherwise. The ProBoolean compound

object (page 1–378) takesa3dsMaxmeshandadds

extra intelligence to it prior to performing Boolean

operations. First it combines the topologies, then

it determines coplanar triangles and removes

incident edges. The Booleans are then performed

not on triangles but N-sided polygons. Once the

Boolean operations are completed, the result is

retriangulated and sent back into 3ds Max with

coplanar edges hidden. The result of this extra

work is twofold: The reliability of the Boolean

object is extremely high, and the resulting output

is much cleaner in terms of having fewer small

edges and triangles.

Advantages of ProBoolean over the legacy 3ds Max

Boolean compound object include:

•Better quality mesh - fewer small edges, fewer

narrow triangles.

•Smaller mesh - fewer vertices and faces.

•Easier and faster to use - unlimited objects per

Boolean operation.

•Cleaner-looking mesh -coplanaredges

remain hidden.

•Integrated decimation and quad meshing

In addition, ProCutter (page 1–388) is an excellent

tool for exploding, breaking apart, assembling,

sectioning, or fitting together objects such as a

3D puzzle. See the following illustration for an

example of a goblet shattering.

378 Chapter 5: Creating Geometry

See also

ProBoolean Compound Object (page 1–378)

ProCutter Compound Object (page 1–388)

Quad Meshing and Smoothing (page 1–392)

ProBoolean Compound Object

Select an object. > Create panel > Geometry > Compound

Objects > Object Type rollout > ProBoolean

A Boolean object combines two or more other

objectsbyperformingaBooleanoperationor

operations on them. ProBoolean adds a range of

functionality to the traditional 3ds Max Boolean

object, such as the ability to combine multiple

objects at once, each using a different Boolean

operation. ProBoolean can also automatically

subdivide the Boolean result into quadrilateral

faces, which lends itself well to smoothing edges

with MeshSmooth (page 1–722) and TurboSmooth

(page 1–868).

Materials, Textures, Vertex Colors

ProBoolean and ProCutter transfer texture

coordinates, vertex colors, optionally materials,

and maps from the operands to the final results.

You can choose to apply the operand material to

the resulting faces, or you can retain the original

material. If one of the original operands had

material maps or vertex colors, the resulting

faces derived from that operand maintain those

graphical attributes. However, when texture

coordinates or vertex colors are present, it is

impossible to remove coplanar faces, so the

resulting mesh quality will be lower. We suggest

that you apply textures after the ProBoolean

operations.

ProBoolean provides two options for applying

materials. You can see these two options in the

Apply Material group on the Parameters panel

(see above illustration). The default choice is

Apply Operand Material. This option applies the

operand material to the resulting faces. Choosing

Retain Original Material causes the resulting faces

to use the material of the first selected object in

the Boolean operation.

You can see the difference in the following

illustration. The Boolean operation starts with

a red box and a blue sphere. The box is used as

thebaseobjectandthesphereisthesubtracted

operand. Using the default Apply Operand

Material option gives the result shown in the center

of the illustration. Choosing Retain Original

Material yields the result shown on the right side

of the illustration.

ProBoolean Compound Object 379

Supported Boolean Operations

ProBoolean supports Union, Intersection,

Subtraction, and Merge. The first three operations

work similarly to their counterparts in the

standard Boolean compound object. The Merge

operation intersects and combines two meshes

without removing any of the original polygons.

This can be useful for cases in which you need to

selectively remove parts of the mesh.

Also supported are two variants of the Boolean

operations: Cookie Cutter and Imprint. Cookie

Cutter performs the specified Boolean operation

butdoesnotaddthefacesfromtheoperandsinto

the original mesh. It can be used to cut a hole

in a mesh or to get the portion of a mesh inside

of another object. The Imprint option inserts

(imprints) the intersection edges between the

operands and the original mesh without removing

or adding faces. Imprint only splits faces and adds

new edges to the mesh of the base object (original

selected object).

Editing the Boolean Object

When you access a ProBoolean or ProCutter object

from the Modify panel, you can add operands

totheexistingset. Youcanalsoremoveand

transform (move, rotate, etc.) operands.

Polygon Reduction

ProBoolean and ProCutter have a built-in

decimation function. Typically, decimation is of

better quality if it is integrated with the Boolean

operations.ThereasonforthisisthattheBoolean

object contains meta-information about which

edges are intersection edges. The decimation

function takes this information into account and

uses it to properly maintain intersection edges.

Text, Lofts and NURBS

When performing Boolean operations with text

objects (page 1–278),makesurecharactersdon’t

intersect each other and that each letter is closed.

Also, it’s easy to inadvertently create loft objects

(page 1–352) and NURBS objects (page 1–1078) in

such a way as to have self-intersections. With loft

objects, check the ends and points where the loft

curve bends.

See also

ProCutter Compound Object (page 1–388)

Procedures

To create a ProBoolean compound object:

1. Set up objects for the Boolean operation. For

example, to subtract spherical shapes from a

box, create the box and spheres and arrange the

spheres so that their volumes intersect the box

where the subtractions should take place.

2. Select the base object. In the example in step 1,

you would select the box.

3. On the Create panel > Geometry section,

choose Compound Objects from the

drop-down list, and then click ProBoolean.

4. On the Parameters rollout, choose the type of

Boolean operation you want to use: Union,

Intersection, Subtraction, etc. Also choose

how the software will transfer the next operand

you pick into the Boolean object: Reference,

Copy, Move, or Instance. You can also choose

to retain the original material, or keep the

default Apply Material choice: Apply Operand

Material.

5. Click the Start Picking button.

6. Pickoneormoreobjectstoparticipateinthe

Boolean operation.

7. As you pick objects, you can also change,

for each newly picked object, the Boolean

operation (Merge, etc.) and options (Cookie

or Imprint), as well as how the next operand is

transferred to the Boolean (Reference, Copy,

etc.) and the Apply Material choice. You

380 Chapter 5: Creating Geometry

can continue picking operands as long as the

Start Picking button stays pressed in. Each of

the objects you pick is added to the Boolean

operation.

When the Modify panel is active, you can

add objects to a selected ProBoolean object

by clicking the Start Picking button and then

pickingtheobjectstoadd.

Example: To change an existing Boolean with

sub-object operations:

ProBoolean offers a great deal of flexibility

in combining various Boolean operations

simultaneously, plus the ability to change the way

operands combine both as you build the Boolean

object and after the fact.

1. Startbyaddingabox,asphere,asmaller

box, and a cylinder, as shown in the following

illustration.

Top: Front viewport

Bottom: Perspective viewport

2. Select the box.

3. On the Create panel > Geometry section,

choose Compound Objects from the

drop-down list, and then click ProBoolean.

4. On the Parameters rollout, in the Operation

group, choose Intersection.

5. On the Pick Boolean rollout, click Start Picking,

and then click the sphere.

ProBoolean Compound Object 381

The result is the intersection of the sphere and

thebox;thatis,asingleobjectthatrepresents

the common volume both objects occupy. In

this case, it’s the overlap of the sphere and the

box. Although neither has a material at this

point, the result uses the default color originally

assigned by the software, at random, to the box

when it was created.

Note that Start Picking stays active (yellow).

This means you can continue picking objects to

incorporate into the Boolean object, optionally

changing the operation as you go.

6. Set Operation to Union, and then click the

small box.

The result is the union (adding) of the small

box with the intersection of the sphere and

larger box. Again, the original object’s color is

assigned to the result.

7. Set Operation to Subtraction, and then click

the cylinder.

Thecylinder’sintersectingvolumeissubtracted

from the previous Boolean result.

Note that the entire history of operands

and operations used to build the Boolean

object is listed in the hierarchy view list at

the bottom of the Parameters rollout. Box01

starts the Boolean with Union, Sphere01 is

then incorporated with Intersection, Box02

is incorporated with Union, and finally

Cylinder01 is incorporated with Subtraction.

Note: The operation for the first object in the

list has no effect on the Boolean object, but if

you move it to another position in the list it

does. You’ll see an example of this at the end of

this exercise.

You can use the list and the other controls in

the Sub-object Operations group to change the

results.

8. In the list, highlight the Subtr - Cylinder01

entry, and then set Operation to Union.

9. In the Sub-object Operations group, click the

Change Operation button.

As a result of the change of operation, the

cylinder appears in the Boolean object as an

additive volume instead of a subtractive one.

Also, its entry in the list changes to “Union

- Cylinder01”, showing that the Boolean

operation for the cylinder is now Union.

382 Chapter 5: Creating Geometry

You can also change the order of the operations,

which can affect the results.

10.In the list, click the Union - Cylinder01 entry to

remove the highlighting, and then highlight the

entry 1: Inter - Sphere01.

Note that its position in the list, 1, appears in the

editable field next to the Reorder Ops button.

11.Change the value in the field from 1 to 3,and

then click the Reorder Ops button.

The Inter - Sphere01 item jumps to the end of

the list.

The Boolean object changes significantly. The

new order in the list tells you how this shape was

achieved: The two boxes and the cylinder were

all combined with Union, adding their volumes

together, and then the sphere was incorporated

into that result with Intersection, leaving only

the volume shared by all four objects.

Interface

Modifier stack

With an unmodified ProBoolean object selected,

the modifier stack shows a single, expandable

entry: ProBoolean.

Expandingthisentry(byclickingthe+icon)

reveals a single subsidiary branch: Operands.

ProBoolean Compound Object 383

To transform operands in the ProBoolean

object independent of the entire object, click the

Operands branch to highlight it.

You can then select one or more operands, either

by using standard selection methods in the

viewport, or by highlighting their names in the

hierarchy view (page 1–386) list at the bottom of

the Parameters rollout.

When one, and only one, operand is selected, the

object type (not its name) appears as a separate

stack entry below the ProBoolean entry. Clicking

this entry provides direct access to the operand’s

parameters on the Modify panel.

If Parameters rollout > Display is set to Result,

selecting an operand displays the operand’s

axis tripod or transform gizmo in the viewport,

although the operand itself is not visible by default.

To view the operand, set Parameters rollout >

Display to Operands.

384 Chapter 5: Creating Geometry

Whetherornottheoperandsarevisible,youcan

transform and animate them at the Operands

sub-object level, as with any other object in

3ds Max.

You can also transform and animate the base

object; that is, the first object in the hierarchy view

list.

Pick Boolean rollout

Start Picking—Click this and then click each

operand to transfer to the Boolean object in turn.

Before picking each operand, you can change

the Reference/Copy/Move/Instance choice, the

Operation options, and the Apply Material choice.

Tip: When you’re adding many operands to

a Boolean object using the default settings,

calculating the result each time you pick an object

canslowdowntheprocess.Tomaintainoptimum

feedback, set Parameters rollout > Display to

Operands. Then, when you’re finished, set it back

to Result. Alternatively, on the Advanced Options

rollout set Update to Manually, and then click the

Update button to view the results after performing

the Boolean operations.

Choose a radio button to specify how the next

operand you pick is transferred to the Boolean

object:

•Reference—The Boolean operation uses a

reference (page 3–1002) to the picked operand,

so the object remains after being incorporated

into the Boolean object. Future modifications

to the originally picked object will also modify

theBooleanoperation. UseReferenceto

synchronize modifier-induced changes to the

original operand with the new operand, but not

vice-versa.

•Copy—The Boolean operation uses a copy of

the picked operand. The selected object is

unaffected by the Boolean operation, but a copy

of it participates in the Boolean operation.

•Move—The picked operand becomes part of the

Boolean operation and is no longer available

as a separate object in the scene. This is the

default choice.

•Instance—The Boolean operation makes an

instance (page 3–957) of the selected object.

Future modifications of the selected object will

also modify the instanced object participating

in the Boolean operation and vice-versa.

ProBoolean Compound Object 385

Parameters rollout

Operation group

These settings determine how the Boolean

operands interact physically.

Union—Combines two or more separate entities

into a single Boolean object.

Intersection—Creates a "new" object from the

physical intersection between the original objects;

the non-intersecting volumes are removed.

Subtraction—Removes the volume of a selected

object from the original object.

Merge—Combines objects into a single object

without removing any geometry. New edges are

created where the objects intersect.

Note: In the following illustration, the display

property Backface Cull was turned off so that all

edges are visible.

Left: Original object (box) and operand (small box)

Center: Union operation; part of the smaller box is removed.

Right: Merge operation, showing new edges at intersection

Cookie—Cuts the faces of the original mesh shape,

affecting only those faces. The faces of the selected

operand are not added to the Boolean result.

1. Original object (box) and operand (sphere)

2. Standard Subtraction operation

3. Subtraction with Cookie on

4. Standard Intersection operation

5. Intersection with Cookie on

Imprint—Prints the outline of the shape (or

intersection edges) onto the original mesh object.

Left: Original object (box) and operand (text)

Center: Standard Subtraction operation

Right:SubtractionwithImprint

Note: The result of the Imprint operation is always

the same; the main Operation choice has no effect

on it.

386 Chapter 5: Creating Geometry

Display—Choose one of the following display

modes:

•Result—Displays only the result of the Boolean

operations, not the individual operands.

Choosing Result also activates the ProBoolean

level in the modifier stack (page 1–382).

•Operands—Displays the operands that define

the Boolean result. Use this mode to edit the

operands and modify the result.

Choosing Operands also activates the Operands

level in the modifier stack (page 1–382).

Also,whenpickingmanyoperands,usethis

mode to avoid having to recalculate the result

each time, and then set Display back to Result

at the end.

Apply Material—Choose one of the following

material application modes:

•Apply Operand Material—New faces created by

the Boolean operation acquire the material of

the operand.

•Retain Original Material—New faces created by

the Boolean operation retain the material of the

original object.

Sub-object Operations group

These functions operate on operands highlighted

in the hierarchy view list (see following).

Note: Fortheseoperations,youneednotbeatthe

Operands sub-object level in the modifier stack.

Extract Selected—Based on the chosen radio

button (Remove, Copy, or Inst; see following),

Extract Selected applies the operation to the

highlighted operand in the hierarchy view list.

Three modes of extraction are available:

•Remove—Removes the operand or operands

highlighted in the hierarchy view list from

the Boolean result. It essentially undoes the

addition of the highlighted operand(s) to

the Boolean object. Each extracted operand

becomes a top-level object again.

•Copy—Extracts a copy of the operand or

operands highlighted in the hierarchy view

list. The original operand remains part of the

Boolean result.

•Inst—Extracts an instance of the operand or

operands highlighted in the hierarchy view list.

Subsequent modifications to this extracted

operand also modify the original operand, thus

affecting the Boolean object.

Reorder Ops—Changes the ordering of the

highlighted operand in the hierarchy view list. The

reordered operand is moved to the position listed

in the text field next to the Reorder Ops button.

Change Operation—Changes the type of operation

(see Operation group (page 1–385))forthe

highlighted operand. To change the operation

type, highlight the operand in the hierarchy view,

thenchoosetheoperationtyperadiooption,and

then click Change Operation.

Hierachy View

The hierarchy view, found at the bottom of the

Parameters rollout, displays a list of all of the

Boolean operations that define the selected mesh.

Each time you perform a new Boolean operation,

the software adds an entry to the list.

You can highlight operands for modification

by clicking them in the hierarchy view list. To

highlight multiple contiguous items in the list,

ProBoolean Compound Object 387

click the first, and then Shift +click the last. To

highlight multiple non-contiguous entries, use

Ctrl +click. To remove highlighting from a list

entry, Alt +click the highlighted item.

At the ProBoolean level in the modifier stack,

you can perform only sub-object operations (page

1–386) on highlighted items. At the Operands

sub-object level, you can transform highlighted

operands as well as perform sub-object operations;

see Modifier stack (page 1–382) for details.

Advanced Options rollout

Update group

Theseoptionsdeterminewhenupdatesare

performed on the Boolean object after you make

changes. Choose one of the following:

•Always—Updates occur as soon as you make

changes to the Boolean object.

•Manually—Updates occur only when you click

the Update button.

•When Selected—Updates occur whenever the

Boolean object is selected.

•When Rendering—Updates are applied to the

Boolean object only at render time, or when

you click Update.

Update—Applies changes to the Boolean object.

Available with all options except Always.

Note: When you first create a ProBoolean object

with Manually or When Rendering active, no

operands, including the base object, are visible

until you update at least once. Thereafter, the

base object is visible, but no subsequently picked

operands are until you update again.

Decimation %—The percentage of edges to remove

from the polygons in the Boolean object, thus

reducingthenumberofpolygons.Forexample,a

Decimation % setting of 20.0 removes 20 percent

of the polygon edges.

1. Decimation %=0.0

2. Decimation %=30.0

3. Decimation %=60.0

4. Decimation %=80.0

Quadrilateral Tessellation group

These options enable quadrilateral tessellation of

the Boolean object. This makes the object suitable

for editing subdivision surfaces (page 1–963) and

for smoothing meshes. It also makes the object

suitable for conversion to Editable Poly format.

For further discussion of this option, see the topic

Quad Meshing and Smoothing (page 1–392).

Make Quadrilaterals—When on, changes the

tessellation of the Boolean object from triangles to

quadrilaterals.

388 Chapter 5: Creating Geometry

Note: When Make Quadrilaterals is on, the

Decimation setting has no effect.

Quad Size %—Determines the size of the

quadrilaterals as a percentage of the overall

Boolean object length.

Planar Edge Removal group

This option determines how the polygons on

planar faces are handled. Choose one of the

following:

•Remove All—Removes all extra coplanar edges

on a face such that the face itself will define the

polygon.

•Remove Only Invisible—Removes invisible edges

on each face.

•No Edge Removal—No edges are removed.

ProCutter Compound Object

Select an object. > Create panel > Geometry > Compound

Objects > Object Type rollout > ProCutter

The ProCutter Compound object lets you perform

specialized Boolean operations, primarily for the

purpose of breaking apart or subdividing volumes.

The results of ProCutter operations are particularly

suitable for use in dynamics simulations where an

object explodes or is shattered by impact with a

force or another object.

Following is a list of ProCutter features:

• Break apart a stock object into elements of an

editable mesh or into separate objects using

cutters that are either solids or surfaces.

• Use one or more cutters on one or more stock

objects at the same time.

• Perform a volume decomposition of a set of

cutter objects.

•Useasinglecuttermanytimeswithout

maintaining the history.

See also

ProBoolean Compound Object (page 1–378)

Procedure

To use ProCutter:

1. Select an object to use as a cutter.

2. Activate the ProCutter compound object.

3. On the Cutter Picking Parameters rollout, click

Pick Cutter Objects, and then select additional

cutters.

4. On the Cutter Picking Parameters rollout, click

Pick Stock Objects, and then select objects to

be cut by the cutter objects.

5. In the Cutter Parameters rollout > Cutter

Options group, choose the parts of the originals

you wish to keep: Stock Outside Cutters, Stock

Inside Cutters, Cutters Outside Stock.

6. To get separate objects to manipulate or

animate, collapse the result to an Editable Mesh

(page 1–996) object and use the Explode tool set

to 180.0. Alternatively, use Auto Extract Mesh

and Explode By Elements, described below.

ProCutter Compound Object 389

Interface

Cutter Picking Parameters rollout

Pick Cutter Objects—When on, objects you select

are designated as cutters, used to subdivide stock

objects.

Pick Stock Objects—When on, objects you select

are designated as stock objects; that is, objects that

are subdivided by cutters.

Choose a radio button to specify how the next

object you pick is transferred to the ProCutter

object:

•Reference—The Boolean operation uses a

reference (page 3–1002) to the picked operand,

so the object remains after being incorporated

into the Boolean object. Future modifications

to the originally picked object will also modify

the Boolean operation. Use Reference to

synchronize modifier-induced changes to the

original operand with the new operand, but not

vice-versa.

•Copy—The Boolean operation uses a copy of

the picked operand. The selected object is

unaffected by the Boolean operation, but a copy

of it participates in the Boolean operation.

•Move—The picked operand becomes part of the

Boolean operation and is no longer available

as a separate object in the scene. This is the

default choice.

•Instance—The Boolean operation makes an

instance (page 3–957) of the selected object.

Future modifications of the selected object will

also modify the instanced object participating

in the Boolean operation and vice-versa.

Cutter Tool Mode group

These options let you use the cutter as a sculpting

tool, cutting the same object repeatedly in different

places. You can also get separate objects without

having to go through Editable Mesh conversion.

Auto Extract Mode—Automatically extracts the

result when you select a stock object. It does not

maintain the stock as a sub-object, but edits it and

replaces the object with the result of the cut. This

lets you quickly cut, move the cutter, and cut again.

Explode By Elements—When Auto Extract is on,

detaches each element into a separate object

automatically.HasnoeffectwhenAutoExtract

is off.

This convenient option makes it unnecessary to

converttheProCutterobjecttoEditableMesh

format and then use Explode, as mentioned in

this procedure (page 1–388).Thisisusefulwhen

cutting up an object. For example, you could use it

to slice a loaf of bread. You use the cutter to cut a

pieceoff,movethecutter,andthencutagain.

Parameters rollout

You can choose any combination of the three

cutting options to get the desired result. If you

have non-closed meshes, the orientation of the

mesh might determine which part of the stock is

considered to be inside or outside the cutter.

390 Chapter 5: Creating Geometry

Stock Outside Cutter—The result contains the parts

of the stock outside of all of the cutters. This option

givesyouasimilarresulttoaBooleansubtraction

of the cutters from the stock objects. The gold part

of the object in the following illustration results

from this option.

Stock Inside Cutter—The result contains the parts

of the stock inside one or more cutters. This option

gives you similar results to a Boolean intersection

of the cutters and the stock objects. There is

some difference because each cutter is treated

individually. The green, blue and red parts of the

object on the left side of the following illustration

are the results of this option.

Cutters Outside Stock—The result contains the

parts of the cutters that are not inside the stock

objects. Note that the cutters will cut each other if

they intersect also. You can see in the following

illustration. The parts on the right side of the

following illustration that are not present on the

left side are results of this option.

Cylinder and sphere as cutters and box as stock

Left: Keeping stock inside and outside cutters

Right: Keeping stock inside/outside cutters and cutters outside

stock

Display—Choose one of the following display

modes:

•Show Result—Displays the result of the Boolean

operations.

•Show Ops—Displays the operands that define

the Boolean result. Use this mode to edit the

operands and modify the result.

Apply Material—Choose one of the following

material application modes:

•Apply Operand Material—New faces created by

the Boolean operation acquire the material of

the operand.

•Retain Original Material—New faces created by

the Boolean operation retain the material of the

original object.

Sub-object Operations group

These functions operate on operands highlighted

in the hierarchy view list (see following).

Extract Selected—Based on the chosen radio

button (Remove, Copy, or Inst; see following),

Extract Selected applies the operation to the

highlighted operand in the hierarchy view list.

Three modes of extraction are available:

ProCutter Compound Object 391

•Remove—Removes the operand or operands

highlighted in the hierarchy view list from

the Boolean result. It essentially undoes the

addition of the highlighted operand(s) to

the Boolean object. Each extracted operand

becomes a top-level object again.

•Copy—Extracts a copy of the operand

highlighted in the hierarchy view list. The

original operand remains part of the Boolean.

•Inst—Extracts an instance of the operand

highlighted in the hierarchy view list.

Subsequent modifications to this extracted

operand also modify the original operand, thus

the Boolean object.

Hierachy View

The hierarchy view displays a list of all operands:

cutters and stock objects. You can select and

editobjectsusingthehierarchyview,aswith

ProBoolean.

Advanced Options rollout

Update group

Theseoptionsdeterminewhenupdatesare

performedontheBooleanobjectafteryoumake

changes. Choose one of the following:

•Always—Updates occur as soon as you make

changes to the Boolean object.

•Manually—Updates occur only when you click

the Update button.

•When Selected—Updates occur whenever the

Boolean object is selected.

•When Rendering—Updates are applied to the

Boolean object only at render time, or when

you click Update.

Update—Applies changes to the Boolean object.

Available with all options except Always.

Note: When you first create a ProCutter object with

Manually or When Rendering active, no operands,

including the base object, are visible until you

update at least once. Thereafter, the base object is

visible, but no subsequently picked operands are

until you update again.

Decimation %—The percentage of edges to remove

from the polygons in the Boolean object, thus

reducingthenumberofpolygons.Forexample,a

Decimation % setting of 20.0 removes 20 percent

of the polygon edges.

Quadrilateral Tessellation group

Make Quadrilaterals—When on, changes the

tessellation of the Boolean object from triangles

to quadrilaterals. This makes the object suitable

for editing subdivision surfaces (page 1–963) and

for smoothing meshes. It also makes the object

suitable for conversion to Editable Poly format.

Quad Size %—Determines the size of the

quadrilaterals as a percentage of the overall

Boolean object length.

392 Chapter 5: Creating Geometry

Planar Edge Removal group

This option determines how the polygons on

planar faces are handled. Choose one of the

following:

•Remove All—Removes all extra coplanar edges

on a face such that the face itself will define the

polygon.

•Remove Only Invisible—Removes invisible edges

on each face.

•No Edge Removal—No edges are removed.

Quad Meshing and Smoothing

ProBoolean and ProCutter can re-mesh

planar surfaces using a quadrilateral meshing

algorithm. This capability, in combination with

thesubdivisionsurfacetoolsinMeshSmooth,

TurboSmooth, and Editable Poly, can produce

dramatic results.

Itdoesrequiresomelevelofexpertiseto

understand what is possible and how to achieve

the best results using the quadrilateral tessellation.

This topic shows the basics of how to use quad

meshing and also contains tips and tricks about

what works and how it works.

Tip: You can apply quadrilateral tessellation to a

mesh object without necessarily performing an

actual Boolean operation on it. First create an

additional object that’s not touching the object you

want to tessellate. Select the object to tessellate,

apply ProBoolean, turn on Make Quadrilaterals,

and then subtract the other object. You can

then collapse the tessellated object to Editable

Mesh/Poly if you like.

Quad Meshing Basics

ProBoolean of an object containing several primitives

To make a quadrilateral mesh, select a ProBoolean

or ProCutter object, go to the Modify panel, and

expand the Advanced Options panel as shown

following.

To get a result similar to the following illustration,

turn on Make Quadrilaterals check box:

Quad Meshing and Smoothing 393

ResultofaquadmeshwithQuadSize%=3.0

Tochangethesizeoftheindividualquadrilaterals,

adjusttheQuadSize%parameter. Typicallya

value between 1 and 4 percent achieves the desired

results. The smaller the quad size, the smaller the

resulting fillets or blends between the surfaces

when the mesh is smoothed. The default Quad

Size value is 3.0 percent. A Quad Size value of 2.0

percent produces the following result:

Quad meshing with Quad Size %=2.0

If you know that you have the desired result and

don’tplantogobackandchangethequadsizeor

the original primitives, you can convert the object

to Editable Poly format and apply smoothing with

the Subdivision Surface settings. If this is not

the case, however, and you plan to make further

adjustments, use the MeshSmooth (page 1–722) or

TurboSmooth (page 1–868) modifier to retain the

history of the ProBoolean object. The following

illustration shows the result of a MeshSmooth

modifier with Subdivision Amount > Iterations=1

applied to a ProBoolean object with Quad Size %

set to 3.0.

MeshSmooth modifier with NURMS and Iterations=1

Rendered image after MeshSmooth modifier applied

Quad Meshing Tips and Tricks

Sometimes the results of quad meshing can

produce undesirable results in the smoothed

model.

Problem #1:Stripesalongcylindersorbumpiness

on other surface

Solution: Increase the number of subdivisions

around cylinders or along other surfaces.

394 Chapter 5: Creating Geometry

StripesandbumpswithQuadSize%=2.0

To fix the problem depicted above, the number of

sidesonthetwocylinderswaschangedfrom18to

30 and the number of segments on the torus was

changed from 24 to 36. The following illustration

shows the improved result:

Increasing the primitives’ resolution fixes the problem.

Problem #2: Triangles along boundaries caused

by conflicts with visible edges from original mesh

Solution:MakesureAdvancedOptionsrollout

> Planar Edge Removal is set to Remove All or

create the original primitives without subdivisions

on coplanar faces.

Coplanar edges not removed from original box

When rendered, misshapen geometry results from the presence

of coplanar edges.

Quad mesh with all coplanar edges removed

Dynamics Objects 395

Problem #3: Poor alignment of original primitive

meshes causes undesirable results.

Solution: Rotate or move original primitives into

position to maximize mesh quality.

The following illustration shows the result of

subtracting three spheres of the same size from a

box. The left-hand sphere is aligned properly so

that there are good quads along both boundaries.

This should produce a good result when smoothed.

Themiddlespherewasliftedsothatthereisa

strip of very thin quads near the boundary. This

produces very little smoothing along that edge, as

you can see in the rendered image. The right-hand

sphere was rotated, producing poor alignment

and many triangles on the sphere as well as small

quads on the plane of the box. You can see the

undesirable results in the rendered image.

Quads produced by three spheres with different rotations and

translations

Rendered image of smoothed three-sphere example

Creating Dynamics Objects

Create panel > Geometry > Dynamics Objects

Create menu > Dynamics

Dynamics objects are similar to other mesh

objects, except that they can be made to react to

the motion of objects to which they are bound, or

they can provide dynamic forces when included in

adynamics simulation (page 2–686).

Thefollowingtopicsdescribethetypesof

dynamics objects and how to create and use them:

Spring Dynamics Object (page 1–400)

Damper Dynamics Object (page 1–396)

396 Chapter 5: Creating Geometry

Damper Dynamics Object

Create panel > Geometry > Dynamics Objects > Object

Type rollout > Damper button

Create menu > Dynamics > Damper

The Damper object provides a dynamic object

that can behave as either a shock-absorber or an

actuator. It consists of a base, a main housing,

and a piston, with an optional boot. The piston

slides within the main housing, providing different

heights. The overall height can be affected by

binding objects, in the same way as the Spring

dynamic object.

Note: Damper is similar to Spring in many respects.

See Spring object (page 1–400) for more detailed

descriptions of similar parameters and procedures.

Procedures

To create a damper:

1. Drag and release to specify the diameter.

2. Move the mouse and click to specify the overall

height of the damper.

To use a damper in a dynamics simulation:

Thefollowingmustbeinplacetousethedamper

forces in a dynamics simulation:

1. Bind two objects to the ends of the damper, and

chooseBoundtoObjectPivotsintheEndPoint

Method group box at the top of the command

panel.

2. In the dynamics simulation, add the damper

to the Object List. (The damper itself is not

adjusted in the dynamics simulation, so all of

the dynamics parameters will be disabled for

the damper object.)

3. Includeatleastoneoftheboundobjectsor

aparentof one of the bound objects in the

simulation. For example, you can bind two

dummy objects to the ends of a damper, and

oneofthedummiescanbethechildofan

object that’s included in the simulation. In this

case, the dummy itself does not need to be in

the simulation.

Note: Damper is an "ideal" object with no mass.

While it can be used in dynamics simulations,

it cannot participate directly in collisions or

effects. As a result, when you assign a damper

object to a dynamics simulation, and then view

it in the Edit Object dialog, all of the parameter

settings are disabled.

Interface

End Point Method group

Free Damper/Actuator—Choose this when using

the damper as a simple object that’s not bound to

others or used in a dynamics simulation.

Damper Dynamics Object 397

Bound to Object Pivots—Choose this option when

binding the damper to two objects, using the

buttons described next.

Binding Objects group

Use these controls to pick the objects to which the

damper is bound. To complete the binding, you

must select two binding objects, and then click

Bound to Object Pivots.

Piston (label)—Displaysthenameoftheobject

bound to the piston of the damper.

Pick Piston Object—Click this button and then

selecttheobjecttobeboundtothepistonofthe

damper.

Base (label)—Displaysthenameoftheobject

bound to the base of the damper.

Pick Base Object—Click this button and then select

theobjecttobeboundtothebaseofthedamper.

Free Damper Parameters group

Pin-to-Pin Height—Use this field/spinner to specify

thedistancebetweenthebottomcenterofthebase

and the top center of the piston when the damper

is not bound.

Common Damper Parameters group

Renderable—When on, the object appears in the

rendering; when off, the object does not appear.

Material IDs are assigned to the damper object as

follows:

1: Base

2: Main housing

3: Piston

4: Boot Stop (appears only if you enable Boot

Parameters)

5: Boot (appears only if you enable Boot

Parameters)

Generate Mapping Coords—Sets up the required

coordinates for applying mapped materials to the

object. Default=on.

Cylinder Parameters group

Provides parameters for the base and main

cylinder of the damper.

Base Dia—The diameter of the base, or "mount"

of the damper.

Height—The height of the base.

Main Dia—The diameter of the main housing of

the damper.

Height—The height of the main housing.

Sides—The number of sides of both the base and

the main housing.

Fillet 1—Thesizeofthefilletontheloweredgeof

the main housing.

Fillet Segs—The number of segments for Fillet

1.Thehigherthissetting,therounderthefillet

profile appears.

398 Chapter 5: Creating Geometry

Fillet 2—The size of the fillet on the upper edge of

the main housing.

Fillet Segs—The number of segments for Fillet

2. The higher this setting, the rounder the fillet

profile appears.

Inside Dia—Specifies the inside diameter of the

main housing, which is actually a tube rather than

acylinder.

Smooth Cylinder—When on, smoothing is applied

to both the base and the main housing.

Piston Parameters group

Provides parameters for the piston of the damper.

Diameter—The diameter of the piston.

Height—The height of the piston.

Sides—The number of sides in the piston.

Smooth Piston—When on, smoothing is applied

to the piston.

Boot Parameters group

The boot is an optional component of the damper

that’s similar to the rubber "accordion" boot

found on various types of dampers, such as shock

absorbers. Thebootactslikeabounddynamic

object, in that one of its ends is bound to the main

housing, while the other is bound to the piston.

Thus, as the piston moves within the housing, the

boot expands and contracts to follow.

Enable—Turn this on to add the boot to the

damper.

Min Dia—The minimum diameter of the boot.

This and the next parameter affect the depth of the

accordion folds in the boot.

Max Dia—The maximum diameter of the boot.

Sides—Thenumberofsidesmakinguptheboot.

Folds—The number of accordion folds (bulges)

along the height of the boot.

Resolution—The number of segments in each fold.

Stop Dia—The diameter of the stop, which is the

ring at the top of the boot.

Damper Dynamics Object 399

Stop Thick—The thickness (height) of the stop ring.

Setback—The distance of the stop ring from the

top of the piston.

Stop Fillet—The size of the fillet on the upper edge

of the stop ring.

Fillet Segs—The number of segments the stop fillet.

The higher this setting, the round the fillet profile

appears.

Smooth Boot—When on, smoothing is applied to

the boot.

Dynamics Parameters group

Unlike the Spring object, the damper can also be

used as an actuator. Basically, a damper absorbs

force (like a shock absorber) while an actuator

applies force.

The parameters in this group box, available only

when End Point Method is set to Bound to Object

Pivots, specify how forces are applied by the

damper object in a dynamics simulation.

Damper Parameters—Provides parameters for a

damper type of object. Specifically, this simulates

a viscous linear damper, which provides linear

resistance to motion (between the two binding

objects) proportional to the rate at which the

damper experiences displacement. The faster it

gets hit, the harder it fights back. Push it slowly,

and there’s almost no resistance.

•Object is Damper—Select this option to use

the damper object as a damper rather than an

actuator.

Drag—Specifies the force per unit linear speed,

measured in one of the methods specified below.

•Drag is measured in—Lets you specify the

measurement of drag to use: Pounds per

in(ch)/sec or Newtons per m(eter)/sec.

•Damper works in—Provides directional options

for the damper.

Compression Only—The damper reacts only to

compression forces.

Extension Only—The damper reacts only to

expansion forces.

Both—The damper reacts to both compression

and expansion forces.

Actuator Parameters—Provides parameters for an

actuator.Whenusedasanactuator,thedamper

object exerts force between the two binding

objects. A real-world example might be the

thrustingpistoninalogsplitter.Whenusedina

simulation, the force is applied by adjusting the

valueintheForcespinner.Youcanseetheresult

only after solving the dynamics simulation.

•Object is Actuator—Choose this when using the

damper object as an Actuator.

400 Chapter 5: Creating Geometry

Force—Specifies the amount of force exerted

between the two bound objects. Positive values

pushtheobjectsapart,whilenegativevaluespull

them together.

•Force is measured in— Lets you specify the

measurement of force to use: Pounds per inch

or Newtons per meter.

Spring Dynamics Object

Create panel > Geometry > Dynamics Objects > Object

Type rollout > Spring button

Create menu > Dynamics > Spring

TheSpringobjectisadynamicsobjectintheshape

of a coiled spring that lets you simulate a flexible

spring in dynamics simulations. You can specify

the overall diameter and length of the spring, the

number of turns, and the diameter and shape of its

“wire.” When used in a dynamics simulation, the

compression and extension pressure of the spring

are calculated as well.

Procedures

To create a spring:

1. Drag and release to specify the outside

diameter.

2. Move the mouse and click to specify the overall

length of the spring.

To use a spring in a dynamics simulation:

Thefollowingmustbeinplacetousethespring

forces in a dynamics simulation:

1. Bind two objects to the ends of the spring, and

chooseBoundtoObjectPivotsintheEndPoint

Method group box at the top of the command

panel.

2. In the dynamics simulation, add the spring

to the Object List. (The spring itself is not

adjustable in the dynamics Edit Object dialog,

so all of the dynamics parameters will be

disabled for the spring object.)

3. Includeatleastoneoftheboundobjectsor

aparentof one of the bound objects in the

simulation. For example, you can bind the

ends of a spring to two dummy objects, and

oneofthedummiescanbethechildofan

object that’s included in the simulation. The

dummy without a parent will be stationary and

the spring will pass its force through the other

dummy to its parent.

Note: Spring is an "ideal" object with no mass.

While it can be used in dynamics simulations,

it cannot participate directly in collisions or

effects. A spring can only exert force on other

objectsinsimulations.Asaresult,whenyou

assignaspringobjecttoadynamicssimulation,

and then view it in the Edit Object dialog, all of

the parameter settings are disabled.

Interface

Spring Parameters rollout

Spring Dynamics Object 401

End Point Method group

Free Spring—Choosethiswhenusingthespringas

a simple object that’s not bound to other objects or

used in a dynamics simulation.

Bound to Object Pivots—Choose this when binding

the spring to two objects, using the buttons

described next.

Binding Objects group

Use these controls to pick the objects to which the

spring is bound. "Top" and "Bottom" are arbitrary

descriptors; the two bound objects can have any

positional relationship to each other. To complete

the binding, select two binding objects, and then

click Bound to Object Pivots.

Each end point of the spring is defined by the

center of the overall diameter and the center of the

wire. Thisendpointisplacedatthepivotpoint

of the object to which it is bound. You can adjust

therelativepositionofthebindingobjecttothe

spring by transforming the binding object while

theAffectObjectOnlybuttonisturnedoninthe

Hierarchy > Pivot panel.

Top (label)—Displaysthenameofthe"top"binding

object.

Pick Top Object—Click this button and then select

the "top" object.

Bottom (label)—Displaysthenameofthe"bottom"

binding object.

Pick Bottom Object—Click this button and then

select the "bottom" object.

Free Spring Parameters group

Height—Use this field/spinner to set the

straight-line height or length of the spring when it

isnotbound.Thisisnottheactuallengthofthe

spring’s wire.

Common Spring Parameters group

Diameter—The overall diameter of the spring, as

measured at the center of the wire. (The diameter

of the wire itself has no effect on this setting.)

Turns—The number of full 360-degree turns in

the spring.

CCW/CW—Specifies whether the coils of the spring

arecounterclockwise(CCW)orclockwise(CW).

Automatic Segments—Choose this option to force

each turn of the spring to contains the same

number of segments, as specified in the Segs/Turn

spinner. Thus, if you increase the number of turns,

the number of segments also increases.

Segs/Turn—This spinner lets you specify the

number of segments in each 360-degree turn of

the spring.

Manual Segments—When this option is chosen,

the length of the spring contains a fixed number of

segments, no matter how many turns in the spring.

Thus, as you increase the number of turns, you

must manually increase the number of segments

to maintain a smooth curve.

402 Chapter 5: Creating Geometry

Segments—This spinner lets you specify the total

number of manual segments in the spring.

Smoothing—Provides various methods of

smoothing the object. The options here work the

same as those in the Torus primitive (page 1–180).

•All—All surfaces are smoothed.

•Sides—Smoothingrunsalongthelengthofthe

wire, but not around its perimeter.

•Segments—Smoothing runs around the

perimeter of the wire, but not along its length.

•None—No smoothing is applied.

Renderable—When on, the object appears in the

rendering; when off, the object does not appear.

Generate Mapping Coords—Assigns mapping

coordinates to the object. Default=on.

Wire Shape group

Provides three different types of wire cross-sections

for the spring: round, rectangular, or D-shaped.

Each type has its own set of parameters.

Round Wire—Specifies a round wire for the spring.

•Diameter—The diameter of the wire.

•Sides—The number of sides that make up the

cross section.

Rectangular Wire—Specifies a rectangular wire.

•Width—Determines the width of the cross

section.

•Depth—Determines the depth of the cross

section.

•Fillet—When combined with Fillet Segs

(below), this lets you fillet (round) the corners

of the cross section.

Spring Dynamics Object 403

•Fillet Segs—Specifies the number of segments

in the fillet.

•Rotation—Rotates the angle of the cross section

along the entire length of the spring.

D-Section Wire—Specifies a D-shaped wire.

•Width—Determines the width of the cross

section.

•Depth—Determines the depth of the cross

section.

•Round Sides—Specifies the number of segments

that make up the rounded side of the D-shape.

•Fillet—When combined with Fillet Segs

(below), this lets you fillet (round) the corners

of the cross section.

•Fillet Segs—Specifies the number of segments

in the fillet.

•Rotation—Rotates the angle of the cross section

along the entire length of the spring.

Dynamics Parameters group

These parameters specify the forces that the spring

contributes to a dynamic simulation.

Relaxed Hgt—Specifies the height (or length)

at which the spring is "relaxed" and therefore

contributes no force--either compression or

extension. Forexample,iftheplacementofthe

binding objects stretches the spring to a length of

50 units but the Relaxed Len is set to 30, then an

extension force is in effect because the spring is

stretched further than its relaxed length.

Constant k—The amount of force exerted per unit

change in length with respect to the Relaxed Hgt

value. This could also be described as the measure

of force-per-units-change in length as compared

to the Relaxed Length. For example, if your spring

is set to a Spring Constant of k=10 lb per in, and

you stretch it to be ten inches longer than the

Relaxed Hgt value, it will try to close with a force

of 100 pounds. If you compress it two inches

shorter than the Relaxed Hgt value, it will push

back with 20 pounds of force.

Spring constant is in—Lets you specify the

measurement of force to use: Pounds per inch or

Newtons per meter.

Spring works in—Letsyouspecifythetypeofforce

you want the spring to exert. While most springs

actually provide both compression and extension

force, if your simulation requires only one, you can

save calculation time by using one instead of both.

•Compression Only—This type of spring provides

only expansive force when its length is shorter

than the specified Free Length.

•Extension Only—Provides contractive force

when its length is greater than the specified

Free Length.

•Both—Provides both expansive and contractive

force,dependingonthevariationfromRelaxed

Hgt.

Enable Nonlinearity—When on, the compression

and extension of the spring are non-linear, based

on the assumption that a spring has physical

limits to the amount it can stretch or contract.

Thus, the further the spring gets from the Relaxed

Hgt setting, the less linear the feedback. The

404 Chapter 5: Creating Geometry

non-linear compression is calculated using the

relationship between the coil dimensions, wire

diameter, and length. Extension compares the

relationship between the wire diameter and overall

spring diameter.

Creating Systems

Create panel > Systems

Asystemcombinesobjects,linkages,and

controllers to produce an object set that has

behavior as well as geometry. Systems help you

create animations that would be much more

difficult or time-consuming to produce using

features independently. Systems can range from

simple object generators to full-scale subsystem

programs.

•Bones (page 1–404) creates a hierarchically

linked set of bones and joints.

You can transform and animate bones using

both forward and inverse kinematics. See

Animating with Forward Kinematics (page

2–426) and Inverse Kinematics (IK) (page

2–435).

•Ring Array (page 1–415) creates a ring of boxes.

•Sunlight (page 1–418) creates and animates a

directional light that follows the geographically

correct angle and movement of the sun over the

earth at a given location.

•Daylight (page 1–418) creates an assembly with

a sky and a sun. Using the Get location function

you can create and animate a light that follows

the geographically correct angle and movement

of the sun over the earth at a given location.

•Biped (page 2–843) creates a two-legged

character skeleton designed for animation.

Systems are primarily intended for plug-in (page

3–995) component software. Additional systems

might be available if your configuration includes

plug-in systems.

You can externally reference system objects in your

scene. For more information, see XRef Objects

(page 3–394).

Procedure

To create a system:

1. On the Create panel, click Systems.

The Systems panel is displayed.

2. OntheObjectTyperollout,chooseasystem

to create.

3. Drag in a viewport to create the system.

Bones System

Create panel > Systems > Bones button

Animation menu > Bone Tools > Create Bones

A Bones system is a jointed, hierarchical linkage

of bone objects that can be used to animate

other objects or hierarchies. Bones are especially

useful for animating character models that have

Bones System 405

a continuous skin mesh. You can animate bones

with forward or inverse kinematics. For inverse

kinematics, bones can use any of the available IK

solvers (page 2–440),orthroughInteractive (page

2–480) or applied IK (page 2–481).

Dinosaur character modeled using bones

Bones are renderable objects. They have several

parameters, such as taper and fins, that can be

usedtodefinetheshapethebonerepresents.The

finsmakeiteasiertoseehowtheboneisrotating.

For animation, it is very important that you

understand the structure of a bone object. The

bone’s geometry is distinct from its link. Each link

hasapivotpointatitsbase.Thebonecanrotate

about this pivot point. When you move a child

bone, you are really rotating its parent bone.

Itmightbeusefultothinkofbonesasjoints,

becauseitistheirpivotplacementsthatmatter,

more than the actual bone geometry. Think of the

geometry as a visual aid that is drawn lengthwise

from the pivot point to the bone’s child object.

The child object is usually another bone.

Bones system seen alone and inside a wireframe model

Any hierarchy can display itself as a bone structure

(see Using Objects as Bones (page 1–410)), by

simplyturningonBoneOnintheBone Editing

Tools rollout (page 1–411).

See also

Bone Tools (page 1–411)

Creating Bones

You start creating bones by clicking the Create

Bones button on the Bone Editing Tools rollout

(page 1–411),orbyclickingtheBonesbuttonin

the Systems category on the Create panel.

To create bones, do the following.

1. Your first click in a viewport defines the start

jointofthefirstbone.

2. The second click in a viewport defines the start

joint of the next bone. Visually only one bone

is drawn at this point because bones are visual

aids drawn between two pivot points. It is the

actualpivotpoint’splacementthatisimportant.

3. Each subsequent click defines a new bone as

a child of the previous bone. The result of

multiple clicks is a single chain of bones.

4. Right-click to exit bone creation.

This creates a small “nub” bone at the end of

the hierarchy, which is used when assigning an

406 Chapter 5: Creating Geometry

IK chain. If you are not going to assign an IK

chain to the hierarchy, you can delete the small

nub bone.

Creating a simple chain of three bones

3ds Max lets you create a branching hierarchy of

bones. To create a branching hierarchy, such as

legs branching from a pelvis, do the following:

1. Create a chain of bones, and then right-click

to exit bone creation.

2. Click Bones (or Create Bones) again, and

then click the bone where you want to begin

branching. The new chain of bones branches

from the bone you click.

Warning: The behavior of a branching bone

hierarchy is not always intuitive.

Note: Yo u c a n a l s o u s e Select And Link (page 2–422)

to connect one bone hierarchy to its branches.

However, except for this one special case, using

Select And Link with bones is not recommended.

To edit an existing bone structure, whether

branching or not, use the Bone Tools (page 1–411)

instead.

Assigning IK Controllers to Bones

By default, bones are not assigned inverse

kinematics (IK). Assigning an IK solver can be

done in one of two ways. Typically, you create a

bone hierarchy, then manually assign an IK solver.

This allows for very precise control over where IK

chains are defined.

The other way to assign an IK solver is more

automatic. Whenyoucreatebones,chooseIK

solverfromthelistintheIKChainAssignment

rollout,andthenturnonAssignToChildren.

Whenyouexitbonecreation,thechosenIKsolver

is automatically applied to the hierarchy. The

solver extends from the first bone in the hierarchy

to the last.

For more information about IK, see Introduction

to Inverse Kinematics (page 2–435).

Setting the Initial Position of Bones

When you first create a bones system, the position

of the bones is the initial state. Before you assign

an IK solver or method, you can change the

initial state of the bones by moving, rotating, or

stretching the bones individually.

Bone Color

By default, bones are assigned the color specified

for Bones in the Colors panel (page 3–799) of the

Customize User Interface dialog (page 3–792).

Choose Object as the Element and then choose

Bonesinthelist. Youcanchangethecolorof

individual bones by selecting the bone, clicking the

active color swatch next to the bone’s name in the

Create panel or Modify panel, and then selecting a

color in the Object Color dialog (page 1–159).

You can also use the Bone Tools (page 1–411) to

assign bone colors, or to assign a color gradient

to a bone hierarchy.

Bone Fins

Fins are visual aids that help you clearly see a

bone’s orientation. Fins can also be used to

approximate a character’s shape. Bones have three

sets of fins: side, front, and back. By default, fins

are turned off.

Bones System 407

Bones can have fins.

Bones with various fin configurations

Renderable Bones

Bones can be renderable, though by default, they

arenot. Tomakeabonerenderable,turnon

the Renderable check box in the bone’s Object

Properties dialog (page 1–117).

Bones can be renderable.

Object Properties for Bones

In addition to visual properties, bones have

behavioral properties. The controls for these are

located on the Bone Tools floater (page 1–411).

You can use these controls to turn other kinds of

objects into bones.

Using Constraints with Bones

Yo u c a n a p p l y constraints (page 2–392) to bones as

long as an IK solver or method is not controlling

thebones. IftheboneshaveanassignedIK

controller, you can constrain only the root of the

hierarchy or chain. However, applying position

controllers or constraints to a linked bone can

cause undesirable effects, such as breaking of the

bone chain.

408 Chapter 5: Creating Geometry

The “nub” bone at the end of the chain has a Spring controller

applied to it. The Spring controller is connected to an animated

sphere.

Right: The sphere’s movement breaks the bone chain.

To avoid this problem, don’t apply position

controllers directly to child bones. Instead, create

an IK chain and apply the controller to the IK

chain’s end effector.

A IK chain has been applied, connecting the end nub to its

parent bone. The IK chain’s end effector is connected to the ball

by a Spring controller.

Right: Now when the sphere moves, the IK chain prevents the

bones from breaking.

Constraints and controllers that affect orientation

only, such as Orientation or Look At, do not

present this problem when applied to child bones.

Procedures

To create a bones system:

1. On the Create panel, click Systems,

and then click Bones.

You can also access Create Bones through the

Bone Tools rollout.

2. Click in a viewport.

This creates a joint that is the base of the bone’s

hierarchy.

3. Drag to define the length of the second bone.

4. Click to set the length of the second bone, and

then drag to create the third bone. Drag and

click to continue creating new bones.

5. Right-click to end creation.

3dsMaxcreatesasmall“nub”boneatthe

end of the hierarchy. This bone is used when

assigning an IK chain.

Thefirstboneyoucreateisatthetopofthe

hierarchy. The last bone you create is at the

bottom. For more about linked objects, see the

Hierarchy Panel (page 3–773).

To create a bones hierarchy with an IK solver

automatically applied:

1. IntheCreatepanel,clickSystems,

and then click Bones.

2. In the IK Chain Assignment rollout, select an

IK solver from the list.

3. Tur n on As sig n To Child ren .

4. In a viewport, click and drag to create the

bones. Right-click to end bone creation.

After the bones are created, the chosen IK

solver is applied to them.

To edit the appearance of a bone:

1. Select a bone.

Bones System 409

2. Click the Modify tab on the command

panel.

3. Change settings in the Bone Parameters rollout.

To change the length of bones after they’ve been

created:

Important: Repositioning a bone affects its length

visually. More importantly, it affects the bone’s pivot

position. The length of the bone is only a visual aid

drawn between each bone’s pivot point. A bone has

only one pivot. The bone you see visually is connecting

its pivot point to the next bone’s pivot point.

1. Choose Animation menu > Bone Tools.

2. OntheBoneToolsdialog,clickBoneEdit

Mode.

3. Movethechildoftheboneyouwanttochange.

The length of its immediate parent changes to

reach the child bone.

4. Turn off Bone Edit Mode when you are finished

editing the bones.

To add fins to bones:

1. Select the bone.

2. Choose Animation menu > Bone Tools.

3. Select the bones to which you want to add fins.

4. In the Fin Adjustment Tools rollout, turn on

Side Fins, Front Fin or Back Fin.

5. Adjust the size and appearance of the fins with

the appropriate spinners.

Note: You can also add fins to an individual

bone on the Modify panel.

Interface

IK Chain Assignment rollout (creation time only)

Provides the tools to quickly create a bone chain

with an IK solver automatically applied. Also

allows for bone creation with no IK solver.

IK Solver drop-down list—Specifies the type of IK

solver to be automatically applied if Assign To

Children is turned on.

Assign To Children—When on, assigns the IK solver

named in the IK solver list to all the newly created

bonesexceptthefirst(root)bone. Whenoff,

assigns a standard PRS Transform controller (page

2–357) to the bones. Default=off.

Note: Choosing the SplineIKSolver and turning

on Assign To Children causes the Spline IK Solver

dialog (page 2–477) to appear after bones have

been created.

Assign To Root—When on, assigns an IK solver

to all the newly created bones including the first

(root) bone.

Turning on Assign To Children also automatically

turns on Assign To Root.

410 Chapter 5: Creating Geometry

Bone Parameters rollout (creation and

modification time)

These controls change the appearance of the

bones.

Bone Object group

Width—Sets the width of the bone to be made.

Height—Sets the height of the bone to be made.

Taper—Adjusts the taper of the bone shape. A

Taper of 0 produces a box-shaped bone.

Bone Fins group

Side Fins—Lets you add a set of fins to the sides of

the bones you create.

•Size—Controlsthesizeofthefin.

•Start Taper—Controls the start taper of the fin.

•End Taper—Controls the end taper of the fin.

•

Front Fin—Lets you add a fin to the front of the

bone you create.

•Size—Controlsthesizeofthefin.

•Start Taper—Controls the start taper of the fin.

•End Taper—Controls the end taper of the fin.

Back Fin—Lets you add a fin to the back of the bone

you create.

•Size—Controlsthesizeofthefin.

•Start Taper—Controls the start taper of the fin.

•End Taper—Controls the end taper of the fin.

Generate Mapping Coords—Creates mapping

coordinates on the bones. Since the bones are

renderable, they can also have materials applied,

which can use these mapping coordinates.

Using Objects as Bones

Select a linked object or multiple objects linked to

each other. > Animation menu > Bone Tools > Object

Properties rollout > Bone On toggle

You can use arbitrary objects such as cylinders or

boxes as bones, controlling their animation as if

they were bones in a bones system (page 1–404).

Yo u c a n a p p l y a n IK solver (page 2–440) to the

boned objects.

To use objects as bones, select them and then turn

ontheBoneOntoggleontheObjectProperties

rollout of the Bone Tools dialog (page 1–411).

Warning: Turning on Freeze Length has no visible effect

unless you transform the child of the object to which

Freeze Length is applied.

Bone Tools 411

Once you’ve set objects to function as bones,

applyinganIKsolutionbehavesasitdoesfor

standard bone objects. The geometry of the boned

objects can stretch or squash during animation.

Procedure

To use objects as bones:

1. Link the objects you want to display as

bones.

2. Select all of these objects.

Note: You can set a single object to work as a

bone, but this doesn’t have much use.

3. Choose Animation menu > Bone Tools.

The floating Bone Tools dialog is displayed.

4. OntheObjectPropertiesrollout,turnonBone

On.

3dsMaxnowtreatstheselectedobjectsas

bones.

5. Select the object to use as the start of the

IK chain.

6. Choose Animation > IK Solvers > HI Solver.

Yo u c a n c h o o s e a d i f f e r e n t I K s o l v e r, b u t t h e H I

Solver is the preferred choice.

7. Click to select the end of the IK chain.

Now when you transform the boned objects,

their movement is governed by the IK solver.

Bone Tools

Animation menu > Bone Tools

This command opens theBoneToolsfloater,

which provides functions for working with bones.

The floater contains three rollouts, described in

these topics:

Bone Editing Tools Rollout (page 1–411)

Fin Adjustment Tools Rollout (page 1–413)

Object Properties Rollout (Bone Tools) (page 1–414)

Bone Tools Rollouts

Bone Editing Tools Rollout

Animation menu > Bone Tools > Bone Tools floater >

Bone Editing Tools rollout

Controls on the Bone Editing Tools rollout let you

create and modify bone geometry and structure,

and set bone color for one or more bones.

Interface

412 Chapter 5: Creating Geometry

Bone Pivot Position group

Bone Edit Mode—Lets you change the lengths of

bones and their positions relative to one another.

When this button is on, you can change the length

of a bone by moving its child bone. In effect, you

can scale or stretch a bone by moving its child

bonewhileinthismode. Youcanusethistool

both before and after assigning an IK chain to the

bone structure.

When Bone Edit Mode is on, you cannot animate,

and when Auto Key or Set Key is on, Bone Edit

Mode is unavailable. Turn off Auto/Set Key to edit

bones.

Note: MovingaboneinBoneEditmodeaffects

the length of both the child and its parent.Ifthe

bones aren’t spatially aligned in the usual way (for

example, if you are using other objects as bones),

this might have unexpected results.

Bone Tools group

Create Bones—Begins the bone-creation process.

Clicking this button is the same as clicking Create

panel > Systems > Bones (page 1–404).

Create End—Creates a nub bone at the end of the

currently selected bone. If the selected bone is not

at the end of a chain, the nub is linked in sequence

between the currently selected bone and the next

bone in the chain.

Remove Bone—Removes the currently selected

bone. The bone’s parent bone is stretched to reach

the removed bone’s pivot point, and any children

of the removed bone are linked to its parent. Any

IK chains that included the removed bone will

remain intact.

Connect Bones—Creates a connecting bone

between the currently selected bone and another

bone. When you click this button, a dotted line

appears in the active viewport from the first

selected bone. Move the cursor to another bone to

create a new connecting bone. The first selected

bone will become a parent to the connecting bone,

whichisinturnaparenttothesecondselected

bone.

Delete Bone—Deletes the currently selected bone,

removing all its parent/child associations. A nub is

placed at the end of the deleted bone’s parent. Any

IK chains that included this bone become invalid.

Reassign Root—Makes the currently selected bone

the root (parent) of the bone structure.

If the current bone is the root, clicking this has no

effect. If the current bone is the end of the chain,

the chain is completely reversed. If the current

bone is in the middle of the chain, the chain

becomesabranchinghierarchy.

Refine—Splitsaboneintwo. ClickRefine,and

then click a bone where you want it to split.

Mirror—Opens the Bone Mirror dialog (see

following), which lets you create mirror copies of

selected bones without changing the sign of the

bones’ scale. Instead, Mirror flips one of the bone

axes: Y or Z. You can specify the mirroring axis

and the flip axis with the dialog controls.

Bone Mirror Dialog

Opens when you click the Mirror button. Use it

to specify the mirroring axis, the flip axis, and an

offset value.

While the dialog is open, you can see a preview of

the mirrored bone(s) in the viewports. Click OK

to create the bones, or Cancel to prevent creation.

Fin Adjustment Tools Rollout 413

Mirror Axis—Choose an axis or plane about which

the bones will be mirrored: X/Y/Z or XY/YZ/ZX.

Bone Axis to Flip—To avoid creating a negative

scale, choose the bone axis to flip: Y or Z.

Offset—The distance between the original bones

and the mirrored bones. Use this to move the

mirrored bones to the other side of the character.

Bone Coloring group

Selected Bone Color—Sets the color for selected

bones.

Apply Gradient—Applies a gradient color across

several bones based on the Start Color and End

Color values. This option is available only when

two or more bones are selected. The Start Color is

appliedtothehighestparentboneintheselected

chain,whiletheEndColorisappliedtothelast

child object in the selected chain. Intermediate

colors in the gradient are applied to bones in

between.

Start Color—Sets the starting color for the gradient.

End Color—Sets the ending color for the gradient.

Bones System (page 1–404)

Fin Adjustment Tools Rollout

Animation menu > Bone Tools > Bone Tools floater > Fin

Adjustment Tools rollout

Controls on the Fin Adjustment Tools rollout are

for adjusting some aspects of bone geometry,

including fins.

Interface

Absolute—Sets the fin parameters as absolute

values. Use this option to set the same fin values

for all selected bones.

Relative—Sets the fin parameters relative to their

currentvalues. Usethisoptiontoretainsize

relationships between bones with different-sized

fins.

Copy —Copiestheboneandfinsettingsforthe

currently selected bone, in preparation for pasting

to another bone.

414 Chapter 5: Creating Geometry

Paste—Pastes the copied bone and fin settings to

the currently selected bone.

Bone Objects group

Width—Sets the width of the bone.

Height—Sets the height of the bone.

Taper—Adjusts the taper of the bone shape. A

Taper with a 0 value produces a box-shaped bone.

Higher values pinch the bone where it joins its

child bone, while lower values expand that end of

the bone.

Fins group

Side Fins—Adds side fins to selected bones.

•Size—Controls the size of the fin.

•Start Taper—Controls the start taper of the fin.

•End Taper—Controls the end taper of the fin.

Front Fin—Adds front fins to selected bones.

•Size—Controls the size of the fin.

•Start Taper—Controls the start taper of the fin.

•End Taper—Controls the end taper of the fin.

Back Fin—Adds fins to the backs of selected bones.

•Size—Controls the size of the fin.

•Start Taper—Controls the start taper of the fin.

•End Taper—Controls the end taper of the fin.

Object Properties Rollout (Bone

Tools)

Animation menu > Bone Tools > Bone Tools floater >

Object Properties rollout

Controls on the Object Properties rollout for bones

let you turn other objects into bones. They also

control bone rigidity and alignment.

Note: You can reset the scale of bones with the

Reset Scale option.

Interface

Bone On/Off—When turned on, the selected

bone or object behaves as a bone. Turning this

option off causes the object to stop behaving like

a bone: there is no auto alignment or stretching.

Default=on for bone objects, off for other kinds

of objects.

Note: Turningthisoptionondoesn’timmediately

cause objects to align or stretch. However, future

transforms of children can cause rotation and

stretching.

Freeze Length—When turned on, the bone

maintains its length. When turned off, the bone’s

length is based on the translation of its child bone.

This option is available only if Bone On is on.

Default=on.

Warning: When you turn on Freeze Length, this has no

visible effect unless you transform the child of the object

to which Freeze Length is applied.

Auto-Align—When turned off, the bone’s pivot

point doesn’t align to its child object. The

translation of a child bone will not be converted

into rotation of the parent. Instead, the child is

allowed to move away from the parent’s X axis.

Ring Array System 415

This option is available only if Bone On is on.

Default=on.

Note: Changing the Auto-Align state does not

have an immediate visual effect on the skeleton. It

affects future behavior when bones are moved.

Correct Negative Stretch—When turned on, any

stretching of the bone that results in a negative

scale factor will be corrected to a positive number.

This option is available only if Bone On is on.

Default=on.

Realign—Causes the bone’s X axis to realign and

pointatthechildbone(ortheaveragepivotof

multiple children). Normally this alignment

is maintained, and there is no need to use this

option. However, it is possible for the bones to

come out of alignment by turning off Auto-Align

andmovingachildbone.UseRealigntoalignthe

bone back to its child. This option is available only

if Bone On is on.

Reset Stretch—Stretches the bone to reach its child

object if the child has been moved away from the

bone. This option is available only if Bone On is

on.

Reset Scale—Resets a stretched bone’s internally

calculated scale to 100% on each axis. Using this

option avoids unexpected behavior due to objects

which are both linked and scaled. This option

has no visual effect on the bone. This option is

availableonlyifBoneOnison.

Stretch Factor Information

Under the Correct Negative Stretch options is a

text display giving information about the number

of bones selected and the respective stretch factor

forallthreeaxes.Ifmorethanoneboneisselected,

the Stretch Factor text displays undefined.

Note: The Stretch Factor text only updates when

you are in Bone Edit Mode (page 1–411).

Stretch and Axis Options

Stretch—Determines what kind of stretch takes

place when the child bone is transformed and

Freeze Length is off. Default=Scale.

•None—No stretch takes place.

•Scale—Lets the bone scale. The stretch happens

along one axis.

•Squash—Lets the bone squash. The bone gets

fatter as it gets shorter, and thinner as it gets

longer.

Axis—Determines the axis used for the stretch.

•X/Y/Z—Choose the axis for scaling or squashing.

•Flip—Flips the stretch along the selected axis.

Ring Array System

Create panel > Systems > Ring Array button

The Ring Array object consists of a dummy object

(page 2–16) surrounded by a ring of boxes. You

can arrange the boxes in the ring along a sine

curve, vary their number, and animate the ring

array’s parameters. You can also replace the boxes

with other objects using Track View, as described

in the Procedures section, below.

Example of ring array

416 Chapter 5: Creating Geometry

Procedures

To create the ring array system:

1. OntheCreatepanel,clickSystems,

and then click Ring Array.

2. Drag in a viewport to set the center and radius

of the array.

Adummyobjectappearsatthecenter. By

default, four boxes are evenly spaced in a circle

around it.

To animate the ring array:

1. Tur n on Auto Ke y.

2. Move to a nonzero frame.

3. Adjust the ring array parameters.

You can’t animate the number of boxes in the

ring.

4. Repeat steps 2 and 3 for additional keyframes.

Note: To animate the ring array after creation,

use the Motion panel, not the Modify panel.

To put other kinds of objects in the ring:

You can use either version of Track View: Curve

Editor or Dope Sheet.

1. In the Track View Controller window, click the

name of object container of the object to put

in the ring.

Thenamehighlights.

2. Still in the Controller window, right-click and

choose Copy from the menu.

3. Highlight the object container of one of the ring

array boxes.

Ring Array System 417

4. Right-click and choose Paste.

5. InthePastedialog,chooseCopyorInstance.

Optionally, to replace all the boxes with the

copiedobject,turnonReplaceAllInstances.

Click OK.

The box or boxes are replaced with the copied

object.

Tip: To see the replacement objects, you might

need to refresh the viewports.

Top: Object substituted for boxes in array

Bottom: The result

Interface

These parameters control ring arrays. To adjust

and animate the ring array after creation, select

one of the array objects (not the dummy), and

then go to the Motion panel, not the Modify panel.

418 Chapter 5: Creating Geometry

Radius—Sets the radius of the ring. You set the

initial Radius value when you drag to create the

ring array.

Amplitude—Sets the amplitude of the ring’s sine

curve, in active units. Amplitude is a height offset

from the local origin of the center dummy object.

Cycles—Sets the number of cycles in the ring’s sine

curve. When Cycles is 0.0, the ring is flat. When

Cycles is 1.0, the ring is tilted. Greater values

increase the number of peaks in the curve.

Phase—Offsets the phase of the wave. That is,

it has the effect of moving the wave along the

circumference of the ring. Whole values have no

effect; only fractional values do.

Number—Sets the number of boxes in the ring.

Sunlight and Daylight

Systems

Create panel > Systems > Sunlight button and Daylight

button

Create menu > Lights > Daylight System

Create menu > Systems > Daylight System

The Sunlight and Daylight systems use light in

a system that follows the geographically correct

angle and movement of the sun over the earth at

a given location. You can choose location, date,

time, and compass orientation. You can also

animate the date and time. This system is suitable

for shadow studies of proposed and existing

structures. In addition, you can animate Latitude,

Longitude, North Direction, and Orbital Scale.

Sunlight and Daylight have a similar user interface.

Thedifferenceisthat:

•Sunlightusesadirectional light (page 2–1293).

•DaylightcombinesSunlight (page 3–1018)

and Skylight (page 3–1012).TheSunlight

component can be an IES Sun light (page

2–1309),anmr Sun light (page 2–1319),or

astandardlight(atarget direct light (page

2–1292)). The Skylight component can be an

IES Sky light (page 2–1312),anmr Sky light

(page 2–1318),oraSkylight (page 2–1296).

•TheIESSunandIESSkylightsare

photometric lights. It is appropriate to use

them if you are creating a rendering that uses

radiosity (page 3–51) with exposure control

(page 3–293).

• The mr Sun and mr Sky lights are also

photometric, but are intended for use with

the mental ray Sun & Sky (page 2–1313)

solution.

• The Standard light and Skylight are not

photometric. It is appropriate to use them if

your scene uses standard lighting (Sunlight

with its Directional light works for this, too),

or if you are using light tracing (page 3–44).

Large view shows compass and light in a viewport. The

resulting rendered images are seen above it.

Note: When you create a sunlight system or a

daylight system that uses a target direct light for

the sun, the directional light’s hotspot is set to

encompass all geometry in the scene, so that

shadows will render correctly. Specifically, the

Sunlight and Daylight Systems 419

diameter of the hotspot is set to 65 per cent of the

longest diagonal length of the scene extents (page

3–1007).

Procedures

To create a Sunlight or Daylight system:

1. On the Create panel, click Systems

and then click Sunlight or Daylight.

Alternatively, you can create a Daylight system

fromtheCreatemenu>LightsorSystems

submenu.

2. Choose a viewport in which to create a compass

rose (the compass direction of your "world").

This should be a Top or Perspective/Camera

view.

3. Drag to create the radius of a compass rose (the

radius is for display purposes only), and then

release the mouse button and move the mouse

to set the orbital scale of the sun light over the

compass rose. This can be any distance you

find convenient, since directional and IES Sun

lights produce parallel illumination regardless

of where their icon is located. Click to finish.

Upon creation you have two objects in your

scene:

•Thecompass rose (page 2–27),whichis

ahelperobjectthatprovidestheworld

direction for your sun.

• The light itself, which is a child of the

compass rose, and is permanently targeted

on the center of the compass rose.

If you created a Daylight system, the Daylight

Parameters rollout on the Modify panel lets

you choose the type of sunlight and skylight.

The Sunlight drop-down list lets you choose

IESSun,mrSun,orStandard(directional).

The Skylight drop-down list lets you choose

IES Sky, mr Sky, or Skylight. These lists

also offer you the options of choosing no

sunlight or no skylight.

Controls for the geographic location and time

of day are on the Motion panel. The default

timeisnoon,andthedefaultdateandtimezone

are based on your computer’s local settings.

The default location is San Francisco, CA.

The directional light created by the system is

managed by two special controllers: Solar Date

and Solar Time. After you create your system,

you can access its creation parameters (time

and date, location, orbital scale, and location)

in the Motion panel for the directional light.

The parameters are interrelated, so you can

adjust them in any order. Generally, it’s easiest

to choose a location first, and then adjust the

date and time. You can access the parameters

for selected sunlight or skylight objects in the

Modify panel. The radius of the compass rose

is also editable from the Modify panel, after

selecting the compass rose object.

If Date/Time position is selected the Sun

and Sky multipliers are automatically set and

animated according to their position. They can

be edited only by using the Manual Position

override.

Tip: UseExposureControlwithDaylightifyour

scene rendering is too bright or too dark.

Example: To create a shadow study:

1. Create a Daylight system.

2. OntheModifypanel,setthedateandLocation.

Note: Once the Daylight system has been

created, you can find these controls on the

Motion panel.

3. Turn on the Auto Key button.

4. In the Control Parameters Time group, adjust

the Hours spinner to a start time in early

morning.

420 Chapter 5: Creating Geometry

5. Click the Go To End button.

6. Animatetheendtimetolateafternoon.

7. For a complete view of your environment and

its shadows, render an animation from a Top

viewport or a view above your scene.

Interface

Daylight Parameters rollout (Daylight system

only)

The Daylight Parameters rollout lets you define

the daylight system’s sun object. You can set the

sunlight and skylight behaviors.

This rollout appears on the Modify panel when the

light component of the Daylight system is selected.

Sunlight—Select one of three options for sunlight

in your scene:

•IES Sun—Uses an IES Sun object (page 2–1309)

to simulate the sun.

•mr Sun—Uses the mr Sun light (page 2–1319) to

simulate the sun.

•Standard—Uses a Ta rg e t Direct li ght (p a ge

2–1292) to simulate the sun.

•No Sunlight—No sunlight is simulated.

Active—Turnssunlightonandoffintheviewport.

Position group

Manual—When on, you can manually adjust the

location of the daylight assembly head object in

your scene, as well as the intensity value of the

sunlight.

Date, Time and Location—When on, uses the

geographically correct angle and movement of the

sun over the earth at a given location.

Note: When Date, Time And Location is active,

adjusting the light’s intensity has no effect.

Setup—Opens the Motion panel (page 3–774),

allowing you to adjust the time, location, and site

of your daylight system.

Skylight—Select one of three options for skylight

in your scene:

•IES Sky—Uses an IES Sky (page 2–1312) object

to simulate skylight.

•mr Sky—Uses the mr Sky light (page

2–1318) to simulate the sun.

•Skylight—Uses a Skylight (page 2–1296) object

to simulate skylight.

•No Skylight—No skylight is simulated.

Active—Turnsskylightonandoffintheviewport.

Motion panel, Daylight and Sunlight system

Control Parameters rollout

This rollout appears on the Create panel, and on

the Motion panel when the light component of the

Daylight or Sunlight system is selected.

Sunlight and Daylight Systems 421

Manual Override (Daylight system only)—When on,

you can manually adjust the location of the sun

object in your scene, as well as the intensity value

of the sun object.

Azimuth/Altitude—Displays the azimuth and

altitude of the sun. Azimuth is the compass

directionofthesunindegrees(North=0,

East=90). Altitude is the height of the sun above

the horizon in degrees (Sunrise or Sunset=0).

Time group

Provides settings for the time, date, and time zone.

If the location you choose uses Daylight Savings

Time, turn on the Daylight Saving Time checkbox.

The Sunlight system adjusts the sun’s azimuth and

altitude accordingly during the summer months.

Hours/Mins/Secs—Specify the time of day.

Month/Day/Year—Specify the date.

Time Zone—Time zones range from –12 to 12. If

you’reuncertainaboutatimezone,youcanlook

them up in Window’s Date > Time Properties

dialog (available through My Computer > Control

Panel > Date > Time). Click the Time Zone tab,

and then display the list of world locations and

their time zones.

Daylight Savings Time—When on, calculates

daylight savings by adjusting azimuth and altitude

during the summer months.

Location group

Provides controls for setting the location of your

scene in the world.

Get Location—Displays the Geographic Location

dialog (page 1–422), which lets you set the latitude

and longitude values by selecting a location from

a map or a list of cities.

Note: For precise locations, enter exact coordinates

using Latitude/Longitude.

[city name text box]—Displaysthenameofthecity

you choose from the Geographic Location dialog.

If you adjust the Latitude or Longitude spinners

after choosing a location, this area becomes blank.

Latitude/Longitude—Specify the location based on

the latitude and longitude.

Site group

Orbital Scale—Sets the distance of the sun (the

directional light) from the compass rose. Because a

directionallightcastsparallelbeams,thisdistance

has no effect on the accuracy of the sunlight.

However, the light must point toward your model

(not away from it), and the light’s hotspot and

falloff do have an effect.

422 Chapter 5: Creating Geometry

The best way to ensure that the light is set up

correctly is to change one viewport to the light’s

view (for example, Sun 01). Then adjust the light’s

location using Dolly (page 3–751),andsetthe

hotspot so it illuminates the whole model, with no

falloff.

North Direction—Sets the rotational direction

of the compass rose in the scene. This is the

geographical orientation of the compass rose. By

default, north is 0 and points along the positive Y

axis of the ground plane. Positive X (East) is 90

degrees. Adjust the North Direction to correspond

to your site. Accuracy of the system depends on

this correspondence.

Geographic Location Dialog

Select Sunlight or Daylight system > Motion panel >

Location group > Get Location button

TheGeographicLocationdialogispartofthe

Sunlight and Daylight systems’ (page 1–418)

interface. It lets you set the latitude and longitude

values by selecting a location from a map or a list

of cities. The dialog displays a list of cities at left,

and a map on the right.

Procedures

To use a map:

1. IntheLocationgroupontheControl

Parameters rollout, click the Get Location

button.

2. On the Geographic Location dialog choose a

mapfromtheMaplist.

3. Click in the map to specify a location.

3dsMaxdisplaysasmallcrossatthelocation

you picked. If Nearest Big City is on, it places

thecrossatthenearestlargecityonthelist,and

highlights the city’s name in the list.

4. ClickOKtosettheLatitudeandLongitudeto

the location of the cross.

Tochooseacitybyname:

1. Choose a map from the Map list.

The City list updates to show cities in the region

of the map.

2. Choosethenameofacityfromthelist.

3. ClickOKtosettheLatitudeandLongitudeto

the location of the city.

Interface

City—Displays a list of cities within the selected

Map region. As an alternative to selecting a

location by clicking the map, you can select a city

directly from this list. The cross on the map moves

to the location of the selected city.

Map—Lets you choose a map for a portion of the

world, or you can choose the World map, which

includestheentireworld.

Nearest Big City—When on, clicking the map

movesthecrosstothenearestlistedcity,which

becomes highlighted in the list. When off, clicking

the map places the cross exactly where you

clicked, and its position generates the Latitude and

Longitude values for that position, regardless of

any cities that might be nearby.

To change an object’s position, orientation, or

scale, click one of the three transform buttons

on the Main toolbar or choose a transform from

ashortcutmenu. Applythetransformtoa

selected object using the mouse, the status bar

Coordinate Display fields, a type-in dialog, or any

combination of the above.

The column can be moved, rotated, and scaled.

These topics describe how to use and animate

transforms, with procedures:

Using Transforms (page 1–424)

Using Transform Gizmos (page 1–426)

Transform Type-In (page 1–431)

Animating Transforms (page 1–432)

Transform Managers (page 1–433)

Specifying a Reference Coordinate System (page

1–435)

Choosing a Transform Center (page 1–435)

Using the Axis Constraints (page 1–437)

Transform Commands (page 1–438)

Transform Coordinates and Coordinate Center

(page 1–442)

Transform Tools (page 1–448)

Scaling and Dimensions

If you scale an object and later check its base

parameters in the Modify panel, you see the

dimensions of the object before it was scaled. The

base object exists independently of the scaled

object that is visible in your scene.

Yo u c a n u s e t h e Measureutility(page2–52)to

measure the current dimensions of an object that

has been scaled or changed by a modifier.

Creating Copies and Arrays (page 1–471)

Using Shift +Clone (page 1–478)

Transforms: Moving, Rotating, and

Scaling Objects

424 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

Axis Tripod and World Axis

Two visual aids in 3ds Max give you information

about your current orientation in the workspace.

Axis Tripod

If no transform tool is active, an axis tripod

appears in the viewports whenever you select one

or more objects, to assist you visually in your

transforms. When a transform tool is active, the

transform gizmo (page 1–426) appears instead,

unless you’ve turned it off.

The axis tripod appears when the transform gizmo is inactive.

The axis tripod consists of three lines, labeled X, Y,

and Z, and shows you three things:

• The orientation of the tripod reveals the

orientation of the current reference coordinate

system.

• The location of the junction of the three axis

lines shows you where your transform center is.

• The highlighted red axis lines show you the axis

or axes to which the transform is constrained.

For example, if only the X axis line is red, you

can move objects only along the X axis.

World Axis

In the lower-left corner of each viewport you

can find the world axis, which shows the current

orientation of the viewport with respect to world

coordinate system. The world axis colors are red

for X, green for Y, and blue for Z. You can toggle

the display of the world axis in all viewports by

turning off Display World Axis, on the Viewports

panel (page 3–821) of the Preference Settings

dialog.

The world axis shows the current viewport orientation.

See also

Using Transform Gizmos (page 1–426)

Transform Managers (page 1–433)

Using Transforms

Changing a model by changing its position, rotation, or scale

A transform is an adjustment of an object’s

position,orientation,orscale,relativetothe3D

world (or world space) in which you’re working.

You can apply three types of transform to an

object:

Using Transforms 425

•Position (page 1–439)

•Rotation (page 1–439)

•Scale (page 1–440)

This section presents these brief topics designed to

help you quickly start learning how to transform

objects, and how to animate your transforms:

Using Transform Gizmos (page 1–426)

Animating Transforms (page 1–432)

Transform Managers (page 1–433)

Specifying a Reference Coordinate System (page

1–435)

Choosing a Transform Center (page 1–435)

Using the Axis Constraints (page 1–437)

FailuretoMoveorRotate

In some cases, an object might fail to move or

rotate, even when the proper button is on and the

object is selected. This could be due to one of the

following reasons:

•Theobjectisfrozen.SeeSelecting Objects (page

1–61).

• A transform controller has been assigned to the

object. See Animation Controllers (page 2–307).

•InverseKinematicsmodeisonandthe

preference called Always Transform Children

of the World is off. See Introduction to Inverse

Kinematics (IK) (page 2–435).

Procedures

To transform an object using the Main toolbar:

1. On the Main toolbar, click

oneofthethreetransformbuttons:Select And

Move (page 1–439),Select And Rotate (page

1–439),orSelect And Scale (page 1–440).These

buttons are usually referred to as Move, Rotate,

and Scale.

2. Position the mouse over the object you want

to transform.

•Iftheobjectisalreadyselected,thecursor

changes to indicate the transform.

•Iftheobjectisnotselected,thecursor

changestoasmallplussigntoshowthatthe

object can be selected.

3. Drag the mouse to apply the transform.

If you drag the mouse over an unselected object,

it becomes selected and is also transformed.

You can use the Transform gizmo to easily

restrict transforms to one or two axes. See

Using Transform Gizmos (page 1–426).

To cancel a transform:

• Right-clickwhileyou’redraggingthemouse.

Totransformanobjectfromthequadmenu:

1. Right-click a selected object. The quad menu

(page 3–694) lists the three transforms.

2. Choose one of the transforms. The equivalent

transform button is selected on the main

toolbar.

3. Drag the object to apply the transform.

To use transform type-in:

1. Choose Tools menu > Transform Type-In to

display the dialog.

2. Apply a transform to a selected object.

3. You can do any of the following, switching from

one to the other as required.

• Typeavalueinanaxisfieldandpress

Enter to apply the transform change to the

selection.

• Dragaspinnerinanaxisfieldtoupdatethe

selection.

426 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

• Drag the object to apply the transform and

read the resulting change in the dialog.

For example, if Move is active, the dialog fields

read out both the absolute and offset positions of

the selected object in world space. If no object is

selected, the fields turn gray.

To use transform type-in on the status bar:

1. Select an object or a group of objects.

2. On the Main toolbar, choose a transform

(Move, Rotate, or Scale) to perform on the

objects.

3. On the status bar, you can do any of the

following, switching from one to another as

required:

•Type a value in an axis field and press

Enter to apply the transform change to the

selection. The Absolute/Offset toggle, to the

right of the X, Y, and Z fields, lets you switch

between entering values that are absolute

(in world space) or offset (relative to the

selection’s present position, orientation, and

dimensions).

• Dragaspinnerinanaxisfieldtoupdatethe

selection.

• Drag the object to apply the transform and

read the resulting change in the X, Y, and Z

fields.

Tip: To see the Z field, drag the transform

type-in portion of the toolbar while a pan

hand is visible.

Using Transform Gizmos

Select an object. > main toolbar > Click any transform

button to display the object’s Transform Gizmo icon.

Move gizmo

Rotate gizmo

Using Transform Gizmos 427

Scale gizmo

TheTransformgizmosareviewporticonsthat

let you quickly choose one or two axes when

transforming a selection with the mouse. You

chooseanaxisbyplacingthemouseoveranyaxis

of the icon, and then drag the mouse to transform

the selection along that axis. In addition, when

moving or scaling an object, you can use other

areasofthegizmotoperformtransformsalong

any two axes simultaneously. Using a gizmo avoids

the need to first specify a transform axis or axes

on the Axis Constraints toolbar (page 3–687),and

also lets you switch quickly and easily between

different transform axes and planes.

A Transform gizmo appears when one or more

objects are selected and one of the transform

buttons (Select And Move (page 1–439),Select And

Rotate (page 1–439),orSelect And Scale (page

1–440)) is active on the toolbar. Each transform

type uses a different gizmo. By default, each axis is

assigned one of three colors: X is red, Y is green,

and Z is blue. The corners of the Move gizmo are

assigned the two colors of the related axes; for

example, the corner for the XZ plane is red and

blue.

When you position the mouse over any axis, it

turns yellow to indicate that it’s active. Similarly,

positionthemouseoveroneoftheplanehandles,

andbothassociatedaxesturnyellow.Youcannow

drag the selection along the indicated axis or axes.

Doing so changes the Axis Constraints toolbar

"Restrict to ..." setting (page 1–437).

Move Gizmo

TheMovegizmoincludesplanehandles,andthe

option to use a center box handle.

You can select any of the axis handles to constrain

movement to that axis. In addition, the plane

handles allow you to constrain movement to the

XY, YZ, or XZ planes. The selection hotspot is

within the square formed by the plane handles.

You can change the size and offset of the handles

and other settings on the Gizmos panel (page

3–832) of the Preferences dialog (page 3–815).

TheMovegizmowiththeYZaxesselected.

You can constrain translation to the viewport

plane by dragging the center box. To use this

optional control, turn on Move In Screen Space.

428 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

Rotate Gizmo

The Rotate gizmo is built around the concept

of a virtual trackball. You can rotate an object

freely,abouttheX,Y,orZaxis,oraboutanaxis

perpendicular to the viewport.

The axis handles are circles around the trackball.

Drag anywhere on one of them to rotate the

object about that axis. As you rotate about the X,

Y, or Z axis a transparent slice provides a visual

representation of the direction and amount of

rotation. If you rotate more than 360°, the slice

overlaps and the shading becomes increasingly

opaque. The software also displays numerical data

to indicate a precise rotational measurement.

In addition to XYZ rotation, you can also use free

rotation or the viewport handle to rotate objects.

Drag inside the Rotate gizmo (or the outer edge

of the gizmo) to perform free rotation. Rotation

should behave as if you were actually spinning the

trackball.

TheoutermostcirclearoundtheRotategizmois

the Screen handle, which lets you rotate the object

on a plane parallel to the viewport.

You can adjust settings for the Rotate gizmo on

the Gizmos panel (page 3–832) of the Preferences

dialog (page 3–815)

Scale Gizmo

The Scale gizmo includes plane handles and

scaling feedback through the stretching of the

gizmo itself.

The plane handles let you perform uniform and

non-uniform scaling without changing your

selection on the main toolbar:

• To perform Uniform scaling, drag in the center

of the gizmo.

Using Transform Gizmos 429

The Transform gizmo with Uniform scaling selected.

• To perform non-uniform scaling, drag on a

single axis or a plane handle.

Top: The Scale gizmo with the YZ plane handle selected

Bottom: Non-uniform scaling on the YZ plane

Note: To perform a Squash operation, you must

choose Select and Squash (page 1–442) on the

main toolbar.

The Scale gizmo provides feedback by changing

itssizeandshape;inthecaseofauniformscale

operation, it will grow or shrink as the mouse

moves, and during non-uniform scaling, the

gizmo will stretch and deform while dragging.

However, once the mouse button is released, the

gizmo returns to its original size and shape.

430 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

You can adjust settings for the Scale gizmo on

the Gizmos panel (page 3–832) of the Preferences

dialog (page 3–815)

Notes

Using a Transform gizmo sets the default axis

constraint to the last axis or plane you used.

If Lock Selection Set is on, you can drag anywhere

in the viewport to transform the object. Dragging

an axis, however, still applies the constraint along

that axis.

Procedure

Example: To explore use of the transform gizmo:

1. Reset the program, then create a sphere,

and then click the Select and Move button.

TheTransformgizmoappearsatthecenterof

the sphere. Because the default axis constraint

on the Axis Constraints toolbar is XY Plane,

the X and Y shafts of the Transform gizmo are

yellow (active), while the Z shaft is blue.

2. Use Arc Rotate (page 3–744) to adjust

the Perspective viewforabetterviewof

the Transform gizmo. When you’re done,

right-click to return to Select and Move .

3. Pointtoanypartofthesphereawayfromthe

Trans for m g izmo, and drag to confirm that the

sphere is locked to the XY plane.

4. Point to the Z-axis shaft, and drag.

The Z shaft turns yellow, the X and Y shafts

turn red and green, respectively, and the sphere

moves along theZaxis.

5. Point to the Y shaft, and drag.

The Y shaft turns yellow, and the sphere moves

along only the Y axis.

6. Point to the red-and-green corner mark

opposite the ends of the X and Y axes, and drag.

ThespheremovesalongtheXYplane.

7. Press the Spacebar to turn on Selection Lock

(page 3–707).

8. Drag the mouse anywhere in a viewport away

from the selection.

ThespheremovesalongtheXYplane.

9. Point to the X shaft, and drag.

ThespheremovesalongonlytheXaxis.

Experiment with other transformations, such

as rotation and scale. Try different reference

coordinate systems. Experiment with sub-object

transformations.

Interface

Change default colors—Customize menu >

Customize User Interface dialog > Colors panel

(page 3–799) > Gizmos Element > Active

Transform Gizmo and Transform Gizmo X/Y/Z.

Enable/disable Transform Gizmo—Customize menu

> Preferences > Gizmos panel (page 3–832) >On

check box.

Note: When you turn off the Transform gizmo

in Preferences, the standard axis tripod appears

instead. To toggle display of either the gizmo or

the tripod, press the Xkey or use Views menu >

Show Transform Gizmo.

There are additional controls for each Gizmo in

the Gizmos panel (page 3–832) of the Preferences

dialog.

Gizmos Preferences (page 3–832)

Transform Type-In 431

Transform Type-In

Status bar > Transform Type-In

Edit menu > Transform Type-In

F12

Main toolbar > Right-click Select And Move, Select And

Rotate, or one of the Select And Scale buttons.

Transform Type-In is a dialog that lets you

enter precise values for move, rotate, and scale

transforms (page 3–1026). You can use Transform

Type-In w ith any thing that can display an axis

tripod or Transform gizmo.

You can also use the Transform Type-In boxes on

the status bar (page 3–698).TousetheTransform

Type-In boxes on the status bar, simply enter the

appropriatevaluesintheboxesandpress Enter

to apply the transformation. You can alternate

between entering absolute transform values or

offset values by clicking the Relative/Absolute

Transform Type-In button to the left of the

transform boxes.

If you choose Transform Type-In from the Edit

menu, press F12 ,orright-clickoneofthe

transform toolbar buttons, Transform Type-In

pops up as a dialog. The title of the dialog reflects

theactivetransform.IfRotateisactive,thedialog’s

titleisRotateTransformType-Inanditscontrols

affect rotation. If Scale is active, its title is Scale

Transform Type-In, and so on. You can enter

either absolute transform values or offset values.

In most cases, both absolute and offset transforms

use the active reference coordinate system (page

1–443). The exceptions are View, which uses the

World coordinate system, and Screen, which uses

World for absolute moves and rotations. Also,

absolute scaling always uses the Local coordinate

system. The dialog labels change to show the

reference coordinate system being used.

When you use the Transform Type-In at a

sub-object level, you transform the transform

gizmo of the sub-object selection. So, for example,

theabsolutepositionvaluesrepresenttheabsolute

world position of the transform gizmo. If you’ve

selectedasinglevertex,it’stheabsoluteworld

position of the vertex.

If multiple vertices are selected, the Transform

gizmo is placed at the center of the selection, so the

position you specify in the Transform Type-In sets

theabsolutepositionofthecenteroftheselected

vertices.

When multiple vertices are selected in Local

transform mode, you end up with multiple

transform gizmos. In this case, only the Offset

control is available.

Because the axis tripods are not scaled, the

Absolute Scale control is not available at the

sub-object level. Only Offset is available.

When you use the Transform Type-In for Absolute

rotation, the state of the Center flyout is respected.

You can perform absolute rotations about the

pivot point of the object, the selection center,

or transform coordinate center. See Choosing a

Transform Center (page 1–435).

Using Type-In with Sub-Object Selection

Yo u c a n u s e Tr a n s f or m Ty p e - I n w i t h a n y

sub-object selection or gizmo. The transform

affects the axis tripod for the selection.

Absoluteandoffsetworldcoordinatesarethose

of the object’s or selection’s coordinate system,

whoseoriginisindicatedbytheaxistripod. If

multiple vertices are selected, the tripod is at the

center of the selection and its location is given in

world coordinates.

Because axis tripods cannot be scaled, Absolute

Scalefieldsareunavailablewhenyouareata

sub-object level.

432 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

See Basics of Creating and Modifying Objects (page

1–153) for information on sub-object selection

and gizmos.

Procedure

To use transform type-in:

1. Select an object or a group of objects.

2. Choose a transform to perform on the objects

(Move, Rotate, or Scale).

3. You can do any of the following, switching from

one to another as required:

• Type a value in an axis field and press Enter

to apply the transform change to the object

in the viewport.

• Dragaspinnerinanaxisfieldtoupdatethe

object in the viewport.

• Drag the object to apply the transform and

read the resulting change in the axis fields.

For example, if Move is active, the fields

read out both the absolute positions of the

selected object in world space. If no object is

selected, the fields turn gray.

Interface

Status bar

Absolute/Offset Mode Transform

Type-In—When this is off, the software treats

valuesyouenterintotheX,Y,andZfieldsas

absolutes. When this is on, the software applies

transform values you enter as relative to current

values; that is, as an offset. Default=off.

X, Y, and Z—Displayandacceptentryforvaluesof

position, rotation, and scale along each axis.

Absolute group (Dialog)

X, Y, and Z—Display and accept entry for absolute

values of position, rotation, and scale along each

axis. Position and rotation are always displayed, as

world scale is always local.

Offset group (Dialog)

X, Y, and Z—Displayandacceptentryforoffsets

of the position, rotation, and scale values along

each axis.

Displayed offset values revert to 0.0 after each

operation. For example, if you enter 45 degrees

in a Rotate Offset field, when you press Enter ,

the software rotates the object 45 degrees from

itspreviousposition,increasestheAbsolutefield

value by 45 degrees, and resets the Offset field to

0.0.

Offset labels reflect the active reference coordinate

system. The Offset can be Offset: Local, Offset:

Parent, and so on. If you use Pick to select the

reference coordinate system of a particular object,

the Offset will be named with that object.

Animating Transforms

You can animate changes in position, rotation, and

scale (transforms) by turning on the Auto Key

button and then performing the transform at any

frame other than frame 0. This creates a key for

that transform at the current frame.

Transform Managers 433

Example: To animate an object moving among three

points:

1. Tur n on the Auto Key button (page

2–278).

The Auto Key button and the highlight border

around the active viewport both turn red.

2. Dragthetimeslidertoframe25.

3. Move the object from its current position (point

A) to another location (point B).

ThesoftwarecreatesMovekeysatframes0and

25. These appear on the track bar (page 3–703).

The establishing key at frame 0 describes the

object’s original position, at point A. The key

atframe25describestheobject’spositionat

point B.

4. Dragthetimeslidertoframe50.

5. Move the object from point B to a third location

(point C).

ThesoftwarecreatesaMovekeyatframe50

that describes the object’s position at point C.

6. Click the Auto Key button to stop recording.

7. Click the Play button (page 3–723).

TheobjectmovesfrompointAtopointBover

frames 0 to 25, and then proceeds to point C

over frames 26 to 50.

8. The Play button has turned into a Stop

button; click Stop to stop playback.

You can combine different transforms in a single

animation sequence, so that an object appears to

move as it rotates and changes in size.

See Animation Concepts and Methods (page 2–275)

for more information on animation techniques.

An object animated among three points

Transform Managers

3ds Max provides three controls, collectively

referred to as the transform managers, for

modifying the action of the transform tools.

The transform manager controls are as follows:

•TheReferenceCoordinateSystemdrop-downlist

(page 1–443), which controls the orientation of

the transform axes, is found to the right of the

Move, Rotate, and Scale transform buttons on

the main toolbar.

•TheTransform Center flyout (page 1–445),

which controls the center about which the

software applies the transform, is found to

the right of the Reference Coordinate System

drop-down list.

•TheAxis Constraint setting (page 1–437) lets

you restrict the transform to a single axis or two

axes (that is, a plane). The axis constraint tools

appear on the Axis Constraints toolbar, which

is off by default. You can open the toolbar

by right-clicking an empty spot on the main

toolbar and choosing Axis Constraints from

the menu.

Tip: You can also restrict transforms with the

transform gizmos (page 1–426).

434 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

Definitions

Certain terms are used in the description of

transforms and the transform managers.

•Anaxis is a straight line along which an object

is moved or scaled, or about which an object is

rotated. When you work in 3D, you use three

axes, labeled X, Y, and Z, which are oriented 90

degrees from each other.

•Acoordinate system specifies the orientation of

the X, Y, and Z axes used by a transform.

For example, in the World coordinate system,

as seen from the Front view, the X axis runs

horizontally from left to right, the Y axis

runs from back to front, and the Z axis runs

vertically, from bottom to top.

On the other hand, each object carries its own

Local coordinate system. If the object has been

rotated, its Local coordinate system might be

different from the world coordinate system.

•Thetransform center, or pivot point, is the spot

about which a rotation takes place, or to and

from which scaling occurs.

Using the transform managers, you can specify

any combination of axes, transform coordinate

systems, and transform centers.

Axis Tripod Icon

• An axis tripod appears in the viewports when

you select one or more objects, to assist you

visually in your transforms. This tripod

consists of three lines, labeled X, Y, and Z, and

shows you three things:

• The orientation of the tripod reveals the

orientation of your coordinate system.

• The location of the junction of the three axis

lines shows you where your transform center is.

• The highlighted red axis lines show you the axis

or axes to which the transform is constrained.

For example, if only the X axis line is red, you

can move objects only along the X axis.

Note: The Transform gizmo supplants the axis

tripod for selections when a transform mode

is active. Besides providing all of the above

functions, it lets you specify the transform axis

or axes without explicitly setting constraints;

see Using the Axis Constraints (page 1–437).

For more on the Transform gizmo, see Using

Transform Gizmos (page 1–426).

You can toggle the display of the axis tripod in

all viewports by choosing Views menu > Show

Transform Gizmo, or by pressing the Xkey.

Transform Manager Settings

The state of the three transform managers

(coordinate system, center, and axis constraints)

is stored with each type of transform. When you

switch from Move to Rotate to Scale, the transform

managers change to whatever combination they

were in when you last used that transform.

For example, if you click Rotate and set the

transform managers to Local, Selection Center,

and Y constraint, when you click Move, the

controls might shift to View, Pivot Point, and XY

constraint (whichever combination was set the

last time you used Move). When you go back

to Rotate, the controls revert to Local, Selection

Center, and Y constraint.

Tip: To avoid surprises, always click the transform

button first, and then set the transform managers.

If, instead, you first set the transform managers,

their settings are likely to change as soon as you

choose a new transform button. One way to

remember this is always to set the transform and

managers by working from left to right on the

toolbar. Alternatively, you can turn on Customize

menu > Preferences > General tab > Reference

Coordinate System group > Constant, which keeps

the transform manager settings the same for all

transforms.

Specifying a Reference Coordinate System 435

Specifying a Reference Coordinate

System

The reference coordinate system determines the

orientation of the X, Y, and Z axes used by the

transform. The type of transform system you use

affects all transform operations.

You specify the transform coordinate system using

the Reference Coordinate System list (page 1–443).

Creating a Local Axis

While modeling, it’s often helpful to have a

temporary, movable local axis so you can rotate or

scale about an arbitrary center.

Note: This technique does not work for animation.

See Choosing a Transform Center (page 1–435) for

animation tips.

To create an adjustable local axis:

1. Create a Point helper object.

You can use the Create panel or the Create

menu. On the Create panel, click the Helpers

button, click Point, and then click in a viewport.

Or,chooseCreatemenu>Helpers>Point,and

then click in a viewport.

2. From the Transform Coordinate System list,

choose Pick, and then click the point object.

Thenameofthepointobjectappearsinthelist

astheactivecoordinatesystem.

Now you can use the point object’s coordinate

system as an adjustable axis.

To use the adjustable axis:

1. Placethepointobjectwhereyouwanttherotate

or scale transform to be centered.

2. Select the object you want to transform.

3. Choose the point object’s name in the

TransformCoordinateSystemdrop-downlist.

4. From the Use Center flyout (page 1–445) choose

Use Transform Coordinate Center. For more

information, see Choosing a Transform Center

(page 1–435).

5. Proceed with the transform.

Choosing a Transform Center

The transform center affects scale and rotation

transforms, but has no effect on position

transforms.

The software lets you choose from three types of

transform center using the Use Center flyout (page

1–445) on the main toolbar. When you change the

transform center, the junction of the axis tripod

icon moves to the location you specify.

By default, 3ds Max sets the transform center to

Use Pivot Point center for single objects. When

you select multiple objects, the default transform

center changes to Use Selection Center, because

selection sets have no pivot point. You can change

the transform center in either case, and the

program remembers and restores the transform

center setting separately for selections of single

and multiple objects (during the current session).

Forexample,youmightselectasingleobjectand

choose Use Transform Coordinate Center, and

then select multiple objects and choose Use Pivot

Point Center. When you next select a single object,

the program switches back to Use Transform

Coordinate Center. Then, when you select multiple

objects, the center switches back to Pivot Point.

436 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

1. User selects single object.

2. User clicks Use Transform Coordinate Center from Use Center

flyout on Main toolbar.

3. User adds second object to selection.

4. Transform center changes to Use Selection Center when

selection set contains more than one object.

5. User clicks Use Pivot Point Center while multiple objects

still selected.

6. User selects single object.

7. Transform center returns to Use Transform Coordinate

Center (see step 2).

8. User selects multiple objects.

9. Transform center returns to Use Pivot Point Center (see step

5).

Transforming About Snapped Points

While the transform center choices are often useful

at the object level, they are not usually convenient

when transforming sub-object selections. You can

override the active transform center and perform

the current transform about a temporary point

by using snaps. When Snaps is active, and your

selection is locked, the point you snap to will set

the point about which the transform is performed.

Usingthistechnique,youcan:

• Moverelativetotwosnappoints.

• Rotate about a snapped point.

• Scale about a snapped point.

For more details, see Snap Settings (page 2–41).

Animation and the Transform Center

Because of the nature of keyframing, you can

animate rotation and scale transforms properly

only by using an object’s local pivot point. For

example, while modeling, you can rotate an object

that’s offset from the world origin around the

world center coordinate system. The object sweeps

around the origin in a large arc. However, if you

attempt to animate this, the object rotates about its

localaxisandmovesinastraightlinefromone

end of the arc to the other.

To avoid this discrepancy, if the Auto Key button is

on and either the Rotate or Scale button is active,

the Use Center flyout is unavailable and set to Use

Pivot Point. When the Auto Key button is off,

all transforms use the center settings previously

described.

You can override this behavior by turning off

Local Center During Animate (page 3–830) in the

Animation Preferences settings.

Keep in mind that this affects only the center of

the transform. The orientation of the selected

transformcoordinatesystemisstillineffect.

Animating "Off-Center"

You can animate a rotation or scale about an

off-center point by linking your object as the child

Using the Axis Constraints 437

of a dummy helper object, and then rotating or

scaling the dummy.

Another technique is to offset the pivot point of

your object using the Hierarchy panel.

For information about linking, dummy objects,

and the Hierarchy panel, see Hierarchies (page

2–416).

Using the Axis Constraints

AxisConstraintstoolbar>RestricttoX,Y,Z,oraplane

Keyboard >

F5 restricts to X

F6 restricts to Y

F7 restricts to Z

F8 cycles through the three plane restrictions

The Restrict to ... buttons, also called the Axis

Constraint buttons, are located on the Axis

Constraints toolbar (page 3–687),whichisoffby

default. You can turn it on by right-clicking an

empty spot on the main toolbar and choosing

Axis Constraints from the pop-up menu. These

buttons let you specify one or two axes about or

along which the transform takes place. They help

you avoid transforming an object in a direction

you didn’t intend.

Note: It’s generally easier to use the Transform

gizmos than these buttons; see Using Transform

Gizmos (page 1–426). However, it is helpful to

understand the concepts explained below.

Axis Constraint buttons

Only one axis constraint can be active at a time.

Whenabuttonisturnedon,transformsare

constrained to the specified axis (or plane). For

example,ifyouturnontheRestrictToXbutton,

you can rotate an object only about the X axis of

the current transform coordinate system.

The axis or axes to which you’re constrained

are highlighted in red on the axis tripod icon in

viewports, or in yellow on the Transform gizmo.

Note: By default, axis constraints don’t apply when

using Snap. You can override this by turning on

Snaps Use Axis Constraint Toggle on the Axis

Constraints toolbar (page 3–687),orbyturningon

Use Axis Constraints in Snap Options (page 2–46).

Note: Constraintsaresetonatransform-by-

transform basis, so select the transform before you

select the axis constraint. If you do not want the

constraints to change, turn on Customize menu >

Preferences > General tab > Reference Coordinate

System group > Constant.

The axis constraints are stored separately at

object and sub-object levels. If you set these

three controls one way while in sub-object mode

and another way while in object selection level,

when you return to sub-object mode, they’re

restored to the way they were previously set. For

example, if you’re using XY constraints at object

level, then switch to sub-object level and use Z

constraint, when you return to object level, XY

will be restored.

438 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

Restrict to Plane Flyout

The Restrict To Plane flyout, available from

the Axis Constraints toolbar, lets you limit all

transformations (move, rotate, scale) to the XY,

YZ, or ZX planes (by default, parallel with the Top

view).

You can also select planar constraint by using the

Move Transform Gizmo (page 1–426). Instead of

dragging one of the axis indicators, drag one of the

plane indicators near the center of the gizmo.

Whenyoumoveanobjectalongaplanethatis

head-on to your view, the object moves along the

single available axis shown in the view.

Reset Transform Utility

Utilities panel > Utilities rollout > Reset XForm button

Use the Reset Transform utility to push object

rotation and scaling values onto the modifier

stack and align object pivot points and bounding

boxes with the World coordinate system. Reset

Transform removes all Rotation and Scale values

from selected objects and places those transforms

in an XForm modifier.

To r e s e t t h e t r a n s fo r m o f a g r o u p, u s e t h e

TransformbuttonintheResetgroupboxofthe

Hierarchy > Pivot command panel.

Procedure

To reset an object’s transform:

1. Select an object.

2. On the Utilities panel, click Reset XForm.

3. On the Reset Transform rollout, click Reset

Selected.

Object rotation and scaling are now carried

by an XForm modifier placed at the top of the

modifier stack.

When you apply the Reset Transform utility,

an XForm modifier (page 1–959) that carries

the rotation and scale values is placed at the

top of the Modifier Stack display. You can

apply other modifiers above and below the

XForm modifier. You can select the XForm

modifier and add other Move, Rotate, and Scale

transforms. You can delete the XForm modifier

to completely remove the transforms from the

object. You can collapse the object to absorb the

rotation and scale values into the object mesh.

Interface

Reset selected—Removes all Rotation and Scale

values from selected objects and places those

transforms in an XForm modifier.

Transform Commands

The basic transform commands are the most

straightforward way to change an object’s position,

rotation, or scale. These commands appear on the

default main toolbar (page 3–686).Theyarealso

available from the default quad menu (page 3–694).

Select and Move 439

Select and Move (page 1–439)

Select and Rotate (page 1–439)

Select and Uniform Scale (page 1–441)

Select and Non-Uniform Scale (page 1–441)

Select and Squash (page 1–442)

Moving, Rotating, and Scaling Objects (page 1–423)

Using Shift +Clone (page 1–478)

Transform Type-In (page 1–431)

Select and Move

Main toolbar > Select and Move

Right-click an object. > quad menu > Transform quadrant

>Move

Edit menu > Select and Move

UsetheSelectAndMovebuttonortheMove

command on the Edit or quad menu to select and

move objects.

To move a single object, you do not need to select it

first. When this button is active, clicking an object

selects it and dragging the mouse moves it.

The direction of the movement is determined

both by your mouse and by the current reference

coordinate system. To restrict object movement

to the X, Y, or Z axis, or to any two axes, click

theappropriatebuttonontheAxis Constraints

toolbar (page 3–687),usetheTran sfor m g i zm o

(page 1–426), or right-click the object, and select

the constraint from the Transform submenu.

Moving an object

Move Gizmo (page 1–427)

Select and Rotate

Main toolbar > Select and Rotate

Right-click an object. > quad menu > Transform quadrant

>Rotate

Edit menu > Select and Rotate

Use the Select and Rotate button or the Rotate

command on the Edit or quad menu to select and

rotate objects.

To rotate a single object, you don’t need to select it

first. When this button is active, clicking an object

selects it and dragging the mouse rotates it.

When you are rotating an object about a single

axis(asisusuallythecase),don’trotatethe

mouse, expecting the object to follow the mouse

440 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

movement. Just move the mouse straight up and

straight down. Up rotates the object one way,

down rotates it the opposite way.

The center of rotation is determined by the

Transform Center setting (page 1–442).

To restrict rotation about the X, Y, or Z axis, or

to any two axes, click the appropriate button on

the Axis Constraints toolbar (page 3–687),use

the Transform gizmo (page 1–426),orright-click

the object, and select the constraint from the

Trans for m subm enu .

Rotating an object

Rotate Gizmo (page 1–428)

Procedure

This procedure illustrates the intuitive usage of the

default Euler XYZ rotation controller (page 2–318).

To animate object rotation interactively:

1. Add an object.

2. Move the time

slider (page 3–701) to a frame other than 0 and

turn on Auto Key (page 3–717).

3. Choose Select And Rotate.

4. Rotate the object on any axis by any amount.

5. Movethetimeslidertoalaterframe.

6. Rotate the object on the same axis by an amount

greater than 180 degrees.

7. Play back the animation.

The rotation plays back exactly as you recorded

it.

Select and Scale

Main toolbar > Select and Scale flyout

Right-click an object. > quad menu > Transform quadrant

>Scale

Edit menu > Select and Scale

The Select And Scale flyout on the main toolbar

providesaccesstothreetoolsyoucanuseto

change object size. These are, from top to bottom:

Select and Uniform Scale (page 1–441)

Select and Non-Uniform Scale (page 1–441)

Select and Squash (page 1–442)

In addition, the Scale command is available on

theEditmenuandtheTransformquadrantofthe

quad (right-click) menu; this activates whichever

scaletooliscurrentlychosenintheflyout.

Note: TheSmartScalecommandactivatesthe

Select And Scale function and, with repeated

invocations, cycles through the available scaling

methods. By default, Smart Scale is assigned to

the Rkey; you can use Customize User Interface

(page 3–792) to assign it to a different keyboard

shortcut, a menu, etc.

Select and Uniform Scale 441

Select and Uniform Scale

Main toolbar > Select and Uniform Scale (on Select And

Scale flyout)

Right-click an object. > Scale (selects current toolbar

Scale mode)

The Select And Uniform Scale button, available

from the Select And Scale flyout (page 1–440),

lets you scale objects by the same amount along

all three axes, maintaining the object’s original

proportions.

Uniform scale does not change an object’s proportions.

To scale a single object, you don’t need to select it

first. When this tool is active, clicking an object

selects it and dragging the mouse scales it.

Scale Gizmo (page 1–428)

Select and Non-Uniform Scale

Main toolbar > Select and Non-Uniform Scale (on Select

And Scale flyout)

Right-click an object. > Scale (selects current toolbar

Scale mode)

The Select And Non-Uniform Scale button,

available from the Select And Scale flyout (page

1–440), lets you scale objects in a non-uniform

manner according to the active axis constraint.

Non-uniform scale can change proportions with different

values for different axes.

Yo u c a n r e s t r i c t t h e o b j e c t s ’ s c a l i n g a b o u t t h e X , Y,

or Z axis, or to any two axes, by first clicking the

appropriatebuttonontheAxis Constraints toolbar

(page 3–687),orwiththeTransform gizmo (page

1–426).

To scale a single object, you don’t need to select it

first. When this tool is active, clicking an object

selects it and dragging the mouse scales it.

Important: Avoid applying non-uniform scale at

the object level. Non-uniform scaling is applied as

a transform and changes the axes of the object, so

it affects other object properties. It also alters the

properties passed hierarchically from parent to child.

When you perform other operations on the object, such

as rotation, inverse kinematic calculations, and other

positioning operations, you might not get the results

you expect. To recover from these problems, use the

Hierarchy panel’s Reset Scale button or the Utilities

panel’s Reset XForm utility. Either of these options

will reset the axes to use the non-uniform scale as the

fundamental scale for the object.

As an alternative to non-uniform scaling, consider using

the XForm modifier (page 1–959).

Scale Gizmo (page 1–428)

442 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

Select and Squash

Main toolbar > Select And Squash (on Select And Scale

flyout)

Right-click an object. > Scale (selects current toolbar

Scale mode)

The Select And Squash tool is useful for creating

different phases of the “squash and stretch”-style

animation often found in cartoons. The Select

And Squash tool, available from the Select And

Scale flyout (page 1–440), lets you scale objects

according to the active axis constraint. Squashing

an object always involves scaling down on one axis

while simultaneously scaling up uniformly on the

othertwo(orvice-versa).

Squash scales two axes in opposite directions, maintaining

the object’s original volume.

You can restrict object scaling to the X, Y, or

Z axis, or to any two axes, by first clicking the

appropriatebuttonontheAxis Constraints toolbar

(page 3–687).

When the Select And Squash tool is active, clicking

an object selects it and dragging the mouse scales

it.

Important: Avoid using Select And Squash at the object

level. The non-uniform scaling that it effects is applied

as a transform and changes the axes of the object,

so it affects other object properties. It also alters the

properties passed hierarchically from parent to child.

When you perform other operations on the object, such

as rotation, inverse kinematics calculations, and other

positioning operations, you may not get the results

you expect. To recover from these problems, use the

Hierarchy panel’s Reset Scale button or the Utilities

panel’s Reset XForm utility. Either of these options

will reset the axes to use the non-uniform scale as the

fundamental scale for the object.

As an alternative to non-uniform scaling with Select And

Squash, consider using the XForm modifier (page 1–959).

See also

Scale Gizmo (page 1–428)

Transform Coordinates and

Coordinate Center

Controls for setting the coordinate system and

the active center for transforms to use are on the

default main toolbar (page 3–686).

Reference Coordinate System (page 1–443)

Use Pivot Point Center (page 1–446)

Use Selection Center (page 1–447)

Reference Coordinate System 443

Use Transform Coordinate Center (page

1–447)

Moving, Rotating, and Scaling Objects (page 1–423)

Reference Coordinate System

Main toolbar > Reference Coordinate System list

The Reference Coordinate System list lets

you specify the coordinate system used for a

transformation (Move, Rotate, and Scale). Options

include View, Screen, World (page 3–1035),Parent,

Local (page 3–963),Gimbal,Grid,andPick.

In the Screen coordinate system, all views

(including perspective views) use the viewport

screen coordinates.

ViewisahybridofWorldandScreencoordinate

systems. Using View, all orthographic views use

the Screen coordinate system, while perspective

views use the World coordinate system.

Note: Thecoordinatesystemissetona

transform-by-transform basis, so choose the

transform before you specify the coordinate

system. If you do not want the coordinate system

tochange,turnonCustomizemenu>Preferences

> General tab > Ref. Coord. System group >

Constant.

Interface

View—In the default View coordinate system,

X, Y, and Z axes are the same in all orthogonal

viewports. When you move an object using this

coordinate system, you are moving it relative to

the space of the viewport.

• X always points right.

•Yalwayspointsup.

• Z always points straight out of the screen

toward you.

Different orientations of the View coordinate system:

1. Top viewport.

2. Front viewport.

3. Left viewport.

4. Perspective viewport.

Screen—Uses the active viewport screen as the

coordinate system.

• X is horizontal, running in a positive direction

toward the right.

• Y is vertical, running in a positive direction

upward.

• Z is depth, running in a positive direction

toward you.

Since the Screen mode depends on the active

viewport for its orientation, the X, Y, and Z

labels on an axis tripod (page 1–424) in an

inactive viewport show the orientation of

the currently active viewport. The labels on

444 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

that tripod will change when you activate the

viewport it is in.

The coordinate system in Screen mode is always relative to the

point of view.

World—Uses the world coordinate system. Seen

from the front:

• X runs in a positive direction to the right.

• Z runs in a positive direction upward.

• Y runs in a positive direction away from you.

The World coordinate system is always fixed.

Parent—Usesthecoordinatesystemoftheparent

of the selected object. If the object is not linked to

a specific object, it’s a child of the world, and the

parent coordinate system is the same as the world

coordinate system.

Example of a Parent object coordinate system

Local—Uses the coordinate system of the selected

object. An object’s local coordinate system is

carried by its pivot point (page 3–995).Youcan

adjust the position and orientation of the local

coordinate system, relative to its object, using the

options on the Hierarchy command panel.

When Local is active, the Use Transform Center

button is inactive and all transforms use the local

axis as the center of transformation. In a selection

set of several objects, each uses its own center for

the transform.

Local uses an individual coordinate system for each object.

Gimbal—TheGimbalcoordinatesystemismeant

to be used with the Euler XYZ Rotation controller

(page 2–318).ItissimilartoLocal,butitsthree

Use Center Flyout 445

rotation axes are not necessarily orthogonal to

each other.

WhenyourotateaboutasingleaxiswiththeLocal

and Parent coordinate systems, this can change

twoorthreeoftheEulerXYZtracks.TheGimbal

coordinate system avoids this problem: Euler XYZ

rotation about one axis changes only that axis’s

track. This makes function curve editing easier.

Also, absolute transform type-in with Gimbal

coordinates uses the same Euler angle values as

the animation tracks (as opposed to Euler angles

relative to the World or Parent coordinate system,

as those coordinate systems require).

For move and scale transforms, Gimbal

coordinatesarethesameasParentcoordinates.

When the object does not have an Euler XYZ

Rotation controller assigned, Gimbal rotation is

the same as Parent rotation.

The Euler XYZ controller can be the active

controller in a List controller, too.

Grid—Uses the coordinate system of the active

grid.

Using an active grid coordinate system.

Pick—Usesthecoordinatesystemofanotherobject

in the scene.

After you choose Pick, click to select the single

objectwhosecoordinatesystemthetransforms

willuse. Theobject’snameappearsinthe

Trans for m Coordi nate System list.

Becausethesoftwaresavesanobject’snameinthe

list, you can pick an object’s coordinate system,

changetheactivecoordinatesystem,andthen

use the object’s coordinate system again at a later

time. The list saves the four most recently picked

object names.

When using Pick to specify an object as a reference

coordinate system, you can press Hto display

the Select Objects dialog (page 1–78) and pick the

object from there.

YoucanpickobjectswithinanXRefsceneas

coordinate reference system.

Using another object as the coordinate system

Use Center Flyout

Main toolbar > Use Center flyout

446 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

The Use Center flyout provides access to three

methods you can use to determine the geometric

center for scale and rotate operations. They are,

from top to bottom:

Use Pivot Point Center (page 1–446)

Use Selection Center (page 1–447)

Use Transform Coordinate Center (page 1–447)

See also

Choosing a Transform Center (page 1–435)

Use Pivot Point Center

Main toolbar > Use Pivot Point Center (on Use Center

flyout)

The Use Pivot Point Center option, available

from the Use Center flyout (page 1–445),letsyou

enable rotation or scaling of one or more objects

around their respective pivot points (page 3–995).

When Auto Key (page 3–717) is active, Use Pivot

Point Center is automatically chosen and no other

option is available.

The axis tripods (page 1–424) show the centers that

are currently being used.

Note: Thetransformationcentermodeisseton

a transform-by-transform basis, so select the

transform before you select the center mode. If

you do not want the center setting to change, turn

on Customize menu > Preferences > General tab >

Reference Coordinate System group > Constant.

Applying a rotation with the Pivot Point rotates each object

around its own local axis.

Rotating Multiple Linked Objects

When rotating a chain of linked (page 2–421)

objects (that is, a hierarchy) with Use Pivot Point

Center active, the rotation is applied equally

to each object in the chain. This results in a

accumulated rotations, which makes it easy to

animate such effects as fingers curling.

Hierarchy before rotation

(parentatbottom) Hierarchy rotated

Use Selection Center 447

Use Selection Center

Main toolbar > Use Selection Center (on Use Center flyout)

The Use Selection Center button, available from

the Use Center flyout (page 1–445),letsyouenable

rotation or scaling of one or more objects around

their collective geometric center. If you transform

multiple objects, the software calculates the

average geometric center of all the objects and uses

that for the transform center.

The axis tripod (page 1–424) shows the center that

is currently being used.

Note: Thetransformationcentermodeisseton

a transform-by-transform basis, so select the

transform before you select the center mode. If

you do not want the center setting to change, turn

on Customize menu > Preferences > General tab >

Reference Coordinate System group > Constant.

With the Selection Center option, an averaged coordinate

system is used to rotate the objects.

Use Transform Coordinate Center

Main toolbar > Use Transform Coordinate Center (on Use

Center flyout)

The Use Transform Coordinate Center button,

available from the Use Center flyout (page 1–445),

lets you enable rotation or scaling of an object or

objects around the center of the current coordinate

system. When you designate another object as

thecoordinatesystemwiththePickfunction(see

Specifying a Reference Coordinate System (page

1–435)), the coordinate center is the location of

that object’s pivot.

The axis tripod (page 1–424) shows the center that

is currently being used.

Note: Thetransformationcentermodeisseton

a transform-by-transform basis, so select the

transform before you select the center mode. If

you do not want the center setting to change, turn

on Customize menu > Preferences > General tab >

ReferenceCoordinateSystemgroup>Constant.

An example of the World coordinate center

448 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

Transform Tools

The transform tools can transform objects

according to certain conditions. Some of them,

such as Array, can also create copies of objects.

These tools (except for Array, Snapshot, Spacing

Tool, and Clone And Align) are available on the

default main toolbar (page 3–686);theremainder

are on the Extras toolbar (page 3–688).Also,they

all appear on the default Tools menu (page 3–674).

Mirror Selected Objects (page 1–448)

Array (page 1–450)

Snapshot (page 1–453)

Spacing Tool (page 1–455)

Clone and Align Tool (page 1–459)

Align (page 1–462)

Quick Align (page 1–465)

Normal Align (page 1–465)

Place Highlight (page 1–467)

Align Camera (page 1–468)

Align to View (page 1–468)

Moving, Rotating, and Scaling Objects (page 1–423)

Using Shift +Clone (page 1–478)

Creating Copies and Arrays (page 1–471)

Array Flyout

Extras toolbar > Array flyout

The Array flyout, available from the Extras toolbar

(page 3–688), provides access to various tools for

creating arrays of objects. These are, from top to

bottom:

Array (page 1–450)

Snapshot (page 1–453)

Spacing Tool (page 1–455)

Clone and Align Tool (page 1–459)

Mirror Selected Objects

Main toolbar > Mirror Selected Objects

Tools menu > Mirror

Clicking Mirror displays the Mirror dialog, which

enables you to move one or more objects while

mirroring their orientation. The Mirror dialog

also allows you to mirror the current selection

about the center of the current coordinate system.

You can create a clone with the mirror dialog at the

same time. If you mirror a hierarchical linkage,

youhavetheoptiontomirrortheIKlimits.

Mirror Selected Objects 449

Mirroring an object

TheMirrordialogusesthecurrentreference

coordinate system (page 1–443),asreflectedin

its name. For example, if Reference Coordinate

System is set to Local, the dialog is named Mirror:

Local Coordinates. There is one exception: If

Reference Coordinate System is set to View, Mirror

uses Screen coordinates.

As you adjust the various settings in the Mirror

dialog, you see the results in the viewports.

For more information on using Mirror, see

Mirroring Objects (page 1–491).

Procedures

To mirror an object:

1. Make any object selection.

2. Click Mirror on the Main toolbar, or

choose Tools menu > Mirror.

The Mirror dialog opens.

3. Set the mirror parameters in the dialog and

click OK.

Theactiveviewportchangestoshowtheeffect

of each parameter as you set it. When you click

OK, the software creates the choice of mirror

that you see previewed.

To make a clone using mirror:

1. Make any object selection

2. Click Mirror on the Main toolbar, or

choose Tools menu > Mirror.

The Mirror dialog opens.

3. In the Clone Selection group, choose Copy,

Instance, or Reference.

4. Make any additional settings as desired and

then click OK.

Interface

Mirror Axis group

ThemirroraxischoicesareX,Y,Z,XY,XZ,

and YZ. Choose one to specify the direction of

mirroring. These are equivalent to the option

buttons on the Axis Constraints toolbar (page

3–687).

450 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

Offset—Specifies the distance of the mirrored

object’s pivot point (page 3–995) from the original

object’s pivot point.

Clone Selection group

DeterminesthetypeofcopymadebytheMirror

function. Default is No Clone.

No Clone—Mirrors the selected object without

making a copy.

Copy—Mirrors a copy of the selected object to the

specified position.

Instance—Mirrors an instance (page 3–957) of the

selected object to the specified position.

Reference—Mirrors a reference (page 3–1002) of

the selected object to the specified position.

If you animate (page 2–275) the mirror operation,

mirroring generates a Scale key. If you set Offset

to a value other than 0.0, mirroring also generates

Position keys.

Mirror IK Limits—Causes the IK constraints to be

mirrored (along with the geometry) when you

mirror the geometry about a single axis. Turn

thisoffifyoudon’twanttheIKconstraintstobe

affected by the mirror command.

The end effectors used by the IK are not affected

by the Mirror command. To successfully mirror

an IK hierarchy, first delete the end effectors: Go

to the Motion panel > IK Controller Parameters

rollout > End Effectors group and, under Position,

click the Delete button. After the mirror operation,

create the new end effector using the tools on the

same panel.

Array

Extras toolbar > Array

Tools menu > Array

TheArraycommanddisplaystheArraydialog,

which enables you to create an array of objects

based on the current selection.

A one-dimensional array

TheitemsintheArrayDimensionsgrouplet

you create one-, two-, and three-dimensional

arrays. For example, a row of five objects is a

single-dimension array, even though it takes up

three-dimensional space in the scene. An array

ofobjectsthat’sfiverowsbythreecolumnsisa

two-dimensional array, and an array of objects

that’s five rows by three columns by two levels is a

three-dimensional array.

Tip: Youcanpreviewthearraybyturningonthe

Preview button. With Preview on, changing the

array settings updates the viewports in real time.

For more information on using Array, see Arraying

Objects (page 1–484).

Procedures

To create an array:

1. Select the objects to array.

Array 451

2. Choose Tools > Array.

3. On the Array dialog, select the type of object

to output: Copy, Instance, (page 3–957) or

Reference (page 3–1002)).

4. In the Preview group, click the Preview button

to turn it on.

This lets you see the results of the array

operationintheviewports,withchanges

appearing in real time.

5. In the Array Transformation group, click

the arrows to set Incremental or Totals array

parameters for Move, Rotate, and Scale.

6. EntercoordinatesfortheArrayTransformation

parameters.

7. Indicate whether you want a 1D, 2D, or 3D

array.

8. Set Count to the number of copies on each axis.

9. Enter the appropriate values in the numeric

fields for Incremental Row Offsets.

10.Click OK.

The current selection is duplicated the specified

number of times, with each object transformed

as indicated.

To replace an array:

1. Undo the array to replace, using Edit > Undo

Create Array, or press Ctrl+Z .

2. Changethecoordinatesystemandtransform

center, if needed.

3. Choose Tools > Array, and adjust any

parameters on the Array dialog that is

displayed.

4. ClickOKtocreateanewarray,whichreplaces

the previous version. Repeat these steps to

fine-tune the array.

Example: To create an array of objects that numbers

5x4x3:

1. Create a teapot with a radius of 10 units.

2. Choose Tools > Array to display the Array

dialog.

3. In the Incremental set of parameters, set Move

X(theupper-leftfield)to50.Thiscauseseach

object in the array to be positioned 50 units

apart on the X axis.

4. In the Array Dimensions group, choose the 3D

button to enable all the spinners in that group.

5. Setthe1DCountspinnerto5,the2DCount

spinner to 4, and the 3D Count spinner to 3.

Thiscreatesarowof5objectsthatare50units

apart, and then 4 rows of those five objects,

and then 3 rows of the 5 x 4 matrix of objects,

resulting in a box array.

6. Inthe2Drow,settheYspinnerto80.

7. In the 3D row, set the Z spinner to 100.

8. Click OK.

A box array of teapots appears. The first

dimensional array is five teapots created along

the X world axis, 50 units apart (as specified

in the Array Transform group). The second

dimensional array is four layers created along

the Y world axis, 80 units apart (as specified

in the Array Dimensions group). The third

dimensional array is three layers created along

the Z world axis, 100 units apart. The total

numberofobjectsinthearrayis60.

Example: To create a 360-degree array:

1. Reset 3ds Max.

2. Near the top of the Front viewport (away

from its center), create a long, thin box at the

twelve-o’clock position (as if the viewport were

aclockface).

3. Choose Use Transform Coordinate Center on

the Main toolbar.

4. Choose Tools > Array.

452 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

5. Click the arrow button to the right of the Rotate

labeltoenablethethreeRotatefieldsinthe

To t a l s s e c t i o n .

6. Set the Z parameter to 360.0.

7. In the Array Dimensions group, choose 1D and

set Count to 12.

8. Click OK.

The software creates an array of 12 boxes in a

full circle.

Interface

Array Transformation group

Specifies which combination of the three

transformstousetocreatethearray. Youalso

specify the extent, along the three axes, for each

transform. You can specify the extent of the

transform in increments between each object,

or in totals for all objects. In either case, the

distances are measured between the pivot points

of the objects. The arrays occur using the current

transform settings, so the group title changes

depending on the transform settings.

Click the left or right arrow button for Move,

Rotate, or Scale to indicate whether you want to set

Incremental or Total array parameters.

Incremental

Move—Specifies the distance between each arrayed

object along the X, Y, and Z axes, in units.

Rotate—Specifies the degree of rotation about any

of the three axes for each object in the array, in

degrees.

Scale—Specifies the percentage of scale along any

of the three axes for each object in the array, in

percentages.

Totals

Move—Specifies the overall distance, along each of

the three axes, between the pivot points of the two

outer objects in the resulting array. For example, if

you’re arraying 6 objects and set Move X total to

100, the six objects will be arrayed in a row that’s

100 units between the pivot points of the two outer

objects in the row.

Rotate—Specifies the total degrees of rotation

applied to the objects along each of the three axes.

Youcanusethis,forexample,tocreateanarray

that totals 360 degrees.

Re-Orient—Rotates the generated objects about

their local axes while rotating them about the

world coordinates. When clear, the objects

maintain their original orientation.

Scale—Specifies the total scale of the objects along

each of the three axes.

Uniform—DisablestheYandZspinnersand

applies the X value to all axes, resulting in a

uniform scale.

Type of Object group

Determine the type of copies made by the Array

function. The default is Copy.

Copy—Arrays copies of the selected object to the

specified position.

Instance—Arrays instances of the selected object

to the specified position.

Reference—Arrays references of the selected object

to the specified position.

Snapshot 453

Array Dimensions group

Lets you add to the Array Transformation

dimension. The additional dimensions are

positional only. Rotation and scale are not used.

1D—Creates a one-dimensional array, based on

the settings in the Array Transformation group.

Count—Specifies the total number of objects along

this dimension of the array. For 1D arrays, this is

the total number of objects in the array.

2D—Creates a two-dimensional array.

Count—Specifies the total number of objects along

this second dimension of the array.

X/Y/Z—Specifies the incremental offset distance

along each axis of the second dimension of the

array.

3D—Creates a three-dimensional array.

Count—Specifies the total number of objects along

this third dimension of the array.

X/Y/Z—Specifies the incremental offset distance

along each axis of the third dimension of the array.

Total in Array—Displays the total number of entities

that the array operation will create, including the

current selection. If you’re arraying a selection set,

the total number of objects will be the result of

multiplying this value times the number of objects

in the selection set.

Preview—Toggles a viewport preview of the

current array settings. Changing a setting updates

the viewports immediately. If the update slows

down feedback with large arrays of complex

objects, turn on Display As Box.

Display as Box—Displays the array-preview objects

as bounding boxes instead of geometry.

Reset All Parameters—Resets all the parameters to

their default settings.

Snapshot

Extras toolbar > Snapshot (on Array flyout)

Tools menu > Snapshot

Choosing Tools > Snapshot displays the Snapshot

dialog. This enables you to clone an animated

object over time.

Using an ice-cream cone animated along a path, Snapshot

creates a stack of cones.

Snapshot spaces the clones equally in time.

Adjustments in Track View let you space the clones

equally along the path instead (see the second

procedure, below).

Like other clone techniques, Snapshot creates

copies, instances, or references. You can also

chooseameshoptionforusewithparticlesystems.

Particle Snapshots

You can clone particle systems as static mesh

objects. You can also produce clones of the

particlesthemselvesasmeshes,whenusingthe

Snapshot dialog > Clone Method > Mesh option.

This works with all configurations of particle

systems, including those using MetaParticles.

Usage is the same as with other types of objects.

454 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

Procedures

To clone an object over time:

1. Select an object with an animation path.

Snapshot also shows the effect of any other

transform animations, such as rotate or scale as

well as parametric modifier animation.

2. Click the Snapshot button on the Extras

toolbar > Array flyout, or choose Tools menu

>Snapshot.

3. Set parameters in the dialog, and click OK.

To space clones evenly by distance:

1. Select an object with an animated position.

2. Open Track View and find the Position track

for the original object.

3. Click Assign Controller and check that the

track is using a Bezier Position controller. Do

one of the following:

• If the track is already using a Bezier Position

controller, proceed to step 4.

• If the track is not using a Bezier Position

controller, change the controller (page

2–546), then proceed to step 4.

4. Select all the transform keys and right-click

one of the selected keys to display the Key Info

dialog (page 2–304).

5. Click Advanced to expand the dialog.

6. Click Normalize Time.

7. Set Constant Velocity on.

8. Choose Tools menu > Snapshot.

The Snapshot dialog appears.

9. Set parameters in the dialog, and click OK.

Interface

Snapshot group

Single—Makes a clone of the geometry of the

object at the current frame.

Range—Makesclonesofthegeometryofthe

object along the trajectory over a range of frames.

Specify the range with the From/To settings and

the number of clones with the Copies setting.

From/To—Specifies the range of frames to place the

cloned object along the trajectory.

Copies—Specifies the number of clones to place

along the trajectory. They are evenly distributed

overthetimeperiod,butnotnecessarilyoverthe

spatial distance along the path.

Clone Method group

With the Copy, Instance, and Reference methods,

the clone retains any animation within the object,

so all the clones will be animated in the same way.

Copy—Clones copies of the selected object.

Instance—Clones instances (page 3–957) of

the selected object. Not available with particle

systems.

Spacing Tool 455

Reference—Clones references (page 3–1002) of

the selected object. Not available with particle

systems.

Mesh—Usethistocreatemeshgeometryoutof

particle system. Works with all kinds of particles.

Spacing Tool

Extras toolbar > Spacing Tool (on Array flyout)

Tools menu > Spacing Tool

TheSpacingtoolletsyoudistributeobjectsbased

onthecurrentselectionalongapathdefinedbya

spline or a pair of points.

The distributed objects can be copies, instances

(page 3–957),orreferences (page 3–1002) of the

current selected object. You define a path by

picking a spline or two points and by setting a

number of parameters. You can also specify how

the spacing between objects is determined and

whether the pivot points of the objects align to the

tangent of the spline.

The Spacing tool distributes the vases along the sides of the

curved street. The vases are all the same distance from each

other;fewerappearontheshorterside.

Tip: You can use compound shapes containing

multiplesplinesasthesplinepathfordistributing

objects. Before creating shapes, turn off Start

New Shape on the Create panel. Then create your

shapes. The software adds each spline to the

current shape until you click the Start New Shape

button so that it’s turned on. When you select the

compound shape so that the Spacing tool can use

it as a path, objects are distributed along all of

the splines of the compound shape. For example,

you might find this technique useful in spacing

light standards along a path defined by separated

splines.

You can pick splines within an XRef scene as

path reference.

For more information, see UsingtheSpacingTool

(page 1–491).

Procedure

To distribute objects along a path:

1. Select the objects to distribute.

2. Click Spacing Tool, or choose Tools menu

>SpacingTool.

Note: The Spacing tool is also available on

rollouts for various components of the Railing

object (page 1–217).

3. On the Spacing Tool dialog, click Pick Path or

Pick Points to specify a path.

If you click Pick Path, select a spline from your

scene to use as the path.

If you click Pick Points, pick a start and an end

to define a spline as the path. When you’re

finished with the Spacing tool, the software

deletesthisspline.

4. Choose a spacing option from the Parameters

list.

The parameters available for Count, Spacing,

Start Offset, and End Offset are dependent on

the spacing option you choose.

456 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

5. Specify the number of objects to distribute by

setting the value of Count.

6. Depending on the spacing option you choose,

adjust the spacing and offsets.

7. Under Context, choose Edge to specify that

spacing be determined from the facing edges of

each object’s bounding box, or choose Centers

to specify that spacing be determined from the

center of each object’s bounding box.

8. Tur n on Follow if you want to a li g n th e pivo t

points of the distributed objects to the tangent

of the spline.

9. UnderTypeofObject,selectthetypeofobject

to output (copy, instance (page 3–957),or

reference (page 3–1002)).

10.Click Apply.

Interface

TheSpacingtoolgivesyouachoiceoftwobasic

methods for setting spacing: using a path, or

specifying endpoints explicitly.

Pick Path—Clickthis,andthenclickasplineinthe

viewport to use as the path. The software uses the

spline as the path along which to distribute objects.

Pick Points—Clickthis,andthenclickastartand

an end to define a path on the construction grid.

You can also use object snap to specify points in

space. The software uses these points to create a

spline as the path along which to distribute objects.

When you’re finished with the Spacing tool, the

software deletes the spline.

Parameters group

Count—The number of objects to distribute.

Spacing—Specifies the space in units between the

objects. Thesoftwaredeterminesthisspacing

based on whether you chose Edges or Centers.

Start Offset—The number of units specifying an

offset from the start of the path. Clicking the lock

icon locks the start offset value to the spacing value

and maintains the count.

End Offset—The number of units specifying an

offset from the end of the path. Clicking the lock

icon locks the end offset value to the spacing value

and maintains the count.

Distribution drop-down list—This list contains a

number of options for how to distribute the objects

alongthepath,asfollows:

•Free Center—Distributes equally spaced objects

along a straight line toward the end point of the

path, beginning at the start of the path. A spline

or a pair of points defines the path. You specify

the number of objects and the spacing.

•Divide Evenly, Objects at Ends—Distributes

objects along a spline. The group of objects

is centered at the middle of the spline. The

Spacing tool evenly fills the spline with the

Spacing Tool 457

number of objects you specify and determines

the amount of space between objects. When

you specify more than one object, there are

always objects at the ends of the spline.

•Centered, Specify Spacing—Distributes objects

along a path. The group of objects is centered

atthemiddleofthepath. TheSpacingtool

attempts to evenly fill the path with as many

objectsasitcanfitalongthelengthofthe

path using the amount of space you specify.

Whether there are objects at the ends of the

path depends on the length of the path and the

spacing you provide.

•End Offset—Distributes the number of objects

you specify along a straight line. The objects

beginatanoffsetdistancethatyouspecify.

Thisdistanceisfromtheendofthesplinetoits

start point, or from the second pair of points

to the first point. You also specify the spacing

between objects.

•End Offset, Divide Evenly—Distributes the

number of objects you specify between the start

of a spline or a pair of points and an end offset

that you specify. The software always places an

object at the end or its offset. When you specify

more than one object, there is always an object

placed at the start. The Spacing tool attempts

to evenly fill the space with the objects between

the end offset and the start.

•End Offset, Specify Spacing—Distributes objects

toward the start of a spline or a pair of points,

starting at the end or its offset. The software

always places an object at the end or its offset.

You specify the spacing between objects and the

offset from the end. The Spacing tool attempts

to evenly fill the space with as many objects

asitcanfitbetweentheendoritsoffsetand

the start. There might not always be an object

placed at the start.

•Start Offset—Distributes the number of objects

you specify along a straight line. The objects

startatanoffsetdistancethatyouspecify.This

distanceisfromthestartofthesplinetoitsend

point, or from the first of a pair of points to the

second. You also specify the spacing between

objects.

•Start Offset, Divide Evenly—Distributes the

number of objects you specify between the

end of a spline or a pair of points, starting at

an offset that you specify from the start. The

software always places an object at the start or

its offset. When you specify more than one

object, there is always an object placed at the

end. The Spacing tool attempts to evenly fill

the space with the objects between the start or

its offset and the end.

•Start Offset, Specify Spacing—Distributes

objects toward the end of a spline or a pair of

points, starting at the start. The software always

places an object at the start or its offset. You

specify the spacing between objects and the

offset from the start. The Spacing tool attempts

to evenly fill the space with as many objects

as it can fit between the start or its offset and

the end. There might not always be an object

placed at the end.

•Specify Offsets and Spacing—Distributes as

many equally spaced objects as possible along a

spline or between a pair of points. You specify

the spacing between objects. When you specify

offsets from the start and end, the software

distributes equally spaced objects between the

offsets. There might not always be an object

placed at the start and ends.

•Specify Offsets, Divide Evenly—Distributes the

number of objects you specify along a spline

or between a pair of points. If you specify one

objectthesoftwareplacesitatthecenterofthe

path. If you specify more than one object the

software always places an object at the start

offset and the end offset. If you specify more

than two objects the software evenly distributes

the objects between the offsets.

458 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

•Space from End, Unbounded—Distributes the

number of objects you specify along a straight

line from the end toward the start of a spline

or a pair of points. You specify the spacing

betweenobjects.Thesoftwarelockstheend

offsetsothatit’sthesameasthespacing.

•Space from End, Specify Number—Distributes

the number of objects you specify toward the

start of a spline or a pair of points, starting

at the end. The Spacing tool determines the

amount of space between objects based on the

number of objects and the length of the spline

orthedistancebetweenthepairofpoints.The

software locks the end offset so that it’s the

same as the spacing.

•Space from End, Specify Spacing—Distributes as

many equally spaced objects as possible toward

the start of a spline or a pair of points, starting

at the end. You specify the spacing between

objects.Thesoftwarelockstheendoffsetso

that it’s the same as the spacing.

•Space from Start, Unbounded—Distributes the

number of objects you specify along a straight

line toward the end of a spline or a pair of

points, starting at the start. You specify the

spacing between objects. The software locks the

startoffsetsothatit’sthesameasthespacing.

•Space from Start, Specify Number—Distributes

the number of objects you specify toward the

endofasplineorapairofpoints,startingat

the start. The Spacing tool determines the

amount of space between objects based on the

number of objects and the length of the spline

orthedistancebetweenthepairofpoints.The

software locks the start offset so that it’s the

same as the spacing.

•Space from Start, Specify Spacing—Distributes

as many evenly spaced objects as possible

towardtheendofasplineorapairofpoints,

starting at the start. You specify the spacing

between objects. The software locks the start

offset so that it’s the same as the spacing.

•Specify Spacing, Matching Offsets—Distributes

as many evenly spaced objects as possible along

asplineorbetweenapairofpoints(andtheir

offsets). You specify the spacing. The software

locks the start and end offsets so that they’re

thesameasthespacing.

•Divide Evenly, No Objects at Ends—Distributes

the number of objects you specify along a spline

or between a pair of points (and their offsets).

The Spacing tool determines the amount of

spacebetweenobjects.Thesoftwarelocksthe

start and end offsets so that they’re the same as

the spacing.

Context group

1. Edge-to-edge spacing

2. Center-to-center spacing

Edges—Usethistospecifythatspacingis

determined from the facing edges of each object’s

bounding box.

Centers—Use this to specify that spacing be

determined from the center of each object’s

bounding box.

Clone and Align Tool 459

Follow—Usethistoalignthepivotpointsofthe

distributed objects to the tangent of the spline.

Type of Object group

DeterminesthetypeofcopiesmadebytheSpacing

tool. The default is Copy. You can copy, instance

(page 3–957),orreference (page 3–1002) objects.

Copy—Distributes copies of the selected object to

the specified position.

Instance—Distributes instances of the selected

object to the specified position.

Reference—Distributes references of the selected

object to the specified position.

Tip: You can use compound shapes containing

multiplesplinesasthesplinepathfordistributing

objects. Before creating shapes, turn off Start New

Shape under Shapes on the Create panel. Then

create your shapes. 3ds Max adds each spline to

thecurrentshapeuntilyouclicktheStartNew

Shape button so that it’s checked. When you select

the compound shape so that the Spacing tool can

use it as a path, objects are distributed along all of

the splines of the compound shape. For example,

you might find this technique useful in spacing

light standards along a path defined by separated

splines.

Clone and Align Tool

Extras toolbar > Clone and Align Tool (on Array flyout)

Tools menu > Clone and Align

The Clone And Align tool lets you distribute source

objects based on the current selection to a second

selection of destination objects. For example, you

can populate several rooms simultaneously with

thesamefurniturearrangement.Similarly,ifyou

import a CAD file that contains 2D symbols that

represent chairs in a conference room, you can use

CloneAndAligntoreplacethesymbolswith3D

chair objects en masse.

The distributed objects can be copies, instances

(page 3–957),orreferences (page 3–1002) of the

current selected object. You determine the number

of clones or clone sets by specifying any number of

destinationobjects.Youcanalsospecifyposition

and orientation alignment of the clones on one,

two, or three axes, with optional offsets.

Yo u c a n u s e a n y n u m b e r o f s o u r c e o b j e c t s a n d

destination objects.

YoucanpickobjectswithinanXRefsceneas

destination objects.

With multiple source objects, Clone And Align

maintains the positional relationships among

the members of each cloned group, aligning the

selection center with the destination’s pivot.

Procedure

To use the Clone And Align tool:

1. Create or load an object or objects to be cloned,

aswellasoneormoredestinationobjects.

2. Select the object or objects to be cloned.

3. Open the Clone And Align dialog.

Note: Theorderofsteps2and3canbereversed.

4. Do either of the following:

• Click Pick once and then click each

destination object in turn. Next, click Pick

again to turn it off.

• Click Pick List and then use the Pick

Destination Objects dialog to pick all

destination objects simultaneously.

5. On the Clone Parameters rollout, choose the

type of clone, and, if appropriate, how to copy

the controller. For details, see Clone Options

Dialog (page 1–476).

6. UsetheCloneParametersrolloutsettingsto

specify position, orientation, and scale options.

460 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

7. At any time, when Pick is off, you can change

the source selection in a viewport. This causes

the dialog to lose focus; click it again to regain

focus and refresh the viewport preview of the

clone operation.

8. To make the clones permanent, click Apply,

and then click Cancel or the close button (X, in

upper-right corner) to close the dialog.

Interface

The Clone and Align tool takes the form of a

non-modal dialog; it remains open while you

work in the viewports. While the dialog is active,

the results of the current settings appear as a

preview in the viewports. Because of the dialog’s

non-modal nature, you can change the selection of

source and destination objects on the fly and see

the results immediately in the viewports.

When the dialog focus is lost by activating another

dialog or clicking in a viewport (that is, its title bar

is gray rather than blue), the preview no longer

appears in the viewports. To make the cloned

objects permanent, click Apply when the dialog

is active.

Source and Destination Parameters rollout

Designatesourceobjectsbyselectingthemina

viewport. If you do this with the Clone And Align

dialog open, the dialog loses focus; click the dialog

to regain focus and update the settings.

Destination Objects [label]—This read-only field

shows the number of destination objects. To

change this value, use Pick, Pick List, and Clear.

Pick—When on, each object you click in the

viewports is added to the list of destination objects.

Click again to turn off after picking all destination

objects.

To qualify as a valid destination object, an object

must:

•nothavebeendesignatedasasourceor

destination object.

• be selectable (frozen objects can’t be selected).

• not be a temporary cloned object.

Pick List—Opens the Pick Destination Objects

dialog, which lets you pick all destination objects

simultaneously, by name. In the dialog, highlight

the destination objects, and then click Pick.

Clone and Align Tool 461

Clear All—Removes all destination objects from the

list. Available only when at least one destination

object is designated.

Source Objects [label]—This read-only field shows

the number of source objects. To change this value,

keep the dialog open, make sure Pick is off, and

then select source objects in the viewports. When

you click the dialog, the field updates.

Link to Destination—Links each clone as a child of

its destination object.

Clone Parameters rollout

These settings let you determine the type of clone

to create, and, if appropriate, how to copy the

controller. For details, see Clone Options Dialog

(page 1–476).

Align Parameters rollout

The Align Position and Align Orientation group

names are followed by the current reference

coordinate system (page 1–443), in parentheses,

which they use as the coordinate system for

positioning and aligning the clones. When the

View coordinate system is active, alignment uses

the World coordinate system.

TheOffsetparametersalwaysuseeachdestination

object’s Local coordinate system.

Align Position group

X/Y/Z Position—Specifies the axis or axes on

which to align the clones’ position. Turning on all

three options positions each set of clones at the

respective destination object’s location.

X/Y/Z Offset—Thedistancebetweenthedestination

object’s pivot and the source object’s pivot (or

source objects’ coordinate center). For an Offset

valuetotakeeffect,therespectivePositioncheck

box must be on.

Align Orientation group

X/Y/Z Orientation—Specifies the axis or axes about

which to align orientation. Turning on all three

options aligns each set of clones’ orientation fully

with that of the respective destination object.

X/Y/Z Offset—The angle by which the source

objects are rotated away from the destination

object’s orientation about each axis. For an Offset

valuetotakeeffect,therespectiveOrientation

check box must be on.

Match Scale —Use the X Axis, Y Axis, and Z Axis

options to match the scale axis values between the

source and destination.

This matches only the scale values you’d see in

the coordinate display (page 3–708).Itdoesnot

necessarily cause two objects to be the same size.

Matchingscalecausesnochangeinsizeifnoneof

the objects has previously been scaled.

Reset All Parameters—Returns all settings in the

Align Parameters rollout to their default values.

Apply—Generates the clones as permanent objects.

After clicking Apply, you can use Clone And Align

to generate additional clones, using the results of

previous clonings as source or destination objects

if you like.

Cancel—Aborts the current cloning operation and

closes the dialog.

462 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

Align Flyout

Main toolbar > Align flyout

The Align flyout, available from the Main toolbar

(page 3–686),providesaccesstosixdifferent

tools for aligning objects. These are, from top to

bottom:

Align (page 1–462)

Quick Align (page 1–465)

Normal Align (page 1–465)

Place Highlight (page 1–467)

Align Camera (page 1–468)

Align to View (page 1–468)

Align

Main toolbar > Align (on Align flyout)

Keyboard > Alt+A

Interface (page 1–464)

Clicking Align , available from the Align flyout

(page 1–462),thenselectinganobject,displays

the Align dialog, which lets you align the current

selection to a target selection. The name of the

target object appears in the title bar of the Align

dialog. When performing sub-object alignment,

the title bar of the Align dialog reads "Align

Sub-Object Selection."

Aligning objects along an axis

Left: X position, center

Upper right: Y position, minimum

Lower right: Y position, maximum

You can align the position and orientation of the

bounding box (page 3–919) of the source object to

the bounding box of a target object.

You can use the Align tool with any selection that

canbetransformed.Ifanaxistripodisdisplayed,

you can align the tripod (and the geometry it

represents) to any other object in the scene. You

canusethistoalignanobject’spivotpoint.

You can use objects within an XRef scene as

references with all alignment tools on the Align

flyout, except Align to View.

When performing sub-object alignment, the

CurrentObjectoptionsandtheMatchScaleboxes

are disabled. If you plan to align orientation for

sub-objects, first switch to Local transform mode

Align 463

on the Main toolbar so that the axis tripod is

properly aligned with your sub-object selection.

OtheralignmenttoolsontheAlignflyoutare

Quick Align (page 1–465),Normal Align (page

1–465),Place Highlight (page 1–467),Align to

Camera (page 1–468),andAlign to View (page

1–468).

Procedures

Toalignanobjectwithapointobject:

1. Create a point helper object and position it at

atargetlocationinyourscene. Rotateitas

necessary to adjust final orientation.

2. Select a source object.

3. On the Main toolbar, click Align, or

choose Tools > Align.

The Align cursor appears attached to a pair of

cross hairs.

4. Move the cursor over the point object and click.

The Align Selection dialog appears. If

necessary, move the dialog out of the way so

you can see the active viewport.

5. In the Align Position group, turn on X Position.

Theselectedsourceobjectshiftstoalignwith

theXaxisofthepointobject.

6. Turn on Y Position and Z Position.

Thesourceobjectmovessoitscenterisatthe

point object.

7. Turn on X Axis, Y Axis, and Z Axis in the Align

Orientation group to reorient the object to

match the coordinates of the point.

To align objects by position and orientation:

1. Selectasourceobject(theobjecttomoveinto

alignment with the target object).

2. On the Main toolbar, click Align, or

choose Tools > Align.

The Align cursor appears. When over an

eligible target object, the cursor also shows

crosshairs.

3. Positionthecursoroverthetargetobjectand

click.

The Align Selection dialog appears. By default,

all options in the dialog are turned off.

4. In the Current Object and Target Object

groups,chooseMinimum,Center,PivotPoint,

or Maximum.

These settings establish the points on each

object that become the alignment centers.

5. Beginalignmentbyturningonanycombination

of X Position, Y Position, and Z Position.

Thesourceobjectmovesinrelationtothe

target object, along the axes of the reference

coordinate system. Setting all three moves the

objects as close as possible, given the Current

Object and Target Object settings.

6. In the Align Orientation group, turn on any

combination of X Axis, Y Axis, or Z Axis.

Thesourceobjectrealignsaccordingly.Ifthe

objects already share an orientation, turning

on that axis has no effect. Once two axes are

aligned in orientation, the third is automatic.

Toalignagizmotoanotherobject:

1. Display the gizmo level of the Sub-Object

selection.

2. On the Main toolbar, click Align, or

choose Tools > Align.

3. Click to select a target object in the viewport.

(You can select the same object containing the

gizmo to align the gizmo to a part of its own

object.)

464 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

4. UsetheavailablesettingsintheAligndialogto

adjust the transformation of the gizmo.

To align a sub-object selection of geometry to

another object:

1. Do one of the following:

• Convert the object to an editable mesh, and

then perform the sub-object selection at any

level.

• Apply a Mesh Select modifier, followed by an

XForm modifier. (The Mesh Select modifier

by itself doesn’t allow transforms.)

2. On the Main toolbar, click Align, or

choose Tools > Align, and then select a target

object.

3. Use the settings in the Align dialog to perform

the alignment.

Interface

Align Position group

X/Y/Z Position—Specifies on which axis or axes

to perform the alignment. Turning on all three

options moves the current object to the target

object’s location.

Current Object/Target Object groups

Specify which points on the objects’ bounding

boxes to use for the alignment. You can choose

different points for the current object and the

target object. For example, you can align the

current object’s pivot point (page 3–995) with the

center of the target object.

Minimum—Aligns the point on the object’s

bounding box with the lowest X, Y, and Z values

with the chosen point on the other object.

Center—Aligns the center of the object’s bounding

box with the chosen point on the other object.

Pivot Point—Aligns the object’s pivot point with

the chosen point on the other object.

Maximum—Aligns the point on the object’s

bounding box with the highest X, Y, and Z values

with the chosen point on the other object.

Align Orientation (Local) group

These settings let you match the orientation of the

local coordinate systems between the two objects

on any combination of axes.

This option is independent of the position

alignment settings. You can leave the Position

settings alone and use the Orientation check

boxes to rotate the current object to match the

orientation of the target object.

Position alignment uses world coordinates (page

3–1035), while orientation alignment uses local

coordinates. (page 3–963)

Match Scale group

Use the X Axis, Y Axis, and Z Axis options to

match the scale axis values between the two

selected objects. This matches only the scale values

you’d see in the Transform Type-In (page 1–431).

Quick Align 465

It does not necessarily cause two objects to be the

same size. There will be no change in size if neither

of the objects has previously been scaled.

Quick Align

Main toolbar > Quick Align (on Align flyout)

Tools menu > Quick Align

Keyboard > Shift+A

Quick Align lets you instantly align the position

of the current selection to that of a target object.

If the current selection is a single object, Quick

Align uses the two objects’ pivots (page 3–995).If

the current selection comprises multiple objects

or sub-objects, Quick Align aligns the source’s

selection center (page 1–447) with the pivot of the

target object.

Procedure

To use Quick Align:

1. Select one or more objects or sub-objects to

align.

2. Press Shift+A or choose Quick Align from

the Tools menu or Main toolbar > Align flyout.

The mouse cursor turns into a “lightning-bolt”

symbol. When positioned over an acceptable

alignment target, a crosshairs symbol also

appears.

3. Clickanobjecttowhichtoaligntheselection

from step 1.

The alignment is performed.

Normal Align

Main toolbar > Normal Align (on Align flyout)

Tools menu > Normal Align

Keyboard > Alt+N

Normal Align uses the Normal Align dialog to

align two objects based on the direction of the

normal (page 3–980) of a face or selection on each

object. ToopentheNormalAligndialog,select

theobjecttobealigned,clickafaceontheobject,

and then click a face on a second object. Upon

releasing the mouse, the Normal Align dialog

appears.

If you use Normal Align while a sub-object

selection is active, only that selection is aligned.

This is useful when aligning sub-object selections

of faces, since otherwise there’s no valid face

normal for the source object.

Normal Align respects smoothing groups and uses

the interpolated normal, based on face smoothing.

Asaresult,youcanorientthesourceobjectfaceto

any part of the target surface, rather than having

it snap to face normals.

Foranobjectwithnofaces(suchashelperobjects,

space warps, particle systems, and atmospheric

gizmos), Normal Align uses the Z axis and origin

of the object as a normal. Thus, you can use a Point

object (page 2–23) with Normal Align.

Other alignment tools on the Align flyout are Align

(page 1–462),Quick Align (page 1–465),Place

Highlight (page 1–467),Align to Camera (page

1–468),andAlign to View (page 1–468).

Procedure

To align normals:

1. Select a source object. This is the object that

movesduringalignment.

466 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

2. Click Normal Align on the Main toolbar,

or choose Tools > Normal Align.

3. Dragacrossthesurfaceofthesourceobject.

The Normal Align cursor appears, attached to a

pair of cross hairs. A blue arrow at the cursor

indicates the current normal.

4. Move the cursor and blue arrow until you locate

the normal you want to use, then release.

Thebluearrowremainsasreferencetothe

source normal.

5. Drag across the surface of the target object.

A green arrow at the cursor indicates the

current normal.

6. Move the cross hairs and green arrow until you

locate the normal you want to use as a target,

then release.

The source object moves into alignment with

the target normal, and the Normal Align dialog

appears.

7. Do one of the following:

• Click OK to accept the alignment.

•Usingthedialog,makemodificationstothe

alignment before clicking OK.

• Click Cancel Align to cancel the alignment

procedure.

Interface

The Normal Align dialog lets you adjust or cancel

the current alignment, and contains the following

controls:

Position Offset group

Lets you translate the source object perpendicular

to the normal on the X, Y or Z axes.

X/Y/Z—These three fields let you affect how much

of an offset will be given to the selected faces.

Rotation Offset group

Lets you rotate the source object about the

normal’s axis. You see the rotation in real time.

Angle—This field lets you define the angle for the

rotational offset.

Flip Normal—Determines whether the source

normal matches the target normal’s direction.

This defaults to off, since you usually want the

two normals to have opposing directions. When

youturnthisonoroff,thesourceobjectflips180

degrees.

OK/Cancel Align—The Cancel button is labeled

Cancel Align to make it clear that you’re not only

canceling the settings in the dialog, but canceling

Place Highlight 467

the original transform (page 3–1026) of the source

object.

Place Highlight

Main toolbar > Place Highlight (on Align flyout)

Tools menu > Place Highlight

Keyboard > Ctrl+H

Place Highlight, available from the Align flyout

(page 1–462),enablesyoutoalignalightorobject

toanotherobjectsothatitshighlightorreflection

can be precisely positioned.

In Place Highlight mode, you can click and

drag the mouse around in any viewport. Place

Highlight is a viewport-dependent function, so

usetheviewportthatyou’regoingtoberendering.

As you drag the mouse in the scene, a ray is shot

from the mouse cursor into the scene. If it hits a

surface, you see the surface normal (page 3–980) at

that point on the surface.

When you designate a surface, any selected objects

are positioned along a line that represents the ray

reflected off the surface about the surface normal.

The objects are positioned along this line based on

their original distance from the surface point. For

example, if the object is 100 units from the surface

point before being moved, it will be positioned 100

units from the surface point along the reflected ray.

If the object is a light, the position of the highlight

on the surface of the object will be the surface

pointthatyou’vechosen.

Tip: Place Highlight works with any kind of

selected object. It can be used to move objects

based on a combination of face normals and initial

distance from the face. You can also use Place

Highlight with a selection set that contains more

than one object. All objects maintain their initial

distance from the face. In this case it has nothing

to do with highlights, but is simply being used to

position objects.

Note: Highlight rendering depends on the

material’s specular properties and the type of

rendering you use.

Place Highlight aligns a camera and a spotlight to the same

face.

Other alignment tools on the Align flyout are Align

(page 1–462),Quick Align (page 1–465),Normal

Align (page 1–465),Align to Camera (page 1–468),

and Align to View (page 1–468).

Procedure

To position a light to highlight a face:

1. Make sure the viewport you plan to render is

active, and that the object you want to highlight

is visible in it.

The result of Place Highlight depends on what

is visible in the viewport.

2. Select a light object.

3. Click Place Highlight, or choose Tools >

Place Highlight.

Choose Tools > Place Highlight.

Ifthebuttonisnotvisibleonthetoolbar,

choose it from the Align flyout.

468 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

4. Drag over the object to place the highlight.

When you place an omni, free spot, or

directional light, the software displays a face

normal for the face the mouse indicates.

When you place a target spotlight, the software

displays the light’s target and the base of its

cone.

5. Releasethemousewhenthenormalortarget

display indicates the face you want to highlight.

The light now has a new position and

orientation. You can see the highlight

illumination in shaded viewports that show

thefaceyouchose,andwhenyourenderthose

views.

Align Camera

Main toolbar > Align Camera button (on Align flyout)

Tools menu > Align Camera

Align Camera, available from the Align flyout

(page 1–462), lets you align a camera to a selected

face normal.

AlignCameraworkssimilarlytoPlace Highlight

(page 1–467),exceptthatitoperatesonface

normals instead of the angle of incidence, and

occurs when you release the mouse button instead

of dynamically acting during the mouse drag. Its

purposeistoletyoualignaCameraviewportto

a specified face normal.

Other alignment tools on the Align flyout are Align

(page 1–462),Quick Align (page 1–465),Normal

Align (page 1–465),Place Highlight (page 1–467),

and Align to View (page 1–468).

Procedure

To use Align Camera:

1. Select the camera used for the viewport you

want to align.

2. Click Align Camera or choose Tools

menu > Align Camera.

3. In any viewport, drag the mouse over an object

surface to choose a face.

The chosen face normal appears as a blue arrow

beneath the cursor.

4. Releasethemousetoperformthealignment.

Thesoftwaremovesthecamerasoitfaces

and centers the selected normal in the camera

viewport.

Align to View

Main toolbar > Align to View (on Align flyout)

Tools menu > Align to View

Align to View, available from the Align flyout

(page 1–462), displays the Align To View dialog,

whichletsyoualignthelocalaxisofanobjector

sub-object selection with the current viewport.

You can use Align to View with any selection that

can be transformed.

Other alignment tools on the Align flyout are Align

(page 1–462),Quick Align (page 1–465),Normal

Align (page 1–465),Place Highlight (page 1–467),

and Align to Camera (page 1–468).

Procedure

To align the local axis of a selection with the current

viewport:

1. Select the objects or sub-objects to align.

Align to View 469

2. Click Align to View.

3. Specify the local axis of the selected object to

align with the current viewport’s Z axis.

4. Select the Flip check box when you switch the

direction of the alignment.

The alignment takes place while the dialog is

displayed.

5. Click OK to complete the process.

Interface

TheAligntoViewdialogcontainsthefollowing

options:

Align X, Align Y, Align Z—Specifies which local

axis of the selected object will be aligned with the

current viewport’s Z axis.

Flip—Switches the direction of the alignment.

470 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

With 3ds Max, you can quickly create multiple

versions of one or more selected objects during

a transform operation. You do this by holding

down the Shift key as you move, rotate, or scale

the selection.

Portico created from arrays of columns

The general term for duplicating objects is cloning.

This section presents all the methods and choices

available for cloning objects. In addition to the

transformmethod,thetoolsincludethefollowing:

•Array lets you set all three transforms, in all

threedimensions,atthesametime.Theresults

are precise linear and circular arrays in 2D or

3D space.

•Mirror produces a "reflected" clone about one

or more axes. If you mirror an object without

cloning, the result is a "flip" of the geometry,

optionally to a new location.

•Snapshot lets you create clones equally spaced

over time or distance, based on an animation

path.

•Spacing Tool distributes objects based on the

current selection along a path defined by a

spline or pair of points.

You can animate any of the cloning techniques.

These topics supply overview information, as well

as specifics of animation for each of them:

Techniques for Cloning Objects (page 1–474)

Overview of Copies, Instances, and References (page

1–472)

Using Shift +Clone (page 1–478)

•Cloning with Shift +Move (page 1–479)

•Cloning with Shift +Rotate (page 1–480)

•Cloning with Shift +Scale (page 1–481)

Animating Shift +Rotate and Shift +Scale (page

1–482)

Cloning Objects Over Time with Snapshot (page

1–483)

Arraying Objects (page 1–484)

•Using the Array Dialog (page 1–485)

Creating Copies and Arrays

472 Chapter 7: Creating Copies and Arrays

•Creating Linear Arrays (page 1–487)

•Creating Circular and Spiral Arrays (page 1–489)

Mirroring Objects (page 1–491)

Using the Spacing Tool (page 1–491)

Overview of Copies, Instances,

and References

Toduplicateanobject,youuseoneofthree

methods. For all three methods, the original and

clone (or clones) are identical at the geometry

level.Wherethemethodsvaryisinthewaythey

handle modifiers (for example, Bend or Twist).

An object can be a copy of another.

Copy method: Creates a completely separate clone

fromtheoriginal.Modifyingonehasnoeffecton

the other.

Instance method: Creates a completely

interchangeable clone of the original. Modifying

an instanced object is the same as modifying the

original.

Reference method: Creates a clone dependent

on the original up to the point when the object is

cloned. Changing parameters for modifiers that

were applied to the object before the object was

referenced, will change both objects. However, a

new modifier can be applied to one of the reference

objects,anditwillaffectonlytheobjecttowhichit

is applied.

Depending on the method used to create them,

cloned objects are called copies,instances,or

references.

The following discussion focuses on how you

might use these methods.

Copies

Copies are the most familiar kind of clone object.

When you copy an object, you create a new,

independent master object and data flow resulting

in a new, named object. The copy duplicates all

of the data of the original object at the time it is

copied. The copy has no connection to the original

object.

Example of Using Copied Objects

If you modeled a basic head shape and wanted to

create a group of individual characters, you would

probably make a copy of the basic head shape

each time you started a new character. You could

thenmodelanindividualnose,mouth,andother

features.

Copying Actively Linked Objects

When you copy objects that are actively linked

through the File Link Manager (page 3–422),the

software automatically converts the copies to

editable mesh objects. If your selection contains

several objects that instance another object, the

resulting copies also instance the same object.

Instances

Instances are alike not only in geometry, but also

in every other way as well. Instancing an object

resultsinmultiplenamedobjectsbasedonasingle

master object. Each named object instance has its

own set of transforms, space warp bindings, and

object properties, but it shares the object modifiers

Overview of Copies, Instances, and References 473

and master object with the other instances. The

data flow for an instance branches just after

evaluating object modifiers.

When you change one instance by applying or

adjusting a modifier, for example, all the other

instances change with it.

Within 3ds Max, instances derive from the same

master object. What you’re doing "behind the

scenes" is applying a single modifier to a single

master object. In the viewport, what you see as

multiple objects are multiple instances of the same

definition.

Example of Using Instanced Objects

If you wanted to create a school of swimming

fish, you might begin by making many instanced

copies of a single fish. You could then animate the

swimming motion by applying a Ripple modifier

to any fish in the school. The whole school would

swim with exactly the same motions.

Instances of Actively Linked Objects

Creating instances of actively linked objects is not

recommended. Reliability issues can arise if the

instanced object is deleted in the linked file.

References

References arebasedontheoriginalobject,asare

instances, but can also have their own unique

modifiers. Like instances, references share, at

minimum,thesamemasterobjectandpossibly

some object modifiers.

The data flow for a reference branches just after

the object modifiers but then evaluates a second

set of object modifiers unique to each reference.

When you create references, 3ds Max displays

a gray line, called the derived-object line,atthe

top of the modifier stack for all clones. Any

modification made below the line is passed on to

other references, and to the original object. New

modifiers added above the line are not passed on

to other references. Changes to the original object,

such as in its creation parameters, are passed on to

its references.

This effect is useful for maintaining an original that

will affect all its references, while the references

themselves can take on individual characteristics.

All shared modifiers reside below the

derived-object line and are displayed in bold. All

modifiers unique to the selected reference reside

above the derived-object line and are not bold.

The original object does not have a derived object

line: its creation parameters and modifiers are

all shared, and all changes to this object affect all

references.

The results of changing or applying a modifier to a

named object reference depends on where in the

modifier stack it is applied:

• Applying a modifier to the top of the modifier

stack affects only the selected named object.

• Applying a modifier below the gray line affects

all references branching above that line.

•Applyingamodifieratthebottomofthe

modifier stack affects all references derived

from the master object.

References of Actively Linked Objects

Creating references of actively linked objects is not

recommended. Reliability issues can arise if the

referenced object is deleted in the linked file.

Example of Using Referenced Objects

In the example of modeling heads, you might want

to keep a family resemblance in your characters.

You could model basic features on the original,

then model specifics on each reference.

At some point, if you wanted to see what your

characters would look like as "cone-heads," you

could apply a Taper modifier to the original head,

474 Chapter 7: Creating Copies and Arrays

and have all the other characters take on the same

feature. You could give the original character a

very pointed head, then apply a separate Taper to

some referenced characters to reduce the point

toward normal.

For swimming fish, you might choose to make all

members of the school as referenced objects based

on a single, original fish. You could still control

the swimming motion from the original fish, and

also add modifiers to individual fish in the school

to vary their behavior.

Cloning Objects

3ds Max provides several techniques for copying

or duplicating objects; cloning is the general term

for this process. These techniques can be used to

clone any selection set.

•Clone

•Shift +Clone

• Snapshot

•Array

•Mirror

•SpacingTool

•CloneandAlignTool

Shared Features

While each technique has distinct uses and

advantages in cloning objects, in most cases the

cloning techniques share some similarities in how

they work:

• You can apply a transform when you clone.

New objects are moved, rotated, or scaled as

they are created.

•Thetransformisrelativetothecurrent

coordinate system, axis constraint, and

transform center.

• When cloning creates new objects, you have

the choice of making them copies, instances,

or references.

Eachofthefollowingitemsisdiscussedlaterin

this chapter.

Clone

Using the Clone command on the Edit menu is

the easiest method for copying an object in place;

no transformation is involved. See Clone (page

1–476).

Shift +Clone

Shift +Clone clones an object when you transform it.

You can clone an object as you transform it

interactively in the viewport. The process is

referred to as SHIFT +Clone (page 1–478):the

technique of holding down the Shift key while

transforming a selected object with the mouse.

Quick and versatile, this technique is probably

theoneyou’llusemostoftentoduplicateobjects.

Snap settings give you precise results.

How you set the center and axes for the transforms

determines the arrangement of the cloned objects.

Depending on the settings, you can create both

linear and radial arrays.

Techniques for Cloning Objects 475

You need a working knowledge of transform

features to take full advantage of Shift +Clone.

See Using Transforms (page 1–424).

Snapshot

Using an ice-cream cone animated along a path, Snapshot

creates a stack of cones.

Snapshot (page 1–453) clones an animated object

overtime. Youcancreateasinglecloneon

any frame, or space multiple clones along the

animation path. The spacing is a uniform time

interval; it can also be a uniform distance.

Array

A one-dimensional array

Array creates repeating design elements: for

example, the gondolas of a Ferris wheel, the treads

of a spiral stair, or the battlements along a castle

wall.

Array gives you precise control over all three

transforms and in all three dimensions, including

theabilitytoscalealongoneormoreaxes.Itis

the combination of transforms and dimensions,

coupled with different centers, that gives you so

many options with a single tool. A spiral stair,

for example, would be a combination of Move

andRotatearoundacommoncenter. Another

array using Move and Rotate might produce the

interlocked links of a chain.

See Arraying Objects (page 1–484).

Mirror

Mirroring an object

Mirror produces a symmetrical copy around any

combinationofaxes.Thereisalsoa"NoClone"

option that performs the mirror operation without

copying. The effect is a flip or move of the object

to a new orientation.

Mirror has an interactive dialog. As you change

settings, you see the effect in the active viewport;

in other words, a preview of what the mirror will

look like.

There is also a Mirror modifier that gives you

parametric control of the mirror effect.

See Mirroring Objects (page 1–491).

476 Chapter 7: Creating Copies and Arrays

Spacing Tool

The Spacing Tool distributes the vases along the sides of the

curved street.

The Spacing Tool distributes along a path defined

byasplineorpairofpoints.Youdefineapathby

picking a spline or two points and by setting a

number of parameters. You can also specify how

the spacing between objects is determined and

whether the insertion points of the objects align to

the tangent of the spline.

See Spacing Tool (page 1–455).

Clone and Align Tool

The Clone And Align tool lets you distribute

source objects based on the current selection to

a second selection of destination objects. For

example, you can use Clone And Align to populate

several rooms simultaneously with the same

furniture arrangement. Similarly, if you import a

CAD file that contains 2D symbols that represent

chairs in a conference room, you can use Clone

And Align to replace the symbols with 3D chair

objects en masse.

See Clone and Align Tool (page 1–459).

Clone

Make a selection. > Edit menu > Clone

Make a selection. > Hold down Shift key. > Move,

rotate, or scale the selection with the mouse.

Clone creates a copy, instance, or reference of an object.

With the Clone command you can create copies,

instances, or references of a selected object or a

set of objects.

TheClonecommandontheEditmenucreates

a single copy of your selection. Alternatively,

youcanclonemultiplecopiesbyholdingdown

the Shift key as you move (page 1–439),rotate

(page 1–439),orscale (page 1–440) your selection.

Either method displays the Clone Options dialog

(page 1–476).

Clone Options Dialog

Make a selection. > Edit menu > Clone

Make a selection. > Hold down Shift key. > Move,

rotate, or scale the selection with the mouse.

Clone creates a copy, instance (page 3–957),or

reference (page 3–1002) of a selected object or set

of objects. The Clone command on the Edit menu

creates a single copy. You can clone multiple copies

Clone Options Dialog 477

by holding down the Shift key as you transform

the selection.

Procedures

To clone an object without transforming it:

1. Select an object, or set of objects.

2. From the Edit menu, choose the Clone

command.

3. The Clone Options dialog opens.

Note: All options are present except Number

Of Copies.

4. Change the settings or accept the defaults, and

then click OK.

Each new, cloned object occupies the same

space as the original. Select a clone by name

to move or modify it.

To clone and transform an object:

1. On the main toolbar, click

the Move, Rotate, or Scale button.

2. Select an object, multipleobjects,group,or

sub-object.

3. Hold down the Shift key and drag the

selection.

As you drag your selection, the clone is created,

selected, and transformed. The original object

is deselected and unaffected by the transform.

When you release the mouse button, the Clone

Optionsdialogdisplays.

4. Change the settings or accept the defaults, and

then click OK.

Interface

Object group

Copy—Places a copy of the selected object at the

specified position.

Instance—Places an instance of the selected object

at the specified position.

Reference—Places a reference of the selected object

at the specified position.

Controller group

Lets you choose to copy or instance the transform

controllers (page 3–909) of the original object’s

childobjects.Thisoptionisavailableonlywhen

the selection you are cloning includes two or more

hierarchically linked objects (page 3–951).

When cloning non-linked objects, transform

controllers are simply copied. Also, when cloning

linked objects, the highest-level cloned object’s

transform controller is simply copied. This option

applies only to the transform controllers of objects

at levels below the top of the cloned hierarchy.

Copy—Copies the cloned objects’ transform

controllers.

Instance—Instances the cloned objects’ transform

controllers below the top level of the cloned

478 Chapter 7: Creating Copies and Arrays

hierarchy. With instanced transform controllers,

you can change the transform animation of one

setoflinkedchildren,andautomaticallyhavethe

change affect any cloned sets.

This allows you to animate all clones identically

with a single animation setup. For example,

consider a scene containing three objects named

Torso, Thigh, and Calf. The objects are linked

hierarchically so that Torso is the parent of

Thigh and Thigh is the parent of Calf. Say you

select all three objects and then clone them, and

choose Clone Options > Controller > Instance.

Thereafter, if you transform either Thigh or Calf

object, the corresponding object in the other

hierarchy is transformed identically, along with

any child objects. However, if you transform either

Torso object, the other hierarchy is not affected.

Number of Copies—Specifies the number of copies

of the object you want to create. Available only

when you Shift +Clone an object.

Using Shift +Clone to generate multiple copies

applies the transform successively to each

additional copy. If you Shift +Move an object

andspecifytwocopies,thesecondcopyisoffset

fromthefirstcopybythesamedistancethatthe

first copy is offset from the original. For Rotate,

two copies of the rotated object are created, with

thesecondcopyrotatedtwiceasfarasthefirst.For

Scale, two copies of the scaled object are created,

with the second copy scaled from the first copy by

thesamepercentagethatthefirstcopywasscaled

from the original.

Name—Displaysthenameoftheclonedobject.

You can use this field to change the name;

additional copies use the same name followed by a

two-digit number, starting at 01 and incrementing

by one for each copy. So, for instance, if you

Shift +Move an object and then specify the name

building and two copies, the first copy will be

named building and the second will be named

building01.

Using Shift +Clone

Shift +Clone is the primary way to duplicate

objects in 3ds Max. You hold down the Shift key

anddragduringanyofthestandardtransform

operations: Move, Rotate, or Scale.

To Shift +Clone an object:

1. On the main toolbar, click

the Move, Rotate, or Scale button.

2. Select a transform coordinate system and

constraints. Each transform carries its own

settings. To avoid surprises, always click the

transform button first, and then set your

transformcoordinatesystemandconstraints.

Note: You can also use the Transform Gizmo

to set axis constraints.

3. Select the object or set of objects you want to

clone. The selection can be a single object,

multiple objects, a group, or a sub-object

selection.

4. Hold down the Shift key anddragthe

selection to apply the transform.

As you drag, a clone is created and selected; it is

now the object being transformed. The original

object is no longer selected and is unaffected

by the transform.

When you release the mouse button, the Clone

Optionsdialoga

ppears. Change settings in this

dialog or accept the defaults, and then click OK.

Shift +Clone uses the Clone Options dialog (page

1–476) for any transform you choose.

Cloning with Shift +Move (page 1–479)

Cloning with Shift +Rotate (page 1–480)

Cloning with Shift +Move 479

Cloning with Shift +Scale (page 1–481)

Animating Shift +Clone

You can animate any Shift +Clone operation. See

Animating with Shift +Rotate and Shift +Scale

(page 1–482).

Cloning Without Transforming

Cloning objects with Shift +Clone requires

transforming them at the same time, by moving,

rotating, or scaling them. In some cases, you might

want to clone an object without transforming it in

any way. The Edit menu Clone command gives

you this option, which lets you create only one

clone at a time.

To clone objects without transforming:

1. Select the object or objects to clone.

2. Choose Edit menu > Clone. The Clone

Optionsdialogappears.Thisisthesamedialog

used with Shift +Clone except that there’s

no Number Of Copies setting. The Clone

command lets you create only one copy.

3. Change settings in this dialog or accept the

defaults, and click OK.

Note: The cloned object occupies the exact

same space as the original, and is selected when

cloning is complete. Use Select By Name (page

1–77) to select the original or reselect the clone.

Cloning with Shift +Move

Cloning objects while moving them is quick and

easy. It produces a linear array of two or more

objects.

Shift +Move creates a clone in a different location.

To clone with Shift +Move:

1. Click the Move button on the main

toolbar.

2. Choose a coordinate system and axis constraint.

3. Make the selection you want to clone.

4. Hold down Shift anddragtomoveacloneof

the selection away from the original.

5. Choose the number of copies you want to make

on the Clone Options dialog, and whether you

want them to be copies, instances, or references.

About Arrays Created with Shift +Move

Multiple clones produced by Shift +Move

form an equally spaced linear array with these

characteristics:

• The line of the array runs from the center of the

original through the centers of the clones.

• The distance between each neighboring pair

of copies is the same the distance between the

original and the first clone.

By using snaps as you move the selection, you can

make precise arrays.

An example of the Shift +Move array is a picket

fence. From a single picket, you can generate long

runs of fencing. You can array the fence along

480 Chapter 7: Creating Copies and Arrays

a major axis of the home grid, then group the

pickets, rotate them to a particular angle, and

move them into position.

You can also make three-dimensional arrays with

Shift +Move.Themainchoiceisthecombination

of axes to allow movement off the construction

plane. For example, to build a stairway, you can

create a box that forms the top step, then use

Shift +Move to copy it diagonally downward,

using an array to create a downward flight.

Cloning with Shift +Rotate

Cloningobjectswhilerotatingthemproducesa

variety of effects, depending on how you set up

the transformation.

Shift +Rotate creates a clone with a different orientation.

To clone with Shift +Rotate:

1. Click the Rotate button on the main

toolbar.

2. Choose a coordinate system, transformation

center, and axis constraint.

3. Make the selection you want to clone.

4. Hold down the Shift key and drag to rotate

the selection.

5. Choose the number of copies you want to make

on the Clone Options dialog, and whether you

want them to be copies, instances, or references.

Effects of Transform Settings

Where you locate the transform center determines

how 3ds Max positions clones when using

Shift +Rotate.

• For all settings, the direction of rotation is

constrained by the active axis or axes of the

viewport’s coordinate system.

• Each clone is rotated from the previous one

bythesameamountasthefirstclonefromthe

original.

Local Pivot at Center

An object’s default pivot point is often located at

itscenteroritsbase.Whenyouuse Shift +Rotate

around an object’s default pivot point, the clones

overlap evenly as each one is rotated the same

amount. Thisistrueformultipleobjectswitha

local-pivot setting, since each object uses its own

local center.

Clones of a circular object, like a sphere or

cylinder, can be overlaid exactly on the original.

You might need to move them away from the

original to see them.

With angle snap (page 2–12) set to divide a circle

evenly, you can produce complex symmetrical

objects from simple ones. For example, you can

clone a tetrahedron around one axis, then clone

the new set about another axis to produce a faceted

star.

Local Pivot at a Distance

When you separate the local pivot from the

original, clones create a wheel-like arrangement.

Long shapes like petals or blades, cloned with

the center near one end, can create flowers or

propellers. See Adjust Pivot Rollout (page 2–488).

Cloning with Shift +Scale 481

You can move the local pivot any distance from

the object, creating large circular arrays. Since

direct animation is limited to the local pivot, this is

a key technique in animating circular arrays. See

Animating Shift +Rotate and Shift +Scale (page

1–482).

Selection Center

Foreithersingleormultipleobjects,theselection

center is the geometric center of the bounding box

(page 3–919) enclosing the entire selection. Clones

are arrayed around this center, forming wheel-like

arrays.

For a single object, this center is usually different

from its local center, but the effects are similar to

those based on a local pivot.

Coordinate Center

Using the coordinate center, Shift +Rotate can

produce circular arrays of any size.

The rotation takes place around the center of the

home grid, the screen, or whichever coordinate

system you choose. While clones can be created

this way, the process cannot be directly animated.

For details on overcoming this limitation, see

Animating Shift +Rotate and Shift +Scale (page

1–482).

Cloning with Shift +Scale

Cloning objects while scaling them can produce a

variety of nested objects and arrays, depending on

the center you choose.

Shift +Scale creates a clone of a different size.

To clone with Shift +Scale:

1. ClickaScalebuttononthemaintoolbar.

2. Choose a coordinate system, axis constraint,

and transform center.

3. Make the selection you want to clone.

4. Hold down Shift and drag to scale the

selection.

5. UsetheCloneOptionsdialogtochoosethe

number of clones you want to make and

whether you want them to be copies, instances,

or references.

Effects of Transform Settings

Transform settings determine how 3ds Max

distributesclonesofaselectionduring

Shift +Scale. In all scaling operations, the

transform center acts as the center of scaling:

• When clone objects decrease in size, they

shrink toward the transform center.

• When clone objects increase in size, they

expand away from the transform center.

The distance between cloned objects is scaled

like the clones themselves, based on the initial

distance from the original to the first clone. The

482 Chapter 7: Creating Copies and Arrays

spacing increases or decreases proportionately

with respect to the transform center.

Nested Copies

When the selection center is used as the

transform center for a single object, scaling occurs

symmetrically around that center, producing

nested copies.

• As you scale in toward the center, smaller and

smaller copies are created.

• In the other direction, the original object is

enclosed by increasingly larger copies.

Variations are possible, depending on the type

of scale and axis limitations. For example, you

can scale a flat box into a progressively stepped

pyramid by using Squash (page 1–442) and cloning

inward on the Z axis.

Offset Centers

For Shift +Scale, any center other than the

local pivot has the effect of creating an array of

progressively scaled objects. Again, objects scale

down in size toward the center, while increasing in

size further away. However, this effect is limited by

the particular scale option and the axis constraints,

as discussed next.

Axis Constraints

Uniform Scale is unaffected by axis constraints,

which you can set with the Transform Gizmo.

Copies are always arrayed in or out from the center

of the current coordinate system.

For Non-Uniform Scale and Squash, scaling

occurs only along the axis or axes set with the

restricted axes.

Note: The Restrict To ... buttons (also called the

Axis Constraints buttons) are available on the

Axis Constraints toolbar (page 3–687),whichisoff

by default. You can toggle display of this toolbar

by right-clicking an empty area of a toolbar and

choosing Axis Constraints from the Customize

Display right-click menu (page 3–787).

Animating Shift +Rotate and

Shift +Scale

When the Auto Key button (page 3–717) is on, the

transform center defaults to local pivot, and the

Use Center flyout (page 1–445) on the toolbar is

unavailable. If you choose one of the other centers

and activate Auto Key, the center returns to the

local pivot. This means you can’t directly animate

about a non-local pivot center with Shift +Rotate

and Shift +Scale. For example, you can’t use this

method to create clones in an arc or circular array

around a common center.

Using Non-Local Centers

Touseacenterseparatefromtheobjectyou’re

cloning, you can do any of the following:

•Useadummyobject.

• Offset the local pivot.

• Change the default animation center.

Using a Dummy Object as Center

In this procedure, you use the axis tripod of the

dummy object as the center for rotation or scale.

To use a dummy object as center:

1. Create a dummy object (page 2–16) at the center

of rotation or scaling.

2. Link the object or objects you want to

clone to the dummy object, which becomes the

parent.

3. Select both the dummy and the objects,

thentransformthemwith Shift +Rotate or

Shift +Scale.

Cloning Objects Over Time with Snapshot 483

•ForShift +Rotate, the dummy’s center

becomes the pivot.

•For

Shift +Scale, the dummy and selected

objects scale together toward the center of

the dummy.

For details of dummy object use in hierarchies, see

Using Dummy Objects (page 2–429).

Offsetting the Local Pivot

In this procedure, you move the object’s pivot to

thecenterofrotationorscale.Thisworksmuch

like using a dummy object.

To offset the local pivot:

1. Selecttheobjectwhosepivotyouwishtomove.

2. On the Hierarchy command panel,

choosePivotandthenturnonAffectPivot

Only.

3. Move the local pivot of the original object to

anotherlocationinyourscene.

4. On the Hierarchy panel, click Affect Pivot Only

againtoturnitoff.

Shift +Rotate or Shift +Scale now animates

around the offset center. This works with the

default setting for local center.

Note: Moving the local pivot can adversely

affect linking and inverse kinematics. If this is

a possibility, consider changing the default axis

instead of moving the local pivot.

To change the default axis while animating:

In this procedure, you set 3ds Max to allow

animation of transforms about any center on the

Use Center flyout.

1. Choose Customize menu > Preferences and

click the Animation tab of the Preference

dialog.

2. In the Animate group, turn off Local Center

During Animate.

This changes the default and makes all the

transform center options available when

animating. You can now animate around either

the selection or transform coordinate center,

as well as local pivot.

Note: Changingthedefaultsettinganimatesthe

rotation you see in viewports as a rotation plus

translation, which might not be the effect you

wanted.

Cloning Objects Over Time with

Snapshot

The Snapshot tool (page 1–453) lets you clone an

object along its animation path. You can make

a single clone at any frame, or multiple clones

spaced over a selected number of frames.

Using car models animated along paths, Snapshot creates an

image of a collision.

Snapshot can also clone a particle system’s

particles.

Snapshot spaces the clones equally in time.

Adjustments in Track View let you space the clones

equally along the path instead.

484 Chapter 7: Creating Copies and Arrays

Like other clone techniques, Snapshot creates

copies, instances, or references. You can also

choose a mesh option.

To clone an object with Snapshot, the object must

alreadybeanimated.YoucanuseSnapshotfrom

anyframeonthepath.TheAutoKeybuttonhas

no effect on Snapshot, since Snapshot creates

static clones, not animation. This is the general

procedure:

TocloneanobjectwithSnapshot:

1. Select an object with an animation path, or

aparticlesystem. Theanimationcanresult

from applying transforms, controllers, or any

combination of effects.

2. On the Array flyout (page 1–448) click

Snapshot, or choose Tools menu > Snapshot to

display the Snapshot dialog.

Note: TheArrayflyoutisontheExtrastoolbar,

which is off by default. You can toggle display of

this toolbar by right-clicking an empty spot on

the main toolbar and choosing Axis Constraints

from the Customize Display right-click menu

(page 3–787).

3. Set parameters in the dialog, and click OK.

Arraying Objects

Array is a dedicated tool for cloning and precisely

transforming and positioning groups of objects in

one or more spatial dimensions. For each of the

three transforms (move, rotate, and scale), you

can specify parameters for individual objects in

thearray,orforthearrayasawhole.Manyresults

you can get with Array would be laborious or

impossible using Shift +Clone techniques.

A one-dimensional array

Creating an Array

This is the general procedure. For more details,

see these topics:

Using the Array Dialog (page 1–485)

Creating Linear Arrays (page 1–487)

Creating Circular and Spiral Arrays (page 1–489)

To create an array:

1. Select one or more objects to be in the array.

2. Choose a coordinate system and transform

center.

3. Click Array on the Array flyout, or

choose Array (page 1–450) from Tools menu.

The Array dialog appears.

Note: The Array flyout is on the Extras toolbar,

which is off by default. You can toggle display of

this toolbar by right-clicking an empty spot on

the main toolbar and choosing Axis Constraints

from the Customize Display right-click menu

(page 3–787).

4. Set array parameters on this dialog, then click

OK.

Using the Array Dialog 485

Reuse of Array Settings

Generally you should approach Array creation as

an iterative process. The dialog settings are not

interactive, so you get feedback only after creating

the array. By revising the current settings and

repeating the array, you develop a solution that

meets your needs.

Aftercreatinganarrayandcheckingitsresult,

youcanundothearrayusingEditmenu>Undo

Create Array or Ctrl+Z .Thisleavestheoriginal

selection set in place.

Repeating an Array

When you create an array, object selection moves

to the last copy or set of copies in the array. By

simply repeating current settings, you create a

seamless continuation of the original array.

During a session, 3ds Max maintains all the dialog

settings for your current array.

Arraysettingsaresavedonlyduringthecurrent

session, not with the file. Be sure you’ve finished

an array before you quit 3ds Max.

General Considerations

When you create an array, keep these points in

mind:

• Array is relative to the current viewport settings

forcoordinatesystemandtransformcenter.

• Axis constraints do not apply, because Array

allows you to specify transforms along all axes.

• You can animate array creation. By changing

the default Animate preferences setting, you

canactivateallthetransformcenterbuttons,

allowing direct animation around either the

selection or coordinate center, as well as local

pivot. For information about changing the

default setting, see the procedure, To change t he

default axis while animating (page 1–483).

• To make an array of a hierarchically linked

object, select all the objects in the hierarchy

before you click Array.

Using the Array Dialog

The Array dialog provides two main control areas

where you set the important parameters: Array

Transformation and Array Dimensions.

You can set parameters in any order, but in practice

it’s useful to start with Array Transformation. This

creates the basic building block for the larger array,

as defined by Array Dimensions.

These topics discuss specific strategies for using

these controls:

Creating Linear Arrays (page 1–487)

Creating Circular and Spiral Arrays (page 1–489)

See also

Array (page 1–450)

Array Transformation

This area lists the active coordinate system

and transform center. It’s where you set the

transforms that define the first row of the array.

You decide here on the distance, rotation, or scale

of individual elements, and along what axes.

You then repeat this row in other dimensions to

produce the finished array.

486 Chapter 7: Creating Copies and Arrays

Move, Rotate, and Scale Transforms

You set Move, Rotate, and Scale parameters along

any of the three axes of the current coordinate

system.

• Move is set in current units. Use a negative

valuetocreatethearrayinthenegative

direction of the axis.

• Rotateissetindegrees.Useanegativevalueto

create the array in a clockwise direction around

the axis.

• Scale is set as a percentage. 100 percent is full

size. Settings below 100 decrease the size, and

above 100 increase it.

Incremental and Totals

For each transform, you have the choice of whether

to apply the transforms successively to each newly

created element in the array or to the overall array.

Forexample,ifyousetIncremental>X>Moveto

120.0 and Array Dimensions > 1D > Count to 3,

theresultisanarrayofthreeobjects,eachofwhose

transform centers is 120.0 units apart. However,

if you set Totals > X > Move to 120.0 instead, the

three elements are spaced 40.0 units apart for a

total array length of 120.0 units.

• Click arrows on either side of the transform

labels to choose between Incremental or Totals.

Incremental and Totals settings are toggles for each

transform. When you set a value on one side, the

other side is unavailable. However, the unavailable

value updates to show the equivalent setting.

Incremental: Parameters set on this side apply to

individual objects in the array. Here are examples:

• An Incremental Move X setting of 25 specifies

aspacingof25unitsontheXaxisbetween

centers of arrayed objects.

• An Incremental Rotate Z setting of 30 specifies

a progressive rotation of 30 degrees on the Z

axis for each object in the array. In the finished

array, each object is rotated 30 degrees farther

than the one before it.

To t a l s : Parameters set on this side apply to the

overall distance, number or degrees, or percentage

scale in the array. Here are examples:

• A Totals Move X setting of 25 specifies a total

distanceof25unitsontheXaxisbetweenthe

centers of the first and last arrayed objects.

• A Totals Rotate Z setting of 30 specifies a

combined rotation of 30 degrees on the Z axis

divided equally among every object in the array.

Type of Object

Copy—Creates new array members as copies of

the originals.

Instance—Creates new array members as instances

of the originals.

Reference—Creates new array members as

references of the originals.

For further information, see Overview of Copies,

Instances, and References (page 1–472).

Array Dimensions

The Array Dimensions controls determine the

number of dimensions used in the array and the

spacing between the dimensions.

Count: The number of objects, rows, or layers in

each dimension.

1D: One-dimensional arrays form a single line

of objects in 3D space, like a line of columns.

1DCountisthenumberofobjectsinarow.

Spacing for these objects is defined in the Array

Transformation area.

Creating Linear Arrays 487

A one-dimensional array, with 1D Count=6

2D: Two-dimensional arrays form a layer of

objects along two dimensions, like the rows of

squaresonachessboard.2DCountisthenumber

of rows in the array.

A two-dimensional array, with 1D Count=7 and 2D Count=4

3D: Three-dimensional arrays form multiple layers

of objects in 3D space, like neatly stacked boxes.

3D Count is the number of layers in the array.

A three-dimensional array, with 1D Count=10, 2D Count=6,

3D Count=3

Incremental Row Offsets

These parameters become available when you

choose a 2D or 3D array. These are distances along

anyofthethreeaxesofthecurrentcoordinate

system.

• IfyousetaCountvaluefor2Dor3D,butnorow

offsets, the array is created with overlapping

objects. You need to specify at least one offset

distance to prevent this.

• If some objects appear to be missing from the

array, it is possible that some objects have been

created exactly on top of other objects in the

array. To determine whether this has occurred,

use Select By Name (page 1–77) to see the full

listing of objects in your scene. If objects are

on top of one another and you don’t want this

effect, click Ctrl+Z to undo the array, and

try again.

Creating Linear Arrays

A linear array is a series of clones along one or

more axes. A linear array can be anything from a

line of trees or cars to a stairway, a picket fence, or

a length of chain. Any scene requiring repeated

objectsorshapesisacandidateforalineararray.

488 Chapter 7: Creating Copies and Arrays

Examples of linear arrays

For an explanation of interface terms used here,

see Using the Array Dialog (page 1–485).For

thebasicstepsinmakinganarray,seeArraying

Objects (page 1–484).

Creating Simple Linear Arrays

The simplest 2D linear array is based on moving

asingleobjectalongasingleaxis. Thesearethe

basic choices to make on the Array dialog.

Make these choices in the Array Transformation

group:

•UseIncremental Move settings where you know

the spacing you want between objects.

•UseTo t a l s Mo ve settings when you know the

overall space or volume you want the array to

occupy.

• For either of these two types of arrays, enter a

valueforoneaxis.Leavetheothertransforms

at their default values.

Make these choices in the Array Dimensions

group:

•Choose1D.

• Enter a Count value for the number of objects

in the array. The Total In Array field updates

to show you the current total of objects in the

array you are designing.

• Click OK to create a linear array along the

chosen axis, with the number of objects

specified by Count.

2D and 3D Linear Arrays

Arrays in 2D and 3D have the same Array

Transformation group setup as 1D, with the

addition of Incremental Row Offsets settings for

moving the additional dimensions apart.

• Set 2D or 3D and enter a Count value.

If you set 3D, the 2D values also become

available. Both Count values are 1 by default,

which has the same effect as 1D. Set the 2D and

3D Count values greater than 1 to produce a

more complex array.

• Set a nonzero value for at least one Incremental

Row Offsets setting for 2D and 3D. Otherwise,

there will be no separation between the 1D row

and the new clones.

A wide variety of linear arrays are possible.

Experiment with moving along all three axes and

varying the row offsets in 2D and 3D.

Using Rotation in Linear Arrays

Linear array with elements rotated about their Y axis

You can rotate elements in a linear array by

applying a Rotate value for a specified axis. When

Creating Circular and Spiral Arrays 489

you add rotation to a linear array, the choice of

transform center becomes important.

Using Scale in Linear Arrays

Linear array with progressive scaling

When you apply a Scale factor, 3ds Max scales

each copy from the previous copy. Objects in the

array become progressively smaller or larger, as

in the illustration.

Scale and Movement in Nested Arrays

Using only Scale settings and the local pivot of an

object produces nested arrays, like Russian dolls,

just as it does when you Shift +Scale from the

local pivot. However, with the Array tool, you can

add movement as well. This means you can create

increasingly larger or smaller copies and array

thematthesametime.

Using Uniform Scaling

By default, all axes are available for scaling.

IfyouturnonUniform,onlytheScaleXfieldis

active; the Y and Z fields are unavailable. The X

value is applied as uniform scaling on all axes of

the arrayed objects.

Creating Circular and Spiral Arrays

Creating circular and spiral arrays typically

involves some combination of moving, scaling,

and rotating copies along one or two axes and

aroundacommoncenter. Theeffectscanvary

from the uniform radial arrangement of bolts on

a wheel hub to the complex geometry of a spiral

staircase. You can model many circular patterns

with these techniques.

See Using the Array Dialog (page 1–485) for an

explanation of interface terms used here. See

Arraying Objects (page 1–484) for the basic steps

in making an array.

Using a Common Center

Both circular and spiral arrays require a common

center for the arrayed objects. This can be the

world center, the center of a custom grid object, or

the center of the object group itself. You can also

move the pivot point of an individual object and

use that as the common center.

490 Chapter 7: Creating Copies and Arrays

Circular Arrays

A circular array

Circular arrays are similar to linear arrays, but

basedonrotationaroundacommoncenterrather

than movement along an axis. The following

proceduremakesacircleofobjectsontheXY

plane of the home grid with the Z axis as the center.

To create a circular array:

1. On the main toolbar, choose a transform center

to become the center of the array. In this case,

choose Use Transform Coordinate Center so

the center of the grid becomes the array center.

2. Select an object and position it at some distance

from the center of the grid.

This distance is the radius of the finished circle.

3. Choose Array from the Array flyout or

the Tools menu to display the Array dialog.

Note: TheArrayflyoutisontheExtrastoolbar,

which is off by default. You can toggle display

of this toolbar by right-clicking the main

toolbar and choosing Axis Constraints from

the Customize Display right-click menu (page

3–787).

4. On the Array dialog, enter 360 in the Totals

Rotate Z field.

This is the total rotation for the array, a

complete circle. To create a partial circle, enter

asmallervalue.

5. Choose 1D and enter a Count value (this can be

any number) and click OK.

3ds Max arrays that number of clones within

the total rotational angle you specify.

Spiral Arrays

Aspiralarray

The simplest spiral arrays are rotated circular

arrays with a movement along the central axis.

Thesamecircleisformed,butnowthecirclerises

upward.

If Z is the central axis, enter a value for Incremental

Move Z. Each clone is then moved upward this

amount as the circle is formed.

Rotation in Spiral Arrays

In spiral arrays, the direction of rotation

determines the direction of the spiral: which way

it winds up or down.

Enter a positive rotation for a counterclockwise

spiral.

Enter a negative rotation for a clockwise spiral.

Mirroring Objects 491

Reorienting an Array

By default, each object, when copied into the

array, rotates around its own center to follow the

main rotation around the common center. This is

controlled by the Re-Orient option.

To cause objects to maintain their original

orientation while being rotated, turn off

Re-Orient. In effect, objects remain "facing the

same direction" as the original object.

Mirroring Objects

The Mirror tool uses a dialog that either creates a

mirrored clone of a selected object, or mirrors the

orientation of the object without creating a clone.

You can preview the effects of settings before

committing to the operation.

Mirroring an object

This is the general procedure for mirroring an

object. Begin by selecting the object.

•Click the Mirror button on the main

toolbar, or choose Tools menu > Mirror.

This displays the Mirror dialog. The title bar

indicates the coordinate system currently in

use.

For information on the Mirror dialog options, see

Mirror Selected Objects (page 1–448).

Mirrored Arrays

You can combine the Mirror and Array tools by

using them in succession. An entire array can

be mirrored, or you can set up mirrored objects

before creating an array.

Animating Mirror

When you use Mirror with Auto Key turned on,

you see the transition occur as the mirrored object

moves into place. For example, a cylinder mirrored

to the other side of an axis appears to flatten and

reshapeitself.Theobjectis,infact,scaledfrom

100% to 0% to –100%. This effect is not visible

unless the mirror operation is animated.

Mirror Modifier

The Mirror modifier (page 1–728) provides a

parametric method of mirroring an object or

sub-object selection within the modifier stack.

You can apply the Mirror modifier to any type of

geometry. You can animate the mirror effect by

animating the modifier’s gizmo.

Using the Spacing Tool

The Spacing Tool distributes objects based on the

current selection along a path defined by a spline

or pair of points. The distributed objects can be

copies, instances, or references of the current

selected object. You define a path by picking a

spline or two points and by setting a number of

parameters. You can also specify how the spacing

between objects is determined and whether the

insertion points of the objects align to the tangent

of the spline.

492 Chapter 7: Creating Copies and Arrays

The Spacing Tool distributes the vases along the sides of the

curved street. The vases are all at the same distance from each

other; fewer of them appear on the shorter side.

For details on the Spacing Tool parameters, see

Spacing Tool (page 1–455).

To distribute objects along a path:

1. Select one or more objects to distribute.

2. Choose Spacing tool from the Array

flyout or the Tools menu.

Note: TheArrayflyoutisontheExtrastoolbar,

which is off by default. You can toggle display of

this toolbar by right-clicking an empty area on

the main toolbar and choosing Axis Constraints

from the Customize Display right-click menu

(page 3–787).

3. On the Spacing Tool dialog, click Pick Path or

Pick Points to specify a path.

If you click Pick Path, select a spline from your

scene to use as the path.

If you click Pick Points, click a start point and

an end point to define a spline as the path.

When you’re finished with the Spacing Tool,

3dsMaxdeletesthisspline.

4. From the drop-down list at the bottom of the

Parameters group, choose a spacing option.

The parameters available for Count, Spacing,

Start Offset, and End Offset depend on the

spacing option you choose.

5. Specify the number of objects to distribute by

entering a Count value, or by using the spinner.

6. Depending on the spacing option you choose,

adjust the spacing and offsets.

7. In the Context group, choose one of the

following:

•Edges specifies that spacing be determined

from the facing edges of each object’s

bounding box.

•Centers specifies that spacing be determined

from the center of each object’s bounding

box.

8. To align the insertion points of the distributed

objects to the tangent of the spline, turn on

Follow.

9. IntheTypeOfObjectgroup,choosethetypeof

object to output (copy, instance, or reference)

and click Apply.

Modifiers provide a way for you to sculpt and

edit objects. They can change the geometry of an

object, and its properties.

Example: effects of the Twist modifier on an object

The modifiers you apply to an object are stored

in a stack (page 3–973). By navigating up and

down the stack, you can change the effect of the

modifier, or remove it from the object. Or you

can choose to “collapse” the stack and make your

changes permanent.

There are other general things to know about using

modifiers:

• You can apply an unlimited number of

modifierstoanobjectorpartofanobject.

• Whenyoudeleteamodifier,allitschangesto

the object disappear.

• You can move and copy modifiers to other

objects using controls in the modifier stack

display (page 3–760).

• The order or sequence in which you add

modifiersisimportant.Eachmodifieraffects

thosethatcomeafterit.Forinstance,addinga

Bend modifier (page 1–560) before a Taper (page

1–863) can give you distinctly different results

than if you first added the Taper followed by

the Bend.

List of Available Modifiers (page 1–497)

Using the Modifier Stack (page 1–502)

Modifier Stack Controls (page 3–760)

How Modifiers Differ from Transforms

Modifiers and transforms differ in how they affect

an object and the order in which they are applied

to an object.

Transforms

Thetransformisthemostbasicof3D

manipulations. Unlike most modifiers, transforms

are independent of an object’s internal structure,

and they always act in world space (page 3–1036).

An object can carry any number of modifiers, but

it always has only a single set of transforms.

Modifiers

494 Chapter 8: Modifiers

The transforms of an object are expressed as

a matrix of values that contain the following

information:

• Position of the object center in world space

• Rotation of the object in world space

• Scale of the object along its local axes

The matrix is called the transformation matrix,and

its information relates directly to the transforms

Move, Rotate, and Scale. Applying one of these

transforms alters the values in the transformation

matrix.

Transforms have the following properties. They

are:

• Appliedtotheentireobject.

• Independent of their order of application. No

matterhowmanytimesyoutransforman

object, the results are stored as one set of values

in the matrix.

• Applied after all object-space modifiers have

been evaluated, but before the world-space

modifiers. See Using the Modifier Stack (page

1–502).

Most transforms produce equal displacement

along one or more axes of an object, or part

of an object. For Move (page 1–439),Rotate

(page 1–439),andUniform Scale (page 1–441)

transforms, the displacement is equal along all

threeaxes.Whenyourotateabox,allsidesremain

parallel. In general, all vertices keep the same

relative position to one another. The exceptions

are Squash (page 1–442) and Non-Uniform Scale

(page 1–441), which displace axes by different

amounts.

Tip: Use the XForm modifier (page 1–959) if you

wanttotransformanobjectataspecificlocation

in the stack (that is, after some object-space

modifiers but before others), or if you want to

transform a sub-object selection. See Modifying at

the Sub-Object Level (page 1–506).

Modifiers

Most modifiers allow you to perform operations

on the internal structure of an object in object

space (page 3–982). For example, when you apply

a modifier such as Twist (page 1–876) to a mesh

object, the position of each vertex of the object is

changed in object space to produce the twisting

effect.

Modifiers can operate at the sub-object level, and

are dependent on the internal structure of the

object when the modifier is applied.

Modifiers have the following properties. They are:

• Applied to all of an object or part of an object

(using a sub-object selection).

• Dependent on the order of application.

ApplyingaBendfollowedbyaTwistproducesa

result different from applying a Twist followed

by a Bend.

• Displayed as individual entries in the modifier

stack,whereyoucanturnthemonoroff,and

change the order in which they’re applied.

Some modifiers operate in world space. These

use world-space coordinates, and are applied to

the object after all object-space modifiers and

transforms have been applied. Otherwise, they

havethesameoverallpropertiesasobject-space

modifiers.

Transforms, Modifiers, and Object

Data Flow

Once you have defined an object, 3ds Max

evaluates changes affecting the base object and

displays the result in the scene. What these changes

are, and the order in which they are evaluated, is

called the object data flow.

Transforms, Modifiers, and Object Data Flow 495

Diagram of data flow

Master Object

Master object refers to an object defined by a set

of creation parameters and the original position

and orientation of its pivot point. You never see

the master object. What you see in the viewport is

alwaystheresultofatleastthefollowingdataflow:

Master Object

-> Object Transforms

-> Object Properties

Object creation parameters in the Modify panel and Track View

An example of master objects with different creation

parameters.

Object-Space Modifiers

The object-space modifiers (page 1–557) are the

next group evaluated in the data flow. Each

modifier is evaluated in the order it was placed on

the modifier stack. The modifications all occur

in the object’s object space and the result is called

the modified object.

496 Chapter 8: Modifiers

Object modifiers in the Modify panel and Track View

The effect of modifiers on a master object.

Object Transforms

Once the modified object has been evaluated, it is

transformed within the world coordinate system.

Transforms cover the position, rotation, and scale

changes applied from the transform buttons on

the toolbar.

The method of evaluating all modifiers first and

then evaluating the combined transforms has

ramifications for the way you work with 3ds Max.

Theeffectoftransformsisindependentofthe

order in which they are applied. The order in

which you apply modifiers, on the other hand,

does affect the resulting geometry. If you want to

apply a transform that is evaluated in a specific

order in the modifier stack, use the XForm modifier

(page 1–959).

Transforming a modified object

Space Warps

Space warps (page 2–55) are evaluated after

transforms. They distort objects bound to the

space warp based on the position of the object in

world space. For example, a Wave spa ce war p (page

2–100) causes the surface of an object to undulate

in the form of a wave. As the object or the space

warp moves through world space, the waves move

across the object’s surface.

Like space warps, world-space modifiers (page

1–512) are evaluated after transforms. A

world-space modifier is like a space warp bound

to a single object.

Object Properties

Object properties are the last to be evaluated

before the object is displayed. These are values

specific to an object such as its name or settings

you specify on the Object Properties dialog (page

List of Available Modifiers 497

1–117), such as shadow-casting properties; and

materials you have applied to the object.

This is the end of the data flow, and the result is the

named object you see in your scene.

Right-click an object and choose Properties to

display its Object Properties dialog.

Object Properties affect the look of an object’s rendered output.

List of Available Modifiers

Following is a list of the modifiers, listed in

alphabetical order.

Note: The availability of certain modifiers depends

on the current selection. For example, Bevel

and Bevel Profile appear in the Modifier List

drop-down menu only when a shape or spline

object is selected. For the conditions under

which a specific modifier is available, see the path

annotation at the top of the modifier’s topic in this

reference.

Affect Region Modifier (page 1–557)

Attribute Holder Modifier (page 1–559)

Bend Modifier (page 1–560)

Bevel Modifier (page 1–562)

Bevel Profile Modifier (page 1–565)

Camera Map Modifier (Object Space) (page 1–567)

Camera Map Modifier (World Space) (page 1–513)

Cap Holes Modifier (page 1–569)

Cloth Modifier (page 1–578)

CrossSection Modifier (page 1–623)

Delete Mesh Modifier (page 1–626)

Delete Patch Modifier (page 1–627)

Delete Spline Modifier (page 1–627)

Disp Approx Modifier (page 1–628)

Displace Modifier (page 1–629)

Displace Mesh Modifier (World Space) (page 1–514)

Displace NURBS Modifier (World Space) (page

1–515)

Edit Mesh Modifier (page 1–634)

Edit Normals Modifier (page 1–634)

Edit Patch Modifier (page 1–638)

Edit Poly Modifier (page 1–640)

Edit Spline Modifier (page 1–680)

Extrude Modifier (page 1–680)

Face Extrude Modifier (page 1–682)

FFD (Free-Form Deformation) Modifiers (page

1–683)

FFD (Free-Form Deformation) (Box/Cyl) Modifier

(page 1–685)

FFD (Free-Form Deformation) Select Modifier

(page 1–689)

Fillet/Chamfer Modifier (page 1–689)

Flex Modifier (page 1–691)

Garment Maker Modifier (page 1–607)

Hair And Fur Modifier (page 1–516)

HSDS Modifier (page 1–701)

498 Chapter 8: Modifiers

Lathe Modifier (page 1–707)

Lattice Modifier (page 1–709)

Linked XForm Modifier (page 1–712)

LS Colors Modifier (World Space) (page 1–550)

LS Mesh Modifier (page 1–713)

MapScaler Modifier (Object Space) (page 1–713)

MapScaler Modifier (World Space) (page 1–551)

Material Modifier (page 1–714)

MaterialByElement Modifier (page 1–716)

Melt Modifier (page 1–717)

Mesh Select Modifier (page 1–719)

MeshSmooth Modifier (page 1–722)

Mirror Modifier (page 1–728)

Morpher Modifier (page 1–729)

MultiRes Modifier (page 1–739)

Noise Modifier (page 1–743)

Normal Modifier (page 1–746)

NSurf Sel Modifier (page 1–747)

Normalize Spline Modifier (page 1–747)

Optimize Modifier (page 1–748)

PatchDeform Modifier (World Space) (page 1–552)

PathDeform Modifier (World Space) (page 1–552)

PatchDeform Modifier (page 1–754)

Patch Select Modifier (page 1–751)

PathDeform Modifier (page 1–755)

Physique Modifier (page 2–1106)

Point Cache Modifier (page 1–758)

Point Cache Modifier (World Space) (page 1–555)

Poly Select Modifier (page 1–762)

Preserve Modifier (page 1–766)

Projection Modifier (page 1–769)

Projection Holder Modifier (page 1–778)

Push Modifier (page 1–779)

Relax Modifier (page 1–779)

Renderable Spline Modifier (page 1–781)

Ripple Modifier (page 1–783)

Select By Channel Modifier (page 1–785)

Shell Modifier (page 1–785)

Skew Modifier (page 1–790)

Skin Modifier (page 1–791)

Skin Morph Modifier (page 1–812)

Skin Wrap Modifier (page 1–818)

Skin Wrap Patch Modifier (page 1–824)

Slice Modifier (page 1–825)

Smooth Modifier (page 1–828)

Spherify Modifier (page 1–829)

Spline IK Control Modifier (page 1–830)

Spline Select Modifier (page 1–831)

Squeeze Modifier (page 1–833)

STL Check Modifier (page 1–834)

Stretch Modifier (page 1–836)

Subdivide Modifier (page 1–839)

Substitute Modifier (page 1–840)

SurfaceMapperModifier(WorldSpace)(page

1–556)

Surface Modifier (page 1–842)

SurfDeform Modifier (page 1–848)

SurfDeform Modifier (World Space) (page 1–557)

Using Modifiers 499

Sweep Modifier (page 1–848)

Symmetry Modifier (page 1–861)

Taper Modifier (page 1–863)

Tessellate Modifier (page 1–865)

Trim/Extend Modifier (page 1–866)

TurboSmooth Modifier (page 1–868)

Turn To Mesh Modifier (page 1–871)

Turn To Patch Modifier (page 1–873)

Turn To Poly Modifier (page 1–874)

Twist Modifier (page 1–876)

Unwrap UVW Modifier (page 1–878)

UVW Map Modifier (page 1–922)

UVW Mapping Add Modifier (page 1–933)

UVW Mapping Clear Modifier (page 1–933)

UVW XForm Modifier (page 1–934)

VertexPaint Modifier (page 1–936)

Vertex Weld Modifier (page 1–935)

Volume Select Modifier (page 1–952)

Wave Modifier (page 1–957)

XForm Modifier (page 1–959)

Using Modifiers

This section contains a number of topics intended

to help you learn how to use modifiers and the

Modify panel. These include:

Using the Modify Panel (page 1–499)

Using the Modifier Stack (page 1–502)

Editing the Stack (page 1–504)

Edit Modifiers and Editable Objects (page 1–506)

Modifying at the Sub-Object Level (page 1–506)

Using the Stack at the Sub-Object Level (page

1–508)

Modifying Multiple Objects (page 1–509)

How Instanced Modifiers Work (page 1–511)

Using the Modify Panel

After adding objects to your scene from the Create

panel, you often move to the Modify panel to

change an object’s original creation parameters

and to apply modifiers. Modifiers are the basic

tools for reshaping and adjusting primitive

geometry.

Note: Yo u c a n float (page 3–930) or dismiss the

command panel using the Customize Display

right-click menu (page 3–787).Thedefaultsetting

is to display the command panel docked at the

right of your screen. If it is not displayed or you

want to change its location and docking or floating

status, right-click in a blank area on any toolbar,

and choose from the shortcut menu.

The Modify panel stays in view until you click

another command panel tab. The panel updates to

show the options and controls that are available for

the currently selected object or modifier.

Procedures

To use the Modify panel:

1. Select an object in your scene.

2. Click the Modify tab to display the

Modify panel.

Thenameoftheselectedobjectappearsatthe

top of the Modify panel, and fields change to

match this object.

500 Chapter 8: Modifiers

The objects creation parameters appear in

rollouts on the Modify panel, below the

modifier stack display. You can use these

rollouts to change the creation parameters for

an object. As you change them, the object

updates in the viewports.

3. Apply a modifier to an object (described in the

next procedure).

After you apply a modifier, it becomes active,

and rollouts below the modifier stack display

settings specific to the active modifier.

To apply a modifier to an object:

1. Select the object.

2. Do one of the following:

• Choose a modifier from the Modifier List.

This is a drop-down list at the top of the

Modify panel.

Tip: You can use the mouse or keyboard to

choose a modifier from the Modifier List.

To use the keyboard, first open the list with

the mouse, and then type the first letter in

the modifier’s name. From there you can

use the arrow keys or the method described

in the following paragraph to highlight the

desired modifier, and then press Enter to

assign the modifier.

In many cases, several modifier names

start with the same letter. You can go

directly to a particular modifier if you type

the first few letters (enough for a unique

combination) in the desired modifier’s

name quickly. For example, say you want

to assign the Mirror modifier to an object.

Pressing Mgoes to Mesh Select, which isn’t

anywhere near Mirror in the Modifier list,

but typing MI goes directly to Mirror.

• ChooseamodifierfromtheModifiers

menu. This menu is organized into sets by

functionality.

Not all modifiers appear on the Modifiers

menu.

• If the modifier buttons are visible on the

Modify panel and the modifier you want is

one of them, click the button.

If the buttons are not visible but

you want to use them, click the Configure

Modifier Sets button (page 3–772) (below

the modifier stack display) and choose

Show Buttons. A set of buttons with the

names of modifiers appears between the

modifier list and the stack display. Click

Configure Modifier Sets again, choose

the set of modifiers you want to use (for

example, Free-Form Deformations), and

then click the button for the modifier you

want to apply.

Rollouts are now displayed below the modifier

stack display, showing settings for the modifier.

As you change these settings, the object updates

in viewports.

To drag a modifier to an object:

1. Select an object that already has a modifier you

would like to use on another object.

2. To copy the modifier without instancing it,

drag the modifier’s name from the stack display

to the object in a viewport that you want to

use the same modifier. To move the modifier,

use Shift +drag; this removes it from the

original object and applying it to the new one.

To instance the modifier, use Ctrl +drag; this

creates an instanced modifier applied to both

the original object and the new one.

Note: Instancing a modifier causes its name to

be displayed in italics in the modifier stack.

This indicates that the modifier is instanced,

meaning that a change to the modifier

parameters of one object will affect the other.

Using the Modify Panel 501

Using Modifiers

Once you’ve applied modifiers to an object, you

can use the Modifier Stack (page 3–760) to find a

particular modifier, change its parameters, edit its

sequence in the modifier stack, copy its settings to

another object, or delete it entirely.

You can find a complete, alphabetical list of

modifiers in List of Available Modifiers (page

1–497).

General Guidelines

You can generally do the following with the Modify

panel:

• Modify anything you can select. This includes

any object or set of objects, or any part of

an object down to the sub-object level. For

example, you can use the Mesh Select modifier

to select a single face, then apply a Taper

modifier to it.

• Apply an unlimited number of modifiers to an

object or part of an object.

The order or sequence in which you make

modifications is important. Each modification

affects those that come after it. See Using the

Modifier Stack (page 1–502).

Note: Some modifiers can be applied only to

certain types of objects.

Modifier Sub-Object Levels

In addition to its own set of parameters, a modifier

typically has one or more sub-object levels that you

access through the modifier stack (page 1–502).

Themostcommonoftheseareagizmoanda

center.

Gizmo—Displaysinviewportsasawireframethat

initially surrounds the selected object. A gizmo

acts like a mechanical apparatus that transfers its

modification to the object it’s attached to. To alter

the effect of the modifier on the object, you can

move, scale, and rotate the gizmo as you would

any object.

Center—The center is the modifier’s pivot point

(page 3–995). You can move a modifier’s center,

which alters the effect of the modifier on the object.

Parametric Deformations and Other Modifier

Types

One set of object-space modifiers is known as

parametric deformations (“parametric deforms”

on the Modifiers menu). Twist (page 1–876) and

Bend (page 1–560) are examples. Parametric

deformations alter the selection passed to them

without explicitly depending on topology.

Many other types of modifiers, however, perform

operations on the explicit topology of sub-object

selections. The Edit modifiers and Select modifiers

are examples. When a topology-dependent

modifier is present on the stack, you can adversely

affect its results if you visit previous stack

operations and change the number or order of

sub-objects (such as faces or vertices) in the

selection. If you try to do this, a warning alerts

you to the situation.

You can safely edit the stack beneath the

topology-dependent modifier, as long as you do

not add or remove sub-objects from the selection

on which it operates.

502 Chapter 8: Modifiers

Using the Modifier Stack

The modifier stack and its editing dialog are the

keys to managing all aspects of modification. You

use these tools to:

• Find a particular modifier and adjust its

parameters.

• View and manipulate the sequence of modifiers.

• Copy, cut, and paste modifiers between objects,

or sets of objects.

• Deactivate the effect of a modifier in the stack,

the viewport display, or both.

• Select a modifier’s components, such as gizmo

or center.

• Delete modifiers.

See also

Editing the Stack (page 1–504)

Modifier Stack Controls (page 3–760)

Modifier Stack Right-Click Menu (page 3–766)

Examining the Modifier Stack

The modifier stack (or "stack" for short) is a list

on the Modify panel. It contains the accumulated

history of a selected object and any modifiers you

have applied to it.

Internally, the software "evaluates" an object

beginning at the bottom of the stack and applies

changes to the object by moving sequentially to

the top of the stack. You should therefore "read"

the stack from bottom up to follow the sequence

usedbythesoftwareindisplayingorrendering

the final object.

Here is an example of stack entries for a capsule

object (an extended primitive):

• At the bottom of the stack, the first entry always

lists the object type (in this case, Capsule). You

click this entry to display the original object

creation parameters so you can adjust them. If

you haven’t applied any modifiers yet, this is the

only entry in the stack.

• Object-space modifiers appear above the object

type. You click a modifier entry to display the

modifier’s parameters so you can adjust them,

or to delete the modifier.

Modifiers are preceded by a plus or minus

icon if they have sub-object (or sub-modifier)

levels. See UsingtheStackatSub-ObjectLevel

(page 1–508).

• At the top of the stack are world-space modifiers

and space warps bound to the object. (In the

illustration, Displace Mesh is a world-space

modifier.) These always appear at the top, and

are described as "bindings."

Basics of Using the Stack

With the stack feature, no modification has to be

permanent. By clicking an entry in the stack, you

can go back to the point where you made that

modification. You can then rework your decisions,

temporarily turn off the modifier, or discard the

modifier entirely by deleting it. You can also insert

a new modifier in the stack at that point. The

Using the Modifier Stack 503

changes you make ripple upward through the

stack, changing the current state of the object.

Adding Multiple Modifiers

Yo u c a n a p p l y a n y n u m b e r o f m o d i f i e r s t o a n

object, including repeated applications of the same

modifier. As you start applying object modifiers

to an object, the modifiers "stack up" in the order

they’re applied. The first modifier appears just

above the object type at the bottom of the stack.

• The program inserts a new modifier in the stack

just above the current selection, but always

in the proper location. If you try to insert a

world-space modifier between two object-space

modifiers, the program automatically places it

at the top of the stack.

• If you select the object type on the stack and

apply a new object-space modifier, it appears

justabovetheobjecttypeandbecomesthefirst

modifier evaluated.

Effect of Stack Sequence

Thesoftwareappliesmodifiersintheirstack

order (beginning at the bottom and carrying

thecumulativechangeupward),soamodifier’s

location in the stack can be critical.

The following figure shows the difference between

the objects based entirely on a reversal in the stack

order of two modifiers. On the left-hand tube, a

Taper modifier is applied before a Bend modifier,

and on the right-hand tube, the Bend is applied

first.

Results of reversing stack order of two modifiers

Using the Buttons

The Modifier Stack rollout has the following

buttons to help you manage the stack:

Pin Stack—Locks the stack and all Modify

panel controls to the selected object’s stack. You

can continue to edit the object even if you select a

different object in the viewports.

Show End Result—When on, shows the effect

oftheentirestackontheselectedobject.When

off, shows the effect of the stack only up to the

currently highlighted modifier.

Make Unique—Makes an instanced object

unique, or an instanced modifier unique to a

selected object. See details in Editing the Stack

(page 1–504).Thisoptionisalsoavailablefrom

the Modifier Stack right-click menu (page 3–766).

Remove Modifier—Deletes the current

modifier from the stack, eliminating all changes

caused by that modifier.

Configure Modifier Sets—Click to display

a pop-up menu that lets you configure how to

display and choose modifiers on the Modify panel.

504 Chapter 8: Modifiers

Editing the Stack

You can copy, cut, and paste modifiers within an

object’s stack, or into the stacks of other objects.

Among other features, you can give modifiers

explicit names to help you remember the intended

effect.

To edit the stack:

1. Choose an item in the stack.

2. Right-click.

This displays the Modifier Stack right-click

menu (page 3–766), which is briefly introduced

in this topic.

Rearranging and Sharing Modifiers

To rearrange modifiers:

The easiest way to move a modifier to a different

location in the stack is simply to drag it there.

Alternatively, you can use the following cut/copy

and paste procedure.

1. Choose one or more modifiers, right-click, and

choose Copy or Cut.

2. Choose a new location in the list, right-click,

and choose Paste. The paste occurs immediately

above the new location.

To share modifiers with other objects:

1. Choose one or more modifiers, right-click, and

choose Copy.

2. Select a different object or group of objects.

3. Choosealocationinthenewstack,right-click,

and choose Paste.

You can also drag from the modifier stack

displaytoanobjectinaviewport.

Tip: Select world-space and object-space

modifiers separately. Cut, Copy, and Paste are

disabled if both types are selected. If you try to

paste a world-space modifier into the section

for object-space types, the paste occurs at the

top of the world-space section. The reverse is

also true.

Unique and Instanced Modifiers

By default, pasted modifiers are unique: they lose

all connection with the modifier from which they

were copied. Compare with an instanced modifier,

which is shared between two or more objects.

Changing a parameter on an instanced modifier

automatically changes the same parameter on the

other instanced objects.

To create an instance of a modifier:

• After copying or cutting the modifier,

right-click and choose Paste Instanced.

In the stack, the name of an instanced modifier

appears in italics.

Any instance of a modifier controls all other

instances. Use this feature when you want a

number of objects to take on the same feature.

For example, copying an instanced Bend modifier

(page 1–560) to a number of trees would make

them all bend identically. Changing Bend

parameters on any one tree would change the bend

on all the others.

To remove the instancing from a modifier:

•Select the instanced modifier and click

MakeUnique.Thisconvertsthemodifierfrom

instanced to unique.

UsingMakeUniquewithMultipleItems

Assume you have a group of trees all sharing the

same instanced Bend modifier. If you select two

of them and clickMake Unique (page 3–770),a

message asks, "Do you want to make the selected

objects unique with respect to each other?"

Editing the Stack 505

• If you click Yes, the two trees become

independent of one another. Each has a unique

copy of the modifier and can be bent separately.

• If you click No, the two trees continue to share

thesameinstancedmodifier,butseparately

from the instance in the original group. The

two trees can be bent together.

See How Instanced Modifiers Work (page 1–511).

Collapsing the Stack

YoucanuseCollapseAllorCollapseTotocollapse

all or part, respectively, of an object’s stack to an

editable object that preserves the cumulative effect

of the collapsed modifiers on the base object. You

might choose to do this in these cases:

• You’ve finished modifying an object and want

to keep it as is.

•Youwanttodiscardanobject’sanimation

tracks. Alternatively, you can Alt +right-click

a selected object and choose Delete Selected

Animation.

• You want to simplify a scene and save some

memory.

Note: In most cases, collapsing all or part of the

stack will save memory. However, collapsing some

modifiers, such as Bevel, increases file size and

memory use.

After you collapse an object’s stack, you can no

longer parametrically adjust either its creation

parameters or the individual modifiers affected by

thecollapse.Animationtracksthatwereassigned

to such parameters also disappear.

Collapsingthestackdoesnotaffecttheobject’s

transforms; it affects world-space bindings only if

you use Collapse To. Collapsing the stack does not

save memory if the stack contains no modifiers.

Tip: Before you use either Collapse option, use File

menu>SaveSelectedtopreserveacopyofthe

original parametric object.

To collapse the stack:

1. Right-clickthemodifierstackdisplay.

2. If modifiers have been applied to the object,

choose Collapse To or Collapse All.

Collapse To—Collapses the stack, up to and

including the chosen modifier, into an editable

object. Modifiers on the stack above the chosen

modifier are not affected, and you can still

adjust them individually.

The resultant object type depends on the

uppermost modifier that outputs a specific

geometrytype,ifany.Ifthestackcontainsno

such modifier, the result is an editable mesh

(page 1–996). If the collapsed portion of the

stack contains a modifier that outputs a specific

geometrytype,andnoothersuchmodifieris

aboveit,theresultisthattypeofobject. For

example, if the topmost such collapsed modifier

isEditPoly,theresultantobjectisEditablePoly.

Collapse All—Collapses the entire stack into

an editable object, other than world-space

bindings. Any world-space bindings on the

stack are left intact.

The resulting stack list shows a single entry:

EditableMesh,unlessanymodifiersonthe

stackoutputadifferenttypeofgeometry.For

example, if the topmost such modifier is Edit

Poly, the resultant object is Editable Poly.

If no modifiers are applied to the object, choose

one of the Convert To options:

•EditableMesh

•EditableSpline

•EditablePatch

•EditablePoly

•NURBS

Note: Depending on the object type, not all

Convert To options might be available.

506 Chapter 8: Modifiers

Edit Modifiers and Editable

Objects

To achieve highly detailed modeling effects, you

can directly transform, modify, and align the

geometry of objects at a sub-object level (page

3–1017),usingtheModify panel (page 3–758).The

following table shows the different object types

and their respective sub-objects.

Object Type Sub-Object Geometry

Mesh Vertex,Edge,Face,Polygon,Element

Poly Vertex,Edge,Border,Polygon,Element

Spline Vertex,Segment,Spline

Patch Surface Vertex, Edge, Patch, Element, Handle

NURBS Curve Curve CV or Point, Curve

NURBS Surface Surface CV or Point, Surface

With the exception of NURBS, to gain access to an

object’s sub-objects, in most cases you must first

either convert the object into an editable object,

or apply any of various modifiers to the object,

such as Edit Mesh/Spline/Patch or Mesh/Spline

Select. The Select modifiers simply let you specify

sub-objects for modification by subsequently

applied modifiers. The distinctions between

transforming an object into an editable object and

applying an Edit modifier to it are as follows:

Method Advantage Disadvantage

Editable object More efficient

Can animate

sub-objects

Lose creation

parameters

Edit/Select

modifier

Keep creation

parameters

Less efficient

Cannot animate

sub-objects

To convert a parametric object to an editable

object, see any of the following topics:

Editable Mesh Surface (page 1–996)

Editable Poly Surface (page 1–1022)

Editable Spline (page 1–289)

Editable Patch Surface (page 1–968)

ToapplyanEditmodifier,seeanyofthefollowing

topics:

Edit Mesh Modifier (page 1–634)

Edit Spline Modifier (page 1–680)

Edit Patch Modifier (page 1–638)

To apply a Select modifier, see the following topics:

Mesh Select Modifier (page 1–719)

Poly Select Modifier (page 1–762)

Spline Select Modifier (page 1–831)

Volume Select Modifier (page 1–952)

Patch Select Modifier (page 1–751)

Modifying at the Sub-Object Level

To achieve highly detailed modeling effects, you

can directly transform, modify, and align the

geometry of objects at the sub-object level (page

3–1017).

Sub-objectsarethepiecesthatmakeupobjects,

such as vertices and faces. You can also access

and transform the sub-object components of

modifiers.

The particular geometry available at sub-object

level depends on the object type. See Edit Modifiers

and Editable Objects (page 1–506) for details on

each object type.

Modifying at the Sub-Object Level 507

In a row of column sub-objects, a single column has been

modified at the sub-object level.

Making a Sub-Object Selection

These are the general steps in setting up an

object for sub-object selection. See Edit Modifiers

and Editable Objects (page 1–506) for more

information.

1. Convert the object into an editable object such

as an editable mesh, editable spline, editable

poly, and so on. (Some modifiers you can apply

to the object, such as Edit Mesh, Mesh Select or

Spline Select, also have sub-object levels.)

Tip: Work in a wireframe viewport so you can

see the geometry.

2. On the modifier stack display, click the

plusicontotheleftofthenameofthemodifier

or editable object. This expands the object’s

hierarchy, showing the names of the sub-object

levels at which you can work.

3. On the stack display, choose the kind of

sub-object geometry you want to work with:

forexample,Vertex,Face,orEdge. Each

sub-object selection level has rollouts with their

own sets of options.

The sub-object level highlight is yellow by

default.

4. Use standard selection techniques to select

sub-object geometry, from a single sub-object

to the entire object. By default, the sub-object

selectionhighlightsinred.

Once you make a sub-object selection of geometry,

you can do any of the following:

• Apply any options supplied for the kind of

object and the selection level.

• Apply standard transforms (move, scale,

rotate). See Transforming a Sub-Object

Selection (below).

• Apply object-space modifiers (Bend, Taper, and

Twist, for example) to perform useful modeling

operations.

•Bindaspace warp (page 2–55) to the selection.

The rest of the object is unaffected by the

warping.

• Use the toolbar commands Align (page 1–462),

Normal Align (page 1–465),andAlign To View

(page 1–468) with face selections.

Transforming a Sub-Object Selection

Usinganeditablemesh,poly,patch,orspline,you

can directly transform any sub-object selection.

However, “Select” modifiers like Mesh Select (page

1–719) and Spline Select (page 1–831) enable only

selection.

508 Chapter 8: Modifiers

To transform a sub-object selection made with a

Select modifier:

1. Add an XForm modifier (page 1–959) to the

stack, following (or somewhere above) the

Select modifier.

2. In the stack, open the Select modifier and make

a sub-object selection.

3. Choose XForm in the stack. You then transform

the XForm gizmo, which applies the transform

to the selection.

Selecting and Transforming Modifier

Components

Most modifiers have sub-object components,

such as a gizmo and center. Like sub-object

geometry, these components can be accessed

and transformed at sub-object level, directly

modifying the object’s shape.

Other modifiers, like those for free-form

deformation, have control points and lattices at a

sub-object level. Moving these components creates

the modeling effects of the modifier.

Using the Stack at the Sub-Object

Level

Witheditableobjectssuchasmeshesandsplines,

or modifiers with sub-object levels such as Mesh

Select and Spline Select, you can continue to model

a single sub-object selection by applying any

number of other modifiers. When you go back and

change the original selection, the new selection is

"passed up the stack" to the modifiers that follow.

Editable meshes and splines have "built-in"

sub-object selection at their base level. But the

selections you make with Mesh Select and Spline

Selectworkexactlythesamewayonthestack.

Thistopicusesmeshesforitsexamples. You

canapplythesameconceptstoeditablesplines,

patches, and poly objects.

Working at Two Levels

When you select an object and apply modifiers

(for example, Bend and Taper), you’re working

with the object as a single unit, or "whole object",

at the object level.

Whenyoumakeasub-objectselection,thestack

display changes to show you are no longer working

with the whole object. Consider the effect of a

Mesh Select applied between Bend and Taper

modifiers (Bend is below Taper). To the right of

the Mesh Select and Taper modifiers, a sub-object

icon (similar to the sub-object button in the

Selection rollout) appears to show that sub-object

selection is now in effect.

The vertex sub-object selection made at the Mesh

Select level is passed up the stack to the Taper

modifier. This means the Taper modifier is applied

only to the vertices selected at the Mesh Select

level.

Sub-object icon (in this case, for Vertex) to the right of modifier

names in the stack display

Sub-object selection carries upward through the

stack. If you add more modifiers, each shows the

sub-object icon to indicate this state.

By learning to "read the stack," you can move back

and forth between the object and sub-object levels

while you work on an object.

Returning to Whole-Object Level

When you finish modeling a certain sub-object

selection, you can return to work on the whole

object.

Modifying Multiple Objects 509

To return the stack to object level:

1. At any point in the stack, apply another Mesh

Select modifier.

2. Leave this Mesh Select modifier at the top level

(the object level, which highlights in gray).

Any modifiers already on the stack above this

modifier no longer show the sub-object icon.

Any modifiers you add above the second Mesh

Select now apply to the whole object.

3. To continue sending the sub-object selection

up the stack, delete the second Mesh Select.

Naming Sub-Object Selections

Sub-object selections are often quite complex,

involving a great many small elements that would

be difficult to select a second time. For this reason,

it’s a good idea to name important selection sets

using the Named Selection Sets list (page 1–67) on

the Main toolbar.

Named sub-object selections only appear at the

type of level where they were first named. For

example, if you select a set of vertices, you can

name the selection at that vertex sub-object level.

Then, when you later go to retrieve the named

selection, you can access it only from the same

modifier’s vertex sub-object level.

Copying Sub-Object Selections

Once you name a sub-object selection set, you

can copy it between modifiers in the same stack,

or to the stack of another object of the same type.

Editable meshes and Mesh Select (and their spline

, patch, and poly counterparts) have buttons for

Copy and Paste at each level of geometry, in the

Modify panel > Selection rollout.

To copy/paste named sub-object selections:

1. Make a sub-object selection.

2. In the Selection rollout, click Copy. From the

dialog, choose any available named selection

set for that level of geometry.

3. GotoanotherSelectmodifierortoaneditable

mesh or poly, at the same level of geometry.

Click Paste to complete the copy.

Modifying Multiple Objects

You can apply modifiers to multiple objects.

In general, the process is parallel to modifying

a single object. You make a selection set and

apply an available modifier. The modifier then

appears on a special stack that refers only to the

commonality of that selection set.

Top: Original objects

Bottom: Single modifier applied to objects

510 Chapter 8: Modifiers

Original objects

Single modifier applied to all objects

Single modifier applied with Use Pivot Points turned on

The Principle of Commonality

When you select multiple objects, 3ds Max

determines what the particular selected set of

geometry has in common, if anything.

Given any "commonality" among objects, 3ds Max

presents the options as available modifiers.

Unavailable modifiers represent areas where

commonality does not hold.

You can apply modifiers to different categories of

objects, depending on the modifier. For example,

you might apply a Bend to both a 3D object and a

2D shape. You can apply Mesh Select to a spline

primitive and convert it to a mesh, but the reverse

is not true: Spline Select is restricted to objects of

the spline category.

To modify multiple objects:

1. Select two or more objects.

For selection sets, the name at the top of

the Modify panel changes to read "Multiple

Selected." If the objects are grouped, the group

name appears.

2. Choose the kind of pivot point you want to use.

See Using Pivot Points, (below).

3. Apply a modifier and adjust its parameters.

If you apply a Mesh Select modifier, you can

select geometry on one or more of the objects

to use as a sub-object selection set.

Using Pivot Points

The first item in the Modifier List is a toggle called

UsePivotPoints.Thistoggleisunavailableunless

multiple objects are selected.

• When turned on, the program uses the pivot

point of each object as the center of a modifier’s

operation. If you bend a line of trees around the

Z axis, they all bend along their trunks.

• When turned off, the program calculates a

central pivot point for the entire selection set,

How Instanced Modifiers Work 511

and modifies the selection as a whole. For a

Z-axis bend, trees at the end of a line would

deform more than those at the center where the

pivot is located.

Tip: Choose the pivot setting before you apply

the modifier. You can’t change the pivot point

afterward, although you can delete the modifier

and start over without deselecting the selection

set.

Instanced Modifiers

When you apply a modifier to multiple objects,

each object receives an identical version of the

modifier. These are called instanced modifiers.

They are interchangeable. A change to any one of

the instances affects all the other instances. How

Instanced Modifiers Work (page 1–511) covers

instanced modifiers in detail.

Tip: Sometimes you might apply modifiers to a

selection set, perform some other operations, and

select the set again, only to find its modifier stack

is empty. This happens if you applied another

modifier to an individual object in the original

selection set. When you select the set again, the

modifierstackisemptybecauseallmembersofthe

set no longer have all modifiers in common. You

can still access the instanced modifiers by selecting

asingleobjectintheset.Theindividualobject’s

stacks still contain the modifiers you applied to

the set as a whole.

How Instanced Modifiers Work

When you apply a modifier to a selection set, the

same modifier is carried on the stack for each

individual object. These are instanced modifiers:

they are all exactly the same, and a change to the

instanceforanyoneobjectwillchangeallthe

others.

In the stack, the name of an instanced modifier

appears in italic.

Objects sharing a single instanced modifier

Identifying Instanced Modifiers

You can quickly lose track of which objects share

the same modifier. An option on the Views menu

highlights those objects.

To identify objects sharing instanced modifiers:

1. Select an object with an instanced modifier.

Choose the instanced modifier in its stack.

2. Choose Views menu > Show Dependencies.

Other objects with instances of the same

modifier appear in a distinctive color (purple

by default).

Adjusting Instanced Modifiers

You can make changes to an entire set of objects

from a single instance. This is a major advantage

of instanced modifiers.

To adjust instanced modifiers:

1. Selectanyobjectinasetofobjectswith

instances of the same modifier.

2. Choose the instanced modifier in its stack.

The single object highlights and the appropriate

gizmos appear for the entire selection set.

Adjustmentstothismodifiernowaffectthe

entire set.

512 Chapter 8: Modifiers

Changing the parameter of an instanced modifier for one

object affects all the objects sharing the modifier.

Making Instanced Modifiers Unique

At some point in your work, you might want

to turn a modifier instance into a local copy

that affects only a single object. To do so, click

Make Unique (page 3–770) on the Modify panel.

This button appears beneath the modifier stack

display.(MakeUniqueisalsoavailableasapop-up

menu choice when you right-click the instanced

modifier’s name in the stack display.)

To make an instanced modifier unique:

1. Select an object with an instanced modifier.

2. Choose the instanced modifier in its stack.

3. ClickMakeUniquebeneaththemodifier

stack display. The modifier is no longer listed in

italic text and if Show Dependencies is set, the

highlight disappears from the other objects.

The modifier is now separate from the set of

instanced modifiers. Adjustments you make

to this modifier no longer affect other objects.

Its parameters and gizmo remain unchanged

from their original, instanced settings until you

adjust them.

To make multiple modifier instances unique:

1. Select two or more objects with the same

instanced modifier. The stack now shows what

the objects have in common.

2. Choose the instanced modifier in the stack.

There can be more than one instanced modifier

in this stack. Click the one you want to make

unique for each of the selected objects.

3. Click Make Unique.

4. Click Yes to make the two objects become

independent of one another. Click No for

thetwoobjectstocontinuetosharethesame

instanced modifier, but separate from the

instance in the original group.

The parameters for this modifier disappear,

because the objects no longer share the

modifier. For each object, the modifier is now

separate from the set of instanced modifiers.

As with a single object, the parameters and gizmo

are unchanged in the now unique modifiers.

• To access the unique modifiers, select the

objects individually.

Note: If both the object and the modifier are

instances, you can choose either in the stack

before you click Make Unique.

World-Space Modifiers

World-space modifiers act as object-specific

space warps. They are carried with the object,

but like space warps use world space (page

3–1036) rather than object space for their effects.

World-space modifiers eliminate the need for

binding to a separate space-warp gizmo, making

them convenient for modifying a single object or

selection set.

Camera Map Modifier (World Space) 513

You apply world-space modifier like you apply

standard object-space modifier. You can access

world-space modifiers from the Modifiers

menu, the Modifier List in the Modify panel,

and applicable modifier sets (page 3–771).A

world-space modifier is indicated by either

an asterisk or the letters “WSM” next to its

name. (The asterisk or “WSM” distinguishes the

world-spaceversionfromtheobject-spaceversion

of the same modifier, if one exists.)

When you assign a world-space modifier to an

object, it appears at the top of the modifier stack,

listed as a binding, in the same area as the space

warp bindings.

For a list of world-space modifiers, see List of

Available Modifiers (page 1–497).

World-Space Modifiers and Earlier Space

Warps

3ds Max 1provided PathDeform and MapScaler

space warps. In subsequent versions, these were

replaced by comparable world-space modifiers.

Whenyouopenav1MAXfileinalaterversion

of 3ds Max, objects bound to the v1 space warps

are automatically assigned the corresponding

world-space modifiers.

Camera Map Modifier (World

Space)

Modify panel > Select an object. > Modifier List >

World-Space Modifiers > * Camera Map

Select an object. > Modifiers menu > UV Coordinates > *

Camera Map

The Camera Map world-space modifier is similar

to the Camera Map modifier (page 1–567),inthat

it applies UVW mapping coordinates to the object

basedonaspecifiedcamera.Asaresult,ifyou

assign the same map as a Screen environment to

the background as you apply to the object, the

object is invisible in the rendered scene.

Themaindifferencebetweentheworld-space

version of Camera Map and the object-space

version is that, when you move the camera or the

object using the object-space version, the object

becomes visible, because the UVW coordinates are

fixed to the object’s local coordinates. When you

move the camera or object using the world-space

version, the object remains invisible because world

coordinates are used instead.

Interface

Current Camera Object group

Label—Names the current camera used for

mapping. If there is no current camera, reads

"None."

Pick Camera—Click this button, and then select the

camera you want used for mapping.

Channel group

Map Channel—Specifies use of a map channel (page

3–966). Map channels are specified in the Material

Editor (page 2–1409).

Vertex Color Channel—Specifies use of the Vertex

Color Channel (see UVW Map Modifier (page

1–922)).

514 Chapter 8: Modifiers

Displace Mesh Modifier (World

Space)

Select an object. > Modify panel > Modifier List >

World-Space Modifiers > * Displace Mesh

The Displace Mesh world-space modifier (World

Space) lets you see the effect of displacement

mapping (page 2–1511) on editable mesh objects

(page 1–996) and objects with a Disp Approx

modifier (page 1–628) applied to them. If a

displacement map is applied to the object, the

mesh shows the effect of the displacement map.

DisplaceMeshreplacesthemeshwithitsdisplaced

version.

There are two main reasons for using Displace

Mesh:

• As a visualization aid to see the effect of

a displacement map in viewports, and to

compare the placement of displaced objects

with other objects in the scene.

For example, if you use an animated

displacement map to create waves on a water

surface, you might temporarily apply Displace

Meshtoseewheretheripplesmeetthewaterline

of a boat.

When you use Displace Mesh in this way,

usually you delete it once you’ve obtained the

effect you want.

• To obtain an editable mesh created from a

displacement map

To u s e t h e D i s p l a c e M e s h t h i s w ay, y ou a p pl y

it to the object that has a displacement map,

then apply the Snapshot command (page 1–453)

fromtheToolsmenu,andchooseMeshasthe

clone method.

Snapshot creates a permanently displaced mesh.

As it does for other kinds of objects, Snapshot

also leaves the original, displacement-mapped

object in the scene. After applying Snapshot,

you can delete the original object, or you can

keep it in your scene to use for other purposes.

Tip: Use Disp Approx to displace editable

meshes. Use Displace Mesh for previewing,

as in the first item, but avoid using Snapshot.

The mesh created by using Displace Mesh and

Snapshot can have a high polygon count. This

makes it slow to use interactively, and can cause

smoothing problems, where the underlying

mesh edges are visible.

Interface

TherolloutforDisplaceMeshletsyouchoose

which surface approximation settings are used to

produce the mesh.

Update Mesh—Updates the mesh if you have

changed the displacement mapping and want

to see the results of the change. The mesh isn’t

Displace NURBS Modifier (World Space) 515

updated automatically because that can become

extremely time consuming.

Custom Settings—When turned off, Displace Mesh

uses default settings to subdivide the mesh for the

purposes of displacement mapping. When turned

on, the subdivision controls in this rollout are

enabled. Default=off.

Subdivision Displacement—Subdivides mesh faces

to accurately displace the map, using the method

and settings you specify in the Subdivision Presets

and Subdivision Method group boxes. When

turned off, the modifier applies the map by moving

vertices in the mesh, the way the Displace modifier

(page 1–629) does. Default=on.

Split Mesh—Affectstheseamsofdisplacedmesh

objects; also affects texture mapping. When on,

the software splits the mesh into individual faces

before displacing them; this helps preserve texture

mapping.Whenoff,thesoftwareusesaninternal

method to assign texture mapping. Default=on.

Tip: This parameter is required because of an

architectural limitation in the way displacement

mapping works. Turning Split Mesh on is usually

the better technique, but it can cause problems for

objects with clearly distinct faces, such as boxes,

or even spheres. A box’s sides might separate as

they displace outward, leaving gaps. And a sphere

might split along its longitudinal edge (found in

the rear for spheres created in the Top view) unless

you turn off Split Mesh. However, texture mapping

works unpredictably when Split Mesh is off, so

you might need to add a Displace Mesh modifier

and make a snapshot (page 1–453) of the mesh.

Yo u w o u l d t h e n a p p l y a UVW Map modifier (page

1–922) and then reassign mapping coordinates to

the displaced snapshot mesh.

Subdivision Presets group and Subdivision

Method group

Thecontrolsinthesetwogroupboxesspecifyhow

the modifier applies the displacement map when

Custom Settings and Subdivision Displacement

are both turned on. They are identical to the

surface approximation controls (page 1–1239) for

NURBS surfaces.

Displace NURBS Modifier (World

Space)

Select a NURBS object. > Modify panel > Modifier List >

World-Space Modifiers > * Displace NURBS

The Displace NURBS world-space modifier

(World Space) converts a NURBS (page 1–1078)

objectintoamesh. Ifadisplacementmapis

applied to the object, the mesh shows the effect of

the displacement map in viewports. There are two

main reasons for using Displace NURBS:

•Asavisualizationaidtoseetheeffectofa

displacement map in viewports

When you use Displace NURBS this way,

you usually delete the modifier once you’ve

obtained the effect you want.

• Toobtainaneditablemeshcreatedfroma

displacement map on a NURBS object

TouseDisplaceNURBSthisway,youapplyit

to the object that has a displacement map, then

use the Snapshot command (page 1–453) from

the Tools menu, and choose Mesh as the Clone

Method.

Snapshot creates a permanently displaced mesh.

As it does for other kinds of objects, Snapshot

also leaves the original, displacement-mapped

object in the scene. After applying Snapshot,

you can delete the original object, or you can

keep it in your scene to use for other purposes.

Interface

The rollout for Displace NURBS lets you choose

which surface approximation settings are used to

produce the mesh.

516 Chapter 8: Modifiers

Animated Displacement Map—If you use an

animated displacement map on the mesh, turn

on this toggle to have the NURBS Modifier

correctlyupdatethemeshasthedisplacement

map animates.

Yo u c a n a p p l y a displacement map (page 2–1511)

using the Material Editor (page 2–1409).

Update Mesh—Click to update the mesh if you

have changed the displacement mapping and want

to see the results of the change. The mesh isn’t

updated automatically because that could become

extremely time consuming.

Viewport—Uses the tessellation that the NURBS

object currently uses in viewports.

Renderer—Uses the tessellation that the NURBS

object currently uses for the renderer.

Custom—Set the tessellation directly in the

Tessellation Method group box.

Base Surface, Surface Edge, Displaced Surface, and

Lock—Thesecontrolsarethesameasinthesurface

approximation controls (page 1–1239) for NURBS

objects.

Tessellation Method group

The controls in this group are the same as the

surface approximation controls for NURBS

objects.

Ignore Surface Settings—When turned off,

Displace NURBS uses the surface approximation

settings for surface sub-objects. When turned

on, Displace NURBS uses the settings in the

Tessellation Method group and overrides settings

for surface sub-objects. Default=off.

Auto Weld—All vertices closer than the Threshold

value are automatically welded together. This can

simplify the mesh geometry. It is useful to turn

this on when you have increased the Merge value

in order to eliminate gaps between surface edges

in the approximation of the NURBS object.

Hair and Fur Modifier (WSM)

Modify panel > Make a selection. > Modifier List >

World-Space Modifiers > Hair And Fur

TheHairAndFurmodifieristheheartoftheHair

And Fur feature. You apply it to any object that

Hair And Fur Modifier 517

you want to grow hair from: either a mesh object

or a spline object. If object is a mesh, the hair

grows from the entire surface unless you make a

sub-object selection. If the object is a spline, hair

grows between the splines.

When you select an object modified by Hair And

Fur, hair is displayed in viewports. The hair itself

as displayed in the viewports is not selectable,

though hair guides areselectablewhenyouwork

at the Guides sub-object level or style hair (see

below).

Note: Hair And Fur renders only in Perspective

and Camera views. If you attempt to render an

orthographic view, 3ds Max displays a warning

that says the hair will not appear.

Components of the Hair And Fur Feature

Hair And Fur in 3ds Max has a few different

components in the interface:

•TheHairAndFurmodifieristhemain

component. This is where you style the

hair guides, and set parameters for size and

coloration, kinkiness, frizziness, and so on.

•TheHair And Fur render effect (page 3–220)

more directly controls how hair is rendered.

Typically you don’t need to change the render

effect parameters, unless you have special

rendering requirements.

AHairAndFurrendereffectisautomatically

added to your scene when you apply the Hair

And Fur modifier.

•AHair Light Attributes rollout (page 2–1351)

appears for all supported lights when a Hair

And Fur render effect is active using the

scanline renderer, and the render effect’s Use

All Lights At Render Time toggle is turned on.

Controls on this rollout let you fine-tune how

hair shadows appear under specific lights.

The following light types are not supported

when rendering hair with the “buffer” method

(see “Lighting Considerations,” below):

Skylight, mr Area Omni, mr Area Spot, IES

Sun, IES Sky, mr Sky and mr Sun. However, mr

AreaOmni,mrAreaSpot,mrSky,andmrSun

are supported forhairwhenyouusethe“mr

prim” method and the mental ray renderer.

Note: For the purposes of rendering shadows in

hair, Direct lights are treated as point (omni)

lights.

•ThereisalsoaHair And Fur render element

(page 3–140), which you can use when you are

doing your own compositing.

Growth Objects

You can grow Hair either from a surface or from

splines.

To grow hair from a surface, select the object and

then apply the Hair And Fur modifier. You can use

either geometric primitives or an editable surface

type such as Polymesh.

To grow hair from splines, you can draw several

splines and combine them into a single object

(or turn off Start New Shape during creation),

and then apply the Hair And Fur modifier. You

will see some preview interpolated hairs appear

inviewports.Theorderofthesplinesub-objects

is important because Hair uses this order to

interpolate hair in between the splines. If the

interpolation seems incoherent, you might need to

physically rearrange the splines.

Using a spline emitter, Hair interpolates hair growth between

pairs of splines in logical, numerical order.

Left: Splines in sequential order result in predictable hair

growth.

Right: Splines in nonsequential order can produce undesirable

results.

518 Chapter 8: Modifiers

Tip: To check the numerical order of splines, go

totheEditableSplinelevelofthemodifierstack

and access the Spline sub-object level. Then click

each spline in turn and check its ID number at the

bottom of the Selection rollout. It also can help to

make sure that each spline’s first vertex is where

the hair roots should be.

Guide Hairs

Storing and manipulating millions of dynamic,

simulated hairs is demanding on today’s

technology. Therefore, just as standard 3D

graphics technology uses boundaries such as

surfaces to describe solid objects, Hair uses hair

“guides” to describe basic hair shape and behavior.

Guides (yellow) occur at each polygon corner.

Hairs (red) are interpolated between guides.

When the growth object is a surface, Hair And Fur

generatesguidehairsatthecornersofpolygons.

When the growth object is a spline, the spline

sub-objects are themselves the guides.

For surface-grown hair, you can manipulate

the guides with styling tools (page 1–526) to

form a “control volume” that gets populated by

interpolated hairs. The hairs can then be further

manipulated with distorting controls such as Kink

(page 1–542) and Frizz (page 1–540), which can be

driven by maps or solid textures.

Frizz settings affect the hairs but not the guides.

By default, a percentage of hairs are displayed

in the viewports, but surface-grown guides do not

appear except when you are working at the Guides

sub-object level. You can adjust the viewport

display of guides and hairs with settings on the

Display rollout (page 1–549).

Guidesarealsousedtocalculatedynamics.After

this calculation, hair interpolation takes place

when you render. This is when parameters such

as Frizz, as well as displacement and coloration,

are calculated. You don’t have control of every

single hair, but this two-phase process makes the

creation of realistic hair computationally feasible

on a typical computer.

Styling Hair

TheHairAndFurmodifier’sgrowthsettings

haveagreateffectonthehair’sappearanceand

behavior, but you can also manipulate the guides

directly (or in other words, style the hair).

For surface-grown hair, use the tools on the Styling

rollout (page 1–526). First, select the surface whose

hair you want to edit, and then on the Modify

panel, either click the Style Hair button on the

StylingrolloutorchoosetheGuidessub-object

level from the Selection rollout (page 1–521) or the

modifier stack display.

Hair And Fur Modifier 519

After guides have been styled, hair is interpolated between

neighboring guide pairs.

Mesh-based hair guides before and after styling.

With spline growth, you style the hair by editing

the growth splines in the viewports.

Style spline-based hair by manipulating the splines.

Copying and Pasting Hair

You can copy and paste a Hair And Fur modifier

from one stack to another, but you need to line up

the objects as closely as possible, because Hair uses

proximity to determine how to position copied

guides. If the objects have significantly different

geometry, the transfer of guides can be inaccurate.

Copying and pasting the Hair And Fur modifier

automatically adjusts the hair scaling. Copying

fromalargeobjecttoasmallobject,forinstance,

resultsinasmallerdefaultsizeinthecopied

modifier.

IfyoucopyanobjectthathasHairAndFurinits

modifier stack, Hair will also copy the modifier’s

data to a new modifier that will track the new

object.

Textures, Vertex Maps, and Shaders

You can control many Hair And Fur modifier

parameters with maps. If you apply a map to a

parameter that is not a color, such as Density,

Hair uses the texture as a grayscale map that is

multiplied by the parameter value (0.0 to 100.0) .

You apply a map by clicking the square button to

therightoftheparameter.Afterapplyingamap,

the letter “M” appears on the button. To place

this map in the first slot in the Material Editor,

Shift +click the button. To disable the map

temporarily, Ctrl +click the button. A disabled

map is indicated by a lower-case “m”.

Lighting Considerations

When you render using the default “buffer”

method,HairAndFurprovidesitsowndefault

lighting (a single omni light), unless you have one

or more supported lights in the scene.

Supported lights for the scanline renderer and

“buffer” method include spotlights, omni lights,

direct lights (which are treated as omni lights for

hair purposes), and photometric lights except

for IES Sun and IES Sky. Supported lights for

the mental ray renderer and “mr prim” method

include the lights supported by the scanline

renderer, and these mental ray light types: mr

Area Omni Light, mr Area Spotlight, mr Sky, and

mr Sun.

520 Chapter 8: Modifiers

If supported lights exist in the scene, by default

they are used to light the hair, and the internal

default omni light is not used. This is because

in the Hair And Fur render effect (page 3–220),

the Use All Lights At Render Time option is on

by default. Also, any supported lights set to cast

shadow-mapped shadows will cast shadows from

rendered hair.

ForHair’s“buffer”rendertoconsideronlycertain

lights, select the lights you’d like Hair to use, go to

theHairAndFurrendereffect,turnoffUseAll

Lights At Render Time, and then click Add Hair

Properties.Thiscausesonlythedesignatedlights

to illuminate the hair. It also adds a Hair Light Attr

rollout (page 2–1351) to each of the designated

lights. This lets you fine-tune the light’s shadow

settings for Hair.

With the “buffer” method, you can also raytrace

your scene.

Note: The other rendering methods provided

are “geometry” and “mr prim.” The “geometry”

method creates actual geometry for the rendered

hair at render time. The “mr prim” method uses a

mental ray shader to generate hair, and is for use

only with the mental ray renderer. Use the Hair

And Fur render effect to choose the rendering

method.

Loading and Saving

Hair And Fur data in your scene is automatically

saved when you save your MAX scene file. The

statedataforthehaircanconsumequiteabit

of space, so your scene file will probably be

significantly larger than it was before you applied

hair.

Animating Hair

You cannot keyframe hair styling. You can

keyframe Modify panel parameters to create

special effects such as hair growing. But to animate

hair motion, you can use the Frizz Animation

parameters or use dynamics.

To a n i m a t e f r i z z , u s e t h e Frizz Anim.,Anim.

Speed, and Frizz Anim. Dir. parameters. It’s not

necessarytokeyframethesetocreateanimation;

just set them to values other than the defaults.

To animate with dynamics, use the Dynamics

rollout (page 1–545).SeeTo generate a precomputed

dynamics simulation with Hair (page 1–545).A

gravity force is built in to Hair And Fur. You can

add space warps to act as external forces (for

example, Wind).

See also

Hair and Fur Render Effect (page 3–220)

Hair and Fur Render Element (page 3–140)

Hair Light Attr(ibutes) Rollout (page 2–1351)

Procedures

To use the Hair And Fur modifier:

This procedure lists the essential steps for growing

hair on an object. For more information, see other

Hair And Fur topics in this reference, and the

tutorials in 3ds Max 9 Tutorials.

1. Apply the Hair And Fur modifier to a mesh or

spline object.

The hairs appear in the viewports as brown

lines.

2. Set the modifier parameters according to the

desired results (see Interface (page 1–521)).

Available settings include the number of hairs,

length, thickness, and coloring.

3. Activate a Perspective or Camera viewport, and

then render the scene.

Hair cannot render in an orthogonal viewport.

Selection Rollout (Hair and Fur) 521

To apply hair to a limited area of a high-resolution

object:

An efficient working method for applying hair

to part of a high-poly-count object is to use a

low-poly proxy object.

1. Create the object to which you wish to apply

hair.

2. Makeacopyoftheobjectinthesamelocation

as the original, remove any geometry where

hair shouldn’t grow, and reduce the polygon

count. For example, you could use the MultiRes

modifier (page 1–739).

3. If the original object is to move, make the

low-resolution proxy object a child of the

original object.

4. Apply the Hair And Fur modifier to the

low-resolution proxy object and adjust as

necessary.

5. Make the low-resolution proxy object

non-renderable (see General Panel (Object

Properties Dialog) (page 1–117)). The hair will

still render.

Interface

YoucontroltheHairAndFurmodifierfroma

series of rollouts on the Modify panel. See these

topics:

Selection Rollout (Hair and Fur) (page 1–521)

Tools Rollout (Hair and Fur) (page 1–523)

Styling Rollout (Hair and Fur) (page 1–526)

General Parameters Rollout (Hair and Fur) (page

1–534)

Material Parameters Rollout (Hair and Fur) (page

1–537)

mr Parameters Rollout (Hair and Fur) (page 1–540)

Frizz Parameters Rollout (Hair and Fur) (page

1–540)

Kink Parameters Rollout (Hair and Fur) (page

1–542)

Multi Strand Parameters Rollout (Hair and Fur)

(page 1–544)

Dynamics Rollout (Hair and Fur) (page 1–545)

Display Rollout (Hair and Fur) (page 1–549)

Selection Rollout (Hair and Fur)

Select an object with the Hair And Fur modifier applied. >

Modify panel > Selection rollout

The Selection rollout provides tools for accessing

different sub-object levels and display settings and

for creating and modifying selections, and displays

information about selected entities.

When you first apply the Hair And Fur modifier

to an object, the entire object is affected by the

modifier. You can specify that the only part of an

object should grow hair by accessing a sub-object

level and making a selection.

Clickingabuttonhereisthesameaschoosing

a sub-object level in the modifier stack display.

Click the button again to turn it off and return to

the Object selection level.

Interface

Note: Controls on this rollout are available only

when the growth object is a mesh. If the growth

object is a spline, the Selection controls have no

effect, and sub-object levels for the Hair And Fur

modifierarenotvisibleinthemodifierstack.

522 Chapter 8: Modifiers

Guides—Accesses the Guides sub-object level,

which lets you edit the styling guides using tools

on the Styling rollout (page 1–526).Whenyou

click Guides, the Style Hair button on the Styling

rollout is automatically turned on, and vice versa.

Face—Accesses the Face sub-object level,

which lets you select a triangular face beneath the

cursor; region selection selects multiple triangular

faces within the region.

Polygon—Accesses the Polygon sub-object

level, which lets you select polygons beneath the

cursor. Region selection selects multiple polygons

within the region.

Element—Accesses the Element sub-object

level, which lets you select all contiguous polygons

in an object by clicking once. Region selection lets

you select multiple elements.

By Vertex—When on, you can select a sub-object

only by selecting a vertex that it uses. When you

click a vertex, all sub-objects that use the selected

vertex are selected.

Ignore Backfacing—When on, using the mouse

to select sub-objects affects only those facing

you. When off (the default), you can select any

sub-objects under the mouse cursor, regardless

of their visibility or facing. If there are more

than one sub-object under the cursor, repeated

clicking cycles through them. Likewise, with

Ignore Backfacing off, region selection includes all

sub-objects, regardless of the direction they face.

Note: The state of the Backface Cull setting on the

Display panel does not affect sub-object selection.

Thus, if Ignore Backfacing is off, you can still select

sub-objects, even if you can’t see them.

Named Selection Set group

Copy—Places a named selection into the copy

buffer.

Paste—Pastes a named selection from the copy

buffer.

Tip: You can use this to grow hair from an existing

selection lower on the stack. However, because

theHairAndFurmodifieroutputsaneditable

mesh, the copied sub-object selection should be

from a mesh-based modifier. For example, if

your base object is an editable poly, you can use

tools such as Ring, Loop, and Grow to make a

procedural edge selection, and then Ctrl +click

the Polygon button on the Selection rollout to

convert the selection to polygons. Next, apply a

Mesh Select modifier (not Poly Select), and go

to the Polygon sub-object level; the Mesh Select

modifier inherits the Editable Poly selection. Use

the Named Selection Sets field on the main toolbar

to name the selection, and then use the Mesh Select

modifier’s Copy function on the named selection.

Finally, apply the Hair And Fur modifier, go to the

Poly sub-object level, and paste the selection.

Update Selection—Recalculates the area from

which hair is grown, based on the current

sub-object selection, and refreshes the display.

When you access a sub-object level within the

Hairmodifierandmakeaselection,theareaof

hair growth doesn’t automatically update. Click

Tools Rollout (Hair and Fur) 523

Update Selection to view the results of a change

in sub-object selection.

Tools Rollout (Hair and Fur)

Select an object with the Hair And Fur modifier applied. >

Modify panel > Tools rollout

This rollout provides tools for accomplishing a

variety of tasks with Hair, including creating a

hairstyle from an existing spline object, resetting

the hair, and loading and saving general presets

for the modifier as well as specific hairdos. Here

you can also specify an object from the current

scenetobeusedashair,suchasaflowerorgroup

of flowers for creating a garden.

Using Instanced Hair

Besides the built-in hair strands, which are created

at render time, you can assign any source object as

hair strands, using the Instance Node controls on

the Tools rollout. For example, in the following

illustration, the original orientation of the source

object affects its orientation when it is used as hair

strands.

Rotating the source object affects the hair orientation.

The next illustration shows how increasing the

FrizzRootvaluecreatesgreateramountsof

distortion in the resulting instanced hairs. This

image also shows how a raised pivot in the source

object causes the root of the hair to go below the

surface of the growth object (the red square).

Compare this with the previous illustration, in

which the pivot rests at the base of the source

object.

Frizz causes the instanced hairs to change shape.

ThenextillustrationshowstheeffectoftheMerge

Material check box. On the left side, Merge

Material was left on, with the result that the flower

model retained its original material and coloring

when used as hair. On the right, Merge material

wasturnedoff,sotheflower-hairstookonthe

material of the flower pot growth object.

Left: Merge Material on

Right: Merge Material off

Inthenextillustration,theRootThicksetting,

from left to right, is 2.0, 10.0, 20.0, and 30.0. With

instanced geometry, the Root Thick value affects

the thickness of the resulting object uniformly

along its height, while the Tip Thick value has no

effect. (The Root Thick and Tip Thick settings are

on the General Parameters rollout (page 1–534).)

524 Chapter 8: Modifiers

Increasing Root Thick affects the overall thickness of the hair

geometry.

From left to right: Root Thick = 2.0, 10.0, 20.0, and 30.0

The final illustration, below, shows how the

instanced hair aligns itself faithfully to the guides,

no matter how they’re styled. The styled hair was

brushed from the center, and the instances align

perfectly in all directions, face up, without twisting

or other distortion. This makes it easy to style

instancesasscales,forexample.

Top left: The original styled hair

Top right: The instanced hair (arrows) conforms to the styling.

Bottom: Close-up view of instanced hair

Interface

Recomb From Splines—Lets you use a spline object

to style the hair. Click this button and then select

an object that is made up of spline curves. Hair

will turn the curves into guides and populate each

guide of the selected growth mesh with a replica of

the closest curve.

This tool is particularly useful for creating a

specific style and length, such as short hair with

apartontheside,withouthavingtomanually

groom the hair in the Style dialog. For optimal

control, position the splines fairly closely together

and use as many as possible.

Tools Rollout (Hair and Fur) 525

Hair and guides are recombed by the spline object (white).

Reset Rest—Performs an averaging of hair guides

using the growth mesh’s connectivity.

This function is particularly useful after using

Recomb From Splines. It’s also advantageous

when you change the size ratios of polygons in the

growth object. For example, if you stretch part of

the mesh by moving some vertices, by default the

larger polygons will contain fewer hairs per unit

area. Use Reset Rest to redistribute the number of

hairs on the surface for more even coverage.

Left: Even hair distribution before resizing polygons

Center: Uneven hair distribution after moving edges, altering

polygon size ratios

Right: After using Reset Rest, distribution is again evened out.

Regrow Hair—Discards any styling information,

resetting the hair to its default state, retaining all

current Modify panel settings.

Presets group

Lets you load and save hair presets. Each preset

contains all current Modify panel settings (except

Display settings), but not any styling information.

Load—Opens the Hair Presets dialog, which

contains a list of presets in the form of named

swatches. To load a preset, double-click its swatch.

Severalsamplepresetsareincludedwith3dsMax.

Hair And Fur Presets dialog

Save—Creates a new preset. You’re prompted for

a preset name; after entering one, Hair renders

the swatch, as shown by a message on the status

bar. You can abort the creation of the preset by

clicking the Cancel button on the status bar during

rendering. If you enter an existing preset name,

Hair asks you to confirm overwriting the preset.

Hairdo group

Lets you copy and paste hairdos. Each hairdo

contains all the current Modify panel settings

(except Display settings) and styling information.

This lets you apply all hair settings from one object

to another.

Copy—Copies all hair settings and styling

information into a paste buffer.

Paste—Pastes all hair settings and styling

information to the current Hair-modified object.

Instance Node group

Lets you specify an object to use as custom hair

geometry. The hair geometry is not instanced

526 Chapter 8: Modifiers

from the original object, but all hairs created from

it are instances of each other, to save memory.

Note: Hair does not use animation from instance

objects. If an object is animated, Hair uses its state

at the first animation frame.

Pick—To specify a hair object, click the Pick button

and then pick an object to use. Thereafter, the

button shows the name of the object you picked.

To use a different instance object, or to use a

modified version of the original object, click this

button and then pick the new object.

Tip: In order for the instances to be properly scaled

and fit to the hair, place the model’s pivot at the

“root” of the object. Hair will then scale your

model appropriately so that the height of each

instance matches the length of the hair it has been

applied to. Any part of your model that extends

below the pivot will intersect the surface. This can

be useful; if the hair grows at an oblique angle to

the growth surface, you can raise the pivot in the

original model to make sure the instanced hairs

will extend all the way to the growth surface.

Also, bear in mind that the instancing engine will

be deforming your model as it fits it to the hairs.

Make sure that your model has enough divisions

along the Z (vertical) axis for the deformation

to look as smooth as it needs to; the number of

subdivisions should be approximately equal to

theHairSegmentsvalue. Hairdoesn’tperform

automatic subdivision on the geometry.

X—To stop using the instance node, click the Clear

Instance button (labeled “X”).

Merge Material—When on, combines the

material applied to the growth object and

thematerialappliedtothehairobjectintoa

single Multi/Sub-Object material and applies

it to the growth object. When off, the growth

object’s material is applied to the instanced hair.

Default=on.

Note: The merged material is instanced from

the instance node, so that changing the original

materialaffectstheresultingmaterialappliedto

the hair.

Convert group

Use these controls to convert guides or hair

generated by the Hair And Fur modifier to

3ds Max objects that you can operate on directly.

Guides -> Splines—Copies all guides to a new, single

spline object. The original guides are left intact.

Hair -> Splines—Copies all hairs to a new, single

spline object. The original hairs are left intact.

Hair -> Mesh—Copies all hair to a new, single mesh

object. The original hairs are left intact.

Render Settings—Opens the Effects panel and

rollout (page 3–219) and adds a Hair And Fur

render effect (page 3–220) to the scene, if one

doesn’t already exist.

Note: TheHairAndFurrendereffectsettingsare

global, so even if you click Render Settings to

open the effect settings from different Hair And

Fur modifiers, you’ll get the same render-effect

settings.

Styling Rollout (Hair and Fur)

Select an object with the Hair And Fur modifier applied. >

Modify panel > Styling rollout

The Guides sub-object level of the Hair And

Fur modifier (page 1–516) lets you style hair

interactively in viewports. Interactive styling

controls are on the Styling rollout, which has a

Style Hair button that you can also click to begin

styling.

Styling Rollout (Hair and Fur) 527

Styling with Hair Guides

Styling tools aren’t available until you click Style

Hair to turn it on, or choose the Guides sub-object

level in either the Selection rollout or the modifier

stack.

Each guide hair has 15 segments and 14 vertices

(there’s an additional, non-selectable vertex at the

root); for a tool to affect a guide, at least one of its

vertices must be selected. To select vertices, click

Select(intheStylinggroup)toturniton,then

use standard 3ds Max selection tools to select a

portion of the guides. For example, you might

drag a selection rectangle to select vertices on

adjacent hair guides. By default, selected guides

are displayed as orange, and unselected guides are

displayed as yellow.

Selections you make this way are constrained

by the buttons at the top of the Selection group:

Select Hair By Ends, Select Whole Guide (the

default), Select Guide Vertices, or Select Guide By

Root. As these names imply, the constraints affect

how the Hair Brush modifies hair guides. The

best way to get a feel for the difference between

selection constraints is to practice using the

various selection constraints with tools such as

Translate. The Hair Brush uses a combination of

these constraints and IK to alter guide geometry.

Left: Hair guide before styling

Center: Translating while Select Whole Guide is active

Right: Translating while Select Hair By Ends is active

Once you’ve made a selection, typicall you will

click Hair Brush (also in the Styling group, to

the left of Select), and then use the brush in

conjunction with one of the tools at the bottom

of the Styling group: Translate, Stand, Puff Roots,

Clump, Rotate, or Scale.

While you style, only selected guides are affected,

and in addition, only guides that fall within the

brush area are affected at any given time. You

can change the brush size using the slider in the

Styling group, or by holding down Ctrl+Shift

and dragging the mouse.

TheHairCuttoolontheStylingrollout(between

HairBrushandSelect)cutshairguidesbyscaling

them based on the brush location.

Interface

Note: Controls on this rollout are available only

when the growth object is a mesh. If the growth

object is a spline, the Styling controls have no

effect. Instead, you can style the hair by editing the

underlying spline object.

528 Chapter 8: Modifiers

Style Hair / Finish Styling—Click Style Hair to begin

styling. Click Finish Styling to turn off styling

mode. When you turn this button on, a brush is

immediatelyavailableandbydefaulttheactive

tool is Transl ate. Turning on St y le Ha ir turns on

the Guides sub-object level in the Selection rollout

(page 1–521),andviceversa.

Selection group

Select Hair by Ends—You can select only the

vertexattheendofeachguidehair.

Select Whole Guide—(The default.)

Selecting any vertex on a guide hair selects all

vertices on the guide hair. When you first turn on

StyleHair,Hairactivatesthismodeandselectsall

vertices of all guide hairs.

Select Guide Vertices—You can select any

vertices on a guide hair.

Select Guide by Root—You can select only

the vertex at the root of each guide hair, and doing

so selects all vertices on the guide hair.

Vertex display drop-down list—Chooses how

selected vertices are displayed in viewports.

•Box Marker—(The default.) Selected vertices

display as small squares.

•Plus Marker—Selected vertices display as small

plus signs.

•XMarker—Selected vertices display as small

Xes.

•Dot Marker—Selected vertices display as dots.

Selection Utilities—The buttons labeled “Selection

Utilities” are for handling selections.

Invert Selection—Inverts the vertex

selection.

Keyboard shortcut: Ctrl+I

Styling Rollout (Hair and Fur) 529

Rotate Selection—Rotates the selection in

space.

Expand Selection—Expands the selection by

growing its area incrementally.

Hide Selected—Hides selected guide hairs.

Tip: If interactive styling in viewports seems to be

slow, try hiding those guides you aren’t working

on.

Show Hidden—Unhides any hidden guide

hairs.

Styling group

Hair Brush—(The default.) In this styling

mode, dragging the mouse affects only selected

vertices within the brush area.

While Hair Brush is on, a brush gizmo is

displayed in viewports. In the active viewport,

thebrushappearsasacircle,butasyoucansee

in the other viewports, the brush is actually a

three-dimensional cylindrical region.

Intheactiveviewport,thebrushappearstobeacircle.

Inactive viewports show the brush to be a cylindrical region.

Hair Cut—Lets you trim the guide hairs. To

cut hair, follow this suggested procedure:

1. In Selection mode, choose any selection

method.

2. Drag the mouse to select guide hairs to trim.

3. Tur n on Ha ir Cut.

4. Resize the brush using the slider.

530 Chapter 8: Modifiers

5. Position the brush circle over hairs to cut, and

then click to cut the hairs. Hairs with vertices

inside the brush circle are shortened so that

their endpoints touch the brush circle.

Note: Cutting hair doesn’t actually remove vertices;

it only scales the guide hairs. You can restore guide

hairs to their original length with Scale or one of

the Pop commands.

Left: Hair guides before cutting

Right: Hair guides after cutting

Select—Goes into selection mode, where

youcanuse3dsMaxselectiontoolstoselectguide

vertices according to the constraints chosen in the

Selection group (Whole Guide, Ends, and so on).

Distance Fade—Available only for Hair Brush.

When on, the effect of brushing fades toward the

edges of the brush, giving a gentler effect. When

off, brushing affects all selected vertices equally,

giving a hard-edged effect. Default=on.

Ignore Back Hairs—Available only for Hair Brush

and Hair Cut. When on, hairs on back faces are

not affected by the brush. Default=off.

Brush size slider—Drag this slider to change the

size of the brush.

Keyboard shortcut: Ctrl+Shift +drag

The styling buttons below the Brush Size Slider are

available only while Hair Brush is on.

Translate—Moves selected vertices in the

direction that you drag the mouse.

Stand—Pushes selected guides toward a

perpendicular orientation to the surface.

Left: Guide hairs before styling with Stand

Right: Guide hairs after styling with Stand (on the right)

Puff Roots—Pushes selected guide hairs

toward a perpendicular orientation to the surface.

The bias for this tool is closer to the root of the hair

than to the endpoint.

Left: Hair guides before puffing roots

Right: Hair guides after puffing roots

Clump—Forces selected guides to move

towards each other (drag mouse leftward) or

farther apart (drag mouse rightward).

Left: Hair guides before clumping

Right: Hair guides after clumping (at the right)

Rotate—Rotate or swirls guide hair vertices

around the cursor location (at the center of the

brush).

Styling Rollout (Hair and Fur) 531

Left: Hair guides before rotating

Right: Hair guides after rotating (at the forelock)

Scale—Scales selected guides larger (drag

mouserightward)orsmaller(dragmouse

leftward).

Left: Hair guides at original lengths

Right: Hair guides after scaling shorter

Utilities group

Attenuate Length—Scales selected guides

according to the surface area of underlying

polygons. This is useful, for example, in applying

fur to an animal model, which typically has

smaller polygons in areas with shorter hair. For

example, the polygons on an animals paws are

usually smaller than the ones on the chest, and the

chest fur tends to be longer.

Pop Selected—Pops selected hairs out along

the surface normal.

Left: Hair guides before using Pop Selected

Right: Hair guides after using Pop Selected

Pop Zero-Sized—Wor k s l i ke Po p S e l e c t ed ,

but only operates on zero-length hairs.

Left: Hair guides on top of head were scaled to zero length.

Right: Using Pop Zero affects only the zero-length hair guides.

Recomb—Makes a guide parallel to the

surface, using the guide’s current direction as a

hint.

Here’s a suggested procedure: Turn on Hair Brush,

select guides using Select Whole Guide, and then

move the guides around not worrying about skin

penetration or hair shape. You’re just trying

to indicate the direction of the hair flow. Click

Recomb frequently, and you will soon start to see

hair flowing smoothly wherever you want it to.

Once you have this flow, you can do your other

styling. With the Recomb tool, you probably won’t

needtouseCombAway.Onceyouhavetheflowas

you like it, you can go in and start styling in scale,

cutguides,andmovesomeofthetipsaround,

“shaping” or “styling” the hair.

532 Chapter 8: Modifiers

Left: Hair guides in their default position

Right: Hair guides after clicking Recomb

Reset Rest—Performs an averaging of hair

guides using the growth mesh’s connectivity.

This function is particularly useful after using

Recomb.

Toggle Collisions—When on, styling takes

hair collisions into account. When off, styling

ignores collisions. Default=off.

For collisions to be used while styling, you need

to have already added at least one collision object

using the Dynamics rollout (page 1–545).Ifno

collisions are specified, this button has no effect.

Tip: If you collisions are enabled and styling

interaction seems slow, try turning off Toggle

Collisions.

Toggle Hair—Toggles viewport display of

generated (interpolated) hair. This doesn’t affect

display of the hair guides. Default=on (hair is

displayed).

Lock—Locks selected vertices with respect

to the orientation to and distance from the nearest

surface. Locked vertices can be selected, but they

can’t be moved.

This is useful for creating different types of hair

shapes. For example, to make a braid, you would

comb hair down some straight tubes, and then

lock the vertices to the tubes. Then, in 3ds Max,

when you twist the tubes, the hairs will follow.

Locked vertices are no longer dynamic, although

they will follow whatever the surface does, but if

other vertices on the same guides aren’t locked,

they can still move freely, as usual.

Unlock—Unlocks all locked guide hairs.

Undo—Reverses the most recent action.

Keyboard shortcut: Ctrl+Z

Hair Groups group

Split Selected Hair Groups—Splits the

selected guides into a group. This can be useful for

creatingapartoracowlick,forexample.

Merge Selected Hair Groups—Recombines

selected guides.

If you don’t use Split Selected Hair Groups,

then when you render hair, the generated hairs

are interpolated across a styled part. When

Split Selected Hair Groups is on, there is no

interpolation between the split group and other

hairs. To remove this effect and make the part less

“clean,” click Merge Selected Hair Groups.

Quad Menu for Hair Styling

WhileyouarestylinghairattheGuidessub-object

level, right-clicking a viewport displays a quad

menu that contains shortcuts to many styling

controls that are also found on the Styling rollout

(page 1–526).

Quad Menu for Hair Styling 533

Interface

Utilities quadrant

The first two choices are shortcuts to the buttons

in the Hair Groups group:

•Merge Hairgroups

•Split Hairgroups

The other choices in this quadrant are shortcuts to

thebuttonsintheUtilitiesgroup:

•Unlock

•Lock

•To g g l e H ai r s

•To g g l e C o l li s i o n s

•Reset Rest

•Recomb

•Pop Zerosized

•Pop Selected

•Attenuate

Styling quadrant

The choices in this quadrant are shortcuts to most

of the controls in the Styling group:

•Ignore Back

•Soft Falloff

•Scale

•Rotate

•Clump

•Puff

•Stand

•Tran sl ate

•Cut

To exit Cut mode and return to the hair brush,

choose one of the other styling modes in this

quadrant.

Tip: While the brush is active, you can resize it

in viewports by holding down Ctrl+Shift and

dragging the mouse.

Selection Utils quadrant

These choices are shortcuts to the buttons under

“Selection Utilities” in the Selection group:

•Invert Selection

•Rotate Selection

•Expand Selection

•Hide Selected

•Show Hidden

Selection quadrant

Thesechoicesareshortcutstothebuttonsatthe

top of the Selection group that constrain how you

can select hair guides:

•Tip

•Guide

•Ve r t s

534 Chapter 8: Modifiers

•Root

GeneralParametersRollout(Hair

and Fur)

Select an object with the Hair And Fur modifier applied. >

Modify panel > General Parameters rollout

This rollout lets you set the hair count and density,

the length, thickness at the root and tip, and

various other comprehensive parameters.

Interface

Hair Count—The total number of hairs generated

by Hair. In some cases this is an approximate

count, but the actual count is usually very close to

the specified quantity. Default=15000. Range=0

to 10000000 (ten million).

Top: Hair Count=1000

Bottom: Hair Count=9000

By default, Hair normalizes density to surface area;

that is, larger polygons receive more hairs than

smaller ones. If you edit the growth object in a way

that changes the polygon-size ratios, use Reset Rest

to adjust the hair distribution automatically.

Hair Segments—The number of segments per hair.

Default=5. Range=1 to 150.

This is equivalent to spline segments; with more

segments, curly hair looks more natural, but the

generated mesh object is larger. For perfectly

straight hair, set Hair Segments to 1.

Left: Hair Segments=5

Right: Hair Segments=60

Hair Passes—Sets the number of transparency

passes. Default=1. Range=1 to 20.

Hair’s buffer render has a fairly novel way of

handling hair transparency. Instead of resolving

actual hair transparency, the hair is rendered

multiple times (as opaque hair) with different

random seeds. These buffers are then blended

together. As you increase the Hair Passes value, the

transparency (or wispiness) of the hair increases.

In addition, increasing the value increases the

General Parameters Rollout (Hair and Fur) 535

actual number of rendered hairs as well, although

the apparent density, or fill, seems about the same

because of the additional transparency. Render

time also increases linearly.

Top: Hair Passes=1

Bottom: Hair Passes=4

Note: For best results when using the “mr prim”

hair rendering method (see Hair and Fur Render

Effect (page 3–220))withthementalrayrenderer,

be sure to set the Trace Depth > Max. Depth

value (see Rendering Algorithms Rollout (mental

ray Renderer) (page 3–116)) higher than the Hair

Passes value.

Density—Thenumericvaluesetstheoverallhair

density;thatis,itactsasapercentagemultiplierof

the Hair Count value. Default=100.0. Range=0.0

to 100.0.

Thisattributeisalsomappableviathemapbutton

to the right of the spinner. Mapping lets you add a

texture map to control the amount of hair. An area

ofthemapwhosegrayvalueis50%willreduce

the amount of hair grown in that area by 50%. To

change the overall hair count, use the Hair Count

value (see above).

Top: Density=100.0 + map

Bottom: The bitmap used to control density

Tip: Foroptimalefficiency,usetheHairCount

value to set the actual number of hairs, leave

Density at 100.0, and use mapping to create

uneven hair distribution. Simply lowering the

Density value without specifying a map causes

hairs to be created and then discarded, which

unnecessarily increases rendering time.

Scale—Sets the overall scaling for the hairs.

Default=100.0. Range=0.0 to 100.0.

At the default value of 100.0, the hairs are full size.

Reduce this value to make the hairs smaller. To

make the hairs larger, use the styling tools (page

1–526). Default=100.0. Range=0.0 to 100.0.

This attribute is also mappable via the map button

to the right of the spinner. Mapping allows you

to add a texture map to control the length of the

hair. An area of the map whose gray value is 50%

will cut the hair grown in that area to 50% of its

original length, with no shape change.

Scale value ramped from 0.0 (left) to 100.0 (right) using a linear

gradient map

536 Chapter 8: Modifiers

Note: Thedefaultsizeofthehairsdependsonthe

sizeoftheobjecttowhichthemodifierisapplied.

Thelargertheobject,thegreatertheinitialsize.

Cut Length—The numeric value sets the overall

hair length as a percentage multiplier of the Scale

value. Default=100.0. Range=0.0 to 100.0.

Thisattributeisalsomappableviathemapbutton

totherightofthespinner. Mappingallowsyou

to add a texture map to control the length of the

hair. An area of the map whose gray value is 50%

will cut the hair grown in that area to 50% of its

original length, with no shape change.

This parameter is more computationally

expensive than a density map, since each curve

is re-parameterized on the fly, and should not

be confused with a density map. It’s really more

useful as an animated effect for growing hair (for

example, creating a wolfman character).

Rand. Scale—Introduces random scaling into the

rendered hairs. Default=40.0. Range=0.0 to 100.0.

Random Scale value ramped from 0.0 (left) to 100.0 (right)

using a linear gradient map

At the default value of 40.0, 40 percent of the hairs

are scaled down randomly by varying amounts. At

0.0, no random scaling is introduced.

Root Thick—Controls the thickness of the hair at its

root. With instanced hair, this controls the overall

thickness as a multiplier of the original object’s

dimensions on the X and Y axes in object space.

This setting affects both native hair and instanced

hair. With instanced hair, Root thick controls the

overall thickness of the hair, not just at the root.

Tip Thick—Controls the thickness of the hair at its

tip.

This setting affects native hair only, not instanced

hair. To create tapering in instanced hair, apply the

tapering when modeling the object to be instanced

within Hair.

Top: Root Thick=10.0, Tip Thick=0.0

Bottom: Tip Thick=10.0, Root Thick=0.0

Hair is translucent if its width is less than one pixel.

Thin hair that rendered as opaque in previous

versions of the software might give unexpected

results when rendered in this version. On the other

hand, setting Root Thick and Tip Thick to small

values (close to or less than 1.0) can be a good way

to obtain translucent hair.

Displacement—Displacesthehairrootsfrom

the surface of the growth object. Default=0.0.

Range=–999999.0 to 999999.0.

When you render an object with a high polygon

count, but use a low-polygon proxy object to grow

the hair, adjusting Displacement can help make the

hair seem to grow from the high-polygon object,

rather than floating above it.

Anotheruseforthissettingcanbeanimatingthe

hair falling onto or moving away from the growth

object.

Interpolate—When on, hair growth is interpolated

among the guide hairs, and the surface is fully

populated with hair according to the General

Parameters settings. When off, Hair generates

only one hair per triangular face on the growth

Material Parameters Rollout (Hair and Fur) 537

object, up to the limit imposed by the Hair Count

setting. Default=on.

Material Parameters Rollout (Hair

and Fur)

Select an object with the Hair And Fur modifier applied. >

Modify panel > Material Parameters rollout

The parameters on this rollout apply to

buffer-rendered hair generated by Hair. In the

case of geometry-rendered hair, the hair coloring

is derived from the growth object. In the case of

hair rendered by “mr prim”, all parameters apply

except Self Shadow and Geom. Shadow. With

instanced hair, Hair uses the material from the

instanced object.

Youcanapplyamaptoanyvaluebyclickingthe

blank button to the right of the parameter. Values

in the map act as multipliers to the base value.

Tip: If you apply a colored texture map to a color

attribute such as Tip Color, start by setting the

base color to white. Because the map acts as a

multiplier, not doing so can lead to unexpected

results. For example, if Tip Color is set to yellow

and you apply a blue texture map, the hair will be

black: this is because if you multiply those RGB

values, they zero each other out.

Interface

Occluded Amb.—Controls the bias of the

ambient/diffuse contributions of the illumination

model. A setting of 100.0 renders the hair with flat

lighting. A value of 0.0 is lit only by scene light

sources, typically resulting in a higher-contrast

solution. Default=40.0. Range=0.0 to 100.0.

538 Chapter 8: Modifiers

Left: Occluded Amb=0.0

Right: Occluded Amb=100.0

Both: Color=white, Self Shadow=50.0

Tip Fade—Applies only to mr prim rendering (with

the mental ray renderer). When on, the hair fades

to transparent toward its tip. When off, the hair is

equallyopaqueforitsentirelength.

Tip Color—Haircoloratthetips,farthestfromthe

growth object surface. To change the color, click

the color swatch and use the Color Selector.

Root Color—Hair color at the roots, closest to the

growth object surface. To change the color, click

the color swatch and use the Color Selector.

Tip Color=red

Root Color=blue

Hue Variation=0.0

The Tip Color and Root Color attributes are also

mappable via the map buttons to the right of

the spinners. These let you add texture maps to

control the hair coloring, separately at the tip and

base. The UVW mapping used for the texture is

thesameasthatofthegrowthobject.

For results closest to the map colors, set Tip Color

and Root Color to white. Alternatively, set a

different color to tint the map coloring.

Left: The texture map used for the hair (center and right)

Center: The map applied to Tip Color and Root Color causes the

hair to use the same coloring.

Right: Setting Tip Color and Root Color to orange adds an

orange tint to the hair.

Hue Variation—The amount by which Hair varies

the color of the hairs. The default value results in

natural-looking hair. Default=10.0. Range=0.0

to 100.0.

Value Variation—The amount by which Hair varies

the brightness of the hairs. The default value

results in natural-looking hair. Default=50.0.

Range=0.0 to 100.0.

Top: Hue/Value Variation=0.0

Middle: Value Variation=100.0

Bottom: Hue Variation=100.0

Material Parameters Rollout (Hair and Fur) 539

Mutant Color—The color for mutant hairs. Mutant

hairs are randomly selected, based on the Mutant

% value (see following), and receive this color.

One example of mutant hairs are the gray hairs

that appear as we age.

Mutant %—The percentage of hairs that receive the

mutant color (see above).

You can animate the Mutant % value to

produce, for example, a rapidly aging character.

Default=0.0. Range=0.0 to 100.0.

Left: Mutant %=30.0

Right: Mutant %=0.0

Both: Color=brown, Mutant Color=white

Specular—The brightness of highlights on the

hairs.

Glossiness—Therelativesizeofhighlightsonthe

hairs. Smaller highlights result in glossier-looking

hair.

The combined results of the Specular and

Glossiness settings appear in a graph to the right

of the two parameters.

Left: Specular=0.0, Glossiness=0.0

Center: Specular=100.0, Glossiness=75.0

Right: Specular=100.0, Glossiness=0.1

Specular Tint—This color tints specular highlights.

Click the color swatch to use the Color Selector.

Default=white.

Self Shadow—Controls the amount of

self-shadowing; that is, hairs casting shadows on

other hairs within the same Hair And Fur modifier.

A value of 0.0 disables self shadowing, while a

value of 100.0 results in maximum self-shadowing.

Default=100.0. Range=0.0 to 100.0.

Top: Self Shadow=0.0

Center: Self Shadow=50.0

Bottom: Self Shadow=100.0

540 Chapter 8: Modifiers

Note: You can adjust the shadow characteristics by

changing the Hair Light Attr rollout (page 2–1351)

settings for lights that illuminate the hair.

Geom. Shadow—The amount of shadow

contribution hair receives from geometry in the

scene. Default=100.0. Range=0.0 to 100.0.

Geom.Mat.ID—The material ID assigned to

geometry-rendered hair.Default=1.

mr Parameters Rollout (Hair and

Fur)

Select an object with the Hair And Fur modifier applied. >

Modify panel > mr Parameters rollout

Lets you assign a mental ray shader (page 2–1710)

to generate hair. 3ds Max passes the object’s UV

coordinate data, including map channels, to the

mental ray shader; strictly speaking, the shader

generateshairfromthisUVandmappingdata,

not from the object geometry itself. (Multiple map

channels are supported.)

When you use a mental ray shader for hair, you

must render your scene using the mental ray

renderer (page 3–78) and set the Hair And Fur

render effect (page 3–220) method to “mr prim”.

Important: When you assign a mental ray shader, only

the shader’s own controls apply to the generated hair.

All other Hair And Fur settings are disregarded.

Aside from the “mr prim” option that you can

choose as a render effect (see Hair and Fur Render

Effect (page 3–220)), no mental ray hair shaders

are provided with 3ds Max. This feature is meant

to support third-party hair shader products or

custom-coded hair shaders.

Interface

Apply mr Shader—When on, lets you apply a

mental ray shader to generate hair.

[shader button]—Enabledonlywhen“Applymr

Shader” is on. Click to display a Material/Map

Browser (page 2–1412) and assign the shader.

When no shader is assigned, this button is labeled

“None”. When a shader is assigned, the button’s

label shows the shader’s name.

Frizz Parameters Rollout (Hair and

Fur)

Select an object with the Hair And Fur modifier applied. >

Modify panel > Frizz Parameters rollout

Frizz displacement is accomplished by doing a

Perlin noise lookup at the hair’s rest position

root, and then displacing the hair much the way

bump mapping displaces a surface normal. The

frequency of the noise function is set by the Frizz

X/Y/Z Frequency parameters. The magnitude of

the displacement is controlled with Frizz Root and

Frizz Tip. If you set dynamics mode (page 1–547)

to Live, the viewports show the effects of changing

these settings in real time.

Frizz Parameters Rollout (Hair and Fur) 541

1. Frizz Root/Tip=0.0

2. Frizz Root=50.0, Frizz X/Y/Z Freq=14.0

3. Frizz Root=150.0, Frizz X/Y/Z Freq=60.0

4. Frizz Tip=30.0, Frizz X/Y/Z Freq=14.0

5. Frizz Root=50.0, Frizz Root=100.0, Frizz X/Y/Z Freq=60.0

Frizz actually calculates two noise fields, both of

which use the same frequency settings and tip/root

amplitudes. One of the noise fields is static relative

to the hair. The Anim parameters let you animate

the second noise field through the hair over time.

This is useful for things like grassy fields, where

it would be overkill to compute real dynamics.

These parameters give you a similar result, at a

small fraction of the computational overhead.

All Frizz/Kink settings=0.0; this reference image provided for

comparison with the Frizz and Kink illustrations (below).

Interface

Frizz Root—Controls the displacement of the hair

at its root. Default=15.5. Range=0.0 to 360.0.

Frizz Tip—Controls the displacement of the hair at

its tip. Default=130.0. Range=0.0 to 360.0.

542 Chapter 8: Modifiers

Frizz Root=30.0, Frizz Tip=100.0, Frizz X/Y/Z Freq=14.0

Top: Styled

Bottom: Unstyled

Left: Differing values for Frizz Root and Frizz Tip result in curved

hairs.

Right: When Frizz Root=Frizz Tip, the hairs are straight.

Frizz X/Y/Z Freq(uency)—Controls the frequency

of the frizz effect on each of the three axes.

Default=14.0. Range=0.0 to 100.0.

Like frizz, Frizz Anim displaces the hair with a

noise field. The difference is that you can move

the noise field to create animated displacement,

resulting in wavy movement without having to

resort to dynamics.

Frizz Anim.—Sets the amplitude of the wavy

motion. Default=0.0. Range=–9999.0 to 9999.0.

Anim. Speed—This multiplier controls the speed

at which the animating noise field moves through

space. This value is multiplied by the X, Y, and

Z components of the Frizz Anim Dir attribute to

determinetheper-frameoffsetoftheanimating

noise field. Default=0.0. Range=-9999.0 to 9999.0.

Frizz X/Y/Z Anim. Dir(ection)—Sets the direction

vector of the frizz animation. Default=0.0.

Range=–1.0 to 1.0.

This vector is not normalized before use. This

means that you can apply small tweaks to the

values to achieve fine control over the speed of the

animationonagivenaxis.Toreduceconfusionit’s

a good idea to keep these directions either –1, 0,

or 1. Once you’ve got the animation close to what

you want, you can diverge from these and adjust

the values to achieve the exact result you need.

Kink Parameters Rollout (Hair and

Fur)

Select an object with the Hair And Fur modifier applied. >

Modify panel > Kink Parameters rollout

Kink displacement works similarly to Frizz, but

evaluates noise lookups along the whole length of

the guide. The result is a noise pattern that works

on a larger scale than the Frizz noise. The effect is

similar to crimped hair.

Kink Parameters Rollout (Hair and Fur) 543

1. All settings=0.0 (no kink)

2. Kink Root=0.5 (rest=0.0)

3. Kink Tip=10.0, Kink Root=0.0, Kink X/Y/Z Freq=4.0,

4. Kink Tip=10.0, Kink Root=0.0, Kink X/Y/Z Freq=50.0,

Interface

Kink Root—Controls the amount of kink

displacement of the hair at its root. Default=0.0.

Range=0.0 to 100.0

KinkRoot=0.5,KinkTip=0.0,KinkX/Y/ZFreq=4.0

Top: Styled

Bottom: Unstyled

Kink Tip—Controls the amount of kink

displacement of the hair at its tip. Default=0.0.

Range=0.0 to 100.0

Top: Styled, Kink Tip=10.0, Kink Root=0.5, Kink X/Y/Z Freq=50.0

Bottom: Unstyled, Kink Tip=10.0, Kink Root=0.0, Kink X/Y/Z

Freq=50.0

Kink X/Y/Z Freq(uency)—Controls the frequency

ofthekinkeffectoneachofthethreeaxes.

Default=0.0. Range=0.0 to 100.0.

544 Chapter 8: Modifiers

Multi Strand Parameters Rollout

(Hair and Fur)

Select an object with the Hair And Fur modifier applied. >

Modify panel > Multi Strand Parameters rollout

Some degree of clumping gets naturally created

when you use Frizz at low frequencies, but you

can go a bit further here with the Multi Strand

parameters. For each hair that is normally

rendered, Multi Strand renders a clump of

additional hairs scattered around the original hair.

The Splay settings control the degree of scattering

at the roots and tips, and Multi Strand Count

controls the number of hairs to create for the

clump. You can use Splay to shape the clump by

spreading or compressing the roots and tips.

Tip: For each original hair, Multi Strand creates

a cluster of hairs around that hair, offset at the

bottom by the Root Splay factor. The hair is offset

in the plane tangent to the root of the hair, which is

not necessarily the surface of the object. To make

sure Multi Strand hairs actually make contact with

thesurface,makethegrowthsurfaceabitsmaller

than the rendered surface.

1. Multi Strand Count=0, Hair Count=500

2. Multi Strand Count=10, Root Splay=0.1, Tip Splay=0.1, Hair

Count=500

3. Multi Strand Count=10, Root Splay=0.4, Tip Splay=0.1, Hair

Count=500

4. Multi Strand Count=10, Root Splay=0.0, Tip Splay=1.0, Hair

Count=500

Interface

Count—The number of hairs per clump.

Root Splay—Provides a random offset for each hair

in a clump, at the root.

Tip Splay—Provides a random offset for each hair

in a clump, at the tip.

Randomize—Randomizesthesizeofeachhairin

aclump.

Dynamics Rollout (Hair and Fur) 545

Dynamics Rollout (Hair and Fur)

Select an object with the Hair And Fur modifier applied. >

Modify panel > Dynamics rollout

For hair to seem natural in an animation, it must

respond to the motion of the body it’s attached

toandtoexternalinfluencessuchaswindand

gravity. Hair’s Dynamics functions let the hair

behave like real-world hair, in interactive (Live)

or Precomputed mode.

Designating Collision Surfaces

Hair dynamics uses guide hairs to calculate

collision. To reduce computation, you have to

explicitly designate the objects with which hair will

collide. The object from which the hair grows is a

special case: to have hair collide with this object

(for example, a human head), simply turn on Use

Growth Object.

If there is a collision object that you want more

than one Hair modifier to interact with, you have

toaddthatobjectasacollisionobjectforeach

different Hair And Fur modifier.

There are two different methods for calculating

collision: Sphere and Polygon. Spherical collision

uses a bounding sphere for collision objects;

polygonal collision uses the collision object’s

actual geometry. The Polygon option is more

accurate, but the Sphere option is quicker to

calculate.

Procedures

Example: To view hair dynamics in real time:

1. Apply the Hair And Fur modifier to an object.

2. OntheDynamicsrollout(scrollthecommand

panel down to view it), set Mode to Live.

3. Move the object around.

The hair moves realistically.

4. On the Tools rollout, click Regrow Hair.

The hair resumes its default position, growing

straight out of the object.

5. Click the Play Animation button.

6. The hair settles and droops, as if affected by

gravity. Note that, as the animation repeats,

the effects of gravity are cumulative; the hair

animation doesn’t restart at the first frame.

7. On the Tools rollout, click Regrow Hair again.

8. Add a Wind space warp to the scene.

9. On the Dynamics rollout, set Dynamics Params

>Gravityto0.0.

10.In the External Forces group (at the bottom

of the Dynamics rollout), click Add and then

select the Wind space warp.

11.Play the animation again.

This time, the hair isn’t affected by gravity, but

simply blown by the wind. Again, the effect is

cumulative and the animation doesn’t repeat.

All of this animation takes place only in real

time; no keyframes are set, so it can’t be

rendered. To learn how to set up a renderable

dynamics simulation with Hair, see the

following procedure.

To generate a precomputed dynamics simulation

with Hair:

1. Apply the Hair And Fur modifier to an object.

2. Set up the animation. It could simply be motion

of the growth object, or you could use the

Dynamics rollout > External Forces group to

add space warps, such as Wind, that should

affect the hair. Actually, because the hair is

affected by its own gravity by default, you don’t

need to set up any explicit animation at all to

see hair dynamics.

3. On the Modify panel > Dynamics rollout, use

the Collisions group to set objects the hair

should collide with. Also set other simulation

parameters in the Dynamics Params group.

546 Chapter 8: Modifiers

4. In the Stat Files group, click the ellipsis (...)

button. UsetheSaveAsdialogtospecify

the location and name of the stat files to be

generated.

Note: When you run the simulation, Hair will

generate a separate stat file for each animation

frame.

Important: If you plan to render the animation with

a networked render farm, make sure the path you

specify can be seen in exactly the same way from

each node on the render farm. If stat files aren’t

found, hair will be stiff and just oriented to the skin

as it moves. If the wrong stat files are found, hair can

float right off an object.

Tip: If using Windows XP, click the My Network

Places button to set a path using the Universal

Naming Convention (UNC), even if it’s on a

local drive. Such a path can be accessed readily

by other computers on the network.

The path and stat file name appear in the text

field next to the ellipsis button.

5. IntheSimulationgroup,settheframerangefor

the simulation and then click Run.

Hair runs the dynamics simulation and

generates a stat file for each frame in the

animation. It also automatically sets the mode

to Precomputed, so when you play or render

the animation, it reads the stat files and uses

the information for the hair positioning in each

frame.

6. Play the animation.

The dynamics simulation stored in the stat files

appears in the viewports.

7. IntheModegroup,chooseNone,andthenplay

the animation again.

The dynamics animation no longer appears.

However, it’s still stored in the stat files, and will

reappear if you choose Precomputed.

8. MakesurePrecomputedison,andthenrender

the animation.

Dynamics Rollout (Hair and Fur) 547

Interface Mode group

Chooses the method Hair uses to generate

dynamics. Livemodeissuitablefor

experimentation, but for best results when

rendering animation with Hair, use Precomputed

mode.

•None—Hair doesn’t simulate dynamics.

•Live—Hair simulates dynamics interactively in

the viewports, but doesn’t generate animation

keyframesorstatfilesforthedynamics. For

best results with Live mode, turn off Display

rollout > Display Hairs group > As Geometry.

Forsomemethodsofusinglivedynamics,see

this procedure: Example: To view hair dynamics

in real time: (page 1–545).

If you press ESC while using live dynamics,

3dsMaxdisplaysadialogthataskswhetheryou

want to stop live dynamics. Both Freeze and

Stop reset the mode to None, but Freeze freezes

the hair in its current position. You can use this

as a starting point for precomputed dynamics,

or as a point from which you style the hair.

•Precomputed—Lets you generate stat files for

rendering dynamics-animated hair. Available

only after setting a name and location for

stat files (see following and To g e n e ra t e a

precomputed dynamics simulation with Hair:

(page 1–545)).

Stat Files group

Stat files let you record and play back a

Hair-generated dynamics simulation. For a

workflow example, see this procedure: To g e n e ra te

548 Chapter 8: Modifiers

aprecomputeddynamicssimulationwithHair:

(page 1–545).

Text field—Displays the path and file name for the

stat files.

... (ellipsis) button—Click to choose a name prefix

and location for stat files using the Save As dialog.

Hair adds a four-digit frame number (with

leading zeroes) and the file name extension

“.stat” tothenameyouprovide(forexample,

hair_test0001.stat).

Delete all files—Deletes stat files from the target

directory.Thefilesmusthavethenameprefixyou

assigned using the ... button.

Tip: You can still use stat files even if you move

them to another location. Follow this procedure:

1. Open the MAX file used to generate the stat

files.

2. On the Modify panel > Dynamics rollout, click

the ... [ellipsis] button.

3. Use the Save As dialog to navigate to the

directory with the stat files, and then click any

stat file. Its name appears in the File Name field.

4. EdittheFileNamefieldtodeletethefour-digit

extension after the stat file name. For example,

ifthestatfilenameistest0033.stat,deletethe

“0033” so that it reads test.stat.

5. Click the Save button. The new stat file path

appearsintheStatFilesfield.

Now,whenyouplayorrendertheanimation,Hair

uses the stat files as originally generated.

Simulation group

Determines the extent of the simulation, and lets

you run it. These controls become available only

after you choose Precomputed mode and specify

stat files in the Stat Files group. Set Start and

Endtotheframesatwhichtobeginandendthe

simulation, and then click the Run button. The

software then computes the dynamics and saves

the stat files.

Start—The first frame to consider in calculating

the simulation.

End—The final frame to consider in calculating

the simulation.

Run—Click to run the simulation and generate the

stat files within the frame range indicated by Start

and End.

To abort a simulation while it’s running, click

Cancel on the status bar.

Dynamics Params group

Thesecontrolsspecifythebasicparametersforthe

dynamics simulation. The Stiffness, Root Hold,

and Dampen values can be mapped: click the

mapbuttontotherightofthespinnertoassign

a map. Grayscale values in the map multiply the

parameter’s value at that hair location.

Gravity—Lets you specify a force that moves hair

vertically in world space. Negative values pull hair

upwhilepositivevaluespullitdown.Tocausehair

not to be affected by gravity, set the value to 0.0.

Default=1.0. Range=–999.0 to 999.0.

Stiffness—Controls the magnitude of the effect of

dynamics. If you set Stiffness to 1.0, the dynamics

will have no effect. Default=0.4. Range=0.0 to 1.0.

Root Hold—Comparable to stiffness, but affects the

hair only at the roots. Default=1.0. Range=0.0 to

1.0.

Dampen—Dynamic hair carries velocity forward

to the next frame. Increasing dampening

increases the amount by which these velocities are

diminished. Thus, a higher Dampen value means

that hair dynamics will be less active (the hair can

also start to get “floaty”). Default=0.0. Range=0.0

to 1.0.

Display Rollout (Hair and Fur) 549

Collisions group

Use these settings to determine which objects hair

collides with during a dynamic simulation and the

method by which collision is calculated.

•None—Collisions are not considered during the

dynamic simulation. This can cause the hair

to penetrate its growth object as well as other

objects it comes into contact with.

•Sphere—Hair uses a spherical bounding box

to calculate collisions. This method is faster

because it requires less computation, but can

cause inaccurate results. It’s most effective

when the hair is seen from a distance.

•Polygon—Hair considers each polygon in the

collision objects. This is the slowest method,

but the most accurate.

Use Growth Object—When on, hair collides with

the growth (mesh) object.

Objects list—Liststhenamesofsceneobjectswith

which hair should collide.

Add—To add an object to the list, click Add and

then click the object in a viewport.

Replace—To replace an object, highlight its name

in the list, click Replace, then click a different

object in a viewport.

Delete—To remove an object, highlight its name in

the list, then click Delete.

External Forces group

This group lets you specify space warps (page

2–55) that will affect the hair during the dynamics

simulation. For example, you can add a Wind

space warp (page 2–75) to cause the hair to be

blown by a breeze.

Note: Hair dynamics already has a built-in gravity

force, so it’s not necessary to add one.

Objects list—Liststhenamesofforcesthat

dynamically affect the hair.

Add—To add a space warp to the list, click Add and

then click the warp’s icon in a viewport.

Replace—Toreplaceaspacewarp,highlightits

name in the list, click Replace, then click a different

warp’s icon in a viewport.

Delete—To r e m ov e a s p a c e w a r p , h i g h l i g h t i t s

name in the list, then click Delete.

Display Rollout (Hair and Fur)

Select an object with the Hair And Fur modifier applied. >

Modify panel > Display rollout

These settings let you control how hairs and guides

display in the viewports. By default, Hair displays a

small percentage of the hairs as lines. Alternatively,

you can display the hairs as geometry, and you can

also choose to display the guides.

Interface

Display Guides group

Display Guides toggle—When on, Hair displays

guides in the viewports, using the color shown in

the color swatch. Default=off.

Note: At the Guides sub-object level, guides always

appear in the viewports.

550 Chapter 8: Modifiers

Guide Color—Click to display the Color Selector

and change the color used to display guides.

Guides do not reflect some settings made to the

hair,suchasFrizz.UsetheGuidesdisplaymainly

to see where hair will appear on the growth object.

Hair places one guide at each vertex on the growth

surface.

Display Hairs group

Display Hairs toggle—When on, Hair displays hairs

in the viewports. Default=on.

Override—Whenoff,3dsMaxdisplayshairsusing

an approximation of their rendered color. When

on, displays hairs using the color shown in the

color swatch. Default=off.

Color swatch—Click to display the Color Selector

and change the color used to display hairs when

Override is on.

Note: When hair is displayed as geometry (see

below), the color setting is ignored.

Percentage—Thepercentageoftotalhairs

displayed in the viewports. Lower this value to

improve real-time performance in the viewports.

Max. Hairs—The maximum number of hairs

displayed in the viewports, regardless of the

Percentage value.

As Geometry—When on, displays the hairs in the

viewports as the actual geometry to be rendered,

rather than the default lines. Default=off.

LS Colors Modifier (World Space)

Select a Lightscape mesh object. > Modify panel >

Modifier List > World-Space Modifiers > * LS Colors

The LS Colors modifier converts Lightscape

radiosity values to 3ds Max vertex colors.

When a Lightscape model is imported into

3ds Max, the radiosity values are kept as

irradiances; that is, they describe the intensity

of light falling on a mesh in physical units. This

modifier converts the physical units to RGB colors.

In conjunction with the Lightscape mesh modifier,

this modifier can be used to produce meshes

suitable for game engines.

Interface

Brightness—Controls the brightness of the

displayed image on your monitor. The setting

of this control does not affect the actual lighting

levels in the model. Default=50.0.

Contrast box—Controls the contrast between light

and dark regions in the model. Default=50.0.

Daylight—Determines whether you want natural

daylight to be used in the calculation. Default=on.

Exterior Scene—Tur n on for exterior daylight

simulations. Default=off.

Tip: Use the logarithmic exposure control (page

3–297) to control the brightness and contrast of

the colors when you render.

MapScaler Modifier (World Space) 551

Use exposure control—When on, disregards the

settings of Brightness, Contrast, Daylight, and

Exterior, and instead uses the settings of the active

exposure control. If no exposure control is active

in the scene, this toggle is disabled. Default=off.

The three radio buttons that follow choose how to

handle irradiance values.

•Convert light falling on the surface—When

chosen, converts the irradiance values directly

to RGB values. In order to properly render the

mesh, the vertex colors need to be interpolated

andmultipliedbythecolorofthematerialon

the mesh.

•Convert light reflecting from the surface—When

chosen, takes the irradiance values and

multiplies them by the material’s ambient color,

then converts the result to RGB. To properly

render the mesh, you need to interpolate the

vertex colors over the faces. If textures are

displayed by multiplying them by the vertex

colors, they will not be correctly displayed

unless the material color is white.

By default, this is the active option.

•Convert light reflecting from the surface, except

for textured materials—When chosen, takes the

irradiance values and multiplies them by the

material’s ambient color, and then converts

the result to RGB, unless a texture is applied

to the material’s ambient component. If the

ambient component has a map, this method

converts the irradiance value directly to the

vertex color. To properly render the mesh, you

need to interpolate the vertex colors over the

faces, unless the material is textured. If textures

are displayed by multiplying them by the vertex

colors, they will be correctly displayed.

Add to colors—When on, the result of the color

conversion is added to existing vertex color values,

if there are any. Default=off.

Use self-illumination—When on, the material’s self

illumination is included in the final vertex colors.

Default=on.

MapScaler Modifier (World Space)

Select an object. > Modify panel > Modifier List >

World-Space Modifiers > MapScaler (WSM)

Select an object. > Modifiers menu > UV Coordinates >

Map Scaler (WSM)

MapScaler maintains the scale of a map applied to

an object. This lets you resize the object without

alteringthescaleofthemap.Typically,youmight

use this to maintain the size of a map regardless of

how the geometry is scaled.

MapScaler sets the scale of a map on an object.

This differs from the MapScaler (OSM) modifier

(page 1–713), which maintains the scale of the map

with respect to the object size when scaled with a

Select And Scale tool. See the latter’s definition for

other differences between the two versions.

Note: This world-space modifier is for use

primarily with vertically oriented objects, such

as walls in an architectural model, or objects

with large, flat surfaces. While you can apply the

552 Chapter 8: Modifiers

MapScaler to any object, the results are less realistic

on curved surfaces, especially complex ones,

which can show cracks in the finished texture.

Interface

Scale—Represents the size of one repetition of the

texture pattern. Size is measured in current system

units. Repetitions occur across the object in the U

and V directions. Default=1.0.

Note: When the Use Real-World Texture

Coordinates switch is active in the General

Preferences dialog (page 3–815),thescalesetting

defaults to 1.0. If Use Real-World Texture

Coordinates is turned off, scale defaults to 100.0.

U/V Offset—Specify horizontal and vertical offsets

respectively. Available only when Wrap Texture

is off.

Wrap Texture—When on, Map Scaler attempts

to wrap the texture evenly around the object.

This option requires more computing, but

usually produces the most satisfactory results.

Default=on.

Wrap Using Smoothing Groups—When turned

on, textures are wrapped around corners when

they share the same smoothing groups. Curved

wallswillmapsmoothlywhilesharpcornersgeta

newtextureorigin. Thisswitchisonlyavailable

when the Wrap Textures switch is turned on.

Default=off.

Channel—Specifies the map channel (page 3–966).

Default=1.

Up Direction group

World Z Axis—Aligns the map with the Z axis of

the world.

If you choose this option and then rotate the

object, the mapping is not fixed to the object.

Local Z Axis—Aligns the map with the local Z axis

of the object.

With this option, the mapping remains fixed to

the object.

PatchDeform Modifier (World

Space)

Select an object. > Modify panel > Modifier List >

World-Space Modifiers > * PatchDeform

The PatchDeform world-space modifier lets you

deform an object based on the contours of a patch

object.ItworksthesameasthePathDeform (World

Space) (page 1–552), but uses a patch instead of a

curve. With the exception of the Move to Patch

button, its parameters are the same as those in the

object-space PatchDeform modifier (page 1–754).

PathDeform Modifier (World

Space)

Select an object. > Modify panel > Modifier List >

Animation Modifiers > * PathDeform

The PathDeform world-space modifier deforms an

object based on a shape, spline or NURBS curve

path. With the exceptions noted in the Interface

PathDeform Modifier (World Space) 553

section, this world-space modifier works the same

as the object-space PathDeform modifier (page

1–755).

Procedures

The first two examples, below, demonstrate

the basic differences in orientation and the

relationship between the object and its path

when using the PathDeform modifier and the

PathDeform (WSM) modifier.

Example: To use the PathDeform modifier to curve

text:

1. IntheTopviewport,createacirclethat’s100

units in radius.

2. In the Front viewport, create a text shape with

six or seven letters, and a size of 25.

3. Apply an Extrude modifier to the text shape,

and set the Amount to -5.0.

4. On the Main toolbar, set the Reference

Coordinate System to Local.

Looking at the axis tripod for the extruded text

object, you can see that its Z axis runs from

back to front relative to world space.

5. Apply a PathDeform (page 1–755) object-space

modifier to the text object. Click the Pick Path

button, and then select the circle.

A circular gizmo appears. The circle runs

through the local Z axis of the text object.

Because of its orientation, its effect is minimal,

but you can see a slight wedge-shaped

deformation from the top view.

6. InthePathDeformAxisgroup,choosetheY

option, and then the X option.

Thecirclegizmorotatestorunthroughthe

specified axes, deforming the text object

differentlywitheachchange.

7. Adjust the Percent spinner to view its effect, and

then set it to zero. Try the same with Stretch,

Rotation, and Twist, and then restore them to

their original values.

Tip: Use the Ctrl key with Twist to amplify

the effect.

8. Turn on Flip to switch the direction of the path,

andthenturnitoff.

9. Go to the Gizmo sub-object level, and move

the gizmo path around.

The text object is further deformed by its

relative position to the gizmo.

10.Selecttheoriginalcircleshape,andchangeits

radius.

The deformation of the text object alters

becauseitsgizmoisaninstanceoftheshape

object.

Example: To use the PathDeform world space

modifier:

This procedure continues from the previous one.

1. Select the text object, and then remove the Path

Deform modifier from the stack.

2. Apply a Path Deform (WSM) modifier.

3. Click Pick Path, and select the circle.

Thetextobjectflipsaroundandmovesin

world space. Note that its orientation and

deformation are difficult to analyze because

there’s an offset distance between the path and

the object.

4. Click Move to Path.

554 Chapter 8: Modifiers

Thetextobjectistransformedsothatitslocal

Zaxisisalignedwiththepathanditsposition

is at the first vertex of the path.

In the following steps, you’ll use various

controls to re-orient the text object so that it’s

at the front of the circle and readable from the

Front viewport.

5. Choose the X option in the Path Deform Axis

group to place the length of the text object

along the path.

6. Adjust the Percent spinner to -25 to move the

text to the front of the circle.

7. Adjust the Rotation spinner to -90 to rotate the

text so it faces the Front viewport.

8. Turn on Auto Key, go to frame 100,

and set Percent to -125.

9. Play the animation to watch the text run around

the circle.

Example: To create a growing vine:

1. Use the Line tool and, optionally, Editable

Spline to createapathalongwhichthevinewill

grow.

2. Create a Cone, and apply the * Path Deform

modifier.

3. Pick the path, and then click Move to Path.

(The local Z axis of the cone should be along

the path.)

4. Go to frame 100, and turn on Auto

Key.

5. Increase theStretchvaluetostretchthecone

along the path until it reaches the end. There

won’tbeenoughheightsegmentsinthecone,

but you canfixthatinstep7.

6. Tur n of f Auto Key.

Point Cache Modifier (World Space) 555

7. In the stack, click Cone, and then in the

Parameters rollout increase the Height

Segments setting until the stretched cone is

smooth on the path.

8. Play the animation.

Theconegrowsalongthepath,likeavine.

Interface

Since this is a world-space rather than an

object-space modifier, the object is affected in

world space coordinates, and also affected by the

relative position of the path to the object. Thus, if

you transform the object relative to the path, or

vice-versa, it has an affect on the deformation.

Generally speaking, the Path Deform world-space

modifier leaves the path in place while moving

the object to the path, while the Path Deform

object-space modifier leaves the object in place

while moving the path to the object.

For all parameters except the following, refer to

the PathDeform modifier (page 1–755).

Path Deform group

Move to Path—Movestheobjectfromitsoriginal

position to the start of the path.

When you first pick a path, the object is deformed

by the path based on the offset distance between

the first vertex in the path and the object’s location.

Thus, as you adjust the Percent spinner, for

example, the result will be distorted depending on

the offset distance.

Important: Using the Move To Path button applies

a transform to the object that’s not removed if you

later remove the Path Deform binding from the object.

However, you can undo (page 1–94) the transform

immediately after it’s been performed.)

Note: If the Auto Key button is on when you

perform Move To Path, transform keys are created.

Point Cache Modifier (World

Space)

Select an object. > Modify panel > Modifiers List >

World–Space Modifiers > * Point Cache

The world-space version of the Point Cache

modifierworksexactlythesameasthePoint

Cache modifier (page 1–758),exceptthatituses

world-space coordinates instead of local-space

coordinates. Use this version when animating

with world-space modifiers such as PatchDeform

(WSM) modifier (page 1–552) or PathDeform

(WSM) modifier (page 1–552).

Subdivide Modifier (World Space)

Make a selection. > Modify panel > Modifier List >

World-Space Modifiers > Subdivide

Make a selection. > Modifiers menu > Radiosity Modifiers

>*Subdivide

The Subdivide (WSM) modifier is similar to the

object-space Subdivide modifier (page 1–839),

and has the same parameters. In the world-space

version of Subdivide, the size limit is on the

556 Chapter 8: Modifiers

mesh after it is transformed into world space

coordinates.

Surface Mapper Modifier (World

Space)

Make a selection. > Modify panel > Modifier List >

World-Space Modifiers > * Surface Mapper

The Surface Mapper (WSM) modifier takes a map

assigned to a NURBS (page 1–1078) surface and

projects it onto the modified object or objects.

Surface Mapper is especially useful for seamlessly

applyingasinglemaptoagroupofsurface

sub-objects within the same NURBS model. You

can also use it for other kinds of geometry.

The NURBS surface’s map is projected onto the

other geometry in the direction of the NURBS

surface’s normals, or opposite the normals if the

modified object is on the other side of the NURBS

surface.

Procedure

To use the surface mapper world-space modifier:

1. CreatetheNURBSsurfacetouseforprojection,

and transform it so it wraps the objects you

want to map.

2. Use the Material Editor (page 2–1409)

to assign a mapped material to the NURBS

surface.

3. Select the objects you want to map.

4. Use the Material Editor to assign the

same material to the objects you want to map.

5. Apply the Surface Mapper world-space

modifier.

6. In the Parameters rollout, turn on Pick NURBS

Surface, and then click the NURBS projection

surface in a viewport.

ThesoftwarenowusestheNURBSsurface’s

normals to project the texture onto the

modified objects.

Tip: To f i n e - t u n e t h e m a p p l a c e m e n t o n t h e

mesh, you can use the NURBS surface’s Edit

Texture Surface dialog (page 1–1230).

Interface

Source Texture Surface group

These controls let you choose the NURBS surface

to project.

Pick NURBS Surface—Picks the NURBS surface

to use for projection. Click to turn on this

button,thenclicktheNURBSsurfaceinanactive

viewport.

Surface—Shows "<none>" before you pick a

NURBSsurface;showsthenameofthesurface

after you pick one.

SurfDeform Modifier (World Space) 557

Map Channels group

These controls let you choose which map channels

(page 3–966) to use.

Input Channel—Selects the NURBS surface map

channel to use before projection.

Output Channel—Selects the modified object’s

map channel to use after projection.

Update Options group

Thesecontrolsletyouchoosehowtoupdatethe

mapping displayed in viewports. They have no

effect if Show Map In Viewport (page 2–1445) is

turned off.

Always—Updates viewports whenever the

mapping changes.

Manually—Updates viewports only when you click

Update.

Update—Updatesviewports.Thisisunavailable

unless you’ve chosen Manually.

SurfDeform Modifier (World

Space)

Select an object. > Modify panel > Modifier List >

World-Space Modifiers > * Surf Deform

Select an object. > Modifiers menu > Animation Modifiers

>*SurfDeform

The SurfDeform (WSM) modifier works the same

as the PathDeform (WSM) modifier (page 1–552),

except that it uses a NURBS Point or CV surface

instead of a curve.

Object-Space Modifiers

Object-space modifiers directly affect an object’s

geometry in local object space (page 3–982).

When you apply an object-space modifier, it

appears directly above the object with other

object-space modifiers in the modifier stack (page

3–760). The order in which the modifiers appear

in the stack can affect the resulting geometry.

For a list of object-space modifiers, see List of

Available Modifiers (page 1–497).

Affect Region Modifier

Modify panel > Make a vertex sub-object selection. >

Modifier List > Object-Space Modifiers > Affect Region

Make a vertex sub-object selection. > Modifiers menu >

Parametric Deformers > Affect Region

The Affect Region modifier is a surface modeling

tool, primarily used with vertex sub-object

selections while surface modeling. With Affect

Region, transforming a selection of vertices

can also transform vertices in the region that

surrounds the selection. This can help you form a

bubbleorindentationinthesurfaceofanobject.

The easiest way to see this modifier’s effect is with a

shallow, flat box object with plenty of subdivisions.

The Affect Region modifier has a two-part,

arrow-shaped gizmo plus numeric controls.

When you apply the Affect Region modifier, it

assigns an arrow-like gizmo consisting of two

points connected by a line. The base of the arrow

is the start point. The length and direction of the

arrow defines the amount of movement of the

vertices. Any vertices within Falloff distance of the

baseofthearrowaretranslatedinthedirectionof

the arrow.

Because no points on the mesh are directly

selected, this modifier doesn’t depend on the

topology of the input object. You can apply it to

any renderable object. However, you can limit the

effect by using a selection modifier like Mesh Select

(page 1–719) or Volume Select (page 1–952) to pass

a sub-object selection up the stack.

558 Chapter 8: Modifiers

Note: The Affect Region modifier is ideal for simple

animated effects, especially when you need to use

interactive parameters. However, for fine-tuned

modeling, you’ll probably prefer the expanded

capabilities of Soft Selection (page 1–963) in

Editable Mesh (page 1–996),Editable Poly (page

1–1022),Edit Mesh (page 1–634),Mesh Select (page

1–719),Volume Select (page 1–952),theHSDS

modifier (page 1–701),andNURBS (page 1–1089).

Affect Region modifier applied

Procedure

Example: To form a bubble over the surface of a

plane:

1. Create a plane with 15 width and length

segments.

2. Set the length and width of the plane to 50 units.

3. Apply the Affect Region modifier.

4. In the Parameters group, set Falloff to 50.

5. Adjust the parameters to achieve different

effects.

Interface

Note: The parameters of this modifier are similar

to those of the Soft Selection function (page 1–963)

of an Editable Mesh.

Modifier Stack

Pointsub-objectlevel—At this sub-object level, the

base and tip of the gizmo arrow are points that can

be selected. You can select, translate, and animate

these two points together or individually.

For more information on the stack display, see

Modifier Stack (page 3–760).

Parameters rollout

Parameters group

Falloff—Sets the radius of affected vertices, in

units,fromthebaseofthegizmoarrow.(Spinner

value range: float, 0.0 to 999,999.0)

Ignore Back Facing—Affects only those vertices

whosefacenormalsareinthesamegeneral

direction as the gizmo arrow. When turned off, all

vertices in the Falloff group are affected.

Attribute Holder Modifier 559

Curve group

Pinch—Affects the tangency of the curve where

it meets the arrow tip. Positive values produce

a pointed tip while negative values produce a

dimple. (Spinner value range: float, -999,999.0 to

999,999.0)

Bubble—Changes the curvature of the affected

vertices. A value of 1.0 produces a half-dome. As

you reduce this value, the sides of the dome slope

more steeply. Negative values lower the base of the

curvebelowthebaseofthearrowgizmo.(Spinner

value range: float, -999,999.0 to 999,999.0)

Attribute Holder Modifier

Create or select an object. > Modify panel > Modifier List

> Object–Space Modifiers > Attribute Holder

Create or select an object > Modifiers menu > Animation

> Attribute Holder

The Attribute Holder modifier is an empty

modifier that provides a readily accessible user

interface on the Modify panel to which you can

add custom attributes (page 1–129).Ithasnouser

interface of its own; the interface consists solely

of those attributes you assign to it. In essence,

Attribute Holder is a stripped-down version of

Parameter Collector (page 1–138) that can collect

only custom attributes and appears on the Modify

panel instead of a floating dialog.

Procedure

Example: To collect different custom attributes in an

Attribute Holder modifier:

Before undertaking this procedure, you should be

familiar with basic usage of the Parameter Wiring

dialog (page 2–412).

1. Add a small box to an empty scene. Make it

about 20.0 units on a side.

2. Apply a Taper modifier and an Attribute Holder

modifier, in that order.

In the modifier stack, the Attribute Holder

modifier should be highlighted.

3. From the Animation menu, choose Parameter

Editor.

4. In Parameter Editor, on the Attribute Rollout,

make or ensure the following settings:

• Add to Type=Selected Object’s Current

Modifier

• Parameter Type=Float

•UIType=Slider

•Name=Box Height

5. On the Float UI Options rollout, keep all the

default settings.

6. On the Attribute Rollout, click Add.

The Custom Attributes rollout appears on the

Modify panel, containing the new Box Height

slider.

7. Add another attribute:

• Add to Type=Selected Object’s Current

Modifier

• Parameter Type=Integer

•UIType=Spinner

•Name=Box Height Segs

• Integer UI Options > Range=From 1to 50.

8. Add two more Float/Spinner attributes named

Ta p e r A m o u nt and Ta p er Cu r v e .

The Attribute Holder modifier now has four

custom attributes, but they don’t do anything

because they’re not connected. You’ll use

Parameter Wiring to hook them up.

9. Close the Parameter Editor dialog.

10.In the active viewport, right-click the box and

choose Wire Parameters. From the pop-up

menu that appears, choose Modified Object >

Box (Object) > Height.

560 Chapter 8: Modifiers

A rubber-band dashed line appears connecting

the mouse cursor to the box.

11.You can’t connect this “wire” directly to the

custom attribute, so just left-click in an empty

part of the viewport to open the Parameter

Wiring dialog.

Thehierarchylistontheleftside,Box01,is

expanded to the box’s Height parameter, which

is highlighted.

12.On the right side, expand this path: Object >

Box01 > Modified Object > Attribute Holder >

Custom Attributes, and then click Box Height

to highlight it.

13.Click the Two-way Connection button

(double-headed arrow), and then click

Connect.

14.Similarly, connect Height Segments on the left

side to Box Height Segments on the right.

15.Close the Parameter Wiring dialog.

16.Right-click the box again, choose Parameter

Wiring, choose Modified Object > Taper

> Amount, and then left-click to open the

Parameter Wiring dialog.

The Amount parameter is highlighted on the

left side of the dialog.

17.On the right side, click the Attribute Holder’s

Taper Amount parameter, and then connect

them.

18.Connect Curvature on the left side to Taper

Curve on the right side, and then close the

dialog.

All the parameters are now hooked up.

19.Experiment with changing the values on the

Custom Attributes rollout.

The Attribute Holder modifier lets you change

the box’s creation parameters as well as the

Taper modifier’s settings without switching

back and forth in the modifier stack. In this

way you can access, in one convenient location,

as many different parameters from different

levels in an object’s modifier stack, or even

from different objects, as you like.

Youmightnoticethatyoucan’tsetthetaperto

curve inward. You can resolve this by reopening

Parameter Editor, clicking Edit/Delete, and

then modifying the Taper Curve attribute to

allownegativevalues.Thechangetakeseffect

immediately, with no rewiring required.

Bend Modifier

Modify panel > Make a selection. > Modifier List >

Object-Space Modifiers > Bend

Make a selection. > Modifiers menu > Parametric

Deformers > Bend

The Bend modifier lets you bend the current

selection up to 360 degrees about a single axis,

producing a uniform bend in an object’s geometry.

You can control the angle and direction of the

bend on any of three axes. You can also limit the

bend to a section of the geometry.

Bend applied to a streetlight model

Procedures

To bend an object:

1. Select an object and apply the Bend modifier.

Bend Modifier 561

2. On the Parameters rollout, set the axis of the

bend to X, Y, or Z. This is the axis of the Bend

gizmo, not the axis of the selected object.

You can switch between axes at any time, but

the modifier carries only one axis setting.

3. Set the angle of the bend along the chosen axis.

The object bends to this angle.

4. Set the direction of the bend.

The object swivels around the axis.

You can reverse angle and direction by changing a

positive value to a negative value.

To limit the bend:

1. TurnonLimitEffectintheLimitsgroup.

2. Set values for the upper and lower limits. These

are distances in current units above and below

the modifier’s center, which is at zero on the

gizmo’s Z axis by default. You can make the

upper limit zero or positive, and the lower limit

zero or negative. If the limits are equal, the

resultisthesameasturningoffLimitEffect.

The bend is applied between these limits. The

surrounding geometry, while unaffected by the

bend itself, rotates to keep the object intact.

This is analogous to bending a pipe, where the

unbent sections rotate but remain straight.

3. At the sub-object level, you can select and move

the modifier’s center.

The Limit settings remain on either side of the

center as you move it. This lets you relocate the

bend area to another part of the object.

Interface

Modifier Stack

Gizmo sub-object—You can transform and animate

the gizmo like any other object at this sub-object

level, altering the effect of the Bend modifier.

Translating the gizmo translates its center an equal

distance. Rotating and scaling the gizmo takes

place with respect to its center.

Center sub-object—You can translate and animate

the center at this sub-object level, altering the

Bend gizmo’s shape, and thus the shape of the bent

object.

For more information on the stack display, see

Modifier Stack (page 3–760).

Parameters rollout

Bend group

Angle—Sets the angle to bend from the vertical

plane. Range=-999,999.0 to 999,999.0.

Direction—Sets the direction of the bend relative

to the horizontal plane. Range=-999,999.0 to

999,999.0.

Bend Axis group

X/Y/Z—Specifies the axis to be bent. Note that this

axis is local to the Bend gizmo and not related to

the selected entity. Default=Z.

562 Chapter 8: Modifiers

Limits group

Limit Effect—Applies limit constraints to the bend

effect. Default=off.

Upper Limit—Sets the upper boundary in world

units from the bend center point beyond which

the bend no longer affects geometry. Default=0.

Range=0 to 999,999.0.

Lower Limit—Sets the lower boundary in world

units from the bend center point beyond which

the bend no longer affects geometry. Default=0.

Range=-999,999.0 to 0.

Bevel Modifier

Select a shape. > Modify panel > Modifier List > Bevel

The Bevel modifier extrudes shapes into 3D

objectsandappliesaflatorroundbeveltothe

edges. A common use for this modifier is to create

3D text and logos, but you can apply it to any

shape.

Bevel takes a shape as the base of a 3D object. You

then extrude the shape up to four levels and assign

an outline amount for each level.

Beveled text

Procedure

Example: To create beveled text:

This example produces typical 3D beveled text,

with equal bevels in front and back.

1. Create text (page 1–278) using default settings.

Font=Arial, Size=100.0.

2. Apply the Bevel modifier.

3. Type -1.0 in the Start Outline field.

4. For Level 1, do the following:

•Type5.0 for Height.

•Type2.0 for Outline.

5. Turn on Level 2, and do the following:

•Type5.0 for Height.

•Type0.0 for Outline.

6. Tur n on Le vel 3 and do t he follow ing :

•Type5.0 for Height.

•Type-2.0 for Outline.

7. If needed, turn on Keep Lines From Crossing.

Bevel Modifier 563

Interface

Parameters rollout

Capping group

Yo u c a n d e t e r m i n e w h e t h e r o r n o t t h e b e v e l e d

object is capped at either end with the check boxes

in the Capping group.

Start—Caps the end with the lowest local Z value

(bottom) of the object. When turned off, the

bottom is open.

End—Caps the end with the highest local Z value

(top) of the object. When turned off, the end is

left open.

Cap Type group

Two radio buttons set the type of cap used.

Morph—Createscapfacessuitableformorphing.

Grid—Creates cap faces in a grid pattern. This

cap type deforms and renders better than morph

capping.

Surface group

Controlsthesidecurvature,smoothing,and

mapping of the surface.

The first two radio buttons set the interpolation

method used between levels; a numeric field sets

the number of segments to interpolate.

Linear Sides—When active, segment interpolation

between levels follows a straight line.

Curved Sides—When active, segment interpolation

between levels follows a Bezier curve. For visible

curvature, use multiple segments with Curved

Sides.

Segments—Sets the number of intermediate

segments between each level.

Four-levelbevelswith1and2segments

Bevels with linear and curved sides

564 Chapter 8: Modifiers

Rounding and smoothing the bevel object sides

Smooth Across Levels—Controls whether

smoothinggroupsareappliedtothesidesof

abeveledobject. Capsalwaysuseadifferent

smoothing group than the sides.

• When turned on, smoothing groups are applied

to the sides. The sides appear rounded.

• When turned off, smoothing groups are not

applied. The sides appear as flat bevels.

Generate Mapping Coordinates—When turned on,

mapping coordinates are applied to the beveled

object.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625).Default=on.

Intersections group

Prevents sharp corners from overlapping

neighboring edges.

Bevel works best with rounded shapes or shapes

with corners greater than 90 degrees. Acute angles

(less than 90 degrees) produce extreme bevels and

often overlap nearby edges.

Keep Lines From Crossing—Prevents outlines from

crossing over themselves. This is accomplished by

inserting extra vertices in the outline and replacing

sharp corners with a flat line segment.

Using Keep Lines From Crossing:

Left: Off

Right: On

Separation—Sets the distance to be maintained

between edges. The minimum value is 0.01.

Changing the Separation value

Bevel Values rollout

Contains the parameters that set the height and

bevel amount of up to four levels.

Bevel Profile Modifier 565

A beveled object requires a minimum of two levels:

a start and an end. You add more levels to vary the

amount and direction of bevel from start to end.

You can think of bevel levels as layers on a cake.

The Start Outline is the bottom of the cake and the

Level 1 parameters define the height and size of

the first layer.

Turning on Level 2 or Level 3 adds another layer

to the beveled object with the height and outline

specifyingtheamountofchangefromtheprevious

level.

The last level on is always the top of the object.

You must always set the Level 1 parameters.

Start Outline—Sets the distance the outline is

offset from the original shape. A non-zero setting

changes the original shape’s size.

• Positivevaluesmaketheoutlinelarger.

• Negativevaluesmaketheoutlinesmaller.

Level 1—Includes two parameters that indicate the

change from the Start level.

Height—Sets the distance of Level 1 above the Start

level.

Outline—Sets the distance to offset the Level 1

outline from the Start Outline.

Levels 2 and Level 3 are optional and allow you to

change the bevel amount and direction.

Level 2—Adds a level after Level 1.

Height—Sets the distance above Level 1.

Outline—Sets the offset distance of the Level 2

outline from Level 1.

Level 3—Adds a level after the previous level. If

Level 2 is not on, Level 3 is added after Level 1.

Height—Sets the distance above the previous level.

Outline—Sets the offset distance of Level 3 from

the previous level.

Traditional beveled text uses all levels with these

typical conditions:

• Start Outline can be any value, usually 0.0.

• Level 1 Outline is a positive value.

• Level 2 Outline is 0.0. No change from Level 1.

• Level 3 Outline is the negative of Level 1.

Returns Level 3 to the same size as the Start

Outline.

Bevel Profile Modifier

Select a shape. > Modify panel > Modifier List > Bevel

Profile

The Bevel Profile modifier extrudes a shape using

another shape path as the "beveling profile." It’s a

variationontheBevel modifier (page 1–562).

Important: Bevel Profile fails if you delete the original

beveling profile. Unlike a loft object, which incorporates

the shape, Bevel Profile is simply a modifier.

Note: Although this modifier might seem similar

to a loft object with varying scale settings, it’s

actually different because it uses different outline

values as distances between line segments rather

than as scale values. This more complex method of

resizing a shape results in some levels having either

more or less vertices than others, and generally

works better with text, for example.

566 Chapter 8: Modifiers

BevelProfilecreatesanobjectusinganopenspline.

BevelProfilecreatesanobjectusingaclosedspline,yielding

a different result.

Procedure

To use the Bevel Profile modifier:

1. Create the shape you want to bevel (preferably

in the Top viewport).

2. IntheFront(XZ)viewport,createashapeto

use as the beveling profile.

3. SelectthefirstshapeandapplytheBevelProfile

modifier.

4. ClickthePickProfilebuttonintheBevelProfile

modifier, and then click the profile shape.

Interface

Modifier Stack

For more information on the stack display, see

Modifier Stack (page 3–760).

Parameters rollout

Bevel Profile group

Pick Profile—SelectsashapeorNURBScurvetobe

used for the profile path.

Generate Mapping Coords—Assigns UV

coordinates.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625).Default=on.

Camera Map Modifier (Object Space) 567

Capping group

Start—Caps the bottom of the extruded shape.

End—Capsthetopoftheextrudedshape.

Cap Type group

Morph—Selects a deterministic method of capping

that provides the same number of vertices for

morphing between objects.

Grid—Creates gridded caps that are better for cap

deformations.

Intersections group

Keep Lines From Crossing—Prevents beveled

surfaces from self intersecting. This requires more

processor calculation and can be time-consuming

in complex geometry.

Separation—Sets the distance that sides should be

kept apart to prevent intersections.

Camera Map Modifier (Object

Space)

Select one object. > Modify panel > Modifier List >

Object-Space Modifiers > Camera Map

Select one object. > Modifiers menu > UV Coordinates

>CameraMap

The Camera Map modifier (object-space version)

assigns planar mapping coordinates based on

the current frame and the camera specified in

the Camera Map modifier. This differs from the

Camera Map (WSM) modifier (page 1–513) that

updates the object’s mapping coordinates on every

frame.

Left: The texture of an object with a camera map modifier

matches the background when seen by the camera the

modifier uses.

Right: When seen by a camera not used by camera map, the

object’s texture is based on object geometry.

Blending an Object into the Background

In the Procedures section (below), you’ll be

blending an object into the background using the

Camera Map modifier. If the background uses the

same image as the object’s texture map, then the

object blends with the background at the frame

where the modifier is applied and a camera is

specified. The object becomes visible if either the

camera or object moves. In order to make the

illusion work, you must assign the same map to

the background that you assign to the object.

Mapping Coordinates

Because the accuracy of mapped objects depends

partly on the complexity of the mesh, the "blend to

background" effect works best when applied to an

object with a relatively high density of triangular

faces. The necessary density also depends on the

distance of the object from the camera.

A simple box might look fine when it occupies only

a small portion of the background, but up close

the mapping will look distorted without adequate

tessellation. Some experimentation is required

to get an ideal mapping and still minimize the

568 Chapter 8: Modifiers

complexity of the geometry. (In general, for a

box object that’s filling a quarter of the screen, a

tessellation of 4x4x4 works well.)

Note: When using the Camera Map modifier, apply

the modifier to a single object at a time. If it’s

applied to a selection set, only the first item in the

selection will be mapped properly.

Use Camera Map (WSM) (page 1–513) if you want

to move the camera and maintain the match to the

background.

Using the Plate Match/MAX R2.5

Rendering Filter

Prior to 3ds Max 3,theantialiasingaffectedonly

geometric edges, with the filtering of bitmaps

being controlled in the Bitmap Map parameters

(pyramidal, summed area, or no filtering).

Antialiasing filters affect every aspect of the object,

filteringtexturesalongwithgeometricedges.

While antialiasing provides superior results, it

produces inconsistencies when rendering objects

that are supposed to match the environment

background.Thisisbecausetheantialiasingfilters

donotaffectthebackgroundbydefault.Youcan

turn on background antialiasing in Customize

>Preferences>Rendering>Background

Antialiasing > Filter Background. To correctly

match an object’s map to an unfiltered background

image, you need to use the Plate Match/MAX

R2.5 filter so the texture is not affected by the

antialiasing.

There are three ways you can render objects in

3ds Max to blend seamlessly into a background

environment:

• By assigning a Matte/Shadow Material

• By assigning a 100% self-illuminated diffuse

texture to an object using Camera Mapping

• By assigning a 100% self-illuminated diffuse

texture using Environment/Screen projection

The Plate Match/MAX R2.5 antialiasing should be

used whenever trying to match foreground objects

with an unfiltered background or when trying to

match the antialiasing qualities of the 3ds Max 2.5

renderer.

Procedures

ThefollowingstepsshowhowtoapplytheCamera

Map modifier, and how to set up your scene.

To apply the Camera Map modifier:

1. Createascenewithacameraandoneormore

objects. Make sure the object you want to map

is visible in the Camera viewport.

2. Select the object, and apply the Camera Map

modifier.

Use the Object-Space Camera Map modifier,

the one without the asterisk.

3. Ifyouhaveanimationinthescene,movetothe

frame where you want the object map to match

the background. For example, if the camera is

animated, the mapping will match only at this

frame.

4. On the Camera Mapping rollout, click Pick

Camera, and then select the camera used for

the rendered view.

To assign a background image to the Camera

viewport:

Note: This procedure is not necessary for successful

rendering, but if you want to see the effect in a

viewport, follow these steps.

1. Activate the Camera viewport and turn off the

grid.

2. Choose Views menu > Viewport Background.

3. On the Viewport Background dialog that

displays, click the Files button, and choose

thesamebitmapthatyouplantoapplyasa

background for the rendered scene, and as a

diffuse map on the object.

Cap Holes Modifier 569

4. In the Aspect Ratio group, choose Match

Rendering Output.

5. Turn on Display Background, and click OK.

Thedialogisdismissedandthemapis

displayed in the viewport.

To assign a mapped material to the object:

1. In the Material Editor, create a standard

material to whose Diffuse component you’ve

assigned the same bitmap as you assigned to

the background.

2. AttheDiffuseMaplevelofthematerial,turnon

the Show Map In Viewport button.

3. Select the object, and click Assign Material To

Selection.

The map on the object in the viewport matches

the viewport background, but the shading

makes the object visible. To make the object

truly invisible, go to the next step.

4. At the top level of the object’s material, set

Specular Level and Glossiness to 0. Turn off Self

Illumination Color, and set Self Illumination

to 100.

The object is now camouflaged against the

background.

To assign the background to the rendered

background:

1. Choose Rendering menu > Environment.

2. In the Environment dialog that displays, click

the button below "Environment Map" to open

the Material/Map Browser.

3. Under the Browse From group box, choose

Material Editor.

4. Turn off Root Only, find the map in the list

window, highlight it, and choose OK.

5. Choose Copy in the dialog, and click OK.

6. Render the Camera viewport.

The mapped object is camouflaged against the

background in the rendered scene.

Interface

Pick Camera—To a p p ly t h e U V W c o o r d i na te s , c l i c k

this button, and then select the camera through

which you’re going to view the scene.

Map Channel—Turn on and choose a map channel

to use. Map channels are specified in the Material

Editor.

Vertex Color Channel—Uses the Vertex Color

channel.

Cap Holes Modifier

Select a mesh object. > Modify panel > Modifier List >

Cap Holes

Select a mesh object. > Modifiers menu > Mesh Editing

>CapHoles

Cap Holes used to make the cake appear solid

570 Chapter 8: Modifiers

The Cap Holes modifier builds faces in the holes in

a mesh object. A hole is defined as a loop of edges,

each of which has only one face. For example,

one or more missing faces from a sphere would

produceoneormoreholes.Themodifierworks

best on reconstructing planar holes, but can do a

reasonable job on non-planar holes as well.

Note: This modifier can cap holes in a sub-object

selection passed up the stack. It caps any part of

theholethat’sadjacentto,orwithintheselected

geometry, whether vertex, edge, or face.

Tips

• If the Cap Holes modifier doesn’t appear to

work, remove it, apply a Mesh Select modifier

(page 1–719) to select the faces surrounding the

hole, then apply Cap Holes to the sub-object

selection.

• The Cap Holes modifier creates faces with

invisible edges unless you turn on All New

Edges Visible before you apply it.

Procedure

Example: To cap a hole in a sphere:

1. Create a sphere.

2. Apply an Edit Mesh modifier to the sphere.

3. In the stack display, choose the Face selection

level.

4. Select and delete a contiguous group of faces.

5. Tur n of f th e Fa ce sele cti on le vel .

6. Apply a Cap Holes modifier.

Theholeyoucreatedshouldbefilled.

Tip: TurningonSmoothWithOldFacesmakes

the cap less visible.

Interface

Smooth New Faces—Assigns the same smoothing

group number to all new faces. If possible, this will

be a smoothing group number not used elsewhere

in the object.

SmoothWithOldFaces—Smoothes new triangular

faces using the smoothing groups from bordering

oldfaces.Thissmoothesonlyonelevelinfromthe

perimeter of the border of the hole, so you might

need to use both this and the Smooth New Faces

option to properly smooth a large hole.

Note: When Smooth With Old Faces is turned on,

the faces in the capped holes inherit a material face

ID from one of the surrounding faces. When this

item is turned off, the faces in the capped holes are

assigned a new ID.

Triangulate Cap—Makes all of the edges visible in

the new faces.

Cloth and Garment Maker Modifiers 571

Cloth and Garment Maker

Modifiers

Laura by Georges Walser

Cloth provides you with advanced tools for

creating realistic fabrics and tailor-made clothing

for characters and creatures. The Cloth system

comprises two modifiers:

•TheCloth modifier (page 1–578) is responsible

for simulating the motion of cloth as it interacts

with the environment, which may include

collision objects (a character or a table, for

example) and external forces, such as gravity

and wind.

•TheGarment Maker modifier (page 1–607) is a

specialized tool for creating 3D garments from

2D splines, similarly to the way real clothes are

made, by stitching together flat pieces of cloth.

You can model clothing in two ways: by creating

the cloth objects with standard 3ds Max modeling

methods and applying the Cloth modifier to

them, or by designing virtual clothing patterns

with splines and stitching together these various

virtual panels to form a full garment using the

Garment Maker modifier. With Garment Maker,

you can even import spline patterns from external

applications and use these as your pattern panels.

See also

Cloth Overview (page 1–571)

Cloth Overview

Clothisanadvancedcloth-simulationengine

that lets you create realistic garments for your

characters and other creations. Cloth is designed

to work in concert with the modeling tools in

3ds Max and can turn just about any 3D object

into clothing; it also allows you to build garments

from scratch.

Before you begin working with Cloth, we

recommend that you read this overview.

It provides background information on

cloth-simulation technology, so you can begin to

grasp exactly the way Cloth works. It will give you

a better overall understanding of how to set up

Clothscenes,thewaytheclothbehaves,andthe

array of advanced controls you will have at your

disposal.

As an artist and creator, you can use this

knowledge to tailor (no pun intended) how Cloth

will affect and interact with your scenes, and how

you can best take advantage of this software.

Cloth-Simulation Technology

Cloth simulation is the process of replicating the

movement and deformation of a piece of fabric or

clothing to mimic how cloth would react in the real

world. To make cloth simulation work, first you

need a cloth object, such as a tablecloth or a pair of

pants. Next, you need something for the fabric to

interact with. This can be a collision object such

as a table top or character’s leg, or a force such as

wind or gravity.

Limitations

While Cloth is designed to help you create

clothing for your models, you should be aware

572 Chapter 8: Modifiers

that, by its very nature, cloth simulation is only

an approximation of how real fabric would react

under certain circumstances; this system does

have some limitations.

One of the most important aspects of working

with Cloth is the amount of time it can take to

create a simulation. If you’re looking to create a

fully physically correct simulation, you might run

into problems. Even with a fast computer, cloth

dynamics at that level of accuracy (and geometric

detail) could take virtually forever. So you must

learn to scale your simulations back to a reasonable

level. This doesn’t mean you can’t get believable

clothing; it simply means that there are tradeoffs

you should be willing to make.

Tradeoffs

In order to create a believable simulation, you

need to balance time against quality and accuracy.

Themoretimeyouhave,themoreaccuracyand

quality your simulation can have. There’s no

reason to make a model with 10,000 polygons if

you can define the form equally well with 3,000.

Thesameruleappliestoclothsimulations.

Internal and External Forces

When simulating cloth, different forces come

into play. Some internal forces like bend, stretch,

and shear allow the fabric to deform in a realistic

manner. External forces such as gravity, wind,

and collisions make the cloth interact with

its environment. To obtain a good-looking

simulation, most or all of these things need to

come into play. Without these forces, a piece of

cloth will remain a flat, lifeless plane.

Collision Detection

Whenputtingashirtorpairofpantsona

character, you don’t want any part of the body

to protrude through the fabric. The desired

result is to have the garment deform around the

mesh (rather than through it) so there are no

intersections. This is done with collision detection;

with Cloth, you tell the simulation system which

objects will act as cloth, and which ones will act

as collision objects.

Basically, virtual feelers are sent out from the

vertices of the cloth objects to see if there are

any other objects that they might collide with.

When one of the feelers hits something, the

simulationknowsthatitmustdeformthefabric.It

is important to remember that a cloth mesh with

more vertices has more feelers and can do a better

job of collision detection. This is critical, because

if you are working with a high-poly character

(collision object), you will need to increase the

densityofyourcloth,orthehigh-polymeshwill

protrude through the lower-poly cloth object. The

reason is that there aren’t enough feelers to detect

all of the detail in the collision object.

The alternative to this is to add one or more

low-polygon proxy meshes for the character so

there doesn’t need to be such high density cloth

objects that will slow down simulation. We’ll cover

the mesh density a bit more in the next section.

Lastly, if you are simulating with fast-moving cloth

objects, you might need to increase the Density

value to give you the benefit of more feelers. You

also might adjust the Step size to check more often

for collision objects in the way.

Clothing and Pattern Design Overview

Traditionally, sewing patterns are cut from flat

pieces of cloth and stitched together. The place

where one piece of cloth is sewn to another is called

a seam. Patterns are generally symmetrical, where

theleftsideofthegarmentmatchestheright.

Skirt

The simplest is a skirt pattern with two pieces, with

a similar shape for the front and back. The back

Cloth Overview 573

shape is a little larger than the front to account for

the hips and buttocks.

The shapes are sewn together at the sides to form a simple skirt.

Thebottomedgeofagarmentiscalledahem.In

the skirt pattern, the waistline and hem are slightly

curved. When a person puts on the skirt, the

curve sits flat on the waist, while the skirt falls in

folds to the hem. Because both the waistline and

hem are curved, the skirt falls to the same length

all the way around.

Shirt

A shirt pattern is slightly more complicated. A

simple T-shirt pattern is made of two pieces, one

for the front and another for the back. The collar

on the back piece is higher than the collar on

the front. You sew seams up the sides and at the

shoulders, leaving the arm hole open.

You can also add sleeves to the shirt. A sleeve

pattern is bell-shaped.

It might not be immediately obvious how this

pattern turns into a sleeve. The large hump of the

bell fits over the shoulder, to give room for it to

move.

574 Chapter 8: Modifiers

Pants

A pants pattern has a curved shape at the top to

accommodate the hips. The longer straight edge

is the outside seam, while the shorter edge is the

inseam. The curve near the top fits around the

belly or buttocks, and under the crotch area.

Eachpieceiscuttwice.Thetwofrontpiecesare

sewn together along the crotch, and the two back

pieces are sewn together in the same way. Then the

front is attached to the back at the outside seams

and inseams.

Darts

Darts are diamond-shaped holes inside a panel or

V-shaped cutouts at an edge of a garment panel

(see figure below), which when closed up cause the

garment to assume a curved shape.

Cloth Overview 575

Darts used to be a common part of women’s

everyday clothing, especially in blouses and

dresses. However, darts are not needed with loose

garments or stretchy clothing. Today, they are used

mostly in formal wear and tailored garments.

Clothing Design and Techniques

One way to create clothing is to lay out a pattern

and put it together with Garment Maker. Garment

Maker is a modifier that is used to make seams,

lay out cloth panels and define fabric densities.

You can use Garment Maker to create seams for

the pattern either in a traditional, flat layout or in

a visual, easy-to-use 3D layout.

Intherealworld,clothesaremadebycutting

outshapesfrompiecesofclothandsewingthem

together along seams with thread. Garment Maker

emulates this approach. First you must create a

pattern that will define the shapes of the panels.

Clothing patterns typically use shapes that we

don’t encounter in everyday life. Those of us

who aren’t an experienced clothing designers

might have a hard time creating these shapes from

scratch. It’s often best to start out with a pattern

made by somebody else. Cloth includes a variety

of patterns for shirts, pants, jackets and so forth.

You can also buy software that will generate these

patterns in DXF format.

One program that does this is PatternMaker,

available from www.patternmaker.com.When

you want to move beyond editing the patterns

included with Cloth, it’s often helpful to use such

applications to help create patterns and familiarize

yourself with the process .

576 Chapter 8: Modifiers

Shirt pattern and shirt sewn together with Garment Maker

Modeling Clothing

Garment Maker is a useful tool for putting

together patterns and adjusting seams, but you

can also achieve good results by modeling with

the standard 3ds Max tools and using Cloth on

top of these meshes. You can create clothing with

polygons, patches, or NURBS.

Important: Keep in mind that modeled clothing must

not have any overlapping vertices or interpenetrating

faces. This type of geometry can cause the simulation

to fail. Using Garment Maker; you will not run into this

problem. If you are careful in creating your mesh, then

this is an easy rule to follow.

Pros and Cons

When designing clothing, Garment Maker is

usually the best way to go. It lets you define

seams, seam strength, pleats, and other clothing

parameters that cannot be defined with clothing

modeled via other methods. Either methods lets

you define separate portions of your clothing with

different fabrics, but Garment Maker gives you

greater control over this. The advantage to using

modeled clothing is that it can sometimes be a

faster setup with familiar methods and it’s a great

way to repurpose older clothing models you have

made in the past. Using polygon-modeled clothing

can result in overly regular creases and folds.

Garment Maker uses a Delaunay mesh, which

tends to avoid this problem. However, the irregular

triangulation can result in rendering artifacts

for low-resolution clothes, so it is advisable to

apply the HSDS modifier after Cloth on garments

created with Garment Maker and subdivide all the

triangles once.

Note: MeshSmooth does not give good results with

Garment Maker meshes.

Left: Garment Maker Delaunay mesh

Right:Modeledquadmesh

How Cloth Works

Cloth exists within 3ds Max as a pair of modifiers:

Garment Maker and Cloth. Between these two,

you can turn just about any 3D object into a

cloth object, or you can create clothing in a more

traditionalmethodfrom2Dpatterns,andthen

sew the panels together. However, before getting

into the specifics of the two modifiers, it’s useful

to discuss how to preplan for using Cloth. This

includes how geometry affects Cloth behavior as

wellasthedensityofthemeshesyouuseasfabric.

Effect of Geometry on Cloth

Ideally, the way you model your cloth should

notaffecthowitbehaves. However,inpractice,

thenatureoftheclothgeometryimpactsthe

simulation. First of all, the density of the mesh

defines how fine the folds are that can develop. If

youcreateaplanewithonlyninevertices,when

you drape it over a sphere, you are obviously not

going to get much detailed folding.

In addition to this aspect, there is the nature of

the edges in the mesh. Folding can occur only

Cloth Overview 577

at edges between triangles, so the regularity

or irregularity of the mesh also dictates the

resulting deformation. For example, a plane all of

whosetrianglehypotenuseedgesarealignedwill

result in a cloth with folds aligned along those

edges. Garment Maker creates meshes with an

irregular layout (but with fairly equal-sized and

close-to-equilateral triangles) that avoids this

folding bias. However, this can also result in

rendering artifacts with low-resolution cloths, so

it is advisable to apply the HSDS modifier after

Cloth on garments created with Garment Maker

and subdivide all the triangles once.

Note: MeshSmooth does not give good results with

Garment Maker meshes.

Left: A low-density shirt.

Right:ThesameshirtwithHSDSapplied,aboveClothinthe

modifier stack

Note: There should never be any modifiers that can

alter topology between Garment Maker and Cloth.

For example, you can use Unwrap UVW, but not

modifierssuchasEditMesh,MeshSmooth,or

HSDS.

Thetypeofgeometryyouworkwithcanhavea

great impact on how the cloth will react. You’re

probably accustomed to using triangular and

quadrilateral polygons for modeling. Garment

Maker uses a Delaunay mesh subdivision that

promotes non-uniform deformation. When using

quad polygons for cloth simulation be careful of

getting uniform or symmetrical results.

Left: A quad mesh

Right: A Delaunay mesh

ClothMeshDensity

It is important to think about how dense your

meshhastobetoachievetheresultyouwant.

Makingthemeshtoodensewillslowdown

thesystem,whilehavingyourmeshattoolow

resolution might not give you the folds or detail

you want to see.

For example, if you applied a Bend modifier to a

cylinder with only a few height segments, the result

would be angular and unsmooth. On the other

hand, if you created the cylinder with 1,000 height

segments, you’d be wasting resources. The same

is true for Cloth. You must find a balance between

levelofdetailandperformancethatisappropriate

foryourscene.

Low, medium, and high-density meshes and the way they

deform

Notes on the HSDS Modifier

Using the HSDS modifier to add detail to your

model can be an effective solution that lets you

simulate with a lower resolution mesh, and still get

high-quality results. However, if you choose to use

the HSDS modifier on top of your Cloth garments,

you may want to apply an Edit Mesh modifier

below it to weld the vertices together along the

578 Chapter 8: Modifiers

seams. This prevents the mesh from coming apart

at the seams as it is subdivided.

Shown above is how the modifier stack should

look when using HSDS. The intermediate Edit

Mesh modifier is used to weld the panel edge

vertices together. If you want to preserve the seam

creases, you should apply further Mesh Select and

Smooth modifiers to reselect the panels and apply

different smoothing groups across the garment.

Pattern-Making Software

Below is a list of traditional pattern-making

software that you can use to create patterns for

import into 3ds Max and use with Cloth. After

ensuring that your Internet connection is active,

click the software names to display the makers’

Web s i te s.

•Fashion CAD

•PatternMaker

•Wild Ginger Software

•Autometrix

•AccuMark Pattern Design

•TUKATECH

See also

Cloth Modifier (page 1–578)

Garment Maker Modifier (page 1–607)

Cloth Modifier

Select an object. > Modify panel > Modifier List >

Object-Space Modifiers > Cloth

The Cloth modifier is the heart of the Cloth

system, and is applied to all objects in your scene

that need to be part of the Cloth simulation. This

is where you define cloth and collision objects,

assign properties, and execute the simulation.

Other controls include creating constraints,

interactively dragging the cloth, and erasing parts

of the simulation.

Left: Cloth modifier not yet applied

Right: Cloth modifier applied and simulated

See also

Object Properties Dialog (Cloth) (page 1–602)

Cloth and Garment Maker Modifiers (page 1–571)

Cloth Overview (page 1–571)

Garment Maker Modifier (page 1–607)

Basic Concepts

In a Cloth simulation, you will let Cloth know

which objects will be part of the simulation, and

which objects will not. Once you have done this,

you define what the objects are made of. You can

Cloth Modifier 579

specify what is made of cloth, and what is a solid,

collision object.

Because Cloth is a modifier, an instance of it is

assigned to each object to be included in the Cloth

simulation. This includes all cloth and collision

objects. Be aware that two cloth objects with two

separate applications of the Cloth modifier will

not interact with one another. There are a couple

of ways to include objects in the simulation:

• Select all of the objects at once and apply the

Cloth modifier to them.

• Apply Cloth to one or more objects and then

add objects with the Add Objects button,

available on both the Object rollout and the

Object Properties dialog (page 1–602).

Units of Measure

Important: The following information is necessary only

if you change the system unit after applying the Cloth

modifier. If you change the system unit before applying

Cloth, the modifier automatically adjusts the cm/unit

setting.

Itisimportanttothinkaboutsizeindoingclothing

simulations. A very large flag behaves differently

from a handkerchief. If the scale is off, then

the simulation will be off. Because Cloth deals

with real-world physics, it works in real-world

units. This means that Cloth needs to know the

relationshipbetweenunitsin3dsMaxandunitsin

its own world.

Forexample,supposeyoucreateaplanethatis

10x103dsMaxunits. Ifyouwantthisplaneto

behave like a 10-inch x 10-inch handkerchief, you

would tell Cloth that 1 3ds Max unit=1 inch. If you

want it to behave like a 10-foot x 10-foot bed sheet,

you would tell Cloth that 1 3ds Max unit=1 foot.

Except as noted at the start of this section, Cloth

ignoresthe3dsMaxSystemUnitsSetup(under

Customizemenu>UnitsSetup>SystemUnits

Setup). Cloth has its own units setup, which

is determined by the cm/unit parameter on the

Simulation Parameters rollout. This tells Cloth

how many centimeters (cm) correspond to each

3ds Max unit. One inch equals 2.54 cm, so the

default setting of 2.54 means that one 3ds Max unit

corresponds to 1 inch.

Followingistheproceduretofollowtodetermine

what setting to use here.

1. Usethemeasureutilityortapehelperto

measure some dimension of your cloth (or

character) in 3ds Max units (call this number

x).

2. Decidehowbigyouwantthisobjecttobeinthe

real world Convert this number to centimeters.

Ifyouhavethedimensionininches,simply

multiply by 2.54 (call this number y).

3. cm/unit=y/x

Here is a quick example: You import a file,

man.obj, into 3ds Max, and want to put a shirt on

him.

1. Using the Measure utility, you find that the man

is 170 3ds Max units tall. So y=170.

2. You determine that this man is about 6 feet tall.

6 feet=72 inches.

And 72 inches=72x2.54=182.88cm. So

x=182.88

3. So now you have the values to make

sure the shirt behaves correctly.

Cm/unit=y/x=170/182.88=0.929. Or

you can round the spinner’s value up to 1.0,

since pinpoint accuracy is not needed here.

Fabric Behavior

Cloth provides many different ways to set up fabric

behaviors. You can make your cloth behave like

leather, silk, burlap, and anything in between.

580 Chapter 8: Modifiers

The Simulation

Once all of your parameters are set and you’re

ready to go, it’s time to simulate. In many cases,

you will first perform a local simulation to fit your

fabric to your character. Once your fabric is in

place, you can simulate over time.

Running a simulation in Cloth is very freeform.

You are able to make many changes and edits to a

simulation, making it more of a work in progress

than a click and a “hope for the best” scenario.

Constraints

You can constrain fabric in various ways to create

different fabric effects during simulations. Cloth

can constrain cloth to have extra drag as it flies

through the air, or can cause it to be affected by

a space warp in the scene. Linking a portion

of the fabric to an animated object or attaching

to a surface are other common constraints. If

you wanted to create a pair of pants you would

constrain the top portion of the pants to the waist

of the character or a curtain can be constrained

to a rod. Constraints are a very important and

robust part of Cloth. Cloth has the ability to make

multiple groups of constrained vertices for great

flexibility. You can constrain many different parts

of a piece of clothing to different nodes’ surfaces or

other cloth objects.

You build constraints in Cloth at the modifier’s

Group sub-object level (page 1–589).Atthislevel,

you can see vertices of all selected objects, both

cloth and collision. You can then select these and

place them in groups. Once a group is defined,

you can then attach or "constrain" the selection

set to another object, or have it affected by some

external force.

Procedures

Example: To use the Keep Shape option:

If your cloth object starts out with 3D shape that

you’d like to retain during the simulation, you

can use the Keep Shape option and setting to

preserve this shape, or even reverse it. This simple

procedure provides an example of how to use Keep

Shape.

1. IntheToporPerspectiveviewport,addaPlane

primitive object of about 90 x 90 units, with 20

x20segments.

2. Apply a Bend modifier, set Angle to 250.0,and

set Bend Axis to X.

This produces the initial tubular shape.

3. Copy the bent plane twice so you have three

planes in a row. Rename the planes as follows:

•don’t keep shape

•keep shape

•reverse shape

4. Select all three planes and apply the Cloth

modifier.

5. On the Simulation Parameters rollout, turn off

Gravity and set cm/unit to 0.5.

Turning off Gravity keeps the cloth objects

from falling during the simulation, so they

stay in view, and lowering the cm/unit setting

compensates for the planes’ relatively large size.

6. On the Object rollout, click Object Properties.

This opens the Object Properties dialog.

7. In the Objects In Simulation list, highlight all

three planes (by dragging), and then, above the

Cloth Modifier 581

Cloth Properties group, choose Cloth. Also set

UBendto500.0.

This sets V Bend also to 500.0 automatically.

UsinghighBendvaluesallowsthesimulation

to proceed more quickly.

Next, you’ll set different Keep Shape properties

separately for each object.

8. Highlight the reverse shape object in the list and

set the Bend % value to -100.0.

Note: The default value was 100.0.

9. Click OK to exit the dialog.

10.Select the don’t keep shape object and note that

Object rollout > Selected Objects Manip group

> Use Target State is off.

11.Select both the reverse shape and the keep shape

objects, but not don’t keep shape, and then turn

on Use Target State.

12.On the Object rollout, click Simulate Local.

After a few seconds, the don’t keep shape object

starts to flatten out, the keep shape object

doesn’t change, and the reverse shape object has,

in fact, reversed its shape, effectively creating

anegativebendangle.

Tip: You can also use Use Target State with Grab

State to maintain or reverse a shape created with

a previous cloth simulation or shape-changing

modifier.

Torunaclothsimulationwithanetworkedrender

farm:

A complex cloth simulation can require extensive

computation and take a long time. Cloth includes

commandsthatmakeiteasytorunasimulation

onanetworkedmachine(partofarenderfarm),

freeing up your machine for working on other

parts of the scene.

1. Set up the simulation.

2. For each cloth object in the simulation, select

the object, and then on the Selected Object

rolloutclickSetandspecifyapathandfile

name for the cache.

For best results, specify a mapped drive and

turn on Force UNC Path. This specifies the

path using the Universal Naming Convention

so that it can be found by all computers in the

network. Also, it’s probably a good idea to keep

allthecachefilesinthesamedirectory.

3. On the Simulation Parameters rollout, turn on

Sim On Render.

4. Save the scene file.

5. On the Render Scene dialog, turn on Net

Render, and then click Render. Submit the job

to a single Server.

Unlike rendering, network Cloth simulation

cannot be split up among multiple Server

machines.

Note: You needn’t render the entire animation

to trigger the cache creation; a single frame

suffices.

As soon as the Server machine starts the

render, it begins computing the simulation and

saving it to disk. At any point you can load the

simulation in its current state from the cache

file to check its progress by clicking the Load

button.

582 Chapter 8: Modifiers

Interface

The Cloth interface varies depending on the

current modifier stack level: Object (page 1–582)

or one of the four sub-object levels:

•Group (page 1–589)

•Panel (page 1–597)

•Seams (page 1–601)

•Faces (page 1–602)

Object rollout

The Object rollout is the first rollout you see on

the Command panel once you apply the Cloth

modifier. It comprises mostly controls to create a

Cloth simulation and adjust fabric properties.

Object Properties—Opens the Object Properties

dialog (page 1–602),whereyoucandefinewhich

objects to include in the simulation, whether they

are cloth or collision objects, and the parameters

associated with them.

Cloth Modifier 583

Cloth Forces— Add forces (that is, space warps in

thescene)suchaswindtothesimulation.Click

ClothForcestoopentheForcesdialog. Toadd

forces to the simulation, in the Forces In Scene

list on the left side, highlight the forces to add,

and then click the > button to move them to the

Forces In Simulation list, thus adding them to the

simulation. Thereafter, the forces affect all cloth

objects in the simulation.

To remove forces from the simulation, in the Forces

In Simulation list on the right side, highlight the

forces to remove, and then click the < button to

move them to the Forces In Scene list.

Simulation group

To run a cloth simulation, click any of the

threeSimulatebuttonsinthisgroup. Tohalta

simulation, press Esc or if the Cloth Simulation

dialog is open (i.e., Progress is on), click the Cancel

button.

Simulate Local—Starts the simulation process

without creating animation. Use this to drape

the clothes on a character or sew the panels of a

garment together.

Simulate Local (damped)—Same as Simulate Local,

butwithalargeamountofdampingaddedto

the cloth. When sewing a garment together,

sometimes the panels come together at high speed,

causing problems. Using a damped simulation

alleviates this problem.

Simulate—Creates a simulation over the active

time segment. Unlike Simulate Local, this creates

animationdataintheformofasimulationcache

at every frame.

The simulator advances by a time step called

dT. The initial value is the Step setting on the

Simulation Parameters rollout. When the

simulator encounters certain situations, it

decreases dT in order to overcome the obstacles.

Sometime later, the simulator increases dT again

uptothemaximumStepvalueyouset.Thecurrent

valueofdTappearsontheClothSimulationdialog

that shows the progress of the simulation as it takes

place (see following).

WhenthesimulatordecreasesdT,itshows"dT

decreased" on the Cloth Simulation dialog along

withoneofthefollowingmessages(explanation

follows each message):

• could not solve equations – The solver could

not solve the equations of motion.

• cloth has become over-stretched – In

attempting to solve one step, some edges of the

cloth became too elongated, indicating a failure

of the solver.

• cloth-solid collision velocity was too large –

The speed of the cloth relative to that of the

collision object is too high.

• cloth-cloth collision velocity was too large –

The speed of colliding cloth parts is too high.

Progress—When on, opens the Cloth Simulation

dialog during the simulation. The dialog shows the

progress of the simulation, including information

about time, and messages about errors or time

step size adjustments.

584 Chapter 8: Modifiers

The Cloth Simulation dialog shows information about the

simulation while it’s running.

Simulated Frames—Shows the number of frames

simulated so far.

Erase Simulation—Deletes the current simulation.

This deletes the cache of all cloth objects and sets

the Simulated Frames count back to 1.

Truncate Simulation—Deletes animation created by

the simulation after the current frame.

For example, if you’ve simulated an animation to

frame 50 but want to keep only animation keys

from frames 0 to 30, set the time slider to frame

30, then click this button. The simulation is then

deleted from frame 31 on.

Selected Object Manip group

Set Initial State—Updates the first frame of

the selected cloth object’s cache to the current

position.

Reset State—Resets the selected cloth object’s state

to the state before Cloth in the modifier stack.

When you click this, the simulation is erased; that

is, Simulated Frames returns to 1.

Delete Object Cache—Deletes the cache for selected

non-cloth objects. If an object is simulated as

cloth, and is then turned into a collision object (or

inactive) via the Object Properties dialog, it will

retain the cloth motion in its cache.

This is useful for simulating clothes in layers. For

example, you may simulate a character’s pants,

then turn the pants into a collision object for

simulating a coat. By simulating in layers, you

avoid the problems of cloth-to-cloth collision

detection. If you want to remove the cached

motion from the selected object(s), click this

button.

Grab State—Grabs the current state from the top

of the modifier stack and updates the cache for the

current frame.

Followingisanexampleofhowthismightbeused:

1. Simulate to frame 100. When you play back the

simulation, you see a collision object poking

through the cloth at frame 24.

2. Add an Edit Mesh modifier after Cloth and pull

the cloth vertices so the object doesn’t poke

through.

3. Go down the stack to Cloth and click Grab

State. The vertices are now moved twice

as far as you intended because the vertex

displacement was applied once by Cloth, and

again with Edit Mesh.

4. RemovetheEditMeshmodifier.Thevertices

should now be where you want them.

Grab Target State—Lets you specify the target shape

for Keep Shape. Grabs the current deformation

from the top of the modifier stack and uses that

mesh to define the target bend angles between

triangles. Also turns on Use Target State.

Note: Only the bend angles from the Target State

mesh are used, not the edge lengths.

Cloth Modifier 585

Tip: To add some natural creasing to your cloth,

drop the cloth on the floor, click Grab Target State,

and then run the simulation. After clicking Grab

Target State and before running the simulation,

click Reset State (unless you want the cloth to stay

on the floor!).

Reset Target State—Resets the default bend angles

tothemeshbelowClothinthestack.

Note: For Garment Maker (page 1–607) objects,

the target bend angles will depend on the output

method set in the Garment Maker modifier. To see

what is actually being used, use Show Target State.

Use Target State—When on, preserves the shape of

the mesh as stored by Grab Target State.Itusesthe

Bend % and Stretch % settings in the Keep Shape

group on the Object Properties dialog for Cloth.

If multiple cloth objects with different Use Target

State settings are selected, this check box appears

unavailable, but you can click it to make the setting

for all selected objects.

Note: In previous versions, this check box was

labeledKeepShapeandwasfoundontheObject

Properties dialog for Cloth.

Create Keys—Creates keys for a selected cloth

object. The object is collapsed to an editable mesh,

andanydeformationisstoredasvertexanimation.

Add Objects—Lets you add objects to the

simulationwithoutopeningtheObjectProperties

dialog. Click Add Objects, and then click an object

to add. To add multiple objects at once, press H

and use the Pick Objects dialog.

Show Current State—Shows the current state of the

cloth at the end of the last simulation time step.

If the simulation is cancelled, the last time step

could lie between two frames. If the simulation

is allowed to successfully finish, the last time step

corresponds to the last frame.

Show Target State—Showsthecurrenttargetstate

of the cloth; that is, the desired bend angles used

by the Keep Shape option.

Show enabled solid collision—When on, highlights

all groups of vertices for which Solid Coll is on.

This is handy for seeing exactly which vertices will

be involved in solid-object collisions.

Show enabled self collision—When on, highlights

all groups of vertices for which Self Coll is on. This

is handy for seeing exactly which vertices will be

involved in cloth-to-cloth collisions.

Selected Object rollout

The Selected Object rollout lets you control

the simulation caches, control and optionally

animate the cloth properties with a texture map

or interpolation, and specify a bend map. This

rollout appears only when a single object in the

simulation is selected.

586 Chapter 8: Modifiers

Cache group

Use these settings for network simulation. When

you render with Sim On Render on, Cloth can run

the simulation on a networked machine, leaving

your local machine free for other work. For a

procedure, see Torunaclothsimulationwitha

networked render farm: (page 1–581).

[text field]—Shows the current path and file name

for the cache file. You can edit this field, but the

path must exist; the file will be created if necessary.

For any cloth object for which you have not

specified a file name, Cloth creates one based on

the object name.

Force UNC Path—If the text field path is to a mapped

drive, converts the path to UNC format (page

3–1028).Thismakesthepathreadilyaccessibleto

any computer on the network. To convert cache

paths for all cloth objects in the current simulation

to UNC format, click the All button.

Overwrite Existing—When on, Cloth can overwrite

existing cache files. To enable overwriting for all

cloth objects in the current simulation, click the

All button.

Set—Lets you specify the path and filename of

the cache file for the selected object. Click Set,

navigate to the directory, enter the file name, and

then click Save.

Load—Loads the specified file into the selected

object’s cache.

Import—Opens a file dialog to load a cache file

other than the specified one.

Load All—Loads the specified cache file for every

cloth object in the simulation.

Save—Saves the current cache, if any, using the

specified file name and path. If no file is specified,

Cloth creates one based on the object name.

Export—Opens a file dialog to save the cache to a

file other than the specified one. You can save in

the default CFX format or in PointCache2 format.

Extra Cache—To create a second cache in

PointCache2 format, turn on Extra Cache and

click Set to specify a path and file name. This file is

Cloth Modifier 587

also created when you render with Sim On Render

on.

Property Assignment group

Interpolate—Interpolates between the two different

property settings in the Object Properties dialog

(page 1–602) (as determined by the Property 1 and

Property 2 radio buttons at the top right corner).

Yo u c a n u s e t h i s s l i d e r t o a n i m a t e b e t w e e n t h e s e

twopropertiestoadjustthetypeoffabricsettings

the garment is using.

Texture Map—Set a texture map and apply the

Property 1 and Property 2 settings to the cloth

object. You can add a grayscale texture map in

this slot to blend between the two properties set in

the Object Properties dialog. Black will represent

property 1 and white property 2. Any grayscale

value will blend between these two properties. You

can drag a texture map onto this button.

Cloth object with a burlap material in Property 1 and silk in

Property 2 being controlled by a Checker procedural map

Mapping Channel—Lets you specify the mapping

channel the Texture map will work from, or choose

Vertex Color to use that instead. Vertex color

can be particularly useful in conjunction with

the new painting tools in 3ds Max. You can paint

vertex colors directly onto your object and use the

painted areas for material assignment.

Bend Map group

The Bend Map option lets you use a texture map,

map channel, or vertex colors to modulate the

target bend angles. The value of this is that you can

paint deformations onto your cloth, or use some

kind of noise map to add irregularity to the cloth.

Bend Map—TogglestheuseoftheBendMap

option.

Set the strength of the modulation with the

numeric value. In most cases, the value should be

less than 1.0. Range=0.0 to 100.0. Default=0.5.

[map type]—Choose the map type for the Bend

map:

•Vertex Color—Uses the Vertex Color channel for

modulation.

•Map Channel—Uses a map channel other than

Vertex Color for modulation. Set the channel

with the spinner.

•Texture Map—Uses a texture map for

modulation. To specify a texture map, click

the button (labeled None by default) and then

use the Material/Map Browser to choose the

map. Thereafter the map name appears on the

button.

Simulation Parameters rollout

The Simulation Parameters rollout settings let you

specify general properties of the simulation such as

gravity, start and end frames, and sewing-spring

options. These settings apply to the simulation

on a global scale, that is, to all objects in the

simulation.

588 Chapter 8: Modifiers

cm/unit—Determines how many centimeters there

are per 3ds Max system unit.

Cloth automatically sets cm/unit to the equivalent

of 2.54 centimeters per inch (the default system

unit in 3ds Max). For example, if you set the

system unit to one foot, Cloth automatically sets

cm/unit to 30.48 (12x2.54).

Size and scale are important when doing cloth

simulation because a 10-foot curtain behaves much

differently from a one-foot square handkerchief,

even if they are made from the same fabric.

Earth—Click this button to set the Gravity value

to that of planet Earth.

Gravity—When on, the Gravity value (see

following) affects cloth objects in the simulation.

[Gravity value]—The force of gravity in cm/sec2.

A negative value applies gravitational force

downward. A positive value (i.e., no sign) means

gravity will act to move cloth objects upward.

ThedefaultvalueissettobethesameasEarth’s

gravity: -980.0 cm/sec2.

Step—Themaximumsizeofthetimestepthe

simulator takes.

This value is measured in seconds. The value

must be less than the length of one frame (less

than 0.033333 for 30 fps animation). A value of

0.02 is generally the largest value you want to

use. Reducing this value causes the simulator to

take longer to calculate, but will in general give

better results. The simulator will automatically

reduce its time steps as needed, but this is the

maximum value that it will try. This value works

in conjunction with the Subsample parameter:

The actual maximum value=Step value divided

by Subsampl value.

Subsample—The number of times per frame that

the software samples the position of solid objects.

Default=1.

At the default value, Cloth samples the solid objects

in the simulation once every frame. Increasing

this value should help when objects are moving or

rotating quickly, but be aware that the higher you

set the value, the slower the simulation will be.

Start Frame—The frame at which the simulation

starts. If you change this value after the simulation

has been performed, the cache will be moved to

this frame. Default=0.

End Frame—When on, determines the frame at

which the simulation will stop. Default=100.

Self Collision—When on, detects cloth-to-cloth

collisions. Leaving this off will speed up

the simulator, but will allow cloth objects to

interpenetrate.

Cloth Modifier 589

The numeric setting specifies the extent to which

Cloth tends to avoid self-colliding cloth objects,

at the cost of simulation time. Range=0 to 10.

Default=1.

This is a maximum limit. If Cloth needs fewer

calculations to resolve all collisions, it will use

fewer. In most cases, a value greater than 1 isn’t

necessary.

Solid Collision—When on, the simulator takes into

account cloth-to-solid object collisions. This is

almost always left on.

Use Sewing Springs—When on, uses the sewing

springs created with Garment Maker to pull the

fabric together.

This works only with objects that have been

made with Garment Maker (page 1–607).Turn

this option off once the garment has been pulled

together. When off, Cloth will identify vertices

that are sewn together and will always keep them

coincident. When on, there is always a chance for

the vertices to come apart if the sewing springs are

not strong enough (actually, there will always be

some slight gap between the vertices in this case).

Show Sewing Springs—Toggles the visual

representation of the sewing springs in the

viewports. These do not render.

Sim on Render—When on, triggers the simulation

at render time. Use this for generating a simulation

with a network computer, which lets you continue

to work on other aspects of your scene with your

own computer. See a procedure here (page 1–581).

After the render is completed, Cloth writes a cache

for each cloth object. You can specify this cache file

on the Selected Object rollout (page 1–585) (which

is available only when a single object is selected).

If you do not specify a name, the software creates

one.

The numeric value indicates the priority of the

simulation; the simulations are run in ascending

order. For modifiers with the same priority, the

order is undefined.

Note: Each object has its own cache file, which is

temporarily created when the MAX file is opened.

On saving the file, the cache is incorporated into

the MAX file. When Sim On Render is on, the

cache file specified is created and written to, but is

not read from as you change the time slider. The

cachefilemustbeloaded into the internal cache

file before you can see it.

Advanced Pinching—When on, Cloth tests for cloth

pinched between two parts of the same collision

object.

This option helps with cloth colliding with

small features of the collision objects, such as

fingers. There is a significant performance hit for

high-resolution collision objects.

Tension—Lets you visualize the compression/

tensioninthefabricbymeansofvertexcoloring.

Stretched cloth is indicated by red, compressed

by blue, neutral by green. The numeric setting

lets you change the range of tension/compression

illustrated by a complete traversal from red to

blue. The higher this value, the more gradual the

shading. This works only for Garment Maker

objects.

Group rollout

The Group sub-object rollout is for selecting

groups of vertices and constraining them to

surfaces, collision objects, or other cloth objects.

At the Group sub-object level, all selected objects

that are part of the Cloth simulation are shown

with their vertices visible so that you can select

them in an efficient fashion.

When you create or select a group at this sub-object

level, the Group Parameters rollout becomes

available.

Important: The concept of a group for Cloth can be

applied to both the cloth objects and to the collision

590 Chapter 8: Modifiers

objects in the simulation. And when created, groups can

then be given unique properties. For example, a group

on a collision object can have a different collision offset

from the rest of the object. This is a powerful feature

when working with groups.

Note: You can select groups of vertices explicitly,

with the mouse in the viewports, and you can

also specify a soft selection or use a texture map

to select vertices using controls on the Group

Parameters rollout. See Soft Selection group (page

1–596). In addition, named selection set (page

1–83) toolsareavailableatthislevel.

Make Group—Makes a group out of selected

vertices. Select the vertices to include in the group,

and then click this button. Name the group, and it

will then show up in the list below for you assign

to an object.

Delete Group—Deletes the group highlighted in

the list.

Detach—Removes any constraint assigned to the

group and sets it back to being unassigned (i.e.,

without any constraint). Any unique properties

assigned to this group will remain in effect.

Initialize—Constraints that involve attaching

the vertices to another object (Node, SimNode,

Surface and Cloth constraints) contain

information regarding the relative positions

of the group vertices to the other object. This

information is created upon the creation of the

constraint. To regenerate this information, click

this button.

Change Group—Lets you modify the vertex

selection in the group. To use, follow this

procedure:

1. Choose the group in the list.

2. Change the selection of vertices.

3. Click Change Group.

Rename—Renames the highlighted group.

Node—Constrains the highlighted group to the

transforms of an object or node in the scene.

To use, click Node, and then select the node for

constraining. The node cannot be an object in

the simulation; for that purpose, use the SimNode

constraint.

Note: Node and SimNode simply constrain the

group to an object’s transforms,nottotheobject

itself. They need not be near each other. When

the cloth and the constraining object should be

incloseproximity,suchaswithclothingona

character mesh, use the Surface constraint instead

(see following).

Cloth Modifier 591

Surface—Attaches the selected group to the surface

of a collision object in the scene. To use, click

Surface, and then select the node for attaching.

Tip: This constraint is best suited for when the cloth

and the constraining object should be in close

proximity, such as with clothing on a character

mesh.

Cloth—Attaches the selected group of cloth vertices

to another cloth object.

Preserve—This group type preserves the motion

from below the Cloth modifier in the modifier

stack. For example, you might have a dress that

you’ve skinned to a skeleton. You want the upper

portion of the dress to be unaffected by the Cloth

simulation (that is, to retain its deformation

defined by the skinning), and the lower part to

be simulated. In this case, you’d make a Preserve

constraint from the upper vertices.

Drag—This group type locks the vertices in place

or adds a damping force to selected group. When

Group Parameters rollout > Soft is off, you can

use this constraint for “nailing” vertices in place

sothattheydonotmoveatall.WhenSoftison,

theverticeswillhaveadragforceappliedwhere

the amount of drag is controlled by the Strength

and Damping values, also on the Group Properties

rollout.

SimNode—This option works the same as the Node

option, except the node must be part of the Cloth

simulation.

Group—Attaches one group to another. This is

recommended only for single-vertex groups. (that

is, groups that contain only one vertex). With this,

you can make one cloth vertex stick to another

cloth vertex. Select one group, click this button

to open the Pick Group dialog , and then choose

another group.

NoCollide—Causes collisions between the currently

selected group and another group to be ignored.

When you click this button, you’re prompted to

choose another group. You could use this option

to prevent the simulator from processing collisions

between cloth and the body under an arm or

between the legs.

Forcefield—Allows you to link a group to a space

warp and have the space warp affect the vertices.

Sticky Surf—The group sticks to a surface only

after it has collided with that surface. Solid Coll

must be enabled for this constraint to work.

Sticky Cloth—The group sticks to a surface only

after it has collided with that surface. Self Coll must

be enabled for this constraint to work.

[group list]—Shows all current groups. The

number of vertices associated with the highlighted

group is shown below the list. To assign, copy,

paste, delete or alter a created group, first highlight

the group name in the list.

Copy—Copies a named selection set to the copy

buffer.

Paste—Pastes the named selection set from copy

buffer.

Group Parameters rollout

The Group Parameters rollout appears after you

use Make Group on a vertex selection to create at

least one group. Thereafter, highlight the group

intheGrouprolloutlisttodisplayandeditthe

group’ssettingswiththeGroupParametersrollout.

592 Chapter 8: Modifiers

Constraint Parameters group

On—When on, enables the constraint specified for

the current group in the group list on the Group

rollout, using remaining settings in this group box.

Soft—Sets the constraint type to soft. A soft

constraint uses springs between vertices. When

off, the constraint is hard or rigid. The constraint

types Node, Surface, Preserve, Drag, and SimNode

can be hard or soft. Cloth, Group, and Forcefield

constraints are always soft.

ID—Uses a Material ID to attach the group to

an object. This option applies only to Surface

and Cloth constraints. If, when the constraint is

created or initialized, the cloth vertices are not

over a triangle, then the constraint will be created

to the center of the nearest triangle that has the

requisite Material ID. This could mean that several

vertices might be constrained to the center of the

same triangle. In this case, you should only use

soft constraints. A hard constraint would pull all

thoseclothverticestothesameexactpointonthe

triangle, which would look strange.

Offset—The variance in the distance between a

constrained group and its constraining, or target,

object. The default value is 1.0 with Rel. on. This

sets the constrained group to maintain its original

distance from the target object. When set to 0.0,

the constraint seeks to set the distance to the target

object to zero.

Strength—Thestiffnessofthespringsusedifthe

constraint is soft.

Damping—The damping of the springs if the

constraint is soft.

Rel.—Specifies the offset as a ratio of the original

value.AvailableonlywiththeSurfaceandCloth

constraint types. For example, if you want to move

a constrained vertex by half its original distance,

turn on the Rel. check box and set Offset to 0.5.

Vc—Sets vertex colors to determine the strength of

the constraint.

1-to-1—When the mesh density is changed in

Garment Maker, the group selection is reassigned.

The 1-to-1 option selects the vertex closest to the

original vertex.

Blob—When the mesh density is changed in

Garment Maker, the group selection is reassigned.

The Blob option selects the original vertex and

the ones created within a certain radius of it. The

radiuscanbeleftatdefaultorauto,oritcanbe

set manually.

Cloth Modifier 593

Radius—When on, lets you set the radial distance

used by the Blob option (see preceding). When

off, Blob uses an automatic radial value.

Behavior Settings group

Behavior Settings—Toggles the availability of the

other settings in this group. When off, the other

settings have no effect.

Solid Coll—When on, the group vertices are used

in solid-collision detection.

Self Coll—When on, the group vertices are used in

self-collision detection.

Layer—Indicates the correct "order" of cloth

pieces that might come in contact with each other.

Range=-100 to 100. Default=1.

If your garments and/or panels are all correctly

orientated to begin with, then cloth-to-cloth

collision detection should keep items from

interpenetrating. However, the initial state of a

garment/panel might have some interpenetration

that cannot be resolved. For example, suppose you

make a jacket with Garment Maker where the front

rightpanelissupposedtositontopofthefront

left panel. When you sew together the garment

(generally with self-collision off), the front panels

will interpenetrate, so to make sure that the right

panelsitsoutsidetheleftpanel,youmighthave

to use constraints or Live Drag. Using the Layers

option on the panels can help here.

Here is the logic of layers: When two pieces of

cloth (A and B) are in collision-detection range,

their layers (layerA and layerB) are compared and

the following rules are applied:

• If either layerA or LayerB is 0, then Cloth uses

the regular cloth-to-cloth collision method.

• If layerA=layerB, then Cloth uses the regular

cloth-to-cloth collision method.

• If abs(layerA) > abs(layerB) then piece A is

pushedtotheappropriatesideofpieceB.

Which side? If layerB > 0, then to the side

indicated by the face normals. If layerB<0 then

to the opposite side.

The sign of the Layer value indicates what the

"outside" of that piece of cloth is. A positive sign

means "The side that the normals face is the

outside".

Keep Shape—When on, preserves the shape of the

mesh based on the Bend % and Stretch % settings

(see following). In normal operation, when Cloth

creates a simulation, it tries to "flatten out" the

cloth.

Bend %—Modulates the target bend angles to a

value between 0.0 and the angles defined by the

target state. A negative value inverts the angles.

Range=-100.0 to 100.0. Default=100.0.

Stretch %—Modulates the target stretch angles to

a value between 0.0 and the angles defined by the

target state. A negative value inverts the angles.

Range=-100.0 to 100.0. Default=100.0.

Presets group

Sets the Cloth Properties parameters to the preset

selected in the drop-down list. Any presets that

arebuiltintothesystemorthathavebeenloaded

will show up here.

Load—Loads presets from the hard drive. Click

this button and then navigate to the directory

with your presets to load them into your Cloth

Properties.

Save—Saves your Cloth Properties parameters to a

file that you can then load at a later time.

Use These Properties—Determines the cloth

properties from the settings on the rollout below.

Get From Object—Sets the cloth properties of the

group to be the same as the object they are selected

on.

594 Chapter 8: Modifiers

U Bend/V Bend—Resistance to bending. The higher

thisvalueisset,thelessthefabricwillbeableto

bend. A cotton fabric might bend more easily than

leather, so a value of 15.0 for both U and V Bend

might be good for cotton, while 50.0 would work

well for leather.

By default, the U Bend and V Bend parameters

are locked together so that changing one sets the

other to the same value. You can set different

values for the two only when Anisotropic is off. It is

recommended to do this only for Garment Maker

(page 1–607) objects.

Left: U and V Bend=50, simulating a burlap material

Right: U and V Bend=2.5, simulating silk or other light fabric

UB-Curve/VB-Curve—Resistance to bending as

the fabric folds. The default value of 0 sets the

bend resistance to be constant. A setting of 1

makes the fabric very resistant to bending as the

angle between triangles approaches 180 degrees.

You never want two adjacent triangles to pass

througheachother,soyoucanincreasethisvalue

to prevent this from happening.

By default, the U B-Curve and V B-Curve

parameters are locked together so that changing

one sets the other to the same value. You can set

different values for the two only when Anisotropic

is off. It is recommended to do this only for

Garment Maker (page 1–607) objects.

UStretch/VStretch—Resistance to stretching. The

default value of 50.0 is a reasonable value for most

types of cloth. A Larger value will be stiffer, while

asmalleronewillbestretchylikerubber.

By default, the U Stretch and V Stretch parameters

are locked together so that changing one sets the

other to the same value. You can set different

values for the two only when Anisotropic is off. It is

recommendedtodothisonlyforGarment Maker

(page 1–607) objects.

Shear—Resistance to shearing. Higher values

result in stiffer cloth fabrics. Shear defines how

much the individual triangles can deform. If you

were to lay the edges of the triangle out in a strait

line this value would represent how long this line

can stretch out to. With a high value this length

Cloth Modifier 595

will only be the sum of the length of all of the

sides at rest. A low value will allow this length to

be greater then that off all of its sides at rest. This

length of stretched sides is not on a one to one

basis. One side of the polygon may stretch more

then another as long as the total shear value is not

exceeded.

Density—The weight of the cloth per unit area (in

gm/cm2). Higher values mean heavier cloth like

denim. Use smaller values for lighter cloth like silk.

Thickness—Defines the virtual thickness of a

fabric for the purpose of detecting cloth-to-cloth

collisions. This value is irrelevant if cloth-to-cloth

collisions are disabled. Larger values keep the

cloth separated by greater distances. Be careful

nottousetoolargeorsmallvaluesinthisfield.

Very large values will interfere with the natural

behavior of the cloth. Very small values will cause

the simulator to take too long to calculate. This

distance is measured in cm (centimeters) and

should be smaller than the size of the triangles that

make up the cloth object. A setting of 0.0 will let

Cloth automatically assign a reasonable value for

thickness.

Left:ThetoppieceofclothwithaThicknessof0

Right: Thickness of 9

Repulsion—The amount of force used to repel

other cloth objects. This value is irrelevant

if cloth-to-cloth collisions are disabled. The

simulator will apply a repulsion force scaled by

this value to keep the cloth from coming in contact

with other cloth objects. Increase this value if there

are a lot of collisions between different parts of

cloth, or if the cloth is tending to interpenetrate.

Damping—The larger this value, is the more

sluggishly the fabric will react. With a lower value,

thefabricwillbehavewithmorespring. Cloth

with more damping will come to rest sooner then

clothwithlessdamping.Highdampingresultsin

cloth that behaves as though it is moving through

oil. Excessive damping may also cause simulation

instabilities. A good value is the default, 0.01.

Air Res.—Resistance to Air. This value will

determinehowmuchtheairwilleffectthecloth.A

higher amount of air resistance would be useful for

a tightly woven fabric, while a lower amount would

be suitable for a loose-knit garment.

Dyn. Fric.—Dynamic friction between the cloth

and solid objects. A larger value will add more

friction and cause the fabric to slide less across

an object. A lower value will allow the fabric to

slip off an object very easily, similarly to how silk

would react.

Static Fric.—Static friction between the cloth and

solid objects. When the cloth is in stationary

position, this value will control its ability stay

where it is, or slip away.

Self Fric.—Friction between the cloth and itself.

This is similar to dynamic and static friction, but

applies to cloth-to-cloth or self-collisions. A larger

value will cause more friction between the cloth

and itself.

UScale—Controls how much to shrink or expand

the cloth along the U direction (as defined by

Garment Maker. For non-Garment Maker meshes,

this applies a uniform scaling to the cloth along

both axes, and the V Scale parameter is ignored).

A value of less than 1 will shrink the fabric at

simulation time, while a value of more than 1 will

stretch it.

596 Chapter 8: Modifiers

VScale—

Controls how much to shrink or expand

the cloth along the V direction (as defined by

Garment Maker). A value of less than 1 will shrink

thefabricatsimulationtime,whileavalueofmore

than 1 will stretch it.

Seam Force—Notpresentlyusedandonlykeptfor

backward compatibility with older versions of the

former product called Stitch. This was a global

seam strength, but seam strength is now defined

on a seam-by-seam basis in the Seams sub-object

Mode.

Depth—Collision depth. If a portion of cloth

reaches this depth inside a collision object, then

the simulation will no longer try to push the cloth

out of the mesh. This value is measured in 3ds Max

units.

Offset—The amount of distance kept between the

cloth and the collision object. A very low value

can cause the collision mesh to protrude out from

under the cloth. A very high value will cause

thefabrictolookasifitisfloatingontopofthe

collision object.

Plasticity—The tendency of the cloth to keep its

current deformation (that is, the bend angles).

This is different from Keep Shape,which

determinestheextenttowhichtheclothtendsto

keep its original deformation (or the one defined

by the Target State). If you set Plasticity to 100.0,

the cloth will not attempt to change the angles

between triangles. If you want stiffer cloth, but you

don’twanttheclothto"balloon"up,increasethe

Plasticity value.

Cling—Theextenttowhichtheclothobjectadheres

to a collision object. Range=0.0 to 99999.0.

Default=0.0.

You can use this parameter to simulate effects such

as wet cloth. A setting of 1.0 should be just enough

to hold the default material onto a surface against

its own weight.

Based on—Displays the preset that the group

properties are based on. When you modify

parameters and save a preset, Cloth uses the name

of the last preset you loaded as the “Based on”

name.

Anisotropic—When on, you can set different U

andVvaluesfortheBend,B-Curve,andStretch

parameters. The U and V directions are defined

by Garment Maker (page 1–607) and do not apply

to non-Garment Maker meshes, for which setting

different U/V values might result in unexpected

behavior.

UseEdgeSprings—This is an alternative method

for calculating stretch. When this option is on,

stretch force is based on springs along triangle

edges. (Whereas normally the stretch and shear

forcesarecalculatedinamoresophisticated

manner to more accurately reflect the underlying

physics).

Use Cloth Depth/Offset—Uses the Depth and Offset

values set for the group. When on, the cloth object

ignores the collision object Depth and Offset

values.

Soft Selection group

Cloth Modifier 597

The Soft Selection controls apply on a per-group

basis to permit soft selection of vertices

neighboring the explicitly selected group

members. This works the same as soft selection of

vertices in other parts of 3ds Max. For details, see

Soft Selection Rollout (page 1–963).Alternatively,

you can select vertices for a group based on a

texture map.

Use Texture Map—When on, Cloth uses a texture

map to specify a soft selection of vertices that

belong to the current group. Click the button (by

default, labeled “None”) to choose a texture map.

Use the Mapping Channel controls to choose a

map channel or vertex color channel.

You can add a grayscale texture map in this slot to

blend between unselected and fully selected pixels

in the group. Black represents unselected and

white represents fully selected. Any grayscale value

blends between the two. You can drag a texture

map onto this button.

Note: For a texture map to apply to a group, at least

onevertexmustbeexplicitlyselected. However,

whenUseTextureMapison,thegroup’sexplicit

vertex selection has no effect.

Panel rollout

At the Panel sub-object level, you can select one

panel (cloth section) at a time and change its cloth

properties. A panel, which must be created by the

Garment Maker modifier (page 1–607),isaclosed

spline that is not enclosed by another spline. If

a closed spline is enclosed by another spline, it

forms a hole in the outer spline.

Note: To be able to select a panel at this sub-object

level, you must first use Object Properties (page

1–602) to specify that the object is cloth. Also, to

be able to change settings on this rollout, first turn

on Object Properties > Use Panel Properties.

598 Chapter 8: Modifiers

Presets group

Presets—Sets the selected panel’s properties

parameters to the preset selected in the drop-down

list. Any presets that are built into the system or

that have been previously saved and loaded will

show up here. Presets have the filename extension

.sti.

Load—Load presets from a specified location on

your hard drive. Click this button and navigate to

the directory with your presets to load them into

your Cloth Properties.

Save—Save your Cloth Properties parameters to a

file to be loaded at a later time. By default, Cloth

preset files are saved to the \cloth folder inside the

program install directory.

U Bend/V Bend—Resistance to bending. The higher

thisvalueisset,thelessthefabricwillbeableto

bend. A cotton fabric might bend more easily than

leather, so a value of 15.0 for both U and V Bend

might be good for cotton, while 50.0 would work

well for leather.

By default, the U Bend and V Bend parameters

are locked together so that changing one sets the

other to the same value. You can set different

values for the two only when Anisotropic is off. It is

recommendedtodothisonlyforGarment Maker

(page 1–607) objects.

Left: U and V Bend=50, simulating a burlap material

Right: U and V Bend=2.5, simulating silk or other light fabric

Cloth Modifier 599

UB-Curve/VB-Curve—

Resistance to bending as

the fabric folds. The default value of 0 sets the

bend resistance to be constant. A setting of 1

makes the fabric very resistant to bending as the

angle between triangles approaches 180 degrees.

You never want two adjacent triangles to pass

through each other, so you can increase this value

to prevent this from happening.

By default, the U B-Curve and V B-Curve

parameters are locked together so that changing

one sets the other to the same value. You can set

different values for the two only when Anisotropic

is off. It is recommended to do this only for

Garment Maker (page 1–607) objects.

UStretch/VStretch—Resistance to stretching. The

default value of 50.0 is a reasonable value for most

typesofcloth.ALargervaluewillbestiffer,while

a smaller one will be stretchy like rubber.

By default, the U Stretch and V Stretch parameters

are locked together so that changing one sets the

other to the same value. You can set different

values for the two only when Anisotropic is off. It is

recommended to do this only for Garment Maker

(page 1–607) objects.

Shear—Resistance to shearing. Higher values

result in stiffer cloth fabrics. Shear defines how

much the individual triangles can deform. If you

were to lay the edges of the triangle out in a strait

line this value would represent how long this line

can stretch out to. With a high value this length

will only be the sum of the length of all of the

sides at rest. A low value will allow this length to

be greater then that off all of its sides at rest. This

length of stretched sides is not on a one to one

basis. One side of the polygon may stretch more

then another as long as the total shear value is not

exceeded.

Density—The weight of the cloth per unit area (in

gm/cm2). Higher values mean heavier cloth like

denim. Use smaller values for lighter cloth like silk.

Thickness—Defines the virtual thickness of a

fabric for the purpose of detecting cloth-to-cloth

collisions. This value is irrelevant if cloth-to-cloth

collisions are disabled. Larger values keep the

cloth separated by greater distances. Be careful

not to use too large or small values in this field.

Very large values will interfere with the natural

behavior of the cloth. Very small values will cause

the simulator to take too long to calculate. This

distance is measured in cm (centimeters) and

should be smaller than the size of the triangles that

make up the cloth object. A setting of 0.0 will let

Cloth automatically assign a reasonable value for

thickness.

Left: The top piece of cloth with a Thickness of 0

Right: Thickness of 9

Repulsion— The amount of force used to repel

other cloth objects. This value is irrelevant

if cloth-to-cloth collisions are disabled. The

simulator will apply a repulsion force scaled by

this value to keep the cloth from coming in contact

with other cloth objects. Increase this value if there

are a lot of collisions between different parts of

cloth, or if the cloth is tending to interpenetrate.

Damping— The larger this value, is the more

sluggishly the fabric will react. With a lower value,

thefabricwillbehavewithmorespring. Cloth

with more damping will come to rest sooner then

clothwithlessdamping.Highdampingresultsin

cloth that behaves as though it is moving through

oil. Excessive damping may also cause simulation

600 Chapter 8: Modifiers

instabilities. A good value is 0.01 (note: the default

is 0.1, but in practice, it seems that this value is

too high).

Air Res.— Resistance to Air. This value will

determine how much the air will effect the cloth. A

higher amount of air resistance would be useful for

a tightly woven fabric, while a lower amount would

be suitable for a loose-knit garment.

Dyn. Fric.— Dynamic friction between the cloth

and solid objects. A larger value will add more

friction and cause the fabric to slide less across

an object. A lower value will allow the fabric to

slip off an object very easily, similarly to how silk

would react.

Static Fric.— Static friction between the cloth and

solid objects. When the cloth is in stationary

position, this value will control its ability stay

where it is, or slip away.

Self Fric.— Friction between the cloth and itself.

This is similar to dynamic and static friction, but

applies to cloth-to-cloth or self-collisions. A larger

value will cause more friction between the cloth

and itself.

UScale—Controls how much to shrink or expand

the cloth along the U direction (as defined by

Garment Maker. For non-Garment Maker meshes,

this applies a uniform scaling to the cloth along

both axes, and the V Scale parameter is ignored).

Avalueoflessthan1willshrinkthefabricat

simulation time, while a value of more than 1 will

stretch it.

VScale—Controls how much to shrink or expand

the cloth along the V direction (as defined by

Garment Maker). A value of less than 1 will shrink

thefabricatsimulationtime,whileavalueofmore

than 1 will stretch it.

Seam Force—Notpresentlyusedandonlykeptfor

backward compatibility with older versions of the

former product called Stitch. This was a global

seam strength, but seam strength is now defined

on a seam-by-seam basis at the Seams sub-object

level.

Plasticity—The tendency of the cloth to keep its

current deformation (that is, the bend angles).

This is different from Keep Shape,which

determines the extent to which the cloth tends to

keep its original deformation (or the one defined

by the Target State). If you set Plasticity to 100.0,

the cloth will not attempt to change the angles

between triangles. If you want stiffer cloth, but you

don’twanttheclothto"balloon"up,increasethe

Plasticity value.

Depth—Collision depth. If a portion of cloth

reaches this depth inside a collision object, then

the simulation will no longer try to push the cloth

out of the mesh. This value is measured in 3ds Max

units.

Offset—The amount of distance kept between the

cloth and the collision object. A very low value

can cause the collision mesh to protrude out from

under the cloth. A very high value will cause

thefabrictolookasifitisfloatingontopofthe

collision object.

Use Cloth Depth/Offset—Uses the Depth and Offset

values set for the panel (see preceding). When on,

the cloth object ignores the collision object Depth

and Offset values.

Cling—Theextenttowhichtheclothobjectadheres

to a collision object. Range=0.0 to 99999.0.

Default=0.0.

You can use this parameter to simulate effects such

as wet cloth. A setting of 1.0 should be just enough

to hold the default material onto a surface against

its own weight.

Based on—Lists the preset that the panel properties

are based on. When you modify parameters and

save a preset, Cloth uses the name of the last preset

you loaded as the “Based on” name.

Cloth Modifier 601

Anisotropic—When on, you can set different U

and V values for the Bend, B-Curve, and Stretch

parameters. The U and V directions are defined

by Garment Maker (page 1–607) and do not apply

to non-Garment Maker meshes, for which setting

different U/V values might result in unexpected

behavior.

UseEdgeSprings—This is an alternative method

for calculating stretch. When this option is on,

stretch force is based on springs along triangle

edges. (Whereas normally the stretch and shear

forces are calculated in a more sophisticated

manner to more accurately reflect the underlying

physics).

Use Solid Friction—Uses the friction of the collision

object to determine friction. Values for collision

can be assigned either to the cloth or the collision

objects. This enables you to set different friction

values for each collision object

Keep Shape—When on, preserves the shape of the

mesh based on the Bend % and Stretch % settings

(see following). In normal operation, when Cloth

creates a simulation, it tries to "flatten out" the

cloth.

Bend %—Modulates the target bend angles to a

value between 0.0 and the angles defined by the

target state.Anegativevalueinvertstheangles.

Range=-100.0 to 100.0. Default=100.0.

Stretch %—Modulates the target stretch angles to

avaluebetween0.0andtheanglesdefinedbythe

target state.Anegativevalueinvertstheangles.

Range=-100.0 to 100.0. Default=100.0.

Seams rollout

The Seams sub-object rollout is used to define

seam properties.

On—Turn t he seam on or off to make it ac tive or

inactive.

Crease angle—Creates a crease at your seam. The

anglevaluewilldeterminetheangleofthecrease

that will be between the two panels. (Can be

positive or negative depending on which way you

want to crease)

Left: High crease angle

Right: Low crease angle

Crease Strength—Increase or decrease the strength

of your seam. This value will effect how much

the seam will resist bending in relation to the rest

of the cloth object. A value of 2.0 means that the

clothwillhavetwicetheresistancetobending

that it would otherwise have (as defined by the

object/panel/vertex group properties).

Sewing Stiffness—The amount of force with which

thepanelswillbepulledtogetheratsimulation

time.Alargervaluewillpullthepanelstogether

harder and faster.

602 Chapter 8: Modifiers

Enable All—Sets all seams on selected garment to

be active.

Disable All—Sets all seams on selected garment to

be off. This button deactivates the On check box

for all seams.

Faces rollout

The Faces sub-object rollout enables interactive

dragging of cloth objects while they are simulated

locally. This sub-object level is useful for

positioning cloth within your scenes in a more

interactive way.

Note: If you position your cloth incorrectly, you

canrestoretheoriginalpositionbyreturningto

the Object level and clicking the Reset State button.

Simulate Local—Starts local simulation of the cloth.

In order for the real-time interactive feedback with

the cloth to occur, this button must be on.

Live Drag!—When active you can drag selected

facesasthelocalsimulationistakingplace.

Live Rotate!—When active, you can rotate selected

facesasthelocalsimulationistakingplace.

Sim on mouse down—Runs the local simulation

only when the left mouse button is clicked. This

mode is usually preferred since you can start and

stop the local simulation simply by releasing the

mouse button. As a result, it makes it far easier to

position and rotate the faces of your cloth within

your scene.

Ignore Backfacing—When on, you can select only

faces facing you. When off (the default), you can

select any faces under the mouse cursor, regardless

of visibility or facing.

Object Properties Dialog (Cloth)

Select an object. > Modify panel > Modifier List >

Object-Space Modifiers > Cloth > Object rollout > Object

Properties button

Use the Object Properties dialog to specify which

objects are included in a Cloth (page 1–578)

simulation, whether they are cloth or collision

objects, and define parameters associated with

them.

Interface

Object Properties Dialog (Cloth) 603

Objects in Simulation—Lists objects currently

included in the simulation. To change an object’s

properties, first highlight its name in the list.

You can highlight multiple object names using

standard methods: Ctrl +click, Shift +click, and

dragging.

Add Objects—Opens a dialog that lets you select

objects from your scene to be added to the Cloth

simulation. After adding an object with this

button, it appears in the Objects In Simulation list,

and an instance of the Cloth modifier is applied

to the object.

Remove—Removes objects highlighted in the

ObjectsInSimulationlistfromthesimulation.

You cannot remove objects currently selected in

3ds Max.

Inactive—Makesanobjectinactiveinthe

simulation. The object can still be in the

simulation, but it will not react to anything. This

is good for testing how different objects react and

isolating dynamic effects.

Property 1/Property 2—These two radio buttons let

you assign two different sets of cloth properties to

objects highlighted in the Objects In Simulation

list. YoucanthenusetheProperty Assignment

group (page 1–587) settings to interpolate

or animate between the sets. The Use Cloth

Depth/Offset, Use Edge Springs, Use Solid

Friction, and Keep Shape options can be set only

for Property 1 because Property 2 uses the same

settings.

Cloth—Sets the object or objects highlighted in

the Objects In Simulation list to cloth objects and

allows you to define parameters for them in the

Cloth Properties section of the dialog.

Use Panel Properties—When on, tells Cloth

to use the Cloth Properties from the Panel

sub-object level of the Cloth modifier. This allows

you to define different cloth properties on a

panel-by-panel basis.

Cloth Properties group

Presets—Sets the Cloth Properties parameters to

the preset chosen from the drop-down list. Any

presets that are built into the system or that have

been previously saved and loaded will show up

here.

Load—Loads presets from your hard drive. Click

this button and then navigate to the directory with

your presets to load them into Cloth Properties.

Save—Saves Cloth Properties parameters to a file

to be loaded at a later time. By default, all Cloth

preset files are saved to your \scenes\cloth folder.

U Bend/V Bend—Resistance to bending. The higher

thisvalueisset,thelessthefabricwillbeableto

bend. A cotton fabric might bend more easily than

leather, so a value of 15.0 for both U and V Bend

might be good for cotton, while 50.0 would work

well for leather.

By default, the U Bend and V Bend parameters

are locked together so that changing one sets the

other to the same value. You can set different

values for the two only when Anisotropic is off. It is

recommendedtodothisonlyforGarment Maker

(page 1–607) objects.

Left: U and V Bend=50, simulating a burlap material

Right: U and V Bend=2.5, simulating silk or other light fabric

Thickness— Defines the virtual thickness of a

fabric for the purpose of detecting cloth-to-cloth

collisions. This value is irrelevant if cloth-to-cloth

collisions are disabled. Larger values keep the

cloth separated by greater distances. Be careful

604 Chapter 8: Modifiers

nottousetoolargeorsmallvaluesinthisfield.

Very large values will interfere with the natural

behavior of the cloth. Very small values will cause

the simulator to take too long to calculate. This

distance is measured in cm (centimeters) and

should be smaller than the size of the triangles that

make up the cloth object. A setting of 0.0 will let

Cloth automatically assign a reasonable value for

thickness.

Left:ThetoppieceofclothwithaThicknessof0

Right: Thickness of 9

Repulsion—The amount of force used to repel

other cloth objects. This value is irrelevant

if cloth-to-cloth collisions are disabled. The

simulator will apply a repulsion force scaled by

this value to keep the cloth from coming in contact

with other cloth objects. Increase this value if there

are a lot of collisions between different parts of

cloth, or if the cloth is tending to interpenetrate.

UB-Curve/VB-Curve—Resistance to bending as

the fabric folds. The default value of 0 sets the

bend resistance to be constant. A setting of 1

makes the fabric very resistant to bending as the

angle between triangles approaches 180 degrees.

You never want two adjacent triangles to pass

through each other, so you can increase this value

to prevent this from happening.

By default, the U B-Curve and V B-Curve

parameters are locked together so that changing

one sets the other to the same value. You can set

different values for the two only when Anisotropic

is off. It is recommended to do this only for

Garment Maker (page 1–607) objects.

Air Res.—Resistance to air. This value will

determinehowmuchtheairwilleffectthecloth.A

higher amount of air resistance would be useful for

a tightly woven fabric, while a lower amount would

be suitable for a loose-knit garment.

Dyn. Fric.—Dynamic friction between the cloth

and solid objects. A larger value will add more

friction and cause the fabric to slide less across an

object. A lower value will allow the fabric to slip off

an object easily, similarly to how silk would react.

UStretch/VStretch—Resistance to stretching. The

default value of 50.0 is a reasonable value for most

types of cloth. A Larger value will be stiffer, while

asmalleronewillbestretchylikerubber.

By default, the U Stretch and V Stretch parameters

are locked together so that changing one sets the

other to the same value. You can set different

values for the two only when Anisotropic is off. It is

recommendedtodothisonlyforGarment Maker

(page 1–607) objects.

Static Fric.—Static friction between the cloth and

solid objects. When the cloth is in stationary

position, this value will control its ability stay

where it is, or slip away.

Self Fric.—Friction between the cloth and itself.

This is similar to dynamic and static friction, but

applies to cloth-to-cloth or self-collisions. A larger

value will cause more friction between the cloth

and itself.

Shear—Resistance to shearing. Higher values

result in stiffer cloth fabrics. Shear defines how

much the individual triangles can deform. If you

were to lay the edges of the triangle out in a strait

line this value would represent how long this line

canstretchoutto.Withahighvaluethislengthwill

only be the sum of the length of all of the sides at

rest. A low value will allow this length to be greater

then that off all of its sides at rest. This length of

Object Properties Dialog (Cloth) 605

stretched sides is not on a one to one basis. One

side of the polygon may stretch more then another

as long as the Seam Force—Not presently used and

only kept for backward compatibility with older

versions of the former product, called Stitch. This

was a global seam strength, but seam strength is

now defined on a seam-by-seam basis at the Seams

sub-object level.total shear value is not exceeded.

Density— The weight of the cloth per unit area (in

gm/cm2). Higher values mean heavier cloth like

denim. Use smaller values for lighter cloth like silk.

Damping— The larger this value, is the more

sluggishlythefabricwillreact.Withalowervalue,

thefabricwillbehavewithmorespring. Cloth

with more damping will come to rest sooner then

clothwithlessdamping.Highdampingresultsin

cloth that behaves as though it is moving through

oil. Excessive damping may also cause simulation

instabilities. A good value is 0.01 (note: the default

is 0.1, but in practice, it seems that this value is

too high).

UScale—Controls how much to shrink or expand

the cloth along the U direction (as defined by

Garment Maker). For non-Garment Maker

meshes, this applies a uniform scaling to the cloth

along both axes, and the V Scale parameter is

ignored). A value of less than 1 will shrink the

fabric at simulation time, while a value of more

than 1 will stretch it.

VScale—Controls how much to shrink or expand

the cloth along the V direction (as defined by

Garment Maker). A value of less than 1.0 will

shrink the fabric at simulation time, while a value

of more than 1.0 will stretch it.

Plasticity—The tendency of the cloth to keep its

current deformation (that is, the bend angles).

This is different from Keep Shape,which

determinestheextenttowhichtheclothtendsto

keep its original deformation (or the one defined

by the Target State). If you set Plasticity to 100.0,

the cloth will not attempt to change the angles

between triangles. If you want stiffer cloth, but you

don’twanttheclothto"balloon"up,increasethe

Plasticity value.

Depth—Collision depth for the cloth object. If

a portion of cloth reaches this depth inside a

collision object, then the simulation will no longer

trytopushtheclothoutofthemesh.Thisvalueis

measured in 3ds Max units.

To specify a Depth value specific to the cloth

object, use this setting and be sure to turn on Use

Cloth Depth/Offset.

Offset—The distance maintained between the

cloth object and the collision object. A very low

value can cause the collision mesh to protrude

from under the cloth. A very high value causes the

fabric to appear to be floating above the collision

object. This value is measured in 3ds Max units.

To specify an Offset value specific to the cloth

object, use this setting and be sure to turn on Use

Cloth Depth/Offset.

Cling—Theextenttowhichtheclothobjectadheres

to a collision object. Range=0.0 to 99999.0.

Default=0.0.

You can use this parameter to simulate effects such

as wet cloth. A setting of 1.0 should be just enough

to hold the default material onto a surface against

its own weight.

Use Cloth Depth/Offset—Uses the Depth and Offset

values set in Cloth Properties. When on, the cloth

object ignores the collision object Depth and

Offset values.

Based on—DisplaysthepresetthattheCloth

Properties are based on. When you modify some

parameters and save a preset, it will use the name

ofthelastpresetyouloadedastheBased on name.

Anisotropic—When on, you can set different U

andVvaluesfortheBend,B-Curve,andStretch

parameters. The U and V directions are defined

606 Chapter 8: Modifiers

by Garment Maker (page 1–607) and do not apply

to non-Garment Maker meshes, for which setting

different U/V values might result in unexpected

behavior.

UseEdgeSprings—Enables an alternative method

for calculating stretch. When on, stretch force

is based on springs along triangle edges. When

off, the stretch and shear forces are calculated in

a more sophisticated manner to more accurately

reflect the underlying physics.

Use Solid Friction—Uses the friction of the collision

object to determine friction. Values for collision

can be assigned either to the cloth or the collision

objects. This enables you to set different friction

values for each collision object.

Keep Shape—These settings preserves the shape

of the mesh based on the values of Bend % and

Stretch % (see following). In normal operation,

when Cloth creates a simulation, it tries to "flatten

out" the cloth. To enable these settings, turn on

Use Target State.

Bend %—Modulates the target bend angles to a

value between 0.0 and the angles defined by the

target state.Anegativevalueinvertstheangles.

Range=-100.0 to 100.0. Default=100.0.

Stretch %—Modulates the target stretch angles to

avaluebetween0.0andtheanglesdefinedbythe

target state.Anegativevalueinvertstheangles.

Range=-100.0 to 100.0. Default=100.0.

Layer—Indicates the correct "order" of cloth

pieces that might come in contact with each other.

Range=-100 to 100. Default=1.

If your garments and/or panels are all correctly

orientated to begin with, then cloth-to-cloth

collision detection should keep items from

interpenetrating. However, the initial state of a

garment/panel might have some interpenetration

that cannot be resolved. For example, suppose you

make a jacket with Garment Maker where the front

rightpanelissupposedtositontopofthefront

left panel. When you sew together the garment

(generally with self-collision off), the front panels

will interpenetrate, so to make sure that the right

panel sits outside the left panel, you might have

to use constraints or Live Drag. Using the Layers

option on the panels can help here.

Here is the logic of layers: When two pieces of

cloth (A and B) are in collision-detection range,

their layers (layerA and layerB) are compared and

the following rules are applied:

• If either layerA or LayerB is 0, then Cloth uses

the regular cloth-to-cloth collision method.

• If layerA=layerB, then Cloth uses the regular

cloth-to-cloth collision method.

• If abs(layerA) > abs(layerB) then piece A is

pushedtotheappropriatesideofpieceB.

Which side? If layerB > 0, then to the side

indicated by the face normals. If layerB<0 then

to the opposite side.

The sign of the Layer value indicates what the

"outside" of that piece of cloth is. A positive sign

means "The side that the normals face is the

outside".

Collision Properties group

Collision Object—Sets the object or objects

highlighted in the left-hand column to be collision

objects. Cloth objects bounce off or wrap around

collision objects.

Depth—Collision depth for the collision object.

If a portion of cloth reaches this depth inside a

collision object, then the simulation will no longer

Garment Maker Modifier 607

trytopushtheclothoutofthemesh.Thisvalueis

measured in 3ds Max units.

Offset—The distance maintained between the

cloth object and the collision object. A very low

value can cause the collision mesh to protrude out

from under the cloth. A very high value will look

like the fabric is floating on top of the collision

object. This value is measured in 3ds Max units.

Dyn. Fric.—Dynamic friction between the cloth

and this particular solid object. A larger value will

add more friction and cause the fabric to slide

across an object less. A lower value will allow the

fabric to slip of an object very easily, similarly to

how silk would react. This value is only used for

interaction with cloth objects that have Use Solid

Friction enabled, otherwise the friction value is

taken from the cloths own properties.

Static Fric.—Static friction between the cloth and

solid objects. When the cloth is in stationary

position, this value will control its ability stay

where it is, or slip away. This value is only used for

interaction with cloth objects that have Use Solid

Friction enabled otherwise the friction value is

taken from the cloths own properties.

Enable Collisions—Enables or disables collisions

for this object while still allowing it to be in the

simulation. This means the object can still be used

for making surface constraints.

Garment Maker Modifier

Select a shape object (spline or NURBS curve). > Modify

panel > Modifier List > Object-Space Modifiers > Garment

Maker

Garment Maker is a modifier that is designed to

put together 2D patterns that you can then use

with Cloth (page 1–578).WithGarmentMaker

you can take a simple, flat, spline-based pattern

and convert it to a mesh, arrange its panels, and

create seams to sew the panels together. You can

also specify internal seam lines (page 1–610) for

creases and cuts.

See also

Troubleshooting and Error Codes in Garment Maker

(page 1–622)

Cloth and Garment Maker Modifiers (page 1–571)

Cloth Overview (page 1–571)

Cloth Modifier (page 1–578)

Basic Concepts

Splines

When you start working with Garment Maker, you

begin either by importing or drawing traditional

2D splines in the 3ds Max Top viewport. To use a

spline with Garment Maker and eventually Cloth,

it must be a closed shape. This does not mean

that you cannot have splines inside of splines, but

ifyouhavemultiplesplineshapesinsideofone

another, the inner splines are treated as "holes" in

the fabric, as shown below.

Two closed splines - one with a nested spline inside

608 Chapter 8: Modifiers

Resulting geometry after applying Garment Maker

Tip: For best results, when applying Garment

Maker to multiple splines, first combine the splines

into a single object.

Also,tokeepyourpatternsprecise,norounding

of boundary edges and corners, you must break

the splines at the corner vertices. This is also

important because it directly impacts the segments

ofthesplinesthataretobeusedtocreateseams

between the individual panels. To understand this

better, take a look at the following example.

In the image below are two rectangular splines to

which a user might want to apply Garment Maker.

AfterapplyingGarmentMaker,theideaistothen

create a seam between the two panels along the

inner edge. First, it should be noted that both

splines are closed shapes and have been attached

so they are part of the same editable spline object.

When Garment Maker is assigned, look what

happens:

Garment Maker seems to have "chopped" corners

of the rectangular splines off, altering the pattern.

Beyond that, if the user tried to select the edges of

thepanelsthatmakeuptheseam,theywillnotbe

able to. This is because Garment Maker currently

has only a single spline to work with for each panel.

Tokeepthepatternclean,dothefollowing:

1. Access the Vertex sub-object level of the

editable spline.

2. Selecttheverticeswhereseamsaretobe

created.

3. Click Break to create unique segments that

Garment Maker can use to create a seam.

Shown below are the results when all of the vertices

are selected and then broken.

All vertices in both panels selected and then "broken"

Garment Maker Modifier 609

Garment Maker applied to "broken" splines

Thecornersarenowpreserved. Whentheuser

goes to select the edges between the panels to act

as seams, they will be selected independently of

the other panel edges and highlight in red. This is

what you want in order to create seams.

Seam edges selected at the Seam sub-object level in red

Garment Panels

Garment Maker’s Panels sub-object level lets

you arrange the panels of the pattern around the

character. You can then create seams where the

panels should connect and be "sewn" together.

This lets you create the seams you need while

seeing how the clothing will look around your

character. Creating seams like this is in many cases

farsuperiortomakingtheminaflatlayoutbecause

it allows you to visualize what is being done.

Arranged panels with seams defined

Pattern Creation

To m a k e p a t t e r n s y ou c a n u s e t h e b a s i c 2 D s p l i n e

tools in 3ds Max. Cloth comes with several

patterns, but after you learn to use them, you

will most likely want to start making your own.

Patterns can take advantage of many features

that real sewing patterns have, such as darts and

multi-segment seams. To learn about other pattern

making software, see Pattern-Making Software

(page 1–578).

Tricky Assemblies

As you begin to move beyond the basic patterns

foryourgarments,thereareanumberofrulesthat

you should follow in order to work effectively with

Cloth:

610 Chapter 8: Modifiers

• Always create your pattern splines in the Top

viewport. Garment Maker assumes that the

pattern is laid out this way.

• When seaming garments with MultiSegment

edges, you must take care of the order in which

theseamsaremade.

Note: A MultiSegment comprises two or more

individual segments acting as a single segment;

you create it with Garment Maker.

When creating a seam you cannot use:

• A MultiSegment that has multiple gaps in it,

unless all but one of those gaps are bridged by

another seam.

• AsegmentorMultiSegmentthatformsaclosed

loop (that is, a path directly, or via seams,

completely encloses the MultiSegment).

Both these issues arise in the common sleeve

assembly shown below. The sleeve needs to be

sewn to the armhole. When assembled, both

thesleeveandthearmholeformclosedloops.

The sleeve forms a loop via the seam along its

underside. The armhole is closed by two seams:

one across the shoulder and one down the side.

Now, since you cannot seam closed loops together,

it therefore follows that both the armhole and

sleevemustbeleftopenwhencreatingtheseam

connecting them. So the order is as follows:

1. Becausethesleeveisonesegmentandthe

armhole is two segments, you must make a

MultiSegment out of those two segments first.

2. When dealing with MultiSegment seams, the

orderofcreationisimportant.Ifyouattempt

to create seams in the wrong order, you might

get a “Seamline topology is wrong” error,

and the seams will not be created. When

dealing with MultiSegment seams, create the

minimum number of seams necessary to make

the MultiSegment seam match the topology of

theotherpiecetothatyouaregoingtoconnect.

Inthiscase,youhaveanarmseamthatisopen

at the bottom, and a MultiSegment that is open

at both the top and the bottom. If you closed

the side of the garment, you’d end up with

the situation illustrated in the center image

below, where the seam is twisted (it cannot

be “untwisted” by reversing the seam). By

closing the top of the armhole MultiSegment

with a seam at the shoulder, you’ll create proper

topology to make the MultiSegment seam.

3. Next, you can seam up the sleeve to the

armhole. See the leftmost image below.

4. Finally, you can add the seam down the side of

thegarmentandacrosstheundersideofthe

sleeve (the order is irrelevant here).

Left: Seam created for shoulder first and then for the

MultiSegment, producing the desired result.

Middle: Seam created at the bottom of the body MultiSegment

first, resulting in an irreversible MultiSegment seam from the

arm to the body.

Right: No seams made on the body to connect its

MultiSegment, resulting in a seam topology error.

Internal Seam Lines

When drawing panels, you can use extra open

splines to define seam lines within the panels,

also known as internal seam lines. Triangulation

always occurs along these internal seam lines, so

youcanusethemtohelpdefinethestructureof

the cloth panel, and as crease lines.Also,youcan

specify that an internal seam line should be cut,

so that the cloth separates along the line during

the simulation.

Garment Maker Modifier 611

To create an internal seam line, simply specify

a Material ID of 2 for the internal spline, which

should not be closed. Also, for best results, keep

its endpoints away from other splines in the shape.

And, as with outside seam lines, an internal spline

should not cross over itself or other splines.

Left: Open spline, set to Material ID 2, specifies internal seam

line.

Center: At Garment Maker > Curves or Seams sub-object level,

seam line is selected and Cut is turned on.

Right: Cloth separates along cut line during simulation.

Procedure

To place garment panels automatically:

The Garment Maker modifier provides tools

for positioning garment panels on a humanoid

character model. This automatic placement is

approximate; further adjustment is typically

necessary.

1. Load or create your character model.

2. Create your panels as splines or NURBS curves

parallel to the world XY plane (that is, create

them in the Top viewport).

Shirt panels, as seen in the Top viewport

Tip: When applying Garment Maker to multiple

splines, for best results, first combine the splines

into a single object. You can still manipulate

theseparatepieceswithintheGarmentMaker

modifier at the Panels sub-object level.

3. Apply the Garment Maker modifier. Set

parameters as necessary.

4. On the Main Parameters rollout, click the None

button, and then click the character model.

Theobject’snameappearsonthebutton.

5. Below this button, click the Mark Points On

Figure button.

A character outline appears in the corner of

each viewport. Superimposed on the outline

are seven asterisk-shaped points; the one at the

center-top of the chest is highlighted in red.

612 Chapter 8: Modifiers

The character outline lets you mark points for positioning

panels.

6. Click the corresponding point on the front of

your model.

As you move the mouse cursor over the surface

of the model, a red circle shows where the

marker will be placed. When you click, an axis

tripod appears on the surface at that location,

and the next point on the character outline, at

the center of the pelvic region, is highlighted

in red.

The axis tripod appears on the object surface where you

click.

7. Continue to click at each location on your

model that corresponds to the highlighted

marker on the character outline until you’ve

designated all seven points.

All seven points are marked on the character model.

To finish, right-click in the viewport.

8. Go to the Panels sub-object level and select a

panel.

The front shirt panel is selected.

9. At the bottom of the Panels rollout, choose a

Level,andtheninthePanelPositiongroup,

click the button corresponding to the desired

position for the panel.

The panel moves to the designated position.

Garment Maker Modifier 613

Panel Position=Front Center; Level=Top at shoulder

10.Adjust as necessary. For example, in the above

illustration, Level should probably be set to Top

At Neck. To correct this, you would choose Top

At Neck, and then click Panel Position > Front

Center again.

Panel Position=Front Center; Level=Top at neck

Of course, you can also move the panel

manually; in fact, in most cases it will probably

be necessary to do so. Panel Position serves

primarily as a starting point for placing panels.

11.Continue selecting panels and placing them,

adjusting as necessary.

All panels placed with Panel Position. Note that sleeve

panels need to be rotated 90 degrees, and cuff panels need

to be rotated and moved to the wrists.

Interface

The Garment Maker interface varies depending

on the current modifier stack level: object (Main

Parameters) (page 1–613) or one of the four

sub-object levels:

•Curves (page 1–616)

•Panels (page 1–618)

•Seams (page 1–620)

Main Parameters rollout

The Main Parameters rollout is the first rollout

youseeontheModifypanelonceyouapplythe

Garment Maker modifier. This rollout comprises

mostly controls to create and adjust the mesh.

The remaining rollouts are available at the

sub-object levels.

614 Chapter 8: Modifiers

Density—Adjusts the relative density of the mesh

(in other words, the number of triangles per unit

area). Possible values range between 0.01 and 10.0.

A value of 10.0 creates a very dense mesh, while

0.01 creates a comparatively low-resolution mesh.

For best results, use the lowest possible density

to achieve the desired result. This speeds up

simulation time and overall performance.

Left: Density=0.5

Right: Density=1.5

Auto mesh—When on, Garment Maker updates

themeshautomaticallyifyouchangethedensity

or add/remove seams.

This setting is active at all sub-object levels, so it’s

recommended you leave it on to see changes as

youmakethem.Theonlytimeyoumightwantto

turn off Auto Mesh is while creating the seams at

the Curves sub-object level. Re-meshing can take

some time, so you might want to define a number

of seams before re-meshing.

Preserve—When on along with Auto mesh,

Garment Maker preserves the 3D shape of the

object. When off, if you change the Density value,

the panels are flat.

Mesh It!—Applies a change in the Density value.

If Auto mesh is off when you change the Density

value, you must click the Mesh It! button to apply

the change.

Tip: SometimesinanerrorconditionMeshIt!will

no longer respond. If this happens, go to the spline

levelinthemodifierstack,andthenreturntothe

Garment Maker level.

Mesh It and Preserve—Applies a Density change

andalsopreservesthe3Dshapeoftheobject.

This lets you change the density of the cloth or the

underlying spline shape after simulating without

having to run the simulation again.

The following setting, comprising three radio

buttons, determines how the cloth panels are

passed up the modifier stack to the Cloth modifier:

•Arranged Panels—With this option, the mesh

passed up the stack will be have the panels

arranged/bent around the figure as they were

placed by the user in panels sub-object mode.

•Preserved Surface—When both Auto mesh and

Preserve are on, or when you click Mesh It And

Preserve, Garment Maker takes a snapshot of

the mesh at the top of the stack (where Cloth

is applied). This snapshot is passed up the

stack when you choose Preserved Surface. This

Garment Maker Modifier 615

way, if you change the Density value, the mesh

will retain its deformation. Once a snapshot

has been taken, at the Panel sub-object level,

thepanelswillhavetheUsePreservedcheck

box on. This means you can move the panels

around while maintaining their deformation.

Also note that once a snapshot has been taken,

Garment Maker automatically chooses the

Preserved Surface option.

•Flat Panels—Displays all the panels as flat

surfaces. This mode defines the texture

coordinates of the garment vertices. With this

output mode active, you can adjust texture

coordinatesatthePanelsub-objectlevelby

moving and rotating the panels.

Stretch Map Coords—When on, Garment Maker

uses the bounding box of the original spline shape

in defining the texture mapping coordinates. The

lower-left corner of the box is always assigned UV

coordinates of (0,0). If Stretch Map Coords is on,

the upper-right corner has coordinates of (1,1).

This conforms to the 3ds Max convention for

bitmap textures. If the box is off, the upper-right

corner has coords (1,a) (a>1) or (a,1) (a>1), which

are chosen to preserve the proportions of the box.

This is appropriate for procedural textures.

Left: Stretch Map Coords on

Right: Stretch Map Coords off

Figure group

Use these controls to specify locations for each

panel on the figure to be clothed

[button]—Click this button, labeled “None” by

default, and then click the object, or figure, to

which the clothing is to be applied. Typically this

is a character model. Thereafter, the name of the

object appears on the button.

Mark Points on Figure—After specifying a figure

using the “None” button (see preceding), use

this control to specify locations on the figure for

automatically positioning panels in the garment.

When you click Mark Points On Figure, this

character outline appears in the corner of each

viewport:

The character outline lets you mark points for positioning

panels.

As each point highlights in red, click the

correspondinglocationonyourfigure.Whenyou

do so, an axis tripod appears on the object surface

and the next point on the outline highlights.

During this process you can manipulate the

viewport as usual, zooming, panning, and rotating

freely. You can continue clicking points as long as

616 Chapter 8: Modifiers

you like; to stop, right-click in the viewport, or

turn the button off.

Note: If you return to marking points later, the

software starts again where you left off earlier.

The points highlight in this order:

1. Upper Chest

2. Pelvis

3. Neck

4. Right shoulder

5. Left shoulder

6. Right hand

7. Left hand

After setting the points, you can use the Panel

Position and Level controls at the Panels sub-object

level to place the panels automatically.

Curves rollout

Use the Curves sub-object level to stitch your

pattern panels together. You can also connect

seams in the Seams sub-object mode with a more

three-dimensional representation of the panels.

The Curves sub-object level provides a flat layout

to work in that can be useful for more complex

patterns. You can create and delete seams and

adjust the way your pattern fits together.

Create Seam—Creates a seam between two

segments. Select two segments of the panels

you would like to sew together, and click Create

Seam. This will make a seam between these two

panels that will be sewn together at simulation

time. Seams get a randomly-generated color to

distinguishthemfromthepanels.

Garment Maker Modifier 617

Top: Segments selected

Bottom: Seam made between two panels

Delete Seam—Deletes selected seam. (Selected

seam is colored red).

Reverse Seam—Reverses or flips a twisted seam.

When creating seams, the first vertex on each

segment is used to line up the resulting seam panel.

Sometimes you can end up with a twisted seam

and will need to use Reverse Seam to untwist it.

A twisted seam that needs to be reversed

Make MultiSegment—AMultiSegmentisa

combination of two or more segments that will be

treated as one segment for the purpose of creating

seams. Select the segments you want to combine

then click this button. Note that if the segments are

not contiguous, the gaps must be bridged by seams

beforethisMultiSegmentcanbeusedinaseam.

Break MultiSegment—Break apart selected

MultiSegments.

On—Turns the selected seam on or off, making it

active or inactive.

Crease angle—Creates a crease at the selected seam.

Theanglevaluedeterminesthetargetangleofthe

crease between the two panels or along an internal

seam line (page 1–610)

Left: High crease angle

Right: Low crease angle

Crease Strength—Increase or decrease the strength

of the selected seam. This value affects how much

the seam will resist bending in relation to the rest

of the cloth object. A value of 2.0 means that the

clothwillhavetwicetheresistancetobending

that it would otherwise have (as defined by the

object/panel/vertex group properties).

Sewing Stiffness—The amount of force with which

the panels are pulled together at simulation time.

A larger value pulls the panels together harder and

faster.

Cut—Applies only to an internal seam line (page

1–610). Makes a cut in the fabric at this seam line.

Seam Tolerance—Theamountofdifferencein

length between two edges that is permitted in

the formation of a seam. The two segments

that comprise a seam should be about the same

length. If they have different lengths, the difference

must be within this tolerance range. If you seam

together two segments that are significantly

different in length, the cloth will tend to bunch up

(which could be a desired effect). In order to allow

618 Chapter 8: Modifiers

the creation of such a seam, the Seam Tolerance

will need to be increased. The default value is 0.06,

which means that the two segment lengths must be

within 6 percent of each other’s lengths.

Draw Seams—Showstheseamsintheviewport;

hides them when off.

Show Mesh—Shows the mesh in the viewport, or

hides it to work on your pattern. When this option

is off, the mesh is represented with a bounding box.

Panels rollout

The Panels sub-object level of the Garment Maker

modifier lets you position and bend the panels

of your pattern to fit your object or figure. You

can also use these controls to adjust the texture

mapping of your garment.

Garment Maker Modifier 619

Density—Controls the mesh density of a selected

panel. This value is applied as a multiplier of the

Main Parameters rollout > Density setting.Youcan

increase the density of a particular panel by raising

this value.

If Main Parameters rollout > Auto Mesh is off

when you change this value, go back to the Main

Parameters rollout (Cloth level in modifier stack)

and click Mesh It! to update the mesh. For this

reason, it is recommended that you leave Auto

Mesh on. The only time you might want to turn

off Auto Mesh is while creating the seams at the

Curves sub-object level. Re-meshing can take

some time, so you might want to define a number

of seams before re-meshing.

Different Density settings applied to separate panels

Mat ID—Set the material ID for the selected panel.

Usingthisoptionenablesyoutoassigndifferent

materials to select portions of the clothing.

Position group

Reset—Resets the position of the selected panels

to their original locations (that is, the locations

immediately after Garment Maker was applied).

Reset All—Resets the position of all panels to their

original locations.

620 Chapter 8: Modifiers

Deformation group

Most controls in this group are available only when

one or more panels are selected.

Reset—Removes the deformation of the selected

panels (restoring the flat state).

Reset All—Removes the deformation from all

panels.

Use Preserved—Turn this on to override the None

or Curved deformation options. When on, the

panel gets its shape from the preserved mesh

instead of the deformation options.

None—Makesthispanelflat.

Curved—UsethevalueintheCurvaturefieldto

bend the panel.

Curvature—Sets the amount of curve or bend of a

panel. The higher this value is, the more the panel

will curve.

X-axis—Sets the axis for the curvature to the

panel’s local X axis.

Y-axis—Sets the axis for the curvature to the

panel’s local Y axis.

Panel Position—Moves the selected panel to the

position specified by the button you click. These

locations are determined by the software based

on the positions you set with the Mark Points On

Figure controls at the Garment Maker object level.

The positions are:

• Front Center

•FrontRight

•FrontLeft

•BackCenter

•BackRight

•BackLeft

•RightSide

•LeftSide

•RightArm

•LeftArm

Note: The terms Front, Back, Right, and Left refer

to the character’s orientation.

Level—Sets where the top of the panel should go.

Garment Maker derives these locations from the

locations you specify with the Mark Points On

Figure controls. The choices are:

•Topatneck

•Topatshoulder

•Topatunderarm

•Topatwaist

If you change the setting here, it affects the

subsequent Panel Position results.

Adjusting Texture Coordinates

When Garment Maker is in Flat Panels mode (that

is, the Main Parameters rollout > Flat Panels option

is chosen), the texture coordinates are defined by

the positions of the panels. Imagine the panels are

being cut out of a large piece of fabric. The location

and orientation of a panel in that large piece of

fabric determine how the texture is aligned on it.

By moving and rotating a panel, you can change

its texture coordinates. Remember, you must be in

Flat Panels mode to do this.

Seams rollout

At the Seams sub-object level, you can define and

edit seams and their properties. Seams have the

same functionality as curves, but at this level the

mesh is displayed three-dimensionally instead of

inaflatlayout.Also,atthislevelthemeshisalways

updatedwhenyouaddorremoveaseam.

Garment Maker Modifier 621

Create Seam—Creates a seam between two

segments. Select two segments of the panels you

would like to sew together and then click Create

Seam. This creates a seam between the two panels

that will be sewn together at simulation time.

Left: Segments selected

Right: Seam created between the two segments

Delete Seam—Deletes selected seam. (Selected

seam is colored red).

Reverse Seam—Reverses or flips a seam that has

been made with a twist in it. When creating seams,

the first vertex on each segment is used to line

up the resulting seam panel. Sometimes you can

end up with a twisted seam and will need to use

Reverse Seam to untwist it.

A twisted seam that needs to be reversed

Make MultiSegment—AMultiSegmentisa

combination of two or more segments that will be

treated as one segment for the purpose of creating

seams. Select the segments you want to combine

then click this button. Note that if the segments are

not contiguous, the gaps must be bridged by seams

beforethisMultiSegmentcanbeusedinaseam.

Break MultiSegment—Break apart selected

MultiSegments.

On—Turns the selected seam on or off, making it

active or inactive.

Crease angle—Creates a crease at the selected seam.

Theanglevaluedeterminesthetargetangleofthe

crease between the two panels or along an internal

seam line (page 1–610).

Left: High crease angle

Right: Low crease angle

Crease Strength—Specifies the strength of the

selected seam. This value affects the extent to

which the seam resists bending in relation to the

rest of the cloth object. A value of 2.0 means that

the cloth will have twice the resistance to bending

622 Chapter 8: Modifiers

that it would otherwise have (as defined by the

object/panel/vertex group properties).

Sewing Stiffness—The amount of force with which

the panels are pulled together at simulation time.

A larger value will pull the panels together harder

and faster.

Cut—This applies only to an internal seam line

(page 1–610).Makesacutinthefabricatthis

seam line.

Seam Tolerance—Theamountofdifferencein

length between two edges that is permitted in

the formation of a seam. The two segments that

compriseaseamshouldbeaboutthesamelength.

If they have different lengths, the difference must

be within this tolerance range. If you seam together

two segments that are significantly different in

length, the cloth will tend to bunch up (which may

be a desired effect). In order to allow the creation

of such a seam, the Seam Tolerance will need to be

increased. The default is 0.06, which means that

the two segment lengths must be within 6%.

Remove All—Deletes all seams.

Draw Seams—Showstheseamsintheviewport;

hides them when turned off.

Show Mesh—Show the mesh in the viewport, or

hide it to work on your pattern. When this option

is off, the mesh is represented with a bounding box.

Troubleshooting and Error Codes

in Garment Maker

When you are working with Garment Maker, you

may encounter errors if your splines are set up

incorrectly. Here is a list of the common error

messages you may see, and how to correct them.

Cannot remesh: the number of panels has

changed: This error occurs when the user has

modified the original pattern, and added new

closed splines to it. The only way to correct this

is to delete the original Garment Maker modifier

and reapply a new one.

Number of boundary curves has changed: Users

will get this error if they add or remove splines

from the pattern after the initial application of

Garment Maker. To correct it, delete the original

Garment Maker modifier and reapply a new one.

Boundary splines do not form a closed loop: In

this case, the splines that the user has tried to apply

Garment Maker to don’t form closed loops. Often,

this is caused by an extra vertex and segment

attached to one of the splines, and usually this

segmentissosmallyoucannotseeit. Itcanbe

difficult to find the offending part. To remedy this

situation, select all the vertices, weld them, then

re-break them at the corners.

Splines form overlapping loops: Whenauser

gets this error, it means that some panel loops

overlap others (in the XY plane of the local view).

If you create the shape in the Top view this should

not happen (provided you don’t create overlapping

loops). Most commonly, this occurs when the user

create the splines in a viewport other than Top and

onaplaneotherthantheXYplane.

Unable to create seam: This error happens in

when trying to create a seam in two cases:

• One (or more) of the segments/MultiSegments

in the attempted seam forms a closed loop (for

example, if you make a MultiSegment from the

armhole segments, that MultiSegment forms a

closed loop if you create seams at the shoulder

andbelowthearmhole).Youwillhavetodelete

one of the seams so that the MultiSegment is no

longer closed. For an armhole, you generally

keep the seam below the armhole open when

youjoinitwiththesleeve.Youcanthenclose

the seam. For the same reason, the sleeve

cannot be seamed at the underside before

joining to the armhole.

CrossSection Modifier 623

• A MultiSegment in the attempted seam contains

segments that are not contiguous and that are

not linked by any seam.

CrossSection Modifier

Select a spline object with spline cross sections. > Modify

panel > Modifier List > CrossSection

Make a selection. > Modifiers menu > Patch/Spline

Editing > CrossSection

The CrossSection modifier creates a "skin" across

multiple splines. It works by connecting the

vertices of 3D splines to form a skin. The resulting

object is another spline object that can be used

with the Surface modifier (page 1–842) to create

a patch surface. These two modifiers, when used

together, are sometimes referred to collectively as

“Surface Tools.”

CrossSection uses splines to create a model of a boat.

CrossSectioncanbuildaskinacross

various-shaped splines with different vertex counts

and open/closed status. The more different the

splines in vertex count and complexity, the more

likelytheskinwillhavediscontinuity.

Note: Similar functionality is provided by the

Editable Spline object (page 1–289).AttheEditable

Spline > Segment and Spline sub-object levels,

you can create a spline cage using Connect Copy

and Cross Section. Using this method, you need

to region-select the created vertices to transform

them. Also, this method lets you define the

ordering of the spline more easily than does the

CrossSection modifier.

Procedures

Example: To explore the CrossSection modifier:

1. OntheCreatepanel,clickShapes,

then click Circle.

2. Drag in the Top viewport to create a circle about

100 units in radius.

3. On the Modify panel, choose Edit Spline

from the Modifier List.

4. In the modifier stack display, turn on Spline

sub-object, then select the circle.

5. In the Front viewport, Shift +Move the spline

up to copy it.

6. Shift +Move the copy up to create a third

circle.

Note: The order that you attach or clone splines

is important: this is the order that CrossSection

uses to create the skin.

7. On the Modify panel, choose

CrossSection from the Modifier List.

CrossSection joins the vertices of the three

circles. A basic spline cylinder is displayed.

624 Chapter 8: Modifiers

8. On the Modify panel, on the Modifiers List,

choose Surface to add the Surface modifier.

The spline cylinder is transformed into a patch

surface by the Surface modifier.

9. To edit the model’s surface, change the splines

using controls in the Edit Spline modifier. Or,

since the output of the Surface modifier is a

patch surface, add an Edit Patch modifier and

use patch edit controls to change the surface.

An Edit Patch modifier above the Surface modifier was

used to create the image.

Example: Using the CrossSection modifier to skin

several splines with different shapes:

1. OntheCreatepanel,clickShapes.

2. OntheObjectTyperollout,turnonStartNew

Shape, then click NGon.

3. IntheTopviewport,createtwofive-sided

circular NGons.

4. OntheCreatepanel,withShapes

still active, click Line. Create two lines,

each with four vertices. Create the vertices

left-to-right.

CrossSection Modifier 625

5. On the main toolbar, click Select And

Move, then move the objects in the viewport to

order them along the Z axis with the NGons at

the bottom and the lines above the NGons.

6. Select the bottom NGon.

7. OntheModifypanel,chooseEditSpline

from the Modifier List.

8. In the Geometry rollout, click Attach.

9. Select the remaining NGon and lines in an

ascending order, as numbered in the image.

Note: The order of selection is important. The

CrossSection modifier uses the selection order

to define the skin.

Example continued: Lining up the vertices:

1. On the Modify panel, choose the Vertex

sub-object level in the stack display.

Lining up the first vertex of each spline is

important to prevent the surface from twisting.

2. Use Ctrl +click to select the rightmost vertex

of each line and the bottommost vertex of each

NGon.

3. On the Geometry rollout, click Make First.

Aligning the first vertex is important. This is

where the seam forks, going from a closed to an

open spline.

Example continued: Using CrossSection and Surface

to "skin" the shapes:

1. On the Modify panel, choose

CrossSection from the Modifier List.

The CrossSection modifier connects the splines

at the vertices.

2. On the Modifiers List, choose Surface.

The Surface modifier generates a patch surface

based on the splines.

3. In the modifier stack display, choose the

CrossSection modifier.

626 Chapter 8: Modifiers

4. On the CrossSection Parameters rollout, toggle

between Linear and Smooth. Notice how the

splines change.

5. On the Modify panel, toggle the Show

End Result On/Off Toggle button to display the

final patch surface. The toggle won’t remain on

if the CrossSection modifier is current. Drop

down to the Editable Patch in the stack and

turnontheShowEndResulttoggleifyoulike.

Tip: When you use CrossSection, draw splines

in a consistent direction. A twisted surface

results when lines are created from vertices that

are not lined up.

Interface

Linear/Smooth/Bezier/Bezier Corner—Determines

what type of curve will be used through the spline

vertices.

Delete Mesh Modifier

Modify panel > Make a sub-object selection. > Modifier

List > Delete Mesh

Modify panel > Make a sub-object selection. > Modifiers

menu > Mesh Editing > Delete Mesh

Delete Mesh used to remove the faces where the handle joins

the cup.

Delete Mesh provides parametric deletion based

on the current sub-object selection level in the

stack. The possible choices are faces, vertices,

edges, and objects. Apply the Delete Mesh

modifier to delete the geometry specified at that

sub-object level.

For example, you can apply a Mesh Select modifier

(page 1–719), select a row of faces in a cylinder,

and then apply a Delete Mesh modifier to delete

thosefaces.Toundothedeletion,youcansimply

remove the Delete Mesh modifier.

Tip: Try applying a Delete Mesh modifier following

an animated Vol. Select modifier (page 1–952).

Procedure

Example: To delete a row of faces in a cylinder:

1. Create a cylinder (page 1–177).

2. Apply a Mesh Select modifier and select a row

of faces in the cylinder.

3. Apply the Delete Mesh modifier to delete those

faces.

To undo the deletion, remove the Delete

Mesh modifier.

Delete Patch Modifier 627

Interface

This modifier has no parameters.

Delete Patch Modifier

Modify panel > Make a patch selection. > Modifier List

> Delete Patch

Make a selection. > Modifiers menu > Patch/Spline

Editing > Delete

Delete Patch provides parametric deletion based

on the current sub-object level in the stack. The

possible choices are vertices, edges, patches, and

elements. Apply the Delete Patch modifier to delete

the geometry specified at that sub-object level.

For example, you can apply a Patch Select modifier,

selectarowofpatchesinapatchsphere,and

then apply a Delete Patch modifier to delete those

patches. To undo the deletion, remove the Delete

Patch modifier.

Delete Patch used to remove sections of a patch sphere.

Procedure

Example: To delete a patch in a sphere:

1. Create a sphere.

2. Right-click the sphere, and choose Convert To

>ConvertToEditablePatchonthequadmenu.

3. On the Modify panel, in Editable Patch,

choose the Patch sub-object level, and select

apatch.

4. In the Modifier List, choose the Delete Patch

modifier.

This deletes the selected patch.

To undo the deletion, remove the Delete

Patch modifier.

Interface

There are no parameters for this modifier.

Delete Spline Modifier

Modify panel > Select a spline sub-object. > Modifier List

> Delete Spline

Modify panel > Select a spline sub-object. > Modifiers

menu > Patch/Spline Editing > Delete Spline

TheDeleteSplinemodifierprovidesparametric

deletion of spline geometry based on the current

sub-object selection level in the stack. The possible

selection levels include vertices, segments, and

splines. Apply the Delete Spline modifier to delete

the geometry specified at that sub-object level.

Delete Spline used to remove a segment in the middle of a

spline.

628 Chapter 8: Modifiers

Procedure

To use the delete spline modifier:

1. Create a shape that contains multiple splines.

2. Apply a Spline Select modifier (page 1–831) and

select a section of the spline for deletion.

3. Apply a Delete Spline modifier to delete the

section.

To undo the deletion, remove the Delete

Spline modifier.

Interface

This modifier has no parameters.

Disp Approx Modifier

Modify panel > Make a selection. > Modifier List >

Object-Space Modifiers > Disp Approx

Make a selection. > Modifiers menu > Surface Deformers

> Disp Approx

Make a selection. > Modifiers menu > NURBS Editing >

Disp Approx

The Disp Approx modifier (short for Displacement

Approximation) lets you make the displacement

mappingsettingsonanobjectinthemodifier

stack (page 3–760).Itconvertsitsinputobject

to an editable mesh (page 1–996),soyoucanuse

this modifier to add displacement mapping to

geometry primitives (page 1–170) and any other

kind of object that can convert to an editable mesh.

Using an image to displace the surface of a cylinder

Displacement mapping (page 2–1511) uses a map

to change surface geometry. You apply the map

using the Material Editor (page 2–1409).

You don’t need to apply this modifier to NURBS

(page 1–1078) surfaces, patches (page 1–993),

editable meshes (page 1–996),oreditable

polymeshes (page 1–1022),becauseyoucanapply

displacement mapping directly to these kinds of

objects.

Procedure

To apply displacement mapping:

1. Select an object other than a NURBS surface,

patch, editable mesh, or editable poly.

2. Apply the Disp Approx modifier.

Now you can apply displacement mapping

to the object. The Displacement Approx.

rollout has parameter that you can adjust, but

displacement mapping will work using the

default settings.

3. Go to the Material Editor. Apply a

Standard material to the object.

Displace Modifier 629

4. In the material’s Maps rollout, click

the Displacement button, then use the

Material/Map Browser to apply a displacement

map.

Interface

Subdivision Displacement—Subdivides mesh faces

to accurately displace the map, using the method

and settings you specify in the Subdivision Presets

and Subdivision Method group boxes. When

turned off, the modifier applies the map by moving

vertices in the mesh, the way the Displace modifier

(page 1–629) does. Default=on.

Split Mesh—Affectstheseamsofdisplacedmesh

objects; also affects texture mapping. When

on, the mesh is split into individual faces before

displacing them; this helps preserve texture

mapping. When off, texture mapping is assigned

using an internal method. Default=on.

Tip: This parameter is required because of an

architectural limitation in the way displacement

mapping works. Turning Split Mesh on is usually

the better technique, but it can cause problems for

objects with clearly distinct faces, such as boxes,

or even spheres. A box’s sides might separate as

they displace outward, leaving gaps. And a sphere

might split along its longitudinal edge (found in

the rear for spheres created in the Top view) unless

you turn off Split Mesh. However, texture mapping

works unpredictably when Split Mesh is off, so

you might need to add a Displace Mesh modifier

(page 1–514) and make a snapshot (page 1–453)

of the mesh. You would then apply a UVW Map

modifier (page 1–922) andthenreassignmapping

coordinates to the displaced snapshot mesh.

Subdivision Presets and Subdivision Method

group boxes

The controls in these two group boxes specify how

the modifier applies the displacement map when

Custom Settings and Subdivision Displacement

are both turned on. They are identical to the

Surface Approximation controls (page 1–1239) used

for NURBS surfaces.

Displace Modifier

Modify panel > Make a selection. > Modifier List >

Object-Space Modifiers > Displace

Make a selection. > Modifiers menu > Parametric

Deformers > Displace

The Displace modifier acts as a force field to push

and reshape an object’s geometry. You can apply

its variable force directly from the modifier gizmo,

or from a bitmapped image.

630 Chapter 8: Modifiers

Displace used to change the surface in the container

There are two basic ways to use the Displace

modifier:

• Apply displacement effects directly by setting

Strength and Decay values.

•Applythegrayscalecomponentofabitmapped

imagetogeneratethedisplacement.Lighter

colors in the 2D image push outward more

strongly than darker colors, resulting in a 3D

displacement of the geometry.

The Displace space warp (page 2–76) has similar

features. It’s useful for applying effects to a large

number of objects or a particle system. Top: Bitmap displacement on a patch and the bitmap used.

Bottom: Terrain effects using Displace

Force Distribution

Displace distributes its force through four different

gizmos: Planar, Cylindrical, Spherical, and

Shrink Wrap. Gizmos are also used as mapping

coordinates for applying bitmaps. Sphere and

Shrink Wrap have the same effect when modeling,

but differ in the way they map.

The Spherical and Shrink Wrap gizmos begin

withauniformfieldaroundthem.TheCylinder

and Planar gizmos are both directional. Cylinder

pushes at right angles to its axis, and Planar pushes

at right angles to its surface.

Displace Modifier 631

By default, gizmos are centered on the object.

However, you can transform any of these shapes

and use it directly as a tool to deform the geometry

of an object.

Modeling Options

Displace is a versatile modifier with many possible

applications. Here are some options:

• Produce interior modeling effects by scaling

down the gizmo and moving it inside the

object. The outward force shapes the geometry

from within.

• Animate the modeling process. One result is

a roving, magnetic-like field that pushes and

pulls on a surface.

• Add additional Displace modifiers to an object,

using each one to create a different modeling

effect.

• Collapse a finished model into a plain mesh.

This reduces the object’s complexity and

removes all modifiers, but keeps the modeled

surface intact.

Procedures

To displace an object:

1. Select an object and apply the Displace

modifier.

2. In the Parameters rollout > Map group, select

one of the four gizmo types.

3. In the Displacement group, set values for

Strength and Decay. Vary these settings to see

the effect of the displacement on the object.

Depending on the object and the complexity of

the bitmap, you might need to use dense geometry

to see the effect clearly. Try a test run and, if

necessary, add tessellation in the areas of greatest

detail.

To apply a bitmap as a displacement map:

1. In the Parameters rollout > Image group, click

the Bitmap button (which is labeled "None"

until a map has been chosen). Use the file

dialog to choose a bitmap.

2. Adjust the Strength value. Vary the strength

ofthefieldtoseetheeffectofthebitmap

displacing the object’s geometry.

After you get the image you want from bitmapped

displacement, you can apply an Optimize modifier

(page 1–748) to reduce the complexity of the

geometry while retaining the detail.

To model with the displace modifier:

1. Apply Displace to the object you want to model.

Choose a gizmo from the Map group.

2. Increase the Strength setting until you begin to

seeachangeintheobject.

3. Scale, rotate, and move the gizmo to concentrate

the effect. As you do this, adjust the Strength

and Decay settings to fine-tune the effect.

Interface

Displacement group

Strength—When set to 0.0, Displace has no effect.

Values greater than 0.0 displace object geometry

or particles away from the position of the gizmo.

Values less than 0.0 displace geometry toward the

gizmo. Default=0.0.

Decay—Varies the displacement strength with

distance.

632 Chapter 8: Modifiers

By default, Displace has the same strength

throughout world space. Increasing Decay causes

the displacement strength to diminish as distance

increases from the position of the Displace gizmo.

This has the effect of concentrating the force

field near the gizmo, similar to the field around a

magnet repelling its opposite charge. Default=0.0.

Luminance Center—Determines which level of gray

Displace uses as the zero displacement value.

By default, Displace centers the luminance by using

medium(50percent)grayasthezerodisplacement

value. Gray values greater than 128 displace in the

outward direction (away from the Displace gizmo)

andgrayvalueslessthan128displaceintheinward

direction(towardtheDisplacegizmo).Usethe

Center spinner to adjust the default. With a Planar

projection, the displaced geometry is repositioned

above or below the Planar gizmo. Default=0.5.

Range=0 to 1.0.

Image group

Lets you choose a bitmap (page 3–917) and map

(page 3–968) to use for displacement. Both are

assigned and removed in the same way.

Bitmap button—Assigns a bitmap or map from a

selection dialog. After you make a valid choice,

these buttons display the name of the bitmap or

map.

This button is labeled "None" until you choose a

map.

Remove Bitmap/Map—Removes the bitmap or map

assignment.

Blur—Increase this value to blur or soften the effect

of the bitmapped displacement.

Map group

Contains mapping parameters for bitmapped

displacement. See UVW Map modifier (page

1–922).

The four mapping modes control how Displace

projects its displacement. The type of Displace

gizmo and its location in the scene determine the

final effect.

Displace Modifier 633

Displace gizmos: Planar, Cylindrical, Spherical, and Shrink

Wrap

Planar—Projects the map from a single plane.

Cylindrical—Projects the map as if it were wrapped

around the cylinder. Turn on Cap to project a copy

of the map from the ends of the cylinder.

Spherical—Projects the map from a sphere, with

singularities at the top and bottom of the sphere

where the bitmap edges meet at the sphere’s poles.

Shrink Wrap—Projects the map from a sphere, as

Spherical does, but truncates the corners of the

map and joins them all at a single pole, creating

only one singularity at the bottom.

Length, Width, Height—Specifies the dimensions of

the Displace gizmo’s bounding box. Height has no

effect on Planar mapping.

U/V/W Tile—Sets the number of times the bitmap

repeats along the specified dimension. The default

value of 1.0 maps the bitmap exactly once; a

value of 2.0 maps the bitmap twice, and so on.

Fractional values map a fractional portion of the

bitmap in addition to copies of the whole map. For

example, a value of 2.5 maps the bitmap two and a

half times.

Flip—Reverses the orientation of the map along

the corresponding U, V, or W axis.

Use Existing Mapping—Has Displace use mapping

set earlier in the stack. This has no effect if the

object is not mapped.

Apply Mapping—Applies the Displace UV mapping

to the bound object. This lets you apply material

maps to the object using the same mapping

coordinates as the modifier.

Channel group

Specifies whether to apply the displacement

projection to a mapping channel or a vertex color

channel, and which channel to use. For more

information on these channels, see UVW Map

modifier (page 1–922).

Map Channel—Choose this to specify a UVW

channel to use for the mapping, and use the

spinner to its right to set the channel number.

Vertex Color Channel—Choose this to use the

vertex color channel for the mapping.

Alignment group

Contains controls for adjusting the mapping

gizmo’s size, position, and orientation.

X, Y, Z—Flips the alignment of the mapping gizmo

along its three axes.

Fit—Scales the gizmo to fit the object’s bounding

box.

Center—Centers the gizmo relative to the object’s

center.

634 Chapter 8: Modifiers

Bitmap Fit—Displays a Select Bitmap dialog. The

gizmoisscaledtofittheaspectratioofthebitmap

you select.

Normal Align—Turns on Pick mode to let you select

a surface. The gizmo is aligned to the normal of

that surface.

View Align—Orients the gizmo in the same

direction as the view.

Region Fit—Tur ns o n Pick mo de to let you d rag tw o

points.Thegizmoisscaledtofitthespecifiedarea.

Reset—Returns the gizmo to its defaults.

Acquire—Turns on Pick mode to let you choose

another object and acquire its Displace gizmo

settings.

Edit Mesh Modifier

Create or select an object > Modify panel > Modifier List

>Object–SpaceModifiers>EditMesh

Create or select an object > Modifiers menu > Mesh

Editing > Edit Mesh

The Edit Mesh modifier provides explicit editing

tools for different sub-object levels of the selected

object: vertex, edge, and face/polygon/element.

The Edit Mesh modifier matches all the capabilities

of the base Editable Mesh object, except that

youcannotanimatesub-objectsinEditMesh.

See Editable Mesh (page 1–996) for a complete

parameter reference.

When possible, it’s far more efficient and reliable

toperformexplicitmodelingattheEditableMesh

level rather than store those edits within the Edit

Mesh modifier. The Edit Mesh modifier must copy

the geometry passed to it, and this storage can lead

to large file sizes. The Edit Mesh modifier also

establishes a topological dependency that can be

adversely affected if earlier operations change the

topology being sent to it.

There are, however, situations where using the Edit

Mesh modifier is the preferred method.

• You want to edit a parametric object as a mesh,

butwanttoretaintheabilitytomodifyits

creation parameters after the edit.

• You want to store your edits temporarily within

Edit Mesh until you are satisfied with the

results, before collapsing them permanently to

an editable mesh object.

• You need to make edits across several objects

atonce,butdonotwanttoconvertthemtoa

single editable mesh object.

• You have a modifier in the stack that must

remain parametric, and the mesh must be

edited after the modifier is applied.

Edit Normals Modifier

Select a mesh, patch, spline or NURBS object. > Modify

panel > Modifier List > Edit Normals

Select a mesh, patch, spline, or NURBS object. > Modifiers

menu > Mesh Editing > Edit Normals

The Edit Normals modifier gives you explicit and

procedural, interactive control over each of an

object’s vertex normals (page 3–980).Itismeantto

be used primarily with mesh objects destined for

output to game engines and other 3D rendering

engines that support specified normals. The

results are visible in the viewports and in rendered

images.

The orientation of a vertex normal affects how

neighboring surfaces reflect light. By default,

normals are set so that reflection of light in 3ds Max

followstherulesofreal-worldphysics:Theangle

of reflection equals the angle of incidence. But by

reorienting vertex normals, you can set the angle

of reflection to be anything you want. The Edit

Normals modifier lets you specify vertex normals’

directions, combine and separate them, change the

type, and copy and paste values among normals.

Edit Normals Modifier 635

Warning: Don’t apply an Edit Normals modifier to the

low-res object used in normal bump projection (page

3–150). Normal bump projection relies on the low-res

object having standard normals, and altering them

causes normal bump maps to have unpredictable

results.

Types of Normals

Three types of normals are available with the Edit

Normals modifier:

•Unspecified: These are the normals that the

modifier derives from smoothing groups and

initially assigns to the modified mesh vertices.

Thesoftwarecalculatesthedirectionofan

unspecified normal based on the average facing

of all polygons to which it belongs that are in

its smoothing group.

By default, each vertex has as many normals as

thenumberofuniquesmoothinggroupsused

by surrounding polygons. For example, each

sideofaboxusesadifferentsmoothinggroup

by default, so each vertex at which three sides

meet (typically a corner) has three different

normals: one perpendicular to each of the

three sides. On the other hand, a sphere uses a

single smoothing group, so each of its vertices

has one normal, perpendicular to the average

facing of the polygons that share it. By default,

unspecified normals are displayed as blue.

•Specified: These are normals that are intended

for use by particular corners of particular

faces, without regard to smoothing groups.

For instance, you might create a box, apply

Edit Normals, select a group of normals at a

particular vertex, and click Unify. Now those

three faces are told specifically to use that

one unified normal, and they ignore their

smoothinggroupsatthatvertex.Butspecified

normals are not set to explicit values; they

ignore smoothing groups, but they’re still based

on the face normals of the faces that use them.

Specified normals are displayed as cyan.

•Explicit: These are normals that are set to

particular values. For instance, if you use the

Move or Rotate command to change a normal

from its default value, it has to be made explicit,

so it won’t be recomputed based on the face

normals. Explicit normals are green by default.

Note: Explicit normals are also considered to

be specified.

Note: Aselectednormalisalwaysred.Whennot

selected, its color indicates as type, as noted above.

Yo u c a n f i n d t h e customizable color entries (page

3–799) for these normal types in the Elements >

Geometry list. The three entry names are:

• Normals - Explicit

•Normals-Specified

•Normals-Unspecified

Usage Examples

Following are two instances in which a 3D artist

creating content for output to a game engine might

find practical use for the Edit Normals modifier:

• An artist is working on a knight with a chrome

shield. The chrome shield has a DirectX cube

map shader (page 3–1010) on it so that the

artist can see the reflections in the viewport.

The artist would like to make the reflections

in the shield look "dented" by fights in battle.

TheartistappliestheEditNormalsmodifier

to the shield object. He then adjusts several

of the normals slightly, viewing the results in

real time, thanks to the pixel shader. He then

exports the character with a custom export tool

designed to handle normal information.

• A game artist is working on an object that will

explodeinthegame. Todothis,thegame

engine requires the object to be split into

multiple objects: the broken pieces that will

result from the explosion. When the object

is broken apart in 3ds Max (using Slice), the

normals are pointing in different directions;

636 Chapter 8: Modifiers

this makes it easy to see the seams between the

broken pieces. To fix this, the artist selects all

the pieces of the breaking object and applies the

Edit Normal modifier to all of them at once.

She then selects the normals across the seam

and unifies them so they are pointing in the

same direction. The artist then exports to the

game engine.

Usage Notes

Please observe the following notes and precautions

when using the Edit Normals modifier:

• Edit Normals supports both poly objects

(polygon-based) and mesh objects

(triangle-based). If you apply Edit Normals to

a poly object, the result is a poly object. If you

apply Edit normals to any other object type, the

result is a mesh object.

• Edit Normals also supports embedding of

edited-normal data when collapsing the stack,

and when converting from poly object to mesh

object, but not when converting from a mesh

object to any other object type. If you apply

Edit Normals to a primitive object, adjust

the normals, and then collapse the stack (or

convert to Editable Mesh), the software embeds

any changes to the normals in the mesh object,

including selection status. Primitive objects are

mesh-based, so if you convert the same object

to Editable Poly, the edited normals are lost.

On the other hand, if you convert a primitive

object to Editable Poly, apply Edit Normals,

adjust the normals, and then collapse the stack,

resulting in a poly object, the normals are

retained. You can subsequently regain access to

embedded, edited normals in a collapsed object

by applying another Edit Normals modifier.

• Any modifiers that change topology will remove

changes applied to the normals with the Edit

Normals modifier. These include MeshSmooth,

Tessellate, Slice, Mirror, Symmetry, Face

Extrude, and Vertex Weld. Oddly enough, it

also means that the Normal modifier (used

to flip face orientations) will not support the

edited normals. Since Turn To Poly can be used

to modify face topology, it also strips off the

edited normals.

• All compound objects strip off the edited

normals from their operands.

• The good news: All deformation and map

modifiers preserve the normals. For instance, if

you apply a Bend, the normals should be bent

along with the geometry. Map modifiers, such

asUnwrapUVW,won’taffectthenormalsatall.

• However, a few geometric modifiers do not

fully support the new normals. They won’t

strip them away, but neither will they correctly

deform any explicit normals. Modifiers in this

category include Push and Relax.

• The Smooth modifier correctly modifies any

non-specified normals, while leaving the

specified and explicit normals alone.

• Like Mesh Select and Poly Select, Edit Normals

“inherits” attributes from below it in the stack.

Forexample,ifyoucreateabox,applyanEdit

Normals modifier, change some normals, and

then apply a second Edit Normals modifier, the

top Edit Normals "inherit" the user-specified

normals from the pipeline, just as Mesh Select

adoptsthecurrentselectionwhenyouapply

it. But the top Edit Normals modifier ignores

any subsequent changes to the original Edit

Normals modifier, just as Mesh Select ignores

any changes made to the selection below it in

the stack after it is applied.

Edit Normals Modifier 637

Interface

The Edit Normals modifier is useful mainly at the

sub-object level, Normal, so this level is active by

defaultassoonasyouapplythemodifiertoan

object. At this point, you can see the normals as

lines emanating from the mesh vertices, select and

transform them, copy and paste them, and change

their settings on the Modify panel.

You can transform normals only by moving and

rotating them, not by scaling them. However,

moving a normal effectively rotates it, so in most

cases you’ll have better control by using the Rotate

tool.

The following command reference includes

keyboard shortcuts, which are available when the

Keyboard Shortcut Override Toggle (page 3–872)

(on the toolbar) is on. In addition, you can use

Ctrl +0 (zero) to access the object level of the

modifier.

Select By group—Lets you specify how to select

normals in the viewport:

•Normal ( Ctrl +1): Click a normal to select it.

•Ve r t e x ( Ctrl +2): Click a mesh vertex to select

all of its normals.

•Edge ( Ctrl +3): Click a mesh edge to select

the normals associated with the neighboring

polygons.

•Face ( Ctrl +4): Click a mesh face (or polygon)

to select the associated normals.

Of course, with all of these methods, you can also

use region selection to select multiple normals at

once.

Ignore Backfacing—When on, selection of

sub-objects affects only those facing you. When

off (the default), you can select any sub-object(s)

under the mouse cursor, regardless of their

visibility or facing. If there are more than one

sub-object under the cursor, repeated clicking

cyclesthroughthem. Likewise,withIgnore

Backfacing off, region selection includes all

sub-objects, regardless of the direction they face.

Show Handles—Enables the display of handles,

which are small squares at the end of each normal.

Turn this on to make it easier to select normals.

Display Length—Specifies the length of each

normal. Thisisfordisplaypurposesonly;the

length has no effect on the normal’s functionality.

Unify (U)—Combines all selected normals at

each vertex into a single specified normal.By

default, with Unify/Break To Average off, Unify

sets the direction for each unified normal to be

perpendicular to the averaged surface at that point.

With Unify/Break To Average on, Unify sets the

directionbetheaverageofthecombinednormals

at each location.

638 Chapter 8: Modifiers

Break (B)—Separates all selected, unified normals

into their original components. With Unify/Break

To Average off, Break orients each separated

normal perpendicular to its respective face, thus

splaying out the normals at each vertex if the

connected faces are at different angles (as with a

sphere). With Unify/Break To Average on, each

separated normal uses the orientation of the

original normal.

Break converts any selected normals to specified

normals.

Unify/Break to Average—Determines normal

orientation as the result of a Unify or Break

operation. See the descriptions above for details.

Default=off.

Average group

These controls give you different methods of

averaging vertex normals; that is, setting them all

tothesameabsoluteangle,whichistheaverageof

their combined angles.

Selected—Sets selected normals to the same

absolute angle: the average angle of all of them. If

Use Threshold is on, averages only normals whose

distance from each other is less than that specified

in the Average Threshold spinner (to the button’s

right).

Use Threshold—Activates the Average Threshold

setting, and causes the Selected to average only

normals whose distance from each other is less

than the specified value.

Target—Enters an interactive mode in which you

specify pairs of normals to average. Click Target,

andthenselectanormal.Whenthemousecursor

is over a normal, it changes to a + cursor. After

clicking the first normal, a rubber-band dashed

lineconnectsthenormaltothemousecursor.

Click a second normal to average the angles of the

two normals.

The pixels spinner to the right of the Target

button sets the maximum distance in screen pixels

between the mouse cursor and the target normal.

Copy Value (Ctrl+C)—Copies the selected normal’s

orientation to the copy buffer. Available only when

asinglenormalisselected.

Use Copy Value and Paste Value to apply a

normal’s orientation to one or more others within

thesameEditNormalsmodifier.Youcannotcopy

normals between modifiers.

Paste Value (Ctrl+V)—Applies the paste buffer

contents to the current selection. Available only

after Copy Value has been used to place a normal’s

orientation in the copy, and one or more target

normals are selected.

Specify (S)—Converts selected normals to specified

normals.

Reset (R)—Causes all selected normals to revert to

unspecified status, and returns them to their initial,

calculated positions. Also breaks apart unified

normals.

Make Explicit (E)—Converts selected normals to

explicit normals.

[Selection Display]—When one normal is selected,

shows its ID number. When 0 or more than one

normal is selected, shows the number of normals

selected.

Edit Patch Modifier

Create or select an object > Modify panel > Modifier List

>Object–SpaceModifiers>EditPatch

Create or select an object > Modifiers menu >

Patch/Spline Editing > Edit Patch

The Edit Patch modifier provides editing tools for

different sub-object levels of the selected object:

vertex,handle,edge,patch,andelement.TheEdit

Patch modifier matches all the capabilities of the

Edit Patch Modifier 639

base Editable Patch object, except that you cannot

animate sub-objects in Edit Patch. See Editable

Patch (page 1–968) for a parameter reference.

Other than the inability to animate sub-objects

with Edit Patch, the main difference between

Edit Patch and Editable Patch is that the modifier

incorporates the ability of the Surface modifier to

generate a patch object from a spline cage. For

details, see Spline Surface (page 1–639).

When possible, it’s far more efficient and reliable

to perform explicit editing on an Editable Patch

object rather than store those edits within the Edit

Patch modifier. The Edit Patch modifier must copy

the geometry passed to it, and this storage can lead

to large file sizes. The Edit Patch modifier also

establishes a topological dependency that can be

adversely effected if earlier operations change the

topology being sent to it.

There are, however, situations where using the Edit

Patch modifier is the preferred method.

• You want to edit a parametric object as a patch,

butwanttoretaintheabilitytomodifyits

creation parameters after the edit.

• You want to store your edits temporarily within

Edit Patch until you are satisfied with the

results, before committing them permanently

to an editable patch.

• You want to streamline your workflow with the

SplineSurfacetools,whichareuniquetoEdit

Patch.

• You need to make edits across several patch

objectsatonce,butdonotwanttoconvert

them to a single editable patch object.

• You have a modifier in the stack that must stay

parametric, and the resulting patch must be

edited after the modifier is applied.

Procedure

To create a patch object using the Cross Section and

Spline Surface tools:

This procedure describes how to simplify the

workflow of building objects using a spline cage

to which a patch surface is applied, a method

described in the Surface modifier (page 1–842)

topic as “Surface Tools.”

1. Create a spline object.

Make sure that the spline vertices form valid

three-sided or four-sided polygons. Vertices

on splines that cross one another should be

coincident.

To m a ke s p l i n e v e r t i c e s c o i n c i de n t , d r a g

vertices over each other with 3D Snap turned

on. 3D Snap must have the Vertex or End Point

option turned on. With 3D Snap turned on,

you can snap to vertices on existing splines

as you create new splines. You can also select

vertices and use the Fuse option in an Editable

Spline to make vertices coincident.

2. Convert the spline object to an Editable Spline,

if necessary, or apply an Edit Spline modifier.

3. Use the Cross Section command in Edit/Editable

Spline to add splines connecting different

splines in the spline object, thus creating a

spline cage.

This replaces the previous workflow of using

the CrossSection modifier.

4. Apply the Edit Patch modifier to the spline

object.

By default, in Edit Patch the Geometry rollout >

Spline Surface group > Generate Surface option

is on, causing the modifier to create patches

over all valid three- and four-sided polygons

in the spline cage.

This replaces the previous workflow of using

the Surface modifier.

640 Chapter 8: Modifiers

5. Adjust the Spline Surface settings and edit

the object as necessary. If you modify the

spline object, for best results, edit at the Vertex

sub-object level, and be sure to select all vertices

at an intersection before moving them.

Interface

Spline Surface group

TheGeometryrollout>SplineSurfacegroupis

found only in the Edit Patch modifier; it’s not

availableintheEditablePatchobject.Thegroup

becomes available when the object to which the

Edit Patch modifier is applied consists of splines.

Its controls replicate the functionality of the

Surface modifier (page 1–842).

For best results, apply the Spline Surface controls

after creating a spline cage with the CrossSection

modifier (page 1–623) or the Editable Spline

Cross Section command.Thelatterapproach

approximates the Surface Tools workflow

(described in the Surface Modifier topic), but with

a simpler modifier stack; instead of additional

CrossSection and Surface modifiers, the stack

need contain only an Editable Spline object and an

Edit Patch modifier. Alternatively, you can use the

Edit Spline modifier’s Cross Section command.

Generate Surface—Creates a patch surface

usingexistingsplinestodefinethepatchedges.

Default=on.

Threshold—Determines the overall distance that

is used to weld the vertices of the spline object.

All vertices/vectors within the threshold distance

of each other are treated as one. Threshold uses

units set in the Units Setup dialog (page 3–848).

Default=1.0.

Note: Spline control handles are also treated as

vertices, so setting high Threshold levels can

produce unexpected results.

Flip Normals—Reverses the facing direction of the

patch surface. Default=off.

Remove Interior Patches—Removes interior faces

of an object that you would not normally see.

Thesearethefacescreatedwithinthecapsor

otherinteriorpatchesofthesametypeofaclosed

polygon. Default=on.

Use Only Selected Segs—Only segments selected

in the Edit Spline modifier or the editable spline

object will be used by the Surface modifier to

create patches. Default=off.

Note: SegmentSub-Objectdoesnothavetobeleft

on in the Edit Spline modifier or editable spline

object.

Edit Poly Modifier

Create or select an object. > Modify panel > Modifier List

>Object-SpaceModifiers>EditPoly

Create or select an object. > Modifiers menu > Mesh

Editing > Edit Poly

The Edit Poly modifier provides explicit editing

tools for different sub-object levels of the selected

object: vertex, edge, border, polygon, and element.

The Edit Poly modifier includes most capabilities

of the base Editable Poly object, except for Vertex

Color information, Subdivision Surface rollout,

Weight and Crease settings, and Subdivision

Displacement rollout. Edit Poly lets you animate

sub-object transforms and parameter changes. In

addition, because it’s a modifier, you can retain

the object creation parameters and change them

later. For detailed information about animating

with Edit Poly, see these procedures (page 1–643).

Edit Poly gives you these options:

•Transformor

Shift +Clone the selection, as

with any object.

• UsetheoptionsontheEditrolloutstomodify

the selection or object. Later topics discuss

Edit Poly Modifier 641

these options for each of the polymesh

components.

•Passasub-objectselectiontoamodifier

higherinthestack.Youcanapplyoneormore

standard modifiers to the selection.

Tip: You can exit most Edit Poly command modes,

such as Extrude, by right-clicking in the active

viewport.

Differences Between Edit Poly and

Editable Poly

FunctionalityinEditPolyismostlythesameas

that of Editable Poly. Please note the following

differences:

• Edit Poly is a modifier, with all properties

that modifier status entails. These include the

ability to place Edit Poly above a base object

and other modifiers on the stack, to move the

modifier to different locations in the stack,

and to apply multiple Edit Poly modifiers to

the same object, each containing different

modeling or animation operations.

• Edit Poly has two distinct modes of operation:

Model and Animate. See Edit Poly Mode rollout

(page 1–645).

• Delete Isolated Vertices is now an option on the

Edit Geometry rollout. Previously, it appeared

as a dialog every time you deleted contiguous

polygons. Now you can set it and forget it.

• Edit Poly eliminates the Full Interactivity

switch; this feature is on all the time.

• EditPolyprovidestwonewwaysofobtaining

an existing selection from lower in the stack:

Use Stack Selection and Get Stack Selection.

• In addition to the Settings dialogs from Editable

Poly, Edit Poly gives you a new Settings dialog

for Align operations, available on the Edit Poly

Mode rollout (page 1–645).

• Edit Poly lacks Editable Poly’s Subdivision

Surface and Subdivision Displacement rollouts.

There are no Weight or Crease settings for

vertices, edges, or borders. If you need to use

Weight and Crease settings, apply a Meshsmooth

modifier (page 1–722),setIterationsto0,and

then make the settings as desired. Also, there is

no provision for setting vertex properties such

as color.

• In Animate mode, you begin a slice operation

by clicking Slice, not Slice Plane. You still need

to click Slice Plane to move the plane around.

You can animate the slice plane.

• In some cases, several Undo commands (page

1–94) might be required to revert from changes

made with certain Edit Poly operations, such

as Extrude.

For example, if you extrude a polygon using the

Extrude Polygons dialog (page 1–1072),there

will be three Undo actions. The first undoes the

Commit, which happens automatically when

you click the dialog OK button at the end; the

second undoes the change in height (from 0 to

the height you set); and the third undoes the

entry into the Extrude operation.

FollowingisatableshowingtheEditPolyfunctions

that are and are not animatable. Functions that are

not animatable are unavailable in Animate mode.

Functions marked “Yes” can be animated explicitly

in Animate mode.

Functions marked “Proc” cannot be animated

explicitly, but can be animated procedurally. This

means they can be applied to different parts of the

Edit Poly object at different points in the animation

by means of an animated sub-object selection

passed up the stack. For further information, see

ToapplyanEditPolyoperationtoananimated

sub-object selection: (page 1–644).

642 Chapter 8: Modifiers

Function Animatable?

Transform sub-objects Yes

Shift +Transform

sub-objects Yes

Constraints No

Preserve UVs No

By Vertex No

Ignore Backfacing No

Ring No

Loop No

Shrink No

Grow No

Selection conversion No

Named Selection

copy/paste No

Soft Selection (most

settings)

Yes (but not painting soft

selection)

Shaded Face toggle No

Delete Proc

Create Vertex No

Create Face No

Create Edge No

Collapse Proc

Attach / Attach List No

Detach No

Slice Yes

Quickslice No

Cut No

MSmooth Proc

Tessellate Proc

Make Planar Proc

View Align Yes

Grid Align Yes

Relax Yes

Hide Selected No

Function Animatable?

Hide Unselected No

Unhide All No

Remove Proc

Break Proc

Extrude Yes

Chamfer Yes

Bridge Yes

Weld (selected)

Proc (can animate Weld

Threshold)

Target Weld No

Connect Yes

Remove Isolated Vertices Proc

Remove Unused Map Verts Proc

Remove Yes

Split Yes

Insert Vertex No

Weld (selected) Yes (Threshold)

Target Weld No

Connect (Vertex) Proc

Connect (Edge) Yes

Create Shape No

Edit Triangulation No

Cap Proc

Insert Vertex No

Extrude Yes

Bevel Yes

Outline Yes

Inset Yes

Retriangulate Proc

Flip Proc

Hinge from Edge Yes

Extrude Along Spline Yes

Set Material ID Yes

Edit Poly Modifier 643

Function Animatable?

Select by Material ID No

Set Smoothing Group Yes

Select by Smoothing Group No

Auto Smooth Proc

Edit Poly Workflow

Edit Poly differs from other Edit modifiers in

3ds Max in that it provides two different modes,

available on the Edit Poly Mode rollout: one

for modeling, and the other for animating. By

default, Edit Poly operates in Model mode, whose

functionalityismostlythesameasthatofEditable

Poly. Alternatively, you can work in Animate

mode, where only functions you can animate are

available.

Each Edit Poly modifier can preserve any number

of keyframes animating a single operation type,

such as transforming faces, on the same sub-object

selection. To animate other parts of the object,

or to animate a different operation on the same

sub-object selection, just use another Edit Poly

modifier.

Sub-object-specific functions in the Edit Poly

user interface can be found in their own rollouts,

leaving the Edit Geometry rollout with functions

thatcanbeusedatmostsub-objectlevels,aswell

as at the object level.

Also, many commands are accompanied by a

Settings button, which gives you two ways of using

the command:

• In Direct Manipulation mode, activated by

clicking the command button, you apply the

command by manipulating sub-objects directly

in the viewport. An example of this is Extrude.

Note: Some buttons, such as Tessellate, operate

on the mesh immediately, with no viewport

manipulation required.

•Interactive Manipulation mode is well

suited to experimentation. You activate this

mode by clicking the command’s Settings

button. This opens a non-modal settings dialog

and places you in preview mode, where you can

set parameters and see results immediately in

the viewport. You can then accept the results by

clicking OK, or reject them by clicking Cancel.

You can also use this mode to apply the same or

different settings to several different sub-object

selections in a row. Make the selection,

optionally change the settings, click Apply, and

then repeat with a different selection.

Important: When you click Apply, the settings are

“baked into” the selection, and then applied again

to the selection as a preview. If you then click OK to

exit, you will have applied the settings twice. If your

intention is to apply them only once, simply click OK

the first time, or click Apply, and then Cancel.

See also

Poly Select Modifier (page 1–762)

Turn To Poly Modifier (page 1–874)

Editable Poly Surface (page 1–1022)

Procedures

To animate an Edit Poly operation on a sub-object

selection:

1. Select an object.

2. Apply the Edit Poly modifier.

3. Go to the first frame at which to set a

key and turn on Auto Key.

4. On the Modify panel > Edit Poly Mode rollout,

choose Animate.

5. Make a sub-object selection.

6. Perform an operation on the selection, such as

atransformorextrusion.

644 Chapter 8: Modifiers

7. Proceed to the next keyframe and continue to

change settings for the current operation and

sub-object selection.

If you change the selection, the existing

animation is applied to the new selection, and

lost from the previous one. If you change

the operation, any changes from the previous

animation are frozen (that is, “baked” into the

model) at the current frame, and only new

keyframes are recorded in the current Edit Poly

modifier.

To animate different sub-object selections using

different operations, use multiple applications

of the Edit Poly modifier.

To apply an Edit Poly operation to an animated

sub-object selection:

This procedure demonstrates procedural

animation with Edit Poly: the ability to change

the location of application on an object during an

animation using an existing, animated sub-object

selection.

1. Select an object.

2. Create an animated sub-object selection. One

waytodothisistoapplyaVo lu m e S e l e c t

modifier (page 1–952) and animate the gizmo’s

transform, or animate the modifier effect by

using an animated texture map.

3. Apply the Edit Poly modifier.

4. Gotothesamesub-objectlevelinEditPoly,

and then, on the Selection rollout, turn on Use

Stack Selection.

5. Scrub the time slider.

The animated selection appears on the Edit

Poly object.

6. On the Modify panel > Edit Poly Mode rollout,

choose Animate.

7. Perform an operation on the sub-object

selection, such as a chamfer or extrusion. You

needn’t turn on Auto Key or use Set Key.

Note: With Use Stack Selection on, you can’t

change the selection.

Now, when you play the animation, the Edit

Poly effect moves along with the animation of

the sub-object selection.

If you decide to animate a different function

procedurally, first click Edit Poly Mode rollout

>Cancel.

Example: To apply an Edit Poly operation

procedurally to an animated model:

Edit Poly lets you layer an animated sub-object

operationontopofanexistinganimation.Trythis

brief example:

1. Create an animated model, such as a box with

an animated Bend modifier.

2. ApplyanEditPolymodifier,andontheEdit

Poly Mode rollout, choose Animate. Also turn

on Auto Key.

3. Go to the Polygon sub-object level.

4. Gotoframe20andextrudeapolygon.

5. Play the animation.

The extrusion animation plays “on top” of the

existing animation. This isn’t possible with the

Edit Mesh modifier.

Interface

Stack Display

For more information on the stack display, see

Modifier Stack (page 3–760).

Show End Result—Because Edit Poly is a modifier,

if you apply further modifiers and then return

totheEditPolystackentry,ShowEndResultis

on by default, and you can still see the results of

any modifiers above Edit Poly on the stack. This

is different from the Editable Poly object, where

if you apply a modifier such as Symmetry (page

1–861) andthenreturntotheEditablePolystack

entry, you cannot see the effect of the modifier

Edit Poly Modifier 645

ontheobject’sgeometry.Whileatasub-object

level,ifyouturnonShowCageontheEditPoly

Mode rollout, you can see the final object as a

white mesh, the original sub-object selection as a

yellow mesh, and the original Edit Poly object as

an orange mesh.

Edit Poly Mode rollout

ThisrolloutprovidesaccesstoEditPoly’stwo

modes of operation: Model, for modeling, and

Animate, for animation of modeling effects. For

example, you can animate the Taper and Twist

settings for polygons extruded along a spline.

During and between sessions, the software

remembers the current mode for each object

separately. The same mode remains active at all

sub-object levels.

Edit Poly Mode also gives you access to the

current operation’s Settings dialog, if any, and

lets you commit to or cancel out of modeling and

animation changes.

Model—Lets you model using the Edit Poly

functions. Operations in Model mode cannot be

animated.

Animate—Lets you animate using the Edit Poly

functions.

In addition to choosing Animate, you must turn

on Auto Key (page 3–717) or use Set Key (page

3–718) for animating sub-object transforms and

parameter changes. Alternatively, in Animate

mode you can apply a single command, such as

Extrude or Chamfer, to an animated sub-object

selection passed up the stack.

Tip: If you use Set Key to animate with Edit Poly, be

sure to turn on Key Filters > Modifiers.

Note: The Edit Poly modifier can store any number

of keyframes animating a single operation, such as

transforming polygons, on the same sub-object

selection. Use additional Edit Poly modifiers to:

• animate other parts of the object;

• animate repeated applications of the same

operationonthesamesub-objectselection;

• animate repeated applications of a different

operationonthesamesub-objectselection.

For example, say you want to animate a polygon

extruding from an object from frame 1 to 10, and

then moving back to the original position over

the next 10 frames. You can accomplish this with

a single Edit Poly modifier using the Extrude

function, setting one keyframe at 10 and another

at 20. However, say you want to animate a polygon

extruding outward, and then animate movement

of one of the resultant side polygons. In that case,

you’d need two Edit Poly modifiers: one for the

extrusion, and another for the poly transform.

Tip: While modeling in Animate mode, you can

use Commit to freeze the animation at the current

frame.

[label]—Shows the current command, if any.

Otherwise, it shows <No Current Operation>.

When you’re working in Model mode using direct

manipulation (that is, working in the viewports),

the label shows the current operation during drag

operations, and then returns to the unavailable

state.

When you’re working in Model mode using a

Settings dialog, or in Animate mode using direct

manipulation or a Settings dialog, the label

continually shows the current operation.

646 Chapter 8: Modifiers

Commit—In Model mode, using a Settings dialog,

acceptsanychangesandclosesthedialog(sameas

theOKbuttononthedialog).InAnimatemode,

freezes the animated selection in its state at the

current frame and closes the dialog. Any existing

keyframes are lost.

Tip: Commit lets you use animation as a modeling

aid. For example, you could animate a vertex

selection between two positions, scrub between

thetwotofindasuitablein-betweenposition,and

thenuseCommittofreezethemodelatthatpoint.

Settings—Toggles the Settings dialog for the

current command.

Cancel—Cancels the most recently used command.

Show Cage—Toggles the display of a two-color

wireframethatshowstheeditablepolyobject

before modification or subdivision. The cage

colors are shown as swatches to the right of the

check box. The first color represents unselected

sub-objects, and the second color represents

selected sub-objects. Change a color by clicking its

swatch. The Show Cage toggle is available only at

sub-object levels.

Thecagedisplaystheoriginalstructureoftheeditedobject.

Typically this feature is used in conjunction with

the MeshSmooth modifier (page 1–722) because it

lets you easily toggle visibility of the unsmoothed

base object while simultaneously viewing the

smoothed result, but it works with any modifier.

Tip: Show Cage is also particularly helpful when

used with the Symmetry modifier (page 1–861).

Selection rollout

The Selection rollout provides tools for accessing

different sub-object levels and display settings

and for creating and modifying selections. See

Selection Rollout (Edit Poly Modifier) (page 1–647).

Soft Selection rollout

Soft Selection controls apply a smooth falloff

between selected sub-objects and unselected

ones.WhenUseSoftSelectionison,unselected

sub-objectsnearyourselectionaregivenpartial

selection values. These values are shown in the

viewports by means of a color gradient on the

vertices, and optionally on the faces. They affect

most types of sub-object deformations, such as

theMove,Rotate,andScalefunctionsandany

deformation modifiers (such as Bend) applied to

the object. This provides a magnet-like effect with

a sphere of influence around the selection.

For more information, see Soft Selection Rollout

(page 1–963).

Edit (sub-object) rollout

The Edit (sub-object) rollout provides

sub-object-specific functions for editing an Edit

Poly object and its sub-objects. For specific

information, click any of the following links:

Edit Vertices rollout (page 1–653)

Edit Edges rollout (page 1–658)

Edit Borders rollout (page 1–663)

Edit Polygons/Elements rollout (page 1–667)

Selection Rollout (Edit Poly Modifier) 647

Edit Geometry rollout

The Edit Geometry rollout (page 1–673) provides

global functions for editing an Edit Poly object

and its sub-objects. For information specific to a

sub-object level, click one of the following links:

Edit Poly (Object) (page 1–651)

Edit Poly (Vertex) (page 1–652)

Edit Poly (Edge) (page 1–656)

Edit Poly (Border) (page 1–663)

Edit Poly (Polygon/Element) (page 1–666)

Paint Deformation rollout

Paint Deformation lets you stroke elevated and

indented areas directly onto object surfaces. For

more information, see Paint Deformation Rollout

(page 1–1064).

Selection Rollout (Edit Poly

Modifier)

Select an Edit Poly object. > Modify panel > Selection

rollout

The Selection rollout provides tools for accessing

different sub-object levels and display settings

and for creating and modifying selections. It also

displays information about selected entities.

When you first access the Modify panel with an

Edit Poly object selected, you’re at the Object level,

with several functions available as described in

Edit Poly (Object) (page 1–651). You can toggle

the various sub-object levels and access relevant

functions by clicking the buttons at the top of the

Selection rollout.

Clickingabuttonhereisthesameaschoosing

a sub-object type in the modifier stack display.

Click the button again to turn it off and return to

the Object selection level.

Note: Youcanconvertsub-objectselectionsin

three different ways with the use of the Ctrl and

Shift keys:

• Clicking a sub-object button in the Selection

rollout with Ctrl held down converts the

current selection to the new level, selecting

all sub-objects in the new level that touch the

previous selection. For example, if you select

avertex,andthen Ctrl +click the Polygon

button, all polygons using that vertex are

selected.

• To convert the selection to only sub-objects

all of whose source components are originally

selected, hold down both Ctrl and Shift

as you change the level. For example, if you

convert a vertex selection to a polygon selection

with Ctrl+Shift +click, the resultant selection

includes only those polygons all of whose

vertices were originally selected.

• To convert the selection to only sub-objects

that border the selection, hold down Shift as

you change the level. The selection conversion

is inclusive, meaning:

• When you convert faces, the resulting

selection of edges or vertices all belong to

selected faces that bordered unselected faces.

Only the edges or vertices that bordered

unselected faces are selected.

Face selection (left) converted to vertex border (center)

and edge border (right)

• When you convert vertices to faces, the

resulting selection of faces had all of their

vertices selected and bordered unselected

faces. When you convert vertices to edges,

the resulting selection contains only edges

all of whose vertices were previously selected

648 Chapter 8: Modifiers

and only edges of faces that did not have all

vertices selected; that is, of faces around the

border of the vertex selection.

Vertex selection (left) converted to edge border (center)

and face border (right)

• When you convert edges to faces, the

resulting selection of faces had some but

not all of their edges selected, and were

next to faces with no edges selected. When

you convert edges to vertices, the resulting

vertices are on previously selected edges,

butonlyatintersectionswherenotalledges

were selected.

Edge selection (left) converted to face border (center)

and vertex border (right)

Conversion commands are also available from the

quad menu.

Interface

Vertex—Accesses the Vertex sub-object level,

which lets you select a vertex beneath the cursor;

region selection selects vertices within the region.

Edge—Accesses the Edge sub-object level,

which lets you select a polygon edge beneath the

cursor; region selection selects multiple edges

within the region.

Border—Accesses the Border sub-object level,

which lets you select a sequence of edges that

borders a hole in the mesh. A border is always

composed of edges with faces on only one side of

them, and is always a complete loop. For example,

a box doesn’t normally have a border, but the

Teapot object has several of them: on the lid, on the

body, on the spout, and two on the handle. If you

create a cylinder and then delete one end, the row

of edges around that end forms a circular border.

When Border sub-object level is active, you can’t

selectedgesthataren’tonborders. Clickinga

single edge on a border selects the whole border.

Youcancapaborder,eitherinEditPolyorby

applying the Cap Holes modifier (page 1–569).You

can also connect borders between objects with the

Connect compound object (page 1–328).

Selection Rollout (Edit Poly Modifier) 649

TheEdgeandBordersub-objectlevelsare

compatible, so if you go from one to the other, any

existing selection is retained.

Polygon—Accesses the Polygon sub-object

level, which lets you select polygons beneath the

cursor. Region selection selects multiple polygons

within the region.

Element—Turns on Element sub-object level,

which lets you select all contiguous polygons in an

object. Region selection lets you select multiple

elements.

The Polygon and Element sub-object levels are

compatible, so if you go from one to the other, any

existing selection is retained.

Use Stack Selection—When on, Edit Poly

automatically uses any existing sub-object

selection passed up the stack, and prevents you

from manually changing the selection.

By Vertex—When on, you can select a sub-object

only by selecting a vertex that it uses. When you

click a vertex, all sub-objects that use the selected

vertex are selected.

Ignore Backfacing—When on, selection of

sub-objects affects only those facing you. When

off (the default), you can select any sub-object(s)

under the mouse cursor, regardless of visibility or

facing.Ifmultiplesub-objectslieunderthecursor,

repeated clicking cycles through them. Likewise,

with Ignore Backfacing off, region selection

includes all sub-objects, regardless of the direction

they face.

Note: ThestateoftheBackfaceCullsettinginthe

Display panel does not affect sub-object selection.

Thus, if Ignore Backfacing is off, you can still select

sub-objects, even if you can’t see them.

By Angle—When on, if you select a polygon,

the software also selects neighboring polygons

basedontheanglesettingtotherightofthe

check box. This value determines the maximum

angle between neighboring polygons that will be

selected. Available only at the Polygon sub-object

level.

For example, if you click a side of a box and the

angle value is less than 90.0, only that side is

selected, because all sides are at 90-degree angles to

each other. But if the angle value is 90.0 or greater,

all sides of the box are selected. This function

speeds up selection of contiguous areas made up

of polygons at similar angles to one another. You

can select coplanar polygons with a single click at

any angle value.

Shrink—Reduces the sub-object selection area

by unselecting the outermost sub-objects. If

the selection size can no longer be reduced, the

remaining sub-objects are unselected.

Grow—Expands the selection area outward in all

available directions.

Forthisfunction,aborderisconsideredtobean

edge selection.

With Shrink and Grow, you can add or remove neighboring

elements from the edges of your current selection. This works

at any sub-object level.

Ring—Expandsanedgeselectionbyselectingall

edges parallel to the selected edges. Ring applies

only to edge and border selections.

Ring selection adds to the selection all the edges parallel to

the ones selected originally.

650 Chapter 8: Modifiers

Tip: After making a ring selection, you can use

Connect to subdivide the associated polygons into

new edge loops.

[Ring Shift]—The spinner next to

the Ring button lets you move the selection in

either direction to other edges in the same ring;

thatis,toneighboring,paralleledges.Ifyouhave

a loop selected, you can use this function to select

a neighboring loop. Applies only to Edge and

Border sub-object levels.

Left: Original loop selection

Upper right: Ring Shift up moves selection outward (from

center of model).

Lower right: Ring Shift down moves selection inward (toward

center of model).

To expand the selection in the chosen direction,

Ctrl +click the up or down spinner button. To

shrink the selection in the chosen direction,

Alt +click the up or down spinner button.

Loop—Expandstheselectionasfaraspossible,in

alignment with selected edges.

Loop applies only to edge and border selections,

and propagates only through four-way junctions.

Loop selection extends your current edge selection by adding

all edges aligned to the ones selected originally.

[Loop Shift]—The spinner next to

the Loop button lets you move the selection in

either direction to other edges in the same loop;

that is, to neighboring, aligned edges. If you have a

ring selected, you can use this function to select a

neighboring ring. Applies only to Edge and Border

sub-object levels.

Left: Original ring selection

Upper right: Loop Shift up moves selection outward.

Lower right: Loop Shift down moves selection inward.

To expand the selection in the chosen direction,

Ctrl +click the up or down spinner button. To

shrink the selection in the chosen direction,

Alt +click the up or down spinner button.

Get Stack Selection—Replaces the current selection

with the sub-object selection passed up the stack.

Edit Poly (Object) 651

You can then modify this selection using standard

methods.

If no selection exists in the stack, all sub-objects

are unselected.

Selection Information

At the bottom of the Selection rollout is a text

display giving information about the current

selection. If zero or more than one sub-object

is selected, the text gives the number and type

selected. If one sub-object is selected, the text gives

the identification number and type of the selected

item.

Edit Poly (Object)

Select an Edit Poly object. > Modify panel

Edit Poly (Object) functions are available when no

sub-object levels are active. These functions are

also available at all sub-object levels, and work the

same in each mode, except as noted below.

Interface

Edit Geometry rollout

See Edit Geometry Rollout (Edit Poly Modifier)

(page 1–673) for detailed descriptions of these

controls.

Paint Deformation rollout

Paint Deformation lets you stroke elevated and

indented areas directly onto object surfaces. For

more information, see Paint Deformation Rollout

(page 1–1064).

652 Chapter 8: Modifiers

Edit Poly (Vertex)

Select an Edit Poly object. > Modify panel > Selection

rollout > Vertex

Select an Edit Poly object. > Modify panel > Modify Stack

display > Expand Edit Poly. > Vertex

Select an Edit Poly object. > Quad menu > Tools 1

quadrant > Vertex

Verticesarepointsinspace:Theydefinethe

structure of other sub-objects that make up the

poly object. When vertices are moved or edited,

the geometry they form is affected as well. Vertices

can also exist independently; such isolated vertices

can be used to construct other geometry but are

otherwise invisible when rendering.

AttheEditPoly(Vertex)sub-objectlevel,youcan

select single and multiple vertices and move them

using standard methods. This topic covers the

Edit Vertices and Edit Geometry rollouts; for other

controls, see Edit Poly Modifier (page 1–640).

Procedure

To weld polygon vertices:

Yo u c a n u s e e i t h e r o f t w o m e t h o d s t o c o m b i n e

severalverticesintoone,alsoknownaswelding.If

theverticesareveryclosetogether,usetheWeld

function. You can also use Weld to combine a

number of vertices to the average position of all

of them.

Alternatively, to combine two vertices that are far

apart, resulting in a single vertex that’s in the same

position as one of them, use Target Weld.

1. To u s e We l d :

1. On the Selection rollout, turn on Ignore

Backfacing, if necessary. This ensures that

you’reweldingonlyverticesyoucansee.

2. Select the vertices to weld.

3. If the vertices are very close together, simply

click Weld. If that doesn’t work, proceed to

the next step.

4. Click the Settings button to the right of

the Weld button.

This opens the Weld Ver tic es di alog (page

1–1077).

5. IncreasetheWeldThresholdvaluegradually

using the spinner (click and hold on the

up-down arrow buttons to the right of the

numeric field and then drag upward). If you

need the value to change more quickly, hold

down the Ctrl key as you drag.

When the threshold equals or exceeds

thedistancebetweentwoormoreofthe

vertices, the weld occurs automatically, and

the resulting vertex moves to their average

location.

6. If not all the vertices are welded, continue

increasing the Weld Threshold value until

they are.

7. Click OK to exit.

2. To u s e Ta r g e t We l d :

1. On the Selection rollout, turn on Ignore

Backfacing, if necessary. This ensures that

you’reweldingonlyverticesyoucansee.

2. Find two vertices you want to weld, and

determine the ultimate location of the

resulting vertex. The two vertices must be

contiguous; that is, they must be connected

by a single edge.

For this example, we’ll call the vertices A and

B, and the resulting vertex will be at vertex

B’s location.

3. Click the Target Weld button.

The button stays highlighted, to indicate that

you’re now in Target Weld mode.

4. Click vertex A and then move the mouse.

Edit Poly (Vertex) 653

A rubber-band line connects the vertex and

the mouse cursor.

5. PositionthecursoroververtexB,whereupon

the cursor image changes from an arrow

to a crosshairs. Reminder: Only vertices

connected to the first vertex by a single edge

qualify for target welding.

6. Click to weld the two.

The resulting vertex remains at vertex B’s

position,andyouexitTargetWeldmode.

Interface

Edit Poly Mode rollout

See Edit Poly Mode rollout (page 1–645) for

information on the Edit Poly Mode rollout

settings.

Selection rollout

See Selection rollout (page 1–646) for information

on the Selection rollout settings.

Soft Selection rollout

Soft Selection controls apply a smooth falloff

between selected sub-objects and unselected

ones. When Use Soft Selection is on, unselected

sub-objectsnearyourselectionaregivenpartial

selectionvalues. Thesevaluesareshowninthe

viewports by means of a color gradient on the

vertices, and optionally on the faces. They affect

most types of sub-object deformations, such as the

Move, Rotate, and Scale functions, as well as any

deformation modifiers (such as Bend) applied to

the object. This provides a magnet-like effect with

a sphere of influence around the selection.

For more information, see Soft Selection Rollout

(page 1–963).

Edit Vertices rollout

Thisrolloutincludescommandsspecifictovertex

editing.

Note: To delete vertices, select them and press the

Delete key. This can create one or more holes

in the mesh. To delete vertices without creating

holes, use Remove (see following entry).

Remove—Deletes selected vertices and combines

the polygons that use them. The keyboard shortcut

is Backspace .

Removing one or more vertices deletes them and retriangulates

the mesh to keep the surface intact. If you use the Delete key

instead, the polygons depending on those vertices are deleted

as well, creating a hole in the mesh.

Warning: Use of Remove can result in mesh shape

changes and non-planar polygons.

Break—Creates a new vertex for each polygon

attached to selected vertices. This allows the

polygon corners to move away from each other

where they were once joined at each original

vertex. If a vertex is isolated or used by only one

polygon, it is unaffected.

Extrude—Lets you extrude vertices manually via

direct manipulation in the viewport. Click this

654 Chapter 8: Modifiers

button, and then drag vertically on any vertex to

extrude it.

Extruding a vertex moves it along a normal and

creates new polygons that form the sides of the

extrusion, connecting the vertex to the object.

The extrusion has the same number of sides as

the number of polygons that originally used the

extruded vertex.

Important aspects of vertex extrusion are:

• The mouse cursor changes to an Extrude cursor

when over a selected vertex.

• Drag vertically to specify the extent of the

extrusion, and horizontally to set the size of the

base.

• With multiple vertices selected, dragging on

any one extrudes all selected vertices equally.

• You can drag other vertices in turn to extrude

them while the Extrude button is active. Click

Extrude again or right-click in the active

viewport to end the operation.

Chamfer box showing extruded vertex

Extrude Settings—Opens the Extrude Vertices

dialog (page 1–1073),whichletsyouperform

extrusion via interactive manipulation.

If you click this button after performing a manual

extrusion, the same extrusion is performed on the

current selection as a preview and the dialog opens

with Extrusion Height set to the amount of the last

manual extrusion.

Weld—Combines contiguous, selected vertices

that fall within the tolerance specified in the Weld

dialog (page 1–1077). All edges become connected

to the resulting single vertex.

Weld is best suited to automatically simplify

geometrythathasareaswithseveralverticesin

close proximity.

Weld Settings—Opens the Weld dialog (page

1–1077), which lets you specify the weld threshold.

Chamfer—Click this button and then drag

vertices in the active object. To chamfer vertices

numerically, click the Chamfer Settings button and

adjust the Chamfer Amount value.

If you chamfer multiple selected vertices, all of

them are chamfered identically. If you drag an

unselected vertex, any selected vertices are first

unselected.

Each chamfered vertex is effectively replaced by

a new face that connects new points on all edges

leading to the original vertex. These new points

are exactly <chamfer amount> distance from the

original vertex along each of these edges. New

chamfer faces are created with the material ID of

one of the neighboring faces (picked at random)

and a smoothing group that is an intersection of all

neighboring smoothing groups.

Forexample,ifyouchamferonecornerofabox,

thesinglecornervertexisreplacedbyatriangular

face whose vertices move along the three edges

that led to the corner. Outside faces are rearranged

and split to use these three new vertices, and a

triangle is created at the corner.

Alternatively, you can create open space

around the chamfered vertices; for details, see

Chamfer Vertices dialog (page 1–1070).

Edit Poly (Vertex) 655

Top: The original vertex selection

Center: Vertices chamfered

Bottom: Vertices chamfered with Open on

Chamfer Settings—Opens the Chamfer Vertices

dialog (page 1–1070),whichletsyouchamfer

vertices via interactive manipulation and toggle

the Open option.

If you click this button after performing a manual

chamfer, the same chamfer is performed on the

current selection as a preview and the dialog opens

with Chamfer Amount set to the amount of the

last manual chamfer.

Target Weld—Lets you select a vertex and weld it

to a target vertex. When positioned over a vertex,

the cursor changes to a + cursor. Click and move

the mouse and a dashed line appears from the

vertex with an arrow cursor at the other end of the

line. Position the cursor over a neighboring vertex

and when the + cursor appears again, click the

mouse. The first vertex moves to the position of

the second, and the two are welded.

Connect—Creates new edges between pairs of

selected vertices.

Connectwillnotletthenewedgescross. For

example, if you select all four vertices of a

four-sided polygon and then click Connect, only

two of the vertices will connect. In this case, to

connect all four vertices with new edges, use Cut.

Remove Isolated Vertices—Deletes all vertices that

don’t belong to any polygons.

Remove Unused Map Verts—Certain modeling

operations can leave unused (isolated) map

vertices that show up in the Unwrap UVW editor

(page 1–888),butcannotbeusedformapping.

You can use this button to delete these map vertices

automatically.

656 Chapter 8: Modifiers

Edit Geometry rollout

See Edit Geometry Rollout (Edit Poly Modifier)

(page 1–673) for detailed descriptions of these

controls.

Paint Deformation rollout

Paint Deformation lets you stroke elevated and

indented areas directly onto object surfaces. For

more information, see Paint Deformation Rollout

(page 1–1064).

Edit Poly (Edge)

Select an Edit Poly object. > Modify panel > Selection

rollout > Edge

Select an Edit Poly object. > Modify panel > Modifier

Stackdisplay>ExpandEditPoly.>Edge

Select an Edit Poly object. > Quad menu > Tools 1

quadrant > Edge

An edge is a line connecting two vertices that forms

thesideofapolygon.Anedgecan’tbesharedby

more than two polygons. Also, the normals of the

two polygons should be adjacent. If they aren’t,

you wind up with two edges that share vertices.

At the Edit Poly Edge sub-object level, you can

select single and multiple edges and transform

them using standard methods. This topic covers

the Edit Geometry and Edit Edges rollouts; for

other controls, see Edit Poly Modifier (page 1–640).

Procedure

To create a shape from one or more edges:

1. Selecttheedgesyouwanttomakeintoshapes.

2. On the Edit Edges rollout, click the Create Shape

button. This creates the shape immediately,

using default settings. Alternatively, click the

Settings button next to Create Shape.

3. Make changes, as needed, on the Create Shape

dialog that appears.

• Enter a curve name or keep the default.

• Choose Smooth or Linear as the shape type.

4. Click OK.

The resulting shape consists of one or more

splines whose vertices are coincident with the

vertices in the selected edges. The Smooth

option results in rounded-corner Bezier

vertices, while the Linear option results in

straight-line splines with Corner vertices.

Edit Poly (Edge) 657

If the selected edges are not continuous, or if

they branch, the resulting shape will consist of

morethanonespline.WhentheCreateShape

function runs into a branching ’Y’ in the edges,

it makes an arbitrary decision about which edge

produces which spline. If you need to control

this, select only edges that will result in a single

spline, and perform a Create Shape operation

repeatedly to make the correct number of

shapes. Finally, use Attach (page 1–308) in the

Editable Spline to combine the shapes into one.

Above: Original object

Below: Object with edges selected

Above: Selected edges removed from original object

Below: Unwanted edges removed

Interface

Edit Poly Mode rollout

See Edit Poly Mode rollout (page 1–645) for

information on the Edit Poly Mode rollout

settings.

Selection rollout

See Selection rollout (page 1–646) for information

on the Selection rollout settings.

Soft Selection rollout

Soft Selection controls apply a smooth falloff

between selected sub-objects and unselected

ones.WhenUseSoftSelectionison,unselected

sub-objectsnearyourselectionaregivenpartial

selection values. These values are shown in the

viewports by means of a color gradient on the

658 Chapter 8: Modifiers

vertices, and optionally on the faces. They affect

most types of sub-object deformations, such as the

Move, Rotate, and Scale functions, as well as any

deformation modifiers (such as Bend) applied to

the object. This provides a magnet-like effect with

a sphere of influence around the selection.

For more information, see Soft Selection Rollout

(page 1–963).

Edit Edges rollout

This rollout includes commands specific to edge

editing.

Note: To delete edges, select them and press the

Delete key. This deletes all selected edges and

attached polygons, which can create one or more

holes in the mesh. To delete edges without creating

holes, use Remove (see following entry).

Insert Vertex—Lets you subdivide visible edges

manually.

After turning on Insert Vertex, click an edge to

add a vertex at that location. You can continue

subdividing polygons as long as the command is

active.

To stop inserting edges, right-click in the viewport,

or click Insert Vertex again to turn it off.

Remove—Deletes selected edges and combines the

polygonsthatusethem.Thekeyboardshortcutis

Backspace .

Removing one edge is like making it invisible. The mesh

is affected only when you remove all but one of the edges

depending on one vertex. At that point, the vertex itself is

deleted and the surface is retriangulated.

To delete the associated vertices as well, press and

hold Ctrl while executing a Remove operation,

either by mouse or with the Backspace key. This

option, called Clean Remove, ensures that the

remainingpolygonsareplanar.

Left: The original edge selection

Center: Standard Remove operation leaves extra vertices.

Right: Clean Remove with Ctrl +Remove deletes the extra

vertices.

Edges with the same polygon on both sides usually

can’t be removed.

Warning: Use of Remove can result in mesh shape

changes and non-planar polygons.

Split—Divides the mesh along the selected edges.

Split does nothing when applied to a single edge in

themiddleofamesh. Theverticesattheendof

affected edges must be separable for this option

to work. For example, it would work on a single

edge that intersects an existing border, since the

border vertex can be split in two. Additionally, two

adjacent edges could be split in the middle of a

grid or sphere, since the shared vertex can be split.

Extrude—Lets you extrude edges manually via

direct manipulation in the viewport. Click this

Edit Poly (Edge) 659

button, and then drag vertically on any edge to

extrude it.

When extruding a vertex or edge interactively in the viewport,

you set the extrusion height by moving the mouse vertically

and the base width by moving the mouse horizontally.

Extruding an edge moves it along a normal and

creates new polygons that form the sides of the

extrusion, connecting the edge to the object. The

extrusion has either three or four sides; three if the

edgewasonaborder,orfourifitwassharedby

two polygons. As you increase the length of the

extrusion, the base increases in size, to the extent

of the vertices adjacent to the extruded edge’s

endpoints.

Important aspects of edge extrusion are:

• The mouse cursor changes to an Extrude cursor

when over a selected edge.

• Drag vertically to specify the extent of the

extrusion, and horizontally to set the size of the

base.

• With multiple edges selected, dragging on any

one extrudes all selected edges equally.

• Youcandragotheredgesinturntoextrude

them while the Extrude button is active. Click

Extrude again or right-click in the active

viewport to end the operation.

Chamfer box showing extruded edge

Extrude Settings—Opens the Extrude Edges

dialog (page 1–1073),whichletsyouperform

extrusion via interactive manipulation.

If you click this button after performing a manual

extrusion,thesameextrusionisperformedonthe

current selection as a preview and the dialog opens

with Extrusion Height set to the amount of the last

manual extrusion.

Weld—Combines selected edges that fall within

the threshold specified in the Weld dialog (page

1–1077).

You can weld only edges that have one polygon

attached; that is, edges on a border. Also, you

cannot perform a weld operation that results in

illegal geometry, such as an edge shared by more

than two polygons. For example, you cannot weld

opposite edges on the border of a box that has a

side removed.

Weld Settings—Opens the Weld dialog (page

1–1077), which lets you specify the weld threshold.

Chamfer—Click this button and then drag edges in

the active object. To chamfer vertices numerically,

click the Chamfer Settings button and change the

Chamfer Amount value.

If you chamfer multiple selected edges, all of

them are chamfered identically. If you drag an

660 Chapter 8: Modifiers

unselected edge, the software first deselects any

selected edges.

An edge chamfer "chops off " the selected edges,

creating a new polygon connecting new points on

all visible edges leading to the original vertex. The

new edges are exactly <chamfer amount> distance

fromtheoriginaledgealongeachoftheseedges.

New chamfer faces are created with the material

ID of a neighboring face (picked at random) and

a smoothing group that is an intersection of all

neighboring smoothing groups.

For example, if you chamfer one edge of a box,

each corner vertex is replaced by two vertices

moving along the visible edges that lead to the

corner. Outside faces are rearranged and split

to use these new vertices, and a new polygon is

created at the corner.

Alternatively, you can create open space around

the chamfered edges; for details, see Chamfer Edges

dialog (page 1–1070).

Chamfer Settings—Opens the Chamfer Edges

dialog (page 1–1070),whichletsyouchamferedges

via interactive manipulation and toggle the Open

option.

If you click this button after performing a manual

chamfer, the same chamfer is performed on the

current selection as a preview and the dialog opens

with Chamfer Amount set to the amount of the

last manual chamfer.

Target Weld—Allows you to select an edge and

weld it to a target edge. When positioned over an

edge, the cursor changes to a + cursor. Click and

move the mouse and a dashed line appears from

the vertex with an arrow cursor at the other end

of the line. Position the cursor over another edge

and when the + cursor appears again, click the

mouse. The first edge is moved to the position of

the second, and the two are welded.

You can weld only edges that have one polygon

attached; that is, edges on a border. Also, you

cannot perform a weld operation that results in

illegal geometry, such as an edge shared by more

than two polygons. For example, you cannot weld

opposite edges on the border of a box that has a

side removed.

Bridge—Connects border edges on an object with

a polygon “bridge.” Bridge connects only border

edges; that is, edges that have a polygon on only

one side. This tool is particularly useful when

creating edge loops or profiles.

TherearetwowaystouseBridgeinDirect

Manipulation mode (that is, without opening the

BridgeEdgessettingsdialog):

• Select two or more border edges on the object,

and then click Bridge. This immediately creates

the bridge between the pair of selected borders

using the current Bridge settings, and then

deactivates the Bridge button.

• If no qualifying selection exists (that is, two or

more selected border edges), clicking Bridge

activatesthebuttonandplacesyouinBridge

mode. First click a border edge and then move

the mouse; a rubber-band line connects the

mouse cursor to the clicked edge. Click a

second edge on a different border to bridge the

two. This creates the bridge immediately using

the current Bridge settings; the Bridge button

remains active for connecting more edges.

To exit Bridge mode, right-click the active

viewport or click the Bridge button.

Note: Bridge always creates a straight-line

connection between edges. To make the bridge

connection follow a contour, apply modeling

toolsasappropriateafter creating the bridge. For

example, bridge two edges, and then use Bend

(page 1–560).

Bridge Settings—Opens the Bridge Edges

dialog (page 1–1068),whichletsyouadd

Edit Poly (Edge) 661

polygons between pairs of edges via interactive

manipulation.

Connect—Creates new edges between pairs of

selected edges using the current Connect Edges

dialog settings. Connect is particularly useful for

creating or refining edge loops.

Note: You can connect only edges on the same

polygon. Also, Connect will not let the new edges

cross. For example, if you select all four edges of a

four-sided polygon and then click Connect, only

neighboring edges are connected, resulting in a

diamond pattern.

Connecting two or more edges creates equally spaced edges.

The number of edges is set in the dialog.

Connect Settings—Opens the Connect Edges

dialog (page 1–1070),whichletsyoupreview

the Connect results, specify the number of edge

segments created by the operation, and set spacing

and placement for the new edges.

Create Shape—Afterselectingoneormoreedges,

click this button to create a spline shape or

shapes from the selected edges, using the current

settings from the Create Shape Settings dialog (see

following).

The new shape’s pivot is placed at the same

location as that of the Edit Poly object.

Create Shape Settings—Lets you preview the

Create Shape function, name the shape, and set

it to Smooth or Linear.

An edge selection (top); a smooth shape (center); a linear

shape (bottom)

Edit Tri[angulation]—Lets you modify how

polygons are subdivided into triangles by drawing

diagonals.

662 Chapter 8: Modifiers

In Edit Triangulation mode, you can see the current

triangulation in the viewport, and change it by clicking two

vertices on the same polygon.

To edit triangulation manually, turn on this

button. The diagonals appear. Click a polygon

vertex. A rubber-band line appears, attached to

the cursor. Click a non-adjacent vertex to create a

new triangulation for the polygon.

Tip: For easier editing of triangulation, use the

Turn command instead (see following).

Turn—Lets you modify how polygons are

subdivided into triangles by clicking diagonals.

When you activate Turn, the diagonals (page

3–928) become visible as dashed lines in wireframe

and edged-faces views. In Turn mode, click a

diagonal to change its position. To exit Turn mode,

right-click in the viewport or click the Turn button

again.

Each diagonal has only two available positions

at any given time, so clicking a diagonal twice in

succession simply returns it to its original position.

But changing the position of a nearby diagonal

can make a different alternate position available

to a diagonal.

For more information on how to use Turn with

the enhanced Cut tool, see this procedure (page

1–1035).

Edit Geometry rollout

See Edit Geometry Rollout (Edit Poly Modifier)

(page 1–673) for detailed descriptions of these

controls.

Paint Deformation rollout

Paint Deformation lets you stroke elevated and

indented areas directly onto object surfaces. For

more information, see Paint Deformation Rollout

(page 1–1064).

Edit Poly (Border) 663

Edit Poly (Border)

Select an Edit Poly object. > Modify panel > Selection

rollout > Border

Select an Edit Poly object. > Modify panel > Modifier

Stack display > Expand Edit Poly. > Border

Select an Edit Poly object. > Quad menu > Tools 1

quadrant > Border

Aborderisalinearsectionofameshthatcan

generallybedescribedastheedgeofahole.Thisis

usually a sequence of edges with polygons on only

one side. For example, a box doesn’t have a border,

but the teapot object has several: on the lid, on the

body, on the spout, and two on the handle. If you

create a cylinder, and then delete an end polygon,

the adjacent row of edges forms a border.

At the Edit Poly Border sub-object level, you can

select single and multiple borders and transform

them using standard methods. This topic covers

the Edit Geometry and Edit Borders rollouts; for

other controls, see Edit Poly Modifier (page 1–640).

Procedure

To create a polygon that closes the surface at the

selected border:

1. At the Border sub-object level, select any open

edge.

This selects the entire closed loop of continuous

open edges that make up the border selection.

2. Click Edit Borders rollout > Cap.

Interface

Edit Poly Mode rollout

See Edit Poly Mode rollout (page 1–645) for

information on the Edit Poly Mode rollout

settings.

Selection rollout

See Selection rollout (page 1–646) for information

on the Selection rollout settings.

Soft Selection rollout

Soft Selection controls apply a smooth falloff

between selected sub-objects and unselected

ones.WhenUseSoftSelectionison,unselected

sub-objectsnearyourselectionaregivenpartial

selection values. These values are shown in the

viewports by means of a color gradient on the

vertices, and optionally on the faces. They affect

most types of sub-object deformations, such as the

Move, Rotate, and Scale functions, as well as any

deformation modifiers (such as Bend) applied to

the object. This provides a magnet-like effect with

a sphere of influence around the selection.

For more information, see Soft Selection Rollout

(page 1–963).

Edit Borders rollout

This rollout includes commands specific to editing

borders.

Note: To delete a border, select it and press the

Delete key. This deletes the border and all

attached polygons.

Extrude—Lets you extrude a border manually via

direct manipulation in the viewport. Click this

button, and then drag vertically on any border to

extrude it.

664 Chapter 8: Modifiers

Extrudingabordermovesitalonganormaland

creates new polygons that form the sides of the

extrusion, connecting the border to the object.

The extrusion can form a varying number of

additional sides, depending on the geometry

near the border. As you increase the length of the

extrusion, the base increases in size, to the extent

of the vertices adjacent to the extruded border’s

endpoints.

Important aspects of border extrusion are:

• The mouse cursor changes to an Extrude cursor

when over a selected border.

• Drag vertically to specify the extent of the

extrusion, and horizontally to set the size of the

base.

• With multiple borders selected, dragging on

any one extrudes all selected borders equally.

• Youcandragotherbordersinturntoextrude

them while the Extrude button is active. Click

Extrude again or right-click in the active

viewport to end the operation.

Extrude Settings—Opens the Extrude Edges

dialog (page 1–1073),whichletsyouperform

extrusion via interactive manipulation.

If you click this button after performing a manual

extrusion, the same extrusion is performed on the

current selection as a preview and the dialog opens

with Extrusion Height set to the amount of the last

manual extrusion.

Insert Vertex—Lets you subdivide border edges

manually.

After turning on Insert Vertex, click a border edge

to add a vertex at that location. You can continue

subdividing border edges as long as the command

is active.

To stop inserting vertices, right-click in the

viewport, or click Insert Vertex again to turn it off.

Note: In previous versions of the software, this

command was called Divide.

Chamfer—Click this button and then drag a border

in the active object. The border need not be

selected first.

If you chamfer multiple selected borders, all of

them are chamfered identically. If you drag an

unselected border, any selected borders are first

unselected.

A border chamfer essentially “frames” the border

edges, creating a new set of edges paralleling the

border edges, plus new diagonal edges at any

corners. These new edges are exactly <Chamfer

Amount> distance from the original edges. New

chamfer faces are created with the material ID

of a neighboring face (picked at random) and a

smoothing group which is an intersection of all

neighboring smoothing groups.

Alternatively, you can create open space

around the chamfered borders, essentially cutting

away at the open edges; for details, see Chamfer

Edges dialog (page 1–1070).

Chamfer Settings—Opens the Chamfer Edges

dialog (page 1–1070), which lets you chamfer

borders via interactive manipulation and toggle

the Open option.

If you click this button after performing a manual

chamfer, the same chamfer is performed on the

current selection as a preview and the dialog opens

with Chamfer Amount set to the amount of the

last manual chamfer.

Cap—Caps an entire border loop with a single

polygon.

Select the border, and then click Cap.

Bridge—Connectstwobordersonanobjectwitha

polygon “bridge.” There are two ways to use Bridge

in Direct Manipulation mode (that is, without

opening the Bridge Settings dialog):

Edit Poly (Border) 665

• Selectanevennumberofbordersontheobject,

and then click Bridge. This immediately creates

the bridge between each pair of selected borders

using the current Bridge settings, and then

deactivates the Bridge button.

• If no qualifying selection exists (that is, two

or more selected borders), clicking Bridge

activatesthebuttonandplacesyouinBridge

mode. First click a border edge and then move

the mouse; a rubber-band line connects the

mouse cursor to the clicked edge. Click a

second edge on a different border to bridge the

two. This creates the bridge immediately using

the current Bridge settings; the Bridge button

remains active for connecting more pairs of

borders. To exit Bridge mode, right-click the

active viewport or click the Bridge button.

Note: Bridge always creates a straight-line

connection between border pairs. To make

thebridgeconnectionfollowacontour,apply

modelingtoolsasappropriateafter creating the

bridge. For example, bridge two borders, and then

use Bend (page 1–560).

Bridge Settings—Opens the Bridge dialog (page

1–1067), which lets you connect pairs of borders

via interactive manipulation.

Connect—Creates new edges between pairs of

selected border edges. The edges are connected

from their midpoints.

You can connect only edges on the same polygon.

Connect will not let the new edges cross. Thus, for

example, if you select all four edges of a four-sided

polygon and then click Connect, only neighboring

edges are connected, resulting in a diamond

pattern.

Connect Settings—Lets you preview the

Connectandspecifythenumberofedgesegments

created by the operation. To increase the mesh

resolution around the new edge, increase the

Connect Edge Segments setting.

Create Shape—Afterselectingoneormore

borders, click this button to create a spline shape or

shapes from the selected edges, using the current

settings from the Create Shape Settings dialog (see

following).

The new shape’s pivot is placed at the same

location as that of the Edit Poly object.

Create Shape Settings—Lets you preview the

Create Shape function, name the shape, and set

it to Smooth or Linear.

Edit Tri[angulation]—Lets you modify how selected

polygons are subdivided into triangles by drawing

internal edges.

To manually edit triangulation, turn on this

button. The hidden edges appear. Click a polygon

vertex. A rubber-band line appears, attached to

the cursor. Click a non-adjacent vertex to create a

new triangulation for the polygon.

Tip: For easier editing of triangulation, use the

Turn command instead (see following).

Turn—Lets you modify how polygons are

subdivided into triangles by clicking diagonals.

When you activate Turn, the diagonals (page

3–928) become visible as dashed lines in wireframe

and edged-faces views. In Turn mode, click a

diagonal to change its position. To exit Turn mode,

right-click in the viewport or click the Turn button

again.

Each diagonal has only two available positions

at any given time, so clicking a diagonal twice in

succession simply returns it to its original position.

But changing the position of a nearby diagonal

can make a different alternate position available

to a diagonal.

666 Chapter 8: Modifiers

For more information on how to use Turn with

the enhanced Cut tool, see this procedure (page

1–1035).

Edit Geometry rollout

See Edit Geometry Rollout (Edit Poly Modifier)

(page 1–673) for detailed descriptions of these

controls.

Paint Deformation rollout

Paint Deformation lets you stroke elevated and

indented areas directly onto object surfaces. For

more information, see Paint Deformation Rollout

(page 1–1064).

Edit Poly (Polygon/Element)

Select an Edit Poly object. > Modify panel > Selection

rollout > Polygon/Element

Select an Edit Poly object. > Modify panel > modifier

stack display > Expand Edit Poly. > Polygon/Element

Select an Edit Poly object. > Quad menu > Tools 1

quadrant > Polygon/Element

Apolygon is a closed sequence of three or more

edges connected by a surface. Polygons provide

the renderable surface of Edit Poly objects.

At the Edit Poly (Polygon) sub-object level, you

can select single and multiple polygons and

transform them using standard methods. This is

similar for the Element sub-object level; for the

distinctions between polygon and element, see

Edit Poly > Selection rollout (page 1–646).This

topic covers the Edit Polygons/Elements rollout

and Edit Geometry rollout functions for these

sub-object types. For other controls, see Edit Poly

Modifier (page 1–640).

Note: Workflow enhancements in the Edit Poly

userinterfacegiveyouachoiceofeditingmethods.

See Edit Poly Workflow (page 1–643) for more

information.

Interface

Edit Poly Mode rollout

See Edit Poly Mode rollout (page 1–645) for

information on the Edit Poly Mode rollout

settings.

Selection rollout

See Selection rollout (page 1–646) for information

on the Selection rollout settings.

Edit Poly (Polygon/Element) 667

Soft Selection rollout

Soft Selection controls apply a smooth falloff

between selected sub-objects and unselected

ones. When Use Soft Selection is on, unselected

sub-objectsnearyourselectionaregivenpartial

selectionvalues. Thesevaluesareshowninthe

viewports by means of a color gradient on the

vertices, and optionally on the faces. They affect

most types of sub-object deformations, such as the

Move, Rotate, and Scale functions, as well as any

deformation modifiers (such as Bend) applied to

the object. This provides a magnet-like effect with

a sphere of influence around the selection.

For more information, see Soft Selection Rollout

(page 1–963).

Edit Polygons/Elements rollout

At the Element sub-object level, this rollout

includes commands common to both polygons

and elements, plus, at the Polygon level, some

thatareuniquetopolygons. Thecommands

available at both levels are Insert Vertex, Flip, Edit

Triangulation, Retriangulate, and Turn.

Note: To delete polygons or elements, select them

and press the Delete key. If Delete Isolated

Ve r t i c e s isoff,thiscanresultinisolatedvertices;

that is, vertices with no associated face geometry.

Insert Vertex—Lets you subdivide polygons

manually. Applies to polygons, even if at the

element sub-object level.

After turning on Insert Vertex, click a polygon to

add a vertex at that location. You can continue

subdividingpolygonsaslongasthecommandis

active.

To stop inserting vertices, right-click in the

viewport, or click Insert Vertex again to turn it off.

Note: In previous versions of the software, this

command was called Divide.

Extrude—Lets you perform manual extrusion via

direct manipulation in the viewport. Click this

button, and then drag vertically on any polygon

to extrude it.

Extrudingpolygonsmovesthemalonganormal

and creates new polygons that form the sides of the

extrusion, connecting the selection to the object.

Important aspects of polygon extrusion are:

• The mouse cursor changes to an Extrude cursor

when over a selected polygon.

• Drag vertically to specify the extent of the

extrusion, and horizontally to set the size of the

base.

• With multiple polygons selected, dragging on

any one extrudes all selected polygons equally.

• You can drag other polygons in turn to extrude

them while the Extrude button is active. Click

Extrude again or right-click in the active

viewport to end the operation.

668 Chapter 8: Modifiers

Chamfer box showing extruded polygon

Extrude Settings—Opens the Extrude Faces

dialog (page 1–1072),whichletsyouperform

extrusion via interactive manipulation.

If you click this button after performing an

extrusion, the same extrusion is performed on the

current selection as a preview and the dialog opens

with Extrusion Height set to the amount of the last

manual extrusion.

Outline—Lets you increase or decrease the

outside edge of each contiguous group of selected

polygons.

Outline is often used after an extrusion or bevel to

adjustthesizeoftheextrudedfaces.Itdoesn’tscale

the polygons; only changes the size of the outer

edge. For example, in the following illustration,

note that the sizes of the inner polygons remain

constant.

Click the Outline Settings button to open the

Outline Selected Faces dialog, which lets you

perform outlining with a numeric setting.

Extruded polygons (top), outline expanded (middle), outline

reduced (bottom)

Note that the size of inner polygons doesn’t change.

Bevel—Lets you perform manual beveling via

direct manipulation in the viewport. Click this

button, and then drag vertically on any polygon

toextrudeit.Releasethemousebuttonandthen

move the mouse vertically to outline the extrusion.

Click to finish.

Edit Poly (Polygon/Element) 669

• The mouse cursor changes to a Bevel cursor

when over a selected polygon.

• With multiple polygons selected, dragging on

any one bevels all selected polygons equally.

• You can drag other polygons in turn to bevel

them while the Bevel button is active. Click

Bevel again or right-click to end the operation.

Polygon beveled outward (left) and inward (right)

Bevel Settings—Opens the Bevel Polygons dialog

(page 1–1066),whichletsyouperformbeveling

via interactive manipulation.

If you click this button after performing a bevel,

thesamebevelisperformedonthecurrent

selection as a preview and the dialog opens with

thesamesettingsusedforthepreviousbevel.

Inset—Performs a bevel with no height; that is,

within the plane of the polygon selection. Click

this button, and then drag vertically on any

polygon to inset it.

• The mouse cursor changes to an Inset cursor

when over a selected polygon.

• With multiple polygons selected, dragging on

any one insets all selected polygons equally.

• You can drag other polygons in turn to inset

them while the Inset button is active. Click

Inset again or right-click to end the operation.

Inset works on a selection of one or more polygons. As with

Outline, only the outer edges are affected.

Inset Settings—Opens the Inset Selected Faces

dialog (page 1–1074), which lets you inset polygons

via interactive manipulation.

If you click this button after performing a manual

inset, the same inset is performed on the current

selection as a preview and the dialog opens with

InsetAmountsettotheamountofthelastmanual

inset.

Bridge—Connects two polygons or polygon

groups on an object with a polygon “bridge.” There

aretwowaystouseBridgeinDirectManipulation

mode (that is, without opening the Bridge Settings

dialog):

• Make two separate polygon selections on the

object, and then click Bridge. This creates the

bridge immediately using the current Bridge

settings, and then deactivates the Bridge button.

• If no qualifying selection exists (that is, two

or more discrete polygon selections), clicking

Bridge activates the button and places you in

Bridge mode. First click a polygon and move

the mouse; a rubber-band line connects the

mouse cursor to the clicked polygon. Click a

second polygon to bridge the two. This creates

thebridgeimmediatelyusingthecurrentBridge

settings; the Bridge button remains active for

connecting more pairs of polygons. To exit

Bridge mode, right-click the active viewport or

click the Bridge button.

670 Chapter 8: Modifiers

Note: Bridge always creates a straight-line

connection between polygon pairs. To make

thebridgeconnectionfollowacontour,apply

modelingtoolsasappropriateafter creating the

bridge. For example, bridge two polygons, and

then use Bend (page 1–560).

Bridge Settings—Opens the Bridge dialog (page

1–1067), which lets you connect pairs of polygon

selections via interactive manipulation.

Flip—Reversesthedirectionsofthenormalsof

selected polygons, hence their facing.

Hinge From Edge—Lets you perform a manual

hingeoperationviadirectmanipulationinthe

viewport. Make a polygon selection, click this

button, and then drag vertically on any edge to

hinge the selection. The mouse cursor changes to

a cross when over an edge.

Thehingeedgeneedn’tbepartoftheselection.Itcanbeany

edge of the mesh. Also, the selection needn’t be contiguous.

Hinging polygons rotates them around an edge

and creates new polygons that form the sides of the

hinge, connecting the selection to the object. It’s

essentially an extrusion with rotation, with one

exception: If the hinge edge belongs to a selected

polygon, that side is not extruded. The manual

version of Hinge From Edge works only with an

existing polygon selection.

Tip: Turn on Ignore Backfacing to avoid

inadvertently hinging around a backfacing edge.

Hinge Settings—Opens the Hinge From Edge

dialog (page 1–1073),whichletsyouhinge

polygons via interactive manipulation.

If you click this button after performing a manual

hinge, the dialog opens with Angle set to the extent

of the last manual hinge.

Extrude Along Spline—Extrudes the current

selection along a spline.

You can extrude a single face (1) or a selection of contiguous

(2) or non-contiguous faces (3). Extrusion 2 uses Taper Curve

and Twist. Extrusion 3 uses Taper Amount; each extrusion has

a different curve rotation.

Make a selection, click Extrude Along Spline,

and the select a spline in the scene. The selection

is extruded along the spline, using the spline’s

current orientation, but as though the spline’s start

point was moved to the center of each polygon or

group.

Extrude Along Spline Settings—Opens the

Extrude Polygons Along Spline dialog (page

1–1071),whichletsyouextrudealongsplinesvia

interactive manipulation.

Edit Triangulation—Lets you modify how polygons

are subdivided into triangles by drawing internal

edges.

Edit Poly (Polygon/Element) 671

In Edit Triangulation mode, you can see the current

triangulation in the viewport, and change it by clicking two

vertices on the same polygon.

To edit triangulation manually, turn on Edit

Triangulation. The hidden edges appear. Click

a polygon vertex. A rubber-band line appears,

attached to the cursor. Click a non-adjacent vertex

to create a new triangulation for the polygon. You

can continue clicking vertices to retriangulate, or

right-click in the viewport to exit this mode.

Retriangulate—Lets the software automatically

performoptimaltriangulationonthepolygonor

polygons currently selected.

Retriangulate attempts to optimize the subdivision of selected

polygons into triangles.

Tip: For easier editing of triangulation, use the

Turn command instead (see following).

Turn—Lets you modify how polygons are

subdivided into triangles by clicking diagonals.

When you activate Turn, the diagonals (page

3–928) become visible as dashed lines in wireframe

and edged-faces views. In Turn mode, click a

diagonal to change its position. To exit Turn mode,

right-click in the viewport or click the Turn button

again.

Each diagonal has only two available positions

at any given time, so clicking a diagonal twice in

succession simply returns it to its original position.

But changing the position of a nearby diagonal

can make a different alternate position available

to a diagonal.

Edit Geometry rollout

See Edit Geometry Rollout (Edit Poly Modifier)

(page 1–673) for detailed descriptions of these

controls.

672 Chapter 8: Modifiers

Polygon Properties rollout

These controls let you work with material IDs and

smoothing groups.

Material group

Set ID—Lets you assign a particular material ID

(page 3–969) number to selected sub-objects for

use with multi/sub-object materials (page 2–1594)

and other applications. Use the spinner or enter

the number from the keyboard. The total number

of available IDs is 65,535.

Select ID—Selects sub-objects corresponding to

the Material ID specified in the adjacent ID field.

Type or use the spinner to specify an ID, then click

the Select ID button.

[Select By Name]—This drop-down list shows

the names of sub-materials if an object has a

multi/sub-object material assigned to it. Click the

drop arrow and choose a sub-material from the list.

This selects any sub-objects assigned that material.

If an object does not have a multi/sub-object

material assigned, the name list is unavailable.

Likewise, if multiple selected objects have an Edit

Patch, Edit Spline, or Edit Mesh modifier applied,

thenamelistisinactive.

Note: Sub-material names are those specified in the

Name column on the material’s multi/sub-object

Basic Parameters rollout. By default, 3ds Max

assigns the material name “No Name” followed by

a sequence number in parentheses. These names

don’t appear in the Material Editor, but they do

show up in the drop-down list.

Clear Selection—When on, choosing a new ID or

material name unselects any previously selected

sub-objects. When off, selections are cumulative,

so new ID or sub-material name selections add to

the existing selection set of patches or elements.

Default=off.

Smoothing Groups group

Use these controls to assign selected polygons to

different smoothing groups (page 3–1013),andto

select polygons by smoothing group.

To assign polygons to one or more smoothing

groups, select the polygons, and then click the

number(s) of the smoothing group(s) to assign

them to.

Select By SG (Smoothing Group)—Displays a dialog

that shows the current smoothing groups. Select

a group by clicking the corresponding numbered

button and clicking OK. If Clear Selection is

on, any previously selected polygons are first

unselected. If Clear Selection is off, the new

selection is added to any previous selection set.

Clear All—Removesanysmoothinggroup

assignments from selected polygons.

Auto Smooth—Sets smoothing groups based on

the angle between polygons. Any two adjacent

polygonsareputinthesamesmoothinggroupif

theanglebetweentheirnormalsislessthanthe

threshold angle, set by the spinner to the right of

this button.

Edit Geometry Rollout (Edit Poly Modifier) 673

[threshold]—This numeric setting (to the right of

AutoSmooth)letsyouspecifythemaximumangle

between the normals of adjacent polygons that

determines whether those polygons will be put in

thesamesmoothinggroup.

Paint Deformation rollout

Paint Deformation lets you stroke elevated and

indented areas directly onto object surfaces. For

more information, see Paint Deformation Rollout

(page 1–1064).

Edit Geometry Rollout (Edit Poly

Modifier)

Select an Edit Poly object. > Modify panel > Edit

Geometry rollout

The Edit Geometry rollout provides global

controls for changing the geometry of the Edit

Poly object, at either the top (Object) level or the

sub-object levels. The control are the same at all

levels, except as noted in the descriptions below.

Interface

Repeat Last—Repeats the most recently used

command.

For example, if you extrude a polygon, and want to

apply the same extrusion to several others, select

the others, and then click Repeat Last.

You can apply a spline extrusion of a single polygon (left)

repeatedly to other single polygons (1) or to multiple polygon

selections, contiguous (2) or not (3).

674 Chapter 8: Modifiers

Note: Repeat Last does not repeat all operations.

For example, it does not repeat transforms. To

determine which command will be repeated when

you click the button, check the button’s tooltip. If

no tooltip appears, nothing will happen when it is

clicked.

Constraints—Lets you use existing geometry to

constrain sub-object transformation. Use the

drop-down list to choose the constraint type:

•None: No constraints.

•Edge: Constrains vertex transformations to

edge boundaries.

•Face: Constrains vertex transformations to face

surfaces.

When set to Edge, moving a vertex will slide it along one

of the existing edges, depending on the direction of the

transformation. If set to Face, the vertex moves only on the

polygon’s surface.

Note: You can set constraints at the Object level, but

their use pertains primarily to sub-object levels.

The Constraints setting persists at all sub-object

levels.

Preserve UVs—When on, you can edit sub-objects

without affecting the object’s UV mapping. You

can choose any of an object’s mapping channels

to preserve or not; see Preserve UVs Settings,

following. Default=off.

Without Preserve UVs, there is always a direct

correspondence between an object’s geometry

and its UV mapping. For example, if you map an

objectandthenmovevertices,thetexturemoves

along with the sub-objects, whether you want it

toornot.IfyouturnonPreserveUVs,youcan

perform minor editing tasks without changing

the mapping.

Tip: For best results with Preserve UVs at the

vertex level, use it for limited vertex editing. For

example, you’ll usually have no trouble moving

avertexwithinedgeorfaceconstraints. Also,

it’s better to perform one big move than several

smaller moves, as multiple small moves can begin

to distort the mapping. If, however, you need

to perform extensive geometry editing while

preserving mapping, use the Channel Info utility

(page 2–1738) instead.

Original object (left); Scaled vertices with Preserve UVs off

(center); Scaled vertices with Preserve UVs on (right)

Preserve UVs Settings—Opens the Preserve Map

Channels dialog (page 1–1075),whichletsyou

specify which vertex color channels and/or texture

channels (map channels) to preserve. By default,

all vertex color channels are off (not preserved),

and all texture channels are on (preserved).

Create—Lets you create new geometry. How this

button behaves depends on which level is active.

•Object, Polygon, and Element levels—Lets you

create polygons from isolated vertices and

border vertices. All vertices in the object are

highlighted. Click three or more existing

vertices in succession to define the shape of the

new polygon. (The cursor changes to a cross

when it is over a vertex that can legally be part

of the polygon.) To finish polygon creation,

double-click the last vertex. You can also finish

creating the polygon by clicking any vertex

of the new polygon a second time. You can

also create new polygons at the Polygon and

Element sub-object levels.

Youcanaddverticesinthismodeby

Shift +clickinginanemptyspace;these

Edit Geometry Rollout (Edit Poly Modifier) 675

vertices are incorporated into the polygon

you’re creating.

Yo u c a n s t a r t c r e a t i n g p o l y g o n s i n a n y v i e w p o r t ,

but all subsequent clicks must take place in the

same viewport.

Tip: For best results, click vertices in

counterclockwise (preferred) or clockwise

order. If you use clockwise order, the new

polygon will face away from you.

•Vertex level—Lets you add vertices to a single

selected poly object. After selecting the object

and clicking Create, click anywhere in space

to add free-floating (isolated) vertices to the

object. The new vertices are placed on the active

construction plane unless object snapping is

on. For example, with face snapping on, you

can create vertices on object faces.

•Edge and Border levels—Creates an edge from

vertex to vertex. Click Create, click a vertex,

and then move the mouse. A rubber-band line

extends from the vertex to the mouse cursor.

Click a second, non-adjacent vertex on the

same polygon to connect them with an edge.

Repeat,or,toexit,right-clickintheviewport

or click Create again.

Edges you create separate the polygons.

Forexample,bycreatinganedgeinsidea

quadrilateral polygon, you turn it into two

triangles.

Collapse (Vertex, Edge, Border, and Polygon levels

only)—Collapsesgroupsofcontiguousselected

sub-objects by welding their vertices to a vertex

at the selection center.

Attach—Lets you attach another object in the scene

to the selected editable poly. You can attach any

type of object, including splines, patch objects,

and NURBS surfaces. Attaching a non-mesh

object converts it to editable-poly format. Click

the object you want to attach to the currently

selected poly object.

When you attach an object, the materials of the

two objects are combined in the following way:

• If the object being attached does not have a

material assigned, it inherits the material of the

object it is being attached to.

• Likewise, if the object you’re attaching to

doesn’t have a material, it inherits the material

of the object being attached.

• If both objects have materials, the resulting

new material is a multi/sub-object material

(page 2–1594) that includes the input materials.

A dialog appears offering three methods of

combining the objects’ materials and material

IDs. For more information, see Attach Options

Dialog (page 1–1018).

Attach remains active in all sub-object levels,

but always applies to objects.

Attach List—Lets you attach other objects in

the scene to the selected mesh. Click to display a

Select Objects dialog (page 1–78) where you choose

multiple objects to attach.

Shaded view of model (upper left); wireframe view of model

(upper right); model with objects attached (lower left); and

subsequent multi/sub-object material (lower right)

676 Chapter 8: Modifiers

Detach (sub-object levels only)—Detaches the

selected sub–objects and the polygons attached to

them as a separate object or element. The Detach

As Clone option copies the sub-objects rather than

moving them.

You’re prompted to enter a name for the new

object. Detached faces leave a hole in the original

object when you move them to a new position,

unless you use the Detach As Clone option.

Cut and Slice group

Theseknife-liketoolsletyousubdividethepoly

mesh along a plane (Slice) or in a specific area

(Cut). Also see Full Interactivity.

Slice Plane (sub-object levels only)—Creates a

gizmoforasliceplanethatyoucanpositionand

rotate to specify where to slice. Also enables the

Slice and Reset Plane buttons.

If snapping is turned off, you see a preview of the

slice as you transform the slice plane. To perform

the slice, click the Slice button.

Split—When on, the QuickSlice and Cut

operations create double sets of vertices at the

points where the edges are divided. This lets you

easily delete the new polygons to create holes, or

animatethenewpolygonsasseparateelements.

Slice (sub-object levels only)—Performs the slice

operation at the location of the slice plane.

Available only when Slice Plane is on. This tool

slicesthepolyjustlikethe“OperateOn:Polygons”

mode of the Slice modifier (page 1–825).

Reset Plane (sub-object levels only)—Returns the

Slice plane to its default position and orientation.

Available only when Slice Plane is on.

QuickSlice—Lets you quickly slice the object

without having to manipulate a gizmo. Make a

selection, click QuickSlice, and then click once

at the slice start point and again at its endpoint.

You can continue slicing the selection while the

command is active.

To stop slicing, right-click in the viewport, or click

QuickSlice again to turn it off.

With Quickslice on, you can draw a line across your mesh in

any viewport, including Perspective and Camera views. The

mesh is sliced interactively as you move the line endpoint.

Note: At the Object level, QuickSlice affects the

entire object. To slice only specific polygons, use

QuickSliceonapolygonselectionatthePoly

sub-object level.

Note: At the Polygon or Element sub-object level,

QuickSlice affects only selected polygons. To

slice the entire object, use QuickSlice at any other

sub-object level, or at the object level.

Cut—Lets you create edges from one polygon to

another or within polygons. Click at the start

point, move the mouse and click again, and

continue moving and clicking to create new

connected edges. Right-click once to exit the

current cut, whereupon you can start a new one,

or right-click again to exit Cut mode.

Edit Geometry Rollout (Edit Poly Modifier) 677

Cutting to a vertex (top); cutting an edge (center); cutting a

polygon (bottom). Cut is available at the object level and all

sub-object levels.

Note: You can use Cut with Turn for enhanced

productivity. For more information, see this

procedure (page 1–1035).

MSmooth—Smoothes the object using the current

settings. This command uses subdivision

functionality similar to that of the MeshSmooth

modifier (page 1–722) with NURMS Subdivision,

but unlike NURMS Subdivision, it applies the

smoothing instantly to the selected area of the

control mesh.

MSmooth Settings—Opens the MeshSmooth

Selection dialog (page 1–1074),whichletsyou

specify how smoothing is applied.

Tessellate—Subdivides all polygons in the object

based on the Tessellation settings (page 1–1077).

Tessellation is useful for increasing local mesh

density while modeling. You can subdivide any

selection of polygons. Two tessellation methods

are available: Edge and Face.

Tessellate Settings—Opens the Tessellate

Selection dialog (page 1–1077),whichletsyou

specify how smoothing is applied.

Make Planar—Forces all selected sub-objects to be

coplanar. The plane’s normal is the average surface

normal of the selection.

At the Object level, forces all vertices in the object

to become coplanar.

Tip: OneapplicationforMakePlanarismakinga

flat side on an object. Normally, you would use a

contiguous selection set. If the selection includes

vertices on various parts of the object, the vertices

are still made planar, but with distorting effects on

the rest of the geometry.

X/Y/Z—Makes all selected sub-objects planar and

aligns the plane with the corresponding plane

in the object’s local coordinate system. The

planeusedistheonetowhichthebuttonaxisis

perpendicular; so, for example, clicking the X

button aligns the object with the local YZ axis.

At the Object level, makes all vertices in the object

planar.

View Align—Aligns all vertices in the object to the

planeoftheactiveviewport.Ifasub-objectmode

is active, this function affects only selected vertices

or those belonging to selected sub-objects. In the

case of orthographic viewports, using View Align

has the same effect as aligning to the construction

gridwhenthehomegridisactive.Whenaligning

to a perspective viewport (including camera and

light views), the vertices are reoriented to be

aligned to a plane that is parallel to the camera’s

viewing plane. This plane is perpendicular to

the view direction that is closest to the vertices’

average position.

678 Chapter 8: Modifiers

Above: Selected polygons in Perspective view

Below: Same polygons aligned to Front view

Grid Align—Aligns all vertices in the selected object

totheplaneofthecurrentview.Ifasub-object

mode is active, function aligns only selected

sub-objects. This function aligns the selected

vertices to the current construction plane. The

current plane is specified by the active viewport

in the case of the home grid. When using a grid

object, the current plane is the active grid object.

Relax—Applies the Relax function to the current

selection, using the Relax dialog settings (see

following). Relax normalizes mesh spacing by

moving each vertex toward the average location of

itsneighbors.ItworksthesamewayastheRelax

modifier (page 1–779).

Note: At the object level, Relax applies to the entire

object. At any sub-object level, Relax applies only

to the current selection.

Relax Settings—Opens the Relax dialog (page

1–1076), which lets you specify how the Relax

function is applied.

Hide Selected (Vertex, Polygon, and Element levels

only)—Hides any selected sub-objectgs.

Unhide All (Vertex, Polygon, and Element levels

only)—Restores any hidden sub-objects to

visibility.

Hide Unselected (Vertex, Polygon, and Element

levels only)—Hides any unselected sub-objects.

Named Selections (sub-object levels only)

Lets you copy and paste named selection sets of

sub-objects between objects. Start by creating one

or more named selection sets, copy one, select a

different object, go to the same sub-object level,

and then paste the set.

Note: This function uses sub-object IDs, so if the

target object’s geometry differs from that of the

source object, the pasted selection will probably

comprise a different set of sub-objects.

For more information, see Named Selection Sets

(page 1–67).

Copy—Opens a dialog that lets you specify a

named selection set to place into the copy buffer.

Paste—Pastes the named selection from the copy

buffer.

Delete Isolated Vertices (Edge, Border, Polygon, and

Element levels only)—When on, deletes isolated

vertices when you delete a selection of contiguous

sub-objects. When off, deleting sub-objects leaves

all vertices intact. Default=on.

Align Geometry Dialog 679

Align Geometry Dialog

Select an Edit Poly object. > Modify panel > object level

or any sub-object level > Animate mode > Edit Geometry

rollout > Click View Align or Grid Align > Edit Poly Mode

rollout > Settings button

This Edit Poly-specific dialog lets you change the

alignment method after using the View Align or

Grid Align function. Available only in Animate

mode after using the View Align or Grid Align

command.

Interface

Align to—Lets you choose what to align the

selection with:

•View—Aligns the selection with the view plane.

•Construction Plane—Aligns the selection with

theactivegrid.

Update—Click this button to realign the selection

with the designated entity after changing it.

Typically you’d use this with the View option after

rotating the view.

Detach Dialog

Select an Edit Poly object. > Modify panel > any

sub-object level > Edit Geometry rollout > Detach

Settings button

This dialog lets you specify how a sub-object

selection is detached from an Edit Poly object.

By default, both Detach To Element and Detach As

Clone are off. Thus, when you detach a sub-object

selection, it’s removed from the original object

and becomes a new object. The dialog options let

you keep the detached item as an element of the

original object and/or detach it as a copy of the

original selection.

Note: When you detach a vertex or an edge, any

adjacent polygons are detached as well. Also, a

detached item remains in its original location.

Note: Any Detach dialog settings you change are

saved as program defaults automatically.

Interface

Detach as—Lets you assign a name to the new

object. By default, the name is "Object" followed

by a sequence number.

This option is unavailable when Detach To

Element is on.

Detach To Element —The detached sub-object

selection remains as part of the original object,

but becomes a new element. It can then be

manipulated independently at the Element

sub-object level. Default=off.

Detach As Clone—Detaches the selection as a copy

of the original selection; the latter remains intact.

Default=off.

680 Chapter 8: Modifiers

Edit Spline Modifier

Create or select a spline > Modify panel > Object–Space

Modifiers > Edit Spline

Create or select a spline > Modifiers menu > Patch/Spline

Editing > Edit Spline

TheEditSplinemodifierprovidesexplicitediting

tools for different levels of the selected shape:

vertex,segment,orspline. TheEditSpline

modifier matches all the capabilities of the base

Editable Spline object, with the exceptions noted

below. See Editable Spline (page 1–289) for a

complete parameter reference.

TheEditSplinemodifierprovidesexplicitediting

tools for different levels of the selected shape:

vertex,segment,orspline. TheEditSpline

modifier matches all the capabilities of the base

Editable Spline object, with the exceptions noted

below. For a complete parameter reference, see

Editable Spline (page 1–289).

The Rendering and Interpolation rollouts found in

Editable Spline, which allows manipulation of the

spline’s creation parameters, are not available in

the Edit Spline modifier. (The creation parameters

are available in the modifier stack (page 3–760)

for a spline to which Edit Spline is applied.) In

addition, the direct vertex animation capabilities

of Editable Spline are not possible in Edit Spline.

When possible, it’s far more efficient and reliable

to perform explicit editing at the Editable Spline

level rather than store those edits within the Edit

Spline modifier. The Edit Spline modifier must

copy the geometry passed to it, and this storage

can lead to large file sizes. The Edit Spline modifier

also establishes a topological dependency that can

be adversely effected if earlier operations change

the topology being sent to it.

There are, however, situations where Edit Spline

is the preferred method.

• You want to edit a parametric shape as a spline,

butwanttoretaintheabilitytomodifyits

creation parameters after the edit.

• You want to store your edits temporarily within

Edit Spline until you are satisfied with the

results, before committing them permanently

to an editable spline object.

• You need to make edits across several shapes

atonce,butdonotwanttoconvertthemtoa

single editable spline object.

• You have a modifier in the stack that must stay

parametric, and the resulting spline must be

edited after the modifier is applied.

Extrude Modifier

Select a shape. > Modify panel > Modifier List >

Object-Space Modifiers > Extrude

Select a shape. > Modifiers menu > Mesh Editing >

Extrude

The Extrude modifier adds depth to a shape and

makes it a parametric object.

Above: Spline before extrusion

Below left: Extruded spline with Cap End off

Below right: Extruded spline with Cap End on

Extrude Modifier 681

Interface

Amount—Sets the depth of the extrusion.

Segments—Specifies the number of segments that

will be created in the extruded object.

Capping group

Cap Start—Generates a flat surface over the start

of the extruded object.

Cap End—Generates a flat surface over the end of

the extruded object.

Morph—Arranges cap faces in a predictable,

repeatable pattern, which is necessary for creating

Morph targets (page 1–314).Morphcapping

can generate long, thin faces that don’t render

or deform as well as grid capping. Use morph

capping primarily if you’re extruding multiple

morph targets.

Grid—Arranges cap faces in a square grid trimmed

at the shape boundaries. This method produces a

surface of evenly sized faces that can be deformed

easily by other modifiers. When you choose the

Grid capping option, the grid lines are hidden

edges rather than visible edges. This primarily

affects any objects assigned a material with the

Wire option turned on, or any objects that use the

Lattice modifier (page 1–709).

Output group

Patch—Produces an object that you can collapse to

apatchobject;seeEditing the Stack (page 1–504).

Mesh—Produces an object that you can collapse to

a mesh object; see Editing the Stack (page 1–504).

NURBS—Produces an object that you can collapse

to a NURBS surface; see Editing the Stack (page

1–504).

Generate Mapping Coords—Applies mapping

coordinates to the extruded object. Default=off.

When on, Generate Mapping Coordinates applies

separate mapping coordinates to the end caps,

placingasingle1x1tileoneachcap.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625).Default=on.

Generate Material IDs—Assigns different material

IDstothesidesandthecapsoftheextruded

object. Specifically, the sides receive ID 3, and the

caps receive IDs 1 and 2.

This check box is turned on as a default when

you create an extruded object, but if you load an

extruded object from a MAX file, the check box

is turned off, maintaining the same material ID

assignmentforthatobjectasithadinR1.x.

Use Shape IDs—Uses the material ID values

assigned to segments in the spline (page 1–266)

you extruded, or curve sub-objects in the NURBS

(page 1–1078) curve you extruded.

682 Chapter 8: Modifiers

Smooth—Applies smoothing to the extruded

shape.

Face Extrude Modifier

Modify panel > Select one or more faces of a mesh object.

>ModifierList>FaceExtrude

Modify panel > Select one or more faces of a mesh object.

>Modifiersmenu>MeshEditing>FaceExtrude

TheFaceExtrudemodifierextrudesfacesalong

their normals, creating new faces along the sides

of the extrusion that connect the extruded faces to

their object. As with most modifiers, this affects

the current face selection passed up the stack.

There are various differences between the Face

Extrude modifier and the Face Extrude function in

an editable mesh (page 1–996),especiallythefact

that all parameters in the Face Extrude modifier

are animatable.

Faces extruded on the top and along the edge of the object

Interface

Modifier Stack

Extrude Center—At this sub-object level, you can

select and move (or animate) the center point.

This affects the geometry only if you turn on

Extrude From Center.

For more information on the stack display, see

Modifier Stack (page 3–760).

Parameters rollout

Amount—Determines the extent of the extrusion.

You can adjust and readjust the Amount spinner

as often as you choose. To extrude a second level,

apply another Face Extrude modifier.

Scale—Scales each cluster of selected faces

independently about its center.

Note: By using multiple extrude modifiers with

Scale, you can achieve a bevel effect.

Extrude From Center—Extrudes each vertex

radially from the center point.

The direction in which the faces are extruded is

slightly different than Face Extrude in the editable

FFD (Free-Form Deformation) Modifiers 683

mesh. Each vertex is displaced in the direction of

the average surface normal of selected faces that

share that vertex. So each vertex may move in a

slightly different direction. Put another way, each

vertex is extruded in the direction of the surface

normalatthepointonthesurfacewherethat

vertex lies.

FFD (Free-Form Deformation)

Modifiers

Modify panel > Make a selection. > Modifier List >

Object-Space Modifiers > FFD 2x2x2, FFD 3x3x3, or FFD

4x4x4

Make a selection. > Modifiers menu > Free Form

Deformers > FFD 2x2x2, FFD 3x3x3, or FFD 4x4x4

FFD stands for Free-Form Deformation. Its effect

is used in computer animation for things like

dancing cars and gas tanks. You can use it as well

for modeling rounded shapes such as chairs and

sculptures.

The FFD modifier surrounds the selected

geometry with a lattice. By adjusting the control

points of the lattice, you deform the enclosed

geometry.

FFD deformation creates a bulge in the snake.

There are three FFD modifiers, each providing a

different lattice resolution: 2x2, 3x3, and 4x4. The

3x3 modifier, for example, provides a lattice with

three control points across each of its dimensions

or nine on each side of the lattice.

There are also two FFD-related modifiers that

provide supersets of the original modifiers; see

FFD (Box/Cyl) modifier (page 1–685).Withthe

FFD (Box/Cyl) modifiers, you can set any number

of points in the lattice, which makes them more

powerful than the basic FFD modifier.

Animating FFD Control Points and the

Master Point Controller

Turn on the Auto Key button and move the lattice

points to animate an FFD and any underlying

geometry. When you animate FFD control points,

a Master Point Controller is created automatically.

In Track View the master controller allows you to

move multiple animated control points in time

by simply moving one master key (master keys

display green in Track View).

Procedure

To use an FFD modifier:

1. Select the geometry. This can be the whole

object, or you can use a Mesh Select modifier to

select a portion of the object’s vertices.

2. Apply the FFD 2X2, FFD 3X3, or FFD 4X4

modifier, depending on the resolution of the

lattice you want.

An orange lattice gizmo surrounds the

geometry.

3. In the stack display, choose the Control Points

sub-object level, and then move the control

points of the lattice to deform the underlying

geometry. (Turn on the Auto Key button if you

want to animate the deformation.)

The lattice volume defaults to the bounding box

of the selected geometry. However, you can

position, rotate, and/or scale the lattice box so that

it modifies only a subset of vertices. Choose the

684 Chapter 8: Modifiers

Lattice sub-object level, and then use any of the

transform tools to adjust the lattice volume relative

to the geometry.

Interface

Modifier Stack

Control Points—At this sub-object level, you can

select and manipulate control points of the lattice,

one at a time or as a group (select multiple points

using standard techniques). Manipulating control

points affects the shape of the underlying object.

You can use standard transformation methods

with the control points. If the Auto Key button is

turned on when modifying the control points, the

points become animated.

Lattice—At this sub-object level, you can position,

rotate, or scale the lattice box separately from the

geometry. If the Auto Key button is turned on,

the lattice becomes animated. When you first

apply an FFD, its lattice defaults to a bounding box

surrounding the geometry. Moving or scaling the

lattice so that only a subset of vertices lies inside

thevolumemakesitpossibletoapplyalocalized

deformation.

Set Volume—At this sub-object level, the

deformation lattice control points turn green,

and you can select and manipulate control points

without affecting the modified object. This lets you

fitthelatticemorepreciselytoirregular-shaped

objects, giving you finer control when deforming.

Set Volume essentially lets you set the initial state

ofthelattice.Ifyouuseitafteryouhaveanimated

a control point or when the Auto Key button is

turnedon,thenitworksthesameasattheControl

Points sub-object level, deforming the object as

you manipulate points.

For more information on the stack display, see

Modifier Stack (page 3–760).

FFD Parameters rollout

Display group

Affects the display of the FFD in the viewports.

Lattice—Draws lines connecting the control points

to make a grid.

Although the viewports can sometimes become

cluttered when these lines are drawn, it helps to

visualize the lattice.

FFD (Box/Cylinder) Modifiers 685

Source Volume—Displays the control points and

lattice in their unmodified state.

When you’re in the Lattice selection level, this

helps to position the source volume.

Tip: Toseewhichpointslieinthesourcevolume

(andthereforewillbedeformed),temporarily

deactivate the modifier by clicking to turn off the

light bulb icon in the modifier stack display.

Deform group

Only in Volume—Deforms vertices that lie inside

thesourcevolume.Default=on.

All Vertices—Deforms all vertices, regardless of

whether they lie inside or outside the source

volume.

The deformation outside the volume is a

continuous extrapolation of the deformation

insidethevolume. Thedeformationcanbe

extreme for points far away from the source lattice.

Control Points group

Reset—Returns all control points to their original

positions.

Animate All—Assigns Point3 controllers to all

control points so that they’re immediately visible

in Track View.

By default the control points of an FFD lattice

don’t appear in Track View because they don’t have

controllers assigned to them. But when a control

point is animated, a controller is assigned to it and

becomes visible in Track View. With Animate All,

you can add and delete keys and perform other

key operations.

Conform to Shape—Moves each FFD control point

to the intersection of the modified object with a

straight line extending between the object’s center

to the control point’s original location, plus an

offset distance specified by the Offset spinner.

Note: Conform to Shape works best with regular

shapes, such as primitives. It’s less effective if

the object has degenerate (long, narrow) faces or

sharp corners. All the controls are unavailable with

shapes, because there are no faces to intersect with.

Inside Points—Only control points inside the object

are affected by Conform to Shape.

Outside Points—Only control points outside the

object are affected by Conform to Shape.

Offset—Thedistancebywhichcontrolpoints

affected by Conform to Shape are offset from the

object surface.

About—Displays a dialog with copyright and

licensing information.

FFD (Box/Cylinder) Modifiers

Modify panel > Make a selection. > Modifier List >

Object-Space Modifiers > FFD(box) or FFD(cyl)

Make a selection. > Modifiers menu > Free Form

Deformers > FFD Box or FFD Cylinder

FFD stands for Free-Form Deformation. Its effect

is used in computer animation for things like

dancing cars and gas tanks. You can use it as well

for modeling rounded shapes such as chairs and

sculptures.

The FFD modifier surrounds the selected

geometry with a lattice box. By adjusting the

control points of the lattice, you deform the

enclosed geometry. With the Auto Key button

turned on, you can animate the lattice points, and

thus the deformation of the geometry.

686 Chapter 8: Modifiers

FFD deformation creates a bulge in the snake.

With the FFD(box) and FFD(cyl) modifiers you

can create box-shaped and cylinder-shaped lattice

free-form deformation objects. Both are available

as object modifiers and as space warps.

The source lattice of an FFD modifier is fitted to

the geometry it’s assigned in the stack. This can be

a whole object, or a sub-object selection of faces

or vertices.

Interface

Modifier Stack

Control Points—At this sub-object level, you can

select and manipulate control points of the lattice,

one at a time or as a group (select multiple points

using standard techniques). Manipulating control

points affects the shape of the underlying object.

You can use standard transformation methods

with the control points. If the Auto Key button is

turned on when modifying the control points, the

points become animated.

Lattice—At this sub-object level, you can position,

rotate, or scale the lattice box separately from the

geometry. If the Auto Key button is turned on,

the lattice becomes animated. When you first

apply an FFD, its lattice defaults to a bounding box

surrounding the geometry. Moving or scaling the

lattice so that only a subset of vertices lie inside

thevolumemakesitpossibletoapplyalocalized

deformation.

Set Volume—At this sub-object level, the

deformation lattice control points turn green,

and you can select and manipulate control points

without affecting the modified object. This lets you

fitthelatticemorepreciselytoirregular-shaped

objects, giving you finer control when deforming.

Set Volume essentially lets you set the initial state

of the lattice. If a control point is already animated

or the Animate button is turned on, then Set

Volume works the same as at the Control Points

sub-object level, deforming the object as you

manipulate points.

For more information on the stack display, see

Modifier Stack (page 3–760).

FFD (Box/Cylinder) Modifiers 687

FFD Parameters rollout

Dimensions group

Adjusts the unit dimensions of the source volume

and specifies the number of control points in the

lattice. Note that the point dimensions also show

up beside the modifier name in the stack list.

Lattice dimensions—The text displays the current

number of control points in the lattice (for example

3x4x4).

Set Number of Points—Displays a dialog containing

three spinners labeled Length, Width, and Height,

plus OK/Cancel buttons. Specify the number of

control points you want in the lattice, and then

click OK to make the change.

Warning: Make changes to the lattice dimensions

before you adjust the positions of the lattice control

points. When you change the number of control points

with this dialog, you lose any adjustments you’ve already

made to the control points. (You can undo this dialog.)

Display group

Affects the display of the FFD in the viewports.

Lattice—Draws lines connecting the control points

to make a grid. Although the viewports can

sometimes become cluttered when these extra

lines appear, they help to visualize the lattice.

Source Volume—Displays the control points

and lattice in their unmodified state. This is

an important display when you’re adjusting the

source volume to affect specific vertices that lie

inside or outside it.

Tip: Toseewhichpointslieinthesourcevolume

(and therefore will be deformed), temporarily

deactivate the modifier by clicking to turn off the

light bulb icon in the modifier stack display.

Deform group

Provides controls that specify which vertices are

affected by the FFD.

Only In Volume—Deformsverticesthatlieinside

thesourcevolume. Verticesoutsidethesource

volume are not affected.

688 Chapter 8: Modifiers

All Vertices—Deforms all vertices regardless of

whether they lie inside or outside the source

volume depending on the value in the Falloff

spinner. The deformation outside the volume is

a continuous extrapolation of the deformation

inside the volume. Note that the deformation can

be extreme for points far away from the source

lattice.

Falloff—Determinesthedistancefromthelattice

that the FFD effect will decrease to zero. Available

only when you choose All Vertices. When set to 0,

it’s effectively turned off, and there is no falloff. All

vertices are affected regardless of how far they are

from the lattice. The units of the Falloff parameter

areactuallyspecifiedrelativetothesizeofthe

lattice. A falloff of 1 means that the effect will go to

0 for points that are a lattice width/length/height

away from the lattice (depending on which side

they are).

Tension/Continuity—Adjusts the tension and

continuity of the deformation splines. Although

you can’t actually see the splines in an FFD, the

lattice and control points represent the structure

that controls the splines. As you adjust the control

points, you alter the splines (which move through

each of the points). The splines, in turn, deform

the geometry of the object. By altering the tension

and continuity of the splines, you alter their effect

on the object.

Selection group

Provides additional methods of selecting the

control points. You can toggle the state of any

combination of the three buttons to select in one,

two, or three dimensions at once.

AllX,AllY,AllZ—Selects all control points along

the specified local dimension when you select a

control point. By turning on two buttons, you can

select all control points in two dimensions.

Control Points group

Reset—Returns all control points to their original

positions.

Animate All—By default, the control points of an

FFD lattice don’t appear in Track View because

they don’t have controllers assigned to them. But

whenyouanimateacontrolpoint,acontrolleris

assigned and it becomes visible in Track View. You

can also add and delete keys and perform other key

operations. Animate All assigns Point3 controllers

to all control points so that they’re immediately

visible in Track View.

Conform to Shape—Moves each FFD control point

to the intersection of the modified object with a

straight line extending between the object’s center

to the control point’s original location, plus an

offset distance specified by the Offset spinner.

Note: Conform to Shape works best with regular

shapes, such as primitives. It’s less effective if

the object has degenerate (long, narrow) faces or

sharp corners. All the controls are unavailable

with shapes, because there are no faces for the

lattice to intersect with.

Inside Points—Only control points inside the object

are affected by Conform to Shape.

Outside Points—Only control points outside the

object are affected by Conform to Shape.

Offset—Thedistancebywhichcontrolpoints

affected by Conform to Shape are offset from the

object surface.

About—Displays a dialog with copyright and

licensing information.

FFD (Free-Form Deformation) Select Modifier 689

FFD (Free-Form Deformation)

Select Modifier

Select an FFD space warp. > Modify panel > Modifier List

> FFD Select

Select an FFD space warp. > Modifiers menu > Selection

Modifiers > FFD Select

The FFD Select modifier works on an FFD (Box)

Space Warp (page 2–91) or FFD (Cyl) Space Warp

(page 2–95) to change the selection of its control

points, and pass the selection up the stack.

The space-warp versions of the FFD modifiers

provide sub-object geometry that you can

manipulate in the stack. For example, you can

apply a Bend modifier (page 1–560) to an FFD

space warp, bend its control points, and thus bend

theobjecttowhichthespacewarpisbound.

Using the FFD Select modifier, you can select a

sub-object pattern of control points, and then use

the subsequent modifier(s) to deform the selected

points.

The FFD Select modifier is especially useful for

assigning Linked XForm modifiers (page 1–712) to

portions of an FFD space warp.

Procedure

Example: To use the Linked XForm modifier with an

FFD space warp:

1. Create an object, an FFD space warp (such

as FFD (Box) (page 2–91)), and a couple of

dummies (page 2–16).

2. Bind the FFD space warp to the object you want

to deform.

3. Select the FFD space warp and apply an FFD

Select modifier.

4. In the Control Points sub-object mode, select

the control points you want to use to affect the

object.

5. Apply a Linked XForm modifier, and then pick

one of the dummies as a control object.

6. Apply another FFD Select modifier, and select a

different collection of control points.

7. Apply another Linked XForm modifier and

assign the other dummy as a control object.

8. You can now move either of the dummy objects

to both translate the linked control points in

the FFD space warp, and to deform the target

object.

Interface

AllX/AllY/AllZ—Select the control points

corresponding to the specified axis plane.

First click a selection button, and then select FFD

control points in the viewports.

Fillet/Chamfer Modifier

Select a shape. > Modify panel > Modifier List >

Object-Space Modifiers > Fillet/Chamfer

Select a shape. > Modifiers menu > Patch/Spline editing

>Fillet/Chamfer

The Fillet/Chamfer modifier lets you fillet or

chamfer the corners between linear segments of

Shape objects (page 3–1011). Fillet rounds corners

where segments meet, adding new control vertices.

Chamfer bevels corners, adding another vertex

andlinesegment.Notethatthismodifierworkson

the splines at the sub-object level of the shape. It

does not work between two or more independent

shape objects.

When you apply Fillet/Chamfer, you’re placed in

a Vertex sub-object selection level. You can select

690 Chapter 8: Modifiers

(and move) any vertex, but only Corner vertices

and Bezier Corner vertices are valid for fillet and

chamfer functions. In addition, both segments

connected by a Bezier Corner vertex must be

linear rather than curved.

There are two methods for applying either fillets

or chamfers:

• Select one or more valid corner vertices, and

then adjust either the Radius spinner to fillet

theselectedcorners,ortheDistancespinnerto

chamfer the corners.

• You can preset the Radius or Distance values,

andthenselectoneormorevalidcorner

vertices, and click one of the Apply buttons to

apply the specified value to the selected vertices.

Note: As of version 3 of 3ds Max, Edit/Editable

Spline (page 1–297) includes interactive

fillet/chamfer functions. The only reason to use

this modifier is to apply it at a specific location

on the stack.

Star with selected vertices

Fillet applied to above star with radius of 20 (left) and 40

(right)

Chamfer applied to above star with distance of 20

Procedure

Example: To fillet/chamfer a star:

1. Create a Star shape (page 1–277).

2. Apply a Fillet/Chamfer modifier.

3. Selectoneormoreofthestar’svertices.

4. Adjust the parameters to achieve different

effects.

Flex Modifier 691

Interface

Fillet group

Radius—Specifies the radius of the filleted corner.

Apply—Applies the value specified in the Radius

spinner to selected vertices. For example, before

selecting any vertices, set the Radius to the desired

value, then select your vertices and click Apply to

fillet the selection with the specified radius.

Chamfer group

Distance—Specifies the distance of the new vertices

from the original corner vertex.

Apply—AppliesthevaluespecifiedintheDistance

spinner to selected vertices. For example, before

selecting any vertices, set Distance to the desired

value, then select your vertices and click Apply to

chamfer the corners.

Flex Modifier

Select a Mesh , Patch, or NURBS object. > Modify panel >

Modifier List > Object-Space Modifiers > Flex

Select a Mesh, Patch, or NURBS object. > Modifiers menu

> Animation Modifiers > Flex Modifier

Flexcausesthetonguetowagastheheadrotates.

The Flex modifier simulates soft-body dynamics

using virtual springs between an object’s vertices.

You can set the springs’ stiffness, or how actively

they keep vertices from coming close to each other,

as well as stretch, or how far apart they can move.

At a more advanced level, you can also control the

sway, or how much the spring angle can change.

At its simplest, this system causes vertices to lag

behind an object as it moves.

Flex works with NURBS, patches, meshes, shapes,

FFD space warps, and any plug-in-based object

types that can be deformed. You can combine Flex

with space warps such as Gravity, Wind, Motor,

Push, and PBomb to add realistic physically based

animation to an object. In addition, you can

apply deflectors to soft-body objects to simulate

collision.

Note: The Flex modifier is aware of

vertex/control-point motion in any animated

modifier that deforms points below Flex in the

modifier stack, such as the Morphermodifier(page

692 Chapter 8: Modifiers

1–729). Use this to simulate soft body motion on a

morphed or otherwise deform-animated object.

Tip: After applying the Flex modifier to an object

or sub-object selection, choose the Flex modifier’s

Center sub-object and use Move to change where

the flex effect is centered.

Tip: Using Flex’s advanced capabilities can

significantly impede real-time playback. In such

cases, use the Point Cache modifier (page 1–758) to

record the vertex animation to disk, and then play

it back using the cache.

The antennae, with the Flex modifier applied, move around like

springs reacting to the motion of the character’s head.

Surfaces Influenced by the Flex Modifier

• On a mesh surface, the Flex modifier influences

every vertex.

• On a patch surface, the Flex modifier influences

both control points and tangent handles.

Tangent handles are unlocked and moved

independentlybytheFlexmodifier.

• OnaNURBSsurface,theFlexmodifier

influences control vertices (CVs) or points.

• On a Spline (shape), the Flex modifier

influences both control points and tangent

handles.

• OnanFFDSpaceWarp,theFlexmodifier

influences control points.

Effects

Yo u c a n a p p l y s p a c e w a r p s t o t h e F l e x m o d i f i e r.

For example, you can add Wind to animate plants

and trees, or a waving flag. In such cases, you don’t

need to create keyframes to see the effects; the

space warp alone can animate the surface.

Character Animation

Use Flex above the Skin modifier (page 1–791) to

add secondary motion to a character animated

withBones.Ifyouareusingthe3dsMaxproduct,

useFlexabovethePhysiquemodifiertoadd

secondary motion to a character.

Procedures

Example: To paint on weights:

1. Create a sphere on the left side of the Top

viewport.

2. Turn on the Auto Key button and

movethetimeslidertoframe50.

3. In the Top viewport, move the sphere to the

right side of the viewport.

4. Tur n of f Auto Key.

5. On the Modify panel, click Modifier

List, and then choose Flex.

The Flex modifier is applied to the sphere.

6. Click Play.

ThesphereflexesaroundtheTransformgizmo

evenly.

Flex Modifier 693

7. Open the Flex modifier hierarchy in the stack

display, and click Weights & Springs.

This enables modification of the Weights &

Springs sub-object settings.

8. InthePaintWeightsgroup,turnonPaint.

9. In the Left viewport, paint on the lower part

of the sphere.

Thevertexcolorchangesasthevertexweight

changes. Yellow vertices are more rigid, blue

vertices are less rigid.

Note: You can change Flex vertex colors

through Customize menu > Customize User

Interface > Colors > Geometry > Subselection

Hard/Medium/Soft.

10. Click Play.

Thespherewobblesononesidemorethanthe

other.

If the Strength setting in the Paint Vertex group

is a positive value, you paint rigidity. If the

values are negative, you paint flexibility.

Paint with negative numbers for Strength to

reverse the effect.

Example: To use wind as a force:

1. IntheTopviewport,createasphere.

2. On the Create panel, click Space

Warps, and then, if necessary, choose Forces

from the drop-down list.

3. Click Wind, and then click and drag in the

Front viewport to create a wind gizmo.

4. On the Wind Parameters rollout, set Strength

and Turbulence to 4.

5. Select the Sphere.

6. Apply the Flex modifier.

7. On the Modify panel > Parameters rollout, set

Samples to 1.

8. On Forces and Deflectors rollout > Forces

group, click the Add button, and then select the

Wind gizmo in the viewports.

9. Click Play.

Thesphereundulatesinthewind. The

Advanced Parameters rollout > Reference

Framesettingdeterminestheframewherethe

force(s) in the list take effect.

Yo u c a n a l s o u s e t h i s e x a m p l e t o s e e h o w t h e

Chase Springs option works.

10. Turn off Chase Springs and click Play

again.

The sphere keeps moving in the direction the

wind is blowing without "bouncing" back.

That’s because the chase springs, which attempt

to return the object to its original shape, are no

longer in effect.

To add custom springs:

1. Apply Flex to an object and go to the Weights &

Springs sub-object level.

The Flex vertices appear at object vertices in

the viewports.

2. In the Advanced Springs rollout, turn on Show

Springs.

3. Click the Options button and in the Spring

Option dialog (page 1–700),choosehowyou

want to add springs. Exit the Spring Option

dialog.

4. Select vertices according to the options.

For instance, if you want to add one Hold

Shape spring between two vertices, select both

vertices.

5. Click Add Spring.

The new spring or springs appear. Edge springs

are blue and Hold Shape springs are red.

694 Chapter 8: Modifiers

Example: To create a swinging rope:

1. UseCreatemenu>SpaceWarpstoaddaDrag

and a Gravity space warp in the Top viewport.

2. UseCreatemenu>Shapes>Linetocreatea

line with ten vertices spaced evenly in the top

viewport.

3. IntheModifypanel,turnonVertexsub-object

and select all the vertices except the first vertex.

4. Add the Flex modifier.

5. In the modifier stack view, open Weights and

Springs sub-objects.

6. Turn off Use Chase Springs.

7. Turn off Use Weights.

8. Set the solver to Runge-Kutta4.

9. Set Samples to 5.

10.In a viewport, select all the points on the spline.

11.In the Advance Springs rollout, click the Option

button.

12.In the dialog, turn on Hold Edge Length

Springs and click OK.

13.Click Add Springs.

14.On the Forces and Deflectors rollout, add

Gravity and Drag in the Forces group.

15.Click Play.

The spline resembles a swinging rope.

Example: To create cloth draping on a sphere:

1. UseCreatemenu>SpaceWarpstoaddaDrag

and a Gravity space warp in the Top viewport.

2. UseCreatemenu>SpaceWarps>Deflectors

>SDeflectortocreateasphericaldeflector.

Set Bounce to 0 and Friction to 100. Place the

deflector below Z=0.

3. UseCreatemenu>Geometry>Standard

Primitives > Plane to create a 20 x 20 plane

intheTopviewport. Itshouldbeabovethe

spherical deflector.

4. Apply a Mesh Select modifier to the plane.

5. In the Top viewport, select all the vertices

except for the leftmost column.

6. Apply the Flex modifier to the plane.

7. Turn off Use Chase Springs and Use Weights.

8. Set Samples to 3.

9. ClickCreateSimpleSoftBody.

10.In the Forces and Deflectors rollout, add the

Gravity and Drag forces.

11.In the Forces and Deflectors rollout, add the

spherical deflector.

12.Click Play.

Theplanedrapesoverthesphericaldeflector

like cloth.

Interface

Modifier Stack

These modifier sub-object levels are available in

the stack display by opening the modifier hierarchy

(click the + icon to the left of the modifier name).

Center—Move the Transform gizmo in the

viewports to set the center of the effect.

Flex Modifier 695

The flex effect increases as the distance between

the center and a vertex increases.

Edge Vertices—Select vertices in the viewports to

control the falloff and direction of the flex effect.

Selected vertices flex less than unselected vertices.

Weights & Springs—Use the Weights And Painting

rollout controls to select and deselect vertices

forsubsequentoperationsintheWeightsAnd

Painting rollout and the Advanced Springs rollout.

You can paint weights at any sub-object level, and

add and remove springs at any sub-object level (or

even at the Flex modifier object level), but while

a Weights & Springs selection is active, only the

selected vertices are affected.

Parameters rollout

Flex—Sets the amount of flex and bend. Range=0

to 1000; Default=1.

This value represents the amount of the flexed

animation that is used; the flexed animation

is determined by other factors such as motion

and vertex weighting. The default setting of 1

causes the flexed animation to occur unmodified;

higher settings cause unnaturally high amounts of

stretching, and lower settings cause diminished

stretching.

Strength—Sets the overall spring strength of the

chase springs.

A value of 100 is rigid. Range=0 to 100; Default=3.

Sway—Sets the time for the object to come to rest

for chase springs.

Lowervaluesincreasethetimefortheobjectto

come to rest. Range=0 to 100; Default=7.

Use Chase Springs—When on, enables chase

springs, which force the object to return to its

original shape. When off, no chase springs are

used, and the amount by which vertices move

depends only on their weights. Default=on.

Typically, for soft-body simulations when you

wantobjectstobeinfluencedbyforcesand

deflectors, you would turn off Use Chase Springs.

Use Weights—When on, Flex recognizes the

different weights assigned to an object’s vertices,

applying different amounts of flexing accordingly.

When off, the flex effect applies itself to the object

as a monolithic whole. Default=on.

Typically, for soft-body simulations when you

wantobjectstobeinfluencedbyforcesand

deflectors, you would turn off Use Weights.

Solver Type—Choose a solver for the simulation

from the drop-down list. The three choices are

Euler, Midpoint, and Runge-Kutta4. Midpoint

and Runge-Kutta4 require successively more

computationthanEuler,butaremorestableand

accurate. Default=Euler.

Tip: In most cases, you can use Euler successfully,

but if unexpected object deformations occur

during a simulation, try using one of the more

accurate solver types. Specifically, you might need

to use Midpoint or Runge-Kutta4 with higher

Stretch and Stiffness settings.

Samples—ThenumberoftimesperframetheFlex

simulation is run at equal time intervals. The

more samples you take, the more accurate and

696 Chapter 8: Modifiers

stable the simulation. When using the Midpoint or

Runge-Kutta4 solver, you might not need as many

samples as with Euler. Default=5.

Tip: If your simulation produces unexpected

results, such as object vertices moving to seemingly

random locations, try increasing the Samples

setting.

Simple Soft Bodies rollout

Lets the software determine spring settings for

theentireobjectautomatically.Alternatively,you

can use the Advanced Springs (page 1–699) rollout

settings to specify spring settings between each

pair of vertices.

Create Simple Soft Body—Generates spring settings

for the object based on the Stretch and Stiffness

settings.

Note: AfteryouuseCreateSimpleSoftBody,

you can change the Stretch and Stiffness settings

without having to click the button again; the

changes take effect immediately.

Stretch—Determines how much object edges

can elongate. When Advanced Springs rollout >

Enable Advanced Springs is off, the Stretch setting

is linked to the Advanced Springs rollout > Stretch

Str. and Stretch Sway settings.

Stiffness—Determines how rigid the object

is. When Advanced Springs rollout > Enable

AdvancedSpringsisoff,theStretchsettingis

linked to the Advanced Springs rollout > Shape

Str. and Shape Sway settings.

The differences between Stretch and Stiffness

are subtle, and understanding them is further

complicated by the fact the two affect each other.

In addition, how they work depends on object

topology. For example, say you create a box, add a

Flex modifier, apply Create Simple Soft Body, and

then set a high Stretch value and a low Stiffness

value. If you use the box in a Flex-based dynamics

simulation, such as dropping it onto a surface

(deflector) with gravity, you might expect the box

to fall over and flatten out. But instead, because

of the box’s topology, which causes Create Simple

Soft Body to apply a relatively small number of

shape springs, you’d actually get better results

with a low Stretch value and a high Stiffness value.

However, if you use a sphere of eight segments

instead, you’ll get the collapsing behavior with

the default Stretch and Stiffness settings, and as

expected, increasing rigidity with higher Stiffness

settings.

In soft-body simulations, such as the above-cited

example of dropping an object onto a surface,

particularly with dense meshes, you might get

betterresultsbyapplyingthemeshtoanFFD

space warp that’s bound to the object. If the

object’s shape isn’t suitable for use with the space

warp, you might have to instead use the Advanced

Springs (page 1–699) rollout settings to apply

springs manually. In such cases, you should create

shape springs between opposite vertices rather

than adjacent ones.

Cloth-like animation usually works best with a

high Stretch setting and a low Stiffness setting. For

soft bodies, you would usually use high settings

for both Stretch and Stiffness, depending on how

"squishy" you want the object to be.

Flex Modifier 697

Weights and Painting rollout

When you first apply Flex to an object, the

modifier automatically sets vertex weights based

on distance from the modifier’s center. The

higher a vertex weight, the less prone it is to being

affected by Flex effects. The modifier applies the

highest weights to vertices closest to its center,

and the lowest weights to vertices farthest from

the center. So, for example, with a cylinder whose

pivot point is at the base, you’ll get the greatest

amount of flexing at the top. But with a sphere, all

of whose vertices are equidistant from the pivot

point (center), all vertices have, by default, equal

weight values.

The Paint Weights controls let you use a spherical

brush with adjustable radius and falloff to change

vertex weights in the viewports, thus controlling

theamountoflag.TheVertexWeightscontrolslet

you apply absolute or relative weighting to single

vertices or groups of vertices.

Paint Weights group

Paint—At any sub-object level, click Paint,

andthendragthecursoroverthemeshinthe

viewports to "paint" vertex weights using the

current Strength and Feather settings. Vertex

colors changes to reflect the new vertex weight.

Painting changes vertex weights relative to their

currentvalues;itdoesnotapplyanabsolute

weight. Longer strokes over an area of the mesh

will increase or decrease vertex weights more than

short strokes, and repeated strokes over the same

area will cause incremental changes in weight

values unless they’re already at their extremes.

ThevertexcoloringshownatanyFlexsub-object

level provides an approximate indication of

weighting. The colors are determined by the

settings in Customize menu > Customize User

Interface > Colors tab > Elements: Geometry.

In this list are three color entries: Subselection

Hard, used to display vertices with the highest

Weight values; Subselection Medium, used to

display vertices with medium Weight values; and

Subselection Soft, used to display vertices with low

We i g ht v a l ue s .

Strength—Sets the amount by which painting

changes weight values. Higher values change

weighting more quickly. At Strength=0, painting

does not change weight values. Range=-1 to 1;

Default=0.1.

Negative values allow you to remove weight.

Tip: When painting, you can use the Alt key to

invert the strength.

Radius—Sets the size of the brush in world units.

Range=.001 to 99999; Default=36.

Note: If you position the mouse cursor over the

object before painting, you can see a wireframe

representation of the spherical "brush" that depicts

the Radius setting.

Feather—Sets the falloff in strength from the center

of the brush to its edge. Default=.7. Range=.001

to 1.

Vertices at the center of the brush are always

changed by the full amount of the Strength setting,

but the higher the Feather setting, the less vertices

698 Chapter 8: Modifiers

closertotheedgechange.Atthelowestsetting,all

vertices inside the radius are changed equally.

Vertex Weights group

Sets vertex weighting manually. At the Weights

& Springs sub-object level, select vertices in the

viewports, and then change the value of the Vertex

Weight parameter. Alternatively, turn on Absolute

Weight, set the desired Vertex Weight, and then

select vertices to set; changes are immediate.

Absolute Weight—Turn on to assign absolute

weights to the selected vertices. Turn off to add or

remove weight based on the Vertex Weight setting.

Vertex Weight—Assigns weight to selected vertices.

Depending on the state of the Absolute Weight

parameter, weight assignment is either absolute

or relative.

Note: The Vertex Weight range is -100 to 100.

With Absolute Weight on, the negative Vertex

Weight settings have no effect; the effective range

is 0 to 100. With Absolute Weight off, changing

the Vertex Weight setting adds the amount to the

current weights of selected vertices, and then the

setting is reset to 0.

Forces and Deflectors rollout

Forces group

Use these controls to add space warps in the Forces

category to the Flex modifier. Supported space

warps are:

•Displace (page 2–76)

•Drag (page 2–66)

•Gravity (page 2–73)

•Motor (page 2–61)

•PBomb (page 2–68)

•Push (page 2–59)

•Vortex (page 2–63)

•Wind (page 2–75)

List Window—Displays particle space warps

applied to the Flex modifier.

Flex Modifier 699

Add—Click this, and then select a particle space

warp in the viewports to add the effect to Flex. The

added space warp displays in the list window.

Remove—Select a space warp in the list and click

Remove to remove the effect from Flex.

Deflectors group

UsingdeflectorswithFlexletsobjectmovement

be impeded by surfaces. This lets you simulate

collisions with soft-body objects. For best results

with collisions, in the deflector settings use a low

value for Bounce and a high value for Friction.

Supported deflectors are:

•POmniFlect (page 2–78)

•SOmniFlect (page 2–84)

•UOmniFlect (page 2–85)

•UDeflector (page 2–89)

•SDeflector (page 2–87)

•Deflector (page 2–90)

List Window—Displays deflectors applied to the

Flex modifier.

Add—Click this, and then select a deflector in the

viewports to add the effect to Flex. The added

deflector displays in the list window.

Remove—Select a deflector in the list and click

Remove to remove the effect from Flex.

Advanced Parameters rollout

Reference Frame—Sets the first frame at which Flex

begins its simulation.

End Frame—When on, sets the last frame at which

Flex is to take effect. After this frame, the object

snaps back to its shape as currently defined by the

stack. For instance, if you animate a Bend modifier

in the stack under Flex, then when Flex stops, the

object’s shape is altered only by the Bend modifier

settings as of that frame.

Affect All Points—Forces Flex to ignore any

sub-object selection in the stack and apply itself

to the entire object.

Set Reference—Updates the viewports.

After moving the effect center, click Set Reference

to update the viewports.

Reset—Resets vertex weighting to the defaults.

Advanced Springs rollout

Use these settings when you need a more precise

springs setup than is provided by the Simple

Soft Body feature. Flex uses two types of spring:

edge springs, which create springs only along

existing edges, and shape springs, which can exist

between any two vertices in the object that are not

connected by an edge. In general, add edge springs

alongexistingedgesandshapespringsbetween

vertices that don’t share an edge.

Note: Before using these controls, go to the Weights

& Springs sub-object level.

Note: Additional spring types are available using

MAXScript. See the MAXScript reference for

details.

700 Chapter 8: Modifiers

Enable Advanced Springs—Makes the numeric

controls available for editing, and disconnects the

Strength and Sway settings from the Simple Soft

Bodies controls. Default=off.

The four numeric Stretch and Sway settings in this

rollout are available only when Enable Advanced

Springs is on.

Add Spring—Adds one or more springs to the

object based on the vertex selection at the Weights

&Springssub-objectlevelandtheSpring Option

dialog (page 1–700) settings.

Note: You cannot undo this action. To delete

existing springs, select the endpoints and click

Remove Spring.

Options—Opens the Spring Option dialog (page

1–700) for determining how springs are added

with the Add Spring function.

Remove Spring—Deletesanyspringsthathave

both vertices selected at the Weights & Springs

sub-object level.

Stretch Str.—Determines the strength of the edge

springs; the higher the strength, the less the

distance between them can vary.

Stretch Sway—Determines the sway of the edge

springs; the higher the strength, the less the angle

between them can vary.

Shape Str.—Determines the strength of the shape

springs; the higher the strength, the less the

distance between them can vary.

Shape Sway—Determines the sway of the shape

springs; the higher the strength, the less the angle

between them can vary.

Spring Count—Displays the number of edge

springs, followed by the number of shape springs

in parentheses.

Hold Length—Maintains the length of edge springs

within the specified percentage.

Note: This setting, which is applied after the Flex

simulation,canaffecttheobjectshape,andthus

cause collision detection to fail.

Show Springs—Displays edge springs as blue lines

and shape springs as red lines. Springs are visible

only when a Flex sub-object mode is active.

You can change the spring colors using MAXScript.

Spring Option Dialog

Select a Mesh, Patch, or NURBS object. > Modify panel >

Modifier List > Animation Modifiers > Flex > Advanced

Springs rollout > Options button

Use the Spring Option dialog to determine how

springs are added in the Flex modifier when you

click the Advanced Springs rollout > Add Spring

button.

HSDS Modifier 701

Interface

Single Edge Spring—Creates one edge spring

between two selected vertices. If any number of

vertices is selected other than two, no springs are

created.

Hold Edge Length Springs—Creates edge springs

along the edges of the objects between any vertex

selection and neighboring vertices.

Hold Edge Length Springs Apply Only To

Selected—Createsedgespringsalongtheedgesof

the objects between all selected vertices.

Hold Shape Springs—Createsshapespringsfrom

the selected vertex or vertices to all other vertices

within the Hold Shape Radius.

Hold Shape Springs Apply Only To Selected—Creates

shape springs between all selected vertices within

the Hold Shape Radius.

Hold Shape Radius—The radius within which shape

springs are created. No shape springs are created

between vertices farther apart than this distance.

At the bottom of the dialog is an informational

display showing the object’s average edge length,

maximum edge length, and minimum edge length.

This information can help in determining an

appropriate Hold Shape Radius setting.

HSDS Modifier

Select an object. > Modify panel > Modifier List >

Object-Space Modifiers > HSDS Modifier

Select an object. > Modifiers menu > Subdivision

Surfaces > HSDS Modifier

The HSDS modifier implements Hierarchical

SubDivision Surfaces. It is intended primarily as a

finishing tool rather than as a modeling tool. For

best results, perform most of your modeling using

low-polygon methods, and then use HSDS to add

detail and adaptively refine the model.

Note: Better speed optimization has been

implemented in the HSDS modifier. Subdivision

calculations are now handled more efficiently

making the HSDS modifier faster.

The modifier’s primary features are:

•Localrefinement

• Hierarchical modeling

• Adaptive tessellation

With local refinement, you subdivide part of a

polygon mesh and edit the mesh in the subdivided

area. Thisisdoneindirectlybymanipulating

sub-objects in a control grid.Usethisfeaturewhen

you need to increase mesh resolution in specific

areas of a model rather than uniformly over the

entire object, as with the Te ss el l at e mo di fi er ( p age

1–865). An example of usage would be a human

hand. Once you’ve modeled the basic shape, you

might use the HSDS modifier to add bumps for

the knuckles.

The HSDS modifier supports multiple levels

of detail, hence its hierarchical nature. The

Subdivision Stack lets you visually navigate

the levels of detail at any time while using the

modifier. Thus, you can edit the same part of a

mesh at different mesh resolutions. If you work at

a level of detail lower than the highest available,

702 Chapter 8: Modifiers

the higher-detail areas are still in effect, but you

controlthemindirectlybymeansofthemore

widespread sub-objects at the lower level.

Sub-object animation is supported only at

the lowest level of detail: Base Level. This is

accomplished by animating the mesh below the

HSDS modifier. To apply deformation animation

after HSDS modeling, first convert the object to an

editable mesh by right-clicking the modifier stack

and choosing Collapse All.

The adaptive tessellation automatically subdivides

polygons as needed to maintain a smoothly curved

surface when transforming mesh sub-objects. You

can use a preset or provide custom settings.

Important: HSDS models are not passed up the modifier

stack. The HSDS modifier takes a polygon mesh as input,

and outputs a triangle-based mesh.

Also, The HSDS modifier does not handle changes

to the modified object’s topology, such as altering

a sphere’s Segments setting. Topology changes to

the input mesh results in the loss of all edits made

in the HSDS modifier.

Procedure

To use the HSDS modifier:

1. Apply the HSDS modifier to an object.

By default, the HSDS modifier doesn’t convert

non-quadrilateral polygons to quads. Because

the modifier works best with four-sided

polygons, it’s recommended you perform the

conversion if necessary.

2. If the object contains any non-quadrilateral

polygons, in the HSDS Parameters dialog, turn

on Force Quads. Click Yes in the Force Quads?

dialog that appears.

Note: Upon conversion to quads, the modifier

automatically performs one level of subdivision

with smoothing (like MeshSmooth (page 1–722)

with one iteration) on the object to which

it’s applied. Thus, for best results, use it with

relatively low-polygon objects. For example, if

you usually work with the Sphere object at the

default 32 segments, use a 16-segment sphere

with HSDS.

Iftheobjectismadeupofquadsonly,Force

Quads isn’t available because no conversion is

necessary.

3. Choose a sub-object mode at which to

subdivide.

The object is covered with a gold control

grid (or, in Vertex sub-object mode, a white

grid with blue vertices), indicating that the

entire mesh is available for subdivision and/or

sub-object transformation at base level.

4. Select one or more sub-objects.

5. Click the Subdivide button.

The modifier again subdivides and smoothes

the selected sub-objects as well as all

surrounding polygons. The resultant

sub-objects reside at a higher level of detail,

as indicated by the addition of a level in the

Subdivision Stack. Now the control grid

shows only polygons at the new level. With

sub-objects other than Element, this typically

covers only part of the object’s surface.

HSDS Modifier 703

A control grid on a sphere at level 2. Subdivisions at lower

levels are visible as gold lines.

In wireframe views, you can still see polygons

at lower levels of detail, but you can select only

sub-objects resulting from the subdivision, as

indicated by the control grid. You can subdivide

sub-objects further, transform them, hide and

delete them, and change material IDs.

Note: When you transform an HSDS sub-object,

the control grid tends to expand by adding

segments at its edges, in order to maintain

surface smoothness.

6. To subdivide a different part of the object,

choose a lower level in the Subdivision Stack,

and then repeat steps 2–4.

Each time you subdivide a sub-object that

has been subdivided, a higher level in the

Subdivision Stack is hightlighted, indicating a

finer mesh resolution. You can then work at that

level, or any lower level by selecting the level.

Note: Ifyoutransformasub-objectatalevel

lower than the highest level in which the subject

exists, the mesh uses the resolution imparted by

the detail in the higher levels.

Interface

HSDS Parameters rollout

The sub-objects available in the HSDS modifier

belong to the control grid rather than the mesh

object itself. Transforming the grid sub-objects

also transforms the underlying mesh, but the mesh

doesn’t always move to the full extent of the control

grid. Thisisparticularlytrueincaseswhereyou

transform a sub-object at a level lower than the

highest level in which the sub-object resides.

For example, if you subdivide a vertex at the Base

Level, it then resides in the Base Level and Level 1.

Ifyouthenmovethevertexinthebaselevel,the

mesh doesn’t, by default, move as far as the vertex.

This is roughly analogous to the way free-form

deformation works, but with HSDS, the control

grid conforms much more closely to the shape of

the mesh object.

With vertices, you can control the degree to which

the mesh follows the control-grid vertex with the

settings on the Vertex Interpolation group.

704 Chapter 8: Modifiers

Vertex—Turns on Vertex sub-object mode,

which lets you select a vertex beneath the cursor;

region selection selects vertices within the region.

Edge—Turns on Edge sub-object mode,

which lets you select a face or polygon edge

beneath the cursor; region selection selects

multiple edges within the region.

Polygon—Tur ns on Polygon sub -object mode ,

whichletsyouselectasinglefaceorpolygon.A

polygon is the area you see within the visible wire

edges. Region selection selects multiple polygons

within the region.

Element—Turns on Element sub-object

mode, which lets you select all contiguous

polygons beneath the cursor in the current level

of detail.

Ignore Backfacing—When on, you can select only

those sub-objects whose normals are visible in

the viewport. When off (the default), selection

includes all sub-objects, regardless of the direction

of their normals. Default=off.

Only Current Level—Displays only polygons at the

current level of detail, with highlights, but without

smoothing. Use this option to speed up the display

when working with complex objects. Default=off.

Subdivision Stack—Shows the current level of the

subdivision hierarchy. Automatically increments

when you subdivide a sub-object selection. To edit

at a different level of detail, select the level in the

stack. The current level is outlined in red.

• Visibility is controlled by the box icon to the

right of the level label. Turning on the visibility

at one level activates the visibility from that

level down to the base level. Visibility above

thatlevelwillbeturnedoff.

HSDS Modifier 705

Subdivide—Performs subdivision and smoothing

on the current selection, and adds a level to the

Subdivision Stack. When the subdivision results

in a control grid and other subdivisions have been

performed at the same level of detail, the control

grids may become interconnected.

Vertex Interpolation group—

Determines how selected vertices are treated

during subdivision. Available only in Vertex

sub-object mode.

For best results, use when moving control grid

vertices at a level of detail lower than the highest in

which the vertex resides.

Standard/Conic/Cusp/Corner—Determines how

closely mesh vertices follow the movement of

control grid vertices. Standard provides the

leastamountofrelativemovement,whileCusp

and Corner provide the most. Corner also

keeps edges adjacent to subdivided vertices

from being rounded off during subdivision.

Default=Standard.

Note: Corner is available only when the selected

vertex or vertices aren’t surrounded by polygons,

such as the vertices on the edge of a plane object.

Edge Crease group—

Determines the extent to which selected edges are

treated as creases during subdivision. Available

only in Edge sub-object mode.

For best results, use with control grid edges at

a level of detail lower than the highest in which

theedgeresides.Also,forcreasingtobevisible,

theedgeshouldbeoffsetfromthesurrounding

surface by a significant amount.

Left: Crease=1.0

Center: The eyebrow edges selected at LOD 0

Right: Crease=0.0

Crease—Specifies how much creasing is performed

ontheselectededgeoredges.Atlowsettings,the

edge is relatively smooth. At higher settings, the

crease becomes increasingly visible. At 1.0, the

highest setting, the edge is not smoothed at all.

Default=0.0. Range=0.0 to 1.0.

Advanced Options rollout

Force Quads—When on, the modifier converts all

non-quadrilateral faces or polygons to four-sided

polygons. When off, converts all polygons

to triangles. Available only when the object

contains any non-quadrilateral faces or polygons.

Default=off.

When you change the status of Force Quads, any

edits made in the HSDS modifier are lost. A

message appears warning you of this, and asking

you to confirm the change.

Because the modifier works best with four-sided

polygons, it’s recommended you confirm the

conversion if an object contains non-quadrilateral

faces or polygons. The sphere primitive is an

example of such an object; the uppermost and

lowermost faces are three-sided.

Smooth Result—When turned on, all faces on

theobjectwillbeinsmoothinggroup1,butif

Smooth Result is turned off, each face will inherit

smoothinggroupsfromtheinputMNMesh.

706 Chapter 8: Modifiers

Material ID—Displays the material ID assigned to

the current selection. Available only in Polygon

and Element sub-object modes. If multiple

sub-objects are selected and they don’t share an

ID, this field is blank.

You can change the material ID assigned to

selected sub-objects at the current and higher

levels of detail by changing this setting.

Material IDs are used primarily with

Multi/Sub-Object material (page 2–1594).

Hide—Hides the current polygon selection.

Available only at the Polygon and Element

sub-object levels. Use Unhide All to reveal hidden

polygons.

Tip: UseHidetoisolatepartofanobjectyouwant

to work on. The Select Invert command on the

Edit menu is useful in this case. Select the faces

youwanttofocuson,chooseEdit>SelectInvert,

then click the Hide button.

Unhide All—Reveals hidden polygons.

Delete Polygon—Deletes the current polygon

selection, creating a hole or holes in the surface.

Available only in Polygon sub-object mode.

Note: When the current level of detail does not

encompass the entire object surface, you cannot

delete polygons at the border of the control grid;

that is, polygons that do not share all edges with

other polygons in the grid.

Adaptive Subdivision—Opens the Adaptive

Subdivision dialog (page 1–706).Thisoptionis

best used for smoothing subdivided and edited

portions of the mesh when you’re finished using

the HSDS functionality.

Soft Selection rollout

These controls let you set a gradual falloff of

influence between selected and unselected vertices.

See Soft Selection Rollout (Edit/Editable Mesh)

(page 1–963).

Adaptive Subdivision Dialog

Select an object. > Modify panel > Modifier List >

Object-Space Modifiers > HSDS Modifier > HSDS

Parameters rollout > Adaptive Subdivision button

Select an object. > Modifiers menu > Subdivision Surfaces

> HSDS Modifier > HSDS Parameters rollout > Adaptive

Subdivision button

Use adaptive subdivision for smoothing

subdivided and edited portions of the mesh

when you’re finished using the HSDS modifier

(page 1–701).Alternatively,youcanuseadaptive

subdivision to remove a level of detail from the

object.

Procedure

To use adaptive subdivision:

1. Edit an object with the HSDS modifier.

2. Choose Add Detail or Remove Detail,

depending which operation you want to

perform.

3. Setthedesiredamountofdetailwithoneofthe

presets or by specifying custom Length and

Angle settings.

4. Click OK to perform the specified operation.

The detail addition or removal is performed,

andyou’rereturnedtotheHSDSmodifier.

Depending on whether you removed or added

detail, the highest level of detail is decremented

or incremented by 1.

Lathe Modifier 707

Interface

Detail group

Add/Remove—Determines whether clicking the

OK button increases or decreases detail.

Parameters group

These settings determine the extent to which

detail is added or removed. The Length and Angle

settings are available for editing only when the

Custom option is chosen. However, they show the

default settings for the Low, Medium, and High

options.

Low/Medium/High/Custom—Choose one of the

presets, or choose Custom to set your own Length

and Angle values.

Max. LOD—Specifies the highest number of levels

of detail that the software can add when increasing

detail. Not available when removing detail.

Length—The maximum permissible length of any

edge after adding or removing detail. The smaller

thelength,thehighertheamountoftessellation

that is allowed.

Angle—Themaximumpermissibleanglebetween

two opposite edges emanating from a vertex.

Thesmallertheangle,thehighertheamountof

tessellation that is allowed.

OK—Performs the subdivision or removal of detail

and closes the dialog.

Cancel—Closes the dialog without changing the

mesh.

Lathe Modifier

Select a shape. > Modify panel > Modifier List > Lathe

Select a shape. > Modifiers menu > Patch/Spline Editing

>Lathe

Lathe creates a 3D object by rotating a shape or

NURBS curve about an axis.

Object resulting from 360-degree lathe

Interface

Modifier Stack

Axis—At this sub-object level, you can transform

and animate the axis of revolution.

For more information on the stack display, see

Modifier Stack (page 3–760).

708 Chapter 8: Modifiers

Parameters rollout

Degrees—Determines the number of degrees that

the object is spun around the axis of revolution (0

to 360, default=360). You can set keyframes for

Degrees to animate the circular growth of a lathed

object. The Lathe axis auto-sizes itself to the height

of the shape being lathed.

Object resulting from 270-degree lathe

Weld Core—Simplifies the mesh by welding

together vertices that lie on the axis of revolution.

Keep it turned off if you intend to create morph

targets.

Flip Normals—Dependingonthedirectionof

the vertices on your shape, and the direction of

rotation, the lathed object might be inside out.

Toggle the Flip Normals check box to fix this.

Segments—Determineshowmanyinterpolated

segmentsarecreatedinthesurfacebetween

the start and endpoint. This parameter is also

animatable. Default=16

Note: You can create up to 10,000 segments using

thesegmentsspinner.Trynottocreategeometry

that is more complex than you need. Often you can

get satisfactory results by using smoothing groups

or smoothing modifiers, rather than increasing

segmentation.

Capping group

Controls whether or not caps are created for the

interior of the lathed object if Degrees is set to less

than 360.

Cap Start—Caps the start of the lathed object with

Degrees set to less than 360 and a closed shape.

Cap End—Caps the end of the lathed object with

Degrees set to less than 360 and a closed shape.

Lattice Modifier 709

Morph—Arranges cap faces in a predictable,

repeatable pattern necessary for creating morph

targets. Morph capping can generate long, thin

faces that don’t render or deform as well as grid

capping. Use morph capping primarily if you are

lathing multiple morph targets.

Grid—Arranges cap faces in a square grid trimmed

at the shape boundaries. This method produces

a surface of evenly sized faces that can easily be

deformed by other modifiers.

Direction group

Sets up the direction of the axis of revolution,

relative to the pivot point of the object.

X/Y/Z—Set the direction of the axis of revolution

relative to the pivot point of the object.

Align group

Min/Center/Max—Align the axis of revolution to

the minimum, center, or maximum extents of the

shape.

Output group

Patch—Produces an object that you can collapse to

a patch object (see Editing the Stack (page 1–504)).

Mesh—Produces an object that you can collapse to

a mesh object (see Editing the Stack (page 1–504)).

NURBS—Produces an object that can be collapsed

to a NURBS surface (see Editing the Stack (page

1–504)).

Generate Mapping Coordinates—Applies mapping

coordinates to the lathed object. When Degrees is

less than 360, and Generate Mapping Coordinates

is turned on, additional mapping coordinates are

appliedtotheendcaps,placinga1x1tileoneach

cap.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625).Default=on.

Generate Material IDs—Assigns different material

IDstothesidesandthecapsofthelathedobject.

Specifically, the sides receive ID 3, and the caps

(when Degrees is less than 360 and the lathed

shape is closed) receive IDs 1 and 2. Default=on.

Use Shape IDs—Uses the material ID values

assigned to segments in the spline (page 1–266)

you lathed, or curve sub-objects in the NURBS

(page 1–1078) curve you lathed. Use Shape IDs

is available only when Generate Material IDs is

turned on.

Smooth—Applies smoothing to the lathed shape.

Lattice Modifier

Select an object or a shape. > Modify panel > Modifier

List > Object-Space Modifiers > Lattice

Select an object or a shape. > Modifiers menu >

Parametric Deformers > Lattice

The Lattice modifier converts the segments or

edges of a shape or object into cylindrical struts

with optional joint polyhedra at the vertices. Use

this either to create renderable structural geometry

based on the mesh topology, or as an alternate

method to achieve a rendered wireframe effect.

710 Chapter 8: Modifiers

Top: Joints only

Middle: Struts only

Bottom: Both (joints and struts)

Note: This modifier can act on the whole object or

on sub-object selections in the stack.

Tip: You can combine the Scatter compound object

(page 1–318) with the Lattice modifier to place

any object you want as a joint, rather than the

provided polyhedra. To do this, create your mesh

distribution object and your source object (for

example, a box). Use Scatter to scatter the box at

the vertices of the distribution object. (Be sure to

use the Copy option rather than Instance.) In the

Scatter Display parameters, hide the distribution

object. Select the original object that was used as

a distribution object, apply Lattice to it, and turn

off the joints. You’ll have two coincident objects:

one providing the lattice struts, and the other

positioning the boxes.

Interface

Geometry group

Specifies whether to use the whole object or

selected sub-objects, and which of the two

components (struts and joints) is displayed.

Lattice Modifier 711

Apply To Entire Object—Applies Lattice to all edges

or segments in the object. When turned off,

applies Lattice only to selected sub-objects passed

up the stack. Default=on.

Note: When Apply To Entire Object is turned

off, unselected sub-objects render normally. For

example, if you convert a box to an editable mesh,

select one polygon, and then apply Lattice with

ApplyToEntireObjectturnedoff,thefacedoes

not render, while the edges and vertices that form

that face are converted to struts and joints, and

the remaining faces render normally. However, if

you select the four edges surrounding the polygon

andturnoffIgnoreHiddenEdges,thestrutsand

joints are added to the object while all faces render

as normal. If you turn on Struts group > Ignore

Hidden Edges, one of the polygon’s faces renders,

while the other doesn’t.

Joints Only From Vertices—Displays only the joints

(polyhedra) generated by the vertices of the

original mesh.

Struts Only From Edges—Displays only the struts

(cylinders) generated by the segments of the

original mesh.

Both—Displays both struts and joints.

Struts group

Provides controls that affect the geometry of the

struts.

Radius—Specifies the radius of the struts.

Segments—Specifies the number of segments

alongthestruts.Increasethisvaluewhenyouneed

to deform or distort the struts with subsequent

modifiers.

Sides—Specifies the number of sides around the

perimeter of the struts.

Material ID—Specifies the material ID to be used

for the struts. The struts and the joints can have

different material IDs, making it easy to assign

them different materials. The struts default to ID

#1.

Ignore Hidden Edges—Generatesstrutsonly

for visible edges. When turned off, generates

struts for all edges, including the invisible edges.

Default=on.

End Caps—Applies end caps to the struts.

Smooth—Applies smoothing to the struts.

Joints group

Provides controls that affect the geometry of the

joints.

Geodesic Base Type—Specifies the type of

polyhedron used for the joints.

Tetra—Uses a tetrahedron.

Octa—Uses an octahedron.

Icosa—Uses an icosahedron.

Radius—Specifies the radius of the joints.

Segments—Specifies the number of segments in

thejoints.Themoresegments,themorespherical

the joints’ shape.

Material ID—Specifies the material ID to be used

for the joints. Defaults to ID #2.

Smooth—Applies smoothing to the joints.

Mapping Coordinates group

Determinesthetypeofmappingassignedtothe

object.

None—Assigns no mapping.

Reuse Existing—Uses the mapping currently

assigned to the object. This might be the mapping

assigned by Generate Mapping Coords., in the

creation parameters, or by a previously assigned

mapping modifier. When using this option,

each joint inherits the mapping of the vertex it

surrounds.

712 Chapter 8: Modifiers

New—Uses mapping designed for the Lattice

modifier. Applies cylindrical mapping to each

strut, and spherical mapping to each joint.

Linked XForm Modifier

Modify panel > Select objects or sub-objects. > Modifier

List > Object-Space Modifiers > Linked XForm

Select an object or sub-objects. > Modifiers menu >

Animation Modifiers > Linked XForm

The Linked XForm modifier links the transforms

for any object or sub-object selection to another

object, called the control object. The control

object’s motion, rotation, and/or scale transforms

are passed onto the object or sub-object selection.

Using Linked XForm

Linked XForm connects any geometry it receives

from the stack to another object, which is called

the control object. Its single control simply picks

the control object. To use this modifier, you must

have at least two objects in your scene.

See also

XForm Modifier (page 1–959)

Procedure

To apply a Linked XForm modifier:

1. Choosealocationinanobject’sstackandapply

a Linked XForm from the Modifier List.

2. On the Parameter’s rollout, click Pick Control

Object. When animating, do this at frame 0.

3. Select the object you want to be the control

object.

This completes the link. The name of the

control object appears on the Parameters

rollout.

To apply a Linked XForm modifier at a Sub-Object

level:

1. Choose an Editable Mesh or an object to which

a Mesh Select modifier has been applied.

2. Turn on the Vertex sub-object level and select

some vertices on the object.

3. Apply a Linked XForm modifier.

4. On the Parameter’s rollout, click Pick Control

Object. When animating, do this at frame 0.

5. Select another object that you want to control

the sub-object selection.

This completes the link. The name of the

control object appears on the Parameters

rollout.

6. Move the control object and see how the

vertices are affected.

Interface

Control Object—Object that the vertices are linked

to. When transformed, the vertices follow.

Pick Control Object—Click this button, and then

selecttheobjectthatyouwanttobethecontrol

object.

Back Transform—Allows an object with a Linked

XForm modifier to be linked to a Control Object.

Normally, moving the Control Object causes the

linked object to move twice as much as it should,

once with the Control Object and once with the

link. When the switch is turned on, any transforms

to the Control Object are only applied to the

LS Mesh Modifier 713

linked object once. This switch is similar to the

’Back Transform Vertices’ switch of the Skin (page

1–791) modifier.

LS Mesh Modifier

Select a Lightscape mesh object. > Modify panel >

Modifier List > LS Mesh

The LS Mesh modifier refines a Lightscape mesh

object.

When a Lightscape scene is imported into 3ds Max,

themeshproducedbyLightscapedoesn’tcontain

the refinements that Lightscape introduced

to improve the lighting. This information is

keptandusedbytheLightscape material (page

2–1604) while rendering. This modifier will add

theserefinementstotheLightscapemesh. In

conjunction with the LS Colors modifier (page

1–550), this modifier can be used to produce

meshes suitable for game engines.

The refinement stored in a Lightscape mesh is

hierarchical. When a polygon is refined, it is

broken into four smaller polygons. These polygons

canthenberefinedfurther. Apolygoninthe

refinement has a depth from the original polygon,

which is the number of refinements needed to

get from the original polygon to the polygon in

question.

Themodifierallowsyoutoreducethenumber

of polygons in the result by limiting the depth to

which the modifier will descend, or by limiting the

size of polygons that will be refined.

You can apply the LS Mesh modifier to a Face

sub-object selection of a Lightscape mesh object.

In this case, only the selected faces will be refined.

Interface

Limit subdivision depth—Whenthetoggleison,

the value sets the maximum depth of refinement.

Whenthetoggleisoff,thenthemeshmodifier

will descend to the bottom of the refinement.

Default=on, 0.

Limit subdivision size—Whenthetoggleison,the

value limits the size of polygons that are refined.

Whenthetoggleisoff,thenthemeshmodifierwill

refine polygons to any size. The size is a length in

the current view units. Polygons smaller than that

size squared will not be refined by the modifier.

Default=off, 19.685 units or 0.5 meters.

MapScaler Modifier (Object Space)

Select an object. > Modify panel > Modifier List >

Object-Space Modifiers > MapScaler

The MapScaler (OSM) modifier works in object

space to maintain the scale of a map applied to

an object. This lets you resize the object via its

creation parameters without altering the scale of

the map. Typically, you might use this to maintain

thesizeofamapregardlessofhowthegeometryis

scaled, if you change the object size by adjusting its

creation parameters. However, if you use a Select

And Scale tool to change the object size, the map

scales along with the object.

To maintain the scale of the map regardless of how

the object is resized, use the MapScaler (WSM)

modifier (page 1–551).

714 Chapter 8: Modifiers

For example, if you scale a brick wall with the

MapScaler (WSM) modifier applied, the bricks

will all remain the same size as you increase the

size of the wall. However, if you scale the same

wall with the MapScaler (OSM) modifier applied,

thesizeofthebrickswillgrowinproportionwith

the scale of the wall.

The MapScaler (OSM) modifier has two primary

benefits compared to the WSM version:

• As an object-space modifier, it can reside

anywhere in the stack and be collapsed with the

stack, rather than being restricted to the top of

the stack, as with world-space modifiers. This

lets other object-space modifiers take effect

after the map-scaling operation.

• When instanced among multiple objects, the

object-space version appears in the modifier

stack display when any number of objects is

selected. This differs from the world-space

version, which, when instanced among multiple

objects, appears in the stack display only when

a single object is selected.

Tip: MapScaler also works at the sub-object level.

If the object you’re working on requires different

scaling of the texture map on each surface, you can

do so by creating a modifier stack with multiple

occurrences of the MapScaler modifier.

Interface

Scale—Representsthesizeofonerepetitionofthe

texture pattern. Size is measured in current scene

units. Repetitions occur across the object in the U

and V directions. Default=1.0.

Note: When the Use Real-World Texture

Coordinates switch is active in the General

Preferences dialog (page 3–815),thescalesetting

defaults to 1.0. If Use Real-World Texture

Coordinates is turned off, scale defaults to 100.0.

U/V Offset—Specify horizontal and vertical offsets

respectively. Available only when Wrap Texture

is off.

Wrap Texture—When on, Map Scaler attempts

to wrap the texture evenly around the object.

This option requires more computing, but

usually produces the most satisfactory results.

Default=on.

Wrap Using Smoothing Groups—When turned

on, textures are wrapped around corners when

they share the same smoothing groups. Curved

wallswillmapsmoothlywhilesharpcornersgeta

newtextureorigin. Thisswitchisonlyavailable

when the Wrap Textures switch is turned on.

Default=off.

Channel—Specifies the map channel (page 3–966).

Default=1.

Material Modifier

Select an object. > Modify panel > Modifier List >

Object-Space Modifiers > Material

Select an object. > Modifiers menu > Surface > Material

Select an object. > Modifiers tab > Material Modifier

The Material modifier allows you to animate, or

simply change, the assignment of material IDs

(page 3–969) on an object. If the material ID is

animated, the change to a new material ID is

abrupt, from one frame to the next.

Material Modifier 715

Object mapped using a multi/sub-object material:

Material ID 1 for the housing of the monitor

Material ID 2 for the image on the screen

Tip: If you want a gradual blend from one material

to another, try animating the Mix parameter on a

Blend (page 2–1588) material.

Use this modifier in conjunction with the

multi/sub-object (page 2–1594) material type, to

assign different materials to objects or faces at

different frames of an animation, or to quickly

change the material ID of an object.

See also

Editable Mesh Surface (page 1–996)

Patches

As of 3ds Max 4, patch objects coming up the

modifier stack are not converted to a mesh by this

modifier. A patch object input to the Material

modifier retains its patch definition. Files that

contain patch objects with the Material modifier

from previous versions of the software will be

converted to meshes to maintain backward

compatibility.

Procedure

Example: To change the material ID of a sub-object

selection:

1. In the Top viewport, create a sphere.

2. In the Material Editor, create a

multi/sub-object material.

Make the colors of material ID 1 and 2 different.

3. Assign the multi/sub-object material to

the sphere.

4. OntheModifypanel,chooseMesh

Select from the Modifier List.

5. On the Mesh Select Parameters rollout,

click Polygon.

6. In the Front viewport, region-select the lower

half of the sphere.

The selected polygons turn red.

7. While Polygon is still the active sub-object level

(in the stack display, a square polygon icon

appears to the right of Mesh Select), choose

Material from the Modifier List.

8. On the Material modifier Parameters rollout,

set the value of the Material ID to 1and 2to

toggle the color on and off.

In the shaded viewport, the lower half of the

sphere changes to the color of the selected

material ID.

Interface

Material ID—Sets the material ID to be assigned;

this can be animated. If the input object is in

716 Chapter 8: Modifiers

face sub-selection, then the ID is only applied

to selected faces; otherwise, it is applied to the

entire object. The ID number refers to one of the

materials in a multi/sub-object material.

MaterialByElement Modifier

Modify panel > Make a selection. > Modifier List >

Object-Space Modifiers > MaterialByElement

Make a selection. > Modifiers menu > Surface > Material

By Element

The MaterialByElement modifier lets you apply

different material IDs to objects containing

multiple elements, at random or according to a

formula. When animated, this effect is useful for

such applications as an office building at night

with window illumination turning on and off at

random.

Various materials randomly applied to the leaves of the plant

Procedure

Example: To assign colors randomly in a group of

spheres:

1. Create six spheres.

Tip: One method is to add a sphere (page

1–174) primitive, then use Shift +Move (page

1–439) with the Copy option, and enter 5in the

Number Of Copies field.

2. Combine the spheres into a single editable

mesh object.

Right-click a selected sphere and from the

Transform (lower-right) quadrant of the quad

menu, choose Convert To: > Convert to

Editable Mesh. Then click Modify panel > Edit

Geometry rollout > Attach List. In the Attach

List dialog, click All, and then Attach.

3. Create a multi/sub-object material (page

2–1594) with six materials, and specify a

different color for each material. Assign the

material to the object with multiple spheres.

Becausesphereprimitivesareassignedmaterial

ID 2 by default, all the spheres now have the

color assigned to material number 2 in the

multi/sub-object material.

4. Assign the MaterialByElement modifier to the

object.

5. From the Parameters rollout, turn on Random

Distribution.

BecausethedefaultIDCountsettingis2,some

of the spheres are assigned sub-material #1, and

the rest are assigned #2.

6. Use the spinner to increase the ID Count setting

to 3. Also change the Uniqueness group > Seed

value.

Now the first three materials are assigned to the

spheres at random, although with some Seed

settings, you may see only two different colors.

7. Keep increasing the ID Count setting until

you see all six colors in the multi/sub-object

material. As the assignments are random, it

may take awhile.

Melt Modifier 717

Interface

Material ID By Element group

The two choices in this group let you either create a

truly random distribution of material IDs or divide

the assignments among up to eight materials

according to percentages you set.

Random Distribution—Assignsthematerialsat

random to different elements in the object.

ID Count—Determines the minimum number

of material IDs to assign. Because material ID

assignment is random, setting it to the number

of materials in the multi/sub-object material or

higher doesn’t guarantee that all materials get used.

List Frequency—Determines an approximate

relative weight (percentage) for each of up to eight

material IDs, as set by the Mat’l ID #1-8 spinners.

The modifier assigns material IDs until the weights

total 100.

For example, if you set Mat’l ID #1 to 40, #2 to

35, and #3 to 60, approximately 40 percent of the

elements will be assigned material ID 1, 30 percent

will be assigned material ID 2, and 25 percent (100

[40 + 35]) will be assigned material ID 3. Any

remaining percentages (as set in Mat’l IDs 4-8) are

ignored.

Note: These percentages are approximate. The

more elements the object contains, the closer the

assigned percentage comes to the set percentage.

Uniqueness group

Seed—Sets the seed value for the

(pseudo-)randomization of material ID

assignments. Not animatable.

Melt Modifier

Modify panel > Make a selection. > Modifier List > Melt

Make a selection. > Modifiers menu > Animation

Modifiers > Melt

Increasing the Melt amount progressively melts the cake

The Melt modifier lets you apply a realistic

melting effect to all types of objects, including

editable patches and NURBS objects, as well as to

sub-object selections passed up the stack. Options

718 Chapter 8: Modifiers

include sagging of edges, spreading while melting,

and a customizable set of substances ranging from

a firm plastic surface to a jelly type that collapses

in on itself.

Procedure

Example: To animate a jelly-like melting sphere:

1. IntheTopviewport,createaSphereprimitive

with a radius of about 50 units.

2. Apply the Melt modifier.

3. TurnontheAutoKeybuttonandgotoframe

100.

4. IntheMeltgroupbox,setAmountto70.

5. IntheSoliditygroupbox,chooseJelly.

6. Turn off the Auto Key button.

7. Drag the time slider to see the sphere melt.

Interface

Modifier Stack

Gizmo—At this sub-object level, you can transform

and animate the gizmo like any other object,

altering the effect of the Melt modifier. Translating

the gizmo translates its center an equal distance.

Rotating and scaling the gizmo takes place with

respect to its center.

Center—At this sub-object level, you can translate

and animate the center, altering the Melt gizmo’s

shape, and thus the shape of the melted object.

For more information on the stack display, see

Modifier Stack (page 3–760).

Parameters rollout

Melt group

Amount—Specifies the extent of the "decay," or

melting effect applied to the gizmo, thus affecting

the object. Range=0.0 to 1000.0.

Spread group

%ofMelt—Specifies how much the object and melt

will spread as the Amount value increases. It’s

basically a "bulge" along a flat plane.

Solidity group

Determinestherelativeheightofthecenterof

the melted object. Less-solid substances like jelly

tend to settle more in the center as they melt. This

group provides several presets for different types

of substances, as well as a Custom spinner for

setting your own solidity.

Mesh Select Modifier 719

Ice—The default Solidity setting.

Glass—Uses a high Solidity setting to simulate

glass.

Jelly—Causes a significant drooping effect in the

center.

Plastic—Relatively solid, but droops slightly in the

center as it melts.

Custom—Sets any solidity between 0.2 and 30.0.

Axis to Melt group

X/Y/Z—Choosetheaxis(localtotheobject)on

which the melt will occur. Note that this axis is

localtotheMeltgizmoandnotrelatedtothe

selected entity. By default, the Melt gizmo’s axes

are lined up with the object’s local coordinates, but

you can change this by rotating the gizmo.

Flip Axis—Normally, the melt occurs from the

positive direction toward the negative along a

given axis. Turn on Flip Axis to reverse this

direction.

Mesh Select Modifier

Create or select and object > Modify panel > Modifier

List > Mesh Select

Make a selection. > Modifiers menu > Selection Modifiers

> Mesh Select

The Mesh Select modifier lets you pass a sub-object

selection up the stack to subsequent modifiers.

It provides a superset of the selection functions

available in the Edit Mesh modifier (page 1–634).

You can select vertices, edges, faces, polygons or

elements, and you can change the selection from

sub-object level to object level.

Note the following:

• When you apply the Mesh Select modifier

and then go to any sub-object level, the

select-and-transform buttons in the toolbar

are unavailable, and the Select Object button is

automatically activated.

•TheMeshSelectmodifierautomaticallyturns

off the Show End Result button, which becomes

"spring loaded" while you’re in the modifier.

For more information on the stack display, see

Modifier Stack (page 3–760).

Using XForm Modifiers to Animate a

Mesh Selection

When you apply a Mesh Select modifier, there

are no animation controllers assigned to the

sub-object selection. This means that the selection

has no way to "carry" the transform information

needed for animation.

To animate a sub-object selection using Mesh

Select, apply either an XForm or Linked XForm

modifier to the selection. These modifiers provide

the necessary controllers for animating the effects

of transforms. In a sense, they give "whole-object

status" to the sub-object selection.

•XForm (page 1–959)

Animates transforms directly on a sub-object

selection. Creates a gizmo and center for the

sub-object selection. You can animate both,

with the center acting as a pivot point for the

selection.

•Linked XForm (page 1–712)

Lets you choose another object to control the

animation. The sub-object selection is linked to

the "control object." When you transform the

control object, the sub-object selection follows

accordingly.

Procedure

To use the Mesh Select modifier:

1. Create a mesh object.

2. Apply a Mesh Select modifier.

720 Chapter 8: Modifiers

3. Select vertices, edges, faces, polygons or

elements.

4. Add another modifier to affect only the

selection from step 3.

Interface

Modifier Stack controls

Show End Result—Normally, if you apply a

modifier such as Twist to an editable-mesh object

andthenreturntotheEditableMeshstackentry,

you cannot see the effect of the modifier on the

object’sgeometry.ButifyouturnonShowEnd

Result, you can see the final object as a white mesh,

and the original editable mesh as an orange mesh.

Note: WithmodifierssuchasMeshSmooth,which

apply by default to an entire object, no special

treatment is necessary. However, if you intend to

use this functionality with other modifiers that

work on a sub-object selection passed up the stack,

such as Bend, and you want to apply the modifier

totheentireobject,youshouldplaceaVo lu m e

Select modifier (page 1–952) between the editable

mesh object and the modifier in the stack. You

should leave the Volume Select modifier’s level at

the top (the default: no sub-object level chosen).

Mesh Select Parameters rollout

Provides buttons for turning different sub-object

modes on and off, working with named selections

and handles, display settings, and information

about selected entities.

TheiconsatthetopoftheSelectionrolloutletyou

specify the method of sub-object selection.

Clicking a button here is the same as selecting a

sub-object level in the modifier stack. Click the

button again to turn it off and return to the object

selection level.

Vertex—Selects a vertex beneath the cursor;

region selection selects vertices within the region.

Edge—Selects a face or polygon edge beneath

the cursor; region selection selects multiple edges

within the region.

Mesh Select Modifier 721

Face—Selects a triangular face beneath the

cursor; region selection selects multiple triangular

faces within the region.

Polygon—Selects all coplanar faces (defined

by the value in the Planar Threshold spinner)

beneath the cursor. Usually, a polygon is the area

you see within the visible wire edges. Region

selection selects multiple polygons within the

region.

Element—Selects all contiguous faces in an

object. Region selection selects the same.

By Vertex—Selects any sub-objects at the current

level that use a vertex you click. Applies to all

sub-object levels except Vertex. Also works with

Region Select.

Ignore Backfaces—Selects only those sub-objects

whose normals make them visible in the viewport.

When turned off (the default), selection includes

all sub-objects, regardless of the direction of their

normals.

Note: ThestateoftheBackfaceCullsettinginthe

Display panel doesn’t affect sub-object selection.

Thus, if Ignore Backfacing is turned off, you can

select sub-objects even if you can’t see them.

Note: The state of the Ignore Backfaces check box

also affects edge selection at the Edge sub-object

selection level.

Ignore Visible Edges—When turned off (the

default), and you click a face, the selection won’t

go beyond the visible edges no matter what the

setting of the Planar Thresh spinner. When turned

on, face selection ignores the visible edges, using

the Planar Thresh setting as a guide. Enabled when

the Polygon face selection method is chosen.

Generally,ifyouwanttoselecta"facet"(acoplanar

collection of faces), you set the Planar Threshold

to 1.0. On the other hand, if you’re trying to select

a curved surface, increase the value depending on

the amount of curvature.

Planar Thresh (Planar Threshold)—Specifies the

threshold value that determines which faces are

coplanar for Polygon face selection.

GetfromOtherLevelsgroup

Appliesselectionsfromonesub-objectlevelto

another.

Get Vertex Selection—Selects faces based on the

last vertex selection. Selects all faces shared by

any selected vertex. The selection is added to the

current selection. Available only when Vertex is

notthecurrentsub-objectlevel.

Get Face Selection—Selectsverticesbasedonthe

last face/polygon/element selection. This selection

is added to the current selection. Available only

when Face/Polygon/Element is not the current

sub-object level.

Get Edge Selection—Selects faces based on the last

edge selection. Selects those faces that contain the

edge. Available only when Edge is not the current

sub-object level.

Select by Material ID group

Selects faces based on their material ID.

ID—Set the spinner to the ID number you want to

select, and then click the Select button. Press Ctrl

whileclickingtoaddtothecurrentselection,or

press Alt to remove from the current selection.

Named Selection Sets group

Thesefunctionsareprimarilyforcopying

named selection sets (page 1–67) of sub-objects

between similar objects, and between comparable

modifiers and editable objects. For example, you

canapplyameshselectmodifiertoasphere,

create a named selection set of edges, and then

copy the selection to a different sphere that’s been

converted to an editable mesh object. You can

722 Chapter 8: Modifiers

even copy the selection set to a different type of

object, because the selection is identified by the

entities’ ID numbers.

The standard procedure is to create a selection set,

name it, and then use Copy to duplicate it into the

copy buffer. Next, select a different object and/or

modifier,gotothesamesub-objectlevelasyou

were in when you copied the set, and click Paste.

Note: Because sub-object ID numbers vary from

object to object, the results of copying named

selection sets between different objects can be

unexpected. For example, if the buffered set

contains only entities numbered higher than any

that exist in the target object, no entities will be

selected when the set is pasted.

Copy—Places a named selection into the copy

buffer.

Paste—Pastes a named selection from the copy

buffer.

Select Open Edges—Selects all edges with only one

face. In most objects, this will show you where

missing faces exist. Available only at the Edge

sub-object level.

Selection Information

At the bottom of the Mesh Select Parameters

rollout is a text display giving you information

about the current selection. If 0 or more than one

sub-object is selected, the text gives the number

and type selected. If one sub-object is selected, the

text gives the ID number and type of the selected

item.

Note: When the current sub-object type is Polygon

or Element, selection information is given in faces.

Soft Selection rollout

These controls let you set a gradual falloff of

influence between selected and unselected vertices.

See Soft Selection Rollout (Edit/Editable Mesh)

(page 1–963).

MeshSmooth Modifier

Modify panel > Make a selection. > Modifier List >

Object-Space Modifiers > MeshSmooth

Make a selection. > Modifiers menu > Subdivision

Surfaces > MeshSmooth

The MeshSmooth modifier smoothes geometry

in your scene by means of several different

methods. It lets you subdivide the geometry while

interpolating the angles of new faces at corners

and edges, and apply a single smoothing group to

all faces in the object. The effect of MeshSmooth

is to round over corners and edges as if they had

beenfiledorplanedsmooth. UseMeshSmooth

parameters to control the size and number of new

faces, and how they affect the surface of the object.

Angular model (shown on the right) changed to a smooth

model with MeshSmooth

Yo u c a n u s e M e s h Sm o o t h t o p r o d u c e a

Non-Uniform Rational MeshSmooth object

(NURMS for short). A NURMS object is similar

to a NURBS object in that you can set different

weights for each control vertex. You can further

control the object’s shape by changing edge

weights.

MeshSmooth’s effect is most dramatic on sharp

corners and least visible on rounded surfaces.

Use MeshSmooth on boxes and geometry with

MeshSmooth Modifier 723

crisp angles. Avoid using it on spheres and similar

objects.

Tip: To better understand MeshSmooth, create a

sphere and a cube and apply MeshSmooth to both.

The cube’s sharp corners become rounded, while

the sphere’s geometry becomes more complex

without changing shape significantly.

Note: Having an animated deformer placed before

a meshsmoothed object that has had control

leveleditingcanresultinthemeshsmoothed

object becoming distorted. It’s recommended

that deforming modifiers be placed after the

MeshSmooth modifier in the stack if you’re using

the deformers for animation.

Procedures

To apply MeshSmooth to an object:

1. Select an angular object.

2. Apply the MeshSmooth modifier.

3. Set MeshSmooth parameters.

To apply MeshSmooth to sub-objects:

1. Select an object.

2. Apply a Mesh Select modifier.

3. Select a group of vertices or faces.

4. Apply MeshSmooth.

5. In the Subdivision Method rollout, turn off

Apply To Whole Mesh.

This lets MeshSmooth work only on the

sub-object selection.

6. Set MeshSmooth parameters.

Interface

Modifier Stack

Vertex—At this sub-object level you can transform

or edit vertices in the smoothed mesh.

Edge—At this sub-object level you can transform

or edit face edges in the smoothed mesh.

See Local Control rollout (page 1–725).

For more information on the stack display, see

Modifier Stack (page 3–760).

Subdivision Method rollout

Subdivision Method list—Choose one of the

following to determine the output of the

MeshSmooth operation:

•NURMS—Produces Non-Uniform Rational

MeshSmooth object (NURMS for short). The

Strength and Relax smoothing parameters are

unavailable with the NURMS type.

A NURMS object is similar to a NURBS object

in that you can set different weights for each

control vertex. You can further control the

object’sshapebychangingedgeweights.See

Display/Weighting group, following, for further

information on changing weights.

724 Chapter 8: Modifiers

•Classic—Produces three- and four-sided facets.

(ThisisthesameasapplyingMeshSmoothin

version 2.x without turning on Quad Output.)

•Quad Output—Produces only four-sided facets

(assuming you don’t look at the hidden edges,

since the object is still made up of triangular

faces). If you apply this with default parameters

to a whole object, like a box, it’s topologically

exactly the same as Tessellate (page 1–865),

edge-style. However, rather than using tension

to project face and edge vertices out of the

mesh, use the MeshSmooth Strength to relax

the original vertices and the new edge vertices

into the mesh.

Apply To Whole Mesh—When turned on, any

sub-object selection passed up the stack is ignored

and MeshSmooth is applied to the entire object.

Note that the sub-object selection is still passed up

the stack to any subsequent modifiers.

Old Style Mapping—Uses the 3ds Max version 3

algorithm to apply MeshSmooth to the mapping

coordinates. This technique tends to distort the

underlying mapping coordinates as it creates new

faces and as texture coordinates shift.

Effect of MeshSmooth with two iterations on a cube and

different iteration method:

A. NURMS

B. Quad

C. Classic

D. Original object with no MeshSmooth

Subdivision Amount rollout

SetshowmanytimestoapplyMeshSmooth.

Iterations—Sets the number of times the mesh is

subdivided. When you increase this value, each

new iteration subdivides the mesh by creating

smoothly interpolated vertices for every vertex,

edge, and face from the iteration before. The

modifier then subdivides the faces to use these

new vertices. Default=0. Range=0 to 10.

The default value of 0 iterations allows you to

modify any setting or parameter, such as the type

of MeshSmooth or the update options, before the

program starts subdividing the mesh.

MeshSmooth Modifier 725

Note: Be cautious when increasing the number

of iterations. The number of vertices and faces

in an object (and thus the calculation time) can

increase as much as four times for each iteration.

Applying four iterations to even a moderately

complex object can take a long time to calculate.

Yo u c a n p r e s s Esc to stop calculation; this also

automatically sets Update Options to Manually.

Reduce the Iterations value before setting Update

Options back to Always.

Smoothness—Determines how sharp a corner

must be before faces are added to smooth it.

Smoothness is calculated as the average angle of

all edges connected to a vertex. A value of 0.0

prevents the creation of any faces. A value of 1.0

adds faces to all vertices even if they lie on a plane.

Tip: To subdivide only sharp edges and corners,

use a Smoothness value of less than 1.0. To see the

subdivisions in Wireframe/Edged Faces viewports,

turn off Isoline Display.

Render Values—These let you apply a different

number of smoothing iterations and a different

Smoothness value to the object at render time.

Typically you would use a low number of iterations

andalowerSmoothnessvalueformodeling,

and higher values for rendering. This lets you

work quickly with a low-resolution object in the

viewports, while producing a smoother object for

rendering.

Iterations—Lets you choose a different number of

smoothing iterations to be applied to the object at

rendertime.TurnonIterations,andthenusethe

spinnertoitsrighttosetthenumberofiterations.

Smoothness—Lets you choose a different

Smoothnessvaluetobeappliedtotheobjectat

rendertime.TurnonSmoothness,thenusethe

spinnertoitsrighttosetthesmoothnessvalue.

From right to left, effect of increasing the number of iterations

Local Control rollout

Sub-object Level—Turns Edge or Vertex level on or

off. When both levels are off, you’re working at the

object level. Information about the selected edges

or vertices is displayed in the message area under

theIgnoreBackfacingcheckbox.

Ignore Backfacing—When on, selection of

sub-objects selects only those sub-objects whose

normals make them visible in the viewport. When

off (the default), selection includes all sub-objects,

regardless of the direction of their normals.

Control Level—Allows you to see the control mesh

after one or more iterations and to edit sub-object

726 Chapter 8: Modifiers

points and edges at that level. Transform controls

and the Weight setting are available for all

sub-objects at all levels. The Crease setting is

available only at the Edge sub-object level.

Crease—Creates a discontinuity on a surface so

you get a hard edge, such as a wrinkle or lip. You

selectoneormoreedgesub-objectsandadjustthe

Crease setting; the crease appears in the surfaces

associated with the selected edges. Available only

attheEdgesub-objectlevel.

Weight—Sets the weight of selected vertices or

edges. Increasing a vertex weight "pulls" the

smoothed result toward that vertex. Edge weights

aremorecomplexandbehaveinanopposite

manner in some respects. They aren’t really

"weights" as such, but "knot intervals," in NURBS

terminology. Consequently, increasing an edge

weight tends to push the smoothed result away.

Kinks will form in the result if weights of 0 are

used.

Isoline Display—When on, the software displays

only isolines: the object’s original edges, before

smoothing. The benefit of using this option is

a less cluttered display. When off, the software

displays all faces added by MeshSmooth; thus,

higher Iterations settings (see Subdivision Amount

Rollout (page 1–724))resultinagreaternumberof

lines. Default=on.

Show Cage—Toggles the display of a two-color

wireframe that shows the modified object before

subdivision. The cage colors are shown as

swatchestotherightofthecheckbox. Thefirst

color represents unselected edges at the Vertex

sub-object level, and the second color represents

unselected edges at the Edge sub-object level.

Change a color by clicking its swatch.

Soft Selection rollout

Soft Selection controls affect the action of

sub-object Move, Rotate, and Scale functions.

When these are on, 3ds Max applies a spline curve

deformation to unselected vertices surrounding

the transformed selected sub-object. This provides

a magnet-like effect with a sphere of influence

around the transformation.

For more information, see Soft Selection Rollout

(page 1–963).

Parameters rollout

Parameters rollout > Smoothing Parameters

group

These settings are available only when

MeshSmooth Type is set to Classic or Quad

Output. Also, Project To Limit Surface is available

only in Classic mode.

Strength—Sets the size of the added faces using

arangefrom0.0to1.0.

• Values near 0.0 create small faces that are very

thin and close to the original vertices and edges.

• Values near 0.5 size faces evenly between edges.

• Values near 1.0 create large new faces and make

the original faces very small.

Relax—Applies a positive relax effect to smooth

all vertices.

Project to Limit Surface—Places all points on the

"limit surface" of the MeshSmooth result, which

is the surface that would be produced after an

MeshSmooth Modifier 727

infinite number of iterations. The topology is still

controlled by the number of iterations.

Parameters rollout > Surface Parameters group

Applies smoothing groups to the object and

restrict the MeshSmooth effect by surface

properties.

Smooth Result—Applies the same smoothing

group to all faces.

Separate by Materials—Prevents the creation of

new faces for edges between faces that do not share

Material IDs.

Separate by Smoothing Groups—Prevents the

creation of new faces at edges between faces that

don’tshareatleastonesmoothinggroup.

Settings rollout

Settings rollout > Input Conversion group

Operate On Faces/Polygons—Operate On Faces

treats every triangle as a face and smoothes

across all edges, even invisible edges. Operate On

Polygons ignores invisible edges, treating polygons

(like the quads making up a box or the cap on a

cylinder)asasingleface.

Keep Faces Convex—(Available only with Operate

On Polygons mode.) Keeps all input polygons

convex. Selecting this option causes non-convex

polygons to be handled as a minimum number of

separate faces, each of which is convex. (Turn on

Display/Weighting group > Display Control Mesh

to see what’s happening here.)

"Convex" means that you can connect any two

points in the polygon with a line that doesn’t go

outside the polygon. Most letters aren’t convex.

In the capital letter "T," for example, you can’t

connect the upper-left corner to the bottom with

a straight line without going outside the shape.

Circles, rectangles, and regular polygons are all

convex.

Problems that can occur with non-convex faces

include the fact that changes in the geometry of the

inputobjectcanresultinadifferenttopologyfor

the MeshSmooth result. For instance, in a box, if

youdragoneofthetopcornersacrossthemiddle

of the top face, the box becomes non-convex.

MeshSmooth would then see this as two triangles

insteadofonequad,andthenumberofpointsin

the result would change.

If you need to make sure your output topology is

stable,turnthisoff.Ifyouhavealotoflettersor

other non-convex faces in your mesh, however,

you’ll probably want it on.

Settings rollout > Update Options group

Sets manual or render-time update options, for

situations where the complexity of the smoothed

object is too high for automatic updates. Note that

you can also set a greater degree of smoothing to

be applied only at render time, on the Subdivision

Amount rollout.

Always—Updates the object automatically

whenever you change any MeshSmooth settings.

When Rendering—Updates the viewport display of

theobjectonlyatrendertime.

Manually—Tur ns on manual up dating . When

manual updating is selected, any settings you

728 Chapter 8: Modifiers

change don’t take effect until you click the Update

button.

Update—Updates the object in the viewport to

matchthecurrentMeshSmoothsettings.Works

only when you choose When Rendering or

Manually.

Resets rollout

This rollout allows you to go back to default or

initial settings on any changes you made such

as sub-object transforms (geometric edits), and

changes to edge creases, vertex weights, and edge

weights.

Yo u c a n r e s e t c h a n g e s f o r a l l c o n t r o l l e v e l s o r t o

the current control level. Turn on the reset option

for the sub-object level you want, and then click

theappropriatebutton.

Reset All Levels—Returns to the default or initial

settings for geometric edits, creases, and weights

for all sub-object levels.

Reset This Level—Returns to the default or initial

settings for geometric edits, creases, and weights

forthecurrentsub-objectlevel.

Reset Geometric Edits—Returns to the default or

initial settings for any transforms made to vertices

or edges.

Reset Edge Creases—Returns to the default or

initial setting for edge creases.

Reset Vertex Weights—Returns to the default or

initial setting for vertex weights.

Reset Edge Weights—Returns to the default or

initial setting for edge weights.

Reset Everything—Returns to the default or initial

setting for everything.

Mirror Modifier

Modify panel > Make a selection. > Modifier List >

Object-Space Modifiers > Mirror

Make a selection. > Modifiers menu > Parametric

Deformers > Mirror

The Mirror modifier provides a parametric

method of mirroring an object or a sub-object

selection. You can apply the Mirror modifier to

any type of geometry, and you can animate the

mirror effect by animating the modifier’s gizmo.

Mirroring a bench

Procedure

To apply the Mirror modifier:

1. Apply the Mirror modifier to a selection.

2. Set the axis or axis pair on which to mirror the

object.

Morpher Modifier 729

3. To create a mirrored pair, specify an Offset

amount and turn on Copy.

Interface

Modifier Stack

Mirror Center—Represents the axis of the mirror

effect. You can move, rotate or scale the gizmo to

affect the mirroring. You can animate the gizmo

transforms, which you can’t do with the toolbar

Mirror (page 1–448) tool.

For more information on the stack display, see

Modifier Stack (page 3–760).

Parameters rollout

Mirror Axis group

X, Y, Z, XY, YZ, ZX—Specify the axis or axes about

which the mirroring takes place. You can usually

seetheeffectintheviewportasyouselectthe

option.

Options group

Offset—Specifies the offset, in units, from the

mirroraxis.Thisisananimatableparameter.

Copy—Copies the geometry rather than simply

mirroring it.

Note: The Copy option affects only geometry with

triangular meshes.

Morpher Modifier

Select a mesh, patch, or NURBS object. > Modify panel

> Modifier List > Morpher

Select a mesh, patch, or NURBS object. > Modifiers menu

> Animation Modifiers > Morpher

On this patch model, morph targets are created by moving

control vertices and tangent handles in an Editable Patch.

Use the Morpher modifier to change the shape of

a mesh, patch, or NURBS model. You can also

morph shapes (splines), and World Space FFDs.

As well as morphing from one shape to another,

730 Chapter 8: Modifiers

the Morpher modifier also supports material

morphing.

Morphing is commonly used for lip sync and facial

expressionona3Dcharacter,butcanbeusedto

change the shape of any 3D model. There are 100

channels available for morph targets and materials.

Channel percentages can be mixed, and the result

ofthemixcanbeusedtocreateanewtarget.

On a mesh object, vertex count on the base object

and targets must be the same. On a patch or

NURBS object, the Morpher modifier works on

control points only. This means that the resolution

of patches or NURBS surfaces can be increased on

the base object to increase detail at render time.

A Flex modifier above the Morpher modifier

is aware of vertex/control point motion in the

Morpher modifier. If, for example, a jaw is

morphed to slam shut, then the Flex modifier

placed above the Morpher modifier in the modifier

stack can be used to make the lips quiver to

simulate soft tissue.

See also

Morpher Material (page 2–1592)

Lip Sync and Facial Animation

For lip sync and facial animation, create a

character’s head in an "at rest" pose. The head can

be a mesh, patch, or NURBS model. Copy and

modifytheoriginalheadtocreatethelip-sync

and facial-expression targets. Select the original

or "at rest" head and apply the Morpher modifier.

Assign each lip-sync and facial-expression target

to a channel in the Morpher modifier. Load an

audio file in the Track View sound track, turn on

the Auto Key button, scrub the time slider, and

view the audio waveform in Track View to locate

frames for lip sync. Then set the channel spinners

on the Morpher modifier to create key frames for

lip position and facial expression.

Teeth can either be a part of the model or animated

separately. If the teeth and head are two different

objects,modeltheteethinanopenposition,and

then apply the Morpher modifier, and create one

target with the teeth closed. Eyes and head motion

canbeanimatedafterthemorphkeysarecreated.

Morph Targets for Speech

Nine mouth shape targets are commonly used for

speech. If your character speaks an alien dialect,

don’t hesitate to create extra morph targets to

cover these mouth shapes.

Include cheek, nostril, and chin-jaw movement

when creating mouth position targets. Examine

yourownfaceinamirrororputafingeronyour

face while mouthing the phonemes, if necessary, to

establish the direction and extent of cheek motion.

Set lip-sync keys by viewing the audio waveform as

well as listening to the sound as you scrub the time

slider. Many mouth-position keys benefit from

being set a frame early. Often the mouth must

assumeashapebeforetheappropriatesoundis

uttered. For the word "kilo", the "K" mouth shape

precedes the actual sound, for example.

A, I

Morpher Modifier 731

F,V

C, D, G, J, K, N, S, T, Y, Z

L,T

W,Q

M,B,P (This target can be the same shape as the "at rest" base

object)

Morph Targets for Expression

Create as many expression targets as necessary

for the character. Joy, sadness, surprise, evil can

all have their own targets. Depending on the

personality of the character, certain targets, like

a terror target, may not be necessary. Targets

like nostril flare, jaw-muscle bunching, temple

twitching can be effective to give a character an

edge. Each morph channel can contain a material

aswell:asyoumorphthebrowsup,abumpmap

can crease the forehead, for example.

Save time and create targets as the need arises; if

theaudiofileorsceneyouareworkingonrequires

a look of surprise, create the "surprise" target while

the mood of the scene is with you.

If the character has teeth, copy the teeth and the

base head to create a new target. The teeth act as a

guide to shape and position the lips.

732 Chapter 8: Modifiers

Blink

Brows up

A blend of the Pain, Blink, and Brows targets

Procedures

Example: To add the morpher modifier to an object

and assign a morph target to a channel:

1. OntheCreatepa

nel, click

Geometry.

2. Onthedrop-downlist,choosePatchGrids.

3. OntheObjectTyperollout,clickQuadPatch.

4. In the Top viewport, click and drag to create

apatchgrid.

5. On the Modify panel, on the modifier

stack display, right-click Quad Patch and

chooseConvertTo:EditablePatchfromthe

right-click menu.

ThebaseobjectisnowanEditablePatch.

6. In the Top viewport, use Shift +Move

to create a copy of the patch object.

7. On the Modify panel, on the

Selection rollout, click Vertex.

8. IntheFrontviewport,movepatch

vertices to deform the patch surface.

9. In the stack display, choose Editable

Patchtogototheobject(top)level. (The

highlight should change from yellow to gray,

and the Vertex sub-object icon is no longer

displayedattherightofthestack.)

10. Select the first patch object.

11. On the Modify panel, choose Morpher

from the Modifier List.

The Morpher modifier is added to the modifier

stack.

12.On the Morpher modifier, on the Channel List

rollout, right-click the first channel (over the

word "empty").

A right-click menu displays.

13.Choose Pick from Scene on the right-click

menu, and click the deformed patch grid in the

viewports.

QuadPatch02 is listed in the channel as a morph

target.

14.Drag the Channel spinner, to the right of

QuadPatch02, up and down.

The flat patch grid "morphs" to the shape of

the target.

Morpher Modifier 733

To use progressive morphing:

1. Create starting and ending morph targets, and

oneormoreintermediatetargets.

2. Apply the Morpher modifier to the starting

morph target, and click Load Multiple Targets

to load the starting and ending morph targets.

3. In the Channel List rollout, select the channel

you want to be influenced by an intermediate

target.

4. In the Channel Parameters rollout, click Pick

Object from Scene, and select the intermediate

target.

5. In the Progressive Morph group Target List, set

the Target % to determine the degree to which

each target affects the channel.

6. Use the down arrow button to move the original

channel target to the bottom of the Target List.

Interface

Whatever is assigned as the default float controller

in the software will be assigned as the float

controller on the morph channels as well. Float

controllers handle the interpolation between keys;

Bezier is the default float controller. You can assign

the TCB float controller to the morph channels in

Track View, if you prefer.

For morphing, the Bezier controller allows you

to use function curves with vector handles on

the keys for smoothing and easing control of

interpolation in Track View. Default parameters

of the TCB controller, however, handles morph

interpolation with less overshoot. Try using both

controllers, to decide which one you prefer.

Gray—The channel is empty, and has not been

edited.

Orange—The channel has been changed in some

way but contains no morph data.

An artist may wish to name a channel and set up

its parameters before actually assigning a morph

target.

Green—The channel is live. The channel contains

morphdataandthetargetobjectstillexistsin

scene (the target is available for refresh).

Blue—The channel contains morph data but the

target has been deleted from the scene.

Dark Gray—The channel is disabled.

• There is a problem with the morph, the

topologyofthebaseobject,ortargets,have

changed and are no longer valid; for example,

thevertexcountmighthavechanged. The

channel cannot be used.

• The channel is not active. This is controlled

by the Channel is Active toggle in the Channel

Parameters rollout.

• Disabled channels are not included in the

morph result.

734 Chapter 8: Modifiers

Global Parameters rollout

Global Settings group

Use Limits—Use the minimum and maximum

limits for all channels.

You can turn off limits to double purpose a target.

Thetargetforasmilecanbeusedtoturnthe

corners of the mouth down using negative values

for example.

Minimum—Sets the minimum limit.

Maximum—Sets the maximum limit.

Use Vertex Selection—Turn on to limit morphing to

vertices selected in a modifier below the Morpher

modifier in the modifier stack.

If your are using Character Studio Physique, limit

morph animation on the base object to just the

head and exclude the neck, for example. Place the

Physique modifier above the Morpher modifier

and assign the head vertices as rigid (green) in the

Physique modifier.

Channel Activation group

Set All—Click to activate all channels.

Set None—Click to deactivate all channels.

Morph Material group

Assign New Material—Click to assign the Morpher

materialtothebaseobject(theobjecttowhichthe

Morpher modifier is applied).

Open the Material Editor to view and edit the

Morpher material. There is a direct correlation

between the Channel Material Maps and the

Channel list in the Morpher modifier (100

channels and 100 maps). For example, if channel

1containsabrowsuptargetandtheMorpher

material has a material assigned to map 1, then, as

thebrowsaremorphedsoisthematerial.

In the Morpher material, if a material is assigned

to a map or channel that has no morph target in

the Morpher modifier, then the channel spinner

in the Morpher modifier can be used to simply

morphthematerialonastaticobject.SeeMorpher

Material (page 2–1592).

Morpher Modifier 735

Channel List rollout

The upper section of the Channel List rollout

contains controls for managing markers, which

designate different locations in the list of morph

targets. For example, channels 15 through 24

might contain all the emotion targets. Rather than

scrolling to display these tracks, you can choose a

marker from the list to display those channels.

[marker drop-down list]—Choose a previously

saved marker in the list, or enter a new name in

the text field and click Save Marker to create a new

marker.

For example, channel 15 through 24 might contain

all the emotion targets. Rather than scrolling to

display these tracks, you can choose a marker from

the list to display these channels in the list.

Save Marker—Movethescrollbartoframea

particular set of 10 channels, enter a name in the

text field, and then click Save Marker to store the

channel selection.

Delete Marker—Choose a marker name to delete

from the drop-down list, and then click Delete

Marker to delete it.

Channel List—The Morpher modifier provides

up to 100 morph channels. Scroll through the

channels using the slider. Once you’ve assigned

a morph target to a channel, the target’s name

appears in the channel list. Each channel has a

percentage value field and a spinner to change the

value.

You can change channel names and order in the

Channel Parameters (page 1–736) rollout.

Right-click a morph channel to display a

right-click menu:

Pick from Scene—Choose this command and select

an object in the viewports to assign a morph target

to the channel.

Delete Channel—Deletes the morph data, name

and parameters from the channel. Displays only

if the channel has data.

Reload Target—Retrieves morph data from the

target. Use this after editing a target.

736 Chapter 8: Modifiers

List Range—Displays the range of visible channels

in the channel list.

Load Multiple Targets—Load multiple morph

targets into empty channels by selecting object

names in the selection dialog and clicking Load.

If there are more targets than empty channels,

a warning displays and the channels are not

assigned.

Reload All Morph Targets—Reloads all the morph

targets.

If the targets have been edited, the channels are

updated to reflect the changes. If a morph target

has been deleted from the scene, then the morpher

updates using the stored data in the channel,

functions using the last stored morph data.

Zero Active Channel Values—Click to create keys

with a value of 0 for all active morph channels, if

the Auto Key is on.

This is handy to prevent key interpolation from

distorting the model. First click Zero Active

Channel Values, and then set a particular channel

to the value you want; only the altered channel

affect the model.

Automatically reload targets—Turn this on to a l low

animated targets to be updated dynamically by the

Morphermodifier.Thereisaperformancepenalty

whenusingthisoption.

Channel Parameters rollout

The channel number button and channel name

field at the top of this rollout reflect the current

active channel in the channel list.

[channel number]—Click the number next to the

channel name to display a menu. Use commands

on the menu to group and organize channels, or

to locate a channel.

Morpher Modifier 737

Move To—Displays the Channel Operations dialog.

To move the current channel to the selected

channel, choose a channel from the list, and click

Move To.

Swap With—Displays the Channel Operations

dialog. To swap the current channel with the

selected channel, choose a channel from the list,

and click Swap With.

Used Channels—Displays a list of active channels.

Chooseachanneltoplaceitatthetopofthe

channel list display in the Channel List rollout.

Channel Name—Displaysthenameofthecurrent

target. Change the name of the target in the

text field if necessary. Parameter changes in the

Channel Parameters rollout affect the current

target.

Channel is Active—Toggles a channel on and off.

Inactive channels do not affect the morph result.

Use this control to turn off certain channels to

focus on animating other channels.

Create Morph Target group

Pick Object from Scene—Turn on and click an

object in the viewports to assign a morph target to

the current channel. Picking an object adds it to

the Progressive Morph list.

Capture Current State—Choose an empty channel

to activate this function. Click to create a target

using the current channel values.

The captured channel is always blue because there

is morph data but no specific geometry. Use

Extract to create a mesh copy of the captured state.

Delete—Deletes the target assignment for the

current channel.

Extract—Choose a blue channel and click this

option to create an object from the morph data.

If you have used Capture Current State to take a

snapshot of a group of channel values, but then

want to edit it, use Extract to make a new object,

pick it as the channel’s target, and then start

editing.

Channel Settings group

Use Limits—Turn on to use limits on the current

channel if Use Limits is turned off in the Global

Parameters rollout.

Minimum—Sets the lower limit.

Maximum—Sets the upper limit.

Use Vertex Selection—Morphs only selected

vertices on the current channel.

Progressive Morph group

Progressive morphing performs a tension-based

interpolation, similar to the TCB animation

controller, that creates smooth interpolation

througheachintermediarytargets.Thisprovides

the artist with an unprecedented amount of control

over the morph transformation.

Morphed object using multiple, intermediary targets

738 Chapter 8: Modifiers

Morphed object using a single target

When morphing from one target to another, the

object can sometimes pass through intermediary

stages that are not desirable. For example,

morphing a straight cylinder directly to a

bent cylinder causes the cylinder to squash at

intermediate stages.

You could get a better result by creating several

intermediate morph targets for the object, and

using them as channels. However, an easier

solution is to create fewer intermediate targets,

and use progressive morphing. With progressive

morphing, you do not use the intermediate targets

as channels; you use them to influence the end

targets.

Target List—Lists all intermediary morph targets

associated with the current channel. To add morph

targets to the list, click Pick Object from Scene.

Move Up—Moves the selected intermediary morph

target up in the list.

Move Down—Moves the selected intermediary

morphtargetdowninthelist.

Tip: For best results, move the original morph

target (the one in the channel) to the bottom of

the list.

Target %—Specifies how much the selected

intermediate morph target contributes to the

overall morph solution.

Tension—Specifies the overall linearity of the

vertex transformation between intermediary

morph targets. A value of 1.0 creates a “loose”

transition, causing the interpolation to overshoot

each target slightly. A value of 0.0 creates a direct,

linear transformation between each intermediary

target.

Delete Target—Deletes the selected intermediary

morph target from the target list.

Reload Morph Target—Reloads data from the

current target into the channel. Reload a target if it

has been adjusted or edited.

Iftheactivemorphtargetentryinthechannellist

is empty, this button is unavailable, and displays

the text “No Target to Reload.”

Advanced Parameters rollout

Spinner Increments—Specify fine or coarse

spinner increments. 5.0 is coarse and 0.1 is fine.

Default=1.0

Compact Channel List—Compact the channel list by

filling in any empty channels in between assigned

MultiRes Modifier 739

channels. The status window displays how many

channels were moved.

Approximate Memory Usage—Displays an

approximation of the current memory usage.

MultiRes Modifier

Select an object. > Modify panel > Modifiers List >

Object–Space Modifiers > MultiRes

Make a selection. > Modifiers menu > Mesh Editing >

MultiRes

The MultiRes modifier reduces the memory

overhead needed to render models by decreasing

the number of vertices and polygons. This is useful

not only within 3ds Max but for game and Web

content creators who export models for use outside

oftheprogram.MultiResoffersseveraladvantages

over the Optimize modifier, including faster

operation and the ability to specify reduction as an

exact percentage or vertex count.

The MultiRes modifier now supports the

preservation of map channels when face count is

increased or reduced.

Left: Original model

Center and right: Model progressively simplified by the

MultiRes modifier

Modeling Tips for MultiRes

The MultiRes multi-resolution mesh algorithms

are designed to be general-purpose, and yield

high-quality meshes on a wide variety of model

types. However, careful modeling can improve

the results of the algorithm. The following are

suggestions to yield high-quality multi-resolution

meshes:

• Avoid using complex model hierarchies with

MultiRes. For such models you should generate

an individual multi-resolution mesh for each

model component, or collapse the entire model

into a single mesh. In general, single-skin

meshes work best with animation engines like

Physique in character studio.MultiResworks

especially well with single-skin meshes.

• Avoid duplicating vertices. The presence of

extraverticesisanoften-overlookedartifact

of some modeling techniques. The Weld

function in the Edit Mesh modifier (page 1–634)

and Editable Poly (page 1–1022) is useful for

cleaning these up.

• Beconservativewithtextureandnormal

discontinuities. For example, an artist might

associate multiple texture coordinates with a

single vertex. MultiRes will seek to preserve

this discontinuity and the border between the

two texture mappings, but it might do so at the

expense of model shape.

• Create high-resolution models.

High-resolution models provide MultiRes with

more faces and vertices that describe the shape

of the model. The more initial information

MultiRes has about the shape of the model, the

better the decisions it makes in generating a

final multi-resolution mesh.

Procedures

To use the MultiRes modifier:

1. Select a model and apply the MultiRes modifier.

740 Chapter 8: Modifiers

2. In the Generation Parameters group in the

MultiRes Parameters rollout, click the Generate

button to initialize the mesh.

3. In the Resolution group, use the keyboard or

spinner controls to decrease the Vert Percent or

Vert Count value.

As the vertex and polygon counts decrease, the

meshupdatesinrealtimeintheviewports.

To maintain part of a mesh at full resolution while

reducing the rest:

1. Select a model and apply the MultiRes modifier.

2. In the modifier stack display, click the + icon

next to the MultiRes modifier to open the

sub-object hierarchy.

3. Click the Vertex label to access the Vertex

sub-object level.

4. Selecttheverticesinareaswhoseresolutionyou

want to maintain.

5. In the Generation Parameters group, turn on

Maintain Base Vertices.

6. Click the Generate button to initialize or

re-initialize the mesh.

Notice that the selected vertices look like

asterisks instead of standard ticks.

7. Reducetheresolutionasinthefirstprocedure.

The selected vertices are the last to be removed

during vertex reduction.

Note: You can change the base vertices at any

time by selecting a different group of vertices

and regenerating the mesh.

To merge vertices:

If there are gaps between vertices that you want

to close as vertex resolution decreases, use the

Vertex Merging feature of the MultiRes modifier.

With vertex merging, vertices within a given

threshold distance eventually collapse during

vertex reduction.

You can estimate the gap length by activating

the Select Object tool (page 1–61),movingthe

mouse cursor over the extents of the gap in the

active viewport (it might help to access the Vertex

sub-object level), and comparing the values

displayed in the X/Y/Z readouts in the status bar,

or use the Tape helper (page 2–24) object to get

an exact measurement. Enter the estimated gap

length value in the Threshold field.

1. Select a model and apply the MultiRes modifier.

2. Turn on Vertex Merging. This makes the Merge

Threshold and Within Mesh controls available.

3. Set the appropriate parameters:

• To define the maximum distance over which

vertices are merged, enter a value in Merge

Threshold.

• To merge boundaries of adjacent elements

and vertices within elements, turn on Within

Mesh.

4. Click the Generate button.

The effect of the change is displayed in the

object.

After the Generate button is clicked, a busy

cursor will display. If the merge threshold is too

largerelativetothedimensionsofthemodel,

the busy cursor may display for a long time. To

cancel the generation process at any time, press

the Esc key.

MultiRes Modifier 741

Interface

Resolution group

Use these controls to change the vertex count and

overall topology of the modified object.

Vert Percent—The modified object’s vertex count

as a percentage of the overall number of vertices in

the original mesh. Adjusting this setting alters the

Ve r t C o u n t v a l u e a s w e l l .

Note: After you enter a specific percentage, such as

30, you might find that the software changes the

value to a slightly lower one, such as 29.971. This is

due to the relationship between the overall number

of vertices in the model and the percentage

calculation. It is not a bug, but simply the closest

solution to your request.

Vert Count—The total number of vertices in

the modified object. Use this control to set the

maximum number of vertices in the output mesh.

AdjustingthissettingalterstheVertPercentvalue

as well.

Max Vertex—Displays the vertex count from the

original mesh that you applied MultiRes to. You

cannot enter values larger than this in the Vert

Count field.

Face Count—Displays the current face count. As

you adjust the Ve r t Pe r c e n t / Ve r t C o u nt settings, the

valueforthefacecountwillupdateonthefly.

Max Face—Displays the maximum face count.

Generation Parameters group

Vertex Merging—When on, lets MultiRes merge

vertices between discrete elements (page 3–933)

in a model.

For example, if you apply MultiRes to a teapot,

which comprises four separate elements, and

turn on Vertex Merging, as you adjust the vertex

resolution, the separate components will meld

together into one contiguous lower-resolution

object.

To control Vertex Merging, you can set a Merge

Threshold. This value determines the unit distance

within which vertices will merge at a higher rate.

Threshold—Sets the maximum distance in

3ds Max units between vertices in order for those

vertices to be considered for merging. Within this

distance, the vertices between elements are welded

together at a higher rate as the mesh is reduced in

complexity. Available only when Vertex Merging

is on.

Note: To eliminate only coincident vertices, set

Thresholdto0.0.ThisissimilartotheWeldVertex

function.

Within Mesh—When on, MultiRes merges the

boundaries of adjacent elements and vertices

within elements. Many objects can contain

multiple groups of vertices that don’t share

connectivity.AsimpleexampleofthisistheTea pot

742 Chapter 8: Modifiers

object (page 1–183). It comprises four different

elements: the body, the handle, the spout, and the

lid. Normally, MultiRes optimizes each discrete

element in a mesh on its own.

The default behavior of the Vertex Merging option

is to merge vertices between elements. Turning on

Within Mesh causes vertices within elements to

be merged as well.

Boundary Metric—When on, MultiRes preserves

materials assigned to the selected model. The

material boundaries defined by Material IDs are

retained as long as possible, and are the last to be

eliminated at low vertex counts. Default=off.

Maintain Base Vertices—When on, overrides the

MultiRes optimization algorithms and preserves

any vertices selected at the MultiRes Vertex

sub-object level as "critical" ones. Use this feature

to retain critical features of an object or character

such as its fingers or claws, or other geometry

that might become unrecognizable if reduced too

severely.

To select vertices for use with this option, use

the MultiRes Vertex sub-object level. To access

this level, first go to the modifier stack display

and click the plus-sign icon next to the MultiRes

modifier. This opens its hierarchy, which consists

of the single Vertex sub-object level. Next, click

the Vertex entry. The MultiRes vertices appear on

the mesh as blue dots. You can select these using

any standard interactive method, but you cannot

transform them.

Important: After selecting MultiRes sub-object vertices

with Maintain Base Vertices turned on, regenerate the

mesh before changing the vertex resolution.

In the following illustration, the clown started out

as a high-resolution mesh. All of the MultiRes

vertices in the right half were selected, Maintain

Base Vertices was turned on, and then the vertices

were reduced.

Clown model with left half reduced, right half at original

resolution

Multiple Vertex Normals—When on, lets MultiRes

assign multiple normals for each vertex. By default,

MultiRes generates a single normal per vertex.

If multiple normals are generated, they are applied

as the vertex resolution is decreased and increased.

WhentheMultipleVertexNormalsoptionison,

the MultiRes modifier generates normal updates

when the geometry surrounding a vertex changes.

Yo u m u s t s p e c i f y a crease angle in degrees (0.0 -

180.0). The crease angle is the angle between the

face normals. It is used to decide when a normal

should be shared across an edge between two faces.

Forexample,inaplanedefinedasameshgridof

10 x 10 faces, any two adjacent faces have a crease

angle of zero. In a cube, adjacent faces have a

crease angle of 90 degrees. In general, crease angles

approaching 0 yield smoother shading. Crease

angles approaching 180 yield more visible corners.

Noise Modifier 743

Crease Angle—Thevalueofthecreasenecessaryin

order to generate multiple normals. Available only

when Multiple Normals Per Vertex is on.

The optimal crease angle depends on the model;

setitinteractivelyandchecktheviewportand

rendered images for shading effects. While use of

Multiple Vertex Normals enables more accurate

shading, it can require more internal data.

Generate—AppliesthecurrentMultiRessettings

to the modified object. When you first apply

MultiRes to an object, you must use Generate to

initialize the mesh-optimizing algorithm before

you can change the vertex count.

Reset—Sets all Generation Parameters rollout

settings to their values as of the last time you used

Generate. Available only when one or more of

these settings has changed.

Use Reset to review the generation parameters as

of the last time you generated the mesh.

Noise Modifier

Modify panel > Make a selection. > Modifier List >

Object-Space Modifiers > Noise

Make a selection. > Modifiers menu > Parametric

Deformers > Noise

The Noise modifier modulates the position of an

object’s vertices along any combination of three

axes. This important animation tool simulates

random variations in an object’s shape.

Using a fractal setting, you can achieve random,

rippling patterns, like a flag in the wind. With

fractal settings, you can also create mountainous

terrain from flat geometry.

Yo u c a n a p p l y t h e N o i s e m o d i f i e r t o a n y k i n d o f

object. The Noise gizmo changes shape to help

you visualize the effects of changing parameter

settings. The results of the Noise modifier are most

noticeable on objects that have greater numbers

of faces.

Most of the Noise parameters have an animation

controller. The only keys set by default are for

Phase.

Plane with no noise applied

Adding texture to the plane creates a calm sea.

744 Chapter 8: Modifiers

Plane with fractal noise applied

Textured plane with noise creates a stormy sea.

Procedures

To apply noise to an object:

1. Select an object and apply the Noise modifier.

To animate, move to a nonzero frame and turn

on the Auto Key button.

2. In the Parameters rollout > Strength group,

increase Strength values along one or more of

the three axes.

You begin to see noise effects as the strength

goes up.

3. In the Noise group, adjust Scale. Lower values

increase the dynamics of the Strength settings,

makingtheeffectmoreobvious. SeeNoise

group, below, for other options.

If you’ve animated this procedure, you can

change parameters as the animation runs to see

the effects.

For another source of noise effects, go to the

sub-object level of the Noise modifier and

transform the gizmo and center of the modifier.

To create terrain effects:

When set for Fractal, the Noise modifier produces

a random fractal noise that creates a variety of

topological and terrain effects. You can animate

these effects or use them to model static landscapes

and other complex forms.

The following steps assume you begin with a broad

object like a multi-segment box lying on the XY

plane.

1. Apply the Noise modifier to the object.

2. In the Parameters rollout > Noise group, turn

on Fractal.

Roughness and Iterations settings are now

available.

3. Increase Strength on the Z axis and adjust other

parameters.

Once you have a base terrain, you can select

sub-objectswithEditMeshandapplyNoiseto

grow mountains in a smaller region. You can

also apply a second Noise modifier to amplify

the first one.

Interface

Modifier Stack

Gizmo/Center—Yo u c a n m o v e , r o t a t e , o r s c a l e t h e

gizmoandcentersub-objectstoaffectthenoise.

You can also animate the sub-object transforms.

Noise Modifier 745

For more information on the stack display, see

Modifier Stack (page 3–760).

Parameters rollout

Noise group

Controls the appearance of the noise, and thus its

effect on the physical deformations of the object.

By default, the controls are inactive until you

change the settings.

Seed—Generates a random start point from the

number you set. Especially useful in creating

terrain, because each setting can produce a

different configuration.

Scale—Setsthesizeofthenoiseeffect(not

strength). Larger values produce smoother noise,

lower values more jagged noise. Default=100.

Fractal—Produces a fractal effect based on current

settings. Default=off.

IfyouturnonFractal,thefollowingoptionsare

available:

Roughness—Determines the extent of fractal

variation. Lower values are less rough than higher

values. Range=0 to 1.0. Default=0.

Iterations—Controls the number of iterations

(or octaves) used by the fractal function. Fewer

iterations use less fractal energy and generate

a smoother effect. An iteration of 1.0 is the

same as turning Fractal off. Range=1.0 to 10.0.

Default=6.0.

Strength group

Controls the magnitude of the noise effect. No

noise effect occurs until some strength is applied.

X, Y, Z—Set the strength of the noise effect along

each of three axes. Enter a value for at least

oneoftheseaxestoproduceanoiseeffect.

Default=0.0,0.0,0.0.

Animation group

Controls the shape of the noise effect by overlaying

asinewaveforthenoisepatterntofollow.This

keeps the noise within bounds, dampening

random extremes. When Animate Noise is turned

on, these parameters influence the overall noise

effect. However, you can animate Noise and

Strength parameters independently; these do not

requireAnimateNoisetobeonduringanimation

or playback.

Animate Noise—Regulates the combined effect of

Noise and Strength parameters. The following

parameters adjust the underlying wave.

Frequency—Sets the periodicity of the sine wave.

Regulates the speed of the noise effect. Higher

frequencies make the noise quiver faster. Lower

746 Chapter 8: Modifiers

frequencies produce a smoother and more gentle

noise.

Phase—Shifts the start and end points of the

underlying wave. By default, animation keys are

setateitherendoftheactiveframerange.Youcan

seetheeffectofPhasemoreclearlybyeditingthese

positions in Track View. Select Animate Noise to

enable animation playback.

Normal Modifier

Select an object. > Modify panel > Modifier List > Normal

Select an object. > Modifiers menu > Mesh Editing >

Normal Modifier

The Normal modifier allows you to unify or flip

the normals of an object without applying an Edit

Mesh modifier.

For example, if you wanted to fly inside of a

procedural object, such as a sphere or a cylinder,

and wanted to retain control over the radius and

number of segments, you couldn’t collapse the

object to an Editable Mesh and maintain the

procedural nature of the primitive.

Flipping the normals of a sphere creates a sky dome over a city.

Tip: If you are animating the creation of a complex

object such as a nested Boolean or a loft, and you

think the operation might result in inconsistent

faces, apply Normal to the result and turn on Unify.

Tip: The Lathe modifier sometimes creates an

objectwithnormalspointinginward. Usethe

Normal modifier with both Unify and Flip turned

on to fix "inside-out" lathe objects. The Normal

modifier allows whole-object manipulations of

normals to be performed quickly without using

an Edit Mesh modifier.

Patches

As of 3ds Max 4, patch objects coming up the

modifier stack are not converted to a mesh by this

modifier. A patch object input to the Material

modifier retains its patch definition. Files that

contain patch objects with the Material modifier

from previous versions of the software will be

converted to meshes to maintain backward

compatibility.

Procedure

To use the normal modifier:

1. Select an object, then on the Modify

panel, choose Mesh Editing > Normal from the

Modifier List.

The object appears to turn inside-out, since

FlipNormalsisonbydefault.

2. If the object has some faces pointing inward

and others outward, turn on Unify Normals to

make all the faces point similarly.

Tip: To flip or unify normals on portions of

objects, convert to Editable Mesh and select

Faces or Polygons. On the Surface Properties

rollout in the Normals group, use the Flip and

Unify buttons.

Normalize Spline Modifier 747

Interface

Unify Normals—Unifiesthenormalsofanobjectby

flipping the normals so that they all point in the

same direction, usually outward. This is useful

for restoring an object’s faces to their original

orientations. Sometimes normals of scenes that

have come into 3ds Max as part of a DWG or DXF

file are irregular, depending on the methods used

to create the scene. Use this option of the modifier

to correct them.

Flip Normals—Reverses the direction of all the

surface normals of the faces of the selected object

or objects. Default=on.

Normalize Spline Modifier

Select a spline object. > Modify panel > Modifier List

> Normalize Spl.

Select a spline object. > Modifiers menu > Patch/Spline

Editing > Normalize Spline

The spline on the left has been normalized.

The Normalize Spline modifier adds new control

points in the spline at regular intervals. Use

Normalize Spline to produce splines for motion

paths that require constant velocity.

Note: This feature is not animatable.

Interface

Seg Length—Sets the length of the spline’s

segments, in 3ds Max units. The positions of the

original vertices are discarded, and vertices are set

to regular intervals. Segment length determines

how many control points are added: shorter

segments result in more control points, longer

segments result in fewer. Default=20.0 units.

NSurf Sel Modifier

Select a NURBS curve or surface object. > Modify panel

> Modifier List > NSurf Sel

Select a NURBS curve or surface object. > Modifiers menu

> Selection Modifiers > NURBS Surface Select

Select a NURBS curve or surface object. > Modifiers menu

> NURBS Editing > Surface Select

The NSurf Sel (NURBS Surface Selection)

modifier lets you place a NURBS (page 1–1078)

sub-object selection on the modifier stack. This

letsyoumodifyonlytheselectedsub-objects.

Also, selected curve sub-objects are shape objects

that you can use as paths and motion trajectories.

If a NURBS surface object is nonrelational (page

1–1116),NSurfSelcan’tselectthesub-objectlevels

Curve, Curve CV, or Point. NURBS surfaces are

nonrelational by default. You can make the surface

relational by turning on Relational Stack on the

object’s General rollout.

748 Chapter 8: Modifiers

NSurf Sel can select any kind of NURBS

sub-objects except imports. Each sub-object

selection is of one particular sub-object level only.

Note: The NSurf Sel modifier doesn’t support

copying and pasting selections as Mesh Select (page

1–719) does. Copying and pasting mesh selections

is based on vertex indexes. NURBS selections are

based on object IDs, which are unique to each

model.

Procedure

To use the NSurf Sel (NURBS Surface Selection)

modifier:

1. With a NURBS object selected in the

Modify command panel, apply NSurf Sel.

Thismodifierhasnocontrolsatthetoplevel.

2. In the stack display, choose a sub-object level

from the list.

NSurf Sel has the same selection controls you

see for NURBS surfaces, except that selecting

connectedcurvesorsurfacesisnotavailable.

For more information on the stack display, see

Modifier Stack (page 3–760).

While applying the modifier, you can also select

NURBS sub-objects by name. Turn on the

Keyboard Shortcut Override toggle (page 3–872)

and then press the Hkey. This displays a

version of the Select Objects dialog (page 1–78)

that lists only sub-objects at the current level.

Chooseoneormoreobjectsinthelist,and

then click Select.

3. Usetheselectioncontrolstocreateaselection

set of the chosen sub-object type.

With NSurf Sel, the selection can be of surface

CV or surface sub-objects. If you turn on

Relational Stack for the NURBS object, you

can also select point, curve, and curve CV

sub-objects.

4. At the Surface CV sub-object level, adjust Soft

Selectioncontrolsasyouwish.Thesecontrols

arethesameasthoseintheSoft Selection rollout

(page 1–1147) for NURBS curves and surfaces,

exceptthattheSameTypeOnlytoggleisabsent.

Once you’ve used the modifier to create the

selection, you can apply other modifiers to it.

Optimize Modifier

Select an object. > Modify panel > Modifier List >

Optimize

Select an object. > Modifiers menu > Mesh Editing >

Optimize

The Optimize modifier lets you reduce the number

of faces and vertices in an object. This simplifies

the geometry and speeds up rendering while

maintaining an acceptable image. A Before/After

Optimize Modifier 749

readout gives you exact feedback on the reduction

as you make each change.

Optimize simplifies a smooth model with a high number of

faces without greatly changing the model’s appearance.

Tip: Because Optimize makes decisions based on

angles between faces, it’s sometimes best to apply

it to selected face sub-objects rather than to an

entire object. Avoid applying Optimize to areas

where you want to preserve geometric detail.

Applying Optimize

When you first apply Optimize, you might not

seeanychangeintheviewports.AdjusttheFace

Threshold setting to obtain the best optimization.

IntheLastOptimizeStatusgroup,youcanseehow

the object or faces were optimized. Watch these

values while you adjust the Optimize parameters,

until you have the best possible result.

Setting Level of Detail

Optimize lets you maintain two levels of

optimization detail. You might set a lower

optimization level, with fewer faces, to speed up

your viewport work, and a higher level for final

output in the renderer. However, you can render at

either level. You can also switch to the higher level

in a viewport to get an idea of what the rendered

image will look like.

Procedures

To optimize manually:

1. Set up two viewports: one wireframe, one

smooth shaded.

2. Select an object and apply the Optimize

modifier.

The Parameters rollout for this modifier

appears.

3. Turn off Manual Update and then adjust the

Face Thresh value. Observe the result in the

viewports.

You can also choose to view the results of the

Optimize operation manually by leaving the

Manual Update check box turned on and

clickingtheUpdatebuttoneverytimeyouwish

to view a result.

4. In the Parameters rollout > Last Optimize

Status group, notice the Before/After count for

vertices and faces.

5. In the Optimize group, vary parameters to

continue reducing geometry.

Comparetheresultinthetwoviewportsagainst

the Before/After count.

To set the level of detail:

1. In the Parameters rollout > Level of Detail

group, choose Viewports L1.

2. Adjust parameters in the Optimize and

Preserve groups.

This sets the L1 level of optimization for both

the viewport and the renderer.

3. Repeat steps 1 and 2 for Viewports L2, adjusting

parameters for a different optimization.

To use level of detail:

• Switch between L1 and L2 for either Viewports

or Renderer.

750 Chapter 8: Modifiers

You see the effect immediately in a smooth

shaded viewport. Do a test rendering to see the

effect on the renderer.

The following parameters are stored for each

level: Face Threshold, Edge Threshold, Bias, Max

Edge Len, Material Boundaries, and Smooth

Boundaries.

Interface

LevelofDetailgroup

Renderer L1, L2—Set the level of display for the

defaultscanlinerenderer. UseViewportsL1

and L2 to change the stored optimization level.

Default=L1.

Viewports L1, L2—Set the optimization level for

both viewport and renderer. Also toggles the level

of display for the viewport. Default=L1.

Optimize group

Adjusts the degree of optimization.

Face Thresh—Sets the threshold angle used

to determine which faces are collapsed. Low

values produce less optimization but better

approximations of the original shape. Higher

values improve optimization, but are more likely

to result in faces that render poorly (see Bias).

Default=4.0.

Edge Thresh—Sets a different threshold angle for

open edges (those that bound only one face). A

low value preserves open edges. At the same time

you can apply a high face threshold to get good

optimization. Default=1.0.

Bias—Helps eliminate the skinny or degenerate

triangles that occur during optimization, which

can cause rendering artifacts. Higher values keeps

triangles from becoming degenerate. The default

of 0.1 is enough to eliminate the skinniest triangles.

Range=0.0to1.0(a0valueturnsBiasoff).

Max Edge Len—Specifies the maximum length,

beyond which an edge cannot be stretched when

optimized. When Max Edge Len is 0, it has no

effect. Any value greater than 0 specifies the

maximum length of the edges. Default=0.0.

Along with Bias, this control helps you avoid

creating long skinny faces while optimizing.

Auto Edge—Tur ns e dges on a nd off fol low i ng

optimization. Turns on any open edges. Turns

off any edges between faces whose normals are

within the face threshold; such edges beyond the

threshold are not turned on. Default=off.

Patch Select Modifier 751

Preserve group

Maintains clean separation at the face level

between material and smoothness boundaries.

Material Boundaries—Prevents face collapse across

material boundaries. Default=off.

Smooth Boundaries—Optimizes an object and

maintain its smoothing. When turned on, allows

only faces that share at least one smoothing group

to collapse. Default=off.

Update group

Update—Updates the viewports with the current

optimization settings. Available only when Manual

Update is turned on.

Manual Update—Enables the Update button. When

turned off, Optimize works as it does by default,

updating the viewport display dynamically.

Note: When using Manual Update, if you make any

changes that cause the reevaluation of the stack,

the existing optimization display disappears. Click

theUpdatebuttonagaintorestoreit.

The Renderer ignores the optimization display

in the viewport, using the Optimize settings,

regardless of the state of the Manual Update.

Last Optimize Status group

Displays numerical results of optimization with

exact before-and-after counts for vertices and

faces.

Patch Select Modifier

Make a selection. > Modify panel > Modifier List > Patch

Select

Make a selection. > Modifiers menu > Selection Modifiers

>PatchSelect

The Patch Select modifier lets you pass a

sub-object selection up the stack to subsequent

modifiers. It provides a superset of the selection

functions available in the Edit Patch modifier (page

1–638). You can select vertices, edges, patches,

and elements. You can also change the selection

from sub-object level to object level.

Note: When you apply the Patch Select modifier

and then go to any sub-object level, the

select-and-transform buttons in the toolbar

are unavailable, and the Select Object button is

automatically activated.

Using XForm Modifiers to Animate a

Patch Selection

When you apply a Patch Select modifier, there

are no animation controllers assigned to the

sub-object selection. This means that the selection

has no way to "carry" the transform information

needed for animation.

To animate a sub-object selection using Patch

Select, apply either an XForm or Linked XForm

modifier to the selection. These modifiers provide

the necessary controllers for animating the effects

of transforms. In a sense, they give "whole-object

status" to the sub-object selection.

•XForm (page 1–959)

Animates transforms directly on a sub-object

selection. Creates a gizmo and center for the

sub-object selection. You can animate both,

with the center acting as a pivot point for the

selection.

•Linked XForm (page 1–712)

Lets you choose another object to control the

animation. The sub-object selection is linked to

the "control object." When you transform the

control object, the sub-object selection follows

accordingly.

Procedure

To use the patch select modifier:

1. Create or select a patch object.

752 Chapter 8: Modifiers

2. Go to the Modify panel and choose

Patch Select from the modifier list.

3. Selectvertices,handles,edges,patches,or

elements.

4. Add another modifier to affect only the

selection from step 3.

Interface

Modifier Stack

Vertex—Selects vertices.

Handle—Selects handles.

Edge—Selects edges.

Patch—Selects patches.

Element—Selects elements.

For more information on the stack display, see

Modifier Stack (page 3–760).

Parameters rollout

Provides buttons for turning different sub-object

modes on and off, working with named selections

and handles, display settings, and information

about selected entities.

TheiconsatthetopoftheSelectionrolloutletyou

specify the method of face selection. Clicking a

button here is the same as selecting a sub-object

type in the modifier stack. Click the button again

to turn it off and return to the object selection

level.

Vertex—Selects a vertex beneath the cursor;

region selection selects vertices within the region.

Handle—Selects a handle beneath the cursor;

region selection selects multiple handles within

the region.

Patch Select Modifier 753

Edge—Selects an edge beneath the cursor;

region selection selects multiple edges within the

region.

Patch—Selects a patch beneath the cursor;

region selection selects multiple patches within

the region.

Element—Selects all contiguous faces in an

object; region selection selects the same.

Select By Vertex—Selects any sub-objects at the

current level that use a vertex you click. Applies

to all sub-object levels except Vertex. Also works

with Region Select.

Ignore Backfaces—Selects only those edges,

patches, or elements whose normals make them

visible in the viewport. When turned off (the

default), selection includes all sub-objects,

regardless of the direction of their normals.

Note: ThestateoftheBackfaceCullsettinginthe

Display panel doesn’t affect sub-object selection.

Thus, if Ignore Backfacing is turned off, you can

select sub-objects even if you can’t see them.

Note: The state of the Ignore Backfaces check box

also affects edge selection at the Edge sub-object

selection level.

Get from Other Levels group

Appliesselectionsfromonesub-objectlevelto

another.

Get Vertex Selection—Selects edges, patches,

or elements based on the last vertex selection.

The selection is added to the current selection.

Available only when Vertex is not the current

sub-object level.

Get Edge Selection—Selects vertices, patches, or

elements based on the last edge selection. Selects

those vertices, patches, or elements that contain

theedge. AvailableonlywhenEdgeisnotthe

currentsub-objectlevel.

Get Patch Selection—Selects vertices, edges,

or elements based on the last patch selection.

This selection is added to the current selection.

Available only when Patch is not the current

sub-object level.

Select by Material ID group

Selects faces based on their material ID.

ID—Set the spinner to the ID number you want to

select, and then click the Select button. Press Ctrl

whileclickingtoaddtothecurrentselection,or

press Alt to remove from the current selection.

Named Selection Sets group

Thesefunctionsareprimarilyforcopying

named selection sets (page 1–83) of sub-objects

between similar objects, and between comparable

modifiers and editable objects. For example, you

canapplyapatchselectmodifiertoasphere,

create a named selection set of edges, and then

copy the selection to a different sphere that’s been

converted to an editable patch object. You can

even copy the selection set to a different type of

object, because the selection is identified by the

entities’ ID numbers.

The standard procedure is to create a selection set,

name it, and then use Copy to duplicate it into the

copy buffer. Next, select a different object and/or

modifier,gotothesamesub-objectlevelasyou

were in when you copied the set, and click Paste.

Note: Because sub-object ID numbers vary from

object to object, the results of copying named

selection sets between different objects can be

unexpected. For example, if the buffered set

contains only entities numbered higher than any

that exist in the target object, no entities will be

selected when the set is pasted.

754 Chapter 8: Modifiers

Copy—Places a named selection into the copy

buffer.

Paste—Pastes a named selection from the copy

buffer.

Select Open Edges—Selects all edges with only one

face. In most objects, this will show you where

missing patches exist. Available only at the Edge

sub-object level.

Selection Info

At the bottom of the Patch Select Parameters

rollout is a text display giving you information

about the current selection. If 0 or more than one

sub-object is selected, the text gives the number

and type selected. If one sub-object is selected, the

text gives the ID number and type of the selected

item.

Note: When the current sub-object type is Patch or

Element,selectioninformationisgiveninPatches.

Soft Selection rollout

See Soft Selection Rollout (page 1–963) for

informationontheSoftSelectionrolloutsettings.

PatchDeform Modifier

Select an object. > Modify panel > Modifiers List >

Object-Space Modifiers > PatchDeform

Select an object. > Modifiers menu > Animation Modifiers

>PatchDeform

The PatchDeform modifier deforms an object

based on the contours of a patch object. This

modifier works similarly to the PathDeform

modifier (page 1–755),butusesaquad-based patch

object instead of a spline shape or NURBS curve

path.

To use the PatchDeform modifier, apply it to the

object you want to deform, click the Pick Patch

button, and then select a patch object. Deform

the object by manipulating the patch object or

adjusting the various controls in the Patch Deform

panel.

Not all objects can be used with PatchDeform.

Objects that are valid PatchDeform targets include:

Plane, Cylinder, Cone and Torus.

This modifier is also similar to the SurfDeform

modifier (page 1–848),exceptthatitusesapatch

surface instead of a NURBS Point or CV surface.

There’s also a world-space version of the

PatchDeform modifier. See PatchDeform (WSM)

(page 1–552). Generally, the PatchDeform

object-space modifier leaves the object in place

while moving the patch to the object, while the

PatchDeform world-space modifier leaves the

patch in place while moving the object to the

patch. Also, the WSM version has a Move to Patch

button, while the object-space version does not.

Procedure

To use the PatchDeform modifier:

1. Select an object.

2. Apply PatchDeform.

3. On the Parameters rollout, click Pick Patch.

4. Select a patch object.

Deform the object by adjusting the controls in

the Patch Deform panel and by manipulating

the patch object.

Interface

Modifier Stack

Gizmo—At this sub-object level, you can

transform and animate the gizmo like any other

object, altering the effect of the modifier. The

PatchDeform gizmo is a representation of the

deforming patch object, so transforming it

determines which part of the patch affects the

modified object.

PathDeform Modifier 755

Parameters rollout

Patch Deform group

Provides controls that let you pick the patch and

adjust the object’s position and deformation along

the gizmo copy of the patch.

Patch—Displays the name of the selected patch

object.

Pick Patch—Click this button, and then select the

patch object you want to use for the deformation.

A gizmo is created for the object that matches

the patch. Once you assign the patch gizmo, you

can adjust the deformation using the remaining

controls in this rollout.

Note: Patch Deform can be used only with a

rectangular quad patch form. The software makes

no distinction between quad-style patches and

certain primitive meshes. Examples of suitable

patches are the primitive quad patch object (page

1–994), the primitive cylinder (page 1–177),and

the primitive torus (page 1–180).(Thecylinder

actually has tri-patches at each end, but since they

are at the end of the list of patches, PatchDeform

just ignores these extra faces.)

UPercent—MovestheobjectalongtheU

(horizontal) axis of the gizmo patch, based on a

percentage of the U distance. This spinner defaults

to a setting of 50 percent, which places the object

atthecenterofthegizmopatch. Asettingof0

percent places the object at the left edge of the

gizmo patch, as seen from the viewport where the

patch was created.

UStretch—Scales the object along the U

(horizontal) axis of the gizmo patch.

VPercent—Moves the object along the V (vertical)

axis of the gizmo patch, based on a percentage of

the V distance. A setting of 0 percent places the

object at the bottom of the gizmo patch.

VStretch—Scales the object along the V (vertical)

axis of the gizmo patch.

Rotation—Rotates the modified object with respect

to the gizmo patch.

Move To Patch—Clicking this button moves the

object from its original position to the patch object

you are using for deformation. This button is only

available with the PatchDeform (WSM).

Patch Deform Plane group

XY/YZ/ZX—Choose a two-axis plane of the object

to make parallel with the XY plane of the gizmo

patch.

Flip—Reverses the gizmo direction.

PathDeform Modifier

Select an object. > Modify panel > Modifier List >

Object–Space Modifiers > PathDeform

Select an object. > Modifiers menu > Animation Modifiers

>PathDeform

The PathDeform modifier deforms an object

using a spline or NURBS curve as a path. You can

moveandstretchtheobjectalongthepath,and

756 Chapter 8: Modifiers

rotate and twist it about the path. There’s also a

world-space modifier version. See PathDeform

(WSM) (page 1–552).

PathDeform creates a wiggle for the snake.

Using a Path to Deform an Object

Generally, you use the PathDeform modifier

when you want to keep an object in place while

deforming to a path. Use the PathDeform

world-space modifier when you want to move an

object to a path while keeping the path in the same

world space.

The PathDeform (WSM) modifier replaces the

space-warp version that shipped with previous

versions of 3ds Max, and is incompatible with

previous versions. See PathDeform (WSM) (page

1–552) for details on how to fix incompatibilities

from the previous version.

To use the PathDeform modifier, you apply it, then

click the Pick Path button and select a shape or

curve consisting of a single open or closed spline.

Once the object is assigned to the path, you can

adjust the parameters to deform or animate the

object along a gizmo copy of the path.

Procedures

To use the PathDeform modifier:

1. Select an object.

2. Apply PathDeform.

3. On the Parameters rollout, click Pick Path.

4. Select a spline or NURBS curve.

Deform the object by adjusting the various

controls in the Path Deform panel and by

editing the path object.

Example: To use the PathDeform modifier to curve

text:

1. IntheTopviewport,createacirclewitharadius

of 100 units.

2. In the Front viewport, create a text shape with

six or seven letters, and a size of 25. (You can

use the default "MAX Text".)

3. Apply an Extrude modifier (page 1–680) to the

textshapeandsetAmountto-5.0.

4. On the main toolbar, set the Reference

Coordinate System to Local.

Looking at the axis tripod for the extruded text

object, you can see that its Z axis runs from

back to front, relative to world space.

5. Apply a PathDeform object-space modifier to

the text object, click the Pick Path button, and

then select the circle.

A circular gizmo is displayed. The circle

runs through the local Z axis of the text

object. Because of its orientation, its effect is

minimal, but you can see a slight wedge-shaped

deformation from the top view.

6. InthePathDeformAxisgroup,choosetheY

option, and then the X option.

PathDeform Modifier 757

The circle gizmo rotates to run through the

specified axes, deforming the text object

differentlywitheachchange.

7. Adjust the Percent spinner to view its effect,

and then set it to 0.TrythesamewithStretch,

Rotation, and Twist, and then restore them to

their original values. (Tip: Use the Ctrl key

with Twist to amplify the effect.)

8. Turn Flip on and off to switch the direction of

the path.

9. In the stack display, choose the Gizmo

sub-object level, and move the gizmo path

around.

The text object is further deformed by its

relative position to the gizmo.

10.In the stack display, turn off sub-object

selection by selecting the original circle shape.

11.Adjust the circle’s radius.

The deformation of the text object changes

because its gizmo is an instance of the shape

object.

Interface

Modifier Stack

Gizmo—At this sub-object level, you can transform

and animate the gizmo like any other object,

altering the effect of the modifier. The PathDeform

gizmo is a representation of the deforming path

object, so transforming it determines which part

of the path affects the modified object.

Parameters rollout

Path Deform group

Provides controls that let you pick a path and

adjust an object’s position and deformation along

the path.

Path—Displaysthenameoftheselectedpath

object.

Pick Path—Click this button and then select a spline

or NURBS curve to use as the path. The gizmo

that appears is shaped like the path and is aligned

with the local Z axis of the object. Once you assign

the path, you can adjust the deformation of the

object using the remaining controls in this rollout.

The path you pick should contain a single, open or

closed curve. If you use a path object consisting of

multiple curves, only the first one is used.

Percent—Movestheobjectalongthegizmopath

based on a percentage of the path length.

Stretch—Scales the object along the gizmo path,

using the object’s pivot point as the base of the

scale.

Rotation—Rotates the object about the gizmo path.

Twist—Twists the object about the path. The twist

angle is based on the rotation of one end of the

overall length of the path. Typically, the deformed

758 Chapter 8: Modifiers

object takes up only a portion of the path, so the

effect can be subtle.

Path Deform Axis group

X/Y/Z—Chooseonetorotatethegizmopathto

align with a specified local axis of the object.

Flip—Reverses the gizmo path 180 degrees about

the specified axis.

Point Cache Modifier

Select an object. > Modify panel > Modifier List >

Object–Space Modifiers > Point Cache

Select an object. > Modifiers menu > Cache Tools > Point

Cache

The Point Cache modifier lets you store modifier

andsub-objectanimationtoadiskfilethatrecords

only changes in vertex positions, and then play

back the animation using the information in the

disk file instead of the modifier keyframes. This is

useful when the computation required for vertex

animation becomes so excessive that it causes

animation playback to run slowly or drop frames.

Anotheruseforthismodifieristoapplythesame

animation to a number of objects, varying the

Start Time and Strength settings for each so they

don’t all move identically.

The Point Cache modifier is also available in a

world-space version, for which usage is the same.

Special Features in Point Cache

Both versions of the Point Cache modifier provide

enhanced animation capabilities, including:

• Adjustable playback ranges and a playback

graph, to animate which cache frame is played

back. This lets you load a cache and then

animate it, slowing down, stopping, reversing,

etc.

•Nth-framesampling,soyoucansampleevery

few frames to save disk space if sampling

every frame is unnecessary, or record multiple

samples per frame for improved motion

blurring.

•The"strength"isadjustableinAbsolutemode,

so you can easily blend the cache with what is

below in the stack.

•Improvedcachefilemanagement.

• Pre-loaded caches to speed up playback.

Procedure

To use the Point Cache modifier:

1. Use one or more modifiers to animate an

object. For example, you might apply a Bend

modifier (page 1–560), and then set keyframes

for the Angle parameter to make the object

bend back and forth.

2. Click Play Animation.

If the animation is a good candidate for caching,

the playback will drop many frames with Real

Time Playback turned on, and will run slowly

with Real Time Playback turned off.

3. From the Modify panel > Modifier List,

choose Object-Space Modifiers > Point Cache.

4. On the Parameters rollout > Record group, set

frame numbers for Start Time and End Time.

5. If you plan to render the cached animation

usingmotionblur,decreasetheSampleRate

setting.

6. Click the Record button, and use the Save

Cache dialog to specify a cache file.

The software records the animation to the

cachefile.Whenfinished,thecachefilename

appears in the Cache File group.

7. IntheRecordgroup,clickDisableModifiers

Below.

Point Cache Modifier 759

This turns off all the object’s modifiers below

Point Cache so that only the cached vertex

animationwillappearwhenyouplaybackthe

animation.

8. Click Play Animation again.

This time the animation plays back quickly and

smoothly.

Interface

Parameters rollout

Cache File group

Contains settings for recording vertex animation.

[file name]—After you record or load a cache file,

its name appears in this field.

760 Chapter 8: Modifiers

New—Creates a new, empty cache file. After setting

a new file, use Record to create the cache data.

Load—Loads a vertex animation from a cache

file on disk into the Point Cache modifier. If the

number of vertices in the cache file does not match

the number of vertices in the object, a warning

appears, but no error occurs.

Unload—Temporarily frees the current cache file,

so it can be edited or deleted externally.

Reload—Reopens the current cache file, if

previously unloaded.

Cache Info group

Displays cache statistics in read-only format,

including the point count, sample rate, sample

count, start/end frames, and errors, if any.

Record group

Contains settings for recording cached animation.

Start Frame—Sets the first frame for recording the

vertex animation. Default=first frame of the active

time segment.

Using decimal fractions lets you start at a

sub-frame setting when using a Frame:Ticks time

display. Default=0.0.

End Frame—Sets the last frame for recording the

vertex animation. Default=last frame of the active

time segment.

Using decimal fractions lets you start at a

sub-frame setting when using a Frame:Ticks time

display. Default=0.0.

Sample Rate—Sets the number of frames between

each recorded sample. When rendering with

motion blur, which uses sub-frame sampling,

decrease this value. Default=1.0.

At the default value of 1.0, Point Cache records

one sample per frame. Increasing the value causes

asampletoberecordedeveryNthframe. For

example, a value of 10.0 records every tenth frame.

Decreasing the value causes multiple samples to

be recorded for each frame. For example, if you

setSampleRateto0.1,PointCacherecords10

samples per frame at evenly spaced intervals.

Record—Stores the vertex animation to a disk

file. If no cache file is specified, or the specified

filedoesn’texist,activatestheSavePointsdialog,

which lets you specify a path and file name for

the cache file. Click Save to record the file, and

then load it into the Point Cache modifier, ready

for playback.

Tip: Tochangethepathorfilename,useCacheFile

group>Newandspecifyadifferentcachefile.

Enable Modifiers Below—Tur ns on a ll s tack

modifiersbelowthePointCachemodifier.Usethis

when you want to change modifier settings.

Disable Modifiers Below—Tu rns off all the obj ec t’s

stack modifiers below Point Cache so that only the

cached vertex animation appears when you play

back the animation.

Load Type group

Local—The method the modifier uses to load the

cache file. The options are:

•Stream—Keepsthecachefileopenforfast

access,butloadsonlyasingleframeatatimeto

conserve memory. This is the default mode.

•Per-Sample—Opens the cache file, reads a single

frame, and then immediately closes the file.

This is slower than the Stream method, but is

useful if many users are reading/writing the

same set of cache files since the cache files won’t

be locked open as you read from them.

•Pre-Load—Loads the entire cache file into

memory for fast access, and then closes the

file. This is particularly useful in networked

situations, or when a few cache files are used by

many objects in one scene. In the latter case,

Point Cache Modifier 761

usingthisoptionpreventseachobjectfrom

thrashing the disk on playback.

Be conservative in using this, as it can consume

a great deal of memory. However, if one cache

file is used by several objects, the cache is

loaded into memory only once.

Slave—These options apply if 3ds Max is running

as a network-rendering client; see the preceding

for details. In this situation, only Per-Sample and

Pre-Load are available, and the default option is

Per-Sample, so the clients don’t lock files.

[label]—This read-only field displays the size of the

pre-loaded data when Local is set to Pre-Load.

Playback Options group

Strength—Affects the motion relative to the

original animation. Applies only when Relative

Offset is on. Default=1.0. Range=-10.0 to 10.0.

At 1.0, the animation plays back the same as

recorded. With strengths between 0.0 and 1.0, the

animation is relatively restrained. At strengths

greater than 1, the animation is exaggerated. With

negative Strength settings, the motion is reversed.

Relative Offset—Enables offsetting the animated

vertex positions relative to their positions

as recorded, based on the Strength setting.

Default=off.

Note: WhenyouturnonRelativeOffsetandplay

back a cached animation with the modifiers turned

on, the cached vertex positions are calculated

relative to their positions as calculated by the

modifiers. For example, if you record a Bend

animation to a cache file, and then play it back

with both Relative Offset and the Bend modifier

on and Strength=1.0, all vertex positions are

doubled, resulting in exaggerated motion.

Apply To Whole Object—When off, only the active

vertex selection is animated. In this case, for the

cacheanimationtobevisible,theselectionmust

includeatleastsomeoftheoriginallyanimated

vertices.

Playback Type group

Playback Type—Specifies how playback occurs:

•Original Range—Plays back the cache over

the range it was originally recorded, so the

animation will always be the same as the

original.

•Custom Start—Plays back the cache from a

custom start time, set by Start Frame, but the

animation length and playback speed will be

the same as the original animation.

•Custom Range—Lets you set start and end

frames within which the current cache plays

back. Using a range that is smaller than the

original record range plays the cache back

faster, while specifying a larger range plays the

cache back slower.

•Playback Graph—Lets you animate which cache

frame is played at any given time.

For example, if you record a cache from frames

0 to 100 and then want it to play back twice

as fast forward and then in reverse, choose

thisoption,turnonAutoKey,settheFrame

parameter to 0.0 at frame 0, 100.0 at frame 50,

and then back to 0.0 at frame 100. The function

curve of this parameter in Track View shows

how the cache is played back. Animating the

Frame value lets you achieve unusual effects

such as slowing a cache down over time,

creating a ping-pong effect during playback,

etc.

Start Frame—The frame number at which the

cached animation starts playing back. Using

decimal fractions lets you start at a sub-frame

setting when using a Frame:Ticks time display.

Available only when Playback Type is set to

Custom Start or Custom Range. Default=0.0.

762 Chapter 8: Modifiers

End Frame—The frame number at which the

cached animation starts playing back. Using

decimal fractions lets you start at a sub-frame

setting when using a Frame:Ticks time display.

Available only when Playback Type is set to

Custom Range. Default=0.0.

Frame—Lets you animate playback of the cache;

for details, see Playback Graph, above.

Clamp Graph—Controls what gets loaded when

thePlaybackGraphframeisoutoftheoriginal

recorded range.

Take an example in which the playback frame is set

to 105, but the original cache was recorded over

frames 0-100. With Clamp Graph on, the loaded

frame will be 100. If it’s off (the default), the cache

will"wraparound"andloadframe5.

This lets you loop caches more easily. In the

aboveexample,youcouldsimplyhaveatwo-key

playbackgraph.Thefirstkeywouldbeatframe

0withavalueof0.0,andthesecondwouldbe

at frame 100 with a value of 100.0. You would

then set the out-of-range type (page 2–551) for the

Frame parameter (Playback Frame in Track View)

to Linear, and the cache would loop back smoothly

to the beginning at frame 101.

Poly Select Modifier

Make a selection. > Modify panel > Modifier List > Poly

Select

Make a selection. > Modifiers menu > Selection Modifiers

> Poly Select

The Poly Select modifier lets you pass a sub-object

selection up the stack to subsequent modifiers.

It provides a superset of the selection functions

available in Editable Poly (page 1–1022).Youcan

selectvertices,edges,borders,polygons,and

elements. You can change the selection from

sub-object level to object level.

When you apply the Poly Select modifier

and then go to any sub-object level, the

select-and-transform buttons in the toolbar

are unavailable, and the Select Object button is

automatically activated.

Using XForm Modifiers to Animate a Poly

Selection

When you apply a Poly Select modifier, there

are no animation controllers assigned to the

sub-object selection. This means that the selection

has no way to "carry" the transform information

needed for animation.

To animate a sub-object selection using Poly

Select, apply either an XForm or Linked XForm

modifier to the selection. These modifiers provide

the necessary controllers for animating the effects

of transforms. In a sense, they give "whole-object

status" to the sub-object selection.

•XForm (page 1–959)

Animates transforms directly on a sub-object

selection. Creates a gizmo and center for the

sub-object selection. You can animate both,

with the center acting as a pivot point for the

selection.

•Linked XForm (page 1–712)

Lets you choose another object to control the

animation. The sub-object selection is linked to

the "control object." When you transform the

control object, the sub-object selection follows

accordingly.

Procedure

To use the Poly Select modifier:

1. Create or select an object.

Note: Applying a Poly Select modifier to an

object other than a polymesh type will convert

the object to a polymesh object. If you want

more control over the conversion, add a Tu r n

To Poly modifier (page 1–874) before applying

Poly Select Modifier 763

the Poly Select modifier. The Turn To Poly

modifier provides conversion options that

aren’t available with the Poly Select modifier.

2. Apply the Poly Select modifier.

3. Select vertices, faces, or polygons.

4. Add another modifier to affect only the

selection from step 3.

Interface

Modifier Stack

Vertex—Selects vertices.

Edge—Selects edges.

Border—Selects borders.

Polygon—Selects polygons.

Element—Selects elements.

For more information on the stack display, see

Modifier Stack (page 3–760).

Parameters rollout

Provides buttons for accessing different sub-object

levels, working with named selections and handles,

display settings, and information about selected

entities.

TheiconsatthetopoftheSelectionrolloutletyou

specify the method of face selection.

Clickingabuttonhereisthesameaschoosinga

sub-object type in the modifier stack. Click the

button again to turn it off and return to the Object

selection level.

Note: You can convert sub-object selections in two

different ways with the use of the Ctrl and Shift

keys:

• Clicking a sub-object button in the Selection

rollout with Ctrl held down converts the

current selection to the new level, selecting

764 Chapter 8: Modifiers

all sub-objects in the new level that touch the

previous selection. For example, if you select

avertex,andthen Ctrl +click the Polygon

button, all polygons that use that vertex are

selected.

• To convert the selection to only sub-objects

all of whose source components are originally

selected, hold down both Ctrl and Shift

as you change the level. For example, if you

convert a vertex selection to a polygon selection

with Ctrl+Shift +click, the resultant selection

includes only those polygons all of whose

vertices were originally selected.

Vertex—Selects a vertex beneath the cursor;

region selection selects vertices within the region.

Edge—Selects a polygon edge beneath the

cursor; region selection selects multiple edges

within the region.

Border—Tu r ns o n B o rd e r s u b- o bj e c t mo d e,

which lets you select an area on a mesh that can

generally be described as a hole. Areas like this are

usually sequences of edges with faces on only one

side. For example, a box doesn’t have a border, but

the Teapot object has several of them: on the lid,

on the body, on the spout, and two on the handle.

If you create a cylinder, then delete the top face,

the top row of edges forms a border.

When the Border sub-object level is active, you

can’t select edges that aren’t on borders. Clicking a

single edge on a border selects that whole border.

Borders can be capped (either in editable poly or

by applying the cap holes modifier). They can also

be connected to another object (compound object

connect).

Polygon—Selects all coplanar polygons

beneath the cursor. Usually, a polygon is the area

you see within the visible wire edges. Region

selection selects multiple polygons within the

region.

Element—Selects all contiguous polygons in

an object; region selection selects the same.

By Vertex—Selects any sub-objects at the current

level that use a vertex you click. Applies to all

sub-object levels except Vertex. Also works with

Region Select.

Ignore Backfaces—Selecting sub-objects selects

only those whose normals make them visible in the

viewport. When turned off (the default), selection

includes all sub-objects, regardless of the direction

of their normals.

Note: The state of the Display properties (page 1–55)

> Backface Cull setting doesn’t affect sub-object

selection. Thus, if Ignore Backfacing is turned off,

you can select sub-objects even if you can’t see

them.

Note: ThestateoftheIgnoreBackfacescheckbox

alsoaffectsedgeselectionattheEdgesub-object

selection level.

Shrink—Reduces the sub-object selection area

by deselecting the outermost sub-objects. If

the selection size can no longer be reduced, the

remaining sub-objects are deselected.

Grow—Expands the selection area outward in all

available directions.

Forthisfunction,aborderisconsideredtobean

edge selection.

With Shrink and Grow, you can add or remove neighboring

elements from the edges of your current selection. This works

at any sub-object level.

Ring—Expandsanedgeselectionbyselectingall

edges parallel to the selected edges. Ring applies

only to edge and border selections.

Poly Select Modifier 765

Ring selection adds to the selection all the edges that are

parallel to the ones selected originally.

Loop—Expandstheselectionasfaraspossible,in

alignment with selected edges.

Loop applies only to edge and border selections,

and propagates only through four-way junctions.

Loop selection extends your current edge selection by adding

all the edges aligned to the ones selected originally.

Get from Other Levels group

Appliesselectionsfromonesub-objectlevelto

another.

Get Vertex Selection—Selects faces based on the

last vertex selection. Selects all faces shared by

any selected vertex. The selection is added to the

current selection. Available only when the current

sub-object level is not Vertex.

Get Poly Selection—Selectsverticesbasedonthe

last polygon/element selection. This selection

is added to the current selection. Available only

when the current sub-object level is not Polygon

or Element.

Get Edge Selection—Selects faces based on the last

edge selection. Selects those faces that contain the

edge. Available only when the current sub-object

level is not Edge or Border.

Select by Material ID group

Selects faces based on their material ID.

ID—Set the spinner to the ID number you want to

select, and then click the Select button. Press Ctrl

whileclickingtoaddtothecurrentselection,or

press Alt to remove from the current selection.

Named Selection Sets group

Thesefunctionsareprimarilyforcopying

named selection sets (page 1–83) of sub-objects

between similar objects, and between comparable

modifiers and editable objects. For example,

you can apply a Poly Select modifier to a sphere,

create a named selection set of edges, and then

copy the selection to a different sphere that’s been

converted to an editable mesh object. You can

even copy the selection set to a different type of

object, because the selection is identified by the

entities’ ID numbers.

The standard procedure is to create a selection set,

name it, and then use Copy to duplicate it into the

copy buffer. Next, select a different object and/or

modifier,gotothesamesub-objectlevelasyou

were in when you copied the set, and click Paste.

Note: Because sub-object ID numbers vary from

object to object, the results of copying named

selection sets between different objects can be

unexpected. For example, if the buffered set

contains only entities numbered higher than any

that exist in the target object, no entities will be

selected when the set is pasted.

Copy—Places a named selection into the copy

buffer.

Paste—Pastes a named selection from the copy

buffer.

Select Open Edges—Selectsalledgeswithonlyone

face. In most objects, this will show you where

missing faces exist. Available only at the Edge or

Border sub-object level.

766 Chapter 8: Modifiers

Selection Info

At the bottom of the Parameters rollout for Mesh

Select is a text display giving you information

about the current selection. If 0 or more than one

sub-object is selected, the text gives the number

and type selected. If one sub-object is selected, the

text gives the ID number and type of the selected

item.

Note: When the current sub-object type is Element,

selectioninformationisgiveninpolygonsWhen

the current sub-object type is Border, selection

information is given in edges.

Soft Selection rollout

Soft Selection controls affect the action of

sub-object Move, Rotate, and Scale functions.

When these are on, 3ds Max applies a spline curve

deformation to unselected vertices surrounding

the transformed selected sub-object. This provides

a magnet-like effect with a sphere of influence

around the transformation.

For more information, see Soft Selection Rollout

(page 1–963).

Preserve Modifier

Modify panel > Make a selection. > Modifier List >

Object-Space Modifiers > Preserve

Make a selection. > Modifiers menu > Parametric

Deformers > Preserve

The Preserve modifier lets you retain, as much as

possible,theedgelengths,faceangles,andvolume

of an edited and deformed mesh object using

an unmodified copy of the object before it was

deformed. When you push and pull vertices at the

sub-object level, the process typically stretches the

edges and often alters the face angles, resulting

in irregular topology. You can use the Preserve

modifier to generate more regular edge lengths,

and a "cleaner" mesh.

Procedures

Using the Preserve modifier:

1. Create an object. Before you edit it, create a

copy.

2. Edit the copy at the sub-object level, pushing

and pulling vertices, faces, and so on.

3. Apply the Preserve modifier to the copy, click

the Pick Original button, and then select the

original, unmodified object.

4. Adjust controls in the Preserve modifier to

fine-tune the mesh.

Example: Use the Preserve modifier on a geosphere:

1. Create a GeoSphere (page 1–176) and use

Shift +Movetomakeacopyofit.

Tip: If you want to see the effect of Preserve on

mapping, apply a checker-mapped material to

thesphereanddisplayitintheviewportsbefore

making the copy.

2. Convert the copy to an editable mesh (page

1–996).

3. At the Vertex sub-object level, select a third of

the vertices at the top of the sphere, and move

them upward (as seen from the front) about

one radius in distance.

Notice the stretched edges between the moved

vertices and the remaining vertices.

4. While still at the Vertex sub-object level, apply

thePreservemodifier.

5. Click the Pick Original button, and then select

the original (unedited) sphere.

The selected vertices move back toward the

sphere in an attempt to maintain the original

volume and edge lengths.

6. Tur n on Inver t Select ion.

The selected vertices return to their moved

position, and the unselected vertices (the

Preserve Modifier 767

inverted selection) move up toward the selected

vertices.

7. Turn off Invert Selection and slowly reduce the

Iterations to 0.

The object now looks as it did before you

applied Preserve.

8. Increase Iterations to the default 25, and then

increase it to approximately 75.

The object is now almost completely spherical

again.

9. Set Iterations back to 25, and then try different

Edge Lengths, Face Angles, and Volume

settings. (You can restore the defaults by

settings Edge Lengths to 1.0, and Face Angles

and Volume to 0.3.

StepsinapplyingthePreservemodifiertoageosphere

Example: Animating a preserved object:

You can animate the Preserve parameters, but the

following procedure shows you how to use Morph

and Preserve together.

1. RemovethePreservemodifierfromthecopied

sphere, and go to object level (instead of

sub-object level).

2. Withthecopied(anddeformed)sphere

still selected, choose Create panel > Compound

Objects > Morph to make it into a Morph

object.

3. Make sure Instance is chosen in the Pick Targets

rollout.

4. At frame 0, click Pick Target, and then select

the original sphere.

5. In the Modify panel, go to frame 100,

select sphere02 in the Morph Targets list, and

click Create Morph Key.

Theobjectnowmorphsfromaspheretoa

deformed sphere.

6. Apply Preserve to the morph object.

7. Click Pick Original, and select the original

sphere.

The object now morphs from the sphere to

apreservedanddeformedsphere. Notethat

because the object selection is passed up the

stack, the Preserve effect is applied to the entire

sphere.

8. Choose Selected Verts Only in the Selection

group.

Now, only the selected vertices are affected by

Preserve. The morph still works, however.

Example: Using the Selection check boxes:

1. Reset the program, create a box, and convert

it to an editable mesh.

2. Use Shift +Movetomakeacopy.

768 Chapter 8: Modifiers

3. Use the Modify panel to select the top

four vertices in the second box. Move them

upward in Z, making the copied box taller than

the original.

4. Apply Preserve, and pick the first box as the

original.

The selected vertices move down to match the

original edge lengths.

5. Set Iterations to 0to move the vertices back up,

then turn on Invert Selection, and set iterations

back up to 25.

The selected vertices stay in their original

locations, but the unselected vertices move

upward to restore the original edge lengths.

6. Tur n Ite rat io ns ba ck dow n to 0.TurnonApply

To Whole Mesh (Invert Selection becomes

unavailable), and then turn Iterations back up

to 25.

Preserve is now applied to the whole mesh.

Sinceallverticesareaffected,thetopand

bottom of the box approach each other.

7. Tur n off Apply To Whole Mesh.

All vertices are translated, but maintain the

same positions relative to each other.

8. Turn off Invert Selection and turn on Selected

Ve r t s O n l y.

You’re back to the original effect. You can move

the Iterations spinner up and down to see that

you’re affecting only the selected vertices.

Example: Simulating cloth:

1. Reset the program, create a Quad Patch Grid,

and convert it to an editable mesh.

2. Makeacopy,andthenmakeareferenceofthe

copy.

You should have a total of three objects in the

scene.

3. Apply Preserve to the third patch, using the

first as the original.

4. Select Selected Verts Only and Invert Selection.

5. Set Iterations to 100.

6. Selectthesecondpatchandgotothe

Sub-Object > Vertex level.

7. Select a single vertex in the middle of the patch

andmoveitupwardinZ.

The third patch becomes a floating

handkerchief.

8. Undo the vertex move.

9. Select the far two corner vertices of the second

patch, and drag them upward in Z.

Now, you’ve got the beginnings of a sheet

hanging on the line.

Interface

Original—Displaysthenameoftheselected

original object. (Note that the so-called "original"

object doesn’t actually have to be the original.

It’s simply a copy of the object that represents its

unmodified topology.)

Projection Modifier 769

Pick Original—Click this, and then select an

unmodified copy of the current object. You

should pick an object with the same topology as

the current object, which has the same number

of vertices. While you can select a completely

different object with equal vertices, the results are

unpredictable.

Iterations—Specifies the number of calculations

toward the solution. The higher this number, the

closer the object comes to matching the original

object and the slower the process. When this is set

to zero, the original object has no effect, as if the

Preserve modifier were never applied.

Preservation Weights group

Edge Lengths, Face Angles, Volumes—Adjusts the

relative importance of the three components you’re

attempting to preserve: edge lengths, face angles,

and volume. In most cases, you’d leave these at

their default settings, but you can achieve some

interesting effects by altering them. Higher face

angles, for example, produce stiffer meshes.

Selection group

Provides options that let you specify which

selection level to take from previous selection

modifiers in the stack. The Preserve modifier acts

on the specified selection.

Apply to Whole Mesh—Applies Preserve to the

entire object, regardless of the selection passed

from previous levels of the stack. Disables the

other two check boxes.

Selected Verts Only—Uses previous sub-object

vertexselections. Notethatitdoesn’tmatterif

the Vertex sub-object level is active in a previous

stack item. As long as vertices have been selected,

Preserve will use that selection.

Invert Selection—Inverts the selection passed up

the stack.

Note: If all of the check boxes are turned off,

Preserve uses whatever active selection is passed

up the stack. Thus, if a Mesh Select modifier is

set to the Vertex level, then that vertex selection is

used. If the same Mesh Select modifier is set to the

top (object) level, then the entire object is affected.

Projection Modifier

Select an object. > Modify panel > Modifier List >

Object-Space Modifiers > Projection

The Projection modifier is used primarily to

manage objects for producing normal bump maps

(page 3–150). You apply it to the low-resolution

object, and then pick a high-resolution object as

thesourcefortheprojectednormals.Whenyou

use the Render To Texture dialog (page 3–156) to

s e t u p p r oj e c t i o n , R e n d e r To Te x t u r e a p p l i e s t h e

Projection modifier to the low-resolution object

automatically. You can also explicitly apply the

Projection modifier to set up the projection before

you use Render To Texture.

Note: The low-resolution object requires UV

coordinates, but the high-resolution source object

does not need to have them. When the normals

mapisrendered,youcanchoosetohaveRender

To Te x t u r e a p pl y a n “Automatic Flatten UVs”

(Unwrap UVW) modifier (page 1–878) to the top of

the low-res object’s stack; or you can use existing

mapping, if such exists.

You can apply more than one instance of the

Projection modifier to the same object, and you

can instance it across multiple objects.

The Projection modifier is a topology-dependent

modifier (page 3–1023),sowhenyouselectan

item in the stack that is lower than the Projection

modifier,youseeawarningdialogthatasksif

770 Chapter 8: Modifiers

youwanttoproceed. (Thesameistrueofthe

Automatic Flatten UVs modifier.)

Projection and Sub-Object Selections

You can match geometry to sub-object selections.

Therearetwowaystodoso:matchingmaterial

IDs, or matching named selections of sub-object

geometry.

Matching Material IDs

Here is a sample workflow for using material IDs

to match portions of the low-res object to different

high-res objects:

1. At the level of the low-res object itself,

assign differing material IDs to different face

selections.

To d o s o , t h e l o w - r e s o bj e c t mu s t b e a s u r f a c e

model; that is, an editable mesh, editable

poly, editable patch, or NURBS surface. Use

the Surface Properties rollout to change the

material ID of sub-object selections.

2. For the high-res target objects, assign

corresponding material IDs.

AneasywaytodothisistoapplytheMaterial

modifier (page 1–714).

3. In the Resolve Hit group of the Projection

Options dialog (page 3–165),turnonHitOnly

Matching Material ID.

4. Render to texture.

Thetextureforfacesofthelow-resobject

receive texture element information only from

thesourceobjectthathadthecorresponding

material ID.

Matching Selected Geometry

Here is a sample workflow for using sub-object

selections to match portions of the low-res object

to different high-res objects.

1. IntheProjectionmodifier,gototheFaceor

Element sub-object level.

See Selection Rollout (Projection Modifier) (page

1–771).

2. Make a sub-object selection, then on the

Reference Geometry rollout (page 1–772),enter

a descriptive name in the Name field.

3. Click the Add button or press Enter .

Thenameofthesub-objectselectionsetis

added to the list.

4. Click in the list to highlight the selection-set

name, click Pick or Pick List, and then select

the high-res source object to associate with the

sub-object selection.

5. Repeat steps 2 through 4 to associate different

sub-object selections with different source

objects.

6. Choose Rendering > Render To Texture.

The Render To Texture dialog appears.

7. In the Projection group of the Objects To Bake

rollout (page 3–158), turn off Object Level and

turn on Sub-Object Levels.

8. Click Render.

Render To Texture renders a separate texture

for each of the named sub-object selections

contained in the Projection modifier.

Interface

TheinterfacetotheProjectionmodifierincludes

these rollouts:

Selection Rollout (Projection Modifier) (page

1–771)

Soft Selection Rollout (page 1–963)

Reference Geometry Rollout (Projection Modifier)

(page 1–772)

Cage Rollout (Projection Modifier) (page 1–773)

Selection Rollout (Projection Modifier) 771

Selection Check Rollout (Projection Modifier) (page

1–775)

Projection Rollout (Projection Modifier) (page

1–776)

Selection Rollout (Projection

Modifier)

Select an object. > Modify panel > Modifier List >

Object-Space Modifiers > Projection > Selection rollout

The Projection modifier’s Selection rollout is for

managing sub-object selections.

Interface

Cage—ClicktoturnontheCagesub-object

level.

TheCageisthesurfacefromwhichnormals

are projected. At the Cage sub-object level, you

can adjust the cage manually by transforming

sub-object selections of cage vertices.

Face—ClicktoturnontheFacesub-object

level.

The Face sub-object level lets you assign different

source geometry to different portions of a surface.

Element—Click to turn on the Element

sub-object level.

The element sub-object level lets you assign

different source geometry to individual elements.

(An element is a group of contiguous faces.)

Shrink—Reduces the sub-object selection area

by deselecting the outermost sub-objects. If

the selection size can no longer be reduced, the

remaining sub-objects are deselected.

Grow—Expands the selection area outward in all

available directions.

With Shrink and Grow, you can add or remove neighboring

elements from the edges of your current selection. Shrink and

Grow work at any sub-object level.

Ignore Backfacing—When on, selection of

sub-objects affects only those facing you. When

off, you can select any sub-objects under the

mouse cursor, regardless of visibility or facing. If

multiple sub-objects lie under the cursor, repeated

clicking cycles through them. Likewise, with

Ignore Backfacing off, region selection includes all

sub-objects, regardless of the direction they face.

Default=off.

Get Stack Selections—Click to collect sub-object

selections from modifiers that are below the

Projection modifier on the stack.

Select SG—To select by smoothing group value,

usethespinnertosetthenumberofthesmoothing

group, and then click Select SG.

Select MatID—To select by material ID, use the

spinner to set the ID number, and then click Select

MatID.

772 Chapter 8: Modifiers

•Sub-material drop-down list—When a

multi/sub-object material is applied to the

low-resobject,thislistshowsthenamesand

numbers of sub-materials that are assigned

tofacesorelementsoftheobject.Whenyou

have selected by material ID, the corresponding

sub-material appears in the field above the list.

Clear Selection—Whenon,eachstack,smoothing

group, or material ID selection you make replaces

the previous selection. When off, each new

selection is added to the previous selection set.

Default=on.

Reference Geometry Rollout

(Projection Modifier)

Select an object. > Modify panel > Modifier List >

Object-Space Modifiers > Projection > Reference

Geometry rollout

On the Reference geometry rollout, you can create

named sub-object selection sets, and associate

them with high-resolution geometry.

Interface

Name—Lets you enter a name for the current set

of selected sub-objects.

Delete—Click to delete the sub-object

selectionsetwhosenameishighlightedinthelist.

Add—Click to add the named sub-object

selection set to the list.

Keyboard shortcut: Enter .

Select—Click to select the sub-objects in the

selectionsetwhosenameishighlightedinthelist.

Delete All—Click to delete all named

sub-object selection sets in the list.

Reference geometry window—This window shows

a list of named sub-object selection sets, and the

high-resolution source geometry with which

Cage Rollout (Projection Modifier) 773

they’reassociated.Ifyouhavepickedahigh-res

object at the object level, it also shows “Object

Level” followed by the name of the source object.

Proportion Multiplier—When Proportional is

chosen for sub-object normal bump mapping in

the Projection Mapping group of the Objects To

Bake rollout (page 3–158) for Render To Texture,

this value multiplies the default size of the normal

bump map. Range=0.0 to 2.0. Default=1.0.

For example, if Proportional rendering of a

sub-object were to render a sub-object selection

at 16 x 16 pixels, changing Proportion Multiplier

to2.0wouldchangethesizeofthenormalbump

map to 32 x 32 pixels.

This control is unavailable unless a sub-object

selection is active.

Pick—To a s s o c i a t e h i g h - r e s g e o m e t r y w i t h t h e

current selection, click Pick to turn it on, then

click a source object in a viewport.

Pick List—To a s s o c i a t e h i g h - r e s g e o m e t r y w i t h

the current selection, click Pick List, then use

the Select Objects dialog (page 1–78) to choose a

source object.

Display Toggle group

The Display Toggle group is useful when you

want to compare the hi—res to your low-res

geometry. You can quickly toggle between your

low-res geometry and your hi-res geometry to

compare versions. You can show selected or all

hi-res geometry.

Enable—When on, makes it possible to show or

hide reference geometries. Default=off.

Hide Reference Geometry/Hide Working

Geometry—When Enabled is on, click Hide

Reference Geometry to hide your hi-res geometry.

Conversely, click Hide Working Geometry to hide

your low-res geometry. You can also selectively

show and hide high-res geometries in your Pick

List. Click Off to hide a geometry. Click Hide

to show a geometry.

Cage Rollout (Projection Modifier)

Select an object. > Modify panel > Modifier List >

Object-Space Modifiers > Projection > Cage rollout

These settings adjust the cage and its display.

The cage is the nonrenderable geometry that the

Projection modifier uses as the surface from which

it ray-traces normals.

Note: Special export/import functionality

available on this rollout lets you convert the cage

intostandardgeometryofthesametypeand

topologyasthecageandmodifiedobject,which

you can edit using standard methods and then use

to define a new shape for the cage. This provides

access to the full range of mesh-editing tools

available in 3ds Max for shaping the cage to your

precise requirements. For example, with editable

poly, you can take advantage of tools such as

Loop,Ring,Grow,andShrink,andquicklyswitch

among sub-object levels such as Face and Vertex.

Procedure

To use Export and Import with a cage:

1. Create a cage:

1. Create low-resolution and high-resolution

objects. In most cases, for best results they

should be arranged concentrically.

2. Apply the Projection modifier to the

low-resolution object.

This creates the cage with the same shape

and position as the low-resolution object.

3. UsetheReferenceGeometryrolloutcontrols

to specify one or more high-resolution

objects.

4. On the Cage rollout, click Update.

774 Chapter 8: Modifiers

This reshapes the cage, roughly enveloping

the high-resolution object(s).

2. OntheCagerollout,clickExport.

This creates a separate geometrical object in the

same shape as the cage, with the same type and

topology as the low-resolution object. We’ll call

this the cage object.

For example, if the low-resolution object is an

editable poly, or has an Edit Poly modifier at

the top of the modifier stack, the resultant cage

object is of editable poly type.

3. Use standard object-editing tools to modify the

cage object’s shape. Do not alter its topology

by adding or removing vertices, edges, etc.,

because that would invalidate its usage for

reshaping the cage. Also, for best results, do

not move the cage object. If you wish, you can

temporarily hide any overlapping objects.

4. Select the low-resolution object.

5. OntheCagerollout,clickImportandthen

selectthecageobject.

Ifthecageobjecttypeandtopologyare

the same as the low-resolution object, the

software reshapes the cage to match the cage

object’s shape. Alternatively, if the cage object

canbeconvertedtothesametypeasthe

low-resolution object without a change in

topology, it is also accepted. If not, a warning

appears and no reshaping takes place.

Important: The resultant cage matches the

imported cage object’s shape, position, orientation,

and size exactly.

If the import is successful, the cage object can

bedeleted,orretainedforpossiblefuturecage

modification.

Interface

Display group

Cage—When on, the cage is displayed. When off,

the cage is hidden except at the Cage sub-object

level. Default=on.

ThecageisalwaysdisplayedattheCagesub-object

level, regardless of this toggle’s setting. See

Selection Rollout (Projection Modifier) (page

1–771).

•Shaded—When on, the cage is shaded with

atransparentgray. Whenoff,thecageis

displayed as a blue lattice. Default=off.

The Shaded option can be useful when you

need to tell whether or not high-resolution

source geometry is within the cage, and when

you need to expand the cage to include more

geometry.

•Point to Point—When on, additional lines

connect vertices in the cage to points on the

Selection Check Rollout (Projection Modifier) 775

target object, showing how the projection will

be done. Default=off.

Push group

These controls let you adjust the size of the cage

as a whole, or on a sub-object selection if one is

currently chosen (see Reference Geometry Rollout

(Projection Modifier) (page 1–772)).

Amount—Changetoadjustthesizeofthecage

in 3ds Max units. Positive values increase the

size of the cage; negative values decrease the size.

Default=0.0.

Percent—Changetoadjustthesizeofthecage

as a percentage. Positive values increase the size

of the cage; negative values decrease the size.

Default=0.0.

Auto-Wrap group

By default, the Projection modifier does not

automatically create a cage that wraps around the

geometry. To change the cage, use the settings

in this group or the Push group, or adjust cage

vertices manually at the Cage sub-object level.

Tolerance—Thedistancein3dsMaxunits,

between the cage and the target geometry. Positive

values are outside the high-res source geometry;

negative values are inside the source geometry.

Default=varies, depending on the geometry.

Always Update—When on, the cage automatically

expandsaroundhigh-resgeometryasitisaddedto

the list (see Reference Geometry Rollout (Projection

Modifier) (page 1–772)). When off, the initial cage

is not updated automatically. Default=off.

Update—Click to update the cage. Use this when

Always Update is off.

Import—Lets you specify a mesh object to

define the cage shape. This is typically an object

that was created with Export (see following)

and then modified using standard mesh-editing

methods. After clicking Import, select the object

to import. After importing the object, the cage

conforms to its shape. You can then delete the

imported object if you wish.

Important: Theimportedobjectshouldbeofthesame

type (for example, editable mesh) as the projection

object(thatis,theobjectwiththeProjectionmodifier),

or be convertible to that type without topology change,

and must have the identical topology. If it doesn’t

meet either or both of those criteria, an alert appears

requesting that you select an object of the same type

and identical topology.

Export—Creates a geometry object from

thecage,withthesametypeandtopologyas

the modified object. Clicking Export causes the

Export Cage dialog to open. Accept the default

“Export as” object name or enter a new one, and

then click OK.

For a detailed description of the export/import

process, see To use Export and Import with a cage:

(page 1–773).

Reset—Click to reset the cage to a wrapping

that is the same size as the low-resolution target

geometry.

Selection Check Rollout

(Projection Modifier)

Select an object. > Modify panel > Modifier List >

Object-Space Modifiers > Projection > Selection Check

rollout

This rollout lets you check selections to see if any

are overlapping; that is, if a material ID or a face or

element is assigned to more than one selection.

776 Chapter 8: Modifiers

Interface

Check group

•Material IDs—Checks for material IDs being

assigned to more than one selection.

•Geometry—Checks for faces or elements being

assigned to more than one selection.

•Both—(The default.) Checks for both material

ID and sub-object overlap.

Check—Click to run the check.

Select Faces—When on, if running the selection

check detects “bad” selections, the “bad” faces are

selected by the Projection modifier automatically.

When off, “bad” selections are not selected

automatically. Default=on.

Results group

After you click Check, the fields in this group

display the results. The first field is for material

IDs, and the second is for sub-object selections.

If there is no conflict, the first field says “No

conflicting Mat IDs detected,” and the second says

“No conflicting face selections detected.” If there

is a conflict, the results say something such as, “6

Mat IDs are assigned to more than one selection.”

Projection Rollout (Projection

Modifier)

Select an object. > Modify panel > Modifier List >

Object-Space Modifiers > Projection > Projection rollout

The Projection rollout has controls for projecting

data from the object with the Projection modifier

to adifferentobject.Thisdataflowisthereverse

of what it is when you project normals from a

high-resolution object to a low-resolution object.

Interface

Projector list—Shows the active projector plug-ins.

Projector plug-in drop-down list—Lets you choose

a projector plug-in. Only one projector, Project

Mapping, is provided with 3ds Max. See Project

Mapping Rollout (Projection Modifier) (page

1–777). Additional projectors might be available

from third-party sources.

Note: Multiple instances of the Project Mapping

plug-in can be active.

Project Mapping Rollout (Projection Modifier) 777

Add—Addsaprojectorofthetypechoseninthe

drop-down list.

Remove—Removes the projector that is currently

highlighted in the projector list.

Project to—Shows the name of the geometry to

which you’re projecting. To choose this geometry,

use the Reference Geometry rollout (page 1–772).

Show Alignment—Click to display the faces of the

geometry selection that will project to the selected

faces of the object that has the Projection modifier.

This shows which hi-res faces will be projected to

the selected low-res faces.

This works only for selected faces, not selected

vertices: you can lock a face selection and

then make adjustments to the cage, then click

Show Alignment to see the effects of the cage

modification.

This button is unavailable if no selection has been

made in the Reference Geometry rollout.

Clear—Click to turn off the Show Alignment

display.

Project—Click to perform the projection.

Project All—Click to perform all projections that

are in the projector list.

Project Mapping Rollout

(Projection Modifier)

Select an object. > Modify panel > Modifier List >

Object-Space Modifiers > Projection > Projection rollout

> Choose Project Mapping in the plug-in drop-down

list (this is the only available choice unless third-party

plug-ins have been installed). > Click Add > Project

Mapping rollout.

Select an object. > Modify panel > Modifier List >

Object-Space Modifiers > Projection > Projection rollout

> Highlight a Project Mapping projector in the Projector

list. > Project Mapping rollout.

The Project Mapping rollout contains controls

for the Project Mapping projector plug-in. This

rollout is visible when a Project Mapping instance

is highlighted in the Projector list on the Projection

rollout (page 1–776). Use Project Mapping to

project a map channel value, material IDs, or

vertex attributes from the object that has the

Projection modifier applied, onto other geometry.

Interface

Projector name field—Shows the name of the

Project Mapping projector. If you edit this field,

thechangeisreflectedontheProjection rollout

(page 1–776).

778 Chapter 8: Modifiers

Projection Holder group

Projection Holder name field—Shows the name

of the Projection Holder modifier. If you edit

thisfield,thechangeisreflectedinthetarget

object’s stack, but not until you click Project on

the Projection rollout.

Create New Holder—When you click the Project

button in the Project rollout, a Projection Holder

modifier is added to the geometry selection. When

Create New Holder is on, 3ds Max creates and adds

a new modifier each time you click Project. When

Create New Holder is off, clicking Project simply

updates the data in the existing Projection Holder;

it creates a new Projection Holder modifier only if

none was present, before. Default=off.

Same Topology—When on, the source object’s

topology is transferred to the target object.

Default=off.

Important: You need to turn on Same Topology when

you project to the target object’s Vertex Position.

Always Update—When on, changing the object

with the Projection modifier automatically

re-projects and updates the Projection Holder

modifiers on the geometry selections. When off,

projection is recalculated only when you click

Project. Default=off.

ThistoggleisavailableonlywhenCreateNew

Holder is off and Same Topology is on.

When Always Update is on, changes to the

geometry with the Projection modifier can

manipulate UVW channels or animate vertex

colors of the objects with the Projection Holder

modifiers.

Source Channel group

•Map Channel—(The default.) Projects a map

channel (page 3–966) value.

Usethespinnertosetthechannelvalue.

•Vertex Color—Projects vertex color values.

•Vertex Illum—Projects vertex illumination

(grayscale) values.

•Vertex Alpha—Projects vertex alpha values.

•Vertex Position—Projects vertex positions.

Target Channel group

Same as Source—When on, the radio buttons in

this group are disabled, and the Project Mapping

projector projects to the same channel that is

chosen in the Source Channel group. When

off, the radio buttons in this group are enabled.

Default=on.

Theradiobuttonsarethesameastheonesinthe

Source Channel group. When Same As Source is

off, the chosen map channel or vertex data of the

target geometry derives its value from the channel

or vertex data chosen in the Source Channel group.

The projection does not take place until you click

Project or Project All on the Projection rollout.

Project Material IDs—When on, projects material

ID values. Default=off.

The projection does not take place until you click

Project or Project All on the Projection rollout.

Projection Holder Modifier

Select an object. > Modify panel > Modifier List >

Object-Space Modifiers > Projection modifier > Geometry

rollout > Choose target geometry > Projection rollout >

Click Add. > Click Project. > Projection Holder is applied

to the target geometry.

The Projection Holder modifier appears for objects

being used by the Projection modifier’s Project

Mapping feature (page 1–776).Itcontainsthe

data generated by the Project Mapping operation,

much as UVW Mapping Add or UVW Mapping

Clear do for Channel Info manipulations.

Push Modifier 779

Interface

The Projection Holder modifier has no parameters.

Push Modifier

Modify panel > Make a selection. > Modifier List >

Object-Space Modifiers > Push

Make a selection. > Modifiers menu > Parametric

Deformers > Push

The Push modifier lets you "push" object vertices

outward or inward along the average vertex

normals. This produces an "inflation" effect that

you can’t otherwise obtain.

Positive and negative amounts of push applied to an object.

Interface

Push Value—Sets the distance in world units by

whichverticesaremovedwithrespecttothe

object center. Use a positive value to move vertices

outward, or a negative value to move vertices

inward.

Relax Modifier

Modify panel > Make a selection. > Modifier List >

Object-Space Modifiers > Relax

Make a selection. > Modifiers menu > Parametric

Deformers > Relax

The Relax modifier changes the apparent surface

tensioninameshbymovingverticescloserto,or

away from, their neighbors. The typical result is

that the object gets smoother and a little smaller

astheverticesmovetowardanaveragedcenter

point. You can see the most pronounced effects on

objectswithsharpcornersandedges.

Relax moves the bowl away from its original contours.

When you apply Relax, each vertex is moved

toward the average position of its neighboring

vertices. A neighboring vertex is one that shares a

visible edge with the current vertex.

780 Chapter 8: Modifiers

Original objects compared to relaxed objects

Patches

As of version 4, a patch object coming up the

modifier stack is not converted to a mesh by

this modifier. A patch object input to the Relax

modifier retains its patch definition. If a file

created by a previous version of 3ds Max contains

a patch object applied with the Relax modifier, it

will be converted to a mesh to maintain backward

compatibility.

Interface

Relax Value—Controls how far a vertex moves for

each iteration. The value specifies a percentage

of the distance from the original location of a

vertex to the average location of its neighbors.

Range=-1.0 to 1.0. Default=0.5.

• Positive Relax values move each vertex in closer

to its neighbors. The object becomes smoother

and smaller.

•WhentheRelaxvalue=0.0,verticesdonot

move and Relax has no affect on the object.

• Negative Relax values move each vertex away

from its neighbors. The object becomes more

irregular and larger.

Relax Values=1.0, 0.0, -1.0

Iterations=1 (default)

Iterations—Sets how many times to repeat the

Relax process. For each iteration, average locations

arerecalculatedandtheRelaxValueisreappliedto

every vertex. Default=1.

• For 0 iterations, no relaxation is applied.

• IncreasingiterationsforpositiveRelaxValue

settings smooths and shrinks an object. With

very large iteration values, the object shrinks

to a point.

• Increasing iterations for negative Relax Value

settings exaggerates and expands an object.

With relatively few iterations, the object

becomes jumbled and almost unusable.

Iterations=0, 10, 50

Relax Value=0.5 (default)

Renderable Spline Modifier 781

Iterations=0,1, 5

Relax Value=-0.5

Keep Boundary Pts Fixed—Controls whether

vertices at the edges of open meshes are moved.

Default=on.

When Keep Boundary Pts Fixed is on, boundary

verticesdonotmovewhiletherestoftheobject

is relaxed. This option is particularly useful

when working with multiple objects, or multiple

elements within a single object, that share open

edges.

When this check box is off, all vertices of the object

are relaxed.

Keep Boundary Pts Fixed=on

Iterations=0, 10, 50

Keep Boundary Pts Fixed=off

Iterations=0, 10, 50

Save Outer Corners—Preserves the original

positions of vertices farthest away from the object

center.

Renderable Spline Modifier

Select a shape. > Modify panel > Modifier List >

Renderable Spline

TheRenderableSplinemodifierletsyousetthe

renderable properties of a spline object, without

collapsingthesplinetoaneditablespline.Thisis

particularly useful with splines you have linked

to from AutoCAD. It also lets you apply the same

rendering properties to multiple splines at once.

Note: This modifier cannot be applied to NURBS

curves.

Interface

Enable In Renderer—When on, the shape is

rendered as a 3D mesh using the Radial or

Rectangular parameters set for Renderer. In

previous versions of the program, the Renderable

switch performed the same operation.

782 Chapter 8: Modifiers

Enable In Viewport—When on, the shape is

displayedintheviewportasa3Dmeshusingthe

Radial or Rectangular parameters set for Renderer.

In previous versions of the program, the Display

Render Mesh performed the same operation.

Use Viewport Settings—Lets you set different

parameters for viewport display and rendering,

anddisplaysthemeshgeneratedbytheViewport

settings in the viewports. Available only when

Enable in Viewport is turned on.

Generate Mapping Coords—Tur n t hi s on to a pp ly

mapping coordinates. Default=off.

3ds Max generates the mapping coordinates in

the U and V dimensions. The U coordinate

wraps once around the spline; the V coordinate is

mappedoncealongitslength.Tilingisachieved

using the Tiling parameters in the applied material.

For more information, see Mapping Coordinates

(page 2–1405).

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625).Default=on.

Viewport—Choose this to specify Radial or

Rectangular parameters for the shape as it will

display in the viewport when Enable In Viewport

is on. Available only when Use Viewport Settings

is on

Renderer—Choose this to specify Radial or

Rectangular parameters for the shape as it will

display when rendered or displayed in the viewport

when Enable in Viewport is turned on.

Radial—Displaysthesplineasa3Dobjectwitha

circular cross-section.

•Thickness—Specifies the cross-section diameter.

Default=1.0. Range=0.0 to 100,000,000.0.

•Sides—Sets the number of sides for the spline

mesh in the viewports or renderer. For example,

a value of 4 produces a square cross-section.

•Angle—Adjust the rotational position of the

cross section in the viewports or renderer. For

example, if you have a square cross section you

canuseAngletopositiona“flat”sidedown.

Rectangular—Displaysthesplineasa3Dobject

with a rectangular cross-section.

•Length—Specifies the size of the cross–section

along the local Yaxis.

•Width—Specifies the size of the cross–section

along the local Xaxis.

•Angle—Adjusts the rotational position of the

cross-section in the viewport or renderer. For

example, if you have a square cross-section you

can use Angle to position a "flat" side down.

•Aspect—Sets the aspect ratio for rectangular

cross-sections. The Lock check box lets you

lock the aspect ratio. When Lock is turned

on, Width is locked to Depth that results in a

constant ratio of Width to Depth.

Auto Smooth—When on, the spline is

auto-smoothed using the smoothing angle

specified by the Threshold setting. Auto Smooth

sets the smoothing based on the angle between

spline segments. Any two adjacent segments are

put in the same smoothing group if the angle

betweenthemislessthanthethresholdangle.

Note: Turning Auto Smooth on for every situation

doesnotalwaysgiveyouthebestsmoothing

quality. AlteringtheThresholdanglemaybe

necessary or turning Auto Smooth off may

produce the best results.

Threshold—Specifies the threshold angle in

degrees. Any two adjacent spline segments are

placed in the same smoothing group if the angle

betweenthemislessthanthethresholdangle.

Ripple Modifier 783

Ripple Modifier

Modify panel > Make a selection. > Modifier List >

Object-Space Modifiers > Ripple

Make a selection. > Modifiers menu > Parametric

Deformers > Ripple

The Ripple modifier lets you produce a concentric

rippling effect in an object’s geometry. You can

seteitheroftworipplesoracombinationofboth.

Rippleusesastandardgizmoandcenter,which

you can transform to increase the possible ripple

effects.

The Ripple (page 2–102) space warp has similar

features. It is useful for applying effects to a large

number of objects.

An object with the Ripple modifier applied.

Top (from left to right): Amplitude 1 only, Amplitude 2 only and

both amplitudes.

Bottom: Both amplitudes with the Decay effect.

See also

Wave Modifier (page 1–957)

Procedure

Example: To use the Ripple modifier:

1. Start with an empty scene, and add a Plane

object (page 1–185) in the Perspective viewport.

SetLengthandWidthbothto100.0,andset

Length Segs and Width Segs both to 10.

The Plane object is useful as the basis for the

surface of a body of water in which ripples form.

2. Go to the Modify panel, click Modifier

List,and,fromtheObject-SpaceModifierslist,

choose Ripple.

This applies the modifier to the Plane object.

3. On the Parameters rollout, set Amplitude 1 to

10.0.

A large ripple forms in the Plane object.

You can change the horizontal scale by adjusting

thewavelength.

4. Set Wave Length to 20.0.Thewavesbecome

smaller, but now it’s apparent that the Plane

object needs greater geometric resolution to

properly display the number of waves.

5. In the modifier stack, click the Plane item, and

then set Length Segs and Width Segs both to 30.

The smaller waves become more apparent. The

Ripple modifier needs a relatively high number

of subdivisions in the geometry it’s applied to

in order to work properly.

YoucanusetheAmplitude2parametertoadd

complexity to the wave forms created by Ripple.

6. ReturntotheRipplelevelofthemodifierstack,

andthenclickandholdontheAmplitude2and

drag downward.

As you drag, a new set of wave forms are

combined with the existing ones. The farther

youdrag,themoredominantthesecondset

becomes. Using a negative value for Amplitude

2 (or a positive one if Amplitude 1 is negative)

produces more of an interference effect between

the two sets of waves.

You can animate the waves with the Phase

control.

784 Chapter 8: Modifiers

7. Drag slowly upward or downward on the Phase

spinner.

Increasing the Phase value moves the waves

inward, and decreasing it moves the outward.

To a n i m at e t h e w av e s , c r e at e keyframes (page

3–717) for the Phase value.

To simulate an object dropping in liquid, use

the Decay setting.

8. Drag slowly upward on the Decay spinner.

Thefartheryoudrag,themorethewavesizes

decrease with the distance from the center of

the effect. This is the effect you get when an

object perturbs the water surface, and the waves

lose energy as they move away from the point

of impact.

Interface

Modifier Stack

Gizmo—At this sub-object level, you can transform

and animate the gizmo like any other object,

altering the effect of the Ripple modifier.

Trans lat ing the g izmo trans late s its center an equa l

distance. Rotating and scaling the gizmo takes

place with respect to its center.

Center—At this sub-object level, you can translate

and animate the center of the ripple effect, and

thus the shape and positions of the ripples.

For more information on the stack display, see

Modifier Stack (page 3–760).

Parameters rollout

Amplitude 1/ Amplitude 2—Amplitude 1 produces

arippleacrosstheobjectinonedirection,while

Amplitude 2 creates a similar ripple at right angles

to the first (that is, rotated 90 degrees about the

vertical axis).

Wave Length—Specifies the distance between the

peaks of the wave. The greater the length, the

smootherandmoreshallowtherippleforagiven

amplitude. Default=50.0.

Phase—Shiftstheripplepatternovertheobject.

Positive numbers move the pattern inward, while

negativenumbersmoveitoutward. Thiseffect

becomes especially clear when animated.

Decay—Limits the effect of the wave generated

from its center.

The default value of 0.0 means that the wave will

generate infinitely from its center. Increasing

theDecayvaluecausesthewaveamplitudesto

decrease with distance from the center, thus

limiting the distance over which the waves are

generated.

Select By Channel Modifier 785

Select By Channel Modifier

Select an object. > Modify panel > Modifier List > Select

By Channel

The Select By Channel modifier works in

conjunction with the Channel Info utility (page

2–1738). After you store a vertex selection into a

subcomponent with Channel Info, use Select By

Channel to quickly access the selection.

You can find an advanced example of using Select

By Channel in alesson about allowing objects to

survive topology changes,intheUsing the Channel

Info Utility tutorial.

Procedure

To use Select By Channel:

1. UseChannelInfotostoreoneormorevertex

selections in a map channel subcomponent.

2. Apply the Select By Channel modifier to the

object with the stored vertex selection(s).

3. Choose the selection type.

4. Choose the selection channel.

5. To “bake” the new selection into the object,

collapse the stack.

Interface

Selection Type—Lets you choose how to combine

the stored vertex selection with an existing vertex

selection.

•Replace—Replaces the existing selection with

the stored selection.

•Add—Adds the stored selection to the existing

selection.

•Subtract—Subtracts the stored selection from

the existing selection. Has no effect if there’s no

overlap between the stored selection and the

existing selection.

Selection Channel—Lets you choose which stored,

named vertex-selection channel to apply to the

modified object. Click the arrow to the right of the

name field to open the drop-down list, and then

click a channel in the list.

Shell Modifier

Modify panel > Make a selection. > Modifier List >

Object-Space Modifiers > Shell

Make a selection. > Modifiers menu > Parametric

Deformers > Shell

The Shell modifier “solidifies” or gives thickness

to an object by adding an extra set of faces facing

the opposite direction of existing faces, plus edges

connecting the inner and outer surfaces wherever

faces are missing in the original object. You can

specify offset distances for the inner and outer

surfaces, characteristics for edges, material IDs,

and mapping types for the edges.

Also, because the Shell modifier doesn’t have

sub-objects, you can use the Select options to

specify a face selection for passing up the stack to

other modifiers. Please note that the Shell modifier

doesn’t recognize existing sub-object selections,

nordoesitpasssuchselectionsupthestack.

Left: Sphere with part of surface removed; Right: Sphere with

Shell applied

You’d typically use Shell on an object with part of

its surface removed, such as a sphere with several

deleted vertices or faces, as illustrated above. For

best results, the original polygons should face

786 Chapter 8: Modifiers

outward. If an object has no faces with at least one

free edge, Shell will not create any edges.

Examples of Shell Usage

Following are some examples of modeling tasks

forwhichtheShellmodifierwouldbeappropriate:

• Anartistismodelingavehiclesuchasacar,a

tank,or,inthiscase,ahelicopter.Theartist

builds a solid external shell as the body of the

copter. When done, the modeler breaks up his

model: he selects window areas and detaches

them as new objects, followed by the area for

the doors (also detached as new objects). The

modeler now has open objects representing

the body, windows, and doors. The modeler

applies Shell to the body, and sets it to extrude

both outward and inward a set number of units,

setting the inward extrusion to be greater than

the outward. Shell is applied to the windows

next; these are set to extrude inward only. The

modeler then copies the Shell modifier from

the body to the doors, and reduces the doors’

outward extrusion somewhat. The result is

a solid body with an interior that can accept

additional modeling, inset windows, and doors

that are slightly less thick than the shell of the

helicopter.

• A designer is modeling a manufactured object

thatwillneedtobeshowninanexploded

view. It might be a cell phone, an engine, a

mouse, shaped glass, or something similar;

this example will use part of a cell phone.

When working on the phone keypad area, if the

modeler builds with detail in mind, she might

accurately model the shell with a moderately

dense mesh, using ShapeMerge (page 1–336)

to create the shapes for the holes where the

keys will poke through, and then deleting those

faces. When satisfied, the modeler applies the

Shell modifier, sets Segments to 2, and then

turns on the Bevel Edges option to use a curve

for the profile of the holes’ edges. She then

applies a MeshSmooth modifier on top. The

extra segment helps control the curve of the

edges where the outer surface curves down to

the keypad holes. The modeler then goes back

to the cage portion of the stack and refines the

base mesh details to her liking.

• A modeler is creating a suit of futuristic armor

for a character. The modeler copies a selection

of polygons from the character mesh to a new

object; for example, the polygons that make up

the arm. The modeler deletes some faces from

the copied arm, and perhaps cuts some holes

fromit. HethenappliestheShellmodifier,

followed by a MeshSmooth modifier, resulting

in form-fitting armor.

Procedure

To solidify an object:

1. Create an object to solidify. The object should

have some holes in its surface. For example,

start with a primitive sphere, convert it to

Editable Poly, and delete some vertices or

polygons.

2. Optionally create an open spline to serve as

theprofilefortheedgesconnectingtheinner

and outer surfaces. For example, go to Create

panel > Shapes and click Line. Then, in the

To p v i e w p o r t , d r a w t h e s p l i n e i n t h e To p

viewport from top to bottom. Where the spline

protrudes to the right, the edge surface will be

convex, and where it protrudes to the left, the

surface will be concave.

3. Apply the Shell modifier to the object from step

4. To use custom edges, turn on Bevel Edges, click

the Bevel Spline button, and then select the

spline from step 2.

5. By default, Shell keeps the material IDs of

the new surfaces consistent with those of the

original object. To change these, turn on the

different Override options, specify appropriate

Shell Modifier 787

material IDs, and apply a Multi/Sub-Object

material (page 2–1594).

6. Likewise, Shell keeps the texture coordinates

of the new surfaces consistent with those of

the original object. To change these on the

new edges, change the Edge Mapping choice,

and with the Strip and Interpolate choices,

optionally change the TV Offset setting.

Interface

Inner/Outer Amount—Distance in 3ds Max generic

units by which the inner surface is moved inward

and the outer surface is moved outward from their

original positions. Defaults=0.0 / 1.0.

788 Chapter 8: Modifiers

The sum of the two Amount settings determines

thethicknessoftheobject’sshell,aswellasthe

default width of the edges. If you set both to 0, the

resultant shell has no thickness, and resembles an

object set to display as 2-sided.

Segments—The number of subdivisions across

each edge. Default=1.

Change this setting if you need greater resolution

ontheedgeforusebysubsequentmodelingor

modifiers.

Note: When you use a Bevel Spline, the spline’s

properties override this setting.

Bevel Edges—When on, and you specify a Bevel

Spline,thesoftwareusesthesplinetodefinethe

edges’ profile and resolution. Default=off.

After you define a Bevel Spline, use Bevel Edges

to switch between a flat edge whose resolution

is defined by the Segments setting and a custom

profile defined by the Bevel Spline.

Bevel Spline—Click this button and then select

an open spline to define the edge shape and

resolution.ClosedshapessuchasCircleorStar

will not work.

TheoriginalsplineisinstancedtotheBevelSpline,

so changing the spline’s shape and properties are

reflected in the Bevel Spline. With non-corner

vertices, you can change the edge resolution with

the spline’s Interpolation rollout settings.

A bevel spline as viewed from the top (inset) and the resulting

bevel

Tip: Forbestresults,createthesplineintheTop

viewport, and draw it from top to bottom. The

toppointonthesplineisappliedtotheoutside

edge, and the bottom point to the inside edge.

Displacements to the right will create outward

protrusions on the edge profile, and displacements

totheleftcreateinwardprotrusions.

Override Inner Mat ID—Tur n on t o s pe cif y a

material ID for all of the inner surface polygons

using the Inner Mat ID parameter. Default=off.

If you don’t specify a material ID, the surface uses

thesamematerialIDorIDsastheoriginalfaces.

Inner Mat ID—Specifies the material ID for inner

faces. Available only when Override Inner MatID

is on.

Override Outer Mat ID—Tu r n on to s pe ci f y a

material ID for all of the outer surface polygons

using the Outer Mat ID parameter. Default=off.

If you don’t specify a material ID, the surface uses

thesamematerialIDorIDsastheoriginalfaces.

Outer Mat ID—Specifies the material ID for outer

faces. Available only when Override Outer MatID

is on.

Override Edge Mat ID—Tur n o n t o s pe cif y a

material ID for all of the new edge polygons using

theEdgeMatIDparameter.Default=off.

Shell Modifier 789

If you don’t specify a material ID, the surface uses

thesamematerialIDorIDsastheoriginalfaces

from which the edges are derived.

Edge Mat ID—Specifies the material ID for edge

faces. Available only when Override Edge MatID

is on.

Auto Smooth Edge—Applies automatic,

angle-based smoothing across the edge faces using

the Angle parameter. When off, no smoothing is

applied. Default=on.

This doesn’t apply smoothing across the junction

between the edge faces and the outer/inner surface

faces.

Angle—Specifies the maximum angle between

edge faces that will be smoothed by Auto Smooth

Edge. Available only when Auto Smooth Edge is

on. Default=45.0.

Faces that meet at an angle greater than this value

will not be smoothed.

Override Smooth Group—Lets you specify a

smoothing group (page 3–1013) for the new edge

polygons using the Smooth Grp setting. Available

only when Auto Smooth Edge is off. Default=off.

Smooth Grp—Sets the smoothing group for the

edge polygons. Available only when Override

Smooth Group is on. Default=0.

When Smooth Grp is set to the default value of

0, no smoothing group is assigned to the edge

polygons. To specify a smoothing group, change

the value to a number between 1 and 32.

Note: When Auto Smooth Edge and Override

Smooth Group are both off, the software assigns

smoothing group 31 to the edge polygons.

Edge Mapping—Specifies the type of texture

mappingthatisappliedtothenewedges.Choose

a mapping type from the drop-down list:

•Copy—Each edge face uses the same UVW

coordinates as the original face from which it’s

derived.

•None—Each edge face is assigned a U value of 0

and a V value of 1. Thus, if a map is assigned,

the edges will take the color of the upper-left

pixel.

•Strip—Theedgesaremappedinacontinuous

strip.

•Interpolate—Theedgemappingisinterpolated

from the mapping of the adjacent inner and

outer surface polygons.

TV Offset—Determinesthespacingofthetexture

vertices across the edges. Available only with

the Edge Mapping choices Strip and Interpolate.

Default=0.05.

Increasing this value increases the repetition of the

texturemapacrosstheedgepolygons.

Select Edges—Selects the edge faces. This

selection is passed up the stack to other modifiers.

Default=off.

Select Inner Faces—Selects the inner faces. This

selection is passed up the stack to other modifiers.

Default=off.

Select Outer Faces—Selects the outer faces. This

selection is passed up the stack to other modifiers.

Default=off.

Straighten Corners—Adjusts corner vertices to

maintain straight-line edges.

If you apply Shell to a subdivided object with

straight edges, such as a box set to 3x3x3 segments,

you might find that the corner vertices don’t stay

in a straight line with the other edge vertices. This

givestheedgesabulginglook.Toresolvethis,turn

on Straighten Corners.

790 Chapter 8: Modifiers

Box with Straighten Corners off (left) and on (right)

Skew Modifier

Modify panel > Make a selection. > Modifier List >

Object-Space Modifiers > Skew

Make a selection. > Modifiers menu > Parametric

Deformers > Skew

The Skew modifier lets you produce a uniform

offset in an object’s geometry. You can control the

amount and direction of the skew on any of three

axes.Youcanalsolimittheskewtoasectionof

the geometry.

Skew modifier applied

Effect of moving modifier center with limits set

Procedures

To skew an object:

1. Select an object, go to the Modify panel,

and choose Skew from modifier list.

2. On the Parameters rollout, set the axis of the

skew to X, Y, or Z. This is the axis of the Skew

gizmo, not the axis of the selected object.

You can change the axis at any time, but only

one axis setting is carried with the modifier.

3. Set the amount of the skew. The amount is an

offset in current units parallel with the axis.

The object skews to this amount beginning at

the lower limit, by default the location of the

modifier’s center.

4. Set the direction of the skew.

Theobjectswivelsaroundtheaxis.

You can reverse the amount and direction by

changing a positive value to a negative value.

To limit the skew:

1. Turn on Limits group > Limit Effect.

2. Set values for the upper and lower limits. These

are distances in current units above and below

the modifier’s center, which is at zero on the

gizmo’s Z axis. The upper limit can be zero or

positive, the lower limit zero or negative. If the

limits are equal, the result is the same as turning

off Limit Effect.

The skew offset is applied between these limits.

The surrounding geometry, while unaffected

by the skew itself, is moved to keep the object

intact.

3. At the sub-object level, you can select and move

the modifier’s center.

The limit settings remain on either side of the

center as you move it. This lets you relocate the

skew area to another part of the object.

Skin Modifier 791

Interface

Modifier Stack

Gizmo—At this sub-object level, you can transform

and animate the gizmo like any other object,

altering the effect of the Skew modifier. Translating

the gizmo translates its center an equal distance.

Rotating and scaling the gizmo take place with

respect to its center.

Center—At this sub-object level, you can translate

and animate the center of the Skew effect.

For more information on the stack display, see

Modifier Stack (page 3–760).

Parameters rollout

Skew group

Amount—Sets the angle to skew from the vertical

plane.

Direction—Sets the direction of the skew relative

to the horizontal plane.

Skew Axis group

X/Y/Z—Specify the axis that will be skewed. Note

that this axis is local to the Skew gizmo and not

related to the selected entity. Default=Z.

Limits group

Limit Effect—Applies limit constraints to the Skew

modifier.

Upper Limit—Sets the upper limit boundaries in

world units from the skew center point, beyond

which the skew no longer affects the geometry.

Default=0.

Lower Limit—Sets the lower limit boundaries in

world units from the skew center point, beyond

which the skew no longer affects the geometry.

Default=0.

Skin Modifier

Select a mesh, patch, or NURBS object. > Modify panel >

Modifier List > Object-Space Modifiers > Skin

Select a mesh, patch, or NURBS object. > Modifiers menu

>AnimationModifiers>Skin

The Skin modifier is a skeletal deformation tool

that lets you deform one object with another

object. Mesh, patch, or NURBS objects can be

deformed by bones, splines, and other objects.

Applying the Skin modifier and then assigning

bones gives each bone a capsule-shaped

"envelope." Vertices of the modified object within

these envelopes move with the bones. Where

envelopes overlap, vertex motion is a blend

between the envelopes.

792 Chapter 8: Modifiers

By default, each vertex that’s affected by a single

bone is given a weight value of 1.0, which means

it’s affected by that bone only. Vertices within

the intersection of two bones’ envelopes have two

weight values: one for each bone. And you can

use Skin modifier toolsets such as the Weight Tool

dialog (page 1–807) to arbitrarily assign vertices

toanynumberofbones.Theratioofavertex’s

weightvalues,whichalwaystotal1.0,determine

therelativeextenttowhicheachbone’smotion

affects the vertex. For example, if a vertex’s weight

with respect to bone 1 is 0.8 and its weight with

respect to bone 2 is 0.2, then the motion of bone 1

will have four times greater influence on the vertex

than will the motion of bone 2.

The initial envelope shape and position depends

onthetypeofboneobject.Bonescreatealinear

envelope that extends along the longest axis of the

bone geometry. Spline objects create envelopes

that follow the curve of the spline. Primitive

objectscreateanenvelopethatfollowsthelongest

axis of the object.

You can also deform the mesh based on the angle

of the bones. Three deformers let you shape the

mesh based on bone angles:

• The Joint and Bulge Angle deformers use a

lattice similar to an FFD lattice (page 1–683) to

shape the mesh at a specific angle.

• The Morph Angle Deformer morphs the mesh

at specified angles. Morph targets are created

by using modifiers above the Skin modifier

in the stack, or by using the Snapshot tool

(page 1–453) to create a copy of the mesh and

deforming the mesh using standard tools.

Yo u c a n a p p l y t h e S k i n m o d i f i e r t o s e v e r a l o b j e c t s

at the same time.

Jacket object deformed using the Skin modifier

In 3ds Max you can mirror envelope and vertex

assignments from one side of the mesh to the other

with commands on the Mirror Parameters rollout.

Procedures

To use the Skin modifier:

1. Prepare the skin (mesh or patch object) and

skeleton (bones or other objects). Carefully

place the skeleton inside the mesh or patch

objectsothatitselementsareabletoinfluence

polygons or patches in their immediate vicinity.

2. Select the mesh or patch object and apply the

Skin modifier.

3. In the Parameters rollout, click Add and choose

the skeleton objects.

4. Click Edit Envelopes and select an envelope

tomodifythevolumeinwhicheachbonecan

influence the surrounding geometry.

To weight vertices manually:

1. On the Parameters rollout, turn on Vertices.

2. Onthemesh,selecttheverticesyouwouldlike

to weight manually.

Each selected vertex is surrounded by a small

white rectangle.

3. highlight the name of the bone for which you

want to change the vertex weights.

Skin Modifier 793

4. In the Weight Properties group, change the Abs.

Effect parameter to the new vertex weight.

To mirror envelope or vertex weight settings:

1. Adjust envelopes and vertex weights on one

side of the mesh.

2. On the Mirror Parameters rollout, click Mirror

Mode.

The mirror plane appears at the position and

orientation of the mesh’s pivot point.

3. If the mirror plane is not at the center of the

mesh, change the Mirror Offset parameter to

movetheplanetothecenter.

4. If some vertices in the left or right side of the

mesh are red rather than blue or green, increase

the Mirror Thresh value until all vertices are

blue or green.

5. On the Mirror Parameters rollout, click the

appropriate Paste button to paste green or blue

envelopes or vertex weights to the other side

of the mesh.

To adjust the skin and/or bones without affecting

the envelopes:

1. Save the scene.

This is a potentially destructive operation, so

it’s best not to take any chances with your data.

2. Select the object to which the Skin modifier is

applied.

3. In the Advanced Parameters rollout, turn off

Always Deform.

4. Apply any necessary transforms to the

mesh/patch object or bones objects.

5. Turn Always Deform back on.

To adjust the bones only, you can also use skin

pose (page 1–116).

Example: To apply the Skin modifier to a cylinder

with a bones skeleton:

1. OntheCreatepanel,under

Standard Primitives, click Cylinder.

2. InthemiddleoftheTopviewport,clickand

drag20unitstocreatethebaseofthecylinder.

3. Releasethemousebuttonanddragup130units

to establish the height of the cylinder.

4. On the parameters rollout, set Height Segments

to 20.

This provides mesh detail for a smooth surface

deformation.

5. OntheCreatepanel,under

Systems, click Bones.

Make sure an IK Solver is chosen in the IK

Solver list. Turn on Assign To Children. (This

should turn on Assign To Root as well.)

6. In the Front viewport, click successively three

times: below the cylinder, in the middle of the

cylinder, and above the top of the cylinder.

7. Right-click to end Bones creation.

Three bones display. Two of them are within

the middle of the cylinder.

8. Select the cylinder.

9. OntheModifypanel,chooseSkinfrom

the Modifier List.

10.On the Skin modifier’s Parameters rollout, click

Add, and use the Select Bones dialog to select

the three bones.

Thenamesofthebonesarenowdisplayedin

the list.

11.In the Front viewport, select the bone end

effector (IK Chain01) and move it around.

794 Chapter 8: Modifiers

The cylinder deforms to follow the bones.

To adjust envelopes to refine the surface

deformation, choose the Skin modifier’s

Envelope sub-object level, and use the Edit

Envelopescontrolstoresizeenvelopesand

change vertex weights.

Example: To use a morph angle deformer:

Create the cylinder and bones from the preceding

procedurebeforeyoucontinuewiththis

procedure.

1. Atframe50,animatebone2sothatbones1

and 2 represent a 90-degree angle.

2. Atframe0,thebonesshouldbestraightat

about a 180-degree angle.

3. Move to frame 0.

4. Turn on Edit Envelopes in the Parameters

rollout.

5. Select the child bone (bone 2) in the modifier’s

list of bones.

6. IntheSelectgroup,turnonVertices.

This allows you to select vertices.

7. In the viewports, region-window select a good

portion of the vertices that are controlled by

both bones.

8. In the Gizmos rollout, select the Morph Angle

Deformer in the drop-down list, and then click

Add Gizmo.

The Deformer Parameters rollout displays. A

base morph target is the first and only target

in the list.

Tip: if the Deformer doesn’t assign, make sure

that bone 2 and not bone 1 is selected in the list.

9. Scrub the Time Slider to frame 50.

10.Add an Edit Mesh modifier above the Skin

modifier in the modifier stack.

11.Turn on Vertex and Soft Selection in the Edit

Mesh modifier.

12.Editthemeshtotheshapeyouwant.

13.Go back down in the stack to the Skin modifier.

If the topology warning dialog appears, click

Ye s .

14.In the Deformer Parameters rollout, click Add

From Stack.

A new morph target is added at about 90

degrees.

15.Delete the Edit Mesh modifier from the stack.

There is a doubling effect of the morph if

you don’t delete or deactivate the Edit Mesh

modifier.

16.Scrub the time slider. The mesh morphs as the

bone angle changes.

Interface

The Skin Modifier interface includes the following

rollouts:

•Parameters rollout (page 1–795)

•Mirror Parameters rollout (page 1–799)

•Display rollout (page 1–800)

•Advanced Parameters rollout (page 1–801)

•Gizmos rollout (page 1–802)

•Deformer Parameters rollout (page 1–804)

•Joint Angle and Bulge Angle parameters (page

1–804)

Some of the Skin modifier commands are also

available from the quad menu (page 3–694).

Modifier Stack

Envelope—Turn on this sub-object level to work

on envelopes and vertex weights.

Tip: Yo u c a n u s e t h e q u a d m e n u t o c h o o s e t h i s

sub-object level.

Skin Modifier 795

Parameters rollout Edit Envelopes—Use this sub-object level to work

on envelopes and vertex weights.

Select group

The following filtering options are grouped

together to help you work on a particular task,

by preventing you from accidentally selecting the

wrong item in the viewports.

Vertices—Turn on for vertex selection.

You can rotate around selected vertices using

Arc Rotate SubObject (page 3–744) from the Arc

Rotate flyout (page 3–744).Youcanalsorotate

around a selected envelope as long as no vertices

are selected, as they have precedence.

Note: Yo u m u s t c h o o s e Use Selection Center (page

1–447) from the User Center flyout (page 1–445) to

center on your selection. If you choose Use Pivot

Point Center (page 1–446), arc rotate is centered on

the selected bone/cross section.

You can zoom on selected vertices using

Zoom Extents Selected (page 3–740) from the

Zoom Extents flyout. You can also zoom on an

envelope if no vertices are selected.

•Shrink—Modifies the current vertex selection

by progressively subtracting the outermost

vertices from the selected object. Has no effect

if all the vertices from an object are selected.

•Grow—Modifies the current vertex selection by

progressively adding neighborhood vertices of

the selected object. You must start with at least

onevertextobeabletogrowyourselection.

•Ring—Expands the current vertex selection to

include all vertices part of parallel edges.

Note: Youmustselectatleasttwoverticestouse

the Ring selection.

•Loop—Expands the current vertex selection to

include all vertices part of continuing edges.

796 Chapter 8: Modifiers

Note: Youmustselectatleasttwoverticestouse

the Ring selection.

•Select Element—When on, selects all vertices of

the element you select, as long as you select at

least one vertex from that element.

Tip: Yo u c a n e d i t y o u r s e l e c t i o n b y h o l d i n g

Ctrl or Alt , and then select vertices. This

adds or removes, respectively, vertices to or

from your selection.

•Backface Cull Vertices—When on, you cannot

select vertices pointing away from the current

view (on the other side of the geometry).

Envelopes—Turn on for envelope selection.

Cross Sections—Turn on for cross-section

selection.

The first step, after applying the Skin modifier to

an object, is to determine which bones participate

in the object’s weighting. Every bone you choose

influences the weighted object with its envelope,

which you can configure in the Envelope Properties

group (page 1–796).

Add—Click to add one or more bones from the

Select Bones dialog.

Remove—Choose a bone in the list, and then click

Remove to remove it.

[list window]—Lists all bones in the system.

Highlighting a bone in the list displays that

bone’s envelope and the vertices influenced by the

envelope.

An horizontal scroll bar appears if a bone’s name

is longer than the window’s width.

Note: If an older scene containing long bone names

is loaded in 3ds Max, its name is truncated to fit in

the window. You can overwrite this by setting the

MAXScript shortenBoneNames property of your

Skin modifier to false.

Example:

$’Sphere01’.modifiers[#Skin].shortenBoneNames

=false

For detailed information about the MAXScript

utility, open the MAXScript Reference, available

from Help menu > MAXScript Reference.

[bonenametype-infield]—Enter a bone name to

highlight it in the bone list above. The highlighting

goes to the first matching bone.

Use these methods for finding bone names faster:

• Narrow the list by typing the first few characters

inthenameoftheboneyouwanttohighlight.

•Usethewildcard(*)key.Forexample,youcan

find Robot R Index Finger by typing *RIn

Cross Sections group

By default, each envelope has two round, lateral

cross sections, one at each end of the envelope.

These options add and remove cross sections from

envelopes.

Add—Choose a bone in the list, click Add, and

click a position on the bone in a viewport to add a

cross section.

Remove—Select an envelope cross section and

click Remove to delete it.

Before you can select a cross section, the Cross

Sections option in the Select group must be on.

You can delete only extra cross sections that you

have added; not the default cross sections.

Envelope Properties group

Skin Modifier 797

Radius—Select an envelope cross section, and

useRadiustoresizeit.Inordertoselectacross

section, the Cross Sections option in the Select

group must be checked.

You can also click and drag a cross section control

point in a viewport to resize it.

Squash—A squash multiplier for bones that stretch.

This is a single value that reduces or increases the

amount of squash applied to a bone when it is

stretchedwithFreezeLengthoff,andSquashon.

Note: You can set Freeze Length and Squash in the

Bone Tools dialog (page 1–414).

Absolute/Relative—This toggle determines how

vertex weights are calculated for vertices between

inner and outer envelopes.

•Absolute—A vertex must merely fall

inside the brown outer envelope to have 100%

assignment weight to that particular bone.

A vertex falling inside more than one outer

envelope will be assigned multiple weights

summing to 100% based on where it falls in the

gradients of each envelope.

•Relative—A vertex falling only within an

outer envelope will not receive 100% weighting.

A vertex must either fall inside two or more

outer envelopes whose gradients sum to 100%

or greater or the vertex must fall within a red

inner envelope to have 100% weight. Any

points within a red inner envelope will be 100%

locked to that bone. Vertices falling within

multiple inner envelopes will receive weighting

distributed over those bones.

Envelope Visibility—Determines the

visibility of unselected envelopes. Choose a bone

in the list and click Envelope Visibility, then

choose another bone in the list. The first bone

selected remains visible. Use this to work on two

or three envelopes.

Falloff Flyouts—Choose a falloff curve for the

displayed envelopes.

Weight falls off in the area between the inner and

outer envelope boundaries if envelopes overlap

andAbsoluteisturnedon.Thissettingletsyou

specify how the falloff is handled:

•Falloff Fast Out—Weight falls off quickly.

•Falloff Slow Out—Weight falls off slowly.

•Falloff Linear—Weight falls off in a linear

way.

•Falloff Sinual—Weight falls off in a

sinusoidal way.

Copy—Copies the currently selected envelope

size and shape to memory. Turn on sub-object

Envelopes, choose one bone in the list, click Copy,

then choose another bone in the list and click Paste

to copy an envelope from one bone to another.

Paste commands are on a flyout with the following

options:

•Paste—Pastes the copy buffer to the

current selected bone.

•Paste to All Bones—Pastes the copy buffer

to all bones in the modifier.

•PastetoMultipleBones—Pastes the copy

buffer to selected bones. A dialog allows you to

choose the bones to paste to.

798 Chapter 8: Modifiers

Weight Properties group

Abs. Effect—Enter an absolute weight for the

selected bone to selected vertices.

Choose the Envelope sub-object level, turn on

Vertices in the Parameters rollout > Select group,

select a vertex or vertices, and then use the Abs.

Effect spinner to assign weight. Selected vertices

move in the viewports as their weight changes.

Rigid—Causes selected vertices to be influenced

only by one bone, the one with the most influence.

Rigid Handles—Causes the handles of selected

patch vertices to be influenced by only one bone,

the one with the most influence.

Normalize—Forces the total weights of each

selected vertex to add up to 1.0.

Exclude Selected Verts—Adds the currently

selected vertices to the exclusion list for the current

bone. Any vertices in this exclusion list will not

be affected by this bone.

Include Selected Verts—Ta ke s t h e s el e c t e d

vertices out of the exclusion list for the selected

bone. The bone can then affect these vertices.

Select Excluded Verts—Selects all vertices

excluded from the current bone (see Exclude

Selected Verts, preceding).

Bake Selected Verts—Click to bake the

current vertex weights. Baked weights are not

affected by envelope changes, only by changes to

Abs. Effect or weights in the We ight Table ( page

1–810).

Weight Tool—Displays the Weight Tool dialog

(page 1–807), which offers control tools to help

you assign and blend weights on selected vertices.

Weight Table—Displays a table for viewing and

changing weights for all bones in the skeletal

structure. See Weight Table (page 1–810).

Paint Weights—Click and drag the cursor over

vertices in the viewports to brush on weights for

the selected bone.

Tip: Streamline the painting process by using the

Brush Presets tools (page 3–690).

Painter Options [ellipsis]—Opens the

Painter Options dialog (page 1–960),whereyou

can set parameters for weight painting.

Paint Blend Weights—When on, blends painted

values by averaging the weights of neighboring

vertices and then applying the average weight

based on the brush strength. Default=on.

Skin Modifier 799

Mirror Parameters rollout

Mirror Mode—Activates Mirror mode, which lets

you mirror the envelopes and vertex assignments

from one side of the mesh to the other. This mode

is available only at the Envelope sub-object level.

Mirror mode uses the Mirror Plane setting to

determinethe“leftside”and“rightside”ofthe

mesh. When you turn on Mirror Mode, the

verticesontheleftsideofthemirrorplaneturn

blue, while the vertices on the right turn green.

Vertices that are neither left nor right turn red,

including vertices at the mirror plane. If vertices

don’t change color appropriately, you might have

to increase the Mirror Thresh value to expand the

range used to determine the left and right sides.

If you select vertices or bones, the selected vertices

or bones turn yellow, and the corresponding match

on the other side of the mesh turns a brighter blue

or green. This can help you check for matches.

Mirror Paste—Pastes selected envelope and

vertex assignments to the opposite side of the body.

Paste Green to Blue Bones—Pastes the

envelope settings from green bones to blue.

Paste Blue to Green Bones—Pastes the

envelope settings from blue bones to green.

Paste Green to Blue Verts—Pastes the

individual vertex assignments from all green

vertices to the corresponding blue vertices.

Paste Blue to Green Verts—Pastes the

individual vertex assignments from all blue

vertices to the corresponding green vertices.

Mirror Plane—Determines the plane that will

be used to determine the left and right sides.

The plane appears in the viewport at the mesh’s

pivot point when you turn on Mirror mode. The

selected mesh’s local axes are used as the basis

for the plane. If several objects are selected, one

object’s local axes are used. Default=X.

Tip: For the easiest workflow with mirroring tools

for the Skin modifier, set the pivot points for

character meshes to align with the World before

applying Skin.

Mirror Offset—Shifts the mirror plane along the

Mirror Plane axis.

Mirror Thresh—Sets the relative distance the

mirroring tools will look when setting vertices as

left or right. If some vertices in the mesh (other

than those at the mirror plane) are not colored

blue or green when you turn on Mirror mode,

increase the Mirror Thresh value to include a

larger area of the character. You can also increase

this value to compensate for lack of symmetry in

asymmetrical models.

Display Projection—When Display Projection is

set to Default Display, selecting vertices on one

side of the mirror plane automatically projects the

selection to the opposite side. The Positive and

800 Chapter 8: Modifiers

Negative options allow selection of vertices on

onesideofthecharacteronly.TheNoneoption

does not project selected vertices to either side.

Default=Default Display.

Tip: You can use the Positive and Negative options

to temporarily project the display of one side’s

vertices to the other side so you can see how

the vertices align. This can be helpful when

determining the correct Mirror Plane settings for

an asymmetrical mesh.

Manual Update—When on, you can update the

displaymanuallyratherthanautomaticallyafter

each mouse-up.

Update—When Manual Update is on, use this

button to update the display with your new

settings.

Display rollout

Show Colored Vertices—Colors vertices in

viewports according to their weights.

Show Colored Faces—Colors faces in viewports

according to their weights.

Color All Weights—Assigns a color to every bone

in the envelope. The vertex weighting blends the

colors together.

Tip: You can toggle this feature to get a global view

of all weight regions across your model at once.

Tip: You can also assign a color to unweighted

vertices: Open the Customize User Interface dialog

and, on the Colors panel, choose Skin Colors from

the Elements drop-down list.

Show All Envelopes—Displays all envelopes at the

same time.

Show All Vertices—Draws a small tick at every

vertex. On a patch surface, it will also draw all the

handles.

Show All Gizmos—Displays all the gizmos in

addition to the currently selected gizmo.

Show No Envelopes—Causes no envelopes to be

displayedevenwhenanenvelopeisselected.

Show Hidden Vertices—When on, hidden vertices

are visible. Otherwise, they remain hidden until

youenabletheoptionorgointotheobject’s

modifier (Editable Mesh (page 1–996) or Editable

Poly (page 1–1029)), and then click Unhide All

on the Selection rollout or Edit Geometry rollout,

respectively. Default=off.

Draw On Top group

Theseoptionsdeterminewhichelementswillbe

drawnontopofallotherobjectsinviewports.

Cross Sections—Forces cross sections to be drawn

on top.

Envelopes—Forces envelopes to be drawn on top.

Skin Modifier 801

Advanced Parameters rollout

Always Deform—A toggle useful for editing the

transformation relationship between bones

and the controlled points. This relationship is

initially set when Skin is applied. To change

the relationship the user can deactivate Always

Deform, move the object or the bones and

reactivate. The new transformation relationship is

now used.

Ref. Frame—Setstheframewherethebonesand

the mesh are in a reference position.

Normally this is frame 0. Start your animation at

frame 1 or later if frame 0 is the reference frame.

If bones need to be adjusted relative to the mesh,

movethetimeslidertoframe0;turnoffAlways

Deform, move the bones into the correct position

and turn on Always Deform.

Back Transform Vertices—Allows you to link the

meshtothebonestructure.Ordinarily,whenyou

do this, any movement of the bones causes the

mesh to move twice as far as it should, because

it moves once with the bones and once with the

link.Checkingthisoptionpreventsthemeshfrom

moving twice under these circumstances.

Rigid Vertices (All)—Causes vertices to have

assignments to only one bone as if weighted 100%

tothebonewhoseenvelopehasthemostinfluence.

Vertices will not have weight distributed over more

than one bone and the deformation of the skinned

object is rigid. This is mainly used for games that

do not support weighted point transformation.

Rigid Patch Handles (All)—On a patch model, forces

patch handle weights to equal the knots weights.

Bone Affect Limit—Limits the number of bones

that can affect one vertex.

Reset group

Reset Selected Verts—Resets the weight of

selected vertices to the envelope defaults. After

manually changing vertex weight, use this to reset

weights if necessary.

Reset Selected Bone—Resets associated vertex

weights back to the original weights calculated for

the selected bone’s envelope.

Reset All Bones—Resets all vertex weights

back to the original weights calculated for all

bone’s envelopes.

802 Chapter 8: Modifiers

Save/Load—Allows you to save and load the

envelope position and shape, as well as the vertex

weights. If you load a saved file onto a different

system of bones, you can use the Load Envelopes

dialog (page 1–805) to match the incoming bones

to the current bones.

Update on mouse up—When on and the mouse

button is pressed down, no updates take place.

When the mouse button is released, updates occur.

This option helps keep workflow moving quickly

by avoiding unnecessary updates.

Fast Updates—Tu r ns of f v ie w p or t d is pl ay o f

weighted deformation and gizmos and uses rigid

deformation when not rendering.

Ignore Bone Scale—Turn this option on to leave

a skinned mesh unaffected by a scaled bone.

Default=off.

Note: To scale a bone’s length, you first need to

turn off its Freeze Length option on the Object

Properties rollout (page 1–414) of the Bone Tools

floater dialog (page 1–411).

Animatable Envelopes—Toggles the possibility

of creating keys on all animatable envelope

parameters while Auto Key is active. Default=off.

Note: This does not affect keyable track settings.

Weight All Vertices—When on, forces all vertices

thatarenotunderthecontrolofanenvelopeto

beweightedtotheboneclosesttothem. Has

no effect on vertices that are manually weighted.

Default=on.

Tip: Ifyouwanttorevertverticestotheiroriginal

weight value, click Reset Selected Verts (in the

Reset group) or open the We ight Table (p age

1–810), and change the Modified weight status

(M) of your selected vertices.

Remove Zero Weights—Strips a vertex from its

weight if it is less than the Remove Zero Limit

value. Thishelpsmakingyourskinnedmodel

lighter (in games for instance) because less

unnecessary data is stored in the geometry. Also

accessible from the Weight Table.

Remove Zero Limit—Sets the weight threshold that

determines if a vertex is stripped of its weight when

you click Remove Zero Weights. Default=0.0.

Gizmos rollout

Controls in the Gizmos rollout allow you to deform

the mesh according to the angle of the joint, and

to add gizmos to selected points on the object.

The rollout consists of a list box containing all the

gizmos for this modifier, a drop-down list of the

current types of gizmos, and four buttons (Add,

Remove, Copy and Paste).

The workflow for adding a gizmo is to select the

vertices that you want to affect, select the bones

that will drive the deformation, and then click the

Add button.

There are three deformers available:

• The Joint Angle deformer has a lattice that can

deform vertices on the parent and child bones.

• The Bulge Angle deformer has a lattice that

onlyworksonverticesontheparentbone.

• The Morph Angle deformer works on vertices

of the parent and child bones.

Skin Modifier 803

Keep these distinctions in mind when you

select vertices to deform. For example, if you

want to use the Joint Angle deformer, then

select vertices close to the joint that will drive

the deformation. If you want the parent bone

vertices to deform like a biceps muscle, then

select vertices that are only assigned to the

parent bone before adding the Bulge Angle

deformer. If all the vertices of the parent and

child bone must deform, then select all of the

verticesandaddtheMorphAngledeformer.

Bending the arm without the Morph Angle deformer causes

thesleevetocrumple.

Using the Morph Angle deformer creates a smooth bend

in the sleeve.

Gizmo List Window—Lists the current Angle

Deformers.

The Deformer Parameters rollout changes

depending on the type of gizmo selected.

Deformer drop-down list—Lists the available

deformers.

Add Gizmo—Adds the current Gizmo to the

selected vertices.

To add a gizmo, you must first select the child

bone for the joint you want to deform. Then you

must select the vertices that you want to deform.

Yo u c a n t h e n a d d a g i z m o .

Afteragizmoisadded,aDeformerParameters

rollout displays that contains gizmo parameters

that you can adjust.

Remove Gizmo—Remove the selected gizmo

from the list.

Copy Gizmo—Copy the selected gizmo.

Paste Gizmo—Paste the gizmo.

The Paste button pastes the current copy buffer

into the currently selected gizmo. You can only

paste to like gizmos. For instance, you can’t paste

from a bulge gizmo to a joint gizmo.

804 Chapter 8: Modifiers

Deformer Parameters rollout

The following parameters are for the Morph Angle

deformer. One way to create morph targets, after

the morph gizmo is added, is to add an Edit Mesh

modifier to the stack above the Skin modifier. Use

the vertex controls in the Edit Mesh modifier to

shape the geometry. Then go back in the stack

to the Skin modifier and click Add From Stack.

Yo u c a n t h e n d e l e t e t h e E d i t M e s h m o d i f i e r. A d d

From Stack looks at the last modifier in the stack

to get the morph target. Note that when you go

backdowntotheSkinmodifier,themorpheffect

is doubled; you can rectify this by deleting or

deactivating the Edit Mesh modifier.

Joint Field—Displays the type of Deformer and the

associated bone.

List Window—Contains the current morph targets

andassociatedboneangles.

Naming Field—Select a morph target and rename

it in this field.

Add from stack—Uses the current state of the stack

to get the morph target. Ideally, you have put an

Edit Mesh modifier on top of the stack and done

your edits before you click Add From Stack.

Add from node—Uses another object as your

morph target for this angle. This is like a regular

morph target, but instead of being driven by a

field, it is driven by the joint angle.

Tip: You can use Snap Shot on the main toolbar to

create a new target for morphing.

Delete—Deletes the currently selected morph

target from the list.

Enable gizmo—Toggles the effect of the gizmo.

Joint Angle and Bulge Angle parameters

ThefollowingparametersarefortheJointAngle

and Bulge Angle deformers. These two deformers

Load Envelopes Dialog (Skin Modifier) 805

arealmostidenticalinthewaytheyoperate.The

differenceisthattheBulgeAngledeformeronly

worksonverticesoftheparentbone,whilethe

Joint Angle deformer works on vertices on both

the child and parent bone.

To apply either of these deformers, first select the

child link, then select vertices on the mesh, and

then apply the deformer. Remember to turn on

Vertices in the Parameters rollout > Select group

before region-selecting vertices in the viewports.

Once the deformer is applied, turn on Edit

Lattice and move the lattice control points in the

viewports to deform the mesh at different bone

angles.

Name Field—Allows you to change the name of

the deformer.

Twist—Allowsyoutospinthegizmoaroundthe

mesh to place control points appropriately.

Use Bounding Volume—Turn this on if you plan to

change the geometry, like increasing segments on

a cylinder. If the geometry changes, the mesh will

still deform inside the lattice if this is turned on.

Enable Gizmo—Toggles the effect of the gizmo on

and off.

Edit Lattice—Allowsyoutomovethelatticecontrol

points in the viewports.

Edit Angle Keys Curves—Brings up a curve editor

that lets you manipulate the shape of the lattice at a

particular angle. This curve is position vs. angle.

It will show you the curves of the current selected

points. The red curves are X, green curves are Y,

and blue curves are Z.

Load Envelopes Dialog (Skin

Modifier)

Select a mesh, patch, or NURBS object. > Apply Skin

modifier. > Advance Parameters rollout > Load button

The Load Envelopes dialog associated with the

Skin modifier (page 1–791) allows you to load

saved envelopes to specific bones. This resizable

dialog shows the current envelopes in your scene

and the incoming envelopes. Use the controls to

manipulate the incoming envelopes so they align

with the current envelopes.

806 Chapter 8: Modifiers

Interface

OK—Accepts any changes and closes the dialog.

Cancel—Discards any changes and closes the

dialog.

Move Up/Down—Movethecurrentselectioninthe

incoming list up or down.

Create Blank—Creates space in the Incoming list.

Usethiswhenloadingdataontoaskeletonthatis

not identical as the one from which the data was

saved.Forexample,ifyouroriginalskeletonhad

three fingers and the new one has only two fingers,

you might need to add spaces in the list to line up

the fingers correctly.

Delete—Removes the current selected incoming

envelopes.

Match by Name—Resorts the Incoming list and

matches any bones that have the same name in the

list of current envelopes.

Remove Incoming Prefix—Removes any prefixes on

the names of the incoming envelopes.

Remove Current Prefix—Removes any prefixes on

the names of the current envelopes.

Load End Points—Loads the envelope end point

positions.

Load Cross Sections—Loads the envelope cross

sections.

Load Vertex Data—When on, loads weights at the

vertex level. Normally only the envelope data is

loaded so any manual adjustments to the vertex

data are lost. This option lets you load those

manual edits.

Load Exclusion Lists—Lets you also load

user-generated exclusion-list data, which specifies

that certain vertices should not be affected by

certain bones. See Exclude Selected Verts and Show

Exclusions.

Load Vertices By Index—Lets you load vertices

by index rather than vertex position. You would

typically use this option with identical meshes that

have not undergone any type of topology change.

This should be off if you’ve changed the topology,

by,forinstance,deletingoraddingverticesor

changing their order.

Current Incoming Vertex Set

When Load Vertex Data is on, use these controls to

match vertex sets in cases where the Skin modifier

is instanced. In such cases you might need to set

up several vertex sets.

TheMoveUp/CreateBlank/MoveDownbuttons

havethesamefunctionsasintheEnvelopeslists.

Weight Tool Dialog 807

Weight Tool Dialog

Select an object that has the Skin modifier applied to it.

> Modify panel > Skin modifier > Parameters rollout >

Weight Properties group > Weight Tool button

This dialog is launched from the Skin modifier

(page 1–791) and provides tools to select vertices

and assign them weights. You can also copy, paste,

and blend weights between vertices. Each vertex

youselectdisplaystheobjectscontributingtoits

weighting in the dialog list.

To use these tools, Parameters rollout > Edit

Envelopesmustbeon,Parametersrollout>Select

group > Vertices must be on, and at least one

vertex must be selected.

Important: The controls on this dialog adjust vertex

weighting with respect to the active bone; that is, the

object highlighted in the Bones list on the Parameters

rollout. When you select a vertex and then change

its weighting, if the active bone does not already

influence the vertex, the bone is added to the list of

bones influencing the vertex. You can ensure that bone

assignments don’t change by highlighting the bone in

the Weight Tool dialog list after selecting the vertex and

before changing weighting.

Also, the total weighting for all bones influencing a

vertex is always 1.0, so if multiple bones influence

a vertex and you change the weight value for one

bone, the weight values for the others change as

well.

Procedures

Example: To Set and Blend Weights on Selected

Vertices:

1. Prepare a cylinder skinned to a bone chain.

2. On Parameters rollout of the Modify panel,

turn on Edit Envelopes.

3. Turn on Vertices in the Select group.

4. In the Weight Properties group, click

We i g ht To o l.

The Weight Tool dialog opens.

5. Select a few vertices and then click the

.25 weight button.

The selected vertices are weighted at 0.250 for

theactivebone(highlightedintheParameters

rollout list), coloring them yellow.

Note: Theactiveboneisaddedtothelistof

bones influencing each of the selected vertices,

if necessary.

Note: You might need to toggle the vertex

weighting to Relative in the Envelope Properties

group (page 1–791).

808 Chapter 8: Modifiers

6. Click the + button directly under the .9

weight button repeatedly until the vertices are

red (that is, the weight is 1.0).

As you increase the vertices’ weight, they

gradually change color.

7. Select a few other vertices, and assign

them a weight of 0.250.

The left vertices are weighted 1.0 and the right vertices are

weighted 0.25.

8. Select all weighted vertices and repeatedly click

Blend.

Every time you click Blend, each vertex’s

weight is adjusted to blend with other selected

neighborhood weights. This creates a smooth

weighting transition among all selected vertices.

Weight Tool Dialog 809

The two separate colors blend into a smooth gradient.

Interface

Shrink—Modifies the current vertex selection by

progressively subtracting the outermost vertices

from the selection. Has no effect if all vertices in

an object are selected.

Grow—Modifies the current vertex selection by

progressively adding neighborhood vertices of the

selected object. You must start with at least one

vertex to be able to grow your selection.

Ring—Expands the current vertex selection to

include all vertices in parallel edges.

Note: You must select at least two vertices to use

the Ring selection.

Loop—Expands the current vertex selection to

include all vertices in continuing edges.

Note: You must select at least two vertices to use

the Loop selection.

810 Chapter 8: Modifiers

[specific weight

values]—Assigns an absolute weight value between

0and1fortheactivebonetotheselectedvertices.

Note: When you click one of these buttons, the

active bone is added to the list of bones influencing

each of the selected vertices, if necessary.

Set Weight—Sets an absolute weight based on the

field value. Default=0.5.

Note: The spinner increments the field value by

steps of 0.05.

+/-—Increases/decreases each selected vertex’s

weight by 0.05.

Scale Weight—Multiplies each selected vertex’s

weight value by the field value, resulting in a

relative weight change. Default=0.95.

Note: The spinner increments the field value in

steps of 0.05.

+/-—Increases/decreases each selected vertex’s

weight by five percent.

Copy—Stores the current weight value(s) in the

copy buffer.

Paste—Retrieves the weight values from the copy

buffer and assigns them to the selected vertices.

Paste-Pos—Assigns the weight values currently in

the copy buffer to the selected vertices based on

the distance between them and the copied vertices,

which is determined by the Paste-Pos Tolerance

value.

This is useful when you need to match weights

between two juxtaposed skinned meshes sharing

the a common bone.

Blend—Modifies the selected weight values to

smooth out the transition between them and their

surrounding vertices.

Paste-Pos Tolerance—Determines the radius

influence of the Paste-Pos. Default=0.1.

Vertex information

Below the Paste-Pos Tolerance field is a text display

displayinginformationontheamountofcopied

andselectedvertices.

[First Vertex Weight list]—Displays the selected

vertex weight along with the bone envelopes

contributing to its weighting. You can select

individual envelopes in the current viewport by

highlightingtherespectiveboneinthelist.

Note: If you select multiple vertices, the list only

displays the weighting of the first selected vertex.

Weight Table (Skin Modifier)

Select an object that has the Skin modifier applied to it. >

Modify panel > Skin modifier > Weight Properties group

>WeightTable

The weight table for the Skin modifier is used

to change vertex weights for several vertices and

bones at a time. This table appears when you click

the Weight Table button.

Interface

Vertex numbers appear down the left column,

while bone names appear across the top. Vertex

weights for each bone are displayed in the chart.

You can change vertex weights in a number of

ways:

• Click and drag a vertex weight to the left or

right.

Weight Table (Skin Modifier) 811

• Highlight a weight and type in a new weight.

• Select vertices by dragging over vertex IDs,

then click and drag one weight to change all

selected weights for the bone.

• Right-click to enter a value of 0.

•Ctrl +right-click to enter a value of 1.0.

Menu options:

Edit menu—Copy/paste vertex weights, and choose

vertices to edit.

•Copy: Copies weights for highlighted vertices.

•Paste: Pastes the copied weights.

•Remove Zero Weights: All vertices with a

weight less than the Remove Zero Limit field

value are stripped from their weight. Also

available on the Advanced Parameters rollout

(page 1–801).

•Select All/None/Invert: Changes the selection

of vertices.

Vertex Sets menu—Select vertices in the left

column by holding down Ctrl while clicking

vertices. Create a named selection set, which can

then be picked from the drop-down menu at the

lower left of the dialog.

Options menu—Customizes the weight table

display.

•Flip UI: Flips the UI to show vertex IDs across

the top and bone names down the left side.

•Update On Mouse Up: When the mouse button

is pressed down, no updates will take place.

When the mouse button is released, updates

will occur. This option helps keep workflow

movingquicklybyavoidingunnecessary

updates.

•Show Affected Bones: Displays only bones

that affect the displayed vertices.

•Show Attributes: Toggles display of the

S/M/N/R/H attributes.

•Show Exclusions: Toggles display of small

check box areas in each vertex weight field.

Clicking the check box toggles exclusion of the

vertex from the bone (a red X appears in the

check box when the exclusion is in effect).

•Show Global: Showsvaluesforalldisplayed

vertices.

•Show Set Sets UI: Displays info about vertex

sets.

Dialog options

Vertex ID—Vertices are displayed by number down

the left column of the weight table. Double-click

a vertex number to cause the vertex to display

in pink in viewports. To display only selected

vertices, choose Selected Vertices from the

drop-down menu at the bottom left of the dialog.

S—Indicates vertex is selected.

M—Indicates vertex weight has been modified.

N—Indicates vertex weights are normalized (total

of all vertex weights is always 1.0).

R—Indicates vertex is rigid (affected only by one

bone, the one with the most influence).

H—Indicatespatchhandlesarerigid(affectedonly

by one bone, the one with the most influence).

Vertex selection drop-down—Choose to display all

vertices, selected vertices or only vertices affected

by the selected bone.

Copy—Copies weights for highlighted vertices.

Paste—Pastes copied weights.

812 Chapter 8: Modifiers

Skin Morph Modifier

The Skin Morph modifier lets you use a bone’s

rotation to drive a morph; that is, a deformation

of the object mesh. Skin Morph is intended for

use with a Skin or comparable modifier (e.g.,

Physique); add the Skin Morph modifier after

the skin-type modifier. You create the morph at

the frame in which the effect should be greatest,

andthenSkinMorphautomaticallyanimatesthe

affected vertices into and out of the morph, based

on the rotation of the bone that drives the morph.

This lets you fine-tune mesh deformation at any

frame, using a bone to drive the morph that is

fixing a problem area. Typically, when animating a

character with bones, an artist has to create extra

bones to handle problem areas such as armpits and

groinareas.WithSkinMorph,insteadofusing

extra bones, you can simply create a morph, and

then transform vertices into the exact shape you

want. Skin Morph lets you easily create muscle

bulges and many other effects.

Note: When working with Skin Morph, it’s

important to be familiar with the concept of

delta.Theframeatwhichyouapplythemodifier

determines the base position for each vertex that’s

used in a morphing animation controlled by Skin

Morph.Afterapplyingthemodifier,gotoaframe

at which the bone driving the morph is rotated an

amount that will cause the greatest deformation,

and then transform vertices to produce the morph.

Theamountbywhichyoutransformthevertices

is called the delta: the difference between the base

pose and the morphed position.

Procedure

To use Skin Morph (basic usage):

1. Create an animated character with bones and

askinnedbodymesh,usingamodifiersuchas

Skin (page 1–791) or Physique (page 2–834).

2. Go to the “pose frame” and apply the Skin

Morph modifier.

Theposeframecontainstheinitialpose;

typically a standing character with arms

outstretched and legs apart. This is often

frame0,butitcanbeanyframe,evena

negative-numbered one. This is the frame from

which the modifier measures delta: the change

in the vertex position between this pose and

the morph.

3. Determine which bones are driving

deformations that you want to modify with

Skin Morph.

For example, bending an arm might cause the

inside of the elbow to indent too far, or you

mightwanttoaddabulgingbicep.Inthiscase,

the forearm bone is driving the deformation.

4. UseAddtobindthedeformation-drivingbones

to the modifier.

The modifier overlays an orange line along the

length of each bone you add.

5. Go to the frame where you wish to create the

morph. Using the arm-bending example, this

might be the frame where the forearm is at a

90-degree angle to the upper arm.

6. In the list box, click one of the bones.

Intheviewport,theorangelinerepresenting

the bone becomes a thicker yellow line to

indicate that this bone will drive the morph.

7. On the Local Properties rollout, click Create

Morph.

The modifier adds a morph to the highlighted

bone and sets the morph to 100% at this frame,

as reflected by the number next to the morph’s

name in the list.

8. On the Local Properties rollout, click Edit.

This temporarily freezes the skin deformation

at the current frame.

Skin Morph Modifier 813

9. Move vertices to where they should be at the

current frame.

10.Click Edit again to exit this mode, and then test

the animation.

Interface

Skin Morph modifier stack

Points sub-object level—At the Points sub-object

level, you can view and select vertices on the

skin mesh. However, you can transform these

vertices only when Edit mode is on. The ability

toselectpointswhennotinEditmodeletsyou

make the selection when the points are more easily

accessible, and then go to the pose to transform

them in Edit mode.

Parameters rollout

[list window]—Listsallattachedbonesandtheir

morphs in a hierarchical view. You can expand or

contract a bone’s morph listing by clicking the +

or - box next to its name in the list. The number

in parentheses next to the morph name shows its

relative influence as a percentage at the current

frame.

Highlighting a bone in the list highlights the bone

in the viewports as a yellow line, and lets you create

a morph for it. Alternatively, you can select the

bone in the viewport while the modifier’s Points

sub-object level is active by clicking the orange

line through its center.

814 Chapter 8: Modifiers

Highlighting a morph in the list lets you edit the

morph. To change the morph’s name, edit the

Local Properties rollout > Morph Name field.

Add Bone—Click to add one or more bones from

the Select Bones dialog.

Tip: To keep things simple, add only bones that

will drive morphs. There’s no point in adding any

other bones.

Pick Bone—Lets you add bones by selecting them

in a viewport.

Click Pick Bone, and then select bones in any

viewport. While Pick Bone is active, the cursor

resemblesacrosswiththewordsADDBONE

attached. To exit Pick Bone mode, right-click the

activeviewportorclickPickBoneagain.

Remove Bone—Removes a bone and its morphs

from the list. Click a bone name in the list, and

then click Remove.

If a morph name is highlighted when you click

Remove, its bone is removed. To remove the

morph only, highlight it and then click Local

Properties rollout > Delete Morph.

Selection rollout

Use Soft Selection—Enables soft selection for

editing vertices.

Soft Selection in Skin Morph works much like Soft

Selection (page 1–963) in other parts of 3ds Max,

except that instead of Pinch and Bubble settings

you can adjust the graph shape directly, and it uses

a Radius setting instead of Falloff to determine the

extent of the soft-selection area.

Radius—Determines the extent of the soft-selection

area in system units.

Edge Limit—When on, Skin Morph uses the Edge

Limit numeric setting to determine the extent of

thesoft-selectionareaintermsofthenumberof

edges from the selected vertex or vertices.

Reset Graph—Sets the soft-selection graph to

default values. Use this if a vertex or handle is no

longer visible and thus cannot be manipulated.

[graph]—Skin Morph provides a small,

full-functioned curve graph for editing

Skin Morph Modifier 815

soft-selection characteristics globally; it works

much like other such graphs in 3ds Max, such as

Curve Editor (page 2–507).Thetoolbarabovethe

graph offers functions for moving and scaling

points on the graph, as well as inserting new ones.

The same functions are available by right-clicking

the graph: If you right-click a graph point, you

can set it to Corner or one of two different Bezier

types. If you select a Bezier point, you can reshape

the curve by moving its handles.

Ring—Expands a vertex selection by first

converting the selection to an edge selection,

selecting all edges parallel to the selected edges,

and then converting the new edge selection back

to a vertex selection. Use of Ring requires that a

qualifying vertex selection exist; that is, at least

two vertices on the same edge.

Loop—Expands a vertex selection by first

converting the selection to an edge selection,

selecting all aligned edges, and then converting the

new edge selection back to a vertex selection. Use

of Loop requires that a qualifying vertex selection

exist; that is, at least two vertices on the same edge.

Shrink—Reducesthevertexselectionareaby

deselecting the outermost vertices. If the selection

size can no longer be reduced, the remaining

vertices are deselected.

Grow—Expands the vertex selection area outward

in all available directions.

Local Properties rollout

This rollout contains functions for creating and

editing individual morphs. The settings, such as

Morph Name and Influence Angle, are specific to

each morph.

Create Morph—Sets a morph at the current frame

for the highlighted bone. Also sets the “pose” for

this morph, using the bone’s current orientation,

and sets the bone to 100%, as shown in the list

window hierarchical view. When you edit the

morph, the skinned object returns to and stays at

this orientation.

When you create a morph, the modifier displays,

in orange, all vertices that are part of the current

pose (that is, they’re offset from the initial pose).

Also, the modifier creates a default name for the

816 Chapter 8: Modifiers

morph and adds it as a child to the highlighted

bone in the list window.

Tip: By default, the Show Edges switch is on,

which might make it difficult to see the vertices

themselves. To see only the vertices, turn off

Options rollout > Show Edges.

Tip: To help keep track of morphs, use the Local

Properties rollout to rename each morph as you

create it.

Delete Morph—Deletes the highlighted morph,

removing it from its parent bone in the list window.

Available only when a morph is highlighted.

Edit—Lets you shape the current morph by

transformingvertices.ToexitEditmode,clickthe

Edit button again.

Trans for min g a vertex in Ed it mode creates a

morph target. Each transformed vertex moves

into the morph target position (or orientation or

scale) as the morph value increases to 100.0, and

then out of it as the morph value decreases, based

ontheangleofthebonedrivingthemorph.

TransformingavertexinEditmodealsochanges

itscolorfromorangetoyellow.Thisletsyoueasily

seewhichverticesarepartofthecurrentmorph.

Choosing Edit places the skinned object at the

100% “pose” orientation for this morph (see

Create Morph, above). It also activates the Points

sub-object level so you can transform vertices

using the standard 3ds Max transform tools.

Clear Verts—Keeps selected vertices in the morph,

but resets their deltas (changes from the initial

pose) to 0.

Reset Orient(ation)—Sets the morph orientation to

current orientation of the bone that controls the

morph.

Thisletsyouchangetheangleatwhichthemorph

has its greatest effect. For example, if you create a

bulging bicep at frame 120, and later decide that

themuscleshouldbelargestatframe150instead,

go to frame 150, choose the morph in the list box,

and then click Reset Orientation.

Remove Verts—Removes selected vertices from

the current morph, which deletes any animation

applied as part of the morph.

Use this command to save memory by removing

vertices not part of the morph animation.

Enabled—When on, the morph is active; when off,

the morph doesn’t appear in the animation, and is

indicated in the list box with the text “Disabled.”

Default=on.

The ability to enable and disable each morph

individually lets you isolate the effect of each or

test them in combination.

Morph Name—Displays and lets you change the

name of the current morph.

Influence Angle—Theanglearoundthebone’s

current orientation within which the morph takes

place. Default=90.0.

This is an important parameter. Think of the

influence angle as a cone around the bone at

its orientation when you create the morph.

Consider an example in which Influence Angle

is set to the default value of 90.0 degrees. If the

bone starts its rotation beyond 45 degrees away

from the orientation at which the morph was

created, the morph has no effect at that time.

As the bone moves from 45 degrees away to the

morph orientation, the morph increases to its full

value. As the bone then rotates away, the morph

gradually decreases until, at 45 degrees or more

away from the morph orientation, the morph no

longer appears.

Tip: Influence Angle is useful for isolating morphs;

that is, to prevent overlapping of different morphs

onthesamebone. Reducethevalueuntilone

morph’scontributionpercentvalue(showninthe

list box) falls off to 0.0 before the next one begins.

Skin Morph Modifier 817

Falloff—Determinestherateofchangeofthe

morphasthebonemoveswithintheinfluence

angle. Use the drop-down list to choose one of

four different falloff types: Linear, Sinual, Fast, or

Slow. If you choose Custom Falloff, you can then

click the G (for Graph) button and edit the falloff

using standard curve-graph controls.

Note: The default graph, displayed when you first

access the falloff graph, shows the Sinual falloff

type.

Joint Type—Determines how the modifier tracks

the angular motion of the bone. This is a per-bone

setting, not per-morph. Default=Ball Joint.

•Ball Joint—Tr acks all rotation of the bone. Use

this setting in most cases.

•Planar Joint—Tracks rotation of the bone only

in the plane of its parent bone.

External Mesh—Lets you use a different mesh

asamorphtarget. Clickthebutton(default

label=-none-) and then select the target object.

Thetargetobjectshouldhavethesamemesh

structure as the Skin Morph object. After

specifying an external mesh, its name appears on

the button.

Using an external mesh makes it easier to set

upmorphtargetsinatargetmeshthatusesa

reference pose, rather than the skinned, animated

mesh of which sections might be interpenetrating,

making it difficult to select the specific vertices to

be morphed. In this situation, it’s probably best to

turn Reload Only Selected Verts.

Note: The external-mesh connection is not live; if

you edit vertices in the external mesh, Skin Morph

doesn’t automatically recognize the changes.

To update the vertex positions after editing the

external mesh, use Reload Target (see following).

Reload Target—Updates the Skin Morph object

with edited vertex positions from the external

mesh.

Reload only selected verts—When on, Reload

Target copies only the positions of vertices selected

in the Skin Morph mesh from the target mesh.

When off, Reload Target copies the positions of

all vertices. Default=off.

Copy and Paste rollout

These functions let you copy all morph targets for

a specific bone from one side of the object to the

other. Indicate the morphs to copy by highlighting

the bone or any of its morphs in the Parameters

rollout > list box.

Paste Mirror—Copies the morphs from the

highlighted bone to the target on the other side of

the mirror gizmo. A qualified target bone must

existandbepresentinthelistbox.

Note: This copies the morph data only; the rotation

ofthetargetbonemustbecomparabletothatof

the source bone for the morphing to appear in the

animation.

Show Mirror Plane—Displays the mirror plane as

a red, rectangular gizmo in the viewports. The

target bone must be on the opposite side of the

mirror plane from the highlighted bone, and must

be present in the Parameters rollout > list box.

818 Chapter 8: Modifiers

Preview Bone— Highlights the target bone in red

in the viewports.

Preview Vertices—Displays the morphing-qualified

vertices in red in the viewports, as well as any

animation present in the source vertices.

Mirror Plane—The axis for the mirror plane. The

plane is perpendicular to the indicated axis.

Default=X.

Mirror Offset—Thepositionforthemirrorplane

on the Mirror Plane axis. Default=0.0.

Mirror Threshold—The radius, in system units,

within which Skin Morph looks for a qualifying

target bone on the other side of the mirror plane.

Default=1.0.

Options rollout

Beginner Mode—When on, you must use the

Create Morph button to create a morph and the

Edit button to edit a morph.

When off, you can create and edit morphs on

the fly. In this mode, when you select and move

vertices at the Points sub-object level, the software

first determines whether a morph exists for the

selected bone at 100%; if so, all edits will go to that

morph. Otherwise, the software creates a new

morph automatically and applies the edits to that

morph.

Show Driver Bone Matrix—Shows the matrix tripod

of the current bone.

Show Morph Bone Matrix—Shows the tripod of the

orientation of the active morph.

Show Current Angle—Shows pie wedges depicting

the angles between the driver bone matrix and the

morphbonematrix.Thesearecolorcoded:redfor

theangleabouttheXaxis;bluefortheangleabout

the Y axis; and green for the angle about the Z axis.

Show Edges—Highlights the edges connected to

morphable vertices in orange.

This is useful when a tessellating modifier such as

MeshSmooth is applied to the skinned mesh above

the Skin Morph modifier, to see the actual mesh

being affected by Skin Morph.

Matrix Size—Thesizeofeachtripod.

Bone Size—Thesizeofthebonedisplay.

Skin Wrap Modifier

Make a selection. > Modify panel > Modifier List >

Object-Space Modifiers > Skin Wrap

The Skin Wrap modifier allows one or more objects

to deform another. While Skin Wrap is flexible

enough to serve a variety of needs, it’s primarily

intended for animating a high-resolution object,

such as a character mesh, with a low-resolution

one.

The low-resolution object doing the deforming

is called a control object,andthehigh-resolution

object it’s affecting (that is, the one with the Skin

Wrap modif ier) is the base object.Abaseobject

can be any type of deformable object. Also, in

this topic, control vertex refers to a vertex on the

Skin Wrap Modifier 819

control object, and point refers to a vertex on the

base object.

With Skin Wrap, you can modify the structure and

topology of the high-resolution object after setting

up the animation. The animation remains intact

because it is actually contained in the control

object.

In most cases, when using Skin Wrap, the control

object is positioned near the modified base object,

and then bound to the latter using the modifier’s

Add function. By default, moving a vertex in

the control object affects nearby vertices in the

base object. Additional options allow faces in

the control object to affect the nearest points in

the base object instead (Blend To Base Object).

Conversely, points in the control object can affect

faces in the base object (Face Deformation).

Skin Wrap offers a great deal of control in that

youcansetadifferentstrengthvalueforeach

control vertex, as well as the shape of its volume

of influence. You can also convert the Skin Wrap

effect to a Skin modifier applied to the high-res

model, suitable for use with game engines. And

theabilitytoanimatewithmultiplecontrolobjects

lets a technical director assign animation of

different parts of a complex character mesh to

various artists.

Tip: If you use a control object to which

non-uniform scaling has been applied, its vertices

will have non-spherical volumes of influence,

which can lead to unexpected results. In such

a case, before adding the control object to the

modifier, apply Reset XForm (page 1–438) and

then collapse the stack.

See also

Skin Wrap Patch Modifier (page 1–824)

Procedure

To use Sk in Wrap (basic method):

1. Create a high-resolution base object and one or

more low-resolution control objects, which will

deformthebaseobject.Ingeneral,eachcontrol

object should have an overall shape similar to

the part of the base object that it will deform,

and be positioned near that part of the base

object.

2. Apply Skin Wrap to the high-resolution base

object. The modifier transfers animation or

modeling from the control object to the base

object.

3. On the Skin Wrap > Parameters rollout, use

Add to assign the control object(s).

4. Choose a deformation engine: Vertex or Face.

5. Set global parameters as desired. These

parameters affect all control vertices, and

include Deformation Engine, Falloff, Distance

Influence, and Face Limit.

6. To set local parameters, including strength and

influence distances, access the Control Vertices

sub-object level of the Skin Wrap. Select one

or more control vertices, and then change the

settings as necessary.

7. Edit or animate the control object with

modifiers and/or sub-object transforms;

the high-resolution (base) object deforms

accordingly.

8. Repeat steps 5, 6, and 7 as necessary.

Occasionally you might need to reset the

modifier as well, by clicking the Reset

button. Before doing so, always return to a

non-deformed point (or “skin pose”) in the

animation; typically, frame 0.

820 Chapter 8: Modifiers

Interface

Skin Wrap modifier stack

Control Vertices sub-object level—At the Control

Vertices sub-object level, you can view and select

vertices on the control object(s), and set local

parameters (page 1–821) for any selected vertices.

By default, each selected vertex is surrounded

by loops that depict its volume of influence.

This sub-object level also uses color coding on

affected points in the base object to show each

selected vertex’s relative effect on points within

the volume of influence. Colors range from orange

for the strongest influence to blue for the weakest

influence. Red is for vertices that are within its

range of influence but that it’s not influencing.

By default, at this level, control vertices appear

as small orange squares. To prevent this, turn

off Display Parameters rollout > Display Control

Ve r t i c e s .

Parameters rollout

[control object list]—Lists object(s) that deform

the modified object. Use the Add and Remove

functions to edit the list contents.

Add—Adds control objects to the list. Click Add,

and then click each control object in turn. To stop

Skin Wrap Modifier 821

adding, right-click in the viewport or click Add

again.

You can use as a control object anything that can

be converted to a triangle mesh, such as a mesh,

patch, or a NURBS object. However, avoid using

objects that change topology, such as a deforming

NURBS object with adaptive tessellation.

Remove—Removes control objects from the list.

Click an object in the list, and then click Remove.

Deformation Engine—Determines which engine

drives the deformation. Default=Vertex

Deformation.

• The Vertex Deformation engine is a weighted

engine; it uses vertex proximity to drive the

deformation. That is, each vertex in the

control object affects nearby points in the

high-resolution (base) mesh.

• With the Face Deformation engine, each

control vertex is tied to the closest face in the

base object. Face deformation can use falloff,

orbearigiddeformationbysettingFalloffto

0.001, the lowest possible value.

Falloff—Determines the extent to which the control

vertices affect nearby points in the base object.

This is a global setting. Default=1.0. Range=0.001

to 10.0.

Higher values pull nearby points closer to the

control vertex. In Face Deformation mode, setting

Falloff to the lowest value, 0.001, causes rigid

deformation so that there’s no falloff; the control

vertex either affects the base-object face or it

doesn’t. For best results, use Falloff values between

1.0 and 2.0, or with Face Deformation, 0.001 for

rigid mode.

Distance Infl(uence)—Determines the distance of

influence, in system units, of control vertices in

the control object. This is a global setting, and

is available only in Vertex Deformation mode.

Default=1.2. Range=0.001 to 10.0.

Distance Influence is a multiplier. It looks at the

length of each edge that touches each control

vertex. For each vertex, it averages all the lengths

and then multiplies the average by the Distance

Influence value. This lets vertices that are touching

only small faces to affect a small area, and

vice-versa. The higher the influence value, the

smoother the deformation, but the less individual

control each vertex has. For best results, keep this

value between 1.0 and 2.0.

Face Limit—Determines the extent of influence,

in control-object faces, of control vertices in

the control object. This is a global setting, and

is available only in Vertex Deformation mode.

Default=3. Range=0 to 10.

Beyond this limit, no base-object points can be

influenced by the control vertex, even if they’re

within the Distance Influence radius.

Face Limit is useful for preventing the

control-object influence from bridging gaps in the

mesh; for example, between fingers in a character

mesh.

Blend To Base Mesh—Causes the modifier to base

deformationonthedistancefromeachaffected

point to the closest face in the control object.

TurningonthisoptionmakestheBlendDistance

setting available.

Blend Distance—Determinestherelativedistance

between control-object faces and vertices in

thebaseobjectfordeformationtotakeeffect.

Available only when Blend To Base Mesh is on.

Default=5.0.

Increasing this setting effectively causes a stronger

deformationeffectandbroadenstheareaonthe

control that affects the base object.

[local parameters]

TheLocalparametersareavailableonlyatthe

Control Vertices sub-object level (see Skin Wrap

modifier stack (page 1–820)), and affect only

822 Chapter 8: Modifiers

selected points. If you select a single point, the

numeric fields reflect its current parameter values.

If you select multiple points, 3ds Max displays

only those values common to all selected points;

parameters with differing values are blank. With

multiple points selected, changing a value sets all

selected points to that value.

Local Str(ength)—Determines the power and

direction by which the control-object vertex affect

points under its influence in the base object. A

positive value pulls the points toward the vertex; a

negative value pushes them away. Default=1.0.

Local Scale Mult(iplier)—Scales each selected

control-object vertex’s volume of influence

uniformly. Default=1.0.

Usethescalesettingstoincreaseordecreasethe

area of the base object that the selected control

vertex affects.

Local X/Y/Z—Scales each selected control-object

vertex’s volume of influence along the indicated

axis. Default=1.0.

Change these parameters to produce a

non-spherical volume of influence.

Reset—Resets all control-object vertices’ local

values to 1.0 and resamples the mesh. It

recalculates the control vertices’ influence on the

base object using the current modifier settings.

Use Reset if you alter a parameter but don’t see any

change in the deformation. For example, always

use Reset after changing the Threshold value. Or,

if you want the control object to affect a different

part of the base object, move the former, and

then use Reset so the modifier accounts for the

change in positional relationship between the two.

You might also need to reset after changing the

topology of the base object or a control object.

Important: Use Reset at a point in the animation where

no deformation is in effect; typically, frame 0.

Threshold—Determines the distance in system

units that the software uses to find the closest

face to a control vertex. The greater the distances

by which the control object’s and base object’s

surfaces deviate, the higher the Threshold value

needs to be. Default=5.0.

Note: Thresholdisrecomputedonlywhenyouadd

abasemeshorclickReset.

Warning: Be careful about increasing this setting.

High values can result in excessive computation times,

especially with complex base objects.

Weight All Points—Forces all base-object points

to have weights. Each weight is calculated from a

combination of three factors: control vertex scale,

control vertex strength, and base-object point

position.

By default, not all base-object points are

necessarily influenced by the control object.

Turning on Weight All Vertices causes all points to

beinfluencedbyoneormorecontrolvertices.Ifa

largenumberofbase-objectpointsareunassigned,

this can take a long time to calculate.

Convert To Skin—Applies a new Skin modifier

(page 1–791) tothebaseobjectthatreplicatesthe

animation in the Skin Wrap modifier. Using this

function requires that a Skin modifier already be

applied to each control object.

Basically, Convert To Skin intelligently “bakes” the

animation from skinned low-res control objects to

thehigh-resbaseobject.TheSkinmodifierthatit

createscontainsalltheboneassignmentsfromthe

original Skin modifier, but with completely rebuilt

weight settings based on the base-object weights

created by the Skin Wrap modifier.

This function is useful in game-development

settings where the game engine recognizes the Skin

modifier settings but not the Skin Wrap modifier.

Skin Wrap Modifier 823

Advanced Parameters rollout

The Mirror tools in Skin Wrap let you apply

local settings (Strength and Scale) from control

vertices on one side of a control object to the other,

mirroringthemacrossaplanealignedwiththeX,

Y, or Z axis. This is useful for setting up character

meshes.

Note: Mirror copies only Skin Wrap settings from

control vertices; it doesn’t copy animation data.

Thus, when using Skin Wrap with a character

model, first make local settings for control vertices

on one side of the control object, select the vertices

to copy, mirror them, and then animate the control

object.

The Bake/Retrieve Control Vertices functions let

you store control-vertex settings into the base

object and then retrieve them. This is useful for

sharing data among artists working on the same

project.

Show Mirror Data—Tu rns on d isp lay of t he m ir ror

plane gizmo as well as a small circle showing the

projected location for each selected control vertex.

Movethegizmoandtheprojectedlocationswith

the Mirror Offset control (see following).

Note: Formirrordatatobevisible,theSkinWrap

> Control Vertices sub-object level must be active.

Mirror Plane—ChoosetheX,Y,orZaxisfor

mirroring.

Mirror Offset—Movesthemirrorplaneaswellasall

mirrored vertices.

Mirror Threshold—Sets the distance, in system

units, that Skin Wrap uses to find a control vertex

near a projected vertex. Increase this if vertex

locations are not the same on either side of the

mirror plane.

Mirror Selected—Copies the local settings from

each selected control vertex to any control vertices

within the threshold distance of its projected

location on the other side of the mirror plane.

Bake Control Verts—Stores the Local Strength/Scale

and the global Falloff, Distance Infl., and Face

Limit settings on the control objects for later

retrieval with Retrieve Control Vertices.

Note: This data is static; any changes to the

base-object topology invalidates it.

Retrieve Control Verts—Ta ke s a ny c o nt r o l - ve r t ex

data stored on the control objects with Bake

Control Vertices and copies them into the modifier.

Display Parameters rollout

824 Chapter 8: Modifiers

These settings determine whether or not the

software displays different elements in the Skin

Wrap mo difie r.

Display Loops—Displays volumes of influence for

selected control vertices as red loops. Default=on.

Display Axis—Displays the axis tripods for selected

control vertices. Default=on.

Display Face Limit—Shows all base-object points

that the selected control vertex or vertices can

affect. This is a visualization of the Face Limit

setting.Default=on.

Display Unassigned Points—Draws a red circle

around each base-object point that the system

did not find a closest face for and draws a red box

around each point that has a closest face but is not

weighted by any control vertex. Default=off.

Unassigned points: The circled points (bottom) have no closest

face, while the points with red boxes (center) have a closest

face but aren’t weighted by control vertices.

This is an important debugging tool because any

vertex that is not assigned a closest face will never

be weighted. To do so, you need to increase the

Threshold value and click Reset, or turn on Weight

All Points. Any points that are not weighted to a

control vertex can be fixed by increasing the Local

Scale of a control vertex near that point.

Display Control Verts—Toggles display of all control

vertices. Default=on.

Skin Wrap Patch Modifier

Make a selection. > Modify panel > Modifier List >

Object-Space Modifiers > Skin Wrap Patch

Skin Wrap Patch is a simple modifier that allows

apatchobjecttodeformameshobject. It’svery

easy to use: just assign the modifier to a mesh

object, and then use the modifier to specify a

deforming patch object. Each point on the patch

object influences a surrounding volume of points

on the mesh object.

See also

Skin Wrap Modifier (page 1–818)

Interface

Pick Patch—Click this button, labeled “None” by

default, and then select a patch object to deform

the mesh object. After picking the patch object, its

name appears on the button.

Sample Rate—Determines the accuracy with which

the modifier samples the patch object. The higher

therate,themoreaccuratetheresultinganimation

will be, but the longer it will take to calculate.

Resample—Forces the system to resample the date.

This should be done at a point in the animation at

which no deformation takes place; typically, frame

Slice Modifier 825

Slice Modifier

Select an object. > Modify panel > Modifier List >

Object-Space Modifiers > Slice

Select an object. > Modifiers menu > Parametric

Deformers > Slice

The Slice modifier lets you create a cutting plane

that slices through a mesh, creating new vertices,

edgesandfacesbasedonthelocationoftheslice

plane gizmo. The vertices can either refine or split

the mesh according to the selected options.

The Slice modifier slices through groups, selected

objects or sub-object selections of faces. It works

similarly to the Editable mesh > Edge > Slice

function but does not require the objects to be

editable meshes.

Slicecutsthroughthecake.

You can animate the cutting plane, changing its

position and rotation over time. You can also use

theRemoveTopandRemoveBottomoptions

tocreatetheappearanceanddisappearanceof

objects by animating the Slice Plane gizmo.

Top: Original object

Middle: Object without top

Bottom: Object without bottom, respectively

Multiple Slices

To create multiple slices in an object you need to

apply multiple Slice modifiers. If the geometry

doesn’t need to remain parametric, you can

collapse it into an editable mesh and use the Slice

tool available under Editable Mesh (Edge) (page

1–1006). This tool is easier to use when you need

to make multiple slices in an object, but it does not

stay parametric.

826 Chapter 8: Modifiers

Warning: Slice and Sub-Object

Selections

You can use Slice on sub-object selection sets

by slicing or removing only the selected faces.

However, because selected faces are sliced and

unselected adjacent faces are not, there may be

"holes"inthemeshontheedgewheretheslice

occurs. These holes can be problematic, creating

discontinuities in smoothing and rendering. Holes

are created only when Operate On Faces is on.

Procedure

Example: To animate the appearance of a teapot

using the Slice modifier:

1. Create a teapot (page 1–183) primitive. Set the

viewport to wireframe.

2. Apply a Slice modifier.

TheSlicePlanegizmoappearsatthebaseofthe

teapot.

3. On the stack display, choose the Slice Plane

gizmo.

4. Turn on the Auto Key button, and move the

time slider to frame 100.

5. MovetheSlicePlanegizmoabovethetopofthe

teapot. Play the animation to verify that the

slice plane is animated.

6. Change the Slice type from Refine Mesh (the

default) to Remove Top. Play the animation

again.

7. Makeacopyoftheteapotinthesameposition

(chooseEditmenu>CloneandclickOKto

accept the default settings).

8. PutaWireframematerialonthecloneand

change the Slice type on the clone to Remove

Bottom.

9. Play the animation.

The wireframe teapot magically becomes a fully

shaded one.

Example: To slice vertically through an object:

1. Create a teapot (page 1–183) primitive.

2. Apply a Slice modifier.

TheSlicePlanegizmoappearsatthebaseofthe

teapot.

3. On the stack display, open the Slice modifier

and choose the Slice Plane gizmo.

4. MovetheSlicePlanegizmosoitintersectsthe

middle of the teapot.

5. Rotate the Slice Plane gizmo so it is vertical.

6. Tur n on Re move Top.

The back of the teapot is sliced away.

7. Tur n on Remove B ottom.

The front half of the teapot is sliced away.

Interface

Modifier Stack

Slice Plane—At this sub-object level, you can

transform and animate the gizmo like any other

object to determine where the slice occurs. Scaling

the gizmo has no effect, because its extents are

effectively infinite. If you need to limit the extent

of the slice, use it on a sub-object selection set of

faces, rather than on the entire object.

Slice Modifier 827

For more information on the stack display, see

Modifier Stack (page 3–760).

Slice Parameters rollout

Slice Type—Defineshowthesliceplanewillaffect

the geometry to which it has been applied.

•Refine Mesh—Adds new vertices and edges

along the intersection of the geometry with

the slicing plane. Faces cut by the plane are

subdivided into new faces.

•Split Mesh—Adds a double set of vertices and

edges along the plane boundary producing two

separate meshes (one on either side of the slice

plane), which you can modify differently if

desired. Use this to break a mesh in two.

•Remove Top—Deletes all the faces and vertices

abovetheSlicePlane.

•Remove Bottom—Deletes all the faces and

vertices below the Slice Plane.

Operate On—Choose one of these buttons to

specify how the slice handles quads and other

polygons.

•Faces—Treats the selection set as a set

of triangular faces, slicing each one in turn.

Outputs a mesh-type object (page 1–996).

•Polygons—Converts the object to

a polygon mesh based on visible edges,

eliminating hidden edges. Outputs a

polymesh-type object (page 1–1022).

Operate On Face vs. Operate On Polygon

828 Chapter 8: Modifiers

Smooth Modifier

Select an object. > Modify panel > Modifier List >

Object-Space Modifiers > Smooth

Select an object. > Modifiers menu > Mesh Editing >

Smooth

The Smooth modifier provides auto-smoothing

based on the angle of adjacent faces. You can apply

new smoothing groups to objects.

Smoothingeliminatesthefacetsongeometryby

grouping faces into smoothing groups. At render

time, faces in the same smoothing group appear as

asmoothsurface.

Curved surfaces gradually smoothed:

Left: No smoothing

Center: Smoothing but some edges on the corners

Right: Full smoothing

Patches

As of 3ds Max 4, patch objects coming up the

modifier stack are not converted to a mesh by this

modifier. A patch object input to the Material

modifier retains its patch definition. Files that

contain patch objects with the Material modifier

from previous versions of the software will be

converted to meshes to maintain backward

compatibility.

Procedures

To smooth an object:

1. Select the object to be smoothed.

2. On the Modifiers menu, choose Mesh

Editing > Smooth.

3. Tur n on Auto Smo ot h an d adjust the Th re sh old

for the desired smoothing effect.

To apply smoothing groups manually:

1. Select an object.

2. Use a Mesh Select modifier (page 1–719)

to select the faces to be smoothed.

3. Click a numbered button to apply the

corresponding smoothing group to the selected

faces.

Interface

Parameters rollout

Auto Smooth—If Auto Smooth is selected, the

object is auto-smoothed using the (animatable)

threshold specified by the Threshold setting below

it. Auto Smooth sets the smoothing groups based

on the angle between faces. Any two adjacent faces

areputinthesamesmoothinggroupiftheangle

Spherify Modifier 829

between their normals is less than the threshold

angle.

Prevent Indirect Smoothing—Tur n on to prevent

smoothing ’leaks" when using Auto Smooth. If

you apply Auto Smooth to an object, and portions

of that object that should not be smoothed

becomesmoothed,thenturnonPreventIndirect

Smoothing to see if it corrects the problem.

Note: This option has an effect only when Auto

Smooth is selected. The problem it corrects is rare,

and turning on Prevent Indirect Smoothing slows

the Auto Smooth process. Don’t use this option

unless you see something wrong with your existing

smoothing.

Threshold—Specifies the threshold angle in

degrees. Any two adjacent faces are put in the

same smoothing group if the angle between their

normalsislessthanthethresholdangle.

Smoothing Groups group

The grid of 32 buttons shows which smoothing

groups are used by the selected faces, and are used

to assign smoothing groups manually to selected

faces.

Spherify Modifier

Select an object. > Modify panel > Modifier List >

Object–Space Modifiers > Spherify

Select an object. > Modifiers menu > Parametric

Deformers > Spherify

The Spherify modifier distorts an object into

a spherical shape. This modifier has only one

parameter: a Percent spinner that deforms the

object, as much as possible, into a spherical shape.

Spherify shapes the dog inside the snake.

Thesuccessoftheoperationdependsonthe

topology of the geometry to which it’s applied. For

example, a cylinder with no height segments will

result in little change. Adding height segments

will result in a barrel at 100 percent. Adding cap

segments will produce a sphere.

Tr y this on a teapot (page 1–183).

Procedures

Example: To use the spherify modifier to distort a

teapot:

1. Click Create > Geometry > Standard

Primitives > Teapot.

2. Create a teapot in the viewports.

3. OntheModifypanel,chooseSpherify

from the Modifier List.

The teapot should now look like a sphere.

4. Adjust the Percent setting to less than 100%.

Example: To animate spherifying a teapot:

1. Click Create >Geometry > Standard

Primitives > Teapot.

2. Create a teapot in the viewports.

830 Chapter 8: Modifiers

3. OntheModifypanel,chooseSpherify

from the Modifier List.

4. Turn the Auto Key button on.

5. Set the Spherify Percent to 0.

6. Movethetimeslideraheadtoframe30.

7. SettheSpherifyPercentto100.

8. Turn the Auto Key button off.

9. Dragthetimeslidertoplaytheanimation,or

click Play.

Interface

Percent—Setsthepercentageofspherical

distortion to apply to an object.

Spline IK Control Modifier

Select a spline or NURBS curve > Modify panel > Modifier

List > Spline IK Control

When the Spline IK Control modifier is applied to

a spline, you can select and transform its vertices

without having to access the vertex sub-object

level. It can also place helpers at each vertex

location to aid in moving vertices.

The Spline IK Control modifier works by placing

knots (control points) at each vertex. The knots

canthenbeusedtocontrolvertices,whichinturn

reshape the spline.

This modifier also works on NURBS curves,

placing a knot at each control point or control

vertex (CV).

Use the Spline IK Control modifier to prepare a

spline or NURBS curve for use with the Spline IK

Solver.

See also

Spline IK (page 2–473)

Interface

Control Objects—When helpers are created, knot

numbers and their corresponding names appear

here. Knot #1 is placed at the first vertex (page

3–941) on the spline, and additional knots are

numbered in sequence.

Create Helpers—Places a helper at each knot, and

displays knot numbers and helper names in the

Control Objects area. Helper display is based on

selections in the Helper Display group. Helpers are

linked upon creation if a linking option is selected

in the Link Types group.

Note: Click Create Helpers only once. Clicking this

option more than once will create extra helpers at

each knot, making it difficult to control the spline.

Spline Select Modifier 831

Link Types group

These options cause helpers to be linked upon

creation.

Link All in Hierarchy—Links each helper to its

immediately previous helper. For example, the

helper at knot #3 is linked to the helper at knot #2,

while the helper at knot #2 is linked to the helper

at knot #1.

Link All to Root—Links each helper to the helper

at knot #1.

No Linking—Helpers are not linked.

Helper Display

When you click Create Helpers, the software can

place one or more Point helper objects at each

knot, making it easier to move and animate the

knots. You can enable more than one type of

helper.

Center Marker—Places a small X-shaped Point

helper at each knot.

Axis Tripod—Places a small tripod-axis-shaped

Pointhelperateachknot.

Cross—Places a small cross-shaped Point helper at

each knot.

Box—Places a small box-shaped Point helper at

each knot.

Size—Setsthesizeforhelpers.

Constant Screen Size—Keepsthesizesofhelpers

constant regardless of the zoom extent of the

viewports.

Draw On Top—Displays the helpers on top of all

other objects in the scene for improved visibility

in busy scenes.

Tip: To change the display of helpers after creation,

select each helper and change selections on the

Modify panel.

Spline Select Modifier

Select a shape. > Modify panel > Modifier List >

Object–Space Modifiers > Spline Select

Select a shape. > Modifiers menu > Selection Modifiers

> Spline Select

TheSplineSelectmodifierpassesasub-object

selection of shapes up the stack to subsequent

modifiers. Itprovidesmuchofthesamesetof

selection functions available in the Edit Spline

modifier (page 1–680). You can select vertices,

segments, or splines, and you can change the

selection from sub-object level to object level.

This modifier is similar to the Mesh Select (page

1–719) and Poly Select modifiers (page 1–762),

except for the type of sub-object components.

Procedure

To use the Spline Select modifier:

1. Create a multi-spline shape.

2. Apply a Spline Select modifier.

By default, the Vertex sub-object level is active.

3. Ifyouwishtoworkatadifferentsub-object

level, use the modifier stack display to choose it.

832 Chapter 8: Modifiers

4. In the viewports, select vertices, segments, or

splines.

Tip: You can transform the selection using an

XForm modifier (page 1–959) or Linked XForm

modifier (page 1–712).

Interface

Modifier Stack

The sub-object level you choose for the spline

select modifier determines which rollout appears.

(There are no parameters at the top, object level.)

Vertex—Creates a sub-object selection of vertices.

Segment—Creates a sub-object selection of

segments.

Spline—Creates a sub-object selection of splines.

For more information on the stack display, see

Modifier Stack (page 3–760).

Select Vertex rollout

Get Segment Selection, Get Spline Selection—Select

vertices based on the last Segment or Spline

selection. This selection is added to the current

selection. Available only when Vertex is not the

current sub-object level.

Select Segment rollout

Get Vertex Selection, Get Spline Selection—Select

segments based on the last vertex or spline

selection. The selection is added to the current

selection. Available only when Segment is not the

currentsub-objectlevel.

Select Spline rollout

Get Vertex Selection, Get Segment Selection—Select

splines based on the last vertex or segment

selection. The selection is added to the current

selection. Available only when Spline is not the

currentsub-objectlevel.

Copy/Paste Selection controls (all rollouts)

Copy—Places a named selection into the copy

buffer.

Paste—Pastes a named selection from the copy

buffer.

Squeeze Modifier 833

You can copy a named selection from one object

to another or one modifier to another. You must

copy and paste in the same sub-object level.

Squeeze Modifier

Modify panel > Make a selection. > Modifier List >

Object-Space Modifiers > Squeeze

Make a selection. > Modifiers menu > Parametric

Deformers > Squeeze

The Squeeze modifier lets you apply a squeezing

effect to objects, in which the vertices closest to

the object’s pivot point (page 3–995) move inward.

The squeeze is applied around the Squeeze gizmo’s

local Z axis. You can also use Squeeze to create

a bulge on the vertical axis, to accentuate the

squeeze effect.

Left: Original object

Middle and Right: Varying squeeze amounts

Interface

Modifier Stack

Gizmo—At this sub-object level, you can transform

and animate the gizmo like any other object,

alteringtheeffectoftheSqueezemodifier.

Translating the gizmo translates its center an equal

distance. Rotating and scaling the gizmo takes

place with respect to its center.

Center—At this sub-object level, you can translate

and animate the center, altering the Squeeze

gizmo’s shape, and thus the shape of the squeezed

object.

For more information on the stack display, see

Modifier Stack (page 3–760).

Parameters rollout

Axial Bulge group

These controls let you apply a bulge effect along

the Squeeze gizmo’s local Z axis, which is aligned

by default with the object’s local Z axis.

834 Chapter 8: Modifiers

Amount—Controls the magnitude of the bulging

effect. Higher values effectively elongate the object

and cause the ends to curve outward.

Curve—Sets the degree of curvature on the bulging

ends. You can use this to control whether the bulge

is smooth or pointy.

Radial Squeeze group

These controls let you apply a squeeze effect

around the Squeeze gizmo’s local Z axis, which is

aligned by default with the object’s local Z axis.

Amount—Controls the magnitude of the squeezing

action. Values larger than zero tend to constrict

the "waist" of the object, and values less than zero

tend to bulge the waistline out, as if the object had

been stepped on.

Curve—Sets the degree of curvature into the

squeeze. Low values cause a sharp squeezing

effect, while high values create a gradual, less

pronounced squeeze.

Limits group

These controls let you limit the squeeze effect’s

extents along the local Z axis.

Limit Effect—Limits the extent of the squeeze effect

as defined by the Lower and Upper Limit settings.

Lower Limit—Sets the limit in the positive direction

along the Z axis.

Upper Limit—Sets the limit in the negative

direction along the Z axis.

Effect Balance group

Bias—Changes the relative amounts of bulge and

squeeze while retaining a constant object volume.

Volume—Increases or decreases the effects of both

SqueezeandBulgeinparallel.

STL Check Modifier

Select an object. > Modify panel > Modifier List > STL

Check

Select an object. > Modifiers menu > Mesh Editing > STL

check

The STL Check modifier checks an object

to see if it’s correct for exporting to an STL

(stereolithography) file format (page 3–588).

Stereolithography files are used by specialized

machines to produce prototype physical models

based on the data in the STL file.

Tocreateaphysicalmodel,anSTLfilemusthave

a complete and closed surface. Using STL Check

to test your geometry before you export it can save

timeandmoneywhenthefileisusedtocreatethe

physical model.

STL Check errors.

1. Open edges

2. Double face

3. Spikes

4. Multiple edges

STL Check Modifier 835

Procedure

To check an object for STL compatibility:

1. Select the object, then on the Modify

panel, choose Mesh Editing > STL Check from

the Modifier List.

2. Tur n on C he ck .

ThemessageintheStatusgroupshowsiferrors

are found. STL Check indicates errors by

selecting the problem geometry, assigning it a

special material ID, or both.

Interface

Errors group

Choosing one of these options selects incorrect

geometry specific to the choice, and selects it

depending on the option chosen in the Selections

group.

Open Edge—Checks for open edges (holes).

Double Faces—Checks for faces that share the same

3D space.

Spike—Checks for spikes, which are isolated faces

that share only one edge with the object.

Multiple Edges—Checks for faces that share more

than one edge.

Everything—Checks for all of the above.

Tip: While checking Everything takes the longest

amount of time, it is recommended if you plan to

usetheSTLfileforgeneratingaphysicalmodel.

Selections group

These options specify the level of incorrect

geometry that’s selected, based on the settings in

the Errors group.

Don’t Select—When on, STL Check doesn’t select

any part of objects in error.

Select Edges—When on, STL Check marks the

edges of faces in error by selecting them. The

selection of erroneous edges is visible in viewports.

Select Faces—When on, STL Check marks the

faces of any object in error by selecting them. The

selectionoferroneousfacesisvisibleinviewports.

Change Mat-ID—When on (the default), STL

Check also marks faces in error by assigning them

a unique material ID. Use the spinner to choose

thevalueofthematerialIDthatSTLCheckuses.

Check—Turn on to perform the STL check. For

complex models, expect a pause between the time

youturnthison,andthetimeyouseethereported

errors in the Status group. Default=off.

836 Chapter 8: Modifiers

Status—Displays the number of errors when Check

is on.

Tip: IfSelectEdgesisturnedoff,youcansee

faces in error by applying an Edit Mesh modifier

(page 1–634) and selecting by material ID at

theFacesub-objectlevel.Youcanalsoassigna

Multi/Sub-Object material (page 2–1594) to the

object to help you see where the errors are.

Stretch Modifier

Select an object. > Modify panel > Modifiers List >

Object–Space Modifiers > Stretch

Select an object. > Modifiers menu > Parametric

Deformers > Stretch

The Stretch modifier simulates the traditional

animation effect of "squash-and-stretch." Stretch

applies a scale effect along a specified stretch axis

and an opposite scale along the two remaining

minor axes.

Theamountofoppositescalingontheminoraxes

varies, based on distance from the center of the

scale effect. The maximum amount of scaling

occurs at the center and falls off toward the ends.

Applying a Stretch modifier to the object on the left creates

the object on the right.

Procedures

To stretch an object:

1. Select an object.

2. Apply Stretch.

3. On the Parameters rollout > Stretch Axis group,

choose X, Y, or Z.

4. On the Parameters rollout > Stretch group,

enter a value in the Stretch field.

5. Adjust the Parameters rollout > Stretch group >

Amplify setting to change the amount of scaling

along the minor axes.

To limit a stretch:

1. Apply a Stretch modifier to an object and

specify the stretch amounts and stretch axis.

2. On the Parameters rollout > Limits group, turn

on Limit Effect.

3. Set values for the Upper and Lower Limits to

define the Stretch boundaries on either side of

the Stretch center.

4. In the stack display, choose the Center

sub-object level, and move the center to locate

the limited stretch effect.

Interface

Modifier stack

Gizmo—At this sub-object level, you can transform

and animate the gizmo like any other object,

altering the effect of the Stretch modifier.

Translating the gizmo translates its center an equal

distance. Rotating and scaling the gizmo takes

place with respect to its center.

Center—At this sub-object level, you can translate

and animate the center, altering the Stretch gizmo’s

shape, and thus the shape of the stretched object.

Stretch Modifier 837

Parameters rollout

Use options in the Parameters rollout to set the

following:

•Amountofstretch

•Majorstretchaxis

• Area affected by the stretch

Stretch group

The Stretch group of the Parameters rollout has

two fields that control the amount of stretch

scaling applied.

Stretch—Setsthebasescalefactorforallthreeaxes.

The scale factor derived from the Stretch value

varies according to the sign of the value.

• Positive stretch values define a scale factor

equal to Stretch+1. For example, a stretch value

of 1.5 yields a scale factor of 1.5+1=2.5, or 250

percent.

• Negative stretch values define a scale factor

equal to -1/(Stretch-1). For example, a

stretch value of -1.5 yields a scale factor of

-1/(-1.5-1)=0.4, or 40 percent.

The calculated scale factor is applied to the

selected stretch axis and the inverse scale is

applied to the minor axes.

Stretch values of 0.0, 0.5, and -0.5

Amplify—Changes the scale factor applied to the

minor axes. Amplify generates a multiplier using

thesametechniqueasstretch.Themultiplieris

then applied to the Stretch value before the scale

factorfortheminoraxesiscalculated.

Amplify values affect scaling along the minor axes

in the following way:

• A value of 0 has no effect. It uses the default

scale factor calculated from the Stretch amount.

• Positive values exaggerate the effect.

• Negative values reduce the effect.

Stretched objects with Amplify values of 0.0, 1.0, and -1.0.

Stretch Axis group

You select which of the object’s local axes is the

Stretch Axis using options in the Stretch Axis

group of the Parameters rollout.

838 Chapter 8: Modifiers

• The scale factor calculated from the Stretch

Amount is applied to the Stretch Axis.

• The inverse scale factor is applied to the

remaining minor axes.

Effects of changing the Stretch axis

Limits group

You can apply the stretch effect to the entire object,

or limit it to a portion of the object, using controls

in the Limits group of the Parameters rollout. The

limits restrict the stretch effect along the positive

and negative Stretch Axis as measured from the

modifier’s center.

Limit Effect—Limits the stretch effect. When Limit

Effect is turned off, values in the Upper and Lower

Limit fields are ignored.

Upper Limit—Sets the boundary of the stretch

effect along the positive Stretch Axis. The Upper

Limit can be 0 or any positive number.

Lower Limit—Sets the boundary of the stretch

effect along the negative Stretch Axis. The Lower

Limit can be 0 or any negative number.

Limiting the effect of Stretch

Click Sub-Object and move the modifier’s center

to change the location of the limited stretch areas.

The Upper and Lower Limit boundaries move with

the modifier center to maintain their specified

distances.

Effects of moving the Stretch center

Note: You can also limit the stretch effect by using

an Edit or Select modifier, defining a sub-object

selection, and then applying Stretch. If the

modifier’s Sub-Object button is active, only the

selected sub-objects will be stretched.

Subdivide Modifier 839

Subdivide Modifier

Make a selection. > Modify panel > Modifier List >

Subdivide

Make a selection. > Modifiers menu > Radiosity Modifiers

> Subdivide

The Subdivide modifier provides an algorithm

forcreatingmeshesusedforradiosity (page 3–51)

processing. Processing radiosity requires meshes

that have elements shaped as close as possible to

equilateral triangles. The density of the mesh

also needs to be considered in determining the

resolution of the lighting details that need to be

captured. The denser the mesh is, the finer the

lighting detail and accuracy will be. The trade-off

is a larger memory requirement and slower

rendering times. The Subdivide modifier works

on a whole object and does not work on selected

facesinamesh.

Subdivide modifier breaks flat surfaces into meshes.

Although it is primarily developed for increasing

the quality of radiosity solutions, the Subdivide

modifier can also be used by any application

that requires well-formed meshes. For example,

irregular mesh elements generated for Ter rai n

(page 1–347) compound objects can be improved.

The modifier has world space and object space

variants. In the world space modifier the size limit

is on the mesh after it is transformed into world

spacecoordinates. Theobjectspacemodifier

limitsthesizeinobjectspacecoordinates.

Note: Typically, the Subdivide modifier is applied

automatically to objects in the scene when

a radiosity solution is processed. Meshing

parameters can be set on a global basis in the

radiosity control panel (page 3–61) or for individual

objects in the Object Properties dialog (page

1–117).

Tip: When you are satisfied with the subdivision

settings on one object, you can drag the modifier

to other objects to propagate it.

Interface

Size—Controlsthesizeoftrianglesinthe

subdivided mesh. The length of the longest edge

ofanytrianglewillnotexceedthesquarerootof

2 times the size in the Subdivide modifier. The

square root of 2 factor is used, so that a square

whoseedgesarethesizewillnotbesubdivided.

Update group

The radio buttons in the Update group control

when the meshing is done.

Automatic—Updates immediately when changes

aremadetothecontrolsorthemesh.

Render—Updates only for rendering.

840 Chapter 8: Modifiers

Manual—Updates only when Update Now is

pressed. Subdivision can be interrupted using

the Esc key. If the subdivision is interrupted the

Update mode is changed to Manual.

Update Now—Updates the mesh when Manual is

turned on.

Display Subdivision—Controls whether all of the

triangles are visible, or only the edges where face

properties are changing. Allows you to reduce the

visibletrianglesinthesceneifitappearscluttered.

Substitute Modifier

Make a selection. > Modify panel > Modifier List >

Object-Space Modifiers > Substitute

Typically, designers use two-dimensional shapes

to represent objects, such as furniture, in their

AutoCAD designs. However, when they link

their DWG files (page 3–931) into 3ds Max for

visualization, they want to see how the objects will

look in their design.

Top view of 2D symbols used to represent 3D objects

The Substitute modifier lets you quickly replace

one or more objects with another in the viewports

or at render time. The substitute object can

be instanced from the current scene or can be

referenced from an external file.

The Substitute modifier replaces the 2D objects with their 3D

counterparts.

To get rid of the substitute object, simply remove

the modifier from the stack. This frees up the

memory required to store it.

Tip: When you file link to a DWG file, the file

is imported to 3ds Max as groups of VIZBlocks

(page 3–1031). If the pivot points of the VIZBlock

andthesubstitutedgeometrydonotmatch,you

may not obtain the desired results. Adjust the

pivot point of the VIZBlock object using the

Adjust Geometry button to align the substituted

geometry correctly.

See also

XRef Objects (page 3–394)

XRef Scene (page 3–407)

Procedures

To use an object from the current scene as a

substitute:

1. Select an object, and then apply the Substitute

modifier.

2. Click Pick Scene Object, and then in the

viewport, select an object to substitute for the

selection.

Substitute Modifier 841

Alternatively, click the ... button to the right of

Pick Scene Object and select an object from the

dialog that is displayed.

The original object is replaced by an instance of

thesubstituteobject.

3. To see the original object in the viewport, turn

off In Viewport. To see the original object in

the final rendering, turn off In Render. To

permanently disable the substitution, delete the

modifier.

To use an externally referenced object as a

substitute:

1. Select an object, and then apply the Substitute

modifier.

2. Click Select XRef Object.

3. Use the Open File dialog to designate the file

thatcontainsthesubstituteobjectyouwantto

use.

4. Use the XRef Merge dialog (page 3–406) to

designatetheobjecttouseasasubstitute.

The original object is replaced by an instance of

thesubstituteobject.

To see the original object in the viewport, turn

off Display group > In Viewport. To see the

original object in the final rendering, turn off

Display group > In Render. To permanently

disable the substitution, delete the modifier.

Interface

Modifier Stack

Substitute Object—At this sub-object level, you can

transform the substitute object without affecting

the original, changing the offset distance between

them. Otherwise, transforming the substitute

object affects both equally.

Parameters rollout

Display group

In Viewport—Replaces the original object with the

substitute in the viewports.

In Render—Replaces the original object with the

substitute when you render the scene.

Object—This editable text field displays the name

of the substitute object and lets you rename it.

Note: The name, if changed, appears only on the

Modifypanelatthecurrentstacklevel. Thatis,

the name is local to the current application of the

Substitute modifier.

Type (label)—Displays the type of object used as

a substitute. If you use a scene object, the type is

shown as Instance. If you use an XRef object, the

type is shown as XRef Object. Appears only after

you designate a substitute object.

842 Chapter 8: Modifiers

Substitute Assignment group

Pick Scene Object—Lets you choose an object from

thecurrentscenetobeinstancedasasubstitutefor

the selected object. Click Pick Scene Object, and

then select the object from a viewport to use as a

substitute.IfInViewportisonandRetainCurrent

Position is off (the default settings), an instance

(page 3–957) of the substitute object appears in the

place of the original object.

The mouse cursor changes to a plus sign (+) when

over an object that can be used as a substitute.

You cannot use an object to which the Substitute

modifier is applied as a substitute object.

Use the button labeled "..." to the right of Pick

Scene Object to select a substitute object using the

Select Objects dialog (page 1–78), which in this case

is titled Select Substitute Object. From the dialog’s

list window, click the object to use as a substitute,

and then click Select.

Select XRef Object—Lets you specify an object to

be instanced from an external scene file as the

substitute. Click Select XRef Object, and then, in

theOpenFiledialog,openthefilecontainingthe

substitute object. On the XRef Merge dialog (page

3–406), select the substitute object and then click

OK. Objects to which the Substitute modifier is

applied don’t appear in the list.

Note: Because the object used as a substitute is

referenced from an external file, any changes

totheobjectinthatfileapplytothesubstitute

after reloading. For example, if you apply a Bend

modifiertothesubstituteobjectintheexternal

file, then the next time you load the file containing

the object with the Substitute modifier, it appears

bent.

Retain Local Rotation/Scale—When on, rotates or

scalesthenewobjectinstanceinthesameplaceas

the substitute object you select. In this case, the

two objects coincide in space, and you must move

one to see both. When off, 3ds Max positions the

instanced substitute object in the same place as the

objectcontainingtheSubstitutemodifier.

Yo u m u s t s p e c i f y t h e R e t a i n L o c a l R o t a t i o n / S c a l e

settingbeforedesignatingthesubstituteobject.

Changing this setting afterward has no effect.

Surface Modifier

Select a spline object. > Modify panel > Modifier List >

Object-Space Modifiers > Surface

Select a spline object. > Modifiers menu > Patch/Spline

Editing > Surface

Procedures (page 1–846) Interface (page 1–847)

The Surface modifier generates a patch surface

based on the contours of a spline network. A patch

is created wherever the segments of the interwoven

splines form a three- or four-sided polygon.

The Surface modifier and the CrossSection

modifier, taken together, are referred to as Surface

Tools. They allow you to create complex or

organic surfaces, like the fuselage of a plane, or a

three-dimensional character.

Applying the Surface modifier to create a patch surface.

The CrossSection modifier (page 1–623) can be

applied before the Surface modifier to connect

splines representing cross-sections. Once the basic

spline network is created and the Surface modifier

is applied, the model can be adjusted by editing

Surface Modifier 843

the splines using an Edit Spline modifier below the

Surface modifier in the modifier stack. Since the

Surface modifier creates a Patch surface, further

refinements can be made to the patch model by

adding an Edit Patch modifier above the Surface

modifier.

The bulk of the work in using Surface tools to

model lies in creating and editing splines in an

Editable Spline or Edit Spline modifier. One of

the benefits to modeling using splines and Surface

Tools is the ease of editing the model. At almost

any stage of modeling, you can add a nostril, ear,

limb or body by simply adding splines. This lends

itself to a free-form approach to organic modeling:

you have a mental image of what you want, then

youcreateandeditthesplinenetworkuntilyou

are satisfied.

Note: 3ds Max offers a simplified workflow for this

modeling technique, using Edit/Editable Spline

and the Edit Patch modifier. For details, see To

create a patch object using the Cross Section and

Spline Surface tools: (page 1–639).

Surface Modifier Basics

1. Create a spline object.

2. MakesurethattheSplineverticesformvalid

three-sided or four-sided, closed regions.

Vertices on splines that cross one another

should be coincident.

To make spline vertices coincident, drag

vertices over each other with 3D Snap turned

on. 3D Snap must have the Vertex or End Point

option turned on. With 3D Snap turned on,

you can snap to vertices on existing splines

as you create new splines. You can also select

vertices and use the Fuse option in an Editable

Spline to make vertices co-incident.

3. Use the CrossSection modifier to connect

spline cross-sections, unless you plan on

manually creating the splines that connect the

model’s cross-sections.

4. Apply the Surface modifier, then adjust the weld

threshold to generate a patch object. Ideally all

spline vertices that will form a patch surface

are coincident; the Threshold parameter allows

patchcreationevenifverticesarenotquite

coincident.

5. Optionally, add an Edit Patch modifier to edit

the patch surface.

Tip: Make a reference copy of the spline object,

then add the Surface modifier to the copy and

edit the original. As you edit the original spline

object, patches appear on the reference copy

as splines form three-or four-sided shapes.

This allows you to view a shaded surface as you

model.

You can take this a step further and add a

Mirror modifier to the reference copy. As you

createsplinesforonesideofaheadorbody,the

reference copy displays an entire model.

Modeling with Surface Tools

There are two primary methods of using the

Surface modifier to create patch models.

• Create splines that represent a model’s cross

sections, add the CrossSection modifier to

connect the cross sections, and apply the

Surface modifier to create the patch surface.

This approach works for models like the body

of an airplane.

Alternatively, use the editable spline Cross

Section function to connect the cross sections,

and then use the editable patch Spline Surface

tools to create the surface.

• Create a network of splines manually, and then

apply the Surface modifier or editable patch

Spline Surface tools to create the patch surface.

This approach works for modeling a face or

body of a character.

844 Chapter 8: Modifiers

Modeling Examples

Scooter: Splines form cross sections of the body

One method of using Surface Tools is to create

splines that represent a model’s cross sections,

then the CrossSection and Surface modifiers are

applied to create the patch surface.

Face: Spline network based on front and profile reference

images

Two intersecting texture-mapped polygons are

used as a reference to create a network of splines

manually. Drawing lines on the physical sculpture

is used as an added visual aid to position the

splines in this case. The CrossSection modifier

is not necessary if you create the spline network

manually.

Surface Modifier 845

Rhino head: Spline network begins with the profile.

In the top image, the head of a rhinoceros is

modeled by creating a network of splines. The

first spline created is the profile of the rhino;

other splines are added and edited to complete

the model. In this case, a reference copy of the

spline model was created and a Surface modifier

was added to the copy.

As the spline network is edited, the patch surface

of the reference copy is updated dynamically.

This allows you to view a shaded patch model as

you manipulate the spline network, any surface

anomalies can be spotted and corrected. Sequence of images showing the spline network, the patches

created by the Surface modifier, and a shaded view of an alien

character.

Additional Details

• Splines are initially created using the tools in

Create panel > Shapes > Splines > Object Type

846 Chapter 8: Modifiers

rollout, such as Line (page 1–270),Circle (page

1–273),Arc (page 1–274),andSection (page

1–282). Splines can also be created using the

Create Line command in an Editable Spline or

and Edit Spline modifier.

• Splines are edited by applying an Edit Spline

modifier to the selected spline object or editing

parameters in an Editable Spline. Editing

splines changes the patch surface created by the

Surface modifier.

• To add splines to a spline object, use the Attach

command in the Edit Spline modifier.

• Within a spline object, splines need not be

continuous. A spline object may consist of

ten splines, for example. As long as the spline

vertices are coincident, or close enough for the

Threshold parameter in the Surface modifier to

weld them together, a surface will be generated.

Procedures

Example: Understanding valid splines:

1. In the Top viewport, use Create

panel > Shape > NGon to create three NGons:

a three-sided, four-sided, and five-sided NGon,

each about 100 units wide.

2. Make sure that all the splines form one

object. DothisbyapplyinganEditSpline

modifier to one of the NGons and using Attach

to add the remaining NGon objects.

3. Choose Modifiers menu > Patch/Spline Editing

> Surface from the Modifier List.

Notice that the three- and four-sided splines

formed patches but the five-sided NGon did

not. Thefive-sidedsplinedoesnotforma

three- or four-sided closed region. To make it

a valid spline, a line must bisect the NGon to

form a three- and four-sided region.

4. In the stack display, choose the Edit Spline

modifier again. Turn on Create Line on the

Geometry rollout, and create a line that bisects

the five-sided NGon.

Thestartandendpointsofthelineshould

overlap the vertices on the NGon. Being exact

is not critical; the Threshold parameter fuses

spline vertices based on their proximity.

Surface Modifier 847

5. In the stack display, choose the Surface modifier

again. Now the five-sided NGon is a patch

object, consisting of a quad patch and a tri

patch.

Note: Ifthesplineobjectdidnotturninto

a patch, increase the Surface modifier’s

Threshold parameter until the patches appear.

Example continued: Adjusting the shape of the

spline:

1. In the stack display, expand the Edit Spline

modifier’s hierarchy, and choose the Vertex

sub-object level.

2. In the Top viewport, select the top vertex of the

five-sided NGon.

Two vector handles are displayed. These

handles can be moved on any axis.

3. Tur n on Sel ect and Move on the to olbar,

then drag the handles around in the Top

viewport.

Theshapeofthesplinechanges.

4. Belowthestackdisplay,turnontheShow

End Result On/Off Toggle button.

The patch changes shape to fit the spline.

Interface

Spline Options group

Threshold—Determines the overall distance that is

used to weld the vertices of the spline object. All

vertices/vectors within the threshold of each other

are treated as one. Threshold uses units set in the

Units Setup dialog (page 3–848).

Note: Spline control handles are also treated as

vertices, so setting high Threshold levels can

produce unexpected results.

Flip Normals—Flips the normal direction of the

patch surface.

Remove Interior Patches—Removes interior faces

of an object that you would not normally see.

Thesearethefacescreatedwithinthecapsor

otherinteriorpatchesofthesametypeofaclosed

polygon.

Use only selected segs—Only segments selected in

theEditSplinemodifierwillbeusedbytheSurface

modifier to create patches.

Note: SegmentSub-Objectdoesnothavetobeleft

onintheEditSplinemodifier.

848 Chapter 8: Modifiers

Patch Topology group

Steps—The steps field spinner determines how

many steps are used between each vertex. The

higher the step count, the smoother the curve you

will get between vertices.

SurfDeform Modifier

Select an object. > Modify panel > Modifiers List >

Object–Space Modifiers > SurfDeform

Select an object. > Modify panel > Modifiers List >

World–Space Modifiers > SurfDeform

Select an object. > Modifiers menu > Animation Modifiers

>SurfDeform

Select an object. > Modifiers menu > Animation Modifiers

> SurfDeform (WSM)

The SurfDeform modifier works the same way as

the PatchDeform modifier (page 1–754),except

that it uses a NURBS Point or CV surface instead

of a patch surface to apply surface deformation.

SurfDeform shapes how the snake rests.

Procedure

To use the SurfDeform modifier:

1. Select an object.

2. From the Modify panel > Modifier List,

choose Object–Space Modifiers > SurfDeform.

3. On the Parameters rollout, click Pick Surface.

4. Select a NURBS Point or CV surface.

5. Deform the object by adjusting the controls in

the Surface Deform group.

Interface

See PatchDeform modifier (page 1–754) for a

description of the user interface.

Sweep Modifier

Modify panel > Select a 2D shape. > Modifier List > Sweep

Select a 2D shape. > Modifiers menu > Patch/Spline

Editing > Sweep

The Sweep modifier is used to extrude a

cross-section along an underlying spline or

NURBS curve path. It is similar to the Loft

compoundobjectbutisamoreefficientmethod.

The Sweep modifier allows you to work with a

series of pre-made cross-sections such as angles,

channels and wide flanges. You can also use your

ownsplinesorNURBScurvesascustomsections

Sweep Modifier 849

that you create in 3ds Max or import from other

MAX files.

Note: This modifier is similar to the Extrude

modifier in that once the Sweep is applied to a

spline, the end result is a 3D mesh object. Both

sections and paths can contain multiple splines or

multiple NURBS curves.

This modifier is very useful for creating structural

steel details, molding details, or in any situation

where you need to extrude a section along a spline.

Examples of extrusions created with the Sweep modifier

Procedure

To apply the Sweep modifier to a line:

1. Create a line in the perspective viewport.

2. Apply the Sweep modifier to the line.

Thelinetakesontheshapeofanangled

extrusion.

3. OpentheBuilt-InSectionlistandchoosea

different section.

Thelinenowhasthenewsectionsweptalong

its length.

To use a custom section with the Sweep modifier:

1. CreatealineandasixsidedNGoninthe

perspective viewport.

2. Apply the Sweep modifier to the line.

Thelinetakesontheshapeofanangled

extrusion.

3. Click the Use Custom Section radio button.

The line displays as a line again.

4. Click the Pick button in the Custom Section

Types g roup and choose the NGon in the

viewport.

Thehexagonalshapeissweptalongtheline’s

length.

Note: If you find that you need to rescale

the Custom Section shape, the effects of

using a transform like Select and Squash or

Non-Uniform Scale will not be reflected when

swept. You need to apply an XForm modifier

(page 1–959) to the section and then rescale the

XForm modifier’s gizmo.

Interface

Section Type rollout

Use Built-In Section—Choose this to use one of the

included stock sections.

850 Chapter 8: Modifiers

Built-In Section group

Built-In Section list—Clicking the arrow button for

this list displays common structural sections.

•Angle section—Sweeps a

structural angle section along the spline.

Default section=Angle.

•Bar section—Sweeps a 2D

rectangular section along the spline.

•Channel section—Sweeps a

structural channel section along the spline.

•Cylinder section—Sweeps a

solid 2D circle section along the spline.

•Half Round section—This

section produces a half round extrusion along

the spline.

•Pipe section—Sweeps a

circular hollow tube section along the spline.

•Quarter Round section—Useful

for molding details; this section produces a

quarter round extrusion along the spline.

•Tee section—Sweeps a

structural tee section along the spline.

•Tube section—Based on a

square, this sweeps a hollow tube section along

the spline. Similar to the Pipe section.

•Wide Flange section—Sweeps a

structural wide flange section along the spline.

Use Custom Section—Choose this if you’ve created

your own section or there is another shape in the

current scene or in another MAX file that you’d

like to use as your section.

Note: Using a 2D shape as the Sweep modifier’s

custom section will yield the most predictable

results. If using a 3D shape as the custom section,

forthemostpredictableresultsthebaseobject

shouldbeastraightlineorsmoothpathlikea

circle or an arc. The same applies to custom

sections made up of multiple splines. You’ll get the

bestresultsattainedbyinsuringthatallverticesin

all the shapes are coplanar.

Custom Section Types group

Section—Displaysthenameofthecustomshape

you’ve selected. This area is blank until you select

acustomshape.

Note: You can switch from a custom section to

a built-in section and back without having to

pickthecustom-sectionshapeagainfromthe

viewports.

Pick—If the custom shape you want to use is visible

in the viewport, click the Pick button and then

pick the shape directly from the scene.

Pick Shape—Click the Pick Shape button to open

the Pick Shape dialog (page 1–857).Thisdialog

shows only valid shapes that are currently in the

scene.

Extract—Lets you create a new shape in the scene

that is either a copy, instance, or reference of the

current custom section. Opens the Extract Shape

dialog (page 1–858).

Merge From File—Lets you choose a section that is

stored in another MAX file. Opens the Merge File

dialog (page 1–859).

Sweep Modifier 851

Note: When you use the Merge from File option,

you will not be able to Undo your work.

Move—Sweeps the custom section along the

specified spline. Unlike the Instance, Copy and

Referenceswitches,theselectedsectionismoved

to the spline. Editing the original shape in the

viewports has no effect on the Sweep mesh.

Copy—Sweeps a copy of the selected section along

the specified spline.

Instance—Sweeps an instance (page 3–957) of the

selected section to the specified spline.

Reference—Sweeps a reference (page 3–1002) of the

selected section along the specified spline.

Note: When using Instance or Reference, adding

modifiers to or editing the original section in the

viewports will change the Sweep mesh.

Interpolation rollout (Sweep modifier)

The controls in the Interpolation rollout of the

Sweep modifier work exactly as they do for any

other spline. However, the controls affect only the

built-in section you’ve chosen, not the spline that

the section is swept along.

Note: If you want to change the interpolation

settings of the underlying spline path, you need to

select the path object in the modifier stack.

In general, all spline curves are divided into small

straight lines that approximate a true curve. The

number of divisions between each vertex on the

spline are called steps. The more steps used, the

smoother the curve appears.

Note: The Interpolation rollout is only active when

built-in sections are used.

Left: The quarter-round section is set to zero steps.

Right: The same section on the right is set to four steps.

Steps—Sets the number of divisions, or steps,

the program uses between each built-in section’s

vertices. Splines with tight curves require many

steps to look smooth while gentle curves require

fewer steps. Range=0 to 100.

Spline steps can be either adaptive or manually

specified. The method used is set by the state of

theAdaptiveswitch. Themainuseformanual

interpolation is to create splines for morphing

or other operations where you must have exact

control over the number of vertices created.

Optimize—When on, removes unneeded steps

from straight segments in the spline. Default=on.

Note: Optimize is not available when Adaptive is

on.

Left: Optimize is on for the left-hand sweep.

Right: Optimize is off for the right-hand sweep.

Adaptive—When on, automatically sets the

number of steps for each spline to produce a

smooth curve. Straight segments always receive

0 steps. When off, enables manual interpolation

control using Optimize and Steps. Default=off.

852 Chapter 8: Modifiers

Parameters rollout

The Parameters rollout is context-sensitive and

displays different settings depending upon the

built-in section you’ve chosen to sweep along a

spline. For example, more complex sections such

as the Angle have seven settings that you can

change whereas the Quarter-Round has only one

setting.

Parameters rollout – Angle

Length—Controls the height of the vertical leg of

the angle section. Default=6.0.

Width—Controls the width of the horizontal leg of

the angle section. Default=4.0.

Thickness—Controls the thickness of both legs of

the angle. Default=0.5.

Sync Corner Fillets—When turned on, Corner

Radius 1 controls the radius of both the interior

and exterior corners between the vertical and

horizontal legs. It also maintains the thickness of

the section. Default=off.

Corner Radius 1—Controls the exterior radius

between the vertical and horizontal legs of the

angle section. Default=0.0.

Corner Radius 2—Controls the interior radius

between the vertical and horizontal legs of the

angle section. Default=0.5.

Edge Radii—Controls the interior radius at the

outermost edges of the vertical and horizontal

legs. Default=0.0.

Note: Be cautious when adjusting these settings.

There are no constraining relationships between

them. Therefore, it’s possible to set an inside

radius(CornerRadius2)thatisgreaterthanthe

length or width of the legs of the angle.

Parameters rollout – Bar

Length—Controls the height of the bar section.

Default=6.0.

Width—Controls the width of the bar section.

Default=6.0.

Corner Radius—Controls the radius of all four

corners of the section. Default=0.0.

Parameters rollout – Channel

Length—Controls the height of the vertical web of

the channel section. Default=12.0.

Width—Controls the width of the top and bottom

horizontal legs of the channel section. Default=4.0.

Sweep Modifier 853

Thickness—Controls the thickness of both legs of

the channel. Default=0.5.

Sync Corner Fillets—When on, Corner Radius 1

controls the radius of both the interior and exterior

corners between the vertical web and horizontal

legs. It also maintains the thickness of the section.

Default=off.

Corner Radius 1—Controls the exterior radius

between the vertical web and horizontal legs of the

channel. Default=0.0.

Corner Radius 2—Controls the interior radius

between the vertical web and horizontal legs of the

channel. Default=0.5.

Note: Be cautious when adjusting these settings.

There are no constraining relationships between

them. Therefore, it’s possible to set an inside

radius(CornerRadius2)thatisgreaterthanthe

length of the web or width of the legs.

Parameters rollout – Cylinder

Radius—Controls the radius of the cylinder

section. Default=3.0.

Parameters rollout – Half-Round

Radius—Controls the radius of the half round

section. Default=3.0.

Parameters rollout – Pipe

Radius—Controls the exterior radius of the pipe

section. Default=3.0.

Thickness—Controlsthethicknessofthewallof

the pipe. Default=0.5.

Parameters rollout – Quarter-Round

Radius—Controls the radius of the quarter round

section. Default=3.0.

Parameters rollout – Tee

Length—Controls the height of the vertical web of

the tee section. Default=12.0.

Width—Controls the width of the flange crossing

the tee section. Default=6.0.

Thickness—Controlsthethicknessoftheweband

flange. Default=0.5.

Corner Radius—Controls the radius of the two

interior corners between the vertical web and

horizontal flange of the section. Default=0.5.

Note: Be cautious when adjusting these settings.

There are no constraining relationships between

them. Therefore, it’s possible to set a radius

(Corner Radius) that is greater than the length of

the web or width of the flange.

854 Chapter 8: Modifiers

Parameters rollout – Tube

Length—Controls the height of the tube section.

Default=6.0.

Width—Controlsthewidthofthetubesection.

Default=6.0.

Thickness—Controls the thickness of the walls of

the tube. Default=0.5.

Sync Corner Fillets—When turned on, Corner

Radius 1 controls the radius of both the interior

and exterior corners of the tube. It also maintains

the thickness of the section. Default=on.

Corner Radius 1—Controls the radius of all four

interior and exterior corners of the section.

Default=0.8.

IfSyncCornerFilletsisturnedoff,CornerRadius

1 controls the radius of the four exterior corners

of the tube.

Corner Radius 2—Controls the radius of the four

interior corners of the tube. Default=0.0.

Corner Radius 2 is only available when Sync

Corner Fillets is turned off.

Note: Take care when adjusting these settings.

There are no constraining relationships between

them. Therefore, it’s possible to set an inside

radius(CornerRadius2)thatisgreaterthanthe

length and width of the sides.

Parameters rollout – Wide Flange

Length—Controls the height of the vertical web of

thewideflangesection.Default=14.0.

Width—Controls the width of the horizontal

flanges crossing the section. Default=8.0.

Thickness—Controlsthethicknessoftheweband

flanges. Default=0.5.

Corner Radius—Controls the radius of the four

interior corners between the vertical web and

horizontal flanges. Default=0.5.

Note: Be cautious when adjusting these settings.

There are no constraining relationships between

them. Therefore, it’s possible to set a radius

(Corner Radius) that is greater than the length of

the web or width of the flanges.

Sweep Modifier 855

Sweep Parameters rollout

Mirror On XZ Plane—When turned on, the section

is flipped vertically in relation to the spline to

which the Sweep modifier is applied. Default=off.

Left: The object shows the default state.

Right: The object has Mirror On XZ Plane turned on.

Mirror On XY Plane—When turned on, the section

is flipped horizontally in relation to the spline to

which the Sweep modifier is applied. Default=off.

Left: The object shows the default state.

Right: The object has Mirror On XY Plane turned on.

XOffset—Lets you shift the horizontal position of

the section relative to the underlying spline.

Left: The section is in the default position.

Right: The section is offset –10 relative to the underlying spline

path (red).

YOffset—Lets you shift the vertical position of the

section relative to the underlying spline.

Left: The section is in the default position.

Right: The section is offset –10 relative to the underlying spline

path (red).

Note: The X and Y Offsets let you fine tune the

section position while the Pivot Alignment settings

allow for a quick initial adjustment.

856 Chapter 8: Modifiers

Angle—Allows you to rotate the section relative

to the plane on which the underlying spline is

located.

Left: The section is in the default position.

Right: The section is rotated 30 degrees.

Smooth Section—Provides a smooth surface

around the perimeter of the section that is swept

along the underlying spline. Default=on.

Smooth Path—Provides a smooth surface along

the length of the underlying spline. This type

of smoothing is useful when for curved paths.

Default=off.

Left: Smoothing the path

Right: Smoothing the section

Rear: Smoothing both path and section

Pivot Alignment—This is 2D grid that helps

youalignthesectiontotheunderlyingspline

path. Selecting one of the nine buttons shifts the

section’s pivot around the spline path.

Note: When none of the Pivot Alignment buttons

is depressed the pivot point of the section is used

as the alignment point.

Align Pivot—When turned on, a 3D representation

of the Pivot Alignment grid appears in the

viewport. You only see the 3x3 alignment grid,

the section and the underlying spline path. Once

you’re satisfied with the alignment, turn off the

Align Pivot button or right-click to see the sweep.

Align Pivot grid showing control points (in orange)

superimposed over a duplicate sweep.

Banking—When on, sections rotate about the

spline path whenever the path bends and changes

height in the path’s local Z axis. Banking is ignored

ifthesplinepathis2D.Whenoff,shapesdonot

rotateabouttheirZaxisastheytraversea3Dpath.

Default=on.

Union Intersections—If working with multiple

intersecting splines, like a grid, turn this switch

on to produce cleaner intersections with fewer

artifacts.

Note: Union Intersections takes additional time to

compute the intersections, so leave this switch off if

you don’t have intersecting splines. Furthermore,

this setting will only calculate intersections of

Pick Shape Dialog 857

separate splines contained in one shape object.

So a figure X (separate, intersecting splines) will

be properly intersected, but a figure 8 (a single,

self-intersecting spline) will not.

Gen. Mapping Coords—Applies mapping

coordinates to the extruded object. Default=off.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625).Default=on.

Generate Mapping IDs—Assigns different material

IDstothesidesandthecapsofthesweep.

Specifically, if both Use Section IDs and Use Path

IDs are both turned off the sides receive ID 3, the

front cap receives ID 1, and the rear cap receives

ID 2. Default=on.

Use Section IDs—Uses the material ID values

assigned to segments of the section that is swept

along the underlying spline (page 1–266) or

NURBS (page 1–1078) curve. Default=on.

By applying an Edit Spline modifier (page 1–680)

to a Custom Section, different material IDs can

be assigned to each segment that makes up the

section.

Note: Built-in sections do not benefit from the Use

Section IDs switch.

Use Path IDs—Uses the material ID values assigned

to segments of the underlying spline or curve

sub-objects in the underlying curve.

By applying an Edit Spline modifier to the

underlying spline, each segment can be assigned

its own material ID.

Note: Use Section IDs and Use Path IDs does not

control the material IDs of the front and rear caps

of the sweep.

Left: Materials set by path IDs

Right: Materials set by section IDs

Rear: Section and Path IDs turned off

Pick Shape Dialog

Select a shape that already has a Sweep modifier applied.

> Modify Panel > Section Type rollout > Turn on Use

Custom Section > Click Pick Shape.

The Pick Shape dialog is displayed when you select

a custom shape in the scene. This shape can be any

of the splines, extended splines or NURBS curves.

Procedure

To pick a custom section using the Pick Shape dialog:

1. In the viewport, pick a shape you want to use as

the underlying path of the sweep.

2. From the Modifiers menu, open the

Patch/Spline Editing menu and choose Sweep.

3. OntheModifypanel,turnonUseCustom

SectionintheSectionTypesrollout.

4. Click the Pick Shape button.

The Pick Shape dialog is displayed.

5. Select a shape in the list and click the Pick

button.

858 Chapter 8: Modifiers

Interface

If the scene contains multiple shapes, you can

chooseonlyoneshapetobesweptalongthe

underlying spline in your scene.

All/None/Invert—Thesebuttonsareunavailablein

the Pick Shape dialog.

Display Subtree—Displays the shapes in the list in

an indented format. Turn this switch off to activate

the Sort group options.

Select Subtree—Unavailable in the Pick Shape

dialog.

Case Sensitive—When on, distinguishes between

uppercaseandlowercaseforitemnames.

Sort group

Options allow you to sort the list on the left.

When Display Subtree is on, these options are not

available.

Alphabetical—Sorts from A at the top to Z at the

bottom.

By Type—Whilethisswitchisavailable,ithasno

effect because only shapes are listed in the Pick

Shape dialog.

By Color—Sorts by object wireframe color. The

sorting order is arbitrary; shapes of the same color

are grouped together.

By Size—This switch is available but has no effect

on sorting.

List Types group

Because this dialog is specifically designed to work

with the Sweep modifier, the List Type group is

locked to only display Shapes. Shapes is the only

switch in this group that affects what is displayed.

All/None/Invert—These buttons alter the pattern of

activation of the List Types options.

Selection Sets group

The Selection Sets group is unavailable in the Pick

Shape dialog.

Extract Shape Dialog

Select a shape that already has a Sweep modifier using a

Custom Section applied. > Modify Panel > Section Type

rollout > Click Extract.

The Extract functionality allows you to recover

custom cross-sections that may have been deleted

from the scene. As long as you have a sweep in

thescenethatusesthedeletedshapeasacustom

cross-section, Extract can be used to restore it to

the scene.

In a large scene that has many objects and shapes,

you can also use Extract if you want to quickly

duplicate a section used by the sweep instead of

searching for the original shape you used as the

section.

Procedures

To extract a section from a sweep:

1. In the viewport, pick a swept shape.

Merge File (Sweep Modifier) 859

2. Open the Modify panel and click the Extract

button from the Custom Section Types group

of the Section Types rollout.

The Extract Shapes dialog is displayed.

3. Enteranewnamefortheextractedsectionif

you want.

4. Specify the type of cloned shape you want

extracted; a copy, an instance or a reference.

5. Click OK.

Interface

Name—This field shows the default name that

will be given to the extracted section. By

default, it always has the naming convention of

Sweep_ShapeName01,Sweep_ShapeName02,etc.

For example, if your missing section was named

Roman-Ogee, the extracted shape will be named

Sweep_Roman-Ogee01.

Copy—Places a copy of the extracted section at the

global origin (0,0,0).

Instance—Places an instance of the extracted

section at the global origin.

Reference—Places a reference of the extracted

section at the global origin.

MergeFile(SweepModifier)

Select a shape that already has a Sweep modifier using a

Custom Section applied. > Modify Panel > Section Type

rollout > Click Merge From File.

The Merge File dialog for the Sweep modifier

appears when you click the Merge From File

button. Merge From File allows you to bring

shapes or section profiles from other scene files

into the current scene.

Automatic Unit Conversion

When Respect System Units in Files is turned on in

the Units Setup dialog (page 3–848) in the System

Unit Scale group, merged objects from a file with

a different scene-unit scale are scaled to maintain

their correct size in the new scene.

Note: If Respect System Units is off (which is

not recommended), a 10–foot square tube that

was created in a 1 unit = 1 foot scene becomes a

10-inch square tube in a 1 unit = 1 inch scene.

Resolving Conflicts When Merged

Shapes Have the Same Name

When an incoming shape has the same name as a

shape in the scene, an alert gives you the following

options:

Merge—Merges the incoming shape using the

nameinthefieldattheright. Toavoidhaving

two shapes with the same name, type a new name

before proceeding.

Skip—This button is unavailable when Merge

From File is used in the Sweep modifier.

Delete Old—This button is unavailable when Merge

From File is used in the Sweep modifier.

Auto Rename—The merged shape’s name is left

intact except it is given a numeric suffix that is one

number higher than any duplicates found in the

scene.

Cancel—Cancels the merge operation.

Interface

Inthestandardfileselectordialog,selectthescene

file to merge. You can only merge MAX files.

860 Chapter 8: Modifiers

This dialog has the same functionality as the

Merge File dialog (page 3–463) that appears when

youchooseFilemenu>Mergewithoneminor

exception.

IfyouchooseaMAXfilethatdoesnotinclude

a valid 2D shape that can be used as a custom

section, you will receive a warning.

Once the scene file is selected, you can choose the

shape or section profile that you want the Sweep

modifier to use.

If the scene file you selected contains multiple

shapes, keep in mind that you can only choose one

shapetobesweptalongthesplineinyourcurrent

scene.

All/None/Invert—Thesebuttonsareunavailable

when Merge From File is used in the Sweep

modifier.

Display Subtree—Displays the shapes in the list in

an indented format. Turn off this option to activate

the Sort group options.

Select Subtree—This switch is unavailable when

Merge From File is used in the Sweep modifier.

Case Sensitive—Distinguishes between uppercase

and lowercase for item names.

Sort group

Options allow you to sort the list on the left. If

theDisplaySubtreeswitchison,theseoptionsare

not available.

Alphabetical—Sorts from A at the top to Z at the

bottom.

Symmetry Modifier 861

By Type—This switch is unavailable when Merge

From File is used in the Sweep modifier.

By Color—Sorts by object wireframe color.

List Types group

Because this dialog is specifically designed to work

with the Sweep modifier, the List Type group

is locked to display only Shapes. None of the

switches or buttons in this group can be activated.

Symmetry Modifier

Modify panel > Make a selection. > Modifier List >

Symmetry

Make a selection. > Modifiers menu > Mesh Editing >

Symmetry

The Symmetry modifier is especially useful when

modeling characters or building ships or aircraft.

This modifier is unique in that it allows you to

perform three common modeling tasks:

• Mirror a mesh about the X, Y, or Z plane.

• Slice a mesh, removing parts if necessary.

• Automatically weld vertices along a common

seam.

Examples of using Symmetry with different mirror axes or by

moving the mirror gizmo

You can apply the Symmetry modifier to any

geometry, and you can animate the mirror or

slicing effect by animating the modifier’s gizmo.

When the Symmetry modifier is applied to a mesh,

any edits you make to the original half of the mesh

below the Symmetry modifier in the stack also occur

interactively to the other half. For an example, see

the second procedure, below.

Note: The Symmetry modifier converts patch and

NURBS objects to mesh format in the modifier

stack; editable poly and editable mesh objects

remain in their original format.

Procedure

Example: To apply the Symmetry modifier to an

object:

1. Create a teapot in the Perspective viewport.

862 Chapter 8: Modifiers

2. Apply the Symmetry modifier.

The teapot appears to have two spouts.

3. In the modifier stack, click the +button to see

the Mirror gizmo, and then select Mirror.

The mirror gizmo acts as a slice plane when it is

within the boundaries of the object

4. With Mirror Axis set to X, click and drag the

mirror gizmo along the X axis.

Dragging right slices more of the teapot until

there is nothing visible. Dragging left causes

a second teapot to appear. When the mirror

gizmo is moved beyond the boundaries of the

original mesh, it acts as a mirror plane showing

you two complete teapots.

Example: To perform box modeling with the

Symmetry modifier:

1. Create a box primitive in the Perspective

viewport, and then convert it to Editable Poly

or apply the Edit Poly modifier.

2. If necessary, press F4 to activate Edged Faces

display mode in the Perspective viewport.

3. Apply the Symmetry modifier.

Other than the new edge loop created by the

modifier, the box’s appearance doesn’t change,

because it’s already symmetrical.

4. In the modifier stack, click the +button to see

the Mirror gizmo, and then click Mirror.

5. In the Front viewport, with Mirror Axis set to

X, drag the Mirror gizmo in either direction

on the X axis.

Onlytheleft-handboxmoves;thisisthecopy

createdbytheSymmetrymodifier.

6. Position the Mirror near the left side of the

originalbox,sothetwocopiesaremerged.

7. Inthemodifierstack,gototheEdit/Editable

Poly level and access the Vertex sub-object level.

If you no longer see the Symmetry copy of

thebox,turnonShowEndResult.

With Show End Result on, you might see an

orange wireframe “cage” that shows the edges

of original object. This is on by default for

editable poly objects, but off by default for

theEditPolymodifier.TheShowCagetoggle

for editable poly objects is on the Subdivision

Surface rollout, and for Edit Poly it’s on the Edit

Poly Mode rollout.

You can also see that only the vertices of the

original object are visible; the vertices of the

symmetry object can’t be transformed directly.

8. Moveoneofthevisibleverticesontheright

side of the box.

As you do so, its counterpart on the symmetry

object moves symmetrically in real time.

As you can see, the Symmetry modifier not

only creates a mirror image of an object for

you, but also lets you manipulate both sides in

tandem in an intuitive way.

9. Now move one of the vertices on the left side of

the box, where it overlaps the symmetry box.

Because you’re also moving its counterpart

vertex, which is invisible, the apparent result

is motion of the corresponding point on the

plane of symmetry. This isn’t as intuitive as

moving a non-overlapping point, so for best

results, position the Mirror gizmo so as to cause

as little overlap as possible; that way you can

edit the center vertices directly on the plane of

symmetry.

Interface

Modifier Stack

Taper Modifier 863

Mirror—The placement of the mirror gizmo

delegateshowtheobjectwillbeaffectedby

symmetry. You can move or rotate, as well as

animate the gizmo.

For more information on the stack display, see

Modifier Stack (page 3–760).

Parameters rollout

Mirror Axis group

X, Y, Z—Specify the axis about which the symmetry

takes place. You can see the effect in the viewport

as you select the axis.

Flip—Turn on Flip if you want to flip the direction

of the symmetry effect. Default=off.

Slice Along Mirror—TurningonSliceAlongMirror

causes the mirror gizmo to act as a slice plane

when it in located inside the boundaries of a mesh.

When the gizmo is outside the boundaries of a

mesh, the symmetrical reflection is still treated as

part of the originating mesh. If Slice Along Mirror

is turned off, the symmetrical reflection is treated

as a separate element of the originating mesh.

Default=on.

Weld Seam—Turning on Weld Seam assures

that the vertices along the mirror axis will be

automaticallyweldediftheyarewithinthe

Threshold. Default=on.

Threshold—The value of the Threshold setting

delegates how close vertices can be before being

automatically welded together. Default=0.1.

Note: Setting the Threshold value too high may

result in some distortion of the mesh, especially

when the mirror gizmo is outside the boundaries

of the originating mesh.

Taper Modifier

Modify panel > Make a selection. > Modifier List >

Object-Space Modifiers > Taper

Make a selection. > Modifiers menu > Parametric

Deformers > Taper

The Taper modifier produces a tapered contour

by scaling both ends of an object’s geometry; one

endisscaledup,andtheotherisscaleddown.You

can control the amount and curve of the taper on

twosetsofaxes.Youcanalsolimitthetapertoa

section of the geometry.

Examples of default tapers

864 Chapter 8: Modifiers

Interface

Modifier Stack

Gizmo—At this sub-object level, you can

transform and animate the gizmo like any other

object, altering the effect of the Taper modifier.

Trans lat ing the g izmo trans late s its center an equa l

distance. Rotating and scaling the gizmo takes

place with respect to its center.

Center—At this sub-object level, you can translate

and animate the center, altering the Taper gizmo’s

shape, and thus the shape of the tapered object.

For more information on the stack display, see

Modifier Stack (page 3–760).

Moving the modifier’s center changes the gizmo shape.

Parameters rollout

The Taper modifier provides two sets of axes and a

symmetry setting in the Taper Axis group box of

the Parameters rollout. As with other modifiers,

these axes refer to the Taper gizmo, not the object

itself.

Taper group

Amount—Theextenttowhichtheendsarescaled.

Amount is a relative value with a maximum of 10.

Curve—Applies a curvature to the sides of the Taper

gizmo, thus affecting the shape of the tapered

object. Positive values produce an outward curve

along the tapered sides, negative values an inward

curve.At0,thesidesareunchanged.Default=0.

Taper Axis group

Primary—Thecentralaxisorspineofthetaper:X,

Y, or Z . Defau lt=Z .

Effect—The axis, or pair of axes, indicating the

direction of the taper from the primary axis. The

available choices are determined by the choice of

primary axis. The effect axis can be either of the

Tessellate Modifier 865

two remaining axes, or their combination. If the

primaryaxisisX,theeffectaxiscanbeY,Z,orYZ.

Default=XY.

Symmetry—Produces a symmetrical taper around

theprimaryaxis.Ataperisalwayssymmetrical

around the effect axis. Default=off.

Changing the effect axis changes the effects of the modifier.

Limits group

The taper offset is applied between the upper and

lower limits. The surrounding geometry, while

unaffected by the taper itself, is moved to keep the

object intact.

Limit Effect—Enables upper and lower limits for

the taper effect.

Upper Limit—Sets the upper limit boundaries in

world units from the taper center point, beyond

whichthetapernolongeraffectsthegeometry.

Lower Limit—Sets the lower limit boundaries in

world units from the taper center point, beyond

whichthetapernolongeraffectsthegeometry.

Left: Limiting the effect of the taper.

Right: Using symmetry.

Tessellate Modifier

Modify panel > Make a selection. > Modifier List >

Object-Space Modifiers > Tessellate

Make a selection. > Modifiers menu > Mesh Editing >

Tessellate

The Tessellate modifier subdivides faces in the

current selection. It’s particularly useful for

smoothing curved surfaces for rendering, and

creating additional mesh resolution for other

modifiers to act on. If no sub-object selection has

been passed up the stack, then the entire object

is tessellated. This modifier lets you tessellate

polygonal faces; the tessellation available in an

editable mesh (page 1–1009) does not (it works on

faces, even at the Polygon selection level).

Top: Original mesh object

Lower left: Tessellation applied to polygonal facets

Lower right: Tessellation applied to triangular faces

Warning: Tessellating an object retains any UVW

mapping that exists in the stack before the Tessellate

modifier. However, in some cases, the mapping might

be altered, depending on the type of mapping and the

tessellation settings. Typically, this happens when the

applied mapping uses extreme compound angles.

866 Chapter 8: Modifiers

Interface

Parameters rollout

Operate On—Specifies whether to perform the

tessellationonthetriangularfacesoronthe

polygonal facets (the areas bound by visible edges).

Faces—Treats the selection as a set of

triangular faces.

Polygons—Divides the polygonal facets.

For example, using the polygonal method on the

side of a box results in cross-shaped edges using

the Edge method, and X-shaped edges using the

Face-Center method.

Edge—Divides the face or polygon from its center

tothemiddleofeachedge. Whenappliedtoa

triangular face, it also divides unselected faces that

share edges with the selected faces.

Face-Center—Select this to divide the face from the

center to the vertex corners.

Tension—Determines if the new faces are flat,

concave, or convex after Edge tessellation. A

positive value rounds faces by pushing vertices

outward. A negative value creates concave faces

by pulling vertices inward. A setting of 0 keeps

the faces flat. Also works with the Edge/Polygon

method. Default=25.

Iterations group

Iterations—Specifieshowmanytimesthe

tessellation is applied. For example, setting

Iterations to 2 is similar to clicking the Tessellation

button twice in an editable mesh, except that you

can easily back out at any time while using the

Tessellate modifier. If you want more than four

iterations, apply another Tessellate modifier.

Update Options group

Always—Tessellation is updated whenever the base

geometry changes.

When Rendering—Tessellation is updated only

when the object is rendered.

Manually—Tessellation is updated only when the

user clicks Update.

Update—Click to update tessellation. Has no effect

unlessManuallyistheactiveupdateoption.

Trim/Extend Modifier

Select a shape. > Modify panel > Modifier List >

Object-Space Modifiers > Trim/Extend

Select a shape. > Modifiers menu > Patch/Spline Editing

>Trim/Extend

The Trim/Extend modifier is used primarily

to clean up overlapping or open splines in a

multi-spline shape so that lines meet at a single

point. As with the Fillet/Chamfer modifier, this

modifier operates on the splines at the sub-object

level in the shape. When applied to a selection of

multiple splines, Trim/Extend works as it does on

a single spline.

Trim/Extend Modifier 867

To trim, you need intersecting splines. Click

the portion of the spline you want to remove.

Thesplineissearchedalongitslengthuntilit

hits an intersecting spline, and deleted up to

theintersection.Ifthesectionintersectsatboth

ends, the entire section is deleted up to the two

intersections. If the section is open on one end and

intersects at the other, the entire section is deleted

uptotheintersectionandtheopenend. Ifthe

section is not intersected, nothing happens.

To extend, you need an open spline. The end of

thesplinenearestthepickedpointisextended

until it reaches an intersecting spline. If there is

no intersecting spline, nothing happens. Curved

splines extend in a direction tangent to the end of

the spline. If the end of a spline lies directly on a

boundary (an intersecting spline), then it looks for

an intersection further along.

Note: As of version 3 of 3ds Max, Edit/Editable

Spline (page 1–289) includes interactive

trim/extend functions. The only reason to use this

modifier is to apply it at a specific location on the

stack.

Before and after initial use of Trim

Before and after second use of Trim on above spline

Before and after using Extend

Procedure

To trim a shape using the Trim/Extend modifier:

1. Create an open Line shape (page 1–270) in the

form of roughly concentric overlapping circles.

2. Apply the Trim/Extend modifier.

3. Click Pick Locations.

4. Click the inner spline sections of the concentric

shape to trim them away, or click the open

spline segment to extend the spline.

Interface

Pick Locations—Click to turn on Pick mode.

While in this mode, the mouse cursor changes in

appearance when over part of the spline that can

be affected by the Trim/Extend modifier. Click

to either trim or extend the spline, based on the

settings below. Default=Auto.

868 Chapter 8: Modifiers

Operation group

Specifies the type of operation that’s performed on

the selected spline.

Auto—When this is chosen, a Trim is first looked

for and, if not found, an Extend is attempted. In

most cases, a Trim will occur when Auto is chosen.

An Extend can occur, however, in cases where

an open spline exists without intersecting other

splines.

Trim Only—Performs only trims. Turn on Pick

Locations, and then click the spline section you

want to trim.

Extend Only—Performs only extends. Click Pick

Locations, and then select the open spline section

you want to extend.

Infinite Boundaries—For the purposes of

calculating intersections, turn this on to treat open

splines as infinite in length. For example, this lets

you trim one linear spline against the extended

length of another line that it doesn’t actually

intersect.

Note: As the number of open splines in the shape

increases, the chance of finding an intersection,

when using Infinite Boundaries, increases as well.

This can produce results you might not have

expected because of projected spline intersections

you hadn’t considered, particularly if you’re in

Auto mode. For predictable results, avoid using

Auto mode when using Infinite Boundaries.

Intersection Projection group

These options specify how the Trim and Extend

functions determine a valid intersection.

View—Projectsthelinesontotheactiveviewport,

andjudgestheintersectionsaccordingly. These

are the intersections as you see them in the active

viewport.

Construction Plane—Projects the lines onto the

current construction plane.

None (3D)— Considers only true intersections as

the splines exist in 3D space. They must physically

intersect to be considered.

TurboSmooth Modifier

Make a selection. > Modify panel > Modifier List >

Object-Space Modifiers > TurboSmooth

The TurboSmooth modifier, like MeshSmooth

(page 1–722), smoothes geometry in your scene.

The differences between the two are as follows:

•TurboSmoothisconsiderablyfasterand

more memory-efficient than MeshSmooth.

TurboSmooth also has an option for Explicit

Normals, unavailable in MeshSmooth. See

Explicit Normals.

• TurboSmooth provides a limited subset of

MeshSmooth functionality. In particular,

TurboSmooth uses a single smoothing method

(NURMS), can be applied only to an entire

object, has no sub-object levels, and outputs a

triangle-mesh object.

TurboSmooth lets you subdivide the geometry

whileinterpolatingtheanglesofnewfacesat

corners and edges, and apply a single smoothing

group to all faces in the object. The effect of

TurboSmooth is to round over corners and edges

asiftheyhadbeenfiledorplanedsmooth.Use

TurboSmooth parameters to control the size and

number of new faces, and how they affect the

surface of the object.

TurboSmooth Modifier 869

Angular model (shown on the right) changed to a smooth

model with TurboSmooth

Yo u u s e Tu r b o S m o o t h t o p r o d u c e a N o n - Un i f o r m

Rational MeshSmooth object (NURMS for short).

A NURMS object is similar to a NURBS object in

that you can set different weights for each control

vertex.

TurboSmooth’seffectismostdramaticonsharp

corners and least visible on rounded surfaces.

Use TurboSmooth on boxes and geometry with

crisp angles. Avoid using it on spheres and similar

objects.

Tip: To better understand TurboSmooth, create

a sphere and a cube and apply TurboSmooth to

both. The cube’s sharp corners become rounded,

while the sphere’s geometry becomes more

complex without changing shape significantly.

Procedures

To apply TurboSmooth to an object:

1. Select an angular object.

2. Apply the TurboSmooth modifier.

3. Set TurboSmooth parameters.

Example: To compare the speeds of TurboSmooth

and MeshSmooth:

1. Create a Box primitive with Length/Width/

Height Segs=3.Converttheboxtoeditable

poly format.

2. Apply MeshSmooth.

3. Set Iterations=5.

This creates a heavily subdivided mesh.

4. Go to the Editable Poly > Vertex sub-object

level,andturnonShowEndResult.

5. Move one of the corner vertices outward.

There is a significant delay before you see the

result of the Move operation.

6. Perform a few more Move operations on

vertices, observe the delays, and then undo

(Ctrl+Z ) repeatedly until the MeshSmooth

modifier goes away.

7. Apply TurboSmooth.

8. Set Iterations=5.

This creates a heavily subdivided mesh.

9. Go to the Editable Poly > Vertex sub-object

level,andturnonShowEndResult.

10.Move one of the corner vertices outward.

Theresponseismuchfaster.

870 Chapter 8: Modifiers

Interface

Main group

Lets you set the basic parameters for TurboSmooth.

Iterations—Sets the number of times the mesh is

subdivided. When you increase this value, each

new iteration subdivides the mesh by creating

smoothly interpolated vertices for every vertex,

edge, and face from the iteration before. The

modifier then subdivides the faces to use these

new vertices. Default=1. Range=0 to 10.

From right to left, effect of increasing the number of iterations

Note: Be cautious when increasing the number of

iterations. The number of vertices and faces in an

object (and thus the calculation time) can increase

as much as four times for each iteration. Applying

four iterations to even a moderately complex

object can take a long time to calculate.

Render Iter(ation)s—Lets you choose a different

number of smoothing iterations to be applied to the

object at render time. Turn on Render Iters, and

then use the field to its right to set the number of

render iterations.

Isoline Display—When on, the software displays

only isolines: the object’s original edges, before

smoothing. The benefit of using this option is

a less cluttered display. When off, the software

displays all faces added by TurboSmooth; thus,

higher Iterations values result in a greater number

of lines. Default=off.

Warning: If you’re going to collapse the model or apply

further modifiers after the TurboSmooth, you should

first turn off Isoline Display. Unlike in MeshSmooth,

isoline display is achieved by making all the edges

"invisible," joining large groups of faces together in

single "polygons." This can be especially problematic

if you apply a PolyObject-based modifier afterwards,

because all vertices in the interior of these "polygons"

will be lost.

Turn To Mesh Modifier 871

Explicit Normals—Lets the TurboSmooth modifier

compute normals for its output, which is

faster than the standard method 3ds Max uses

to compute normals from the mesh object’s

smoothing groups. Default=off.

Consequently, if the TurboSmooth result is used

directly for display or rendering, it will generally be

faster with this option turned on. Also, the quality

of the normals will be slightly higher. However, if

you apply any topology-affecting modifiers, such

as Edit Mesh, above the TurboSmooth modifier,

these normals will be lost and new ones computed,

potentially affecting performance adversely. So

it’simportanttoremembertoturnonExplicit

Normals only if no modifiers change the object

topology after TurboSmooth takes effect.

Surface Parameters group

Lets you apply smoothing groups to the object and

restrict the smoothing effect by surface properties.

Smooth Result—Applies the same smoothing

group to all faces.

Separate by Materials—Prevents the creation of

new faces for edges between faces that do not share

Material IDs.

Separate by Smoothing Groups—Prevents the

creation of new faces at edges between faces that

don’tshareatleastonesmoothinggroup.

Update Options group

Setsmanualorrender-timeupdateoptions,for

situations where the complexity of the smoothed

object is too high for automatic updates. Note that

you can also set a greater degree of smoothing to

be applied only at render time, in the Main group.

Always—Updates the object automatically

whenever you change any TurboSmooth settings.

When Rendering—Updates the viewport display of

theobjectonlyatrendertime.

Manually—Tur ns on manual up dating . When

manual updating is selected, any settings you

changedon’ttakeeffectuntilyouclicktheUpdate

button.

Update—Updates the object in the viewport

to match the current TurboSmooth settings.

Works only when you choose When Rendering

or Manually.

Turn To Mesh Modifier

Make a selection. > Modify panel > Modifier list >

Object-Space Modifiers > Turn to Mesh

Make a selection. > Modifiers menu > Conversion > Turn

to Mesh

The Turn To Mesh modifier lets you apply object

conversions in the modifier stack. As another

example, you could use this modifier on a

sophisticated patch model to which you might

want to apply a tool that applies only to meshes,

or convert the object to a mesh. Also, when you

apply general-purpose modifiers such as Normal,

Material, or UVW Map, it can be helpful to

explicitly control the type of object beforehand.

Note: Converting from one object type to another

causes a complete caching in the modifier stack.

When you have large objects in your scene, this

can take up a lot of space. For example, an object

that starts as a mesh, converts to a patch, and then

back to a mesh takes three times as much space as

ameshthatjusthasordinarymodifierslikeBend

or UVW Map applied.

Tip: Turn To Mesh can be useful on meshes,

allowing you to invert a selection or change the

selection level in a modifier that doesn’t depend

on topology.

872 Chapter 8: Modifiers

Procedure

Example: To translate a patch sub-object selection

to a polygon sub-object selection:

1. Select a patch model and turn on wireframe

mode.

2. In the stack display, choose the Patch sub-object

level.

3. Select a patch on the model.

4. Apply the Turn To Mesh modifier from the

Modifier list.

5. In the stack display, right-click the Turn To

MeshmodifierandchooseCollapseAll.

6. Click Yes in the dialog that warns you about the

possibility of undesirable topological effects.

7. In the stack display (or in the selection rollout),

choose the Polygon sub-object mode. The

original patch selection has been preserved.

Interface

Parameters rollout

Use Invisible Edges—When on, uses invisible

edges to represent polygons. When off, produces

a completely triangulated mesh with all visible

edges. Default=on.

Sub-object Selections group

These options control the selection of sub-objects.

Preserve—Passes the sub-object selection up the

stack. For example, if you have an object that you

have converted to an editable mesh, and you’ve

selectedapolygon,thenwhenyouapplyaTurn

To Mesh modifier, the polygon remains selected.

Default=on.

Clear—Clears the sub-object selection so that

nothing is selected. Default=off.

Invert—Inverts the sub-object selection. All

sub-objects not currently selected are selected, and

all sub-objects currently selected are deselected.

Default=off.

Include Soft Selection—Affects the action of

sub-object Move, Rotate, and Scale functions.

When these are on, 3ds Max applies a spline curve

deformation to unselected vertices surrounding

the transformed selected sub-object. This provides

a magnet-like effect, with a sphere of influence

around the transformation. Use this when you

want to preserve the soft selection from beneath.

Forexample,ifUseSoftSelectionisonwhenyou

select vertices on an editable poly, and you apply

Turn To Mesh with Include Soft Selection on, then

the same soft selection will apply to the mesh

vertices. Default=on.

For more information, see Soft Selection Rollout

(page 1–963).

Selection Level group

These options set the sub-object selection level for

passing up the rest of the stack.

From Pipeline—Uses the equivalent of whatever

the input object uses (patch level becomes face

level, and so on). For example, if you create a box,

convert it to an editable patch in patch mode, and

apply a Turn To Mesh modifier to it, 3ds Max

passes a sub-object selection in patch mode up

Turn To Patch Modifier 873

the stack. The Turn To Mesh modifier takes the

sub-object patch selection into account and selects

the mesh faces that derive from the patch selection.

Object—Uses Object as the selection level for

passing up the rest of the stack.

Edge—Uses Edge as the sub-object selection level

for passing up the rest of the stack.

Vertex—Uses Vertex as the sub-object selection

level for passing up the rest of the stack.

Face—Uses Face as the sub-object selection level

for passing up the rest of the stack.

Turn To Patch Modifier

Make a selection. > Modify panel > Modifier List >

Object-Space Modifiers > Turn to Patch

Make a selection. > Modifiers menu > Conversion > Turn

to Patch

The Turn To Patch modifier lets you apply object

conversions in the modifier stack. Using the

Turn To Patch modifier, you can fine-tune the

conversion process such as turning quads into

quad patches.

Note: Converting from one object type to another

causes a complete caching in the modifier stack.

When you have large objects in your scene, this

can take up a lot of space. For example, an object

that starts as a mesh, converts to a patch, and then

back to a mesh takes 3 times as much space as a

mesh which just has ordinary modifiers like Bend

or UVW Map applied.

Tip: Turn To Patch can be useful on patches,

allowing you to invert a selection or change the

selectionlevelinamodifierthatdoesn’tdepend

on topology.

Procedure

Example: To collapse to quad patches:

1. Create a chamfer box in wireframe: Create

panel > Geometry > Extended Primitives >

Object Type rollout > ChamferBox button.

2. Apply a Turn To Patch modifier: Modify panel

> Modifier List > Turn To Patch.

3. Right-click the stack display and choose

Collapse All.

Interface

Quads to Quad Patches—Turns quad faces i n

meshes or polymeshes into quad patches.

Note: Whenyouturnthisoptionoff,3dsMax

triangulates quads when the Turn To Patch

modifier is applied to a mesh or poly object.

Sub-object Selections group

These options control the selection of sub-objects.

Preserve—Passes the sub-object selection up the

stack. For example, if you have an object that you

have converted from an editable mesh, and you’ve

selectedapolygon,thenwhenyouapplyaTurn

To Patch modifier, the patch, which is derived

from the selected polygon, remains selected.

Default=on.

874 Chapter 8: Modifiers

Clear—Clears the sub-object selection so that

nothing is selected. Default=off.

Invert—Inverts the sub-object selection. All

sub-objects not currently selected are selected, and

all sub-objects currently selected are deselected.

Default=off.

Include Soft Selection—When these are on,

3ds Max applies a spline curve deformation to

unselected vertices surrounding the transformed

selectedsub-object.Thisprovidesamagnet-like

effect, with a sphere of influence around the

transformation. Use this when you want to

preserve the soft selection from beneath. For

example, if Use Soft Selection is on when you select

vertices on an editable mesh, and you apply Turn

ToPatchwithIncludeSoftSelectionon,thenthe

same soft selection will apply to the patch vertices.

Default=on.

For more information, see Soft Selection Rollout

(page 1–963).

Selection Level group

These options set the sub-object selection level for

passing up the rest of the stack.

From Pipeline—Uses the equivalent of whatever

the input object uses (patch level becomes face

level, and so on.). For example, if you create a

box,convertittoaneditablemeshinfacemode,

and apply a Turn To Patch modifier to it, 3ds Max

passes a sub-object selection in patch mode up

the stack. The Turn To Patch modifier takes the

sub-object face selection into account and selects

the patches that derive from the face selection.

Object—Uses object as the selection level for

passing up the rest of the stack.

Edge—Uses edge as the sub-object selection level

for passing up the rest of the stack.

Vertex—Uses vertex as the sub-object selection

level for passing up the rest of the stack.

Patch—Uses patch as the sub-object selection level

for passing up the rest of the stack.

Turn To Poly Modifier

Make a selection. > Modify panel > Modifier List >

Object-Space Modifiers > Turn to Poly

Make a selection. > Modifiers menu > Conversion > Turn

to Poly

The Turn To Poly modifier lets you apply object

conversions in the modifier stack. Also, when

you apply the general-purpose modifiers, such as

Normal,Material,orUVWMap,itcanbehelpful

to explicitly control the type of object beforehand.

When you use Turn To Poly, you’re joining

triangles into polygons, so you might need to

have restrictions on polygon convexity, size, and

planarity. All conversions from patches produce

quadsandtriangles.Conversionsfrommeshescan

producearbitrarilylargepolygons.Meshpolygons

are controlled as usual by joining together faces

that are separated by invisible edges.

Note: Converting from one object type to another

causes a complete caching in the modifier stack.

When you have large objects in your scene, this

can take up a lot of space. For example, an object

that starts as a mesh, converts to a patch, and then

back to a mesh takes three times as much space as

a mesh that has only ordinary modifiers like Bend

or UVW Map applied.

Tip: TurnToPolycanbeusefulonpolymeshes,

allowing you to invert a selection or change the

selection level in a modifier that doesn’t depend

on topology.

Turn To Poly Modifier 875

Procedure

Example: To prevent interior vertices from being

passed up the stack:

1. Create an NGon in wireframe mode: Create

panel>Shapes>Splines>ObjectTyperollout

>NGon.

2. Open the Modify panel and convert the

NGon to an editable mesh by right-clicking

the stack display and choosing Convert to >

Editable Mesh.

3. In the stack display (or in the Selection rollout),

choose the Polygon sub-object mode.

4. Choose Edit > Object Properties to display the

Object Properties dialog.

5. Turn on Vertex Ticks. Choose OK to close the

dialog.

6. Click Cut under the Edit Geometry rollout, and

makeacutfromonesideoftheNGontothe

other. Notice that an interior vertex now exists.

Note: DoingthisonanNGondoesn’talways

generate an interior vertex.

7. Apply the Turn To Poly modifier: Modify panel

> Modifier List > Turn To Poly. Notice the

interior vertex clears.

Interface

Parameters rollout

Keep Polygons Convex—Does not join across edges

if the resulting polygon would not be convex.

"Convex" means that you can connect any two

points in the polygon with a line that doesn’t go

outside the polygon. A polygon is not convex if

you can draw a line between vertices and that line

lays outside of the polygon.

Problems that can occur with non-convex

polygons include the fact that changes in the

geometry of the input object can result in a

different topology for the Turn To Poly result.

For instance, in a box, if you drag one of the top

cornersacrossthemiddleofthetopface,thebox

becomes non-convex. Turn To Poly would then

seethisastwotrianglesinsteadofonequad,and

the number of points in the result would change.

Limit Polygon Size—Limits the number of sides to a

polygon so that the surface is better defined. For

example, you might want to produce a polymesh

of triangles and quads, or one composed of all

876 Chapter 8: Modifiers

triangles, rather than joining together more than

two triangles into pentagons, hexagons, and so on.

Max Size—The maximum number of sides to a

polygon.

Require Planar Polygons—Creates polygons

composed of flat planes. Does not join faces

togetheracrossanedgeiftheedgehasasharper

angle than the threshold listed.

Threshold—Controls the threshold of the angle

between polygonal planes.

Remove Mid-Edge Vertices—Eliminates divisions

that result from intersections with invisible edges.

Sub-object Selections group

These options control the selection of sub-objects.

Preserve—Passes the sub-object selection up the

stack. For example, if you have an object that you

have converted to an editable mesh, and you’ve

selected a polygon, then when you apply a Turn

To Poly modifier, the polygon remains selected.

Default=on.

Clear—Clears the sub-object selection so that

nothing is selected. Default=off.

Invert—Inverts the sub-object selection. All

sub-objects not currently selected are selected, and

all sub-objects currently selected are deselected.

Default=off.

Include Soft Selection—Affects the action of

sub-object Move, Rotate, and Scale functions.

When these are on, 3ds Max applies a spline curve

deformation to unselected vertices surrounding

the transformed selected sub-object. This provides

a magnet-like effect, with a sphere of influence

around the transformation. Use this when you

want to preserve the soft selection from beneath.

Forexample,ifUseSoftSelectionisonwhenyou

select vertices on an editable mesh, and you apply

Turn To Poly with Include Soft Selection on, then

thesamesoftselectionwillapplytothepolymesh

vertices. Default=on.

For more information, see Soft Selection Rollout

(page 1–963).

Selection Level group

These options set the sub-object selection level for

passing up the rest of the stack.

From Pipeline—Uses the equivalent of whatever

the input object uses (patch level becomes face

level, and so on). For example, if you create a box,

convertittoaneditablemeshinfacemode,and

apply a Turn To Poly modifier to it, 3ds Max passes

a sub-object selection in face mode up the stack.

The Turn To Poly modifier takes the sub-object

face selection into account and selects the polygons

that derive from the face selection.

Object—Uses object as the selection level for

passing up the rest of the stack.

Edge—Uses edge as the sub-object selection level

for passing up the rest of the stack.

Vertex—Uses vertex as the sub-object selection

level for passing up the rest of the stack.

Face—Uses face as the sub-object selection level

for passing up the rest of the stack.

Twist Modifier

Modify panel > Make a selection. > Modifier List >

Object-Space Modifiers > Twist

Make a selection. > Modifiers menu > Parametric

Deformers > Twist

The Twist modifier produces a twirling effect (like

wringingoutawetrag)inanobject’sgeometry.

You can control the angle of the twist on any of

three axes, and set a bias that compresses the twist

effect relative to the pivot point. You can also limit

the twist to a section of the geometry.

Twist Modifier 877

Note: When you apply the Twist modifier, the Twist

gizmo’scenterisplacedattheobject’spivotpoint,

and the gizmo lines up with the object’s local axis.

Left: Original model

Middle: A moderate twist

Right: An extreme twist

Procedures

To twist an object:

1. Select an object and apply Twist.

2. On the Parameters rollout, set Twist Axis to

X, Y, or Z. This refers to the axis of the Twist

gizmo, not the axis of the selected object.

You can switch between axes at any time,

but only one axis setting is carried with the

modifier.

3. Set the angle of the twist. Positive values

produceaclockwisetwist,negativevalues

acounterclockwisetwist. Anangleof360

produces a complete revolution.

Theobjecttwiststothisamountbeginningat

the lower limit (by default, the location of the

modifier’s center).

4. Set the bias of the twist.

A positive value compresses the twist at the

end away from the pivot point, a negative value

toward the pivot point.

To limit the twist:

1. Turn on Limits group > Limit Effect.

2. Set values for the upper and lower limits. These

are distances in current units above and below

the modifier’s center, which is at zero on the

gizmo’s Z axis. The upper limit can be zero or

positive, the lower limit zero or negative. If the

limits are equal, the result is the same as turning

off Limit Effect.

The twist offset is applied between these limits.

The surrounding geometry, while unaffected

by the twist itself, is moved to keep the object

intact.

3. At the sub-object level, you can select and move

the modifier’s center.

The limit settings remain on either side of the

center as you move it. This lets you relocate the

twist area to another part of the object.

Interface

Modifier Stack

Gizmo—You can transform and animate the

gizmo like any other object at this sub-object

level, altering the effect of the Twist modifier.

Translating the gizmo translates its center an equal

distance. Rotating and scaling the gizmo takes

place with respect to its center.

Center—You can translate and animate the center

at this sub-object level, altering the Twist gizmo’s

shape, and thus the shape of the twisted object.

For more information on the stack display, see

Modifier Stack (page 3–760).

878 Chapter 8: Modifiers

Twist Parameters rollout

Twist group

Angle—Determines the amount of twist around

the vertical axis. Default=0.0.

Bias—Causes the twist rotation to bunch up at

either end of the object. When the parameter is

negative, the object twists closer to the gizmo

center. When the value is positive, the object twists

more away from the gizmo center. When the

parameter is 0, the twisting is uniform. Range=100

to -100. Default=0.0.

Twist Axis group

X/Y/Z—Specify the axis along which the twist will

occur. This is the local axis of the Twist gizmo.

Default=Z.

Limits group

Applies the twist effect only to vertices that lie

between the lower and upper limits. The two

spinners represent distance along the gizmo’s Z

axis (Z=0 is at the gizmo’s center). When they are

equal, it is the same as disabling the twist effect.

Limit Effect—ApplieslimitconstraintstotheTwist

modifier.

Upper Limit—Sets the upper limit for the twist

effect. Default=0.

Lower Limit—Sets the lower limit for the twist

effect. Default=0.

Unwrap UVW Modifier

Select an object. > Modify panel > Modifier List >

Object-Space Modifiers > Unwrap UVW

Select an object. > Modifiers menu > UV Coordinates >

Unwrap UVW

The Unwrap UVW modifier is used to assign

planar maps to sub-object selections, and to edit

the UVW coordinates of those selections. Existing

UVW coordinates on an object can be unwrapped

andeditedaswell.Mapscanbeadjustedtothe

proper fit on a Mesh, Patch, Polygon, HSDS, or

NURBS model.

The Unwrap UVW modifier can be used as

a self-contained UVW mapper and UVW

coordinate editor, or in conjunction with the

UVW Map modifier (page 1–922).Ifyouuse

Unwrap UVW in conjunction with the UVW

Map modifier, it is usually so you can use a

mapping method unavailable in Unwrap UVW,

such as Shrink Wrap. You can animate UVW

coordinates by turning on the Auto Key button and

transforming the coordinates at different frames.

Note: After applying the Unwrap UVW modifier,

open mapping edges, or seams, appear on the

modified object in the viewports. This helps you

visualize the locations of mapping clusters on the

object surface. You can toggle this feature and set

thelinethicknesswiththeDisplay setting (page

1–885).

Unwrap UVW Modifier 879

Open UVW mapping edges (seams) shown on head model in

viewport

Self-Contained Mapper and UVW

Coordinate Editor

Rather than creating a large modifier stack by

first making a sub-object selection of faces and

then adding a UVW Map modifier to specify the

type of mapping, you can use the Unwrap UVW

modifier to do both. You can select sub-object

vertices,edges,orfaces/patches,storesub-object

selections as named selections, map them using

planar and other methods, and then edit the UVW

coordinates for each sub-object selection, all from

within the Unwrap UVW modifier. For example,

to map a character’s face using three planar maps,

you could create three sub-object selections of

the front and sides of the face, planar-map the

selections individually, and then edit the UVW

coordinates for each selection, all without leaving

the Unwrap UVW modifier.

What Happens to Existing UVW

Coordinates

When you apply the Unwrap UVW modifier, it

stores the object’s current mapping coordinates

in the modifier. If the object has no mapping

coordinates, the modifier creates new ones by

applying planar mapping. If the incoming data on

the stack is a face-level or polygon-level sub-object

selection, then only the UVWs for the selected

faces are brought into the modifier, and the

modifier’s sub-object levels are unavailable.

When the modifier is evaluated, its UVWs are

reassigned to the object flowing down the pipeline.

So if the UVWs upstream are changed, the changes

won’tmakeitpasttheUnwrapUVWmodifier.If

the Unwrap modifier is operating on a selection of

faces, then upstream changes to unselected faces

willstillbeabletoflowpasttheUnwrapmodifier.

Native Support for HSDS, Polygon

Object, and Patch mapping

Unwrap UVW supports polygon faces and Bezier

quad and tri patch faces in addition to triangles

and quads.

Below is a sample of what the various face types

look like based on the incoming type. For HSDS

and Poly surfaces, the basic interface remains the

same, except that the maximum number of sides

per polygon increases from 4 to over two billion.

HSDS supports only one level of detail: the level at

which the mapping was. Patches have handles on

nonlinear vertices. These handles work just like

regular patch handles.

880 Chapter 8: Modifiers

Pinning Textures

Although not its primary purpose, you can use the

Unwrap UVW modifier to freeze UVWs. You can

apply mapping after an animated deformation and

have the mapping stick to the object. For example,

you can apply Unwrap UVW above a Morpher

modifier in the modifier stack, apply planar maps

and edit the UVW coordinates. The mapping will

follow the morphing geometry.

Procedures

To use Unwrap UVW with the non-Pelt mapping

methods:

This is a general overview of using the basic

Unwrap UVW tools available on the Modify panel

and the Edit UVWs dialog (page 1–888).Unwrap

UVW provides many additional tools, particularly

in the editor.

1. Apply the modifier and a texture-mapped

material to an object. Set the material to display

in the viewports, set at least one viewport to

be shaded (e.g., press F3 to toggle between

Wireframe and Smooth+Highlights), and, if

necessary, turn off Shade Selected Faces (press

F2 ) for that viewport so the texture mapping

is visible.

2. GototheFacesub-objectleveloftheUnwrap

modifier and make a selection of contiguous

faces. You’ll use a single mapping type on this

selection.

Within the single modifier, you can apply as

many different mappings as you like to different

face selections.

3. It is recommended that you name the selection

using the Named Selection Sets (page 1–83)

function on the main toolbar. This makes it easy

to return to the selection set in the viewports

for subsequent mapping adjustments. For

example, if you’re working on a character mesh,

you could use names such as right arm.

Important: Be sure to press Enter after typing the

selection set name.

4. On the Map Parameters rollout, click the

appropriate mapping type button (Planar, Box,

etc.) and then adjust the gizmo using any

combination of the transform tools (Move,

Rotate, Scale) in the viewports and the Align

buttons (Align X, etc.) on the Map Parameters

rollout.

Tip: Youcanoftensavetimebystartingwith

the Best Align command and then adjusting

manually from there.

After each adjustment of the mapping gizmo,

the texture display in the viewports updates to

reflect the mapping changes, as do the green

seam lines on the object that show where the

open edges lie (depending on the object shape

and mapping type; the seam lines don’t change

with Planar mapping). To cause the viewports

to update in real time, turn on Edit UVWs

dialog > Constant Update.

You can also open the editor (Parameters

rollout>Edit)toviewthechangesinthe

generated texture coordinates as you adjust the

gizmo.

5. Click the mapping type button again to turn it

off and exit mapping for this face selection.

6. Continue making and naming selections and

applying mapping until the entire mesh is

mapped. Use the green seam display lines

Unwrap UVW Modifier 881

as a guide. If you don’t see them, make sure

Parameters rollout > Display Group > Thin

Seam Display or Thick Seam Display is active.

7. Open the Edit UVWs dialog (page 1–888)

(Parameters rollout > Edit).

By default, the editor displays a checkered

background. To view the map in the material

on the object, you need to change a setting.

8. At the right end of the editor upper toolbar,

click the drop-down list that currently reads

CheckerPattern (Checker) and choose the map

that’s applied to the material.

The map appears as the background.

By default, all the UVW clusters display. To

work on one cluster at a time, you need to filter

the UVWs.

9. On the Edit UVWs dialog > lower toolbar,

click Filter Selected Faces.

At this point, only faces you select in the

viewport will appear in the editor. You can

select them directly, or choose a named

selection set. In the next step, you’ll use the

latter method.

10.On the main toolbar, open the Named Selection

Sets drop-down list, and choose one of your

named selection sets.

The viewports show the selection as active, and

the UVW coordinates for the selection appear

in Edit UVWs window.

11. In the Edit UVWs window, select and

move a UVW face.

In the viewports, the texture slides around the

selected portion of the object mesh.

12.Choose a different selection set and edit its

UVW coordinates.

Again, the viewport display reflects the editing

changes.

13.Inaviewport,dragtoselectagroupoffaces

by region.

The faces’ UVW coordinates display in the

Edit UVWs window. This is another way of

choosing what you want to work on.

As you can see, from within the Unwrap UVW

modifier you can assign multiple mapping

typestodifferent,namedfaceselections,and

then edit the UVW coordinates to fine-tune

map placement on the geometry.

To perform quick planar mapping:

You’ll find the Quick Planar Map controls on the

Map Parameters rollout of the Unwrap UVW

modifier.

1. Apply Unwrap UVW to an object.

2. Go to the Face sub-object level.

3. Select the faces to map.

The Quick Map gizmo appears juxtaposed over

thefaceselection,showingthedefaultAveraged

Normals mapping.

4. If you prefer a different orientation for the

mapping, choose X, Y, or Z.

5. Click Quick Planar Map to apply the mapping.

To map additional faces, proceed from step 3.

To use Pelt mapping:

Pelt mapping is useful for mapping organic models

such as characters and creatures. This feature gives

you a special editor with a virtual stretcher and

springs that let you easily “pull” a complex UVW

mapflat. Theresultmorecloselyapproximates

the actual shape of the object than other mapping

methods, making it easier to create convincing

texture maps.

1. Apply Unwrap UVW to the object.

2. Makeanedgeselectionthatyoucanlater

converttopeltseams. It’snotabsolutely

necessary to do this at this point, but the

882 Chapter 8: Modifiers

Edge sub-object level of the modifier gives

you handy Ring and Loop tools as well as

buttonstoexpandandshrinktheedgeselection

automatically.

Tip: Creating the pelt seams is more art than

exact science. Visualize the way the mesh

should lie flat, and then select edges so the UVs

can split in a natural way.

3. Go to the Face sub-object level of the modifier

andselectthefacestopeltmap. Toselect

all faces, press Ctrl+A .Ifyou’renot

pelt-mappingtheentiremesh,youcanskipthis

step.

4. Ifyoumadeanedgeselectioninstep2,click

Map Parameters rollout > Edge Sel To Pelt

Seams. Thiscopiestheedgeselectiontopelt

seams. If you didn’t specify the pelt seams at

theEdgesub-objectlevelofthemodifier,turn

on Edit Seams or Point To Point Seam and then

specify seams in the viewports.

Thepeltseamsappearonthemeshasbluelines.

5. If you’re not pelt-mapping the entire mesh, you

probably want to map a region enclosed by a

peltseam.Clickafacewithintheregiontomap

and then click Exp. Face Sel to Pelt Seams.

This expands the face selection to the full size

of the region defined by the pelt seam.

Note: Yo u c a n p e l t m a p o n l y o n e s u c h r e g i o n

at a time.

6. Turn on Pelt, and then adjust the planar

mapgizmothewayyouwant.Youcandoso

manually or automatically with one of the Align

buttons on the Map Parameters rollout. For a

vertical humanoid character facing the Y axis,

try using the Align X button. The ideal result in

theEditUVWsdialog(seestep7)isanoutline

of the object as viewed from the front or back.

Tip: For best results with cylindrical areas such

as limbs, align the plane at right angles to the

seam of the area to pelt map. For example, if the

seam runs down the back side of a leg, orient

the plane along a line running from the right

side to the left side of the leg.

7. On the Map Parameters rollout, click Edit Pelt

Map.

This opens the Edit UVWs dialog, if necessary,

and displays the pelt UVWs and the stretcher

in the editor window. By default, the stretcher

appearsasacircleofpointscenteredonthe

pelt UVWs, with only the stretcher vertices

selected. Also, springs, represented as dashed

lines, connect the stretcher points and the

pelt-seam vertices.

8. If necessary, rotate the Pelt UVs so that the

mapping coordinates are oriented correctly,

and rotate the stretcher so that the springs form

a symmetrical pattern. Typically you’re looking

for left-right symmetry.

Tip: Using Ctrl +click adds to the existing

selection, as in the viewports.

9. On the Pelt Map Parameters dialog, click

Simulate Pelt Pulling.

Thespringscontract,pullingthepeltseam

vertices toward the stretcher points. The

internal UV vertices are also affected by this

action. You can adjust the extent to which

they’re affected with the Decay setting.

10.Continue adjusting the stretcher points,

mapping vertices, dialog settings, etc., and

re-running the solution until you get the

desired results. If things get out of hand, simply

undo, or click Reset Stretcher and start over.

To export texture coordinates to a paint program:

1. Apply the Unwrap UVW modifier to your

object and use the modifier tools to set up the

mapping. Texture-coordinate clusters that will

use the same texture area should overlap.

2. FromtheEditUVWsdialogmenubar,choose

Tools > Render UVW Template.

Unwrap UVW Modifier 883

This opens the Render UVs dialog:

3. Set the Width and Height values to the output

resolution you want in the rendered template.

You’ll usually get good results by setting the

desired width and then clicking Guess Aspect

Ratio.

Tip: When creating texture maps for gaming and

other real-time 3D engines, be sure to set both

dimensions to powers of 2: 256, 512, 1024, etc.

4. Change the remaining values as needed. By

default,thetemplateisrenderedwiththe

edgesaswhiteandopaque(alpha=1.0),

andbackgroundisemptyandtransparent

(background alpha=0.0), but you have a variety

of choices here, as detailed in Render UVs

Dialog (page 1–914).

5. At the bottom of the dialog, click Render UV

Te m p l at e .

This opens a new rendered frame window (page

3–5) containing the rendered template as a

bitmap. Inspect the output, and if changes

are necessary, make them on the Render UVs

dialog and re-render.

6. When you’re satisfied with the results, click

Save Bitmap on the rendered frame window

toolbar,andthenusethefiledialogtospecify

thefiletypeandname.ClickSavetoexport

the file.

If you want to use the rendered transparency

information in the paint program, be sure

tosaveinaformatthatsupportsthealpha

channel, such as TIF or Targa.

7. Opentheexportedimageinapaintprogram

andusetherenderededgesasaguidefor

painting the texture map. Save the image when

done.

Be sure to paint over or erase all the edges so

they don’t appear in the final texture.

8. Backin3dsMax,createamaterial,setthe

Diffuse map to Bitmap, and open the file from

the previous step.

9. Apply the material to your mesh object.

The painted texture map follows the outlines

set up by the exported UVs.

Interface

After applying the modifier, its panel appears,

consisting of the modifier stack plus two rollouts:

884 Chapter 8: Modifiers

Modifier Stack display

Normally, when you apply Unwrap UVW to

an object, the modifier stack provides access to

Vertex, Edge, and Face sub-object levels. These

are synchronized with the corresponding selection

modes on the Edit UVWs dialog (page 1–888).The

Vertex and Edge sub-object levels are useful for

making UVW vertex and edge selections in the

viewports, where texture mapping on the object

surfaceismorereadilyvisible,andtheEdgelevelis

also useful for setting up edge selections that you

can later convert to pelt seams.

If you apply Unwrap UVW to an active face

selection of an Editable/Edit Mesh/Poly object,

or to an active patch selection of an Editable/Edit

Patch object, no sub-object levels are available in

the Unwrap UVW modifier. You can use Unwrap

UVW to edit only the selection that was active

when you applied the modifier. Changing the

sub-objectselectionintheobjectdoesn’taffectthe

Unwrap modifier contents, because the modifier

obtains the face selection when you first apply it.

All three sub-object levels are synchronized

between the modifier stack and the Selection

Modes group (page 1–893) on the Edit UVWs

dialog. When you activate a sub-object level in

one, it’s also activated in the other. Similarly,

selecting sub-objects in a viewport selects them in

the editor and vice-versa.

Selection Parameters rollout

Use these settings to make or modify a sub-object

selection for use by the modifier. If you’ve passed

afaceselectionupthestack,forexamplefrom

the Poly Select modifier, Unwrap UVW uses that

instead, and makes these controls unavailable.

+ button—Expands the selection by selecting all

faces adjacent to selected faces.

-button—Reduces the selection by deselecting all

faces adjacent to non-selected faces.

Ring—Expandsanedgeselectionbyselectingall

edges parallel to the selected edges. Ring applies

only to edge selections.

Loop—Expands the selection as far as possible, in

alignment with selected edges. Loop applies only

to edge selections, and propagates only through

junctions of even numbers of edges.

Ignore Backfacing—When region selecting,

prevents the selection of faces not visible in the

viewport.

Select By Element—Lets you select elements (page

3–933).

Planar Angle—Lets you select contiguous coplanar

faces with one click. Turn this on, and then set the

threshold angle value that determines which faces

are coplanar. Then click a face to select it and all

Unwrap UVW Modifier 885

contiguous faces whose angles are less than the

threshold value.

Planar Angle is available only at the Face

sub-object level.

Select MatID—Enables face selection by material

ID (page 3–969). Specify the material ID to select,

and then click Select MatID.

Select MatID is available only at the Face

sub-object level.

Select SG—Enables face selection by smoothing

group (page 3–1013).Specifythesmoothinggroup

to select, and then click Select SG.

Select SG is available only at the Face sub-object

level.

Parameters rollout

Edit—Displays the Edit UVWs dialog (page 1–888).

Reset UVWs—Resets the UVW coordinates in the

Edit UVWs dialog.

Clicking this is almost the same as removing

and reapplying the modifier, except that a map

assignedintheEditUVWsdialogisnotdeleted.

For example, if you forgot to turn on the Generate

Mapping Coordinates check box for an object,

and then applied the Unwrap UVW modifier, the

modifierwouldhavenoUVWcoordinatestouse

and its settings would be wrong. If you then go

backintheStackandturnonGenerateMapping

Coordinates, you’d need to click the Reset UVWs

button. When you click this button, an alert warns

you that you’re losing any edits you’ve made.

Save—Saves the UVW coordinates to a UVW

(.uvw)file.

Load—Loads a previously saved UVW file.

Channel group

This option lets you choose a specific map channel

bynumber,orthevertexcolorchannel.Formore

information, see UVW Map modifier > Channel

group (page 1–931).

When you change channels, you should reset your

edits, since the edits for one channel usually won’t

work for the next channel. An alert appears that

lets you choose between resetting the coordinates

or leaving them as they are. In almost all cases, it’s

best to reset them.

Display group

Thissettingdetermineswhetherandhowpelt

seamsandmappingclusterboundaries,also

known as map seams, appear in the viewports:

Show Pelt Seam—When on, pelt boundaries appear

in the viewports as blue lines.

Show Map Seam—When on, mapping cluster

boundaries appear in the viewports as green lines.

The display thickness setting applies to both pelt

seams and map seams:

886 Chapter 8: Modifiers

•Thin Seam Display—Displays map seams and

peltseamsonobjectsurfacesintheviewports

with relatively thin lines. The line thickness

remains constant as you zoom the view in and

out. Uses the Display seams color.

•Thick Seam Display—Displays map seams and

peltseamsonobjectsurfacesintheviewports

with relatively thick lines. The line thickness

increases when you zoom the view in and

decreases when you zoom out. Uses the Display

seams color. This is the default choice.

Prevent Reflattening—This option is used mainly

for texture baking. When turned on, the version of

the Unwrap UVW modifier automatically applied

by Render To Texture (page 3–144),named,by

default, Automatic Flatten UVs, will not reflatten

the faces. Also, make sure that both Render To

Textureandthemodifierareusingthesamemap

channel.

Map Parameters rollout

You can apply any map type to selected faces,

patches, or surfaces, and align the mapping gizmo

in any of a variety of ways.

The mapping controls on the upper part of the

rollout are available only at the Face sub-object

level.Also, the Quick Map controls are available

only when no mapping mode button (Planar, Pelt,

etc.) is active. However, the Pelt controls (page

1–888) are available at all sub-object levels.

Note: When a mapping type button is active, you

cannot change the selection without first exiting

the mapping operation.

Preview Quick Map Gizmo—When on, a rectangular

planar mapping gizmo, applicable to the Quick

Planar Map tool only, appears juxtaposed over the

faceselectionintheviewports.Thisgizmoisnot

manually adjustable, but you can use the following

control to reorient it.

X/Y/Z/Averaged Normals—Choose the alignment

forthequickmapgizmo:perpendiculartothe

object’slocalX,Y,orZaxis,orbasedonthefaces’

average normals.

Quick Planar Map—Applies planar mapping to

thefaceselectionbasedontheorientationofthe

Quick Map gizmo.

Planar—Applies planar mapping to the selected

faces.

Make the selection, click Planar, adjust the

mapping using the transform tools and Align

buttons on the Map Parameters panel, and then

click Planar again to exit.

Unwrap UVW Modifier 887

Pelt—Applies pelt mapping to the selected faces.

Clicking this button activates Pelt mode, in which

you can adjust the mapping and edit the pelt map.

Note: Peltmappingalwaysusesasingleplanar

mapping for the entire pelt. If you’ve applied a

different type of mapping, such as Box, and then

switch to Pelt, the previous mapping is lost.

Cylindrical—Applies cylindrical mapping to the

currently selected faces.

Make the selection, click Cylindrical, adjust the

cylinder gizmo using the transform tools and

Align buttons on the Map Parameters panel, and

then click Cylindrical again to exit.

Note: When you apply Cylindrical mapping to a

selection, the software maps each face to the side

of the cylinder gizmo that most closely matches

its orientation. For best results, use Cylindrical

mapping with cylinder-shaped objects or object

parts.

Spherical—Applies spherical mapping to the

currently selected faces.

Make the selection, click Spherical, adjust the

sphere gizmo using the transform tools and Align

buttons on the Map Parameters panel, and then

click Spherical again to exit.

Box—Appliesboxmappingtothecurrently

selected faces.

Make the selection, click Box, adjust the box gizmo

using the transform tools and Align buttons on the

Map Parameters panel, and then click Box again

to exit.

Note: When you apply Box mapping to a selection,

the software maps each face to the side of the box

gizmothatmostcloselymatchesitsorientation.

For best results, use Box mapping with box-shaped

objects or object parts.

Align X/Y/Z—Aligns the gizmo to the X, Y, or Z axis

of the object’s local coordinate system.

Best Align—Adjusts the mapping gizmo’s position,

orientation, and scale to fit that of the face

selection, based on the selection’s extents and

average normals.

Fit—Scales the gizmo to the extents of the selection

and centers it on the selection. Does not change

the orientation.

Align To View—Reorientsthemappinggizmoto

facetheactiveviewportandadjustsitssizeand

position as necessary to fit the extents of the

selection.

Center—Moves the mapping gizmo so that its pivot

coincides with the center of the selection.

Reset—Scales the gizmo to fit the selection and

aligns it with the object’s local space.

Normalize Map—When on, scales the mapping

coordinates to fit into the standard coordinate

mapping space: 0 to 1. When off, the mapping

coordinatesarethesamesizeastheobject. The

mapisalwaystiledonceinthe0-1coordinate

space; the part of the map based on its Offset and

Tiling values on

Forexample,ifyoutakeasphereof25unitsthat’s

planar mapped from the top, and then apply

Unwrap UVW and turn off Normalize Map, then

when you open the editor, the radius of the sphere’s

mapping coordinates is 25 units. As a result, the

texture map is tiled onto the sphere surface many

times. With Normalize Map on, both the sphere

and the map fit into the 0-1 coordinate space, so

they’re the same size.

In general, for best results, leave Normalize Map

on. One reason to turn it off would be to turn it off

is if you want to map several elements of different

proportions with a texture of a specific aspect

ratio, such as brick, keeping the texture the same

size on each object.

888 Chapter 8: Modifiers

[Pelt controls]

These tools, which give you different ways of

specifying pelt seams, are available at all sub-object

levels of the modifier.

Edit Seams—Lets you specify a pelt seam by

selecting edges with the mouse in the viewports.

This process is similar but not identical to standard

edge selection:

• Click an edge to add it to the current selection.

•Alt +click an edge to remove it from the

current selection.

•Dragtoselectaregion.

Point To Point Seam—Lets you specify pelt seams by

selecting vertices with the mouse in the viewports.

Pelt seams specified with this tool are always added

to the current seam selection.

In this mode, after you click a vertex, a

rubber-band line extends from the vertex you

clicked to the mouse cursor. Click a different

vertex to create a pelt seam, and then continue

clicking vertices to create a seam from each vertex

to the previous one. To start at a different point in

this mode, right-click, and then click a different

vertex. To stop drawing seams, click the button

againtoturnitoff.

Note: While Point To Point Seam is active, you

can pan, rotate, and zoom the viewport at any

time using contextual controls (middle-button

drag, Alt +middle-button drag, turn mouse

wheel, respectively) to access a different part of

themeshsurface. Afterdoingso,thesoftware

still remembers the last vertex you clicked and

draws an accurate seam at the next click. Similarly,

you can adjust the viewport using the viewport

control buttons (page 3–729) and then return to

selecting the seam. If the control requires more

than a single click, such as Pan, exiting the control

by right-clicking in the viewport restores the

rubber-band line, extending from the last vertex

you clicked.

Tip: The algorithm Point To Point Seam uses to

calculate a path might create a different seam than

what you have in mind. If this happens, undo

(Ctrl+Z ) and specify the desired path by plotting

points closer together.

Edge Sel To Pelt Seams—Converts the current edge

selection to pelt seams. These seams are added to

any existing seams.

Exp(and) Face Sel to Pelt Seams—Expands the

current face selection to meet the pelt seam

border(s). If multiple seam outlines contain

selected faces, the expansion takes place only for

the last-selected face; all others are deselected.

Edit Pelt Map—Opens the Edit UVWs dialog in a

special Pelt mode, with the Pelt Map Parameters

dialog (page 1–909) active. This command also

initializes the mapping coordinates according to

the pelt seams. Available only when Pelt mapping

mode is active.

WhentheeditorisopeninPeltmodeyoucanuse

the editor and dialog controls to “stretch” out the

mapping coordinates, resulting in coordinates that

are easier to texture map.

Edit UVWs Dialog

Select an object. > Modify panel > Modifier List >

Object-Space Modifiers > Unwrap UVW > Edit button (on

Parameters rollout)

TheheartoftheEditUVWsdialogisawindow

that displays a lattice made up of UVW faces and

Edit UVWs Dialog 889

UVW vertices. Each UVW face, which has three or

more vertices, corresponds to a face in the mesh.

The view window displays the UVWs in the

2D-image space of the map, superimposed over

a grid. Thicker grid lines show the boundaries

of a texture map as it would appear in image

space; the lower-left corner of the rectangle has

the coordinates (0,0) and the upper-right has

the coordinates (1,1). Within this window, you

manipulate the UVW coordinates relative to the

map (or mesh) by selecting the lattice vertices,

edges, or faces (collectively known as sub-objects),

and transforming them.

ThestateoftheEditUVWsdialog,including

buttons and selected options, is stored and recalled

thenexttimeyouopentheEditdialog.

Note: You can edit patch object texture coordinates

as well as mesh coordinates in the Edit UVWs

dialog. When editing a patch object, you can also

edit the vertex handles. In addition, you can edit

the manual interior handles. However, you must

enable the manual interior handles before applying

the Unwrap UVW modifier. To do so, at the

Patch sub-object level, select one or more patches,

right-click a selected patch, and then, from the

quad menu > tools 1 quadrant, choose Manual

Interior. The manual interior handles appear in

the editor window as isolated vertices.

Note: Certain modeling operations can leave

unused (isolated) map vertices that show up in the

editor window, but cannot be used for mapping. If

the model is an Editable Poly or Edit Poly object,

you can use the Remove Unused Map Verts button

at the Vertex sub-object level to automatically

delete these vertices.

Tip: The editor can display the number of selected

sub-objects. This option is available as an Unwrap

UVW shortcut (page 1–900) as Show Subobject

Counter.

Interface

Besides the window, the editor interface consists

of a menu bar, a toolbar, a lower toolbar, and,

docked below the main dialog, the Options panel

(page 1–893).

Menu bar

The menu bar provides access to a wide range

of Edit UVWs functions. See Edit UVWs Dialog

Menu Bar (page 1–895).

Toolbar

Contains all the controls for manipulating the

texture sub-objects in the view window, navigating

within the window, and setting other options.

When transforming with Rotate and Scale,

pressing Ctrl+Alt will allow you to transform

the selection from the point of the mouse click,

instead of the selection center. The initial click

specifies the center of the transform.

Move—Lets you select and move sub-objects.

Flyout options are Move, Move Horizontal, and

890 Chapter 8: Modifiers

Move Vertical. Press Shift to constrain the

movement to a single axis.

Rotate—Lets you select and rotate sub-objects.

Scale—Lets you select and scale sub-objects.

Flyout options are Scale, Scale Horizontal, and

Scale Vertical.

Pressing Shift as you scale constrains the

transform to a single axis.

Freeform Mode—Lets you select and move,

rotate,orscalevertices,dependingonwhereyou

drag. Afteryoumakeaselection,theFreeform

gizmo appears as a rectangular bounding box

around the selected vertices. As you move the

cursor over the gizmo’s various elements and

inside the gizmo, the cursor’s appearance, and the

result of starting to drag in this location, change:

•Move—Position the cursor anywhere

inside the gizmo and then drag to move the

selection. To constrain movement to the

vertical or horizontal axis, depending on how

you begin dragging, press and hold Shift

before dragging.

•Rotate—Positionthecursoroveragizmo

edge center point, and then drag to rotate the

selection about the pivot. As you drag, the

amount of rotation is shown in the center of the

gizmo.

Ctrl +drag to rotate in five-degree increments;

Alt +dragtorotateinone-degreeincrements.

Freeform rotation respects the angle snap (page

2–37) status.

•Scale—Positionthecursoroveragizmo

corner and then drag to scale the selection. By

default, scaling is non-uniform; if you press

and hold Ctrl before dragging, scaling is

uniform on the horizontal and vertical axes.

Press and hold Shift before dragging to

constrain scaling to the vertical or horizontal

axis, depending on how you begin dragging.

By default, scaling takes place about the gizmo

center. If you’ve moved the pivot (see following

item), you can scale about the transform center

instead by pressing and holding Alt before

dragging.

•Move pivot—Position the cursor over the

pivot, a wireframe cross that appears by default

at the center of the gizmo. When this cursor

appears, drag to move the pivot. Rotation

always occurs about the pivot; scaling takes

placeaboutthepivotifyoupressandhold Alt

before dragging.

Tip: By default, the pivot always resets to the

center of the gizmo when you make a new

selection. If you prefer to retain the offset from

selection to selection, you can toggle this feature

with the Reset Pivot On Selection command.

This command is not available in the editor

interfacebydefault;youmustusetheCustomize

User Interface dialog (page 3–792) to add it.

If you Ctrl +select one or more vertices outside

the gizmo, the gizmo expands to encompass the

entire selection.

Mirror—Mirrors selected vertices and flips

UVs. Flyout options are Mirror Vertical, Mirror

Horizontal, Flip Horizontal, and Flip Vertical.

Flip first detaches the selection along its boundary

edges and then applies a Mirror Horizontal or

Vertical depending on the mode.

Turn on Target Weld, and then drag one vertex

to another vertex, or one edge to another edge.

As you drag, the cursor changes in appearance to

cross hairs when it’s over a valid sub-object. While

this command is active, you can continue welding

sub-objects, and change the sub-object level. To

Edit UVWs Dialog 891

exit Target Weld mode, right-click in the editor

window.

Show Map—Toggles the display of the map in

the editor window.

UV/VW/UW—By default, the UV portion of

theUVWcoordinatesisdisplayedintheview

window. However, you can switch the display to

edit the UWs or the VWs.

[texture list drop-down]—Contains all the maps of

the material assigned to the object.

ThenamesofthemapsassignedintheMaterial

Editor and in the Edit UVWs dialog (via Pick

Texture) appear in the list.

Below the map names are several commands:

•Pick Texture—Lets you use the Material/Map

Browser to add and display textures that are not

in the object’s material.

•Remove Texture—Eliminates the currently

displayed texture from the editor.

•Reset Texture List—Returns the texture list

to the current state of the applied material,

removing any added textures and restoring any

removed textures that were part of the original

material, if they still exist in the material. This

command also adds any new maps in the

material, so it essentially updates the UVW

editortothecurrentstateofthematerial.

Choose a map you want to use in the view window.

Forexample,youmightuseabumportexture

map as a reference to move UVW vertices.

A checker texture named CheckerPattern

(Checker), useful for checking for distorted areas

of the texture mapping, is built in to the Edit

UVWs dialog. By default, this texture appears as

the background texture when you first open the

editor after applying Unwrap UVW to an object.

To cause the pattern to appear on the object in

viewports set to display textures, choose it from

the drop-down list, even if it’s already active in

the editor.

Edit UVWs window

The Edit UVWs window allows you to edit UVW

sub-objectstoadjustthemappingonamodel.For

example, a texture map might contain the side, top,

and front views of a car. By first planar mapping

the top, side, and front faces of the model at the

Face sub-object level, you can adjust the texture

coordinates for each selection to fit the different

parts of texture map to the corresponding areas

on the car.

To edit the UVW vertices, first choose a transform

tool and sub-object mode, make a selection, and

then click and drag in the window to transform

the selection.

Quad menu—Right-click in the window to display

the quad menu, which provides access to all the

transform tools, as well as a number of editor

commands.

892 Chapter 8: Modifiers

Commands to freeze and hide selected sub-objects

and unfreeze/unhide all sub-objects are found

only in the quad menu.

Lower Toolbar

Absolute/Offset Mode—When this is off,

the software treats values you enter into the U, V,

andWfields(seefollowing)asabsolutes.When

this is on, the software applies transform values

you enter as relative to current values; that is, as

offsets. Default=off.

U, V, and W—ThesefieldsdisplaytheUVW

coordinates for the current selection. Use the

keyboard or the spinners to edit them.

These fields are active at all sub-object levels, but

they always apply to vertices. With a single vertex

selected, they display the current coordinates.

With multiple vertices (or one or more edges

or faces) selected, they display any coordinates

the vertices belonging to the selection have in

common; otherwise, they’re blank.

Lock Selection—Locks selection. You can

move selected sub-objects without touching them.

Filter Selected Faces—Displays UVW vertices

of the object’s selected faces in the viewport, and

hides the rest.

All ID’s (drop-down)—Filters the object’s material

IDs. Displays texture faces that match the ID

drop-down.

Pan—Click Pan, and then drag in the window

to change the visible portion.

Tip: Withathree-buttonmouse,youcanalsopan

the window by dragging with the middle mouse

button held down.

Zoom—Click Zoom, and then click+drag to

zoom the window.

Tip: With a wheel mouse, you can also zoom by

turning the wheel.

Zoom Region—Click Zoom Region, and then

region-selectpartofthewindowtozoomin.

Zoom Extents—Zooms in or out to fit the

texture coordinates in the window. The flyout

buttons, from top to bottom, let you zoom to all

texture coordinates, to the current selection, and

to all clusters/elements containing any selected

sub-objects.

Grid Snap—When on, moving sub-objects

tends to snap the vertex closest to the mouse

cursor, which is highlighted by a square outline, to

the nearest grid line or intersection.

This is the default tool on this flyout; Pixel Snap is

also available.

You can set the snap strength in the Unwrap

Options dialog.

Pixel Snap—Snaps to the nearest pixel corner

when you have a bitmap in the background.

Available from the Grid Snap flyout.

Edit UVWs Dialog 893

Combine this with Center Pixel Snap to snap to the

center of pixels rather than the corner.

Note: With multiple vertices selected, all vertices

snap to the nearest pixel, relatively; this can slightly

alter the spatial relationships among them.

Options panel

By default, the Options panel, docked to the

bottom of the Edit UVWs dialog, provides

controls for using soft selection, specifying

selection modes, and rotating the selection. The

Options button lets you toggle the display of

additional settings for bitmaps, viewports, and

the editor.

Soft Selection group

The Soft Selection controls make a sub-object

selection behave as if surrounded by a "magnetic

field." Unselected sub-objects within the field

are drawn along smoothly while you transform

the sub-object selection, the effect diminishing

with distance. You can adjust this distance, or

“falloff,” whether it applies to object space, texture

space, or edge space, and the formula by which it

diminishes.

First, set a value that encompasses sub-objects

to be moved or scaled, and then transform

sub-objects with a falloff effect.

On—Activates or deactivates soft selection.

XY/UV—Specifies object or texture space for the

falloff distance. XY selects object space, UV selects

texture space.

Falloff—Sets the falloff distance. As values increase,

unselected vertex colors change gradually from the

selected vertex to reflect the area of influence.

Edge Distance—Turn on to limit the falloff region

by the specified number of edges between the

selection and the affected vertices. The affected

region is measured in terms of "edge-distance"

spaceratherthanabsolutedistance.

Falloff Type—Transforming with soft selection

affects non-selected vertices within the falloff area

based on the falloff type.

The icons depict how their buttons affect falloff.

The options are:

•Smooth

•Linear

•Slow Out

•Fast Out

Selection Modes group

[sub-object mode]—Specifies the type of sub-object

that you can select by clicking or dragging in the

window. Default=Vertex.

Oneofthethreesub-objectmodescanbeactive

at a time:

•Ve r t e x

•Edge

•Face

Note: Selected sub-objects are colored red by

default. Also, in Edge and Face sub-object modes,

any shared edges are blue by default. A shared

edge is one both of whose endpoints are shared

by a selected edge or face; thus, it is, in effect,

also selected. You can change these colors using

Customize User Interface > Colors panel (page

3–799).

The three sub-object levels are synchronized

between the modifier stack (page 1–884) of the

894 Chapter 8: Modifiers

Unwrap UVW modifier and the Selection Modes

group. When you choose a sub-object level in one,

it’s also activated in the other. Similarly, selecting

sub-objects in a viewport selects them in the editor

and vice-versa.

Expand Selection—Adds sub-objects to the

selection.

Vertex and face expansion proceeds outwards in

all available directions. Edge expansion proceeds

along available UV paths. For example, to select

a cluster outline, select one outer edge, and then

click Expand Selection repeatedly.

Contract Selection—Shrinks the selection by

deselecting the outermost sub-objects.

Paint Select Mode—Lets you “paint” a

sub-object selection by dragging in the editor

window. After activating this mode, move the

cursor into the editor window, and then drag to

select sub-objects. To exit Paint Select mode,

right-click or choose a transform tool.

Paint mode selects only sub-objects that are fully

insidetheselectionbrush. Thedottedcircle

attached to the mouse shows the size of the brush.

Use the +/- buttons next to the paintbrush button

to change its size.

+/-—Increases and decreases the size of the Paint

Select mode “brush”: the circle attached to the

mouse cursor.

Edge Loop—Expandsanexistingedgeselectionto

select all edges in the loop attached to the selected

edges. Select one or more edges, and then click

Edge Loop.

Edge Loop uses a “center-path” method to

calculateloopselection. Tobeabletoexpand

a selection, there must be an odd number of

edges attached to either end of a selected edge

intheeditorwindow.Thesoftwarethenselects

the middle connected edge, and then continues

selectingaslongasitcanusingeachnewlyselected

edge. Whenitencountersanedgeconnectedto

an even number of edges, or to which the middle

edge is already selected, it stops.

Select Element—Selecting a sub-object in a cluster

causes the entire cluster to become selected. Works

in all sub-object modes.

Rot(ate) +90—Rotates the selection 90 degrees

about its center.

Rot(ate) -90—Rotates the selection -90 degrees

about its center.

Bitmap Options group

Click the Options Button to make this group

available.

Use Custom Bitmap Size—When turned on, scales

the bitmap texture to the values specified by Width

and Height. You can adjust these settings to scale

andreproportionthebitmaptextureinrelationto

the texture coordinates. This scaling doesn’t affect

the bitmap in the material, but only as viewed in

the editor.

Tip: When working with large textures, reduce

the bitmap size for faster feedback. And when

working with disproportionate textures, setting

the dimensions closer to each other in the editor

can make it easier to work.

Width—Scales the bitmap along the horizontal

axis.

Height—Scales the bitmap along the vertical axis.

Tile Bitmap—When turned on, you can repeat the

bitmap in the editor, displaying tiling set in the

material. You can use any part of the tiled image

for setting texture coordinates. This is helpful

whenthesectionsofthetextureimagearepacked

tightly together and the mesh contains many

different areas to map.

Edit UVWs Dialog Menu Bar 895

Tiles—Thenumberoftimesthetextureimageis

repeated, counting outward in eight directions

(the four corners and the four sides).

With Tiles=1, the result is a 3 x 3 grid. With

Tiles=2,theresultisa5x5grid,andsoon.

Brightness—Sets the brightness of the tiled bitmap.

At 1.0, the brightness equals that of the original

image; at 0.5 it’s half the brightness; and at 0, it’s

black.

Tip: Turning off Affect Center Tile, available in the

Unwrap Options dialog (page 1–920) >Display

Preferences group, prevents the Brightness setting

fromaffectingthecentertile,soit’seasiertofindif

you’ve turned down the brightness.

Viewport Options group

Constant Update—When on, the viewports

update in real-time, reflecting any changes to the

texture coordinates as you make them. When

off, the viewports update only after you finish

transforming texture coordinates (that is, when

you release the mouse button).

Unwrap Editor Options group

Show Hidden Edges—To g g l e s t h e d i s p l a y o f f a c e

edges. When turned off, only faces appear. When

turned on, all mesh geometry appears.

Center Pixel Snap—When Pixel Snap is turned on,

snaps to the center of pixels of the background

images instead of pixel edges.

Weld Threshold—Sets the radius within which

welding using Weld Selected takes effect. The

setting is in UV-space distance. Default=0.01.

Range=0 to 10.

Edit UVWs Dialog Menu Bar

Select an object. > Modify panel > Modifier List >

Object-Space Modifiers > Unwrap UVW > Edit button (on

Parameters rollout) > Menu bar

The Edit UVWs dialog (page 1–888) menu

bar provides access to a number of important

editing commands. Some of these commands

are replicated on the dialog toolbar and the

Unwrap UVW command panel; others, such as

the Mapping, Stitch, and Sketch tools, are available

only from the menus.

Tip: Several commands are not available in the

editor interface by default; you can use the

Customize User Interface dialog (page 3–792) to

add them.

Interface

File menu

Load UVs—Loads a previously saved UVW (texture

coordinates) file.

Save UVs—Saves the UVW coordinates to a UVW

file.

Reset All—Restores the UVW coordinates to their

original status.

Reset All has almost the same effect as removing

and reapplying the modifier, except that a map

assignedintheEditUVWsdialogisnotdeleted.

For example, if you forgot to turn on the Generate

Mapping Coordinates check box for an object,

and then applied the Unwrap UVW modifier, the

modifierwouldhavenoUVWcoordinatestouse

and its settings would be wrong. If you then go

back in the modifier stack and turn on Generate

Mapping Coordinates, you’d need to choose the

Reset All command. When you do so, an alert

warns you that you’re losing any edits you’ve made.

896 Chapter 8: Modifiers

Edit menu

Thesecommandsprovideaccesstothedifferent

transform functions, and copy and paste

selections.

Copy—Copies the current selection (i.e., texture

coordinates) into the paste buffer.

Paste—Applies the texture mapping coordinates

in the paste buffer to the current selection. Using

Paste repeatedly with the same target coordinates

causes the coordinates to rotate by 90 degrees each

time.

UseCopyandPastetoapplythesamemapping

coordinates (i.e., image) to a number of different

geometry faces. A typical example of usage would

be in designing a game level, where you’re working

with a multi-image texture map, part of which is

a door image. You might want to apply the same

door image to several different door polygons.

First, you would select one of the door polys and

positionitoverthedoorimage. Next,useCopy

toplaceitstexturecoordinatesinthepastebuffer.

Then select another door poly and choose Paste or

PasteWeld.Thedoor’stexturecoordinatesmove

tothesamelocationastheoriginalpoly.Continue

selectingotherdoorpolysandpastinguntilallthe

doors are mapped.

Tip: For best results, use comparable sets of texture

coordinates for the source and destination. For

example, copy a single four-sided face, and then

paste another four-sided face.

Paste Weld—Applies the contents of the paste

buffer to the current selection and then welds

coincident vertices, effectively fusing the source

and destination selections together.

Usethisfunctiontoendupwithasinglesetof

texture coordinates that’s applied to multiple

geometry elements. Adjusting these texture

coordinates changes the mapping for all geometry

to which they’re applied.

Move Mode—Lets you select and move sub-objects.

Rotate Mode—Lets you select and rotate

sub-objects.

Scale Mode—Lets you select and scale sub-objects.

Freeform Gizmo—Lets you select and transform

vertices. See Freeform Mode.

Select menu

These commands let you copy a viewport selection

to the editor, and transfer selections among the

three different sub-object modes.

Convert Vertex to Edge—Converts the current

vertex selection to an edge selection and places

you in Edge sub-object mode. For an edge to be

selected, both of its vertices must be selected.

Convert Vertex to Face—Converts the current

vertex selection to a face selection and places you

in Face sub-object mode. For a face to be selected,

all of its vertices must be selected.

Convert Edge to Vertex—Converts the current edge

selection to a vertex selection and places you in

Ve r t e x s u b - o b j e c t m o d e .

Convert Edge to Face—Converts the current edge

selection to a face selection and places you in

Face sub-object mode. For a face to be selected,

the current edge selection must include all of its

vertices. For example, if two opposite edges of a

four-sidedfaceareselected,theedgeselection

includes all four of the face’s vertices, so this

command will select the face.

Convert Face to Vertex—Converts the current face

selection to a vertex selection and places you in

Ve r t e x s u b - o b j e c t m o d e .

Convert Face to Edge—Converts the current face

selectiontoanedgeselectionandplacesyouin

Edge sub-object mode.

Edit UVWs Dialog Menu Bar 897

Select Inverted Faces—Selectsanyfacesfacingaway

from the current mapping. Available only in Face

selection mode.

This is useful in complex models for finding faces

on a surface that folds in under itself, thus causing

potential problems with bump mapping.

For example, add a sphere, turn off Generate

Mapping Coords, and them apply Unwrap UVW.

This causes the modifier to apply planar mapping

from the top down, so that all faces on the bottom

half of the sphere are “inverted”; that is, they face

away from the mapping. In the modifier stack

display, highlight the Select Face sub-object level,

andthenclicktheEditbuttontoopentheUVW

editor. Choose the Face selection mode, and then

choose Select > Select Inverted Faces. In the

viewports, the bottom half of the sphere turns red

to indicate that the inverted faces are now selected.

Select Overlapped Faces—Selects any faces that

overlap other faces. If no face is selected, this

selects all overlapping faces. If a face selection

exists, this selects only overlapping faces within the

selection. Available only in Face selection mode.

When working with complex meshes, it’s common

for texture-coordinate faces to overlap one

another, with the result that they use the same

portion of the texture map. Use this command to

find overlapping faces in order to separate them

as needed.

Tools menu

Toolsonthismenuletyouflipandmirrortexture

coordinates, weld vertices, combine and separate

sets of texture coordinates, and sketch outlines for

multiple selected vertices.

Flip Horizontal/Vertical—Detaches the selected

sub-objects along their boundary edges and then

applies Mirror Horizontal or Vertical, depending

on the mode.

Mirror Horizontal/Vertical—Reverses the direction

of selected sub-objects along the indicated axis

and flips UVs accordingly.

Weld Selected—Welds selected sub-objects to a

single vertex, based on the Weld Threshold setting.

You can set the threshold on the Options panel

> Unwrap Editor Options group, as well as on

the Unwrap Options dialog (page 1–920) >Misc.

Preferences group.

Target Weld—Welds pairs of vertices or edges. Not

available at the Face sub-object level.

Turn on Target Weld, and then drag one vertex

to another vertex, or one edge to another edge.

As you drag, the cursor changes in appearance to

cross hairs when it’s over a valid sub-object. While

this command is active, you can continue welding

sub-objects, and change the sub-object level. To

exit Target Weld mode, right-click in the editor

window.

Break—Applies to the current selection; works

differently in the three sub-object modes. At

the Vertex sub-object level, Break replaces each

shared vertex with two vertices. With edges,

Break requires at least two contiguous edges to be

selected, and separates each edge into two. With

faces, Break splits the selection off from the rest

of the mesh into a new element, exactly as does

Detach Edge Verts.

Detach Edge Verts—Tries to s plit off the cur rent

selection into a new element. Any invalid vertices

or edges are removed from the selection set before

the detach.

Stitch Selected—For the current selection, finds all

the texture vertices that are assigned to the same

geometric vertex, brings them all to the same spot,

and welds them together. With this tool you can

automatically connect faces that are contiguous in

theobjectmeshbutnotintheeditor.

To use Stitch Selected, first select sub-objects

along an edge you want to connect (by default, this

898 Chapter 8: Modifiers

causes the shared edges to highlight), and then

choose the command. In the Stitch Tool dialog

(page 1–918),adjustthesettings,andthenclick

OK to accept or Cancel to abort.

Pack UVs—Distributes all texture-coordinate

clusters through the texture space using one of two

methods and spacing you specify. This is useful

if you have several overlapping clusters and wish

to separate them.

Choosing Pack UVs opens the Pack dialog (page

1–909).

Sketch Vertices—Lets you draw outlines for vertex

selections with the mouse. This is useful for

matching coordinate cluster outlines to sections of

the texture map en masse, without having to move

vertices one at a time.

Choosing Sketch Vertices opens the Sketch Tool

dialog (page 1–916).SketchVerticesisavailable

only in the Vertex sub-object mode.

Relax Dialog—Opens the non-modal Relax Tool

dialog (page 1–912), which lets you change the

apparent surface tension in a selection of texture

vertices by moving vertices closer to, or away from,

their neighbors. Relaxing texture vertices can

make them more evenly spaced, resulting in easier

texture mapping. Available at all sub-object levels.

Note: This command, as well as a Relax command

that lets you apply the default settings to the

current selection without opening the dialog, are

available as assignable keyboard shortcuts (page

1–900).

Render UVW Template—Opens the Render UVs

dialog (page 1–914), which lets you export texture

mapping data as an image file that you can then

import into 2D paint software.

Mapping menu

Lets you apply one of three different types of

automatic, procedural mapping methods to a

model. Each method provides settings so you can

adjustthemappingtothegeometryyou’reusing.

With each method, the mapping is applied to the

current face selection; if there is no face selection it

is applied to the entire mesh.

Here’s a quick overview of the three methods:

• Flatten mapping prevents overlap of mapping

clusters, but can still cause texture distortion.

• Normal mapping is the most straightforward

method,butcanresultinevengreatertexture

distortion than with Flatten mapping.

• Unfold mapping eliminates texture distortion,

but can result in overlapping coordinate

clusters.

Tip: In many cases, one of the automatic mapping

functions will provide useful results. But with

certain custom or complex objects, you might

get the best results with manual mapping; use a

variation of the basic procedure (page 1–880),or

use a procedural method as a starting point for

custom mapping.

Flatten Mapping—Applies planar maps to groups

of contiguous faces that fall within a specified

angle threshold.

Choosing Flatten Mapping opens the Flatten

Mapping dialog (page 1–907).

Normal Mapping—Applies planar maps based on

different vector-projection methods.

Choosing Normal Mapping opens the Normal

Mapping dialog (page 1–908).

Unfold Mapping—Unfolds the mesh so you get no

face distortion, but does not guarantee that faces

will not overlap.

Choosing Unfold Mapping opens the Unfold

Mapping dialog (page 1–919).

Edit UVWs Dialog Menu Bar 899

Options menu

Load Defaults—Loads the editor settings from the

file unwrapuvw.ini in the plugcfg directory.

Save Current Settings as Default—Saves the editor

settings to the file unwrapuvw.ini in the plugcfg

directory. Settings saved in this way persist

between sessions.

Always Bring Up The Edit Window—When on,

selecting an object with the Unwrap UVW

modifier active automatically opens the Edit

UVWs dialog. By default, this is off, so you must

click the Parameters rollout > Edit button to open

the dialog.

Preferences—Opens the Unwrap Options dialog

(page 1–920).

Display menu

Hide Selected—Hides all selected sub-objects and

associated faces.

Unhide All—Reveals any hidden sub-objects.

Unfreeze All—Unfreezes any frozen sub-objects.

Note: You can freeze a sub-object selection with

Freeze Selected, available from the right-click

menu > Display quadrant.

Filter Selected Faces—When on, the editor displays

UVW vertices of the viewport selection at the Face

sub-object level of the modifier, and hides the rest.

This is a quick way to work on a limited selection

of the texture coordinates of a complex mesh

while ignoring the rest. You can turn this on, go

totheFacesub-objectleveloftheUnwrapUVW

modifier, and select the portion of the object

whose texture coordinates you want to edit; only

those coordinates appear in the editor, and remain

visibleevenwhenyouchangethesub-objectlevel.

To work on a different portion, return to the Face

level and change the selection in the viewport;

the editor window updates to the new selection

automatically.

Show Hidden Edges—Toggles the display of hidden

face edges.

Show Edge Distortion—Uses a green-to-red color

range to depict distortion: how far in length

textureedgesarefromtheircorresponding

geometry edges. The greater the disparity in

lengths (that is, the greater the distortion), the

redder the edge appears in the Edit UVW dialog

window. Also draws end segments of edges that

are too long as white, showing the difference in

length from that of the geometry edge.

Left: Texture edges the same as or very close to geometry edges

in length are green.

Center: Texture edges slightly different from geometry edges in

length are brown.

Right: Texture edges very different from geometry edges in

length are red.

When texture edges are longer than geometry edges, white

end segments depict length disparity.

Use this display as a way to view where the areas of

greatest distortion are in your texture mesh. If an

edge is brown or red but doesn’t have white end

segments, it’s too short. If it’s brown or red and

has white end segments, it’s too long, by the total

length of the white segments.

Show Vertex Connections—In Vertex sub-object

mode, toggles the display of numeric labels for all

selected vertices. Shared vertices are indicated by

the appearance of multiple same-numbered labels.

Show Shared Sub-objects—When turned on, for the

current selection, highlights any shared vertices

and/or edges. You can change the highlight color

on the Unwrap Options dialog (page 1–920).

900 Chapter 8: Modifiers

View menu

Pan—ActivatesthePantool,whichletsyoumove

horizontally and vertically in the window by

dragging the mouse.

As with the viewports, if you use a three-button

mouse, you can also pan by middle-button

dragging.

Zoom—Choose Zoom, and then drag downward

in the editor window to zoom out and upward to

zoom in. Zooming is centered about the point you

click before dragging.

If you have a wheel mouse, you can also turn the

wheel to zoom. Zooming is centered about the

mouse cursor location.

Zoom Region—To z o om t o a s p e ci f ic a r ea , c h o os e

Zoom Region, and then drag a rectangle in the

editor window.

Zoom Extents—Zooms in or out to fit all UVW

vertices in the editor window.

Zoom Extents Selected—Zooms in or out to fit all

selected UVW vertices in the editor window.

Zoom To Gizmo—Zooms the active viewport to the

current selection.

Zoom Extents Selected—Zooms in or out to fit all

selected UVW vertices in the window.

Show Grid—Displaysagridinthebackgroundof

the editor window. Default=on.

Show Map—Displays a texture map in the

background of the editor window. Set the image

via the drop-down list at the right end of the editor

toolbar.

Update Map—Causes the displayed texture map to

reflect any changes to the texture, such as tiling

settings or a different bitmap.

Unwrap UVW Shortcuts

To u s e ke y b o a rd s h o r t c uts for t he Unw r a p U V W

modifier, the Keyboard Shortcut Override Toggle

(page 3–872) must be on.

See also

Unwrap UVW Modifier (page 1–878)

Keyboard Shortcuts (page 3–871)

Keyboard Panel (page 3–793)

Customize User Interface Dialog (page 3–792)

In general, this table includes only functions that

have default keyboard shortcuts and functions

with descriptions that are not documented in the

Unwrap UVW reference topics.

Unwrap UVW

Function

Keyboard

Shortcut

Description

Allow Selections

Inside Transform

Gizmo

Lets you select

vertices inside

the gizmo by

CTRL+clicking

or ALT+clicking

a vertex. When

turned on, you

can move only

by dragging over

empty space.

Always Bring Up

The Edit Window

When on, the

Edit UVWs dialog

automatically

opens when you

access the Unwrap

UVW modifier.

Blend Tiles To

Background

Lets you blend the

image in the Edit

UVWs dialog with

the background

color. At 0 the

image will be

hidden while at

1itwillbeatfull

intensity.

Box Map

Unwrap UVW Shortcuts 901

Unwrap UVW

Function

Keyboard

Shortcut

Description

Break Selected

Vertices

Ctrl+B Breaks selected

vertices so no face

shares them; the

same as breaking

avertexinEdit

Mesh.

Brightness Affects

Center Tile

The brightness

control for the tile

of image at 0,0

of the Edit UVWs

dialog.

Contract Geom.

Faces

Shrinks the face

selection in the

viewport.

Copy Copies the current

face selection

texture data into

the paste buffer.

Cylindrical Map

Detach Edge

Vertices

D,CTRL+D Detaches the

selected vertices

into a separate

element.

Display Seams Highlights edges

that are seams

in texture space

in the Edit UVWs

dialog. A seam

is an edge that

has only one face

attached to it.

Edge Sel to Pelt

Seam (Add)

Converts the edge

selection to pelt

seams, adding to

the current pelt

seams.

Edge Sel to Pelt

Seam (Replace)

Converts the edge

selection to pelt

seams, replacing

the current pelt

seams.

Edge Snap

Edge to Face

Select

Converts an edge

selection into a

face selection.

Edge to Vertex

Select

Converts an edge

selection into a

vertex selection.

Unwrap UVW

Function

Keyboard

Shortcut

Description

Edit UVWs Ctrl+E Opens the Edit

UVWs dialog.

Expand Geom.

Faces

Grows the face

selection in the

viewport.

Face to Edge

Select

Converts a face

selection into an

edge selection.

Face to Vertex

Select

Converts a face

selection into a

vertex selection.

Filter Selected

Faces

Alt+F When on, only

faces that are

selected in the

viewport will be

displayed in the

Edit UVWs dialog.

Flatten Map Lays out the UV

space so that

no texture faces

overlap.

Flatten Map

Dialog

Opens the

dialog for Flatten

Mapping settings.

Flip Horizontal Detaches the

current selection

and then mirrors it

in the U direction.

Flip Vertical Detaches the

current selection

and then mirrors it

in the V direction.

Freeform Mode Toggles freeform

editing tool in the

Edit UVWs dialog.

Freeze Selected Ctrl+F Locks the current

selection so you

cannot select it

anymore.

Geom. Edge Loop

Selection

Geom. Edge Ring

Selection

902 Chapter 8: Modifiers

Unwrap UVW

Function

Keyboard

Shortcut

Description

Geom. Element

Select Mode

Puts you in an

element-select

mode for selecting

faces in the

viewport.

Get Face Selection

From Stack

Alt+Shift+Ctrl+F Copies the face

selection from the

modifier stack into

the face selection

that Unwrap UVW

uses.

Get Selection

From Faces

Alt+Shift+Ctrl+P Transfers the face

selection in the

viewport to the

selection in the

Edit UVWs dialog.

Grid Snap Turns on grid

snapping.

Grid Visible Toggles grid

visibility.

Hide Selected Ctrl+H Hides the current

selection in the

Edit UVWs dialog.

Ignore Back Faces When on you can

select only faces in

the viewport that

are facing you.

Load Defaults Loads the UI

defaults from an

.ini file.

Load UVW Alt+Shift+Ctrl+L Lets you load a

.uvw file onto a

mesh. The mesh

must have similar

topology as the

source.

Lock Selected

Vertices

Spacebar Locks the selection

so you cannot add

to or remove from

it.

Mapping Align

Normals

Mapping Align To

View

Unwrap UVW

Function

Keyboard

Shortcut

Description

Mapping Align X Aligns the

mapping gizmo

to the X axis of

the object’s local

coordinate system.

Mapping Align Y Aligns the

mapping gizmo

to the Y axis of

the object’s local

coordinate system.

Mapping Align Z Aligns the

mapping gizmo

to the Z axis of

the object’s local

coordinate system.

Mapping Center Moves the

mapping gizmo

so that its pivot

coincides with

the center of the

selection.

Mapping Fit Scales the gizmo

to the extents of

the selection and

centers it on the

selection. Does

not change the

orientation.

Mapping Reset Scales the gizmo

to fit the selection

and aligns it with

the object’s local

space.

Mirror Horizontal Alt+Shift+Ctrl+N Mirrors the current

selection along the

Uaxis.

Mirror Vertical Alt+Shift+Ctrl+MMirrors the current

selection along the

Vaxis.

Move Horizontal Alt+Shift+Ctrl+J

Move Vertical Alt+Shift+Ctrl+K

Normal Map This creates a

mapping based on

thefacenormals.

Unwrap UVW Shortcuts 903

Unwrap UVW

Function

Keyboard

Shortcut

Description

Normal Map

Dialog

Opens a dialog for

making Normal

Mapping settings.

Open Edge Mode When turned on,

selecting an open

edge selects all

attached open

edges.

Open Edge Select Selects all open

edges connected

to the current

selection.

Pack Lays out all

selected elements

so they don’t

overlap.

Pack Dialog Opens the Pack

dialog.

Paint Select

Decrement Cursor

Size

Applies to the

Sketch tool.

Paint Select

Increment Cursor

Size

Applies to the

Sketch tool.

Paint Select Mode Applies to the

Sketch tool.

Pan Ctrl+P

Paste Pastes the contents

of the paste buffer

onto the selection.

For best results the

source and target

should have similar

topology.

Paste Instance The pasted and

source UVs will

share the same

vertices.

Unwrap UVW

Function

Keyboard

Shortcut

Description

Pelt Always Show

Seams

Toggles display of

the pelt seams in

the viewports.

Pelt Dialog Opens the Pelt

Map Parameters

dialog

Pelt Dialog Mirror

Stretcher

Mirrors the

stretcher points

from one side of

the mirror axis to

the other.

Pelt Dialog Relax

Simulation Heavy

Causes a

relatively strong

normalization

of the distances

between mapping

vertices.

Pelt Dialog Relax

Simulation Light

Causes a

relatively weak

normalization

of the distances

between mapping

vertices.

Pelt Dialog Reset

Stretcher

Returns the

stretcher and the

pelt UVs to their

default shape and

orientation.

904 Chapter 8: Modifiers

Unwrap UVW

Function

Keyboard

Shortcut

Description

Pelt Dialog Run

Simulation

Runs the

simulation, pulling

the pelt seam

vertices towards

the stretcher

points.

Pelt Dialog Select

Pelt UVs

Selects all pelt UVs.

Pelt Dialog Select

Stretcher

Selects all stretcher

UVs.

Pelt Dialog Snap

Seams

Aligns all the

stretcher points

totheedgeseams

on the pelt UVs.

Pelt Dialog

Straighten

Stretcher

Lets you specify a

polygonal outline

for the stretcher by

moving points.

Pelt Edit Seams Lets you specify

a pelt seam by

selecting edges

with the mouse in

the viewports.

Unwrap UVW

Function

Keyboard

Shortcut

Description

Pelt Expand

Selection To

Seams

Expands the

current face

selection to meet

the pelt seam

border(s).

Pelt Map Activates

pelt-mapping

mode.

Pelt Seam to Edge

Sel (Add)

Converts the pelt

seam to an edge

selection, adding

to the current edge

selection.

Pelt Seam to Edge

Sel (Replace)

Converts the

pelt seam to an

edge selection,

replacing the

current edge

selection.

Pivot Snap ... (nine

shortcuts)

Snaps the

Freeform gizmo

pivot to the

specified gizmo

edge.

Planar Map

Faces/Patches

Enter Applies a planar

map to the current

selection.

Planar Threshold Turns on the

Modify panel >

Planar Angle check

box.

Point to Point

Edge Selection

Lets you specify

pelt seams by

selecting vertices

with the mouse in

the viewports.

Unwrap UVW Shortcuts 905

Unwrap UVW

Function

Keyboard

Shortcut

Description

Polygon Mode Applies only to

triangle meshes.

When turned on

(the default), if you

select a triangular

face, the software

will select all faces

that belong to the

poly that owns that

face.

Polygon Select Expands the

current face

selection to the

poly.

Prevent

Reflattening

When on, keeps

Render To Texture

from reflattening

the mapping.

Relax Applies the default

Relax Tool settings

to the current

texture vertex

selection.

Relax Dialog Opens the Relax

Tool dialog.

Render UVW

Template

Renders the UVW

coordinates to a

bitmap.

Reset Pivot On

Selection

When turned on

(the default), the

Freeform gizmo

pivot is reset

to the center

every time the

selection changes,

otherwise the

pivot maintains

its offset.

Reset UVWs Sets texture

coordinates to

the original values

before Unwrap

was applied.

Save Current

Settings As

Default

Saves current

UI values to the

default .ini file.

Unwrap UVW

Function

Keyboard

Shortcut

Description

Save UVW Lets you save the

UVW data to disk

as a .uvw file, which

canbereadinlater

or onto another

mesh if they have

similar topology.

Scale Horizontal Scales the

selection along

the U axis.

Scale Vertical Scales the

selection along

the V axis.

Select Inverted

Faces

Selects any faces

in the Edit UVWs

dialog that are not

facing you.

Select

Overlapped Faces

Selects

overlapping faces

in the Edit UVWs

dialog.

Show Edge

Distortion

Uses a green-to-

red color range to

depict distortion.

Show Hidden

Edges

Toggles display of

all edges.

Show Map Toggles display of

the image map.

Show Seams in

Viewport

Alt+E Toggles display

of cluster seams

in the viewport.

Works only when

Edit UVWs dialog

has focus.

Show Shared

Sub-objects

Shows sub-objects

that share

edges/vertices.

Show Subobject

Counter

Displays the

number of

selected objects in

the editor window.

Show Vertex

Connections

Tags all texture

vertices that

share the same

geometry vertex

with a unique ID.

906 Chapter 8: Modifiers

Unwrap UVW

Function

Keyboard

Shortcut

Description

Sketch Activates Sketch

Vertices.

Sketch Dialog

Sketch Reverse

Vertex Order

Reverses the order

of the selected

vertices for Sketch

mode. Applies to

the Use Current

Selection option

for Sketch.

Snap Ctrl+S Toggles snapping.

Snap to Grid/

Vertex/Edge

Sets the snap type.

Soft Selection

Edge Distance

Equivalent to

turning on Edge

Distance.

Soft Selection

Edge Distance

Range 1

Set Edge Distance

to the specified

value.

Soft Selection

Edge Distance

Range 2

Set Edge Distance

to the specified

value.

Soft Selection

Edge Distance

Range 3

Set Edge Distance

to the specified

value.

Soft Selection

Edge Distance

Range 4

Set Edge Distance

to the specified

value.

Soft Selection

Edge Distance

Range 5

Set Edge Distance

to the specified

value.

Soft Selection

Edge Distance

Range 6

Set Edge Distance

to the specified

value.

Soft Selection

Edge Distance

Range 7

Set Edge Distance

to the specified

value.

Soft Selection

Edge Distance

Range 8

Set Edge Distance

to the specified

value.

Spherical Map Applies spherical

mapping.

Stitch Stitches together

shared edges of a

polygon.

Unwrap UVW

Function

Keyboard

Shortcut

Description

Stitch Dialog Opens the

properties for the

Stitch command.

Sync Selection

Mode

Same as Sync to

Viewport

Sync Texture

Selection to

Viewport

Synchronizes the

selection in the

Edit UVWs dialog

to the selection in

the viewport.

Sync Viewport

Selection to

Texture

Synchronizes the

selection in the

viewport to the

selection in the

Edit UVWs dialog.

Texture Vertex

Contract

Selection

-(minus sign),

-(on numeric

keypad)

Shrinks the

selection in the

Edit UVWs dialog.

Texture Vertex

Expand Selection

=(equal sign),

+(on numeric

keypad)

Grows the

selection in the

Edit UVWs dialog.

Texture Vertex

Move Mode

QLets you move

vertices in editor.

Texture Vertex

Rotate Mode

Ctrl+R Lets you rotate

vertices in editor.

Texture Vertex

Scale Mode

Lets you scale

vertices in editor.

Texture Vertex

Weld Selected

Ctrl+W Welds selected

vertices in editor.

Texture Vertex

Target Weld

Ctrl+T Lets you target-

weld selected

vertices in editor.

TV Edge

Sub-object Mode

TV=Texture Vertex

TV Element Mode TV=Texture Vertex

TV Face Sub-

object Mode

TV=Texture Vertex

TV Vertex

Sub-object Mode

TV=Texture Vertex

Unfold Map

Dialog

Flatten Mapping Dialog 907

Unwrap UVW

Function

Keyboard

Shortcut

Description

Unfreeze All Unfreezes all

frozen elements.

Unhide All Unhides all hidden

elements.

Unwrap Options Ctrl+O (letter

"o")

Update Map Ctrl+U Updates map in

editor.

UV Edge Mode When on, selecting

an edge expands

the selection to

include all edges in

its loop. See Edge

Loop.

UV Edge Select Expands an

existing edge

selection to

include all edges in

its loop. See Edge

Loop.

Vertex Snap

Vertex To Edge

Select

Converts vertex

selection to an

edge selection and

puts you in Edge

mode.

Vertex To Face

Select

Converts vertex

selection to a face

selection and puts

you in Face mode.

Zoom Z

Zoom Extents X

Zoom Extents

Selected

Alt+Ctrl+Z

Zoom Region Ctrl+X

Zoom Selected

Element

Zoom to Gizmo Shift+Spacebar

UVW Editor Dialogs

Flatten Mapping Dialog

Select an object. > Modify panel > Modifier List >

Object-Space Modifiers > Unwrap UVW > Edit button (on

Parameters rollout) > Mapping menu > Flatten Mapping

The Flatten Mapping method of procedural

mapping applies planar maps to groups of

contiguous faces that fall within a specified angle

threshold. It prevents overlap of mapping clusters,

but can still cause texture distortion. The Flatten

Mappingdialogletsyoucontrolhowclustersare

defined and mapped.

See also

Normal Mapping Dialog (page 1–908)

Unfold Mapping Dialog (page 1–919)

Interface

Face Angle Threshold—The angle used to determine

theclusterstobemapped.

As the Flatten Map gathers faces to be mapped, it

uses this parameter to determine which faces get

put in a cluster. This is the maximum angle that

can exist between faces in a cluster.

Thehigherthisnumber,thelargertheclusters

will be, with consequently greater distortion

908 Chapter 8: Modifiers

introduced as a result of texture faces’ proportions

deviating from their geometry-equivalent faces.

Spacing —Controls the amount of space between

clusters.

The higher this setting, the larger the gap that

appears between clusters.

Normalize Clusters— Controls whether the final

layout will be scaled down to 1.0 unit to fit within

the standard editor mapping area. If this is turned

off,thefinalsizeoftheclusterswillbeinobject

space, and they’ll probably be much larger than

the editor mapping area. For best results, leave this

turned on.

Rotate Clusters—Controls whether clusters are

rotated to minimize the size of their bounding

box. For instance, the bounding box of a rectangle

rotated 45 degrees occupies more area than one

rotated 90 degrees.

Fill Holes—When turned on, smaller clusters will

be placed in empty spaces within larger clusters to

take the most advantage of the available mapping

space.

By Material IDs—When on, ensures that no

cluster contains more than one material ID after

flattening.

OK—Accepts the settings, closes the dialog, and

performs the mapping as specified.

Cancel—Undoes any changes and closes the dialog.

Set As Default—Makesthecurrentsettingsthe

defaults for the current session.

Normal Mapping Dialog

Select an object. > Modify panel > Modifier List >

Object-Space Modifiers > Unwrap UVW > Edit button (on

Parameters rollout) > Mapping menu > Normal Mapping

The Normal Mapping method of procedural

mapping applies planar maps based on different

vector-projection methods. It is the most

straightforward method, but can result in even

greater texture distortion than with Flatten

mapping (page 1–907).TheNormalMapping

dialog lets you control how clusters are defined

and mapped.

See also

Flatten Mapping Dialog (page 1–907)

Unfold Mapping Dialog (page 1–919)

Interface

(drop-down)—Sets the mapping method:

•Back/Front

•Left/Right

•Top/Bottom

•BoxNoTop

•Box

•Diamond

Spacing—Controls the amount of space between

clusters.

The higher this setting, the larger the gap that

appears between clusters.

Normalize Clusters— Controls whether the final

layout will be scaled down to 1.0 unit to fit within

the standard editor mapping area. If this is turned

off,thefinalsizeoftheclusterswillbeinobject

space, and they’ll probably be much larger than

the editor mapping area. For best results, leave this

turned on.

Pack UVs Dialog 909

Rotate Clusters—Controls whether clusters are

rotated to minimize the size of their bounding

box. For instance, the bounding box of a rectangle

rotated 45 degrees occupies more area than one

rotated 90 degrees.

Align By Width—Controlswhetherthewidthorthe

height of the clusters is used to control the layout

of the clusters.

OK—Accepts the settings, closes the dialog, and

performs the mapping as specified.

Cancel—Undoes any changes and closes the dialog.

Set As Default—Makesthecurrentsettingsthe

defaults for the current session.

Pack UVs Dialog

Select an object. > Modify panel > Modifier List >

Object-Space Modifiers > Unwrap UVW > Edit button (on

Parameters rollout) > Tools menu > Pack UVs

The Pack UVs dialog contains controls for clusters.

Interface

(drop-down)—Sets the packing method:

•Linear Packing—Uses a linear method to lay

out the faces. This method is fast but not very

efficient, and tends to leave a lot of unused UV

space.

•Recursive Packing—Slower than the Linear

method, but packs the faces more efficiently.

Spacing —Controls the amount of space between

clusters.

The higher this setting, the larger the gap that

appears between clusters.

Normalize Clusters— Controls whether the final

layout will be scaled down to 1.0 unit to fit within

the standard editor mapping area. If this is turned

off,thefinalsizeoftheclusterswillbeinobject

space, and they’ll probably be much larger than

the editor mapping area. For best results, leave this

turned on.

Rotate Clusters—Controls whether clusters are

rotated to minimize the size of their bounding

box. For instance, the bounding box of a rectangle

rotated 45 degrees occupies more area than one

rotated 90 degrees.

Fill Holes—When turned on, smaller clusters will

be placed in empty spaces within larger clusters to

take the most advantage of the available mapping

space.

OK—Accepts the settings, closes the dialog, and

performs the packing as specified.

Cancel—Undoes any changes and closes the dialog.

Set As Default—Makes the current settings the

defaults for the current session.

Pelt Map Parameters Dialog

Unwrap UVW Modifier > Face sub-object level > Map

Parameters rollout > Pelt > Edit Pelt Map

The primary function of the Pelt Map Parameters

dialog is to let you stretch out the UVW

coordinates into a flat, unified map that you can

then use for texturing. When the dialog is open,

the stretcher appears in the Edit UVWs dialog

window as a circle of points, each of which is

attached to a vertex on a pelt seam. You can

manipulate these vertices exactly as any other

vertex in the editor, selecting, rotating, moving,

etc. Other special functions available on the dialog

910 Chapter 8: Modifiers

let you straighten out stretcher vertices, snap them

to the pelt seams, and so on.

The stretcher points surround the pelt UVs in the Edit UVWs

dialog window.

The lines connecting the stretcher vertices to the

pelt-seamverticesfunctionasspringsthatpullthe

pelt seams outward in an animated simulation.

After you set up the pelt UVs and the stretcher

shape, you run the simulation by clicking the

Simulate Pelt Pulling button. Depending on the

results, further adjustment and simulation might

be required.

WhilePeltmodeisactiveandtheEditUVWs

dialog is open, most standard UVWs editing

functions are also available. So, for example,

instead of stretching the entire pelt, you could

select a subset of UVs to stretch. To access any

commands that are unavailable in Pelt mode, such

as Mapping menu commands, simply close the

Pelt Map Parameters dialog.

Interface

The primary Pelt Map commands are activated

via the buttons in the Simulation group. Other

functionsonthisdialogletyouadjustvarious

stretching parameters.

Stretcher group

These tools help adjust the stretcher shape.

Reset Stretcher—Returns the stretcher and the

pelt UVs to their default shape and orientation,

losing any stretching or editing of the stretcher or

mapping coordinates.

Snap To Seams—Aligns all the stretcher points to

theedgeseamsonthepeltUVs. Thiscausesthe

stretcher to take on the pelt outline.

For best results, use this command only after

stretching.

Straighten Stretcher—Lets you specify a polygonal

outline for the stretcher by moving points. When

this mode is active, move one stretcher vertex,

and then move a second, non-adjacent point to

line up all intervening vertices in a straight line

between the two. This process is fully interactive;

as you move the second vertex, the intervening

vertices continually change position to maintain

Pelt Map Parameters Dialog 911

the straight line. Continue moving vertices to

create a polygonal outline; to quit, click Straighten

Stretcher again.

Note: While Straighten Stretcher is active, you

can pan and zoom the editor window at any time

using contextual controls (middle-button drag

or turn mouse wheel, respectively) to access a

differentpartofthewindow. Afterdoingso,

the software still remembers the last vertex you

dragged and draws a straight line between it and

the next one you drag. Similarly, you can adjust

the window using the control buttons and then

return to straightening the stretcher. If the control

requires more than a single click, such as Pan, exit

the control by right-clicking in the window and

then return to straightening the stretcher.

Tip: To create a symmetrical outline for the

stretcher,createtheoutlineononesideandthen

use Mirror Stretcher (following).

Mirror Stretcher—Mirrors the stretcher points

fromonesideofthemirroraxis(seefollowing)to

the other. By default, Mirror Stretcher mirrors the

points from the right side to the left.

Mirror Axis—Lets you specify the orientation of

themirroraxis.Theaxistakestheformofthree

yellow lines forming a T. The leg of the T indicates

thesidethatwillbemirroredwhenyouuse

Mirror Stretcher (see preceding), and the crossbar

indicates the axis across which the mirroring will

occur. Default=0.0. Range=0.0 to 360.0.

Select group

These commands let you select all the stretcher

points or the pelt UVs. As with other selection

methods, you can press and hold Ctrl when you

use either of these to add to the current selection.

That is, to select all stretcher points and pelt UVs,

click one button, press and hold Ctrl ,andthen

click the other button.

Select Stretcher—Selects all stretcher points.

Select Pelt UVs—Selects all pelt UVs.

Springs group

Theseparameterscontrolthespringsthatareused

to stretch the pelt. In most cases you won’t need

to change these values, except possibly for Pull

Strength.

Pull Strength—The magnitude of the stretching

action when you click Simulate Pelt Pulling.

Default=0.1. Range=0.0 to 0.5.

Ifthestretchingistoogradual,increasePull

Strength for a more forceful stretching action.

Stiffness—Sets the rate at which the springs pull.

The higher the Stiffness value, the more abrupt the

pulling action. Default=0.16. Range=0.0 to 0.5.

Dampening—Appliesadampeningorinhibiting

factor to the pulling action. The higher the

Dampening value, the greater the inhibition of the

stretcher. Default=0.16. Range=0.0 to 0.5.

Decay—Therateoffalloffoftheinfluenceof

each pelt-seam vertex on the other mapping

vertices. Higher Decay values typically result in

significantly greater stretching, or undesirable

results. For best results, keep the Decay value low.

Default=0.25. Range=0.0 to 0.5.

Lock Open Edges—Locks the open edges in place.

This typically applies to using the stretcher on a

partial selection of mapping vertices in the pelt

region. WhenLockOpenEdgesison,selected

vertices next to unselected vertices tend to stay in

place during stretching. When Lock Open Edges

is off, the selected vertices tend to pull away from

the unselected vertices.

Simulation group

These are the main controls for the simulation, in

which the springs attached to the stretcher pull the

pelt seam vertices out, flattening the UVs. For best

912 Chapter 8: Modifiers

results, alternate between running the simulation

(click Simulate Pelt Pulling) and relaxing the mesh.

Iterations—Thenumberoftimesthesimulation

will run through when you click Simulate Pelt

Pullings. Default=20. Range=1 to 100.

Often, you’ll need to run repeated simulations to

get the desired result.

Samples—The number of samples around each

pelt-seam point used in the simulation. A higher

value results in a greater pulling effect. Default=5.

Range=1 to 50.

Relax (Light)—Causes a relatively weak

normalization of the distances between mapping

vertices.

Relax (Heavy)—Causes a relatively strong

normalization of the distances between mapping

vertices.

Simulate Pelt Pulling—Runs the simulation, pulling

the pelt seam vertices towards the stretcher points.

To abort the simulation process, press Esc .

Relax Tool Dialog

Select an object. > Modify panel > Modifier List >

Object-Space Modifiers > Unwrap UVW > Edit button

(on Parameters rollout) > Edit UVWs dialog > Make a

selection. > Tools menu > Relax Dialog

The Relax Tool dialog offers an advanced toolset

for modifying the spacing of selected texture

coordinates parametrically, for the purpose of

eliminating or minimizing distortion in texture

maps. The dialog provides three different

methodsforrelaxingvertices,plusseveralnumeric

parameters and two check boxes. You can use

Relax to separate texture vertices that are too

close together to texture easily, and to resolve

overlapping areas.

Thedialogisnon-modal,whichmeansthatyou

can work directly in the editor while keeping

the dialog open. You can make a selection of

texture vertices, apply relaxation, make a different

selection, apply relaxation, and so on, without

having to close the Relax Tool dialog.

Tip: When using Relax with complex objects, you

mightfindthatverticesininteriorsectionsofthe

texture mesh don’t relax properly because they

have nowhere to go. In such cases, try making

a seam: Select an edge loop or part of a loop,

and then use the Break function to separate the

mesh at the seam. Alternatively, you could make

a face selection and then use Detach Edge Verts.

For example, Select Overlapped Faces > Expand

Selection > Detach Edge Verts will break the

selection away from the mesh into a new UV

element.

Tip: EffectiveuseoftheRelaxtoolsrequires

thatthegeometryandtextureverticesbeinthe

same order. If you get unexpected results using

Relax, try mirroring the texture vertices to reverse

their order.

Procedures

To relax texture coordinates:

1. Use the Edit UVWs dialog to select the

texture-coordinate vertices to relax.

You can make this selection at any sub-object

level (Vertex, Edge, or Face), but Relax always

works on vertices.

2. On the Tools menu, choose Relax Dialog.

Relax Tool Dialog 913

This opens the Relax Tool dialog.

3. Choose the relax method. Three are available

from the drop-down list:

•RelaxByFaceAngles

•RelaxByEdgeAngles

•RelaxByCenters

ThedefaultmethodisRelaxByEdgeAngles;

this most often gives the best results.

4. Set the other options and then click Apply.

As the relaxing progresses, a message appears

showing you which frame is being processed. A

frame is equivalent to an iteration.

The appropriate method and other settings

to use depend on a variety of conditions,

including the complexity and topology of the

mesh, so experimentation is usually required.

Relaxing is undoable, so if one method doesn’t

work, undo and try another.

To use Relax to fix overlapping faces:

This procedure provides general guidelines for

resolving overlapping texture faces. It might not

work in every case, but it should give you a starting

point for correcting most situations.

1. Open the Edit UVWs dialog and in the

Selection Modes group, click Face Sub-object

Mode.

2. From the Edit UVWs dialog > Select menu,

choose Select Overlapping Faces.

Only the overlapping faces are selected.

3. Click Expand Selection to select faces

surroundingtheoverlappingfaces.

Thisgivestheoverlappingfacesalargerarea

in which to spread out.

4. From the Tools menu, choose Relax Dialog.

5. On the Relax Tool dialog, set Stretch to an

intermediate value. If the overlapping is

considerable, use 0.5 or higher. If it’s relatively

small, try 0.1 to 0.3.

6. Click Apply.

If this seems to be helping, continue clicking

Apply until the overlapping is resolved. If

not, undo ( Ctrl+Z )andtryusingRelaxBy

Face Angles instead, or increase the Amount

value, or change the Stretch value, or use

combinations of the above.

Interface

[relax method]—Themethodusedtorelaxthe

texture vertices. Choose from the drop-down list:

•Relax By Face Angles—Relaxes the vertices based

on the shape of the faces. It tries to align the

geometric shape of the face to the UV face. This

algorithm is mainly used to remove distortion

914 Chapter 8: Modifiers

and not so much to remove overlap, and is best

suited for simpler shapes.

•Relax By Edge Angles—This default method is

similar to Relax By Face Angles except that it

usestheedgesthatareattachedtothevertices

as the shape to match. It typically works better

than Relax By Face Angles but tends to take

longer to reach a solution. This method is

bested suited for more complex shapes.

•Relax By Centers—The original Relax method

from previous versions of 3ds Max. It relaxes

vertices based off the centroids (centers of

mass) of their faces. It does not take into

account the face or edge shapes/angles so it is

mainly useful for removing overlap or for faces

that are mostly rectangular.

Iterations—The number of times the Relax settings

are applied when you click Apply. Each iteration is

applied successively, to the results of the previous

iteration. Range=0 to 100000. Default=100.

Amount—The strength of the relaxation applied

per iteration. Range=0.0 to 1.0. Default=0.1.

Stretch—Theamountofstretchingthatcanoccur.

Stretching is useful mainly to resolve overlapping

texture vertices, at the cost of reintroducing

distortion into the texture mesh. Range=0.0 to

1.0. Default=0.0.

Keep Boundary Points Fixed—Controls whether

vertices at the outer edges of the texture

coordinates are moved. Default=off.

When off, the outer edge of the texture mesh

can float, allowing a wider range of the available

texture-mapping space to be used. Typically

you would keep this off when relaxing an entire

element or cluster, so the software can minimize

distortion by moving the edges.

When relaxing an interior subset of vertices, it

is recommended you turn this on to prevent the

selected vertices from overlapping unselected

vertices. For Relax By Edge and Face Angles, turn

this off until you get a good solution for the outer

boundaries of the mesh and then turn it on to

resolve the interior sections.

Save Outer Corners—Preserves the original

positions of texture vertices farthest away from the

center. Available only with the Relax By Centers

method.

Apply—Begins the relaxation process using the

current settings. As relaxation takes place, a

textual progress indicator appears at the bottom of

the dialog, showing the current iteration (Process

frame) and the total number of iterations being

processed.

To abort the relaxation process, press Esc .You

canthenuseUndo(Ctrl+Z )toreturntothe

prior state, if necessary.

Set As Default—Savesallcurrentsettingsasthe

Relax defaults, so they are recalled from session

to session.

Render UVs Dialog

Unwrap UVW modifier > Edit button (on Parameters

rollout) > Tools menu > Render UVW Template

The Render UVs dialog, part of the Unwrap UVW

editor (page 1–888), lets you export a model’s

texture mapping data as a template; a bitmapped

image file. you can then import this template into

a 2D paint program, apply color as needed, and

thenbringitbackinto3dsMaxasatexturemapto

applytothemodel.Theexportedfilelookslikea

screen shot of the editor window, but without any

background texture, and has the added options of

setting color and alpha options for both the edges

and the area they cover.

For a procedure that covers usage of this dialog, see

To export texture coordinates to a paint program:

(page 1–882).

Render UVs Dialog 915

Interface

Width/Height—The horizontal and vertical

dimensions of the output (rendered) template

image in pixels.

Guess Aspect Ratio—Adjusts the Height value to

produce an output aspect ratio based on the Width

valueandthedimensionsoftheUVgrid.

For instance, if a rectangular UV grid measures

20 x 100 units and you click Guess Aspect Ratio,

it would try to keep the bitmap at the 1:5 aspect

ratio. This makes painting on the bitmap easier

because the bitmap is at the correct aspect ratio

for the mesh.

Warning: Using this function can result in Height value

that is not a power of 2. If your mesh is destined for a

real-time renderer, adjust the resulting Height value to

the nearest power of 2 after using Guess Aspect Ratio.

For example, if it sets Height to 650, change it to 512

before rendering the template.

Force 2-Sided—When on, all UV edges are

rendered into the template. When off, only UV

edges of faces facing the viewer are included; edges

of back-facing faces are not rendered.

Fill group

Fill is the coloring applied to the rendered bitmap

in the face areas between edges. By default, there’s

no fill; the bitmap color is black, and the alpha

channel is fully transparent. You can change this

to a solid color or to shading derived from the

mesh and lighting in the scene, or from the normal

directions.

Note: The overlap color overrides the fill color. For

example, if Show Overlap is on and all visible faces

overlap other faces, all faces will show the overlap

color, ignoring the fill color.

[color swatch]—Shows the fill color used for faces

when Mode is set to Solid. To change the color,

click the swatch.

Alpha—Sets the alpha-channel value for the fill

areas when Mode=Solid, Normal, or Shaded.

When Mode=None, the fill alpha is always 0.0

(transparent). Range=0.0 (transparent) to 1.0

(opaque). Default=1.0.

The alpha channel is included with the rendered

image only when you save in a format that supports

transparency, such as TIF or Targa.

Mode—Specifies the method used for filling faces

in the rendered template.

•None: No fill is rendered. This setting ignores

the Alpha value, and sets fill alpha to 0.0; that

is, fully transparent.

916 Chapter 8: Modifiers

•Solid:Rendersfacesusingthefillcolor

specified by the swatch at the top of the Fill

group.

•Normal: Renders each vertex’s normals into

thebitmap.Theresultlookssimilartoanormal

map.

•Shaded: Uses a simple lighting setup to render

shadingacrosstheUVsurface.

Show Overlap—When on, fills faces that overlap

otherfaceswiththeoverlapcolor,showninthe

color swatch to the right. Default=on.

To change the overlap color, click the color swatch.

Edges group

[color swatch]—Shows the color used for rendered

edges. To change the color, click the swatch.

Alpha—Sets the alpha-channel value for edges.

Range=0.0 (transparent) to 1.0 (opaque).

Default=1.0.

The alpha channel is included with the rendered

image only when you save in a format that supports

transparency, such as TIF or Targa.

Visible Edges—When on, edges are rendered using

the specified edge color. Default=on.

Invisible Edges—When on, hidden edges

are rendered using the specified edge color.

Default=off.

Hidden edges are most often found dividing mesh

polygons into triangles. They aren’t present in

polygon objects.

Seam Edges—When on, seam (outside) edges

are rendered using the specified seam color.

Default=on.

To change the seam color, click the color swatch.

Thedefaultcolor(green)isthesameasthatused

for seam edges in the Edit UVWs dialog, but the

two can be changed separately.

Render UV Template—Renders the template bitmap

in a new rendered frame window (page 3–5).

To save the rendered frame, click the Save

Bitmap button.

Note: This command renders the normalized UV

space, from (0,0) to (1,1), as depicted in the editor

by a dark blue outline. For best results, make sure

the texture UVs fill this space but don’t exceed its

bounds.

Tip: To turn off the background texture,

which tends to obscure the UV space outline, click

the Show Map button on the upper toolbar.

Sketch Tool Dialog

Select an object. > Modify panel > Modifier List >

Object-Space Modifiers > Unwrap UVW > Edit button (on

Parameters rollout) > Tools menu > Sketch Vertices

If you need to match a contiguous selection of

texture vertices to an outline in a bitmap, whether

an irregular shape, a straight line, or a geometric

shape, you can use the Sketch tool to perform

the operation quickly, rather than dragging the

vertices one at a time.

Procedure

Example: To sketch texture vertices free form:

You can start with the vertices already selected, or

use the Sketch tool to select them. In this example,

we’ll assume the latter.

1. Choose Sketch Vertices.

2. In the Sketch Tool dialog, next to Select By,

choose Drag Selection, if necessary.

3. Next to Align To, choose Free Form, if

necessary.

4. Make sure Show Vertex Order and Interactive

Mode are turned on. Leave Drag Cursor Size

at the default setting.

Sketch Tool Dialog 917

5. Click OK to close the dialog.

The mouse cursor takes the form of a circle,

which means you’re in “drag select” mode.

6. In the editor window, drag the cursor over the

vertices to select, and then release the mouse

button.

As you drag, each vertex is assigned a

consecutive number. When you release the

mouse button, the cursor turns into a pencil,

which means you’re in “sketch” mode.

Note: Before you start sketching, each successive

mouse click alternates between drag and sketch

modes.

7. In the editor window, drag a wavy line.

The selected vertices follow the line in numeric

order, spreading out evenly over its length. To

start the sketch over, release the mouse button,

and then drag again.

Alternatively, if you press and hold Alt ,and

thenpressandreleasethemousebutton,you’ll

draw a straight line by moving the mouse. Click

andmoveagaintodrawconnectedstraight-line

segments.

You can combine free-form and straight-line

sketching freely:

• To append a free-form line to a straight-line

segment, release the Alt key and then begin

dragging.

• To append a straight-line segment to a

free-form line, press and hold Alt as you

drag, and then release the mouse button and

move the mouse.

8. To exit the Sketch tool, right-click in the editor

window.

Interface

Select by—Lets you choose how to select the

vertices to sketch:

•Pick Selection—Lets you pick the vertices one by

one. When you click OK, a Pick cursor appears

comprising a + sign and the letter P; when the

cursor is over a vertex, the + sign becomes

larger. To finish picking, right-click, and then

drag to sketch. After sketching, you return to

Pick mode, and so on. To exit, right-click.

•Drag Selection—Lets you pick multiple vertices

by dragging. When you click OK, the mouse

cursorappearsasacircle. Afteryoudragto

select vertices, release the mouse button, and

then drag (or Alt +click) to sketch. As with

Pick Selection, the mouse cursor continues

to alternate between Select and Sketch modes

until you right-click to exit.

•Use Current Selection—Uses the current

selection; you cannot change the selection

whileusingthetool.Ifthecurrentselectionis

edges or faces, Sketch uses all vertices attached

to selected sub-objects.

Align To—Lets you choose how to sketch:

•Free Form—Drag to sketch free form (like

drawing with a pencil), or Alt +click to sketch

connected

•Line—Drag to sketch a single, straight line

segment.

•Box—Drag diagonally to sketch a rectangle.

918 Chapter 8: Modifiers

•Circle—Drag outward to sketch a circle, and

then move the mouse in a circle to rotate the

circle.

Show Vertex Order—Displays numbered labels that

indicate the order in which vertices were selected

andwillspreadoutduringsketching.

Interactive Mode—Shows vertex positioning as you

sketch. Turn off for faster feedback.

Drag Cursor Size—Sets the size of the mouse

cursor used while dragging a selection.Default=8.

Range=1 to 15.

OK—Accepts the changes and closes the dialog.

Cancel—Undoes any changes and closes the dialog.

Set As Default—Makesthecurrentsettingsthe

defaults for the current session.

Stitch Tool Dialog

Select an object. > Modify panel > Modifier List >

Object-Space Modifiers > Unwrap UVW > Edit button (on

Parameters rollout) > Tools menu > Stitch Selected

After you’ve separated your object’s UVW

coordinates into clusters, either manually or

using one of the automatic tools on the Mapping

menu (page 1–898),youcanusetheStitch

tool to recombine specific clusters by merging

corresponding edges.

Note: You can stitch together only two clusters at a

time. If the current sub-object selection is shared

by more than one cluster, then “majority rules”:

Stitch attaches the cluster that shares the most

sub-objects. If the number of sub-objects shared

bymultipleotherclustersisthesame,thesoftware

attachestheclusterwhosesharedsub-objectswere

chosen first.

Procedure

To stitch two clusters together:

1. In the “source” cluster, select sub-objects along

an edge you want to connect.

By default, this causes the shared edges to

highlight in the “target” object(s).

2. Choose Stitch Selected.

The clusters are connected.

3. Adjust the settings on the Stitch Tool dialog.

Feedback takes place in real time.

4. ClickOKtoacceptorCanceltoabort.

Interface

Align Clusters—Moves the target cluster to the

source cluster, and rotates the target cluster into

place if necessary. When off, the target cluster

remains in its original position and orientation.

Default=on.

Tip: If your clusters overlap after stitching with

Align Clusters turned on, cancel the stitching, and

then position and align them as you want them

after stitching. Then use the Stitch tool with Align

Clusters turned off.

Scale Clusters—Resizes the target cluster to a size

comparable to that of the source cluster. Takes

effect only when Align Clusters is on. Default=on.

Unfold Mapping Dialog 919

Edges chosen to stitch (left); Clusters aligned (center); Clusters

aligned and scaled, with Bias=0 (right)

Bias—When Scale Clusters is off, Bias sets the

extent to which attached sub-objects are moved

from their original positions. At Bias=0, the

sub-objectsremainintheiroriginalpositionsin

thesourcecluster.AtBias=1,sub-objectsremain

in their original positions in the target cluster. At

in-between settings, their positions are averaged

between the two.

WhenScaleClustersison,Biassetswherethe

software derives the scaling of the target cluster(s).

At Bias=0, the scale is fully derived from the

stitched edges on the source. At Bias=1, the scale is

fully derived from the stitched edges on the target.

At in-between settings, the scaling is averaged

between the two.

OK—Accepts the changes and closes the dialog.

Cancel—Undoes any changes and closes the dialog.

Set As Default—Makesthecurrentsettingsthe

defaults for the current session.

Unfold Mapping Dialog

Select an object. > Modify panel > Modifier List >

Object-Space Modifiers > Unwrap UVW > Edit button (on

Parameters rollout) > Mapping menu > Unfold Mapping

The Unfold Mapping method of procedural

mapping eliminates texture distortion, but can

result in overlapping coordinate clusters. The

Unfold Mapping dialog lets you control how faces

are unfolded.

See also

Flatten Mapping Dialog (page 1–907)

Normal Mapping Dialog (page 1–908)

Interface

(drop-down)—Sets the unfold method by

specifying whether the software will start

unfolding with the closest or farthest face angle,

with respect to distance. In almost all cases, you’ll

get better results with Walk To Closest Face.

•Wa l k To Cl o s es t Fa ce

•Wa l k t o Fa r t h es t F ace

Normalize Clusters— Controls whether the final

layout will be scaled down to 1.0 unit to fit within

the standard editor mapping area. If this is turned

off,thefinalsizeoftheclusterswillbeinobject

space, and they’ll probably be much larger than

the editor mapping area. For best results, leave this

turned on.

OK—Accepts the settings, closes the dialog, and

performs the mapping as specified.

Cancel—Undoes any changes and closes the dialog.

Set As Default—Makes the current settings the

defaults for the current session.

920 Chapter 8: Modifiers

Unwrap Options Dialog

Select an object. > Modify panel > Modifier List >

Object-Space Modifiers > Unwrap UVW > Edit button (on

Parameters rollout) > Edit UVWs dialog > Options menu

>AdvancedOptions

Set preferences for the Unwrap UVW editor using

controls in the Unwrap Options dialog.

Interface

Colors group

Contains color swatches to customize the display

of the UVW lattice. With certain maps, the default

colors may become difficult to see. Use these

swatches to choose colors that work better for your

specific map.

To change a color, click its swatch, and then use the

Color Selector (page 1–161) to choose a new one.

Line Color—Specifies the color of the UVW lattice

lines. Default=white.

Handle Color—The color assigned to patch handles.

Default=yellow.

Show Shared Subs—When turned on, non-selected

sub-objects shared by the current selection are

highlighted in this color. In most cases, the shared

sub-objects are edges. With a single vertex, the

shared sub-objects are vertices. Defaults=on, blue.

Selection Color—Specifies the color of selected

UVW sub-objects. Default=red.

Gizmo Color—The color assigned to the Freeform

gizmo. Default=orange.

Display Seams—When on, lets you assign a

distinctive color to coordinate clusters’ boundaries

that appears in the viewports. Defaults=on, green.

Show Grid—When on, the grid lines are visible.

Defaults=on, dark blue.

Yo u c a n a l s o s e t t h e grid size.

Background Color—The color assigned to the

backgroundwherethetexturemapisn’tdisplayed.

Default=dark gray.

(drop-down)—Lets you assign a fill pattern

to selected faces. Default=Cross Hatch

Horizontal/Vertical.

Display Preferences group

Contains controls affecting the map display in the

view window.

Render Width—Specifies the width resolution of

the image displayed in the view window. This

does not change the size of the image, but only the

resolution.

Unwrap Options Dialog 921

Render Height—Specifies the height resolution.

Use Custom Bitmap Size—When turned on, scales

the bitmap texture to the values specified by Width

and Height. You can adjust these settings to scale

and reproportion the bitmap texture in relation to

the texture coordinates. This scaling doesn’t affect

the bitmap in the material, but only as viewed in

the editor.

Tip: When working with large textures, reduce

the bitmap size for faster feedback. And when

working with disproportionate textures, setting

the dimensions closer to each other in the editor

can make it easier to work.

Tiles—Thenumberoftimesthetextureimageis

repeated, counting outward in eight directions

(the four corners and the four sides).

With Tiles=1, the result is a 3 x 3 grid. With

Tiles=2,theresultisa5x5grid,andsoon.

YoucantogglethetilingfeaturewiththeTile

Bitmap check box, described below.

Tile Brightness—Sets the brightness of the tiled

bitmap. At 1.0, the brightness equals that of the

original image; at 0.5 it’s half the brightness; and

at 0, it’s black.

This is the same setting as Brightness in the UVWs

editor > Bitmap Options group (available with

Show Options).

Tile Bitmap—When turned on, you can repeat the

bitmap in the editor, displaying tiling set in the

material.

You can use any part of the tiled image for setting

texturecoordinates. Thisishelpfulwhenthe

sections of the texture image are packed tightly

together and the mesh contains many different

areas to map.

Affect Center Tile—When turned on, the Brightness

setting affects all tiles equally. When off, the center,

or “home,” tile always remains at full brightness,

so you can easily distinguish the home tile from

the copies.

Constant Update in Viewports—Affects the

adjusting of UVW vertices in the viewport while

you move the mouse. Default=off (the effect of

adjusting the UVW vertices does not appear in the

viewport until you release the mouse).

Show Image Alpha—Displays the alpha channel of

the background image in the editor, if it exists.

Show Hidden Edges—Toggles the display of face

edges. When turned off, only faces appear. When

turned on, all mesh geometry appears.

Blend Tile to Background—Affects the color to

which tiles set to Brightness less than 1.0 blend.

When turned off, tiles blend to black. When

turned on, tiles blend to the background color.

Misc. Preferences

Center Pixel Snap—When turned on, snaps to the

center of pixels of the background images instead

of pixel edges.

Grid Snap—When on, snaps to grid edges and

intersections.

Vertex Snap—When on, snaps to

texture-coordinate vertices.

Edge Snap—When on, snaps to texture-coordinate

edges.

Weld Threshold—Sets the radius within which

welding using Weld Selected takes effect. The

setting is in UV-space distance. Default=0.01.

Range=0 to 10.

Grid Size—Sets the spacing of horizontal and

vertical grid lines. Default=0.1.

Setting Grid Size to 0 effectively turns off the grid.

At the highest value, 1.0, the grid is the same size

as the texture.

922 Chapter 8: Modifiers

Snap Str(ength)—Sets the grid snap strength.

Default=0.2. Range=0 to 0.5.

Setting the strength to 0 effectively turns off

snapping. At values less than 0.3, grid snapping

tendstogotogridedges.Atthehighestvalue,0.5,

grid snapping goes only to grid intersections.

Selection Preferences

Soft Selection Edge Distance—When Soft Selection

(page 1–893) is turned on, limits the falloff region

by the specified number of edges between the

selection and the affected vertices. The affected

region is measured in terms of "edge-distance"

space rather than absolute distance. Default=16.

Single Click Hit Size—Sets how far away you can

click from a sub-object to select it. Default=4.

Range=1 to 10.

Selected Tick Size—Sets the size of the square

icon the editor window uses to indicate selected

vertices. Default=2. Range=1 to 10.

OK/Cancel/Defaults—Click OK to accept, or Cancel

to cancel the changes in the dialog. Click Defaults

to restore all settings in this dialog to default values.

UVW Map Modifier

Select an object. > Modify panel > Modifier List > UVW

Map

Select an object. > Modifiers menu > UVW Map

Mapping a sphere and a box.

By applying mapping coordinates to an object, the

UVW Map modifier controls how mapped and

procedural materials appear on the surface of an

object. Mapping coordinates specify how bitmaps

are projected onto an object. The UVW coordinate

system is similar to the XYZ coordinate system.

The U and V axes of a bitmap correspond to the X

and Y axes. The W axis, which corresponds to the

Zaxis,isgenerallyonlyusedforproceduralmaps.

A bitmap’s coordinate system can be switched in

the Material Editor to VW or WU, in which case

UVW Map Modifier 923

the bitmap is rotated and projected so that it is

perpendicular to the surface.

Primitive objects, like spheres and boxes, can

generate their own mapping coordinates, as

can loft objects and NURBS surfaces. Scanned,

imported, or hand-constructed polygonal or patch

models do not have mapping coordinates until a

UVW Map modifier is applied.

Note: Drawings that are imported or linked from

Autodesk Architectural Desktop and Autodesk

Revit do retain the mapping coordinates that were

assigned to objects by those products.

If you apply a UVW Map modifier to an object

with built-in mapping coordinates, the applied

coordinatestakeprecedenceifmap channel (page

3–966) 1 in the UVW Map modifier is used. The

Generate Mapping Coordinates option, available

during the creation of primitives, uses map

channel 1 by default.

You use the UVW Map modifier to:

• Apply one of the seven types of mapping

coordinates to an object on a specified map

channel. A diffuse map on map channel 1 and a

bump map on map channel 2 can have different

mapping coordinates and can be controlled

separately by using two UVW Map modifiers

in the modifier stack

• Transform the mapping gizmo to adjust map

placement. Objects with built-in mapping

coordinates lack a gizmo.

• Apply mapping coordinates to an object with

no mapping coordinates, an imported mesh,

for example.

• Apply mapping at the sub-object level.

Map Channels

You can control the type of mapping coordinates

and the placement of the mapping gizmo for each

bitmap in a material that uses multiple bitmaps by

assigning explicit map channels to the bitmaps. In

the Material Editor you assign each map a different

channel number, then you add multiple UVW

Map modifiers to the object’s modifier stack,

each UVW Map modifier is set to a different map

channel. To change the type of mapping or gizmo

placement for a particular bitmap, you select

one of the UVW Map modifiers in the modifier

stack and change the parameters. You can change

the name of a UVW Map modifier in the Edit

Modifier Stack dialog to correlate the modifier to

the bitmap.

Transforming UVW Map Gizmos

Changing a map’s location by moving the gizmo.

The UVW Map gizmo projects mapping

coordinates onto an object. You can position,

rotate, or scale a gizmo to adjust map coordinates

on an object; you can also animate the gizmo.

Gizmo transformations remain in effect if you

select a new map type. For example, if you scale

a spherical mapping gizmo and then switch to

planar mapping, then the planar mapping gizmo

is also scaled.

Gizmo Display for Different Map Types

For planar, spherical, cylindrical and shrink wrap

maps, a short yellow line indicates the top of the

map. Thegreenedgeofthegizmoindicatesthe

right side of the map. On a spherical or cylindrical

924 Chapter 8: Modifiers

mapthegreenedgeistheseamwheretheleftand

rightedgemeet. Gizmomustbeselectedinthe

modifier display hierarchy to display the gizmo.

Gizmos for different projection types

Left to right: planar, cylindrical, box, and spherical

Effects of Transforming the UVW Map Gizmo

Moving the gizmo changes the center of projection

and affects all types of mapping. Rotating the

gizmo changes the orientation of the map, which

affects all types of mapping. Uniform scaling does

not affect spherical or shrink-wrap mapping.

Non-uniform scaling affects all types of mapping.

If you scale a gizmo smaller than the geometry,

thenatilingeffectiscreated,unlessscalinghas

no effect on the map type in use. Tiling based on

gizmo size is in addition to tiling values set in the

Material Editor Coordinates rollout for the map or

the UVW Map modifier tile controls.

Thesizeofthegizmoaffectshow the mapping is applied to

an object.

Manipulators for UVW Map

The UVW Map modifier has graphic manipulators

to help you adjust the mapping dimensions and

tiling when Real-World Map Size is off. When

Real-World Map Size is on, you can adjust

positioning only for the Planar and Box mapping

types.

Manipulators are visible and usable while

the Select And Manipulate button (page 2–15)

isactive. Thisbuttonisonthedefaulttoolbar

(page 3–685). When you move the mouse over a

manipulator, the manipulator turns red to show

that dragging or clicking it will have an effect.

Also, a tooltip appears, showing the object name,

the parameter, and its value.

For more information on using the UVW Map

manipulators, see the Procedures section (page

1–925).

UV width/length manipulators—In a viewport, drag

the edges of the UVW Map gizmo to change the

width or height.

UV tiling manipulators—In a viewport, drag the

smallcirclenexttotheUedgeorVedgetoadjust

the tiling in that dimension.

Tile Controls

UsetheUVWTilecontrolsifyouwantamapto

repeat. Tiled maps are useful for bricks on a wall,

or tiles on a floor. Rather than creating one large

map, seamless maps can be tiled to surface a large

area without visible seams, to give the illusion of a

large map.

Tiling in the UVW Map modifier affects only the

objects that use this modifier. Tiling a map in the

Material Editor affects tiling on all the objects that

use the material.

Material and UVW Map tiling are multiplied. If a

map in the Material Editor has a tile value of 2 on

UVW Map Modifier 925

one axis, and a UVW Map modifier has a tiling

valueof3onthesameaxis,thentheresultisa

tiling value of 6.

Objects with No Mapping Coordinates

If you render an object that doesn’t have mapping

coordinates or a UVW Map modifier, and the

object uses a material with 2D bitmaps or 3D

procedural maps that use explicit map channels,

then a Missing Map Coordinates (page 2–1623)

alert is displayed. The alert lists both the name of

the object and the UVW channels or Vertex Color

channels that are missing the coordinates. For

example: (UVW 2): Torus01.

Mapping Selection Sets or Grouped

Objects

You can apply one UVW Map modifier to a

selection of objects. One large mapping gizmo will

encompass the entire selection unless the Use Pivot

Points option is turned on in the modifiers rollout

before applying the UVW Map modifier. If the

Use Pivot Points option is used then each object is

encompassed with its own mapping gizmo.

If any of the objects in the selection has had its

pivot point shifted in the Hierarchy > Pivot panel,

and you use the Use Pivot Points option with the

UVW Map modifier, then the mapping gizmos are

centered to the pivot points rather than the object

center and the mapping may be tricky to position

the way you want.

Real-World Mapping

The idea behind real-world mapping is to simplify

theuseoftexturemappedmaterialswhichare

scaled correctly with the geometry in the scene.

This feature gives you the ability to create a

material and specify the actual width and height of

a2Dtexturemapinthematerialeditor.Whenyou

assign that material to an object in the scene, the

texture map appears in the scene with the correct

scaling.

There are two parts to the equation in order for

real-world mapping to work. First, the correct

style of UV texture coordinates must be assigned

tothegeometry.Basically,thesizeoftheUVspace

needs to correspond to the size of the geometry.

Therefore, a new switch, called Real-World Map

Size, has been added to many of the dialogs

and rollouts where you can generate texture

coordinates. Any dialog or rollout in which you

havetheoptiontoturnonGenerate Mapping

Coords,alsohasaswitchwhereyoucanturnon

Real-World Map Size.

Note: There are a few primitive objects that do not

have a Real-World Map Size switch. These are

Torus Knot, Hedra, Prism and RingWave.

The other part of the equation is in the material

editor. When you create a material and use a 2D

texture map, you now see a new switch in the

Coordinates rollout called Use Real-World Scale.

When this switch is turned on, the default, the

Width and Height spinners are enabled that let

you specify the horizontal/vertical offsets and size

of the texture map in current display units (page

3–848).

Note: Autodesk VIZ scenes with objects using

real-world mapping coordinates will display

differentlywhenopenedin3dsMax. Thisis

because real-world mapping coordinates is not the

default method of generating mapping coordinates

in 3ds Max.

Procedures

To apply the UVW Map modifier:

1. Assign a mapped material to an object.

2. OntheModifypanel,chooseUVW

Map from the Modifier List.

3. Adjust the mapping parameters.

926 Chapter 8: Modifiers

By default, the UVW Map modifier uses planar

mapping on map channel 1. You can change the

type of mapping and the map channel to suit

your needs. There are seven types of mapping

coordinates, ninety-nine map channels, tiling

controls, and controls to size and orient the

mapping gizmo in the UVW Map modifier.

Note: If a UVW Map modifier is applied to

multiple objects, the UVW Map gizmo is

defined by the selection, and the mapping that

resultsisappliedtoalltheobjects.

To use multiple UVW channels in the same object:

1. Assign Map channel 1 to an object. You can do

this by either turning on Generate Mapping

Coordinates in the Parameters rollout of

anyprimitive,orbyassigningaUVWMap

modifier with channel 1 chosen.

Generate Mapping Coordinates uses map

channel 1 by default.

2. Assign a UVW Map modifier (or a second one,

if you’re using the first to assign channel 1).

Choose channel 2 for this modifier.

Both coordinate channels are now assigned

to the geometry. The next step is to assign a

mapped material that uses both channels.

3. Createamaterialwithtwomaps. Youcando

this using a Composite map, or a Blend material

with two maps, or you can have one map

assigned to Diffuse and another assigned to

Bump. Perhaps the easiest way to see the effect

is to composite two maps, with the second map

containing an alpha channel.

4. Go to the level of one of the maps and, in the

Mapping list, choose Explicit Map Channel 2.

The other map is already assigned channel 1

by default.

5. Assign the mapped material to the object.

You can switch between viewing the maps in

theviewportusingtheShowMapInViewport

control in the Material Editor. You can adjust

the mapping of channel 2 without altering the

mappingofchannel1ifyou’veassignedtwo

UVW Map modifiers. Render the scene to see

the effect.

To use the XYZ to UVW option:

TheXYZtoUVWoptionisusedtomakea

3D procedural texture, like Cellular, follow the

animated surface of an object. If the object

stretches, so does the 3D procedural texture.

Currently, it cannot be used with NURBS objects

and is unavailable if a NURBS object is selected.

1. IntheTopviewport,createabox.

2. Create a material with a Cellular diffuse

map.

3. In the Material Editor, on the Coordinates

rollout of the Cellular map, open the Source

drop-down list, and choose Explicit Map

Channel.

On the Coordinates rollout, the Map Channel

parameter activates, leave the value at 1.

4. Assign the material to the box.

5. OntheModifypanel,chooseUVW

Map from the Modifier List.

6. On the UVW Map modifier, turn on XYZ to

UVW.

By default, the Map Channel value is 1.

7. Render the Front viewport.

The cellular pattern renders normally on the

surface of the box.

8. Right-click over the object and choose Convert

To: > Convert to Editable Mesh from the

Transform (lower-right) quadrant of the quad

menu.

Theboxisconvertedtoaneditablemesh.

UVW Map Modifier 927

9. On the Modify panel, click to turn

on Vertex on the Selection rollout.

10.In the Front viewport, select the top vertices of

the box, and move them up.

11.Render the Front viewport again.

The cellular pattern stretches with the box.

This effect is enabled by the XYZ to UVW

option. To see the difference, we will change

theSourceoptionintheCoordinatesrollout

in the Material Editor.

12. In the Material Editor, locate the diffuse

Cellular material.

13.On the Coordinates rollout of the Cellular

diffuse map, open the Source drop-down list

and choose Object XYZ.

14.Render the Front viewport.

The cellular pattern is no longer stretched.

To transform the UVW Map gizmo:

1. OntheModifypanel,choosetheUVW

Map modifier in the stack display.

2. In the stack display, choose the Gizmo

sub-object level.

The gizmo changes to a yellow color, with one

green edge.

The green edge indicates the right edge of the

texture.

3. Move,scale,orro

tate the gizmo in the

viewports, or use the Length and Width

controls in the UVW Map modifier.

Transforming the map gizmo shifts the bitmap,

allowing you to orient and move the map on

the object’s surface.

To use manipulators to control the width and length:

1. OntheModifypanel,choosetheUVW

Map modifier in the stack display.

Yo u c a n a l s o b e a t t h e G i z m o l e v e l o f t h e

modifier.

2. On the default main toolbar, click to

turn on Select And Manipulate.

The UVW Map modifier’s gizmo turns green,

showing it is now a manipulator. Also, two

small circles appear next to two of the gizmo’s

edges.

3. Drag an edge of the gizmo to adjust the width

or length.

Atooltipshowsthenewwidthorlengthvalue.

To use manipulators to control tiling:

1. OntheModifypanel,choosetheUVW

Map modifier in the stack display.

Yo u c a n a l s o b e a t t h e G i z m o l e v e l o f t h e

modifier.

2. On the default main toolbar, click to

turn on Select And Manipulate.

The UVW Map modifier’s gizmo turns green,

showing it is now a manipulator. Also, two

small circles appear next to two of the gizmo’s

edges.

3. Drag one of the circles to adjust tiling in the U

or V dimension.

Atooltipshowswhichdimensionyouare

adjusting, and the new tiling value in that

dimension.

928 Chapter 8: Modifiers

Interface

Modifier Stack

Gizmo sub-object level—Enables gizmo

transformations. At this sub-object level you can

move,scale,androtatethegizmointheviewports

to position the mapping. In the Material Editor,

youturnontheShowMapinViewportoptionto

makethemapvisibleinashadedviewport,the

map moves on the surface of the object as you

transform the gizmo.

UVW Map Modifier 929

Mapping group

Determinesthetypeofmappingcoordinatesused.

Different kinds of mapping are distinguished by

how the map is geometrically projected onto the

object and how the projection interacts with the

object’s surfaces.

Planar—Projects the map from a single plane flat

against the object, somewhat like projecting a slide.

Planar projection is useful when only one side of

an object needs to be mapped. It is also useful

for obliquely mapping multiple sides, and for

mappingtwosidesofasymmetricalobject.

Planar map projection

Cylindrical—Projects the map from a cylinder,

wrapping it around an object. Seams where the

edges of the bitmap meet are visible unless a

seamless map is used. Cylindrical projection is

useful for objects that are roughly cylindrical in

shape.

Cylindrical map projection

Cap—Applies planar mapping coordinates to the

caps of the cylinder.

Note: Iftheendsoftheobjectgeometryarenotat

right angles to the sides, the Cap projection bleeds

onto the sides of the object.

Spherical—Surrounds the object by projecting the

map from a sphere. You see a seam and mapping

singularities at the top and bottom of the sphere

where the bitmap edges meet at the sphere’s poles.

Spherical mapping is useful for objects that are

roughly spherical in shape.

Spherical map projection

Shrink Wrap—Uses spherical mapping, but

truncates the corners of the map and joins them

all at a single pole, creating only one singularity.

930 Chapter 8: Modifiers

Shrink-wrap mapping is useful when you want to

hide the mapping singularity.

Shrink-wrap projection

Box—Projects the map from the six sides of a box.

Each side projects as a planar map, and the effect

on the surface depends on the surface normal.

Each face is mapped from the closest box surface

whose normal most closely parallels its own

normal.

Boxprojection(shownonaboxandonasphere)

Face—Appliesacopyofthemaptoeveryfaceof

an object. Pairs of faces sharing a hidden edge are

mapped with the full rectangular map. Single faces

with no hidden edge are mapped with a triangular

portion of the map.

Face projection

XYZ to UVW—Maps 3D procedural coordinates to

UVW coordinates. This "sticks" the procedural

texture to the surface. If the surface stretches, so

does the 3D procedural map. Use this option with

procedural textures, like Cellular (page 2–1664)

Currently, XYZ to UVW cannot be used with

NURBS objects and is disabled if a NURBS object

is selected.

Note: In the Material Editor’s Coordinates rollout

for the map, set Source to Explicit Map Channel.

Use the same map channel in the material and

UVW Map modifier.

A sphere with a 3D procedural texture is copied, and the copies

are stretched.

Right: Using XYZ to UVW on the object enables the 3D

procedural texture to stick and stretch with the surface.

UVW Map Modifier 931

Length, Width, Height—Specify the dimensions of

the UVW Map gizmo. The default scale of the

mapping icon is defined by the largest dimension

of the object when you apply the modifier. You can

animate the projection at the gizmo level. Note the

following facts about these spinners:

• The dimensions are based on a bounding box

of the gizmo.

TheHeightdimensionisunavailableforthe

Planar gizmo: It does not have depth. Likewise,

the dimensions for Cylindrical, Spherical,

and Shrink Wrap mapping all display the

dimensions of their bounding box and not their

radiuses. No dimensions are available for the

Face map: Each face on the geometry contains

theentiremap.

• The three dimensions are set to 1 or 2,

depending on map type and dimensions, when

you load files created in Autodesk VIZ or

earlierversionsof3dsMax.(Thismaintains

compatibility with files from previous releases,

in which gizmos were scaled non-uniformly to

adjust their dimensions.).

The dimensions essentially become scale

factors rather than measurements. You can

reset the values to dimensions by clicking the

Fit or Reset buttons, which will lose the original

non-uniform scaling.

U Tile, V Tile, W Tile—Let you specify the

dimensions of the UVW map, for tiling the image.

These are floating-point values, which you can

animate to displace the map’s tiling over time.

Flip—Reverses the image about the given axis.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found on

the applied material’s Coordinates rollout (page

2–1625).Default=on.

Whenon,theLength,Width,HeightandTiling

spinners are unavailable.

Channel group

Each object can have up to 99 UVW mapping

coordinate channels. The default mapping (from

the Generate Mapping Coordinates toggle) is

always channel 1. The UVW Map modifier can

send coordinates to any channel. This lets you

have many different sets of coordinates on the

same face simultaneously.

Map Channel—Sets the map channel. The UVW

Map modifier defaults to channel 1, so mapping

behaves in the default fashion (and in the fashion

of earlier software releases) unless you explicitly

change to another channel. Default=1. Range=1

to 99

To use the additional channels, you must not only

choose a channel in the UVW Map modifier, but

also assign an explicit map channel at the map level

of the material assigned to the object. You can use

many UVW Map modifiers in the modifier stack,

each one controlling the mapping coordinates of

different maps in a material.

Vertex Color Channel—Define the channel as a

vertex color channel by choosing this option.

Be sure to match any material mapping in the

coordinates rollout to be Vertex Color as well,

or by using the Assign Vertex Colors utility (page

2–1734).

The Map channels are accessed in various places

in the software, as follows:

•Generate Mapping Coords—This check box, in

the creation parameters of most objects, assigns

Map channel 1 when turned on.

•UVW Map Modifier—Contains options for

channels 1 through 99. This lets you specify

which UVW coordinates are used by this UVW

Map modifier. The modifier stack can pass

these channels simultaneously for any face.

932 Chapter 8: Modifiers

•UVW XForm and Unwrap UVWs—These two

modifiers also contain Channel option buttons.

•Material Editor Channel Assignment—Yo u

assign the channel to be used by a map in the

Coordinates rollout at the map level in the

Material Editor.

• The assignment varies depending on the type

of map:

2D Maps—In the Mapping list for the Texture

option, you can choose Explicit Map channel,

Vertex Color Channel, Planar from Object

XYZ, or Planar from World XYZ.

3D Maps—At the top of the Coordinates rollout,

thereisaSourcelistwhereyoucanchoosean

Explicit Map Channel, Vertex Color Channel,

Object XYZ, or World XYZ. Use the Map

Channel spinner to define the channel number.

•NURBS Surface Objects and Sub-Objects—Let

you specify which Map channel the surface

uses.

Alignment group

X/Y/Z—Select one of these to flip the alignment of

the mapping gizmo. Each specifies which axis of

the gizmo is aligned with the local Z axis of the

object.

Note: These options aren’t the same as the Flip

check boxes beside the U/V/W Tile spinners. The

Alignment option buttons actually flip the gizmo

orientation, while the Flip check boxes flip an

assigned map’s orientation.

Manipulate—When on, a gizmo appears on the

object that lets you change parameters in the

viewport. When Real-World Map Size is on,

Manipulate is available only with the Planar and

Box mapping types. For more information, see

Manipulators for UVW Map (page 1–924).

Tip: Turn on snapping to adjust the mapping

precisely.

Fit—Fits the gizmo to the extents of the object and

centersitsothatit’slockedtotheobject’sextents.

Unavailable when Real-World Map Size is on.

Center—Moves the gizmo so that its center

coincides with the center of the object.

Bitmap Fit—Displays the standard bitmap file

browsersothatyoucanpickanimage.Unavailable

when Real-World Map Size is on.

For planar mappings, the map icon is set to the

aspect ratio of the image. For cylindrical mapping,

the height (rather than the radius of the gizmo) is

scaled to match the bitmap. For best results, first

usetheFitbuttontomatchtheradiusoftheobject

and gizmo, and then use Bitmap Fit.

Normal Align—Click and drag on the surface of the

object to which the modifier is applied. The origin

of the gizmo is placed at the point on the surface

wherethemouseispointing;theXYplaneofthe

gizmo is aligned to the face. The X axis of the

gizmo lies in the object’s XY plane.

Normal Align respects smoothing groups and uses

the interpolated normal based on face smoothing.

As a result, you can orient the mapping icon to any

part of the surface, rather than having it "snap" to

face normals.

View Align—Reorients the mapping gizmo to

face the active viewport. The size of the icon is

unchanged.

Region Fit—Activates a mode in which you can

drag in the viewports to define the region of the

mapping gizmo. The orientation of the gizmo is

not affected. Unavailable when Real-World Map

Size is on.

Reset—Deletes the current controller controlling

the gizmo and plugs in a new one initialized using

the Fit function. Any animation to the gizmo is

lost. As with all the alignment options, you can

cancel the reset operation by clicking Undo.

UVW Mapping Add Modifier 933

Acquire—Effectively copies the UVW coordinates

from other objects When you pick an object

from which you want to acquire UVWs, a dialog

prompts you whether the acquire should be done

in an absolute or relative fashion.

IfyouchooseAbsolute,theacquiredmapping

gizmo is positioned exactly on top of the mapping

gizmo you pick. If you choose Relative, the

acquired mapping gizmo is positioned over the

selected object.

Display group

Thissettingdetermineswhetherandhowmapping

discontinuities, also known as seams, appear in

the viewports. The seams appear only when the

Gizmo sub-object level is active. The default seam

color is green; to change it, go to Customize menu

> Customize User Interface > Colors tab, and then

fromtheElementsdrop-downlist,chooseUVW

Map.

The options are:

•Show No Seams—Mappingboundariesdon’t

appear in the viewports. This is the default

choice.

•Thin Seam Display—Displays mapping

boundaries on object surfaces in the viewports

with relatively thin lines. The line thickness

remains constant as you zoom the view in and

out.

•Thick Seam Display—Displays mapping

boundaries on object surfaces in the viewports

with relatively thick lines. The line thickness

increases when you zoom the view in and

decreases when you zoom out.

UVW Mapping Add Modifier

Select an object. > Modify panel > Modifier List > UVW

Mapping Add

Select an object. > Channel Info (page 2–1738) >Adda

channel.

The UVW Mapping Add modifier is added to an

object’s modifier stack when you add a channel

in the Channel Info utility (page 2–1738).Youcan

also add the modifier explicitly by choosing it from

the Modifier List. It has no user interface.

To merge the results of the add operation into the

object’s geometry, collapse the modifier stack after

adding.

UVW Mapping Clear Modifier

Select an object. > Modify panel > Modifier List > UVW

Mapping Clear

Select an object. > Channel Info (page 2–1738) >Cleara

channel.

The UVW Mapping Clear modifier is added to an

object’s modifier stack when you clear a channel

with the Channel Info utility (page 2–1738).You

can also add the modifier explicitly by choosing it

from the Modifier List.

To merge the results of the deletion into the

object’s geometry, collapse the modifier stack after

deleting.

Interface

Map Channel—Specifies the map channel to clear.

This is equivalent to clearing a specific channel

in the Channel Info utility. If the specified map

channel doesn’t exist, the modifier has no effect.

934 Chapter 8: Modifiers

UVW Mapping Paste Modifier

Select an object. > Channel Info (page 2–1738) >Copy

and then paste a channel.

The UVW Mapping Paste modifier is added to an

object’s modifier stack when you paste a channel

in the Channel Info utility (page 2–1738).Itisn’t

available from the modifier list, and has no user

interface.

To merge the results of the paste operation (for

example, a vertex selection) into the object’s

geometry, collapse the modifier stack after pasting.

UVW XForm Modifier

Modify panel > Make a selection. > Modifier List >

Object-Space Modifiers > UVW XForm

Select an object. > Modifiers menu > UV Coordinates >

UVW XForm

Use the UVW XForm modifier to adjust tiling

and offset in existing UVW coordinates (page

3–1028).Ifyouhaveanobjectwithcomplex

UVW coordinates already applied (such as a Loft

object, or a parametric object with generated

coordinates), you can apply this modifier to adjust

those coordinates further.

For example, if you create a torus and turn

on Generate Mapping Coordinates, the UVW

coordinates work perfectly with the torus, but

ifyouwanttotileormovethecoordinates,you

would previously have needed to do it at the

material/map level. Now you can apply a UVW

XForm modifier to alter the built-in coordinates.

You can use a Mesh Select or Edit Mesh modifier

toapplyaUVWAdjusttosub-objectselections,

as well. This is handy if you want to rotate the

mappingonaparticularportionofanobject.

Interface

Mapping group

U Tile, V Tile, W Tile—Alter the tiling along any of

the three coordinate axes.

Flip—Reversesthedirectionofthemapalongthe

specified axis.

U Offset, V Offset, W Offset—Move the map in the

direction of the specified axis coordinate.

Rotation—Rotates the map.

Rotate About Center—When active, the map rotates

about the center of the object. If this is applied to

a sub-object selection, it uses the center of that

selection.

When this is turned off, the map rotates about the

corner of the U and V coordinate gizmo.

Vertex Weld Modifier 935

Channel group

Specifies whether to apply the transform to a

mapping channel or a vertex color channel, and

which channel to use. For more information on

these channels, see UVW Map Modifier (page

1–922).

Map Channel—Specifies a UVW channel to use for

the mapping, and use the spinner to its right to set

the channel number.

Vertex Color Channel—Uses the vertex color

channel for the mapping.

Apply To Entire Object—If the UVW Xform

modifier is applied to an active sub-object

selection, such as face or patch, this switch controls

whether the settings of the UVW Xform modifier

affect only the original sub-object selection or

affect the entire object.

Vertex Weld Modifier

Select a mesh, patch, or PolyMesh object. > Modify panel

> Modifier List > Vertex Weld

Select a mesh, patch, or PolyMesh object. > Modifiers

menu > Mesh Editing > Vertex Weld

The Vertex Weld modifier behaves like the Weld

featureinEditableMeshorEditablePatchand

welds all vertices that fall within the threshold

setting. Vertex Weld is very useful for cleaning

up meshes that have vertices that are close or

overlapping, but not welded.

The results of three Vertex Weld threshold settings

Procedure

Example: To apply the Vertex Weld modifier to a

mesh:

1. Create a box with Length, Width, and Height

set to 40.

2. Right-click the box and choose Convert to >

Convert to Editable Poly.

3. Set the sub-object mode to polygon, and select

Polygon 6.

Tip: Watch the listing at the bottom of the

Selection rollout to see which polygon is

selected.

4. Delete polygon 6.

By deleting the polygon, you create an open

mesh.

5. Apply a Turn To Poly modifier, and set the

Selection Level to Object.

6. Apply a Mirror modifier, and set Mirror Axis

to X.

7. Turn on Copy, and set Offset to –40.

The reflection of the box shares a common

seam but the vertices along the seam are not

welded.

8. Apply a Vertex Weld modifier to cement the

two boxes into one element.

Note: This combination of steps can be streamlined

by using the Symmetry modifier (page 1–861),

which will mirror the mesh and weld it in a single

operation.

Interface

Threshold—The value of the Threshold setting

delegates how close vertices can be before they are

automatically welded together. Default=0.1

936 Chapter 8: Modifiers

Note: A higher threshold setting will result in

welding more vertices, thus removing smaller

faces and details. If the threshold is set too high,

the mesh will begin to deform.

A threshold setting of 5.5 removes all detail, making the model

unrecognizable.

VertexPaint Modifier

Select an object. > Modify panel > Modifier List >

VertexPaint

Select an object. > Modifiers menu > Mesh Editing >

Vertex Paint

Select an object. > Utilities panel > More > Assign Vertex

Colors > Click Assign To Selected. > Modify panel

The VertexPaint modifier lets you paint vertex

colors onto an object. You’re not restricted to only

vertex-level painting. Using sub-object selection,

you can also control which vertices get painted,

face-by-face. All faces sharing a vertex have the

adjacent corner shaded as well. The resulting

painted object receives a coarse gradient across

each face.

The amount of color that 3ds Max applies to a

vertex depends on the distance of the vertex from

the position of the paint cursor on the face. The

more you select a face, the more it changes to the

new color. The Opacity button also controls the

strength of the color. 3ds Max shades the color, so

if you have one green vertex and two white vertices

for one face, for example, you’ll see a gradient on

that face.

VertexPaint modifier also lets you paint values for

the vertex alpha and illumination channels. These

channels affect the transparency and shading of

vertex colors, respectively.

Tip:

Notes and Tips

For best results with VertexPaint, keep the

following in mind:

• To render vertex colors, assign a Ve r t e x C o l o r

map (page 2–1693), as described in To re n d e r

vertex colors (page 1–938).

• If you select faces using the selection tools of the

VertexPaint modifier, you restrict your painting

to the selected faces, as opposed to all faces.

This allows you to sharply define the edges of

your painted selection.

• You can streamline the painting process by

using the Brush Presets tools (page 3–690).

• Each VertexPaint modifier works internally

to itself, and cannot modify existing vertex

coloring. To paint over existing coloring, use

the Condense to single layer function.

About Map Channels and Vertex Color,

Vertex Alpha, and Vertex Illum

When using vertex paint, it is helpful to

understand how 3ds Max manages vertex color,

alpha, illumination, and map channels. The

software stores and manages all of these different

pieces of information using the same underlying

system.

The map channels are defined as triple-value

channels (tuples) with a unique integer ID number

ranging from -2 to 99. The first five map channels

have specific and familiar usages:

VertexPaint Modifier 937

•Channel (2): UVW “second pass” texture

mapping coordinates

•Channel (1): UVW standard texture mapping

coordinates

•Channel (0): RGB vertex color

•Channel (-1): FLOAT vertex alpha (really only

1 value needed)

•Channel (-2): RGB vertex illumination

Every geometric vertex of a mesh or poly object

can be assigned up to 102 channel values (99 + 3).

The negative numbering scheme for vertex alpha,

and illumination is actually historic: it was done

to preserve the meaning of existing map-channel

data in older scene files before vertex alpha and

illumination were added.

You can paint on any arbitrary channel, and to use

one or more channels for any arbitrary meaning

for a given vertex. It is useful in development

of content for games to paint on arbitrary map

channels numbered higher than those used for

texture mapping (such as channels 3, 4, 5). These

can be used to store logical information about a

vertex, whether it is “slippery” or “explosive”, for

example.

A single vertex can be assigned a stack of map

channels that carry different meanings. When the

modifier stack is collapsed, these map channels

are preserved.

The new VertexPaint modifier takes this into

consideration through its simple exposure of map

channel IDs for display and painting.

About Painting in Layers

The layer system allows you to paint changes on a

single layer, then make another layer on top of that,

and paint additional changes. This can be used to

store different versions or variations of your vertex

color painting.

Every layer has a blending mode that it uses to

determine how it combines with the other layers.

You can assign vertex colors using the Assign

Vertex Colors utility (page 2–1734),thenadd

another layer, change the layer mode operator

to Lighten, and paint with a white paintbrush

to lighten up areas. Fifteen different modes are

available, and many tasks can be accomplished

using paint layers.

OneoftheprimaryadvantagesofVertexPaint

is its use of the modifier stack as a kind of

image-composite stack. Each VertexPaint modifier

serves as a single layer in the composite. You can

move layers up and down the stack, enable and

disablethem,andflattenthestackusingCondense

to single layer.

Backward Compatibility

If you load an older file that uses a previous version

of the VertexPaint modifier, then the legacy

modifier will be loaded when the file is opened.

The legacy modifier has not been changed, and

the two modifiers are not inherently compatible

in terms of their data format during loading and

saving.

If you have vertex color data in a legacy VertexPaint

modifier, you can use the Condense to single layer

tool of the new modifier to migrate the vertex

colors into the new modifier.

Procedures

To add scene lighting into an object’s vertex color:

1. Select the objects in the scene that you want to

color.

2. OntheModifypanel,chooseVertexPaintfrom

the modifier list.

The floating Paintbox (page 1–941) appears,

docked to the left edge of the viewports.

3. Open the Assign Vertex Colors rollout.

938 Chapter 8: Modifiers

Note: This rollout provides the same tools as

found in the Assign Vertex Colors utility.

4. IntheLightModelgroup,turnonLighting.

5. In the Shadows group, turn on Calculate

Shadows, if you want shadows added.

Tip: Turn on S haded and choos e Use Map s if

you want to mix the texture map information

with the lighting and shades.

6. Click Assign To Selected

7. On the Vertex Paintbox, turn on Vertex

Color Display Shaded to see the vertex lighting

in the vertex color map.

To paint vertex colors on an object:

1. Select the scene objects to paint.

2. On the Modify panel, choose

VertexPaint from the Modifier List.

TheVertexPaintboxappears.

3. Choose the color you want to paint with

by clicking the large color swatch below the

Paintbrush button. This opens the Color

Selector.

4. Change the color using controls on the Color

Selector.

5. Adjust the strength of the color by entering a

percentage value in the Opacity field.

6. Click Vertex Color Display Unshaded to

see the vertex colors without shading.

7. Click the Paint button and move the cursor over

the selected object in the viewport.

8. When the cursor displays over the object, press

andholddowntheleftmousebuttonanddrag

to paint the object.

Tip: Thecursordisplaysthesizeofthebrush.

Use the Size spinner to change to a larger or

smaller brush.

To see vertex colors in a viewport:

1. Right-click the object with painted vertices,

and choose Properties from the quad menu.

2. In the Display Properties group, turn on the

toggle for Vertex Color.

Vertex Color is one item on a drop-down list.

The other items are Vertex Illumination, Vertex

Alpha, Map Channel Color (which uses the

spinner immediately below the list), and Soft

SelectionColor. Viewportscandisplayonly

one of these vertex channels at a time.

3. Click OK.

To render vertex colors:

1. Open the Material Editor, and apply a

Standard material to the object.

2. Click the map button for the Diffuse

component.

3. In the Material/Map Browser, choose Vertex

Color as the map, and then click OK.

Now, when you render the scene, the rendering

shows the painted vertices.

To animate the opacity of a vertex color layer

1. Choose the layer youwishtoanimate,by

highlighting the Vertex Paint modifier in the

stack that corresponds to that layer.

2. Turn on the Auto Key button.

3. On the floating vertex paintbox, in the Layer

group move the Opacity slider.

This sets a key for the opacity.

4. Movethetimesli

der to another frame and

again change the value using the Opacity slider.

VertexPaint Modifier 939

5. Click Play to see the animated opacity in the

viewport.

To animate vertex color using UVW XForm modifier:

Yo u c a n u s e t h e U V W X F o r m m o d i f i e r i n

conjunction with a specific vertex paint layer to

modulate vertex color effects in the viewport.

1. Apply a UVW XForm modifier directly above

the VertexPaint layer (modifier) you want to

modulate.

2. Set the Channel type on the UVW XForm

modifier to Vertex color.

3. Animate the U, V, and W spinners using

identical values. For example, animate UVW

from 1 to 0 over the length of the animation.

This will attenuate the RGB values of the

underlying vertex color results uniformly. It

will effectively dim out the vertex color result

directly below the UVW XForm modifier.

Note: Any additional vertex paint layers applied

abovetheUVWXFormmodifierinthestack

for the selected object(s) will be unaffected

Tip: Yo u c a n a d d m u l t i p l e U V W X F o r m

modifiers in your stack in this way, giving some

progressive control over modulated vertex

colors. The effect is always additive, however,

and cannot be weight-blended.

To paint under an existing layer and view the result:

1. Select an object that has several VertexPaint

modifiers displayed in the stack.

2. In the modifier stack, activate the VertexPaint

modifier that is the layer you want to paint on.

3. Tur n on t he Show End Resu lt to gg l e.

Now, when you paint on the layer, you will see

the painting taking place under the top layer.

Interface

Parameter rollout

Selection group

Thecontrolsinthisgroupareidenticaltothe

selection controls found in the Selection group

(page 1–945) of the Paintbox rollout.

Channel group

These controls specify which channel type the

vertex paint layer will affect, and which map

channelnumberyou’llpainton.

•Vertex Color—Choose this to paint on a vertex

color layer.

•Vertex Illum—Choose this to paint on a vertex

illumination layer.

•Vertex Alpha—Choose this to paint on a vertex

transparency layer.

940 Chapter 8: Modifiers

•Map Channel—Choose this to paint on a

specifically named or numbered map channel.

Map channel spinner—Specifies the channel

number. Available only when Map Channel is

chosen.

Note: Ifyouhavepaintedonalayerandthenchange

the channel setting, the painted information will

be moved to the new channel. For example if you

select Vertex Color and paint, then turn on Vertex

Illum, the painted information will be removed

from the Vertex Color channel and applied to the

Vertex Illum channel instead.

Name—If a channel has a name defined it will

appear here. Channels can be named using the

Channel Info Utility (page 2–1738).

Ignore underlying color—When turned on,

VertexPaint ignores whatever vertex colors it

receives from below it on the stack. As a result,

you will see the layer’s raw colors on an otherwise

whiteobject. Theblendmodehasnoeffect(it

behaves like Normal mode) because the base

color is considered transparent, so the layer is not

blended with anything.

Thepurposeofthistoggleistoisolatealayer

from the colors below, to help the user visualize

the layer’s raw data. The layer is not completed

isolated when this is on, because layers above it

can still affect the result. The user needs to disable

those layers or turn off Show End Result to see the

current layer in complete isolation.

The Ignore Base Color toggle should only be

needed when the object at the bottom of the

stack already has some vertex colors baked in. In

other cases, you can just disable the paint layers

or whichever modifiers are adding vertex colors

to the object. In that case, the active paint layer

would not receive any vertex colors from below

itself on the stack. As a result, it treats all base color

as transparent and the layer colors are displayed in

the raw (not blended with anything).

Note: Per-vertex layer opacity is not passed up

the stack. A paint layer modifier makes a yes/no

decision about whether an object below it has

vertex colors or not, and will subsequently treat

allbasecolorsastransparentorallasopaque.

So if you paint even a single vertex using Edit

Mesh, for example, the object is considered to have

vertex colors, and a paint layer will blend its colors

with the (predominantly white) mesh instead of

treating the mesh as transparent.

Preserve Layer—When on, the modifier will not

be deleted by any Condense To Single Layer

operation. SinceCondenseToSingleLayer

performs two independent actions (creating a new

baked-color modifier and then deleting existing

modifiers), this option allows access to only the

firstpartofthefunctionalitywhennecessary.

That is, you can bake colors into a new paint layer,

without being forced to have the old modifiers

deleted.

Edit—Displays the Ve r t e x P ai nt b o x f l o a t e r ( p a g e

1–941) if it has been closed.

VertexPaint Paintbox 941

Assign Vertex Color rollout

This rollout gives you access to the same controls

found in the Assign Vertex Colors utility (page

2–1734). They let you take the scene lighting

information and bake it into the vertex channel

system.

VertexPaint Paintbox

Select an object. > Modify panel > Modifier List >

VertexPaint > Paintbox dialog (Click Edit in the Parameters

rolloutifitisn’tdisplayed.)

Select an object. > Modifiers menu > Mesh Editing

> Vertex Paint > Paintbox dialog (Click Edit in the

Parameters rollout if it isn’t displayed.)

Select an object. > Utilities panel > More > Assign Vertex

Colors > Click Assign To Selected > Modify panel >

Modifier List > VertexPaint > Paintbox dialog (Click Edit in

the Parameters rollout if it isn’t displayed.)

The VertexPaint modifier’s Paintbox is a floating

toolbox with various vertex painting tools. The

Paintbox is launched automatically after the

VertexPaint modifier (page 1–936) has been applied

to one or more objects. You can close the Paintbox

by clicking the X button in the upper-right corner

of its window. To open it again, click the Edit

button in the Parameters rollout of the VertexPaint

Modifier

Note: If a VertexPaint modifier is assigned to

the object, you can also display the Paintbox by

clicking Edit in the Assign Vertex Color utility.

942 Chapter 8: Modifiers

Interface Vertex Color Display controls

Control the display of the vertex paint in the

viewport by using the four icons at the top of the

floating panel. You can easily switch between

shaded and unshaded vertex color modes, or turn

offthedisplayofvertexcolorandortexturemaps.

Note: The first three of these buttons stay

highlighted when you click them, to indicate which

shadingmodeisactive. ToggleTextureDisplay

simply performs the action without becoming

highlighted.

Note: Thesecontrolshavenoeffectonwireframe

viewports, but work for all shaded viewports,

including Lit Wireframe.

Vertex color display – unshaded —Displays

the currently selected object in vertex color display

mode. Thismodeisidenticaltotheoneoffered

bytheObjectPropertiesmenu(rightclickon

object, select Properties > Turn On Vertex Color

in the Display Properties group, making sure that

Shaded is off.)

This has no effect on wireframe, but works on lit

wireframe and all other shaded display modes.

Vertex color display – shaded —Displays the

currently selected object in vertex color display

mode, with viewport lighting (shading). his

mode is identical to the one offered by the Object

Properties menu (right click on object, select

Properties>TurnOnVertexColorintheDisplay

Properties group, making sure that Shaded is on.

Disable vertex color display—Displays the

currently selected object in its current shading

mode without showing vertex colors.

VertexPaint Paintbox 943

Toggle texture display —Displays or hides

texture maps on the currently selected object.

Viewport Channel Display selector

This menu allows you to select which one of the

map channels to paint on:

•Vertex colors—Choosing this lets you

display the vertex color channel in the viewport.

•Vertex alpha—Choosing this lets you

display and paint the vertex transparency

channel in the viewport.

•Vertex Illum—Choosing this lets you

display and paint the vertex lighting channel

in the viewport.

•Map Channel—Choosingthisletsyou

define a numbered map channel to paint on.

Define the channel ID number with the Map

Channel Display spinner.

Map channel display in viewport flyout

What you see is what you paint, so whatever you

select will both be displayed and activated for

painting.

Note: You cannot paint on all channels

simultaneously as you could in the previous

version of the vertex paint modifier.

Map Channel Display Spinner —This control lets

you to numerically select a channel other than

the 3 conventional ones listed above, for display

only. If the channel you select is currently used for

mapping coordinates, you’ll see red/yellow/green

colors corresponding to the UVW values.

Yo u m i g h t c h o o s e m a p c h a n n e l s a b o v e t h e

standard channel 1, 2, 3 that do typically get

used for texture mapping. But you will need to

keep track of your own conventions, and/or use

the Channel Info utility to track what has been

allocated for each object.

The Map Channel Display Spinner is only available

when the Map Channel display button. If you

assign a new vertex paint modifier or create a

new layer and choose a particular numeric map

channel, then select Map Channel display, the

spinner will become available.

Lock button—The Lock button makes

the Display Channel setting unavailable, and

automatically sets Display Channel to whatever

channel you choose on the Modify panel >

Channel rollout. Keep this turned on, to ensure

that you’re always displaying what you’re painting.

If you want to glance at another channel without

stopping your current paint session, turn off the

lock and then switch the display channel. When

you are finished, switch back and turn the lock

back on.

944 Chapter 8: Modifiers

Vertex Paintbrush group

Vertex paint controls

Here are the controls that let you access the

paintbrush and the paint. You can choose color

to paint with, from a color selector or from the

scene. Choose to adjust the brush size or envelope,

or launch advanced paintbrush options such as

pressure sensitivity.

Paint All—Performs a traditional paint fill

operation on the current object or sub-object

selection. In the case of sub-object selections

(vertices, faces, elements) the fill will honor those

selections. In the case of soft-selections Paint

all will do a “faded” fill, slowly tapering off the

opacity based on the soft selection settings.

As with the Paint button, this will either paint

on the current layer, if one is open in the Modify

panel, or else it will create a new vertex paint layer

instanced across the selected objects.

Paint—Starts the painting

process. Once it is turned on, you can start

painting on the current selection, by moving the

cursor into the viewport and over the object.

If there is a Vertex Paint modifier highlighted in

the Modify panel, you will be painting into that

layer. But if the selected objects do not currently

have a vertex paint layer highlighted in the modify

panel, then a dialog appears letting you create a

new modifier. This will be instanced across all the

selected objects.

You will not see the results of your brush strokes,

unless the proper display mode is set (above) Be

sure your display mode and your paint target

match. For example – if you are painting on the

alpha channel, be sure you are displaying the alpha

channel. If you are painting on the color channel,

display the color channel. Brush strokes will use

the color specified in the color swatch directly

below the Paint button.

See Painter Options Dialog (page 1–960) for more

painting options.

Erase all—Erases all painting applied to

the currently selected objects via the current

VertexPaint modifier. This allows you to see

through the underlying color of the object’s

vertices. This underlying color might come from

the object’s original vertex color, or from another

vertex paint layer directly below it in the modifier

stack. This supports soft selection as well.

Erase—Tur ns the brush into an

eraser that will remove paint from the currently

selected objects. Erase mode will actually erase

any painting applied to the currently selected

objects for the current layer of paint (allowing the

true color of the original objects vertices to be

seen, or the vertex paint layer immediately below

the current one).

Pick color from object—Allows you to choose

a color from the currently selected objects. The

color is taken from a single vertex; region selection

is not supported. The choice must occur near a

vertex, or no color will be chosen. You can drag

across a vertex of interest to pick up its color.

VertexPaint Paintbox 945

Because this button enters a mode, it must be

clicked to leave the mode, or you can choose

another mode to turn it off.

Color swatch—The color swatch

indicates the current color that will be used when

painting begins. Clicking the swatch launches

the standard color selector. Here you can change

the color that will be used on the next brush

stroke. It provides standard Hue, Saturation, and

Brightness selection, along with Red, Green, and

Blue selection and numerical entry.

Opacity—Controls the opacity of paint being

applied to the currently selected objects in a single

paint stroke (actually, any time before mouse up).

This value represents the percentage of new paint

that will blend into the color already applied to

the selected objects. Successive paint strokes will

continue to add this color until it overpowers the

underlying color completely. The maximum value

is 100% and 0% is the minimum value. A value of

50 percent will blend equally with the underlying

vertex color in a single stroke (before mouse up).

The brush opacity serves to clamp the effect of

each brush stroke, taken as a whole. If you pick

a low opacity amount, then a single brush stroke

will have only a small effect, no matter how much

youscrub.Thisallowsimprovedcontroloverthe

density of a glaze of color, with an even glazing

across all the painted vertices.

Size—Controls the diameter of the brush, as seen

in the viewport. Size values range from zero to

9,999,999 and must be chosen appropriately for the

size and resolution of geometry you are painting.

Brush Options —Opens the Painter Options

dialog (page 1–960),whereyoucanaccess

advanced paintbrush controls. These are the

standard set of Painter Interface options. The

same options can be seen, for example in the Skin

modifier, for painting weights.

Here you will find a rich selection of brush

configuration tools that change the way your

brush strokes apply color to the selection. Includes

tools for mirror painting mode and using pressure

sensitivity.

Palette—Click to display the Color Palette

(page 1–950), which lets you create, edit, and

manage custom palettes for use with VertexPaint.

Selection group

Toolsinthisgroupletyouchoosesub-object

selection levels. You can select vertices, faces or

elements. Includes the option to ignore backfacing

so you can limit your selection to sub-objects

that face toward you, and also provides access to

standard soft selection options.

This creates a mask that will lets you determine

what is being affected by your paint strokes, and

any other operations you might apply, such as

blurring or color adjustment. Erase functionality

will also honor this mode selection.

Note: Soft Selection is supported on the various

sub-object selection modes.

Select vertex—Allows you to select vertices

from the currently selected objects. Once selected,

onlytheseverticeswillbeavailableforpainting.

946 Chapter 8: Modifiers

Select face —Allows you to select faces in

the currently selected objects. Once selected, only

these faces will be available for painting.

Select element —Allows you to select

elements in the currently selected objects. Once

selected, only these elements will be available for

painting.

Ignore Backfacing—When this is on, prevents you

from mistakenly selecting sub-objects facing away

from the user.

Soft Selection—The same soft-selection options

(page 1–963) found in Editable Mesh and Editable

Poly are available by clicking this button.

Image Adjustment group

Toolsinthisgroupallowyoutoperformoverall

coloradjustmentorimageblurringwithoutusing

the paint brush in the viewport.

Adjust Color—Displays the Adjust Color

dialog (page 1–949),whereyoucanfindsliders

foradjustingHLSorRGBvalues,previewthe

adjustment effect, and apply it.

Blur —Smoothes the pixels in the image so

thereislesscontrastandcolordifference.Usethis

to get rid of harsh edges such as shadows created

by the Assign Vertex Colors utility.

Blur Amount spinner—Blurs currently selected

channel values (for example, vertex color, alpha)

for the currently selected objects. Also supports

sub-object selection of vertices, faces, and

elements. With soft selections, the final blurred

value is computed, and then combined with the

original color according the selection; a 50 percent

soft selection means that a vertex will become a

fifty-fifty combination of its original color and

the blurred color. Successive clicks of the Blur

button will succesively blur the previous results,

eventually washing out painting effects entirely.

Blur is useful for softening vertex color lighting

information that is automatically generated by

the Assign Vertex Color utility or rollout. Assign

Vertex Color computes intensities per vertex. This

is especially useful for low-resolution geometry

and high-frequency lighting changes.

Blur Brush—Lets you apply

blurring by using the same brush techniques and

settings that you use to apply color. The Blur Brush

respects sub-object selection and the Blur Strength

setting.

Layers group

Mode—The layer mode drop-down list allows you

to select a specific operator for this paint layer.

The operator selected affects base color, alpha,

illumination, and other information coming up

from layers below it, or from the base object itself.

Thechosenoperatorcontrolshowtheincoming

color is combined with any newly painted colors

for the current level.

This mode is changeable at any time, without

destroying previously painted information in

VertexPaint Paintbox 947

layers above, below, or in the current paint layer.

The following modes are supported per paint layer:

•Normal—The layer color completely overwrites

thebasecolor.

•Overlay—The color cast is shifted towards the

layer color and contrast might be increased.

It’s useful when you want to make an object

appear a different color but in the same lighting

conditions. A fully bright or dark channel is

never affected however, so if Red=100% and

Green=0% in the base color, then neither the

red nor green channels can be affected by the

layer color.

•Screen—Each RGB channel is moved towards

full brightness, depending on the layer color.

The result is at least as bright (never darker)

than the original. Black is transparent in this

mode.

•Multiply—Each RGB channel is moved towards

zero, depending on the layer color. The result

is at least as dark (never brighter) than the

original. White is transparent in this mode.

•Lighten—Whichever color is brighter, the layer

or the base, is used as the output. It operates on

the whole color, and not channel-by-channel.

•Darken—Whichever color is darker, the layer or

the base, is used as the output. It operates on

the whole color, and not channel-by-channel.

•Color dodge—Emulates the effect of "dodging"

acolorprintinadarkroom;theresultisatleast

as bright (never darker) than the original.

For each RGB channel, if the layer is at full value

in that channel, the output channel will be at

full value. Even if the layer value is less then full

value, the output is still strongly brightened in

that channel. For example, a medium-red layer

color will add a significant red brightness to the

output.

•Color burn—Emulates the effect of "burning"

a color print in a darkroom; the result is at

least as dark (never brighter) than the original.

For each RGB channel, if the layer is zero in

that channel, the output channel will be zero.

Even if the layer value is above zero, the output

is still be strongly darkened in that channel.

For example, a medium red layer color will

significantly reduce blue and green brightness

in the output.

The next four Light modes essentially offer

compromises between the destructive effect of

Normal Mode and the toning effect of Overlay

mode. Try using medium-value desaturated layer

colors, since the light modes can be too destructive

with bright, vivid layer colors. A neutral grey layer

color is transparent in any of the light modes.

•Soft light—Ve r y s i m i l a r t o O v e r l a y, b u t e v e n

more gentle, and it does not tend to increase

contrast as much.

•Hard light—More like Normal mode than

Overlay, it will change color cast somewhat. It is

fairly destructive like Normal mode, especially

with bright layer colors.

•Vivid light—Brighter layer colors produce a

Color Dodge effect, while darker layer colors

produce a Color Burn effect, although the effect

is generally weaker than Dodge or Burn.

•Linear light—For each RGB channel, if the layer

color is more than 50 percent bright in that

channel,theoutputwillbebrightened,and

if the layer is less then 50 percent bright, the

output will be darkened. As an example, if

you want the top of your image to be twice as

bright,andthebottomtobehalfasbright,use

a gradient from 75 percent gray to 25 percent

gray, top to bottom.

The next four modes are used to control the HSV

channel values of the image instead of using RGB

channel value.

948 Chapter 8: Modifiers

•Hue—The output color has the saturation and

value of the base color, with the hue of the layer

color.

•Saturation—Theoutputhasthehueandvalue

ofthebasecolor,andthesaturationofthelayer

color.

•Color —Theoutputhasthevalueofthebase

color, and the hue and saturation of the layer

color.

•Luminosity —Theoutputhasthehueand

saturation of the base color, and the brightness

value of the layer color.

Note: Usingtheshowendresultbuttoninthe

modifier stack for the current paint layer will allow

you to interactively paint under any over laying

paint layers (vertex paint modifiers that are above

thecurrentoneintheobject’smodifierstack).

This allows you to see the final results of your paint

strokes for any paint layer in the stack.

Opacity Slider—Allows you to set the opacity of the

current vertex paint layer, from 0 to 100 percent.

100 percent Opacity means that the current layer is

entirely opaque: you cannot see through it to the

layer directly under it or to the base vertex colors

of the objects being painted.

The opacity of a layer is animatable. Simply turn

on Auto Key, move the time slider and adjust the

spinner value. This will set a keyframe.

Note: If you painted on the layer with a brush

opacity less than 100 percent, then colors stored

in the layer can already be less than full opacity,

and the final opacity at any vertex is a product of

the two values. If you vertex had only 50 percent

opacity worth of paint applied to it, and the layer is

50 percent opaque, then the vertex will appear 25

percent opaque overall.

Be aware that the paint opacity is different from

the vertex alpha channel. Values less than 100

percent incrementally reveal any vertex color,

alpha information, and so on, coming from vertex

paint layers beneath it, or the base object’s original

information. Opacity values can be changed for

the current layer at any time. Since vertex paint

layersarepreservedinthemodifierstackyoucan

return to a particular layer at any time and adjust

its opacity to tune an object’s final appearance.

Note: The opacity for a specific paint layer should

not be confused with “alpha” information for

a given vertex. Opacity controls the mixing of

painted information in the modifier stack for the

currently active map channel (whether it be color

information, alpha, illumination, or any arbitrary

map channel from 1 to 99). Alpha Channel

information (by convention) is intended to be

used specifically to indicate the transparency of all

combined color information for a given vertex.

Another way to think about the opacity slider

is that it is identical to the amount spinner. The

difference between them is that opacity is for the

entire layer, where as amount is for the current

brush stroke (between a mouse down and mouse

up period when painting). Changing the amount

spinner after painting does not affect what is

already displayed on the screen; where changing

the opacity layer does. In the end, the current

vertex paint layer being applied generates a final

colorthatisthecombineresultofamountand

opacity. The whole concept should be quite

natural to any Adobe Photoshop user. However,

Photoshop is able to display a light grey and dark

grey quilt as a background to give a visual cue

about layer opacity, whereas 3ds Max does not

support this same display cue. So in 3ds Max, more

attention is required of the artist to understand the

opacity of each vertex on each layer.

Opacity numeric entry field—Allows you to

enter an opacity amount. Range=0 (completely

transparent) to 100 (totally opaque).

Adjust Color Dialog (VertexPaint Modifier) 949

New Layer—Click to create a new VertexPaint

layer. Clicking new layer displays a New Layer

dialog.

Delete Layer—Click to delete the current

VertexPaint layer. This removes the modifier from

the stack.

Condense to single layer—Click to condense

all vertex coloring into a single layer in the current

VertexPaint modifier. Use this to modify existing

vertex coloring within the current modifier.

Condensing layers is a two-part operation: First

3ds Max adds a new VertexPaint modifier to the

stack, combining vertex coloring applied directly

with Editable Mesh/Polygon and from previous

VertexPaint layers according to the settings

described above. Second, it deletes any prior

VertexPaint modifiers.

If Preserve Layer has been turned on for a

particular VertexPaint layer, then its colors are

“baked” into the new VertexPaint modifier, but the

preserved layer isn’t deleted from the stack.

Adjust Color Dialog (VertexPaint

Modifier)

Select an object. > Modify panel > Modifier List >

VertexPaint > VertexPaint Paintbox > Click the Adjust

Color button.

Select an object. > Modifiers menu > Mesh Editing >

Vertex Paint > VertexPaint Paintbox > Click the Adjust

Color button.

Select an object. > Utilities panel > More > Assign Vertex

Colors > Click Assign to Selected > Modify panel >

Modifier List > VertexPaint > VertexPaint Paintbox > Click

the Adjust Color button.

The Adjust Color dialog lets you adjust the color

of currently selected vertices. If there is no active

vertex sub-object selection, it affects all vertices

equally.

Interface

•HSV—(The default.) When chosen, the first

three sliders are labeled HSV, and adjust the

colors’ hue, saturation, and value.

•RGB—When chosen, the first three sliders are

labeled RGB, and adjust the colors’ red, blue,

and green components.

See Red, Green, Blue / Hue, Saturation, Value (page

3–1001).

Preview—When on, vertex color adjustments

are previewed interactively in shaded viewports

(provided that on the Paintbox, Vertex Color

Display - Unshaded or Vertex Color Display -

Shaded is active). Default=on.

Contrast slider—Lets you adjust the contrast of the

vertex colors.

Histogram and Input-Level Spinners

Histogram—Graphically shows the distribution of

colors in the vertex selection, as well as the current

shadow, gamma, and highlight input levels.

950 Chapter 8: Modifiers

The shadow, gamma, and highlight input levels

can help you adjust 3ds Max viewport color to

better match your target hardware display (such

as a game engine).

Shadow level—Adjusts the level of shadow display.

Gamma level—Adjusts the gamma display. This

value is a gamma correction (page 3–948) value.

Highlight level—Adjusts the level of highlight

display.

When you adjust a level, the corresponding arrow

moves on the histogram, to indicate the current

setting. (However, you can’t graphically drag the

arrows.)

Apply—Click to apply the current settings to vertex

colors, without closing the dialog.

Reset—Click to restore dialog settings to their

defaults.

Color Palette (VertexPaint

Modifier)

Select an object. > Modify panel > Modifier List >

VertexPaint > VertexPaint Paintbox > Click the Palette

button.

Select an object. > Modifiers menu > Mesh Editing >

Vertex Paint > VertexPaint Paintbox > Click the Palette

button.

Select an object. > Utilities panel > More > Assign Vertex

Colors > Click Assign to Selected > Modify panel >

Modifier List > VertexPaint > VertexPaint Paintbox > Click

the Palette button.

The VertexPaint modifier’s Color Palette lets you

create and maintain color palettes for use with

vertex paints. You can save or load palettes as

Color Clipboard (CCB) files, which are also used

by the Color Clipboard utility (page 1–165).

Note: The Palette remembers the last palette you

used. This is not affected by File > Reset. However,

the active palette is saved in the file 3dsmax.ini

(page 1–18) so deleting the INI file causes the

palette to revert to the default grayscale palette.

Procedures

Tousethepalettetochooseacolor:

• On the List or Swatch panel, click the color.

The color appears as the active color on the

VertexPaint Paintbox, in the swatch just below

the Erase button.

To change the color of a color swatch:

1. Double-click the swatch.

AColor Selector (page 1–161) appears.

2. UsetheColorSelectortochangetheswatch’s

color.

This version of the Color Selector is modeless

(page 3–973), so after choosing a color you

caneithercloseit,orleaveitopentochange

another swatch.

To use the color picker:

1. In the Palette’s List panel, highlight the name

of a color.

2. ClicktheColorPickerbuttontoturniton.

The cursor changes to an eyedropper icon.

3. Without depressing the mouse button, drag to

an area where you want to pick a color.

You can obtain colors from viewports, the

3ds Max user interface, or anywhere on the

Windows desktop.

4. When you depress the mouse button, the picker

obtains the color below the cursor. You can

dragwhilethemousebuttonisdepressed.

While you do, the color swatch in the palette

and the larger swatch on the Paintbox update.

5. Release the mouse to pick the color you want.

Color Palette (VertexPaint Modifier) 951

The color in the Palette and the active color in

the Paintbox are both updated.

To change a color’s name:

1. In the List panel, click the name twice (more

slowlythanadouble-click).

Thenamechangestoaneditablefield.

2. Enteranewnameoredittheexistingone,and

then press Enter .

Press Esc tocancelthenamechange.

To save a palette to a file:

1. Right-click the List panel or the Swatch panel.

The Palette’s pop-up menu (page 1–952)

appears.

2. Choose Save As from the menu.

ASaveColorClipboardFiledialogappears.

3. Use the dialog to give the palette a name (and

optionally, a directory location other than the

default), and then click OK to save the CCB file.

To load a palette from a file:

1. Right-click the List panel or the Swatch panel.

The Palette’s pop-up menu (page 1–952)

appears.

2. Choose Load from the menu.

A Load Color Clipboard File dialog appears.

3. ChoosetheCCBpalettefileyouwanttoload,

and then click OK.

Interface

New—Clicktoaddanewcolortothepalette.

Theonlylimittothenumberofcolorsapalette

can have is a file size or memory limitation.

Delete—Click to delete the active color.

Copy—Click to copy the active color.

Paste—Click to paste a copied color to the

active swatch.

Color Picker—Highlight a color in the palette,

turn this button on to activate the picker, then drag

anywhere on the Windows desktop. The color

is picked when you release the mouse.(Seethe

procedure“Tousethecolorpicker,”above.)

952 Chapter 8: Modifiers

List panel—Displays the colors in the palette, along

with their names.

Swatch panel—Displays the colors in the active

palette. The swatch panel doesn’t list the names of

colors, but each color’s name appear as a tooltip

when the mouse is over the swatch.

Swatch panel showing default grayscale palette

List and Swatch Panel Right-Click Menu

When you right-click the List panel or the Swatch

panel, a pop-up menu appears.

Copy—Copiestheactivecolor.

ThisisthesameasclickingCopy.

Paste—Pastesacolortotheactiveswatch.

ThisisthesameasclickingPaste.

New—Adds a color to the palette.

ThisisthesameasclickingNew.

Delete—Deletes the active color.

ThisisthesameasclickingDelete.

Save As—Displays a Save As dialog (page 3–391)

that lets you enter a name for the CCB file, then

save it.

By default, Color Clipboard files are saved in

the \images directory below the 3ds Max root

directory.

Load—Displaysafileopendialogthatletsyou

choose a CCB palette file to load.

View—Displays a text-editor window with the

current CCB palette file. If no CCB file has been

loaded or saved, choosing View has no effect.

The first 12 lines of a CCB file contain integer RGB

values. This part of the file is used by the Color

Clipboard utility (page 1–165) and ignored by the

Color Palette dialog. The remaining lines of the

file include floating-point RGB values and color

names.

Volume Select Modifier

Modify panel > Make a selection. > Modifier List > Vol.

Select

Make a selection. > Modifiers menu > Selection Modifiers

> Volume Select

Faces and vertices selected using box volumes.

TheVolumeSelectmodifierletsyoumakea

sub-object selection of vertices or faces for passing

up the stack to another modifier or modifiers. The

sub-object selection is completely separate from

the underlying parametric geometry of the object.

Like other selection methods, Volume Select works

with single or multiple objects.

Volume Select Modifier 953

Volume Select lets you use one of three gizmos

or another object to define a volume of space as

the selection area, to which you can then apply

modifiers. You can move the selection over an

object and animate it.

When applied, Volume Select begins with the

current geometry in the object’s stack, whether

it’sawholeobjectorasub-objectselection(for

example, from an Edit Mesh (page 1–634) or

another Volume Select modifier).

Top: Original mesh with select gizmo showing

Bottom: Modification made after applying Volume Select

modifier

Patches

As of version 4, patch objects coming up the

modifier stack are not converted to a mesh by

this modifier. A patch object input to the Volume

Select modifier retains its patch definition. Files

that contain patch objects with the Volume Select

modifier from previous versions of the software

will be converted to meshes to maintain backward

compatibility.

Scaling Compatibility

The Volume Select gizmo scales along with

its object. Thus, if you apply a Volume Select

modifier, and then change the scale of your object

(with the toolbar Scale function (page 1–441))the

selection doesn’t change. In other words, all three

transforms affect the Volume Select gizmo and its

object identically.

Volume Select Center

The Volume Select modifier has a center as

wellasagizmo. Thisletsyoualterthecenter

for non-animated transforms. However, if you

animate a rotation about the offset center, you

achieve animation of both rotation and translation.

Procedures

To apply and use volume selection:

1. Select an object and apply the Vol. Select

modifier.

The Parameters rollout appears.

2. In the Stack Selection Level group, choose

Object, Vertex, or Face to specify the kind of

geometry you want to work with.

3. In the Select By group, choose one of the four

volume types: Box, Sphere, Cylinder, or Mesh

Object.

If you choose Mesh Object, you should then

click the None button and select an object to

use as the selection volume.

4. Choose a selection method and type (defined

inthefollowingInterfacesection). Youcan

change these choices as you work, depending

on the particular selection you’re trying to

make.

5. Once the selection is complete, you can do the

following:

954 Chapter 8: Modifiers

•Applymodifierstotheselection.

• TransformtheVolumeSelectgizmoatthe

sub-object level, changing the selection in

the process.

• Combine these options. See the following

example.

Example: To animate a volume selection:

1. Apply Volume Select to an object.

2. Make a sub-object selection of the object’s

geometry at Face or Vertex level, and apply a

geometric modifier, such as Bend (page 1–560),

to the selection.

3. Move to a nonzero frame and begin animation.

Adjust parameters on the geometric modifier,

then move to another frame.

4. In the stack, return to the Volume Select

modifier. Choose the Volume Select gizmo

sub-object. Move the gizmo and its geometry

selection to another part of the object.

5. Repeat this process on other frames. Optionally,

you can return to the geometric modifier and

change its parameters at any frame.

During playback, you see the effect of an animated

geometric modifier moving over the object.

Interface

Modifier Stack

Gizmo sub-object—You can transform and animate

the gizmo to change the selection. Translating

the gizmo translates its center an equal distance.

Rotating and scaling the gizmo takes place with

respect to its center.

Center sub-object—You can translate and animate

the center, which affects rotation or scaling of the

Vo l u m e S e l e c t m o d i f i e r ’ s g i z m o .

For more information on the Stack Display, see

Modifier Stack (page 3–760).

Volume Select Modifier 955

Parameters rollout Stack Selection Level group

Object/Vertex/Face—Vo l u m e S e l e c t p r ov i d e s t h r e e

selection levels. Vertex and Face levels put the

modifier stack in sub-object selection. You can

make one sub-object selection for each Volume

Selectmodifier. Youcanthentoggletheone

selection between Face and Vertex level to send

either up the stack. Object (top) level lets you

modify the whole object while retaining any

sub-object selection.

Selection Method group

Replace—Clears any selection passed up the stack

to the Volume Select modifier, and then selects

geometry within the volume.

Add—Selects all geometry within the volume,

adding to any previous selection.

Subtract—Deselects all geometry within the

volume.

Invert—Reversestheentireselectionset.Geometry

that was unselected becomes selected, and vice

versa.

Selection Type group

Lets you determine whether selected faces are

wholly or partially within the defined volume

when you set Stack Selection Level to Face.

Window—Selects only faces with all three vertices

within the selection volume.

Crossing—Selects faces with only one vertex within

the selection volume.

Select By group

These controls let you define the selection

with a primitive, a mesh object, or by surface

characteristics.

Volume: Box/Sphere/Cylinder—To defi n e t he

selection space using a standard primitive-shaped

gizmo, choose one of these. You can then scale,

956 Chapter 8: Modifiers

rotate, or move the gizmo anywhere around the

object.

Volume: Mesh Object—Choose this option to use

another object to define the selection space. After

choosing Mesh Object, click the button below it

(labeled "None" by default), and then select an

object to use as the volume.

Besides mesh objects, you can use patch objects

and NURBS objects. In addition, if you turn on

Soft Selection rollout > Use Soft Selection, you can

usesplineobjectsandparticlesystemstodefine

the selection. This latter option is quite powerful

because the selection changes as the particles

move.

Mesh object button—Click this button, then select

an object to define the selection space. You don’t

need to choose Mesh Object first, but you do

need to choose Mesh Object to use the object as

a volume. After you select an object, its name

appears on the button.

This button is labeled "None" if no object has been

chosen.

Note: The selection depends on a volume

intersecting the object. If a gizmo or object is

scaled down and moved inside an object, no

selection occurs because no geometry is within

the volume of the gizmo.

Surface Features—Defines the selection by surface

characteristics instead of a geometric volume.

While this doesn’t have much to do with volume, it

was added because Volume Select is a procedural

modifier, whereas Mesh Select (page 1–719) is

explicit. Now, even if your topology changes,

Volume Select will consistently select the faces or

vertices using a particular material or smoothing

group.

Indicate which type of surface characteristic to

base selection on by choosing one of the following:

Material ID—Specifies a material ID. All faces or

vertices using the ID indicated by the spinner

value are selected.

Sm Group—Specifies a smoothing group. All faces

or vertices using the ID indicated by the spinner

value are selected.

Texture Map—Specifies a texture map from the

scene. Click the map button (labeled "None"

by default) to choose a texture map to use for

selection. All faces or vertices using that texture

map will be selected. When using the Texture Map

option, you can also specify a mapping channel

or the vertex color channel using the Map/Vertex

Color radio buttons and spinner.

Note: Yo u m u s t a p p l y m a p p i n g t o t h e o b j e c t

below Vol. Select in its stack for the Texture Map

selection to work. That is, the Vol. Select modifier

must have mapping coordinates passed up the

stack so it can use a texture map for selection.

Note: If you set Selection Type to Window, vertices

will be selected if all the faces they touch use the

specified material or smoothing group. If you

set Selection Type to Crossing, vertices will be

selected if they touch any face using the specified

material or smoothing group.

Alignment group

These controls are generally used when the

gizmo has been transformed out of its original

orientation to the object.

Fit—Resizes the gizmo to fit around the object

or previous selection in the stack. Maintains any

previous rotation.

Center—Recenters the gizmo on the object or

previous selection in the stack. Maintains any

previous scale or rotation.

Reset—Returnsthegizmotoitsdefaultsizeand

orientation. Cancels the effect of all previous

transforms.

Wave Modifier 957

Auto Fit—When on, automatically adjusts the

gizmosizeandshapetofittheobjectasyou

change the underlying topology (for example,

transforming vertices).

Soft Selection rollout

These controls, available only at the Vertex stack

selection level, let you set a gradual falloff of

influence between selected and unselected vertices.

See Soft Selection Rollout (Edit/Editable Mesh)

(page 1–963).

Note: Soft Selection does not apply to materials or

smoothing groups. However, if there was already a

weighted selection passed up the stack, a Volume

Select set to Material or Smoothing Group mode

and not set to Replace will preserve the selection.

Wave Modifier

Modify panel > Make a selection. > Modifier List >

Object-Space Modifiers > Wave

Make a selection. > Modifiers menu > Parametric

Deformers > Wave

The Wave modifier produces a wave effect in an

object’s geometry. You can use either of two waves,

or combine them. Wave uses a standard gizmo

and center, which you can transform to increase

thepossiblewaveeffects.

The Wave (page 2–100) space warp has similar

features, and is useful for applying effects to a large

number of objects.

An object with the Wave modifier applied. Amplitude 1 and 2

can be changed, creating different profiles.

See also

Ripple Modifier (page 1–783)

Procedures

To mak e an object wavey:

1. Select an object and apply the Wave modifier.

Tip: To se e t he ef fe c t c lea r ly, ap ply Wave to a

broad, flat object that has many segments.

2. Set one or both values for amplitude, or the

verticalheightofthewaveincurrentunits.

Amplitude1producesasinewavefromone

edge to the other, while Amplitude 2 creates a

wave between the opposite edges. Switching

a value from positive to negative reverses the

position of peaks and troughs.

3. Setthelengthofthewaveandthedistancein

current units between crests of both waves.

Thegreaterthelength,thesmootherandmore

shallow the wave for a given amplitude.

To add a phase effect:

• Set a phase value to shift the wave pattern over

the object. Positive numbers move the pattern

in one direction, while negative numbers move

958 Chapter 8: Modifiers

them in the other. This effect is especially clear

when animated.

Phase effect on a wave

To add a decay effect:

• Set a decay value to increase or decrease the

amplitude.

A decay value decreases the amplitude as the

distance from the center increases. As the

Decay value increases, the wave is concentrated

at the center and flattens until it disappears

(completely decays).

Interface

Modifier Stack

Gizmo—At this sub-object level, you can transform

and animate the gizmo like any other object,

altering the effect of the Wave modifier. Translating

the gizmo translates its center an equal distance.

Rotating and scaling the gizmo takes place with

respect to its center.

Center—At this sub-object level, you can translate

and animate the center, altering the Wave gizmo’s

shape, and thus the shape of the wavy object.

For more information on the stack display, see

Modifier Stack (page 3–760).

Parameters rollout

Amplitude 1/Amplitude 2—Amplitude 1 produces

asinewavealongthegizmo’sYaxis,while

Amplitude2createsawavealongtheXaxis

(although peaks and troughs appear in the same

direction with both). Switching a value from

positive to negative reverses the positions of peaks

and troughs.

Wave Length—Specifies the distance in current

units between the crests of both waves.

Phase—Shiftsthewavepatternovertheobject.

Positive numbers move the pattern in one

direction, while negative numbers move it in the

other. This effect is especially clear when animated.

Decay—Limits the effect of the wave generated

from its origin. A decay value decreases the

amplitude at increasing distance from the center.

As this value increases, the wave is concentrated

at the center and flattened until it disappears

(completely decays).

XForm Modifier 959

XForm Modifier

Modify panel > Make a selection. > Modifier List >

Object-Space Modifiers > XForm

Make a selection. > Modifiers menu > Parametric

Deformers > XForm

Use the XForm (short for Transform) modifier to

apply transformations (Move, Rotate, Scale) to

objects. The XForm has two main functions:

• To animate transformations of a sub-object

selection. You can also animate the position of

the modifier’s center.

• To transform an object at any point in the stack.

Note: The Linked XForm modifier (page 1–712)

is a variant of XForm. Linked XForm has no

gizmo or center of its own. Instead, a given

selection is "linked" to another object, which

supplies its gizmo and center. Using Linked

XForm, you can link a sub-object selection

directly to the coordinate system of another

object.

Using XForm

XForm provides a gizmo and center for any

geometry it receives from the stack whether it’s a

sub-object selection or the whole object. XForm

has no parameters. When you move the XForm

modifier gizmo, the center moves with it, along

with the geometry.

Yo u c a n r e p o s i t i o n t h e X F o r m c e n te r s e p a r a t e l y

from the gizmo.

Offsetting XForm Center

At the XForm Center sub-object selection level,

onlytheMovetransformisavailable. Thislets

you reposition the center. When you return to the

Gizmo level, you can rotate or scale the selection

around the offset center. The center position and

gizmo transformations are all animatable.

Scaling with XForm

When you scale an object with a toolbar Scale tool,

the software applies the effect to the object after

all the modifiers in the stack. In some cases you

might want to squash or stretch an object before

applying geometric or edit modifiers. XForm

makesthispossible.

By applying XForm and scaling its gizmo, you can

place the scaling operation anywhere in the stack.

Using XForm with Volume Select

Yo u c a n c o m b i n e t h e X F o r m a n d Vo l u m e S e l e c t

modifiers (page 1–952) to animate sub-object

selections. This combination makes it possible

to animate both the effect of a modifier on the

selection (Volume Select) and a transformation of

that selection (XForm).

Procedures

To use the XForm modifier:

1. Choosealocationinanobject’sstackandapply

the XForm modifier.

The Gizmo sub-object level is automatically

activated. All transform buttons are available

on the toolbar.

2. Move to a nonzero frame and turn on

Auto Key to animate the next step.

3. Trans for m the gizmo.

As you transform the gizmo, the selected

geometry is transformed with it.

To use XForm as a scaling modifier:

1. Apply XForm to an object or a sub-object

selection.

2. Scale the gizmo.

The rescaled geometry becomes "part of the

stack" because the scale transform is carried

with XForm, instead of being applied after the

modifiers.

960 Chapter 8: Modifiers

Interface

This modifier has no parameters, but you can

transform the XForm gizmo and the XForm center.

If you switch the selection level to the XForm

center, only the Move transform is available. This

lets you offset the center and transform the gizmo

around it. Both offset and gizmo transformations

are animatable.

Painter Options Dialog

Modify panel > Skin modifier > Parameters rollout >

Weight Properties group > Painter Options button

VertexPaint modifier > Floating Vertex Paintbox > Brush

Options button

Edit/Editable Poly object or Poly Select modifier > Soft

Selection rollout > Paint Soft Selection group > Brush

Options button

Edit/Editable Poly object > Paint Deformation rollout >

Brush Options button

ThePainterOptionsdialogfortheSkin

modifier appears when you click the Painter

Options button.

This same dialog is used by the VertexPaint

modifier to control the brush envelope, use

pressure sensitivity, or enter mirror painting

mode. The dialog is accessed through the Brush

Options button on the floating Vertex Paintbox.

ThedialogisalsousedbythePaintSoftSelection

and Paint Deformation tools available for poly

objects.

Interface

Brush Properties group

Min. Strength—Sets the minimum vertex weight

to paint.

Max. Strength—Sets the maximum vertex weight

to paint.

Min. Size—Sets the minimum size for the paint

gizmo.

Max. Size—Sets the maximum size for the paint

gizmo.

Brushstrengthfalloffcurve—This graph

determines how the brush weight falls off as the

distance increases from the center of the brush.

Thecontrolsonthisgrapharesimilartothoseona

loft deformation dialog (page 1–368).

Additive—When on, brush strokes add to existing

vertex weights.

Quick Brush Falloff Types—Set the brush falloff to

linear, smooth, slow, fast, or flat.

Display Options group

The options in this group determine the

appearance of the paint gizmo.

Draw Ring—A ring appears as part of the paint

gizmo.

Painter Options Dialog 961

Draw Normal—A normal arrow appears as part of

the paint gizmo.

Draw Trace—Draws a trace (temporary mark) that

shows the path of the brush stroke on the surface.

Normal Scale—Sets the scale of the normal arrow

in the paint gizmo.

Marker—Displays a circular marker at the end of

the normal arrow. The value next to Marker sets

the height of the marker.

Pressure Options group

Enable Pressure Sensitivity—Tu r ns on pre ssure

sensitivity for the paint gizmo brush.

Pressure Affects—Selects the brush parameter to

be affected by pressure sensitivity. Choose from

four options: None, Strength, Size, or both size

and strength (Size/Str).

Predefined Str Pressure—Turn this opt ion on to use

a predefined strength pressure. Click the button to

view and edit the falloff curve for the strength.

Predefined Size Pressure—Tur n th is op tion on to

use a predefined size pressure. Click the button to

view and edit the falloff curve for the size.

Mirror group

Mirror—Turn this option on to mirror the paint

gizmo on the other side of the object. Choose an

axis from the drop-down menu. The paint gizmo

is mirrored about the selected axis in the world

coordinate system.

Offset—Offsetsthemirrorplanebythevalueyou

specify.

Gizmo Size—Changes the mirror gizmo size to a

value you specify.

Misc group

Tree Depth—Determines the size of the quad tree

used for hit testing. Tree Depth relates to the

amount of memory set aside for weight painting.

Larger values mean faster interaction but more

memory use.

Update On Mouse Up—Prevents the system from

updating viewports when the mouse button is

pressed. This can save time in your workflow.

Lag Rate—Determines how often the stroke

updates the painted surface. Higher values update

the surface less often.

962 Chapter 8: Modifiers

Surfacemodelingismorefreeformthangeometric

(parametric) modeling. Although you can create

Patch and NURBS primitives from the Create

panel, more often a surface model begins when you

use the quad menu (page 3–694) or the modifier

stack (page 3–760) to “collapse” a parametric

modeltosomeformofeditablesurface.Onceyou

have done so, a variety of tools let you shape the

surface. A lot of surface modeling work is done by

editing sub-objects (page 3–1017) of the surface

object.

See also

Patch Grids (page 1–993)

Editable Patch Surface (page 1–968)

Editable Mesh Surface (page 1–996)

Editable Poly Surface (page 1–1022)

NURBS Modeling (page 1–1078)

Subdivision Surfaces (page 1–963)

Tools for Low-Polygon Modeling (page 1–1252)

Subdivision Surfaces

A subdivision surface is a surface that has been

dividedintomorefaceswhileretainingtheobject’s

general shape. You perform subdivision to add

more detail to an object, or to smooth it out.

You can create a subdivision surface by applying a

modifier to an object. 3ds Max supports two kinds

of subdivision surfaces:

•TheHSDS modifier (page 1–701) provides

hierarchical subdivision surfaces.

•TheMeshSmooth modifier (page 1–722) and

TurboSmooth modifier (page 1–868) provide

smoothing.

Both these modifiers work best as finishing tools

for models.

The Interface (page 1–1061) for an Editable

Poly object (page 1–1022) allows you to add a

subdivision surface to this type of object without

the use of a modifier.

Soft Selection Rollout

Select an editable patch, editable mesh, editable poly,

editable spline, an object that has an Edit Mesh, Edit

Patch, or Edit Spline modifier applied to it, or an object

that has a comparable Select modifier applied to it.

> Modify panel > Choose a sub-object level. > Soft

Selection rollout

The Soft Selection controls allow you to partially

select sub-objects in the vicinity of an explicit

selection. This causes the explicit selection to

Surface Modeling

964 Chapter 9: Surface Modeling

behave as if surrounded by a "magnetic field."

Partially selected sub-objects within the field

are drawn along smoothly as you transform the

sub-object selection; the effect diminishes with

distance or the “strength” of the partial selection.

This falloff is visible in the viewports as a color

gradient surrounding the selection, conforming

to the first part of the standard color spectrum:

ROYGB (red, orange, yellow, green, blue).

Red sub-objects are those you select explicitly.

The highest-value soft-selected sub-objects are

reddish-orange; they have the same selection

value as red sub-objects, and respond the same

way to manipulation. Orange sub-objects have

aslightlylowerselectionvalue,andrespond

to manipulation a bit less strongly than do red

and reddish-orange vertices. Yellow-orange

sub-objectshaveanevenlowerselectionvalue,

and then yellow, green-yellow, and so on. Blue

sub-objects are effectively unselected and don’t

respond to manipulation, except as required by

neighboring soft-selected sub-objects.

Normally, you designate a soft selection

procedurally, by setting parameters and then

selecting sub-objects. You can also “paint” a soft

selectionexplicitlyonpolyobjects.SeePaint Soft

Selection group (page 1–966).

By default, the soft-selection region is spherical

without regard to geometric structure.

Alternatively, you can use the Edge Distance option

to limit the selection to vertices in contiguous

faces.

If a sub-object selection is passed up the modifier

stack, and Use Soft Selection is on, the results of

modifiers that deform the object, such as Bend

and XForm, are affected by the Soft Selection

parameter values.

ThecontrolsinthisdialogletyoumodifySoft

Selection parameters. All sub-object levels share

thesameSoftSelectionparametervalues. Soft

Selection is available for NURBS, mesh, poly,

patch, and spline objects.

Soft selection colors and effect on the surrounding area

Interface

Use Soft Selection—Affects the action of Move,

Rotate, and Scale functions at sub-object levels

oftheeditableobjectorEditmodifier,aswellas

the action of deformation modifiers applied to

the object if they are operating on a sub-object

selection (the latter also applies to the Select

modifiers). When on, the software applies a spline

curve deformation to the unselected sub-objects

surrounding the selection you transform. To

Soft Selection Rollout 965

take effect, this check box must be on before

transforming or modifying the selection.

Edge Distance—When on, limits the soft-selection

region to the specified number of edges between

where you select and the maximum extent of the

soft selection. The affected region is measured in

terms of "edge-distance" space, along the surface,

rather than real space.

This option is useful in cases where you want to

select only contiguous sections of geometry. For

example, if a bird’s wing is folded back against its

body, selecting the wing tip with Soft Selection

would affect body vertices as well. But if you turn

on Edge Distance, set the numeric value to the

distance (in edges) along the wing that you wish to

affect, and then set Falloff to an appropriate value,

selectingandthenmovingthewingtipwould

move only the wing geometry.

Affect Backfacing—When on, deselected faces

whosenormalsfaceintheoppositedirectionto

the average normal of the selected sub-objects are

affected by the soft-selection influence. In the case

of vertices and edges, this applies to the normals

of faces to which they’re attached. Turn off Affect

Backfacing when you want to manipulate faces of

athinobject,suchasathinbox,butdon’twantto

affect faces on the other side of the object.

Note: Affect Backfacing is not available when

editing splines.

Falloff—Distance in current units from the center

totheedgeofaspheredefiningtheaffectedregion.

Usehigherfalloffsettingstoachievemoregradual

slopes, depending on the scale of your geometry.

Default=20.

Note: The region specified by the Falloff setting

is depicted graphically in the viewports as a

color gradient in vertices and/or edges (or, with

editable polys and patches, optionally in faces).

The gradient ranges from the selection color

(normally red) to the non-selected sub-object

color (normally blue). In addition, this gradient

isupdatedinrealtimeasyouchangetheFalloff

setting.

Note: If Edge Distance is on, the Edge Distance

settinglimitsthemaximumfalloffamount.

Pinch—Raises and lowers the top point of the

curve along the vertical axis. Sets the relative

"pointedness" of the region. When negative, a

crater is produced instead of a point. At a setting

of 0, Pinch produces a smooth transition across

this axis. Default=0.

Bubble—Expands and contracts the curve along

the vertical axis. Sets the relative "fullness" of

the region. Limited by Pinch, which sets a fixed

starting point for Bubble. A setting of 0 for Pinch

and 1.0 for Bubble produces the smoothest bulge.

NegativevaluesforBubblemovethebottomofthe

curvebelowthesurface,creatinga"valley"around

thebaseoftheregion.Default=0.

(soft selection curve)—Graphically displays how

Soft Selection will work. You can experiment with

a curve setting, undo it, and try another setting

with the same selection.

Shaded Face Toggle—Displays a color gradient

corresponding to the soft selection weights on

faces within the soft selection range. Available

only when editing patch and poly objects.

If the Ve r t e x C o l o r d i s p l a y p ro p e r t y of an editable

poly or editable patch object is off, clicking the

ShadedFaceTogglebuttonwillturnonSoft

Selection Color shading. If the object already has

an active Vertex Color setting, clicking the Shaded

Face Toggle overrides the previous setting and

changes it to Soft Selection Color.

Note: Use the Undo command if you do not want

to change your vertex color shading properties.

Lock Soft Selection—Locks the soft selection

inordertopreventchangestotheprocedural

selection.

966 Chapter 9: Surface Modeling

Using Paint Soft Selection (see following) turns on

Lock Soft Selection automatically. If you turn it off

after using Paint Soft Selection, the painted soft

selection is lost. You can restore it with Undo.

Paint Soft Selection group

Paint Soft Selection lets you specify a soft selection

explicitly by dragging the mouse over the selection.

The Paint Soft Selection functionality is available

at sub-object levels with Editable Poly objects,

as well as with objects with the Edit Poly or Poly

Select modifier applied. You can work in one of

three painting modes: Paint, Revert, and Blur.

Tip: You can streamline the painting process by

using the Brush Presets tools (page 3–690).

Paint—Lets you paint a soft selection on the

active object using the current settings. Drag the

mousecursorovertheobjectsurfacetopaintthe

selection.

Blur—Lets you paint to soften the outlines of an

existing painted soft selection.

Revert—Lets you paint to reverse a soft selection

ontheactiveobjectusingthecurrentsettings.

Drag the mouse cursor over the object surface to

reverse the selection.

Note: Revert affects only a painted soft selection,

not a soft selection made by normal means. Also,

Revert uses only the Brush Size and Brush Strength

settings, not the Selection Value setting.

Selection Value—The maximum relative selection

of the painted or reverted soft selection. The

values of surrounding vertices within the brush

radius fall off towards a value of 0. Default=1.0.

Brush Size—The radius of the circular brush used

for painting the selection.

Brush Strength—The rate at which painting a

soft selection sets the painted sub-objects to the

maximum value. A high Strength value reaches

the full value quickly, while a low value requires

repeated applications to reach full value.

Brush Options—Opens the Painter Options dialog

(page 1–960),withsettingsforbrush-related

properties.

Collapse Utility

Utilities panel > Utilities rollout > Collapse button

Menu bar > Modify > Collapse

TheCollapseutilityletsyoucombinethestack

operations of one or more selected objects into

an Editable Mesh (page 1–996) or the stack result,

and, optionally, perform a Boolean (page 1–338)

operationonthematthesametime.

Important: You can’t undo the results of using the

Collapse utility. Before you use it, save a copy of your

work file, or use Hold (page 1–95).

Note: You can also collapse an object’s stack from

the modifier stack right-click menu (page 3–766),

and convert a selection to editable surfaces (page

1–963) with the transform quadrant of the quad

menu (page 3–694).Thesechangesare undoable.

Procedures

To collapse the stack of an object into an editable

mesh:

1. On the Utilities panel, click the Collapse button.

Collapse Utility 967

2. Select the object or objects that you want to

collapse.

3. Click the Collapse Selected button.

All modifiers are removed from the modifier

stack and the object becomes an editable mesh.

To collapse the stack of an object into an editable

surface other than mesh:

1. On the Utilities panel, click the Collapse button.

2. OntheCollapserollout,setOutputTypeto

Modifier Stack Result.

3. Select the object or objects that you want to

collapse.

4. Apply a modifier that outputs the desired

ultimate surface type, such as Tur n To Poly

(page 1–874) or Turn To Patch (page 1–873).

5. Click the Collapse Selected button.

All modifiers are removed from the modifier

stack and the object becomes an editable

surface of the type indicated by the modifier.

To subtract multiple objects from another object:

The Boolean compound object restricts you to

combining objects one at a time. With the Collapse

utility, you can perform Boolean operations on

several objects simultaneously.

1. For the purposes of this procedure, we’ll call the

object to have shapes subtracted from Main.

Create and arrange Main and the objects to

subtract from it. For example, you might have

several boxes penetrating a sphere (Main)in

different places; subtracting them will produce

box-shaped cutouts in the sphere’s surface.

2. Select Main, and then select the objects to be

subtracted from it.

Thefirstobjectyouselectbeforecollapsingis

the one from which the others are subtracted.

3. On the Utilities panel, click the Collapse button.

4. OntheCollapserollout,setOutputTypeto

Mesh, if necessary.

5. IntheCollapseTogroup,chooseSingleObject.

6. Turn on Boolean, and then choose Subtraction.

7. Click the Collapse Selected button.

All objects you selected after Main, the first

object, are subtracted from Main.

Interface

Selected Object group

Displaysthenameofthecurrentselection.Ifmore

than one object is selected, "[Number] Objects

Selected.” displays.

Collapse Selected—Collapses the selected objects.

The method of collapse depends on the settings of

the options below this button.

968 Chapter 9: Surface Modeling

Output Type group

Specifies the type of object that results from the

collapse.

Modifier Stack Result—The resultant object will be

thesameasifyouhadcollapseditsstack.Inmost

cases, this results in a mesh object, as when using

theMeshoption.However,iftheobjecthasanEdit

Patch modifier so that its stack produces a patch,

then the result will be a patch object rather than a

mesh. Likewise, a shape with Edit Spline modifiers

becomes an editable spline. When this option is

used, the Collapse To options are unavailable, and

all selected objects remain independent objects.

Mesh—All selected objects become editable

meshes regardless of their type before they were

collapsed.

Collapse To group

Specifies how the selected objects are combined.

Theseoptionsareavailableonlywhenyouchoose

the Mesh option.

Multiple Objects—Collapses each object in the

selectionbutmaintainseachasanindependent

object. When this option is selected, the Boolean

options are disabled.

Single Object—Collapses all selected objects into a

single, editable mesh object.

Boolean—Performs Boolean operations on the

selected objects. During the Boolean calculation, a

progress bar appears along with a Cancel button.

If any objects in the Boolean operation fail, that

object is skipped, but the Collapse proceeds. The

result is not a Boolean compound object, but

asingleeditablemesh. ThetypeofBooleanis

specified by the following option.

Union—Combines the several objects, removing

intersecting geometry.

Intersection—Removes all but the intersecting

geometry.

Subtraction—Maintains the first object selected

while subtracting the subsequently selected

objects. For example, to subtract several cylinders

from a box, click to select the box, hold down

Ctrl , and region-select the cylinders.

Close—Exits the Collapse utility.

Editable Patches

Create or select an object > Modify panel > Right-click

object’s entry in the stack display > Convert To: Editable

Patch

Create or select an object > Right-click the object >

Transform (lower-right) quadrant of the quad menu >

Convert To: > Convert to Editable Patch

EditablePatchprovidescontrolsformanipulating

an object as a patch object and at five sub-object

levels: vertex, handle, edge, patch, and element.

Editable Patch objects provide the same basic

functionality as the Edit Patch modifier (page

1–638). Because working with them requires less

processing and memory, we recommend you use

Editable Patch objects rather than the Edit Patch

modifier whenever possible.

When you convert an object to Editable Patch

format or apply an Edit Patch modifier, 3ds Max

converts the object’s geometry into a collection of

separate Bezier patches (page 3–991),eachpatch

made up of a framework of vertices and edges,

plus a surface.

•Theframework of control points and connecting

tangents defines the surface. Transforming the

components of this framework is the primary

technique in patch modeling. The framework

does not appear in scanline renderings.

•Thesurface is the Bezier patch surface, whose

shapeiscontrolledbytheverticesandedges.

Editable Patch Surface 969

Thesurfaceistherenderablegeometryofthe

object.

Prior to version 3 of the software, some patch

objects contained a lattice that appeared separate

fromthesurface. Thisisnolongerthecase:

The control framework conforms exactly to the

surface, making it easier to visualize the results of

patch modeling.

The output of the Surface modifier (page 1–842) is a

patchsurface.Ifyouaremodelingwithsplinesand

are using the Surface modifier to generate a patch

surface from the spline cage, you can use an Edit

Patch modifier (page 1–638) for further modeling.

Show End Result

Tur n on Show End Result on t he Mo dif y

panel if you have modifiers above the Editable

Patch modifier and want to see the result of all the

modifiers in the modifier stack. This function will

remain on until you turn it off.

See also

Edit Modifiers and Editable Objects (page 1–506)

Modifying at the Sub-Object Level (page 1–506)

Modifier Stack Controls (page 3–760)

Procedures

To work at a sub-object level:

1. In the modifier stack display, choose a selection

level: Element, Patch, Edge, or Vertex.

2. Select the sub-object geometry you want to edit.

To attach an object using Edit Patch:

1. Select an editable patch object, or an object

with the Edit Patch modifier applied.

2. IntheModifypanel>Geometryrollout>

To p o l o g y g r o u p, c l i c k At t a c h .

3. Turn off Reorient, if necessary.

4. Select an object to attach.

The object takes on a patch structure and stays

in its original location.

The attached object is now part of the editable

patch object. The Tessellation settings for the

original object affect attached objects as well.

To attach and reorient an object:

• Turn on Reorient before attaching the object.

The object is both attached and moved to align

with the patch object. The pivot of the attached

object matches the pivot of the Edit Patch

object.

To detach a patch surface:

1. Make a selection at the Patch sub-object level.

2. Ifyouwanttoreorientthedetachedsurface,

turn on Reorient.

3. Click Detach.

A Detach dialog appears.

4. Name the detached surface.

The detached surface remains in place if you

chose not to reorient it. It is deselected and

assigned a different color.

To copy a patch surface:

1. Make a selection at the Patch sub-object level.

2. In the Geometry rollout > Topology group,

turn on Copy.

3. If you want to reorient the copied surface, turn

on Reorient.

4. Click Detach.

A Detach dialog appears.

5. Name the patch copy.

The copied object remains in place if you chose

nottoreorientit.

970 Chapter 9: Surface Modeling

To delete patches:

1. Make a selection at the Patch sub-object level.

2. Click Delete.

The patches disappear.

To subdivide a patch:

1. Make a selection at the Patch sub-object level.

2. Turn on Propagate to maintain surface

continuity.

3. Click Subdivide.

The patch selection is subdivided, increasing

the number of patches.

You can repeat this process, subdividing

multiple times. Each subdivision increases the

number of patches, which become increasingly

smaller. The following figure is an example of

modeling a highly subdivided surface.

To subdivide an edge:

1. AttheEdgesub-objectlevel,makeanedge

selection.

Asingleedgeisindicatedbyitscoordinateaxis

or transform gizmo at the center of the edge.

For multiple edges, the axis icon is at the center

of the selection set.

2. Optionally,turnonPropagatetomaintain

surface continuity.

3. Click Subdivide.

The edge selection is subdivided. Each new

edge is on the boundary of a new, smaller patch.

To add a patch:

1. AttheEdgesub-objectlevel,selectanopen

edge (one that bounds a single patch, and

therefore is not shared with another patch).

2. ClickAddTriorAddQuad.

A new patch is added to the surface.

To unlock interior edges of selected patches:

1. At the Patch sub-object level, select one or more

patches.

2. Right-click the selection and choose Manual

Interior from the pop-up menu.

The check mark moves from Auto Interior, the

default, to Manual Interior. Interior edges and

their vertices are now unlocked. If you now

transform the patch, the interior edges remain

static. To transform the interior vertices, see the

following procedure.

To transform interior vertices:

1. At the Patch sub-object level, select one or more

patches.

2. Right-click the selection and choose Manual

Interior from the pop-up menu.

The check mark moves from Auto Interior, the

default, to Manual Interior.

3. Switch to Handle level.

The interior vertices appear as yellow squares.

4. Transform the interior vertices of the selected

patches.

To anchor a patch:

By default, the welding process shifts the geometry

of both patches to a common center. You can

anchor one patch so that the other patch moves to

its location when the weld occurs.

1. At the Patch (Patch) level, before you begin the

weld, select the patch you want anchored.

2. Return to Vertex level and weld the vertices.

Selection Rollout (Editable Patch) 971

When the weld occurs, the anchor patch

remains fixed while the other patch moves to

make the weld.

To create a new element, do one of the following:

•Shift +drag one or more patches.

•Shift +extrude one or more patches.

•Shift +extrude one or more edges.

•Shift +drag an element.

Interface

Selection rollout

For information about these settings, see Selection

Rollout (Editable Patch) (page 1–971).

Soft Selection rollout

For information on the Soft Selection rollout

settings, see Soft Selection Rollout (page 1–963).

Geometry and Surface Properties rollouts

The Geometry rollout (page 1–986) provides

functions for editing a patch object and its

sub-objects,andtheSurfacePropertiescontrolslet

you modify the object’s rendering characteristics.

For detailed information on sub-object-specific

controls, select any of the links below:

Editable Patch (Object) (page 1–974)

Editable Patch (Vertex) (page 1–975)

Editable Patch (Handle) (page 1–979)

Editable Patch (Edge) (page 1–980)

Editable Patch (Patch) (page 1–981)

Selection Rollout (Editable Patch)

Create or select an object > Modify panel > Right-click

object’s entry in the stack display > Convert To: Editable

Patch>Selectionrollout

Create or select an object > Right-click the object >

Transform (lower-right) quadrant of the quad menu >

Convert To: > Convert to Editable Patch > Selection

rollout

The Selection rollout provides buttons for

selecting the sub-object level, working with named

selections, display and filter settings, and displays

information about selected entities.

Editable Patch has five levels of sub-object editing:

Vertex, Handle, Edge, Patch, and Element. The

selection you make at each level appears in the

viewport as a component of the patch object. Each

level maintains its own sub-object selection. When

you return to a level, the selection reappears.

Clicking a sub-object level button here is the same

as clicking a sub-object type in the Modifier Stack

rollout. Click the button again to turn it off and

return to the object selection level.

972 Chapter 9: Surface Modeling

Interface

Vertex—Lets you select vertex control points

and their vector handles on a patch object. At this

level, vertices can be welded and deleted.

By default, a transform gizmo or axis tripod

appears at the geometric center of the selected

vertices. If you turn on Gizmo Preferences (page

3–832) >AllowMultipleGizmos,however,gizmos

or tripods appear at all selected vertices.

Vector handles appear as small green squares

around selected vertices. Also, with certain objects

you may see interior vertices represented as yellow

squares.

Handle—Lets you select vector handles

associated with each vertex. This level lets you

manipulate the handles without needing to deal

with vertices.

ATransformgizmooraxistripodappearsatthe

geometric center of the selected handles.

At this level, vector handles appear as small green

squares around all vertices. Also, with certain

objects you may see interior vertices represented

as yellow squares.

Edge—Selects a bounding edge of the patch

object. At this level, edges can be subdivided, and

new patches added to open edges.

A Transform gizmo or axis tripod appears in the

middle of a single selected edge. For multiple

selected edges, the icon is at the selection center.

Patch—Selectsanentirepatch.Atthislevel,

apatchcanbedetached,deleted,oritssurface

subdivided. When a patch is subdivided, the

surface is broken into smaller patches, each with

its own vertices and edges.

Element—Select and edit an entire element.

An element has contiguous faces.

Tip: You can highlight selected patches in a shaded

displaybyturningonShadeSelectedFacesinthe

Viewport Properties dialog. Right-click over the

viewportnameandchooseConfigureinthemenu

to display the Viewport Properties dialog. You

can also use the default keyboard shortcut, F2,to

toggle this feature.

Named Selections group

These functions work with named sub-object

selection sets. To create a named sub-object

selection, make the selection, and then enter

anameintheNamedSelectionSetsfieldon

the toolbar. For more information, see Named

Selection Sets (page 1–83).

Copy—Places a named sub-object selection into

the copy buffer. After clicking this button, choose

the named sub-object selection from the Copy

Named Selection dialog that appears.

Paste—Pastes the named sub-object selection from

the copy buffer.

Selection Rollout (Editable Patch) 973

YoucanuseCopyandPastetocopysub-object

selections between different objects.

Filter group

These two check boxes, available only at the Vertex

sub-object level, let you select and transform

vertices, vectors (handles on the vertices), or both.

When a check box is turned off, you can’t select the

corresponding element type. Thus, for example, if

youturnoffVertices,youcanmanipulatevectors

without accidentally moving a vertex.

Tip: Foreasiereditingofvectorsonly,usethe

Handle sub-object level (page 1–979).

Yo u c a n’ t t u r n o f f b o t h c h e c k b o x e s . W h e n y o u

turn off either check box, the other one becomes

unavailable. At that point, you can manipulate the

element corresponding to the check box that’s on,

butyoucan’tturnitoff.

Vertices—When on, you can select and move

vertices.

Vectors—When on, you can select and move

vectors.

Lock Handles—Affects only Corner vertices. Locks

the tangent vectors together so that when you

move one, you move them all. Available only at the

Vertex sub-object level.

By Vertex—When you click a vertex, any handles,

edges, or patches that use that vertex, depending

on the current sub-object level, are selected.

Available only at the Handle, Edge, and Patch

sub-object levels.

This also works with Region Select.

Ignore Backfacing—When on, selection of

sub-objects selects only those sub-objects whose

normals are visible in the viewport. When off

(the default), selection includes all sub-objects,

regardless of the direction of their normals. Use

this on a complex patch model where you want to

select only visible patches.

Note: ThestateoftheBackfaceCullsettinginthe

Display panel does not affect sub-object selection.

Thus, if Ignore Backfacing is off, you can still select

sub-objects, even if you can’t see them.

Shrink—Reduces the sub-object selection area

by deselecting the outermost sub-objects. If

the selection size can no longer be reduced, the

remaining sub-objects are deselected. Unavailable

at the Handle sub-object level.

Grow—Expands the selection area outward in all

available directions. Unavailable at the Handle

sub-object level.

Ring—Expandsanedgeselectionbyselectingall

edges parallel to the selected edges. Available only

attheEdgesub-objectlevel.

Loop—Expands the selection as far as possible, in

alignment with selected edges. Available only at

theEdgesub-objectlevel.

Select Open Edges—Selectsalledgesthatareused

by only one patch. Available only at the Edge

sub-object level.

You can use this to troubleshoot a surface; open

edges will be highlighted.

Selection Information—At the bottom of

the Selection rollout is a text display giving

information about the current selection. If

multiple sub-objects are selected, or none is

selected, the text gives the number and type

selected. If one sub-object is selected, the text gives

the identification number and type of the selected

item.

974 Chapter 9: Surface Modeling

Editable Patch (Object)

Select an editable patch > Modify panel > Editable patch

(not a sub-object level) selected in the modifier stack

Select an editable patch > Right-click the patch > Tools

1 (upper-left) quadrant of the quad menu > Sub-objects

> Top-level

The functions available at the editable patch object

level (that is, when no sub-object level is chosen)

are also available at all sub-object levels, and work

exactly the same at each level.

Interface

Selection rollout

For information on these settings, see Editable

Patch Surface (page 1–968).

Geometry rollout

Editable Patch (Vertex) 975

See Geometry Rollout (Patch) (page 1–986) for

detailed descriptions of these controls.

Surface Properties rollout

TheRelaxMeshcontrolsontheSurfaceProperties

rollout change the apparent surface tension by

moving vertices closer to, or away from, their

neighbors. The typical result is that the object gets

smoother and a little smaller as the vertices move

toward an averaged center point. You can see the

most pronounced effects on objects with sharp

corners and edges.

Relax—Turnsontherelaxfunctionforrenderings.

Relax Viewports—Tur ns on t he relax function for

viewports.

Relax Value—Sets the distance a vertex moves as a

percentage of the distance between a vertex and

the average location of its neighbors. Range=-1.0

to 1.0. Default=0.5.

Iterations—SetshowmanytimesRelaxisrepeated.

Each iteration recalculates average vertex locations

based on the result of the previous iteration.

Default=1.

Keep Boundary Points Fixed—Ve r t i c e s a t t h e e d g e

of open patches do not relax. Default=on.

Save Outer Corners—Preserves the original

positions of vertices farthest away from the object

center.

A patch box with Relax off (left), and Relax Value=1.0, with 1, 2,

and 3 iterations (left to right)

Editable Patch (Vertex)

Select an editable patch > Modify panel > Expand Editable

Patchinthestackdisplay>Vertexsub-objectlevel

Select an editable patch > Modify panel > Selection

rollout > Vertex button

Select an editable patch > Right-click the patch > Tools

1 (upper-left) quadrant of the quad menu > Sub-objects

>Vertex

AttheEditablePatch(Vertex)level,youcanselect

single and multiple vertices and move them using

standard methods. You can also move and rotate

vector handles (page 3–1029),thusaffectingthe

shapes of any patches connected to the vertex.

Procedures

To transform either vertices or vectors:

1. At Patch (Vertex) level, with Selection rollout >

Filter group > Vertices turned on, select vertices

in the patch object you want to transform.

Vertices and their vectors both appear.

2. Turn off one of the filters, leaving the other on,

and choose a transform.

A transform cursor appears when you move

onto a vertex or vector in the selection set.

You can toggle between filters to alternatively

transform either component.

To switch vertex types:

1. Right-click a patch vertex.

976 Chapter 9: Surface Modeling

2. Choose from commands on the quad menu.

The Tools 1 (upper-left) quadrant includes two

options specific to patch vertices:

•Coplanar: If you set a patch control point’s

property to be coplanar, it’s like locking the

handle of the outgoing vector for that point.

Moving a handle attached to a coplanar

vertexcausestheoppositevectorstoadjust

their positions to maintain a coplanar

surface. This option is the default and gives

smooth transitions between patches.

•Corner: If you set a patch control point’s

property to be corner, it unlocks the handle

of the outgoing vector, so you can create a

discontinuous break in the patch surface.

To switch vertex types from Coplanar to Corner, do

one of the following:

1. Hold down Shift as you move a handle of a

Coplanar vertex.

This switches the vertex type to Corner.

IfLockHandlesisoff(thedefault),

Shift +Move "breaks" the handle, allowing it

to move independently.

IfLockHandlesison,thehandlesremain

locked in their coplanar relationship. However,

the vertex is still switched to Corner, and

turningoffLockHandlesletsyoumovethe

handles separately.

2. Right-click the vertex, and choose Corner from

the quad menu.

To delete a vertex:

1. At Patch (Vertex) level, select a vertex.

2. Click Delete.

The vertex and all patches sharing this control

point are deleted.

Deleting vertices

To weld vertices:

1. At Patch (Vertex) level, select two valid vertices

on different patches.

2. Set Weld Threshold to a value at least equal to

the distance between the selected vertices.

3. Click Selected.

The two vertices move together and join.

Editable Patch (Vertex) 977

Welding vertices

To transform interior vertices:

Using program defaults, you can select only

vertices and vectors on the outer edge or boundary

of a patch. This default is known as Auto Interior.

In some cases, you might want to move the interior

vertices. For example, you might want to tweak a

patch’s curvature without having to subdivide the

patch.

•AtPatch level (page 1–981),youcanchange

the default on a patch-by-patch basis by

right-clicking a patch and choosing Manual

Interior from the shortcut menu. This lets

you select and transform individual interior

vertices. These vertices appear as yellow

squares in the viewports.

Warning: If you return a patch to the default,

changes due to Manual Interior are lost.

Note: Certain objects are automatically set

to Manual Interior when converted to patch

objects. In such cases, you can see all interior

vertices when you go to the Vertex sub-object

level.

Interface

Selection rollout

For information on the controls in this rollout, see

Selection Rollout (Editable Patch) (page 1–971).

Soft Selection rollout

See Soft Selection Rollout (page 1–963) for

information on the Soft Selection rollout settings.

978 Chapter 9: Surface Modeling

Geometry rollout

See Geometry Rollout (Patch) (page 1–986) for

detailed descriptions of these controls.

Surface Properties rollout

Edit Vertex Colors group

Use these controls to assign the color, illumination

color (shading), and alpha (transparency) values

of selected vertices.

Color—Click the color swatch to change the color

of selected vertices.

Illumination—Click the color swatch to change the

illumination color of selected vertices. This lets

you change the color of shadows without changing

the vertex colors.

Alpha—Lets you assign an alpha (transparency)

value to selected vertices.

The spinner value is a percentage; zero is

completely transparent and 100 is completely

opaque.

Select Vertex By group

Color and Illumination radio buttons—These

buttons determine whether to select vertices by

vertex color values or vertex illumination values.

Color Swatch—Displays the Color Selector, where

you can specify a color to match.

Editable Patch (Handle) 979

Select—Depending on which radio button is

selected, selects all vertices whose vertex color or

illumination values either match the color swatch,

or are within the range specified by the RGB

spinners.

Range—Specifies a range for the color match.

All three RGB values in the vertex color or

illumination must either match the color specified

by the Color swatch in Select By Vertex Color, or

be within plus or minus the values in the Range

spinners. Default=10.

Editable Patch (Handle)

Select an editable patch > Modify panel > Expand the

editable patch in the stack display > Handle sub-object

level

Select an editable patch > Modify panel > Selection

rollout > Handle button

Select an editable patch > Right-click the patch > Tools

1 (upper-left) quadrant of the quad menu > Sub-objects

>Handle

The Handle sub-object level in Editable Patch

provides direct access to vertex handles, or vectors,

without going through the Vertex sub-object level.

Handles are still accessible at the Vertex sub-object

level, but the Handle level provides enhanced

functionality as follows:

• The ability to select multiple handles for

transformation and application of operations

such as Patch Smooth to them.

•Usageofthetransformgizmowhen

manipulating handles.

• Elimination of the possibility of inadvertently

transforming vertices.

• Support for named selection sets of handles.

• Copying and pasting handles.

•UsetheAlign tool (page 1–462) for aligning

handles.

Interface

See Geometry Rollout (Patch) (page 1–986) for

detailed descriptions of these controls.

980 Chapter 9: Surface Modeling

Editable Patch (Edge)

Select an editable patch > Modify panel > Expand the

editable patch in the stack display > Edge sub-object level

Select an editable patch > Modify panel > Selection

rollout > Edge button

Select an editable patch > Right-click the patch > Tools 1

(upper-left) quadrant of the quad menu > Sub-objects >

Edge

An edge is the portion of a patch object between

two adjacent vertices. When at the Editable Patch

(Edge) level, you can select single and multiple

segments and move, rotate, and scale them using

standard methods. You can also hold down the

Shift key and drag an edge to create a new

patch. Holding down the Shift key during edge

extrusion creates a new element.

Procedure

To unlock interior edges:

When you move an outer or boundary edge of

a patch, the adjacent interior edges are normally

“locked” so that they move in parallel with the

boundary edge. This is often useful, because it

provides a uniform transition across the patch.

This default is known as Auto Interior.

•AtPatch level (page 1–981),youcanchange

the default on a patch-by-patch basis by

right-clicking a patch and choosing Manual

Interior from the Tools 1 (upper-left) quadrant

of the quad menu. Thereafter, when you move a

boundary edge, interior edges are affected in a

nonlinear way. The interior edges are no longer

locked to the boundary edge.

Warning: If you return a patch to the default,

changes caused by Manual Interior are lost.

Interface

Selection rollout

Select Open Edges—Selectsalledgesthatareused

by only one patch. You can use this to troubleshoot

a surface; open edges will be highlighted.

For information on the other controls in this

rollout, see Selection Rollout (Editable Patch) (page

1–971).

Soft Selection rollout

See Soft Selection Rollout (page 1–963) for

information on the Soft Selection rollout settings.

Editable Patch (Patch) 981

Geometry rollout

See Geometry Rollout (Patch) (page 1–986) for

detailed descriptions of these controls.

Editable Patch (Patch)

Select an editable patch > Modify panel > Expand the

editable patch in the stack display > Patch sub-object

level

Select an editable patch > Modify panel > Selection

rollout > Patch button

Select an editable patch > Right-click the patch > Tools 1

(upper-left) quadrant of the quad menu > Sub-objects >

Patch

A patch is an area of a patch object, defined by

threeorfoursurroundingedgesandvertices.

Controls described in this topic let you manipulate

a patch object at the patch level. As well as moving

and rotating patches, you can create a separate

element by holding down the Shift key during a

move operation. This creates a separate element

of the selected patches.

Texture Mapping Patches: Interpolation

in Curved Space

Patches can now be mapped in curved space; this

means simplified texture mapping for patches. A

planar map on a complex patch object will not be

distorted. At the Patch sub-object level there is a

parameter in the right-click quad menu (Tools

1 quadrant) called Linear Mapping. If you leave

Linear Mapping off, then textures are interpolated

in curved space and behave much like texture

mapping a mesh object, predictably.

In the old method, patch mapping is interpolated

between the knot points. This works well with

procedural maps but not so well with bitmaps,

since each patch is linear in UV space.

982 Chapter 9: Surface Modeling

A complex patch (on right) no longer deforms a bitmap

The two leftmost patches show Linear patch

mapping.Thetopleftpatchisapatchwithplanar

mappingandthebottomleftshowsitsUVW

spacerepresentation.Thepatchontherightisa

curved projection where the vectors are used in

UVW space projection. Notice the bottom right

represents the UVW space and notice how the

handles and knots contribute to the shape of the

UVW space.

In short, leave the Linear option off for predictable

planar maps. Leave the linear mapping option on

for backward compatibility.

Note: The Unwrap UVW modifier now supports

the new patch curve mapping. Spline handles can

be manipulated in the Edit dialog in the Unwrap

UVW modifier.

Interface

Selection rollout

For information on the controls in this rollout, see

Selection Rollout (Editable Patch) (page 1–971).

Soft Selection rollout

See Soft Selection Rollout (page 1–963) for

informationontheSoftSelectionrolloutsettings.

Geometry rollout

See Geometry Rollout (Patch) (page 1–986) for

detailed descriptions of these controls.

Editable Patch (Patch) 983

Surface Properties rollout

These controls let you work with patch normals,

material IDs, smoothing groups and vertex colors.

Normals group

Flip—Reverses the direction of the surface normals

of the selected patches.

Unify—Flips the normals of an object so that they

all point in the same direction, usually outward.

This is useful for setting an object’s patches

to appropriate orientations, thus eliminating

apparent holes in the object surface.

Flip Normal Mode—Flips the normal of any patch

you click. To exit, click this button again or

right-click anywhere in the program interface.

Tip: ThebestwaytouseFlipNormalMode

is to set up your viewport to display with

Smooth+Highlight and Edged Faces on. If you use

Flip Normal Mode with default settings, you’ll be

able to flip a patch away from you, but you won’t be

able to flip it back. For best results, turn off Ignore

Backfacing in the Selection rollout. This lets you

click any patch and flip the direction of its normal,

regardless of its current direction.

Material group

These controls let you use multi/sub-object

materials (page 2–1594) with patches.

Set ID—Lets you assign a particular material ID

(page 3–969) number to selected patches for

use with multi/sub-object materials and other

applications. Use the spinner or enter the number

fromthekeyboard.Thetotalnumberofavailable

IDs is 65,535.

Select ID—Selects patches or elements

corresponding to the Material ID specified in

theadjacentIDfield.Typeorusethespinnerto

specify an ID, then click the Select ID button.

[Select By Name]—This drop-down list shows

the names of sub-materials if an object has a

Multi/Sub-Object material assigned to it. Click the

drop arrow and choose a sub-material from the

list. The patches or elements that are assigned that

material are selected. If an object does not have

aMulti/Sub-Objectmaterialassigned,thename

list is unavailable. Likewise, if multiple objects

areselectedthathaveanEditPatch,EditSpline,

or Edit Mesh modifier applied, the name list is

inactive.

Note: Sub-material names are those specified in the

Name column on the material’s Multi/Sub-Object

Basic Parameters rollout; these are not created by

984 Chapter 9: Surface Modeling

default, and must be specified separately from any

material names.

Clear Selection—When on, choosing a new ID or

material name deselects any previously selected

patches or elements. When off, selections are

cumulative, so new ID or sub-material name

selections add to the existing selection set of

patches or elements. Default=on.

Smoothing Groups group

Use these controls to assign selected patches to

different smoothing groups (page 3–1013),andto

select patches by smoothing group.

To assign patches to one or more smoothing

groups, select the patches, and then click the

number(s) of the smoothing group(s) to assign

them to.

Select by SG (Smoothing Group)—Displays a dialog

that shows the current smoothing groups. Select

a group by clicking the corresponding numbered

button and clicking OK.

Clear All—Removesanysmoothinggroup

assignments from selected patches.

Edit Vertex Colors group

Use these controls to assign the color, illumination

color (shading), and alpha (transparency) values

of vertices on the selected patch(es).

Color—Click the color swatch to change the color

of vertices on the selected patch(es).

Illumination—Click the color swatch to change

the illumination color of vertices on the selected

patch(es). This lets you change the color of

shadows without changing the vertex colors.

Alpha—Lets you assign an alpha (transparency)

value to vertices on the selected patch(es).

The spinner value is a percentage; zero is

completely transparent and 100 is completely

opaque.

Editable Patch (Element)

Select an editable patch > Modify panel > Expand the

editable patch in the stack display > Element sub-object

level

Select an editable patch > Modify panel > Selection

rollout > Element button

Select an editable patch > Right-click the patch > Tools 1

(upper-left) quadrant of the quad menu > Sub-objects >

Element

Use the Element sub-object level when you

want to select and work on all contiguous faces

in an element. The Element sub-object level

is essential when you are Shift +cloning and

Shift +extruding patches, because doing so

creates separate elements. For example, if you

select a patch, hold down the Shift key, and

move the patch to a new location, a new element

is created separate from the original. This also

applies to extrusion. If you hold the Shift key

down while you extrude, a new element is created.

Note: In some cases, you might find that moving

a patch element causes parts of it to move by

differing amounts. This typically occurs because

the object is set to Manual Interior. It happens, for

instance, when you convert a sphere primitive to

an editable patch object. To remedy this, select

the element, and then right-click it to display the

quad menu, and in the Tools1 quadrant, choose

Auto Interior.

Interface

Selection rollout

For information on the controls in this rollout, see

Selection Rollout (Editable Patch) (page 1–971).

Editable Patch (Element) 985

Soft Selection rollout

See Soft Selection Rollout (page 1–963) for

informationontheSoftSelectionrolloutsettings.

Geometry rollout

986 Chapter 9: Surface Modeling

See Geometry Rollout (Patch) (page 1–986) for

detailed descriptions of these controls.

Geometry Rollout (Patch)

Select an editable patch > Modify panel > Geometry

rollout

The Geometry rollout for Patches contains most

of the controls that let you alter the geometry of

the patch, at either the Object (top) level, or one of

the sub-object levels. The controls that the rollout

displayscanvary,dependingonwhichlevelis

active; if a control is not available for the active

level, it might be grayed out, or simply might not

appear at all. The descriptions below indicate the

levels at which controls are available.

Interface

Geometry Rollout (Patch) 987

Subdivision group (Vertex, Edge, Patch, and

Element levels only)

Bind (Vertex level only)—Lets you create a seamless,

gapless connection between two patch edges

that have unequal numbers of vertices. The two

patches must belong to the same object, and the

vertex need not be selected first. Click Bind, then

dragalinefromanedge-basedvertex(nota

corner vertex) to the edge you want to bind it to.

The cursor turns into a white cross when over a

legal edge.

Binding patch edges

To exit Bind mode, click the Bind button again, or

right-click in the active viewport.

Tip: When connecting two patches edge-to-edge,

first line up as many pairs of vertices as possible,

and use Weld to connect them. Then use Bind to

connect the remaining vertices. Bound vertices

cannot be manipulated directly, although their

handles can.

Note: Bind is useful for connecting patch objects

with different patch resolutions, such as a head

andaneck,withouttheneedtocreateadditional

patches in the lower-resolution object.

Unbind (Vertex level only)—Disconnects a vertex

connected to a patch with Bind. Select the vertex,

and then click Unbind.

Subdivide (Edge, Patch, and Element levels

only)—Subdivides the selected sub-objects.

•Propagate—When on, extends the subdivision

to neighboring patches. Propagating the

subdivisions along all contiguous patches

prevents patch cracks where you have attached

patches together.

Topology group

Add Tri / Add Quad (Edge level only)—Yo u c a n a d d

Tri and Quad patches to any op en ed ge of an

object. On closed objects such as spheres, you can

delete one or more existing patches to create open

edges, and then add new patches.

The new patches adapt to the existing geometry.

For example, when you add a patch to a curved

edge, the new patch follows that curve and

seamlessly extends it.

988 Chapter 9: Surface Modeling

Original patch with edges selected (top) and three-sided

patches added (bottom)

Add Tri adds a three-sided patch to each selected

edge. Select one or more edges, then click Add Tri

to add the patch or patches.

Add Quad adds a four-sided patch to each selected

edge. Select one or more edges, and then click Add

Quad to add the patch or patches.

Create (Vertex, Patch, and Element levels only)—Lets

you add geometry to the patch object. Available at

Vertex, Patch, and Element sub-object levels only.

At the Vertex sub-object level, turn on Create and

then click anywhere to add vertices to the object.

At the Patch and Element levels, you can add

three- and four-sided patches. The cursor changes

to white cross hairs when over an existing patch

vertex. Select an existing vertex by clicking it.

Click in free space to create a new vertex at that

location;thisvertexisincludedinthesequenceof

vertices for the new patch.

•To create a Tri Patch:Clickthreetimesin

free space or on existing vertices. Right-click

anywhere, or left-click one of the vertices in the

current sequence to complete the creation of a

Tri Patch.

•To create a Quad Patch:Clickfourtimesinfree

space or on existing vertices. The Quad Patch is

automatically created at the fourth click.

No operation takes place if you right-click or select

a vertex in the current sequence with only one or

two vertices in the sequence.

Detach (Patch and Element levels only)—Lets you

select one or more patches or elements within the

current object and then detach them (or copy

them) to form a separate patch object.

•Reorient—When on, the detached patch or

element copies the position and orientation

of the source object’s Local coordinate system

(when the source object was created). The new

detached object is moved and rotated so that

its Local coordinate system is positioned and

aligned with the origin of the current active

grid.

•Copy—When on, the detached patches or

elements are copied to a new patch object,

leaving the originals intact.

Attach—Lets you attach an object to the currently

selected patch object. Click the object you want to

attach to the currently selected patch object.

If you attach a non-patch object, the object is

converted to a patch object.

Geometry Rollout (Patch) 989

When you attach an object, the materials of the

two objects are combined in the following way:

• If the object being attached does not have a

material assigned, it inherits the material of the

object it is being attached to.

• Likewise if the object you’re attaching to doesn’t

have a material, it inherits the material of the

object being attached.

• If both objects have materials, the resulting new

material is a multi/sub-object material (page

2–1594) that encompasses the input materials.

A dialog appears offering three methods of

combining the objects’ materials and material

IDs. For more information, see Attach Options

Dialog (page 1–1018).

Attach remains active in all sub-object modes, but

always applies to objects.

Top: Original patch object with rendering

Bottom: Rendering with another patch attached

Reorient—When on, reorients the attached element

so that each patch’s creation local coordinate

system is aligned with the creation local coordinate

system of the selected patch.

Delete (Vertex, Edge, Patch, and Element levels

only)—Deletes the selected sub-objects.

Warning: Delete vertices or edges with caution.

Deleting a vertex or edge also deletes the patches that

share them. For example, if you delete the single vertex

at the top of a spherical patch, the top four patches are

also deleted.

Break (Vertex and Edge levels only)—For vertices,

breaks a vertex into multiple vertices. Use this

ifyouneedtosplitopenanedgetoaddanother

patch or for general modeling operations. Select

a vertex, and then click Break. After the break,

select the individual vertices and move them to

separate the edges.

For edges, splits an edge. Use this if you need

to split open an edge for general modeling

operations. Select one or more edges, and then

click Break. After the break, move the handles of

adjacent vertices to create a gap in the patch.

Hide (Vertex, Edge, Patch, and Element levels

only)—Hides the selected sub-objects. For vertices

and edges, Hide also hides the patches that are

attached to them.

Note: At least one patch in the object must remain

visible.

Unhide All—Restores any hidden sub-objects to

visibility.

Weld group (Vertex and Edge levels only)

Selected—Welds selected vertices that fall within

the tolerance specified in the Weld Threshold

spinner (to the right of the Weld button). Select

the vertices you want to weld between two different

patches, set the spinner to a sufficient distance,

and click Selected.

At the Edge sub-object level, clicking Selected

welds two edges that share vertices. You can use

this to eliminate gaps on a surface.

990 Chapter 9: Surface Modeling

Target (Vertex level only)—Tur n on and drag f rom

one vertex to another to weld the vertices together.

The dragged vertex fuses to the target vertex.

The pixels spinner to the right of the Target

button sets the maximum distance in screen pixels

between the mouse cursor and the target vertex.

Extrude & Bevel group (Edge, Patch, and

Element levels only)

These controls let you extrude and bevel edges,

patches, or elements. Extruding patches moves

them along a normal and creates new patches that

form the sides of the extrusion, connecting the

selection to the object. Beveling adds a second

step that lets you scale the extruded patches. You

can extrude and bevel patches by dragging or by

direct entry. You can also hold down the Shift

key during extrusion, which creates a separate

element.

Note: Sides created by beveling or extrusion are

assigned to smoothing group 1.

Extrude—Click this button, and then drag any

edge, patch, or element to extrude it interactively.

Hold down the Shift keyduringthisoperation

to create a new element.

When the mouse cursor is over a selected patch or

element, it changes to an Extrude cursor.

Bevel (Patch and Element levels only)—Click this

button, and then drag any patch or element to

extrude it interactively, then click and release

the mouse button, and drag again to bevel the

extrusion. Hold down the Shift key during this

operation to create a new element.

When the mouse cursor is over a selected element,

it changes to a Bevel cursor.

Original patch (top) and inward and outward extrusions

Note: In some cases, particularly with closed objects (objects with

no holes or open edges), the second bevel step might not produce

visible results.

Extrusion—This spinner sets whether the extrusion

is outward or inward, depending on whether the

value is positive or negative.

Outlining (Patch and Element levels only)—This

spinner lets you scale selected patches or elements

bigger or smaller, depending on whether the value

is positive or negative. It is normally used after an

extrusion for beveling the extruded patches.

Normal—If Normal is set to Local (the default),

extrusion takes place along the normal of each

selected edge, patch, or individual patch in an

element. If normal is set to Group,extrusion

takes place along the averaged normal of each

contiguous group in a selection. If you extrude

multiples of such groups, each group moves along

its own averaged normal.

Bevel Smoothing (Patch and Element levels

only)—These settings let you set the shape of

Geometry Rollout (Patch) 991

the intersection between the surface created

by a beveling operation and the neighboring

patches. The shapes are determined by the handle

configurations of vertices at the intersections.

Start refers to the intersection between the sides

and the patches surrounding the beveled patch.

Finish refers to the intersection between the sides

andthebeveledpatchorpatches. Thefollowing

settings are available for each:

•Smooth—Vertex handles are set so the angles

between the new patches and their neighbors

are relatively small.

•Linear—Vertex handles are set to create linear

transitions.

•None—Vertex handles are not modified.

Warning: Set Bevel Smoothing before the bevel is

performed; changing the setting has no effect on

existing beveled patches.

Tangent group (Vertex and Handle levels only)

These controls let you copy orientation, and

optionally length, between handles on the same

object, or on different objects applied with

instances of the same Edit Patch modifier. The tool

doesn’t support copying handles from one patch

object to another, or between spline and patch

objects.

Copy—Copies a patch handle’s transform settings

to a copy buffer.

When you click Copy, 3ds Max displays all handles

on the selected object. When the mouse cursor is

over a handle end, the cursor image changes to the

one shown below. Click a handle end to copy its

direction and length to the paste buffer; this also

exits Copy mode.

Paste—Pastes orientation information from the

copy buffer to a vertex handle. If Paste Length is

on, it also pastes the length of the copied handle.

When you click Paste, the software displays all

handles on the selected object. When the mouse

cursor is over a handle end, the cursor image

changes to the one shown below. Click a handle

end to paste the information from the buffer to the

handle. You can continue clicking other handle

ends to paste the information repeatedly. To exit

Paste mode, right-click in the viewport or click the

Paste button.

Copy Length / Paste Length—When on and you

useCopy,thelengthofthehandleisalsocopied.

When on and you use Paste, the length of the

originally copied handle is pasted as well as its

orientation. When off, only the orientation is

copied or pasted.

Surface group

View Steps—Controls the grid resolution of the

patch model surface as depicted in the viewports.

Range=0 to 100. Default=5.

Render Steps—Controls the grid resolution of the

patch model surface when rendered. Range=0 to

100. Default=5.

992 Chapter 9: Surface Modeling

Original mesh display of model (top) and with increased steps

(bottom)

Show Interior Edges—Enables the display of the

patch object’s interior edges in wireframe views.

When off, only the object’s outline is visible. Turn

on to simplify the display for faster feedback.

Use True Patch Normals—Determines how the

software smoothes the edges between patches.

Default=off.

When the check box is off, the software computes

the surface normals from the smoothing groups

of the mesh object to which the patch object is

converted before rendering. These normals are not

accurate, especially with a low View/Render Steps

setting. When the check box is on, the software

computes true patch normals directly from the

patchsurfaces,whichcangeneratemoreaccurate

shading.

In the illustration below, a sphere was converted

to Editable Patch format, and then a vertex was

moved toward the center and rotated. The sphere

onthelefthasUseTruePatchNormalsturnedoff,

and the one on the right has it turned on. In both

cases, View Steps was set to 8.

A patch sphere with Use True Patch Normals off (left) and on

(right).

Miscellaneous group

Create Shape (Edge level only)—Creates splines

based on the selected edges. If no edges are

selected, then splines are created for all the patch

edges.3dsMaxpromptsyouforaname:typeina

name for the new shape object, and then click OK.

Each patch edge forms an individual spline. You

can use this to create a spline cage based on

patchedges.Thisisusefulforsplinemodelingor

working with surface tools.

Patch Smooth—At the sub-object level, adjusts

the tangent handles of the vertices of selected

sub-objects to smooth the surface of the patch

object. At the object level, adjusts all tangent

handles to smooth the surface.

PatchSmoothsetsthehandlestoabsolute

positions based on the patch object geometry;

repeated applications have no effect.

Patch Grids 993

A patch tube before smoothing (left) and after using Patch

Smooth (right)

Patch Grids

Create panel > Geometry > Patch Grids

Create menu > Patch Grids

Yo u c a n c r e a t e t w o k i n d s o f p a t c h s u r f a c e s i n g r i d

form:QuadPatchandTriPatch.Patchgridsbegin

as flat plane objects but can be modified into

arbitrary 3D surfaces by either using an Edit Patch

modifier or collapsing the grid’s modifier stack

down to an Editable Patch in the Modify panel.

Patch grids provide convenient "building material"

for custom surfaces and objects, or for adding

patch surfaces to existing patch objects.

You can animate the surface of a Patch object using

various modifiers such as the Flex and Morph

modifiers. Control vertices and tangent handles of

a patch surface can be animated with an Editable

Patch modifier.

Surface Tools

The output of the Surface modifier (page 1–842)

is a Patch object. Patch objects offer a flexible

alternative to mesh and NURBS modeling and

animation.

Quad patch and tri patch

Editable Patches

You can convert a basic patch grid to an editable

patch object (page 1–968).Theeditablepatchhasa

variety of controls that let you directly manipulate

it and its sub-objects. For example, at the Vertex

sub-object level, you can move vertices or adjust

their Bezier handles. Editable patches let you

create surfaces that are less regular, more free-form

than the basic, rectangular patches.

When you convert a patch to an editable patch,

you lose the ability to adjust or animate its creation

parameters.

See also

Edit Modifiers and Editable Objects (page 1–506)

Modifying at the Sub-Object Level (page 1–506)

Modifier Stack Controls (page 3–760)

Procedure

To create a patch grid:

1. On the Create panel > Geometry > Patch Grids

> Object Type rollout, click either Quad Patch

or Tri Patch.

2. Drag over any viewport to create a patch.

994 Chapter 9: Surface Modeling

Interface

AutoGrid—Uses surface normals as a plane to

create patches. Click a patch type and then click

and drag the cursor over a face in the viewports.

Detailed information about the two patch grid

typesisavailableinthesetopics:

Quad Patch (page 1–994)

Tri Patch (page 1–995)

Quad Patch

Create panel > Geometry > Patch Grids > Quad Patch

Create menu > Patch Grids > Quad Patch

QuadPatchcreatesaflatgridwithadefaultof36

visiblerectangularfacets.Ahiddenlinedivides

each facet into two triangular faces for a total of

72 faces.

Quad Patch

Procedures

To create a patch grid:

1. On the Create panel > Geometry > Patch Grids

> Object Type rollout, click either Quad Patch

or Tri Patch.

2. Drag over any viewport to define a length and

width for the patch.

To edit a Quad Patch:

1. Select a Quad Patch.

2. On the Modify panel, right-click Quad Patch in

stack view and choose Editable Patch.

The Quad Patch collapses to an Editable Patch.

3. On the Editable Patch Selection rollout, click

Ve r t e x .

4. In any viewport, select a vertex on the patch

object,andmovethevertextochangethe

surface topology.

Vertices and vectors can be animated with an

Editable Patch modifier.

Atthesub-objectEdgelevel,youcanaddpatches

along any edge. You can create complex patch

models beginning from a single patch.

An ear is created by adding patches and editing patch vertices

Tri Patch 995

Interface

Name and Color rollout

The Name and Color rollout (page 3–757) lets you

rename objects and change their wireframe color.

Keyboard Entry rollout

X/Y/Z—Sets the patch center.

Length—Sets the patch length.

Width—Sets the patch width.

Create—Creates a patch based on the XYZ, Length,

and Width values.

Parameters rollout

Length, Width—Sets the grid dimensions in current

units.

Length, Width Segments—Determines the number

of facets along the length and width of the grid.

Default=1.

The density of a Quad Patch rises sharply as

you increase the segments. A Quad Patch of

two segments on a side contains 288 faces. The

maximum is 100 segments. High segment values

can slow performance.

Generate Mapping Coordinates—Creates map

coordinates for applying mapped materials.

Default=off.

Tri Patch

Create panel > Geometry > Patch Grids > Tri Patch

Create menu > Patch Grids > Tri Patch

Tri Patch creates a flat grid with 72 triangular

faces. The face count remains at 72, regardless of

its size. The faces become larger to fill the area as

youincreasethesizeofthegrid.

Tri Patch

Procedures

To create a Tri Patch:

1. On the Create panel > Geometry > Patch Grids

>ObjectTyperollout,clickTriPatch.

996 Chapter 9: Surface Modeling

2. Drag over any viewport to create the patch.

To edit a Tri Patch:

1. Select a Tri Patch.

2. On the Modify panel, right-click TriPatch in

stackview,andchooseEditablePatch.

The Tri Patch collapses to an Editable Patch.

3. In the Editable Patch Selection rollout, click

Ve r t e x .

4. In any viewport, select a vertex on the patch

object and move the vertex to change the

surface topology.

You can animate vertices and vectors with an

Editable Patch modifier.

Interface

Name and Color rollout

The Name and Color rollout (page 3–757) lets you

rename objects and change their wireframe color.

Keyboard Entry rollout

X/Y/Z—Sets the patch center.

Length—Sets the patch length.

Width—Sets the patch width.

Create—Creates a patch based on the XYZ, Length,

and Width values.

Parameters rollout

Length, Width—Sets dimensions of grid in current

units.

Generate Mapping Coordinates—Creates map

coordinates for applying mapped materials.

Default=off.

Meshes

Create or select an object. > Quad menu > Transform

quadrant > Convert To: submenu > Editable Mesh

Create or select an object. > Modify panel > Right-click

the base object in the stack. > Convert to: Editable Mesh

Create or select an object. > Utilities panel > Collapse

button > Collapse Selected button

Editable Mesh (page 3–932),liketheEditMesh

modifier, provides controls for manipulating a

meshobjectmadeupoftriangularfacesasan

object and at three sub-object levels: vertex, edge

and face. You can convert most objects in 3ds Max

to editable meshes, but for open spline objects,

only vertices are available, because open splines

have no faces or edges when converted to meshes.

Tomakeasub-objectselectiononanon-editable

mesh object (for example, a primitive) for passing

up the stack to a modifier, use the Mesh Select

modifier (page 1–719).

OnceyoumakeaselectionwithEditableMesh,

you have these options:

Editable Mesh Surface 997

• UsetheoptionssuppliedontheEditGeometry

rollout to modify the selection. Later topics

discuss these options for each of the mesh

components.

•Transformor

Shift +clone the selection, as

with any object.

• Passtheselectiontoalatermodifierinthe

stack. You can apply one or more standard

modifiers to the selection.

• Use the options on the Surface Properties

rollout to alter the surface characteristics of

selected mesh components.

Note: Because Edit Mesh modifier functionality is

almost identical to that of editable mesh objects,

features described in the Editable Mesh topics also

apply to objects with Edit Mesh applied, except

as noted.

Tip: Editable Poly (page 1–1022) is similar to

Editable Mesh, but lets you work with polygons of

four or more sides, and provides a greater range of

functionality.

Tip: You can exit most Editable Mesh command

modes, such as Extrude, by right-clicking in the

active viewport.

See also

Edit Modifiers and Editable Objects (page 1–506)

Modifying at the Sub-Object Level (page 1–506)

Modifier Stack Controls (page 3–760)

Procedure

Toproduceaneditablemeshobject:

Firstselecttheobject,andthendooneofthe

following:

• Right-click the object and choose Editable

Mesh from the Convert To submenu in the

transform quadrant.

•Use the Collapse utility (page 1–966).

• Apply a modifier to a parametric object that

turns the object into a mesh object in the stack,

and then collapse the stack. (For example, you

canapplyaMeshSelectmodifier.)

•Importanon-parametricobject,suchasthat

found in a 3DS file.

Converting an object to an editable mesh removes

all parametric controls, including the creation

parameters. For example, you can no longer

increase the number of segments in a box, slice a

circular primitive, or change the number of sides

on a cylinder. Any modifiers you apply to an

object are collapsed as well. After conversion, the

only entry left on the stack is "Editable Mesh."

Maintaining an object’s creation parameters:

As described in the above procedure, you can

convertanexistingobjecttoaneditablemesh,

which replaces the creation parameters in the stack

with "Editable Mesh." The creation parameters are

no longer accessible or animatable. If you want to

maintain the creation parameters, you can use the

following modifiers:

•Edit Mesh Modifier (page 1–634)

•Mesh Select Modifier (page 1–719)

•Delete Mesh Modifier (page 1–626)

•Tessellate Modifier (page 1–865)

•Face Extrude Modifier (page 1–682)

•Affect Region Modifier (page 1–557)

Interface

Modifier Stack display

Show End Result—Normally, if you apply a

modifier such as Twist to an editable-mesh object

andthenreturntotheEditableMeshstackentry,

you cannot see the effect of the modifier on the

object’s geometry. But if you turn on Show End

998 Chapter 9: Surface Modeling

Result while in sub-object level, you can see the

original sub-object selection as a yellow mesh,

thefinalobjectasawhitemesh,andtheoriginal

editable mesh as an orange mesh.

Selection rollout

See Selection Rollout (Editable Mesh) (page 1–999).

Named Selections

Copy—Places a named selection into the copy

buffer.

Paste—Pastes a named selection from the copy

buffer.

For more information, see Named Selection Sets

(page 1–67).

Selection Information

At the bottom of the Selection rollout is a

text display giving information about the

current selection. If no objects or more than

one sub-object are selected, the text gives the

numberofobjectsandthetypeselected. Ifa

single sub-object is selected, the text gives its

identification number and type.

Note: When the current sub-object level is Polygon

or Element, selection information is given in faces.

Soft Selection rollout

Soft Selection controls affect the action of

sub-object Move, Rotate, and Scale functions.

When these are on, 3ds Max applies a spline curve

deformation to unselected vertices surrounding

the transformed selected sub-object. This provides

a magnet-like effect with a sphere of influence

around the transformation.

For more information, see Soft Selection Rollout

(page 1–963).

Edit Geometry rollout

The Edit Geometry rollout (page 1–1011) provides

various controls for editing an editable mesh object

and its sub-objects. For information specific to the

different sub-object levels, click any of the links

below:

Editable Mesh (Object) (page 1–1001)

Editable Mesh (Vertex) (page 1–1003)

Editable Mesh (Edge) (page 1–1006)

Editable Mesh (Face/Polygon/Element) (page

1–1009)

WorkingwithMeshSub-Objects

This topic describes how to work with sub-object

selections when you are editing an Editable Mesh

(page 1–996).

See also

Edit Modifiers and Editable Objects (page 1–506)

Modifying at the Sub-Object Level (page 1–506)

Modifier Stack Controls (page 3–760)

Editable Mesh (page 3–932)

Editable Poly (page 3–933)

Selecting and Transforming

In selecting and transforming sub-object

geometry, you use standard techniques:

• Clicking any vertex, edge, or

face/polygon/element selects it.

•Holdingdown

Ctrl lets you add to or subtract

from the selection with single clicks.

•Holdingdown

Alt lets you a subtract from

the selection with single clicks, or with

Window/Crossing selections.

Selection Rollout (Editable Mesh) 999

• Beginning a selection outside the object starts a

region selection. Holding down Ctrl during

region selection lets you add to the selection.

Once you’ve made a sub-object selection, you can

use the Spacebar to lock the selection while

you’re working with it.

Using Sub-Object Selection

With either an editable mesh (or Edit Mesh

modifier) or a Mesh Select modifier, you can

store three separate sub-object selections: one

for each selection level (vertex, face, and edge).

Theseselectionsetsaresavedwiththefile.With

sub-object selections, you have these options:

• Choose one of the selection sets to pass

geometry up the stack to other modifiers. Only

one selection set is active at a time.

• Change to one of the other selection sets at any

time.

•Usenamed selection sets (page 1–83) for

sub-object geometry you want to reuse.

In modeling a head, for example, you might

have a number of different vertex selections for

forehead, nose, and chin. Such selections can

be difficult to re-create, so named sets give you

easy access to the original selection when you

want to rework a particular area.

Cloning Sub-Object Geometry

Using Shift +transform with a selection of

vertices or faces displays the Clone Part Of Mesh

dialog. This lets you determine whether you want

to "Clone To Object" or "Clone To Element." Click

the desired option, optionally giving the cloned

object a new name, then click OK.

• If you choose Clone To Object, the cloned copy

becomes a plain mesh object, entirely separate

from the original object. The new object is

given the name in the field to the right of the

Clone To Object radio button.

• If you choose Clone To Element, the selection

is cloned in its new position and remains part

of the original object.

Animating Sub-Object Geometry

When you work with an editable mesh, you can

directly transform and animate a sub-object

selection. In effect, the selection works like any

other object.

Selection Rollout (Editable Mesh)

The Selection rollout provides buttons for turning

different sub-object levels on and off, working with

named selections and handles, display settings,

and information about selected entities.

When you first access the Modify panel with

an editable mesh selected, you’re at the Object

level, with access to several functions available as

described in Editable Mesh (Object) (page 1–1001).

You can toggle the various sub-object levels, and

access relevant functions by clicking the buttons at

the top of the Selection rollout.

Clickingabuttonhereisthesameasselecting

asub-objecttypeintheModifierStackdisplay.

Click the button again to turn it off and return to

the Object selection level.

The Selection rollout also allows you to display

and scale vertex or face normals (page 3–980)

1000 Chapter 9: Surface Modeling

Interface

Vertex—Turns on Vertex sub-object level,

which lets you select a vertex beneath the cursor;

region selection selects vertices within the region.

Edge—Tur ns on Ed ge sub -obje ct level, w hich

lets you select the edge of a face or polygon beneath

the cursor; region selection selects multiple edges

withintheregion.AttheEdgesub-objectlevel,

selected hidden edges are displayed as dashed

lines, allowing for more precise selection.

Face—Turns on Face sub-object level, which

lets you select a triangular face beneath the cursor;

region selection selects multiple triangular faces

within the region. If a selected face has a hidden

edge and Shade Selected Faces isoff,theedgeis

displayed as a dashed line.

Polygon—Turns on Polygon sub-object level,

which lets you select all coplanar faces (defined by

the value in the Planar Threshold spinner) beneath

the cursor. Usually, a polygon is the area you see

within the visible wire edges. Region selection

selectsmultiplepolygonswithintheregion.

Element—Turns on Element sub-object level,

which lets you select all contiguous faces in an

object. Region selection lets you select multiple

elements.

By Vertex—When on, and you click a vertex, any

sub-objects (at the current level) that use that

vertex are selected. Also works with Region Select.

Note: When By Vertex is on, you can select

sub-objectsonlybyclickingavertex,orbyregion.

Ignore Backfacing—When on, selection of

sub-objects selects only those sub-objects whose

normals are visible in the viewport. When off

(the default), selection includes all sub-objects,

regardless of the direction of their normals.

Note: ThestateoftheBackfaceCullsettinginthe

Display panel does not affect sub-object selection.

Thus, if Ignore Backfacing is off, you can still select

sub-objects, even if you can’t see them.

Ignore Visible Edges—This is enabled when the

Polygon face selection method is chosen. When

Ignore Visible Edges is off (the default), and you

click a face, the selection will not go beyond the

visible edges no matter what the setting of the

Planar Thresh spinner. When this is on, face

selection ignores the visible edges, using the Planar

Threshsettingasaguide.

Generally, if you want to select a "facet" (a coplanar

collection of faces), you set the Planar Threshold

to 1.0. On the other hand, if you’re trying to select

a curved surface, increase the value depending on

the amount of curvature.

•Planar Thresh—(Planar Threshold) Specifies the

threshold value that determines which faces are

coplanar for Polygon face selection.

Editable Mesh (Object) 1001

Show Normals—When on, the program displays

normals (page 3–980) in the viewports. Normals

are displayed as blue lines.

ShownormalsisnotavailableinEdgemode.

•Scale—Specifies the size of the normals

displayed in the viewport when Show is on.

Delete Isolated Vertices—When on, 3ds Max

eliminates any isolated vertices when you delete

a contiguous selection of sub-objects. When

off, deleting a selection leaves all vertices intact.

Not Available at the Vertex sub-object level.

Default=on.

An isolated vertex is one that has no associated face

geometry. For example, if Delete Isolated Vertices

is off and you delete a rectangular selection of four

polygons, all clustered about a single central point,

the point remains, suspended in space.

Hide—Hides any selected sub-objects. Edges and

entire objects cannot be hidden.

Tip: The Select Invert command on the 3ds Max

Edit menu is useful for selecting faces to hide.

Select the faces you want to focus on, choose Edit

> Select Invert, then click the Hide button.

Unhide All—Restores any hidden objects to

visibility. Hidden vertices can be unhidden only

when in Vertex sub-object level.

Editable Mesh (Object)

Select an editable mesh object or object with the Edit

Mesh modifier applied. > Modify panel

Select an editable mesh object. > Quad menu > Tools 1

quadrant > Top-Level

Editable Mesh (Object) controls are available when

no sub-object levels are active. These controls are

also available at all sub-object levels, and work

the same at each level, except as noted in Edit

Geometry Rollout (Mesh) (page 1–1011).

Interface

Edit Geometry rollout

See Edit Geometry Rollout (Mesh) (page 1–1011)

for detailed descriptions of these controls.

1002 Chapter 9: Surface Modeling

Surface Properties rollout

Specifies surface approximation settings for

subdividing the editable mesh. These controls

work like the surface approximation settings for

NURBS surfaces (page 1–1078).Theyareused

when you apply a displacement map (page 2–1511)

totheeditablemesh.

Note: The Surface Properties rollout is available

only for editable mesh objects; it does not appear

in the Modify panel for an object to which

the Edit Mesh modifier is applied. With Edit

Mesh-modified objects, you can use the Disp

Approx modifier (page 1–628) tothesameeffect.

Subdivision Displacement—When on, faces are

subdivided to accurately displace the mesh,

usingthemethodandsettingsyouspecifyinthe

Subdivision Presets and Subdivision Method

group boxes. When off, the mesh is displaced by

moving existing vertices, the way the Displace

modifier (page 1–629) does. Default=off.

Split Mesh—Affects the seams of displaced mesh

objects; also affects texture mapping. When on,

the mesh is split into individual faces before it is

displaced; this helps preserve texture mapping.

When off, the mesh is not split and an internal

method is used to assign texture mapping.

Default=on.

Tip: This parameter is required because of an

architectural limitation in the way displacement

mapping works. Turning Split Mesh on is usually

the better technique, but it can cause problems for

objects with clearly distinct faces, such as boxes,

or even spheres. A box’s sides might separate as

they displace outward, leaving gaps. And a sphere

might split along its longitudinal edge (found in

the rear for spheres created in the Top view) unless

you turn off Split Mesh. However, texture mapping

works unpredictably when Split Mesh is off, so

you might need to add a Displace Mesh modifier

(page 1–514) and make a snapshot (page 1–453)

of the mesh. You would then apply a UVW Map

modifier (page 1–922) andthenreassignmapping

coordinates to the displaced snapshot mesh.

Subdivision Presets group & Subdivision

Method group

The controls in these two group boxes specify how

the displacement map is applied when Subdivision

Displacement is on. They are identical to the

Surface Approximation controls (page 1–1239) used

for NURBS surfaces.

Editable Mesh (Vertex) 1003

Editable Mesh (Vertex)

Select an editable mesh object. > Modify panel >

Selection rollout > Vertex

Select an editable mesh object. > Modify panel > Modifier

Stack display > Expand Editable Mesh. > Vertex

Select an editable mesh object. > Quad menu > Tools

1quadrant>Vertex

Vertices are points in space: they define the

structure of faces. When vertices are moved or

edited, the faces they form are affected as well.

Vertices can also exist independently; such isolated

vertices can be used to construct faces but are

otherwise invisible when rendering.

At the Editable Mesh (Vertex) sub-object level, you

can select single and multiple vertices and move

them using standard methods.

See also

Editable Mesh Surface (page 1–996)

Procedures

To weld mesh vertices:

Yo u c a n u s e e i t h e r o f t w o m e t h o d s t o c o m b i n e

severalverticesintoone,alsoknownaswelding.If

theverticesareveryclosetogether,usetheWeld

function. You can also use Weld to combine a

number of vertices to the average position of all

of them.

Alternatively, to combine two vertices that are far

apart, resulting in a single vertex that’s in the same

position as one of them, use Target Weld.

Tip: Weldingverticesisconsiderablyeasierwith

poly objects. See this procedure: To w e l d p o ly g o n

vertices: (page 1–1029)

1. To u s e We l d :

1. On the Selection rollout, turn on Ignore

Backfacing, if necessary. This ensures that

you’reweldingonlyverticesyoucansee.

2. Select the vertices to weld.

3. If the vertices are very close together, go to

the Edit Geometry rollout > Weld group

and click Selected. If that doesn’t work (you

get a “No vertices within weld threshold.”

message), proceed to the next step.

4. Increase the numeric value to the right of

the Selected button.

This is the threshold value; the minimum

distance that vertices can be apart from each

other to be welded.

5. Click Selected again.

At this point, one of three things happens:

None, some, or all of the vertices are welded.

Ifthelatter,you’redone. Ifeitherofthe

others occurs, proceed to the next step.

6. Continue increasing the threshold value and

clicking Selected until all of the vertices are

welded.

2. To u s e Ta r g e t We l d :

1. On the Selection rollout, turn on Ignore

Backfacing, if necessary. This ensures that

you’reweldingonlyverticesyoucansee.

2. Find two vertices you want to weld, and

determine the ultimate location of the

resulting vertex. You can weld any two

vertices, but for best results the two should

be contiguous; that is, they should be

connected by a single edge.

For this example, we’ll call the vertices A and

B, and the resulting vertex will be at vertex

B’s location.

3. Click the Target button.

The button stays highlighted, to indicate that

you’re now in Target Weld mode.

4. Drag vertex A to Vertex B.

Whileyou’redragging,themousecursor

image is a four-headed, +-shaped arrow.

1004 Chapter 9: Surface Modeling

When over an eligible target vertex, the

cursor changes to a crosshairs.

Tip: If you have trouble dragging in the

proper direction, open the Axis Constraints

toolbar (page 3–687) and click the XY

button.

5. Releasethemousebutton.

The pair is welded. The resulting vertex

remains at vertex B’s position, and you exit

Ta rg et We ld m o de .

Tip: If you have trouble combining the two

vertices, try increasing the Pixels value with

the spinner to the right of the Target button.

You remain in Target Weld mode, and can

continue to weld pairs of vertices.

6. Exit Target mode by right-clicking in the

active viewport or clicking the Target button

again.

To select vertices by color:

1. On the Surface Properties rollout, click the

Existing Color swatch, and specify the color of

vertex you want in the Color Selector.

2. Specify ranges in the RGB Range spinners.

This lets you select vertices that are close to the

specified color, but don’t match exactly.

3. Click the Select button.

All vertices matching the color, or within the

RGB range, are selected.

Yo u c a n a d d t o t h e s e l e c t i o n b y h o l d i n g Ctrl

as you click the Select button, and you can

subtract from the selection by holding the Alt

key.

Tip: You can select all vertices of the same color

by first selecting the vertex you want matched,

dragging a copy of the Edit Color swatch to the

Existing Color swatch, and then clicking the

Select button. (If you want an exact match, be

sure to set the RGB Range spinners to 0 first.)

Interface

Selection rollout

For information on the Selection rollout settings,

see Editable Mesh (page 1–998).

Soft Selection rollout

Soft Selection controls affect the action of

sub-object Move, Rotate, and Scale functions.

When these are on, the program applies a

spline curve deformation to unselected vertices

surrounding the transformed selected sub-object.

This provides a magnet-like effect with a sphere of

influence around the transformation.

For more information, see Soft Selection Rollout

(page 1–963).

Editable Mesh (Vertex) 1005

Edit Geometry rollout

See Edit Geometry Rollout (Mesh) (page 1–1011)

for detailed descriptions of these controls.

Surface Properties rollout

These controls let you set the weight and color for

vertices.

Weight—Displays and lets you change vertex

weights for NURMS operations (see MeshSmooth

Modifier (page 1–722)).

Edit Vertex Colors group

Use these controls to assign the color, illumination

color (shading), and alpha (transparency) values

of selected vertices.

Color—Click the color swatch to change the color

of selected vertices.

Illumination—Click the color swatch to change the

illumination color of selected vertices. This lets

you change the illumination of a vertex without

changing the vertex’s color.

Alpha—Lets you assign an alpha (transparency)

value to selected vertices.

The spinner value is a percentage; zero is

completely transparent and 100 is completely

opaque.

1006 Chapter 9: Surface Modeling

Select Vertices By group

Color/Illumination—These radio buttons let you

choose to select vertices by vertex color value or

vertex illumination value. Set the desired options

and then click Select.

Color Swatch—Displays the current color to match.

Click to open the Color Selector, where you can

specify a different color.

Select—Depending on which radio button is

selected, selects all vertices whose vertex color or

illumination values either match the color swatch,

or are within the range specified by the RGB

spinners.

Range—Specifies a range for the color match.

All three RGB values in the vertex color or

illuminationcolormusteithermatchthecolor

specified by the Color swatch in Select By Vertex

Color, or be within a range determined by adding

and subtracting the Range values from the

displayed color. Default=10.

For example, if you’ve chosen Color and set the

color swatch to medium gray (R=G=B=128), and

are using the default Range values of 10,10,10,

then clicking the Select button selects only vertices

set to RGB color values between 118,118,118 and

138,138,138.

Editable Mesh (Edge)

Select an editable mesh object. > Modify panel >

Selection rollout > Edge

Select an editable mesh object. > Modify panel > Modifier

Stack display > Editable Mesh rollout > Edge

Select an editable mesh object. > Quad menu > Tools 1

quadrant > Edge

An edge is a line, visible or invisible, forming the

side of a face and connecting two vertices. Two

faces can share a single edge.

At the Editable Mesh (Edge) sub-object level, you

can select single and multiple edges and transform

them using standard methods.

See also

Editable Mesh Surface (page 1–996)

Procedure

To create a shape from one or more edges:

1. Selecttheedgesyouwanttomakeintoshapes.

2. On the Edit Geometry rollout, click Create

Shape From Edges.

3. Make changes, as needed, on the Create Shape

dialog that appears.

• Enter a curve name or keep the default.

• ChooseSmoothorLinearastheShapeType.

• TurnonIgnoreHiddenEdgestoexclude

hidden edges from the calculation, or turn

this feature off.

4. Click OK.

The resulting shape consists of one or more

splines whose vertices are coincident with the

vertices in the selected edges. The Smooth

option results in vertices using smooth values,

while the Linear option results in linear splines

with corner vertices.

When you region-select edges, all edges are

highlighted, including hidden edges, which

are displayed as dashed lines. As a default,

the Create Shape function ignores the hidden

edges, even though they’re selected. Turn off

Ignore Hidden Edges if you want to include the

hidden edges in the calculation.

If the selected edges are not continuous, or if

they branch, the resulting shape will consist

of more than one spline. When the Create

Shape function runs into a branching ’Y’ in

the edges, it makes an arbitrary decision as to

which edge produces which spline. If you need

Editable Mesh (Edge) 1007

to control this, select only those edges that will

result in a single spline, and perform Create

Shaperepeatedlytomakethecorrectnumber

of shapes. Finally, use Attach in the Editable

Spline to combine the shapes into one.

Top: Original object

Bottom: Object with edges selected

Top: Selected edges removed from original object

Bottom: Unwanted edges removed

Interface

Selection rollout

See Editable Mesh (page 1–998) for information on

the Selection rollout settings.

Soft Selection rollout

Soft Selection controls affect the action of

sub-object Move, Rotate, and Scale functions.

When these are on, the software applies a

spline curve deformation to unselected vertices

surrounding the transformed selected sub-object.

This provides a magnet-like effect with a sphere of

influence around the transformation.

For more information, see Soft Selection Rollout

(page 1–963).

1008 Chapter 9: Surface Modeling

Edit Geometry rollout

See Edit Geometry Rollout (Mesh) (page 1–1011)

for detailed descriptions of these controls.

Surface Properties rollout

These controls affect the visibility of the edges.

Invisible edges (also called construction lines)

appear in the viewports when Edges Only is turned

off in the Display command panel, or when you’re

editing at the Edge sub-object level. The visibility

ofedgesisprimarilyofimportancewhenanobject

is being rendered using a wireframe material.

Visible—Makes selected edges visible.

Invisible—Makes selected edges invisible, so they

won’t be displayed in Edges Only mode.

Auto Edge group

Auto Edge—Automatically determines edge

visibility based on the angle between the faces that

sharetheedge,withtheanglesetbytheThreshold

spinner to its right.

ClickingAutoEdgecanhaveoneofthreeeffects,

dependingonwhichradiobuttonisactive(Set

means to make an invisible edge visible; Clear

meanstomakeavisibleedgeinvisible):

•Set and Clear Edge Vis—Can change the

visibility of all selected edges depending on the

Threshold setting.

•Set—Makes previously invisible edges visible

only if they exceed the Threshold setting; does

not clear any edges.

•Clear—Makes previously visible edges invisible

only if they are less than the Threshold setting;

does not make any edges visible.

Editable Mesh (Face/Polygon/Element) 1009

Editable Mesh (Face/Polygon/

Element)

Select an editable mesh object. > Modify panel >

Selection rollout > Face/Polygon/Element

Select an editable mesh object. > Modify panel >

Modifier Stack display > Editable Mesh rollout >

Face/Polygon/Element

Select an editable mesh object. > Quad menu > Tools 1

quadrant > Face/Polygon/Element

Aface is the smallest possible mesh object: a

triangle formed by three vertices. Faces provide

the renderable surface of an object. While a vertex

can exist as an isolated point in space, a face cannot

exist without vertices.

At the Editable Mesh (Face) level, you can select

single and multiple faces and transform them

using standard methods. This is also true for the

Polygon and Element sub-object levels; for the

distinctions between face, polygon, and element,

see Editable Mesh > Selection rollout (page 1–998).

See also

Editable Mesh Surface (page 1–996)

Interface

Selection rollout

For information on the Selection rollout settings,

see Editable Mesh (page 1–998).

Soft Selection rollout

Soft Selection controls affect the action of

sub-object Move, Rotate, and Scale functions.

When these are on, 3ds Max applies a spline curve

deformation to unselected vertices surrounding

the transformed selected sub-object. This provides

a magnet-like effect with a sphere of influence

around the transformation.

For more information, see Soft Selection Rollout

(page 1–963).

Edit Geometry rollout

See Edit Geometry Rollout (Mesh) (page 1–1011)

for detailed descriptions of these controls.

1010 Chapter 9: Surface Modeling

Surface Properties rollout

These controls let you work with face normals,

material IDs, smoothing groups and vertex colors.

Normals group

Flip—Reverses the direction of the surface normals

of the selected faces.

Unify—Flips the normals of an object so that they

all point in the same direction, usually outward.

This is useful for restoring an object’s faces to

their original orientations. Sometimes normals of

objectsthathavecomeinto3dsMaxaspartofa

DXF file are irregular, depending on the methods

used to create the objects. Use this function to

correct them.

Flip Normal Mode—Flips the normal of any face you

click. To exit, click this button again or right-click

anywhere in the program interface.

Tip: ThebestwaytouseFlipNormalmode

is to set up your viewport to display with

Smooth+Highlight and Edged Faces on. If you use

Flip Normal mode with default settings, you’ll be

able to flip a face away from you, but you won’t be

able to flip it back. For best results, turn off Ignore

Backfacing in the Selection rollout. This lets you

click any face and flip the direction of its normal,

regardless of its current direction.

Material group

Set ID—Lets you assign a particular material ID

(page 3–969) number to selected sub-objects for

use with multi/sub-object materials (page 2–1594)

and other applications. Use the spinner or enter

the number from the keyboard. The total number

of available IDs is 65,535.

Select ID—Selectssub-objectscorrespondingto

the Material ID specified in the adjacent ID field.

Type or use the spinner to specify an ID, then click

the Select ID button.

[Select By Name]—This drop-down list shows

the names of sub-materials if an object has a

Multi/Sub-Object material assigned to it. Click

the drop arrow and choose a sub-material from

the list. The sub-objects that are assigned that

material are selected. If an object does not have

aMulti/Sub-Objectmaterialassigned,thename

list is unavailable. Likewise, if multiple objects

areselectedthathaveanEditPatch,EditSpline,

or Edit Mesh modifier applied, the name list is

inactive.

Note: Sub-material names are those specified in the

Name column on the material’s Multi/Sub-Object

Basic Parameters rollout; these are not created by

Edit Geometry Rollout (Mesh) 1011

default, and must be specified separately from any

material names.

Clear Selection—When on, choosing a new ID or

material name deselects any previously selected

sub-objects. When off, selections are cumulative,

so new ID or sub-material name selections add to

the existing selection set of patches or elements.

Default=on.

Smoothing Groups group

Use these controls to assign selected faces to

different smoothing groups (page 3–1013),andto

select faces by smoothing group.

To assign faces to one or more smoothing groups,

select the faces, and then click the number(s) of

the smoothing group(s) to assign them to.

Select by SG (Smoothing Group)—Displays a dialog

that shows the current smoothing groups. Select

a group by clicking the corresponding numbered

button and clicking OK. If Clear Selection is on,

any previously selected faces are first deselected. If

Clear Selection is off, the new selection is added to

any previous selection set.

Clear All—Removesanysmoothinggroup

assignments from selected faces.

Auto Smooth—Sets the smoothing groups based

on the angle between faces. Any two adjacent

faceswillbeputinthesamesmoothinggroupif

theanglebetweentheirnormalsislessthanthe

threshold angle, set by the spinner to the right of

this button.

Threshold—This spinner (to the right of Auto

Smooth) lets you specify the maximum angle

between the normals of adjacent faces that

determines whether those faces will be put in the

same smoothing group.

Edit Vertex Colors group

Use these controls to assign the color, illumination

color (shading), and alpha (transparency) values

of vertices on the selected face(s).

Color—Click the color swatch to change the color

of vertices on the selected face(s). Assigning vertex

colors at the face level prevents blending across the

face(s).

Illumination—Click the color swatch to change

the illumination color of vertices on the selected

face(s). This lets you change the illumination

without changing the vertex’s color.

Alpha—Lets you assign an alpha (transparency)

value to vertices on the selected face(s).

The spinner value is a percentage; zero is

completely transparent and 100 is completely

opaque.

Edit Geometry Rollout (Mesh)

Select an editable mesh object. > Modify panel >

Selection rollout > Choose any sub-object level.

Select an editable mesh object. > Modify panel > Modifier

Stack display > Expand Editable Mesh. > Choose any

sub-object level.

Select an editable mesh object. > Quad menu > Tools 1

quadrant > Choose any sub-object level.

The Edit Geometry rollout for Meshes contains

most of the controls that let you alter the geometry

of the mesh, at either the Object (top) level, or

one of the sub-object levels. The controls that the

rollout displays can vary, depending on which level

is active; if a control is not available for the active

level, it might be grayed out, or simply might not

appear at all. The descriptions below indicate the

levels at which controls are available.

1012 Chapter 9: Surface Modeling

Interface

Editing buttons

Create—Lets you add sub-objects to a single

selected mesh object. Select an object, choose a

sub-object level, click Create, and then click to add

sub-objects. Available only at the Vertex, Face,

Polygon, and Element levels only.

For example, at the Vertex sub-object level,

Create lets you add free-floating vertices to the

object. The new vertices are placed on the active

construction plane.

To create faces at the Face, Polygon, or Element

level, click Create. All vertices in the object are

highlighted, including isolated vertices left after

deleting faces. Click three existing vertices in

succession to define the shape of the new face.

(The cursor changes to a cross when it is over a

vertex that can legally be part of the face.)

You can also create new faces at the Polygon and

Element sub-object levels. At the Face and Element

sub-object levels, a new face is created after every

thirdclick.AtthePolygonsub-objectlevel,you

can continue clicking as many times as you like to

addverticestothenewpolygon.Tofinishdrawing

anewpolygon,clicktwice,orclickagainonany

existing vertex in the current polygon.

At the Face, Polygon, and Element levels, you can

add vertices while Create is on by Shift +clicking

in an empty space; these vertices are incorporated

intothefaceorpolygonyou’recreating.

You can start creating faces or polygons in any

viewport, but all subsequent clicks must take place

inthesameviewport.

Tip: For best results, click vertices in

counterclockwise (preferred) or clockwise

order. If you use clockwise order, the new polygon

will be facing away from you, and you won’t be

abletoseeitunlessyou’veturnedonForce2-Sided

or are using a two-sided material.

Delete (sub-object levels only)—Deletes selected

sub-objects and any faces attached to them.

Attach—Lets you attach another object in the scene

to the selected mesh. You can attach any type

of object, including splines, patch objects, and

NURBS surfaces. Attaching a non-mesh object

converts it to a mesh. Click the object you want to

attach to the currently selected mesh object.

Edit Geometry Rollout (Mesh) 1013

When you attach an object, the materials of the

two objects are combined in the following way:

• If the object being attached does not have a

material assigned, it inherits the material of the

object it is being attached to.

• Likewise, if the object you’re attaching to

doesn’thaveamaterial,itinheritsthematerial

of the object being attached.

• If both objects have materials, the resulting new

material is a multi/sub-object material (page

2–1594) that encompasses the input materials.

A dialog appears offering three methods of

combining the objects’ materials and material

IDs. For more information, see Attach Options

Dialog (page 1–1018).

Shaded view of model (upper left); wireframe view of model

(upper right); model with objects attached (lower left); and

subsequent multi/sub-object material (lower right)

Attach remains active in all sub-object levels,

but always applies to objects.

Attach List (Object level only)—Lets you attach

other objects in the scene to the selected mesh.

Click to display a Select Objects dialog (page 1–78)

where you choose multiple objects to attach.

Detach (Vertex and Face/Polygon/Element levels

only)—Detaches the selected sub-object as a

separate object or element. All faces attached to

the sub-object are detached as well.

A dialog appears, prompting you to enter a name

for the new object. The dialog has a Detach As

Clone option that copies the faces rather than

moving them.

Detached faces leave a hole in the original object

when you move them to a new position.

Break (Vertex level only)—Creates a new vertex for

each face attached to selected vertices, allowing

thefacecornerstobemovedawayfromeachother

where they were once joined at the original vertex.

1014 Chapter 9: Surface Modeling

If a vertex is isolated or used by only one face, it

is unaffected.

Turn (Edge level only)—Rotates the edge within

its bounding. All mesh objects in 3ds Max are

composed of triangular faces, but by default, most

polygons are depicted as quadrilaterals, with a

hidden edge dividing each quad into two triangles.

Turn lets you change the direction in which the

hidden edge (or any other) runs, thus affecting

how the shape changes when you transform

sub-objects directly, or indirectly with a modifier.

Divide (Face/Polygon/Element levels

only)—Subdivides faces into three smaller

faces. This function applies to faces even if you’re

at the Polygon or Element sub-object level. Click

Divide,andthenselectafacetobedivided.Each

face is subdivided where you click it. You can click

as many faces as you want divided, in sequence.

To stop dividing, click Divide again to turn it off,

or right-click.

Extrude, Chamfer, and Bevel group

The Extrude controls let you extrude edges or

faces. Edge extrusion works in a fashion similar

to face extrusion. You can apply extrusion

interactively (by dragging on sub-objects) or

numerically (using spinners).

Extruded edges seen in viewport and rendered image

Extrude (Edge and Face/Polygon/Element levels

only)—Click this button and then either drag to

extrude the selected edges or faces, or adjust the

Extrude spinner to perform the extrusion. You

can select different sub-objects to extrude while

Extrude is active.

•Extrude Amount—This spinner (to the right of

the Extrude button) lets you specify the amount

to extrude the edge. Select one or more edges,

and then adjust the spinner.

The Chamfer controls are available only at the

Vertex and Edge sub-object levels. They let you

bevel object corners using a chamfer function. You

can apply this effect interactively (by dragging

vertices) or numerically (using the Chamfer

spinner).

Chamfer (Vertex and Edge levels only)—Click this

button, and then drag vertices or edges in the

active object. The Chamfer Amount spinner

updates to indicate the chamfer amount as you

drag.

Edit Geometry Rollout (Mesh) 1015

If you drag one or more selected vertices or edges,

all selected sub-objects are chamfered identically.

If you drag an unselected vertex or edge, any

selected sub-objects are first deselected.

A chamfer "chops off " the selected sub-objects,

creating a new face connecting new points on all

visible edges leading to the original sub-object.

Chamfer Amount specifies the exact distance from

the original vertex along each of these edges. New

chamfer faces are created with the material ID of

one of the neighboring faces (picked at random)

and a smoothing group that is an intersection of all

neighboring smoothing groups.

For example, if you chamfer one corner of a

box, the single corner vertex is replaced by three

vertices moving along the three visible edges that

lead to the corner. The software rearranges and

splits the adjacent faces to use these three new

vertices, and creates a new triangle at the corner.

•Chamfer Amount—Adjust this spinner (to the

right of the Chamfer button) to apply a chamfer

effect to selected vertices.

•Normal (Edge and Face/Polygon/Element levels

only)—Determines how a selection of more

thanoneedgeisextruded.WithNormalset

to Group (the default), extrusion takes place

along the averaged normal of each continuous

group (line) of edges. If you extrude multiples

of such groups, each group moves along its own

averaged normal. If you set Normal to Local,

extrusion takes place along each selected edge’s

normal.

Beveling, available only at the Face/Polygon/

Element levels, is a second step to extrusion: it lets

you scale the faces you have just extruded.

Tip: AsimilaroperationisInset,whichEditable

Poly has but Editable Mesh doesn’t. When you

inset a polygon, you create another, smaller

polygon of the same proportions inside the

borders of an original polygon, in the plane of the

original. Essentially, it’s a bevel with no height.

YoucanachievethisinEditableMeshwiththe

following procedure:

1. Select the polygon to inset.

2. Right-click the spinner all the way to the right

of the Extrude button. This performs an

extrusion with no height, thus creating a new

polygonplusconnectingpolygonsinthesame

position as the original.

3. Set a negative Bevel value using the numeric

field or the spinner. This insets the new polygon

created by the extrusion without changing its

height.

Chamfer box showing extruded face

1016 Chapter 9: Surface Modeling

Extruded face beveled in two different directions

You can bevel faces by dragging or by using

keyboard/spinner entry.

Bevel (Face/Polygon/Element levels only)—Click

this button, and then drag vertically on any face to

extrudeit.Releasethemousebuttonandmove

the mouse vertically to bevel the extrusion. Click

to finish.

• When over a selected face, the mouse cursor

changes to a Bevel cursor.

• With multiple faces selected, dragging on any

one bevels all selected faces equally.

• Youcandragotherfacesinturntobevelthem

while the Bevel button is active. Click Bevel

again or right-click to end the operation.

Outlining—This spinner (to the right of the Bevel

button) lets you scale selected faces bigger or

smaller, depending on whether the value is positive

or negative. It is normally used after an extrusion

for beveling the extruded faces.

Cut and Slice group

Lets you subdivide edges with either cut or slice

tools to create new vertices, edges, and faces. For

details, see Cut and Slice (page 1–1019).

Note: At the Vertex sub-object level, Slice is

available but Cut is not.

Weld group (Vertex level only)

Selected—Welds selected vertices that fall within

the tolerance specified in the Weld Threshold

spinner (to the button’s right). All line segments

become connected to the resulting single vertex.

Target—Enters weld mode, which allows you to

select vertices and move them around. While

moving, the cursor changes to the Move cursor as

usual, but when you position the cursor over an

unselected vertex the cursor changes to a + cursor.

Releasethemouseatthatpointtoweldallselected

vertices to the target vertex they were dropped on.

The pixels spinner to the right of the Target

button sets the maximum distance in screen pixels

between the mouse cursor and the target vertex.

Tessellate group (Face/Polygon/Element levels

only)

Use these controls to tessellate (subdivide) selected

faces. Tessellation is useful for increasing local

mesh density while modeling. You can subdivide

any selection of faces. Two tessellation methods

are available: Edge and Face-Center.

Tessellate—Click to tessellate selected faces, based

on the Edge, Face-Center, and Tension (spinner)

settings.

Edit Geometry Rollout (Mesh) 1017

Top: Original selection

Middle: Tessellated once

Bottom: Tessellated twice

Tension—(Active only when Tessellate by Edge is

active.) This spinner, to the right of the Tessellate

button, lets you increase or decrease the Edge

tension value. A negative value pulls vertices

inward from their plane, resulting in a concave

effect. A positive value pulls vertices outward from

their plane, resulting in a rounding effect.

By Edge/Face-Center—Edgeinsertsverticesin

themiddleofeachedgeanddrawsthreelines

connecting those vertices. As a result, four faces

arecreatedoutofoneface. (Toseethisatthe

Polygon or Element sub-object level, turn off

Display panel > Display Properties rollout > Edges

Only.)

Face-Center adds a vertex to the center of each

face and draws three connecting lines from that

vertex to the three original vertices. As a result,

three faces are created out of one face.

Set of polygons showing Face-Center tessellation

Explode group (Object and Face/Polygon/

Element levels only)

Explode—Breaks up the current object into

multiple elements or objects based on the angles

ofitsedges. ThisfunctionisavailableinObject

mode as well as all sub-object levels except Vertex

and Edge.

Exploded faces (white) removed from tessellated faces

1018 Chapter 9: Surface Modeling

The angle threshold spinner, to the right of the

Explode button, lets you specify the angle between

faces below which separation will not occur. For

example, all sides of a box are at 90-degree angles

toeachother.Ifyousetthespinnerto90orabove,

exploding the box changes nothing. However, at

any setting below 90, the sides all become separate

objects or elements.

To Objects/Elements—Specifies whether the

exploded faces become the separate objects or

elements of the current object.

Remove Isolated Vertices—Deletes all isolated

vertices in the object regardless of the current

selection.

Select Open Edges (Edge level only)—Selects all

edges with only one face. In most objects, this

showsyouwheremissingfacesexist.

Create Shape from Edges (Edge level only)—After

selecting one or more edges, click this button to

create a spline shape from the selected edges. A

Create Shape dialog appears, letting you name

the shape, set it to Smooth or Linear, and ignore

hidden edges. The new shape’s pivot is placed at

the center of the mesh object.

View Align—Aligns all vertices in selected objects

or sub-objects to the plane of the active viewport.

If a sub-object level is active, this function affects

only selected vertices or those belonging to

selected sub-objects.

Inthecaseoforthographic viewports (page 3–986),

usingViewAlignhasthesameeffectasaligning

to the construction grid when the home grid is

active. When aligning to a perspective viewport

(including camera and light views), the vertices are

reoriented to be aligned to a plane that is parallel

to the camera’s viewing plane. This plane is

perpendicular to the view direction that is closest

to the vertices’ average position.

Grid Align—Aligns all vertices in selected objects

or sub-objects to the plane of the current view. If

a sub-object level is active, function aligns only

selected sub-objects.

This function aligns the selected vertices to the

current construction plane. The current plane is

specified by the active viewport in the case of the

home grid. When using a grid object, the current

plane is the active grid object.

Make Planar (sub-object levels only)—Forces all

selected sub-objects to become coplanar. The

plane’snormalistheaveragesurfacenormalofall

faces attached to the selected sub-objects.

Collapse (sub-object levels only)—Collapses

selected sub-objects into an averaged vertex.

Attach Options Dialog

Select an editable mesh object. > Modify panel > Attach

button

The Attach Options dialog appears when you

attach two or more objects to which materials have

been assigned. It provides three different methods

ofcombiningthesub-materialsandthematerial

IDs in the two objects.

Interface

Match Material IDs to Material—The number

of material IDs in the attached objects are

modified so they are no greater than the number

of sub-materials assigned to those objects.

For example, if you have a box with only two

sub-materials assigned to it, and you attach it to

Cut and Slice 1019

another object, the box will have only two material

IDs, instead of the six it was assigned on creation.

Match Material to Material IDs—Maintains the

original ID assignment in the attached objects

by adjusting the number of sub-materials

in the resulting multi/sub-object material.

For example, if you attach two boxes, both

assigned single materials, but with their default

assignment of 6 material IDs, the result would be

a multi/sub-object material with 12 sub-materials

(six containing instances of one box’s material,

and six containing instances of the other box’s

material). Use this option when it’s important to

maintain the original material ID assignments in

your geometry.

Note: If you want to make the instanced

sub-materials unique, select them in Track View,

andclicktheMakeUniquebuttonontheTrack

View toolbar. You can also make them unique

one at a time with the Make Unique button (page

2–1442) in the Material Editor.

Do Not Modify Mat IDs or Material—Does not adjust

the number of sub-materials in the resulting

sub-object material. Note that, if the number of

materialIDsinanobjectisgreaterthanthenumber

of sub-materials in its multi/sub-object material,

then the resulting face-material assignment might

be different after the attach.

Condense Material IDs—Affects the Match Material

IDs To Material option. When this is on, duplicate

sub-materials or sub-materials that aren’t used in

the objects are removed from the multi/sub-object

material that results from the attach operation.

Default=on.

Tips

• In most cases, use the first option (Match

Material IDs to Material) while keeping

Condense Material IDs selected. This

maintains the appearance of the objects, and

results in the fewest additional sub-materials

or IDs.

•Usethesecondoption(MatchMaterialto

Material IDs) when you need to maintain the

original material ID assignments.

• Avoid using the third option, unless you need

to repeat a 3ds Max version 1 attachment for

compatibility with a previous project.

• Leave Condense Material IDs selected unless

you have an unassigned sub-material that you

want to keep for future assignment.

• Perform Edit menu > Hold before performing

the attach.

Cut and Slice

Select an editable mesh object. > Modify panel >

Selection rollout > (Optional: Choose a sub-object level.)

> Edit Geometry rollout > Cut and Slice group box

ThetoolsavailableintheCutandSlicegroup

let you subdivide edges and faces to create new

vertices, edges, and faces. You can slice an editable

mesh object at any sub-object level; the Cut tool

is available at every sub-object level except the

Vertex sub-object level.

Procedures

To create a new face using Cut:

1. Convert the geometry to an editable mesh.

2. On the Modify panel, choose the

object’s Edge (or Face, Polygon, or Element)

sub-object level.

3. On the Selection rollout, turn on Ignore

Backfacing.

4. On the Edit Geometry rollout, in the Cut and

Slicegroup,clicktheCutbutton.

5. Click the first edge you want to subdivide, and

then move your cursor toward the second edge.

1020 Chapter 9: Surface Modeling

The cursor changes to a plus sign when over

an edge, and a dotted line connects the initial

pointwheretheedgewasclickedwiththe

current cursor location.

6. Click the second edge. This edge can be

anywhere, cutting across as many faces as you

like. A new visible edge appears.

7. At this point, a new dotted line is connected

to the mouse cursor, originating from the last

point you clicked.

8. Continueclickingedgestocut.Tostartfroma

different point, right-click, and then select the

new start point. To finish cutting, right-click

twice.

Yo u c a n u s e Snaps (page 2–35) with Cut. To

divide an edge in half, set Snaps to midpoint.

To start or end a cut at a vertex, set snap to

vertex or endpoint.

Before and after applying Cut to faces

To create multiple slices:

1. Select an editable mesh.

2. On the Modify panel, choose the

object’s Edge (or Face, Polygon, or Element)

sub-object level.

3. Select one or more sub-objects. Slice affects

only selected sub-objects.

4. In the Cut And Slice group box, click the Slice

Plane button.

5. PositionandrotatetheSlicePlanegizmoto

where you want the first slice.

6. ClicktheSlicebutton.Theobjectissliced.

Cut and Slice 1021

7. If you want, move the Slice Plane to a second

position and click the Slice button again.

8. Click the Slice Plane button again to turn it off

and see the results.

9. To better understand what has happened, turn

off Edges Only in the Display panel.

Slice gizmo placed for first slice (top) and second slice

(bottom)

Interface

Note: The keyboard shortcuts listed here require

that the Keyboard Shortcut Override Toggle (page

3–872) be on.

Cut and Slice group

Slice Plane—Creates a gizmo for a slice plane that

can be positioned and rotated where you want to

slice the edges. Also enables the Slice button.

Slice—Performs the slice operation at the location

of the slice plane. The Slice button is available only

whentheSlicePlanebuttonishighlighted.This

tool slices the mesh just like the Slice modifier (page

1–825) in “Operate On: Face” mode.

Note: Slice works only on a sub-object selection.

Make the selection before activating Slice Plane.

Cut—Lets you divide a edge at any point, then

divide a second edge at any point, creating a new

edge or edges between the two points. Clicking

the first edge sets the first vertex. A dotted line

tracks the cursor movement until you click a

second edge. A new vertex is created at each edge

division. Alternately, double-clicking an edge

simply divides that edge at the point clicked, with

invisible edges on either side.

You can use Cut to cut across any number of faces,

even across an entire object. Click one edge to

start the cut, and a second edge to end the cut.

Use Snaps (page 2–35) with Cut for precision. Cut

supports Midpoint, Endpoint, and Vertex snaps.

Yo u c a n a l s o u s e t h e k e y b o a r d s h o r t c u t Alt+C to

toggle Cut mode.

Important: When using the Cut tool to add new edges,

you should work in a non-Perspective viewport, such

as Front or User. If you use Cut while working in a

Perspective viewport, you may find that the created

edges appear to jump or aren’t placed correctly. Using

an orthogonal viewport will allow the cuts to appear

where you click.

Tip: WhenperformingaCut,turnonSelection

rollout > Ignore Backfacing to avoid accidentally

selectingedgesonthebacksideofthemesh.

Split—When on, the Slice and Cut operations

create double sets of vertices at the points where

the edges are divided. This lets you easily delete

1022 Chapter 9: Surface Modeling

thenewfacestocreateholes,oranimatethenew

faces as separate elements.

Refine Ends—When on, adjacent faces at the ends

of the cut are also divided by additional vertices,

so that the surface stays contiguous. When Refine

Ends is off, the surface will have a seam where

the new vertex meets the adjacent face. For this

reason, it’s a good idea to keep Refine Ends turned

on, unless you are sure that you don’t want the

extra vertices created.

Refine Ends affects only Cut. It does not affect

Slice.

Polymeshes

Create or select an object. > Quad menu > Transform

quadrant > Convert To submenu > Convert to Editable

Poly

Create or select an object. > Modify panel > Right-click

thebaseobjectinthestack. >ChooseConvertto:

Editable Poly.

Editable Poly (page 3–933) is an editable object

with five sub-object levels: vertex, edge, border,

polygon, and element. Its usage is similar to that of

an editable mesh object (page 1–996),withcontrols

for manipulating an object as a polygon mesh at

various sub-object levels. Rather than triangular

faces, however, the poly object’s faces are polygons

with any number of vertices.

Editable Poly gives you these options:

•Transformor

Shift +Clone the selection, as

with any object.

• UsetheoptionssuppliedontheEditrollouts

to modify the selection or object. Later topics

discuss these options for each of the polymesh

components.

•Passasub-objectselectiontoamodifier

higher in the stack. You can apply one or more

standard modifiers to the selection.

• Use the options on the Interface (page 1–1061)

to alter surface characteristics.

Tip: You can exit most Editable Poly command

modes, such as Extrude, by right-clicking in the

active viewport.

Editable Poly Workflow

Sub-object-specific functions in the Editable Poly

user interface appear on their own rollouts, leaving

the Edit Geometry rollout (page 1–1055) with

functions that you can apply at most sub-object

levels, as well as at the object level.

Also, many commands are accompanied by a

Settings button, which gives you a second way to

use the command:

• In Direct Manipulation mode, activated by

clicking the command button, you apply the

command by manipulating sub-objects directly

in the viewport. An example of this is Extrude.

Note: Some buttons, such as Tessellate, operate

on the mesh immediately, with no viewport

manipulation required.

•Interactive Manipulation mode is well suited

to experimentation. You activate this mode

by clicking the command’s Settings button.

Thisopensanon-modalsettingsdialogand

places you in preview mode, where you can set

parameters and see the results immediately in

the viewport. You can then accept the results by

clicking OK, or reject them by clicking Cancel.

You can also use this mode to apply the same or

different settings to several different sub-object

selections in a row. Make the selection,

optionally change the settings, click Apply, and

then repeat with a different selection.

Editable Poly Surface 1023

Important: When you click Apply, the settings are

“baked into” the selection, and then applied again

to the selection as a preview. If you then click OK to

exit, you will have applied the settings twice. If your

intention is to apply them only once, simply click OK

the first time, or click Apply, and then Cancel.

Note: Changes implemented in Interactive

Manipulation mode cannot be animated.

See also

Edit Poly Modifier (page 1–640)

Poly Select Modifier (page 1–762)

Turn To Poly Modifier (page 1–874)

Procedure

Toproduceaneditablepolyobject:

First select an object, and then do one of the

following:

• If no modifiers are applied to the object, In

the Modify panel, right-click in the modifier

stackdisplayandchooseEditablePolyfromthe

ConvertTolistonthepop-upmenu.

• Right-clicktheobjectandchooseConvertTo

Editable Poly from the Convert To submenu in

the Transform quadrant of the quad menu.

• Apply a modifier to a parametric object that

turns the object into a poly object in the

stack display, and then collapse the stack. For

example, you can apply a Tu r n To Po ly mo di fi er

(page 1–874).

To collapse the stack, use the Collapse utility

(page 1–966) and set Output Type to Modifier

Stack Result, or right-click the object’s modifier

stack and then choose Collapse All.

Converting an object to Editable Poly format

removes all parametric controls, including the

creation parameters. For example, you can no

longer increase the number of segments in a box,

slice a circular primitive, or change the number

of sides on a cylinder. Any modifiers you apply

to an object are merged into the mesh as well.

After conversion, the only entry left on the stack

is "Editable Poly."

To maintain an object’s creation parameters:

• As noted in the previous procedure, if

you convert an existing object to editable

poly format, 3ds Max replaces the creation

parameters in the stack with "Editable Poly."

The creation parameters are no longer

accessible or animatable. If you want to

maintain the creation parameters, you can use

the Edit Poly modifier (page 1–640) or the Tur n

To Poly modifier (page 1–874).

Interface

Stack Display

For more information on the Stack Display, see

Modifier Stack (page 3–760).

Show End Result—Normally, if you apply a

modifier such as Symmetry (page 1–861) to an

editable poly object and then return to the Editable

Poly stack entry, you cannot see the effect of the

modifier on the object’s geometry. But if you turn

on Show End Result while in sub-object level,

you can see the final object as a white mesh, the

original sub-object selection as a yellow mesh, and

the original editable polymesh as an orange mesh.

Selection rollout

Lets you access the different sub-object levels. See

Selection Rollout (Polymesh) (page 1–1024).

Soft Selection rollout

Soft Selection controls apply a smooth falloff

between selected sub-objects and unselected

ones.WhenUseSoftSelectionison,unselected

sub-objectsnearyourselectionaregivenpartial

selection values. These values are shown in the

viewports by means of a color gradient on the

1024 Chapter 9: Surface Modeling

vertices, and optionally on the faces. They affect

most types of sub-object deformations, such as

theMove,Rotate,andScalefunctionsandany

deformation modifiers (such as Bend) applied to

the object. This provides a magnet-like effect with

a sphere of influence around the selection.

For more information, see Soft Selection Rollout

(page 1–963).

Edit (sub-object) rollout

The Edit (sub-object) rollout provides

sub-object-specific functions for editing an

editable poly object and its sub-objects. For

specific information, click any of the links below:

Edit Vertices rollout (page 1–1031)

Edit Edges rollout (page 1–1039)

Edit Borders rollout (page 1–1044)

Edit Polygons/Elements rollout (page 1–1048)

Edit Geometry rollout

The Edit Geometry rollout provides global

functions for editing an editable poly object and

its sub-objects. For specific information, click any

of the links below:

Editable Poly (Object) (page 1–1029)

Editable Poly (Vertex) (page 1–1034)

Editable Poly (Edge) (page 1–1043)

Editable Poly (Border) (page 1–1047)

Editable Poly (Polygon/Element) (page 1–1053)

Subdivision Surface rollou

Controls on this rollout apply subdivision to the

polymesh in the style of the MeshSmooth modifier.

See Subdivision Surface Rollout (Polymesh) (page

1–1060).

Subdivision Displacement rollout

Specifies surface approximation for subdividing

the polymesh. See Subdivision Displacement

Rollout (Polymesh) (page 1–1063).

Subdivision Presets group & Subdivision

Method group

The controls in these two group boxes specify

how the program applies the displacement map

when Subdivision Displacement is on. They are

identical to the Surface Approximation controls

(page 1–1239) used for NURBS surfaces.

Paint Deformation rollout

Paint Deformation lets you stroke elevated and

indented areas directly onto object surfaces. For

more information, see Paint Deformation Rollout

(page 1–1064).

Selection Rollout (Polymesh)

Create or select an editable poly object. > Modify panel >

Selection rollout

The Selection rollout provides tools for accessing

different sub-object levels and display settings and

for creating and modifying selections, and displays

information about selected entities.

When you first access the Modify panel with

an editable poly selected, you’re at the Object

level, with access to several functions available as

described in Editable Poly (Object) (page 1–1028).

You can toggle the various sub-object levels, and

access relevant functions, by clicking the buttons

at the top of the Selection rollout.

Clickingabuttonhereisthesameaschoosing

a sub-object type in the modifier stack display.

Click the button again to turn it off and return to

the Object selection level.

Selection Rollout (Polymesh) 1025

Note: You can convert sub-object selections in

three different ways with the use of the Ctrl and

Shift keys:

•Toconvertthecurrentselectiontoadifferent

sub-object level, clicking a sub-object button

on the Selection rollout with Ctrl held down.

This selects all sub-objects at the new level that

touch the previous selection. For example,

if you select a vertex, and then Ctrl +click

the Polygon button, all polygons that use that

vertex are selected.

• To convert the selection to only sub-objects

all of whose source components are originally

selected, hold down both Ctrl and Shift

as you change the level. For example, if you

convert a vertex selection to a polygon selection

with Ctrl+Shift +click, the resultant selection

includes only those polygons all of whose

vertices were originally selected.

• To convert the selection to only sub-objects

that border the selection, hold down Shift as

you change the level. The selection conversion

is inclusive, meaning:

• When you convert faces, the resulting

selection of edges or vertices all belong to

selected faces that bordered unselected faces.

Only the edges or vertices that bordered

unselected faces are selected.

Face selection (left) converted to vertex border (center)

and edge border (right)

• When you convert vertices to faces, the

resulting selection of faces had all of their

vertices selected and bordered unselected

faces. When you convert vertices to edges,

the resulting selection contains only edges

all of whose vertices were previously selected

andonlyedgesoffacesthatdidnothaveall

vertices selected; that is, of faces around the

border of the vertex selection.

Vertex selection (left) converted to edge border (center)

and face border (right)

• When you convert edges to faces, the

resulting selection of faces had some but

not all of their edges selected, and were

next to faces with no edges selected. When

you convert edges to vertices, the resulting

vertices are on previously selected edges,

butonlyatintersectionswherenotalledges

were selected.

Edge selection (left) converted to face border (center)

and vertex border (right)

Conversion commands are also available from the

quad menu.

Interface

1026 Chapter 9: Surface Modeling

Vertex—Turns on Vertex sub-object level,

which lets you select a vertex beneath the cursor;

region selection selects vertices within the region.

Edge—Tur ns on Ed ge sub -obje ct level, w hich

lets you select a polygon edge beneath the cursor;

region selection selects multiple edges within the

region.

Border—Turns on Border sub-object level,

which lets you select a sequence of edges that

borders a hole in the mesh. Borders are always

composed of edges with faces on only one side of

them,andarealwayscompleteloops.Forexample,

a box doesn’t have a border, but the teapot object

has a couple of them: on the lid, on the body, on

the spout, and two on the handle. If you create

a cylinder, then delete one end, the row of edges

around that end forms a border.

When Border sub-object level is active, you can’t

select edges that aren’t on borders. Clicking a

single edge on a border selects that whole border.

You can cap a borders, either in Editable Poly or by

applying the Cap Holes modifier (page 1–569).You

can also connect borders between objects with the

Connect compound object (page 1–328).

Polygon—Turns on Polygon sub-object level,

which lets you select polygons beneath the cursor.

Region selection selects multiple polygons within

the region.

Element—Turns on Element sub-object level,

which lets you select all contiguous polygons in an

object. Region selection lets you select multiple

elements.

By Vertex—When on, you can select sub-objects

only by selecting a vertex that they use. When you

click a vertex, all sub-objects that use the selected

vertex are selected.

Ignore Backfacing—When on, selection of

sub-objects affects only those facing you. When

off (the default), you can select any sub-object(s)

under the mouse cursor, regardless of their

visibility or facing. If there are more than one

sub-object under the cursor, repeated clicking

cyclesthroughthem. Likewise,withIgnore

Backfacing off, region selection includes all

sub-objects, regardless of the direction they face.

Note: ThestateoftheBackfaceCullsettinginthe

Display panel does not affect sub-object selection.

Thus, if Ignore Backfacing is off, you can still select

sub-objects, even if you can’t see them.

By Angle—When on and you select a polygon,

the software also selects neighboring polygons

basedontheanglesettingtotherightofthecheck

box. This value determines the maximum angle

between neighboring polygons to select. Available

only at the Polygon sub-object level.

For example, if you click a side of a box and the

angle value is less than 90.0, only that side is

selected, because all sides are at 90-degree angles

to each other. But if the angle value is 90.0 or

greater, all sides of the box are selected. This

function speeds up selection of contiguous areas

made up of polygons that are at similar angles to

one another. You can select coplanar polygons

with a single click at any angle value.

Shrink—Reduces the sub-object selection area

by deselecting the outermost sub-objects. If

the selection size can no longer be reduced, the

remaining sub-objects are deselected.

Grow—Expands the selection area outward in all

available directions.

Forthisfunction,aborderisconsideredtobean

edge selection.

Selection Rollout (Polymesh) 1027

With Shrink and Grow, you can add or remove neighboring

elements from the edges of your current selection. This works

at any sub-object level.

Ring—Expands an edge selection by selecting all

edges parallel to the selected edges. Ring applies

only to edge and border selections.

Ring selection adds to the selection all the edges that are

parallel to the ones selected originally.

Tip: After making a ring selection, you can use

Connect to subdivide the associated polygons into

new edge loops.

[Ring Shift]—The spinner next to

the Ring button lets you move the selection in

either direction to other edges in the same ring;

thatis,toneighboring,paralleledges.Ifyouhave

a loop selected, you can use this function to select

a neighboring loop. Applies only to Edge and

Border sub-object levels.

Left: Original loop selection

Upper right: Ring Shift up moves selection outward (from

center of model).

Lower right: Ring Shift down moves selection inward (toward

center of model).

To expand the selection in the chosen direction,

Ctrl +click the up or down spinner button. To

shrink the selection in the chosen direction,

Alt +click the up or down spinner button.

Loop—Expands the selection as far as possible, in

alignment with selected edges.

Loop applies only to edge and border selections,

and propagates only through four-way junctions.

Loop selection extends your current edge selection by adding

all the edges aligned to the ones selected originally.

[Loop Shift]—The spinner next to

the Loop button lets you move the selection in

either direction to other edges in the same loop;

that is, to neighboring, aligned edges. If you have a

1028 Chapter 9: Surface Modeling

ring selected, you can use this function to select a

neighboring ring. Applies only to Edge and Border

sub-object levels.

Left: Original ring selection

Upper right: Loop Shift up moves selection outward.

Lower right: Loop Shift down moves selection inward.

To expand the selection in the chosen direction,

Ctrl +click the up or down spinner button. To

shrink the selection in the chosen direction,

Alt +click the up or down spinner button.

Selection Information

At the bottom of the Selection rollout is a text

display giving information about the current

selection. If 0 or more than one sub-object is

selected, the text gives the number and type

selected. If one sub-object is selected, the text gives

the identification number and type of the selected

item.

Editable Poly (Object)

Select an editable poly object. > Modify panel

Select an editable poly object. > Quad menu > Tools 1

quadrant > Top-level

Editable Poly (Object) functions are available

when no sub-object levels are active. These

functions are also available at all sub-object levels,

and work the same in each mode, except as noted

below.

Use the Selection rollout (page 1–1025) or

modifier stack (page 3–760) to access the different

sub-object levels.

Editable Poly (Vertex) 1029

Interface

Edit Geometry rollout

See Edit Geometry Rollout (Polymesh) (page

1–1055) for detailed descriptions of these controls.

Subdivision Surface rollout

See Interface (page 1–1061) for information on the

Subdivision Surface rollout settings.

Subdivision Displacement rollout

See Interface (page 1–1063) for information on the

Subdivision Displacement rollout settings.

Paint Deformation rollout

Paint Deformation lets you stroke elevated and

indented areas directly onto object surfaces. For

more information, see Paint Deformation Rollout

(page 1–1064).

Editable Poly (Vertex)

Select an editable poly object. > Modify panel > Selection

rollout > Vertex

Select an editable poly object. > Modify panel > Modifier

Stack display > Expand Editable Poly. > Vertex

Select an editable poly object. > Quad menu > Tools

1quadrant>Vertex

Vertices are points in space: they define the

structure of other sub-objects that make up the

poly. When vertices are moved or edited, the

geometry they form is affected as well. Vertices

can also exist independently; such isolated vertices

can be used to construct other geometry but are

otherwise invisible when rendering.

At the Editable Poly (Vertex) sub-object level, you

can select single and multiple vertices and move

them using standard methods. This topic covers

the Edit Geometry, Edit Vertices, and Vertex

Properties rollouts; for other controls, see Editable

Poly (page 1–1022).

Procedures

To weld polygon vertices:

You can use either of two methods to combine

several vertices into one, also known as welding. If

the vertices are very close together, use the Weld

function. You can also use Weld to combine a

number of vertices to the average position of all

of them.

Alternatively, to combine two vertices that are far

apart, resulting in a single vertex that’s in the same

position as one of them, use Target Weld.

1030 Chapter 9: Surface Modeling

1. To u s e We l d :

1. On the Selection rollout, turn on Ignore

Backfacing, if necessary. This ensures that

you’reweldingonlyverticesyoucansee.

2. Select the vertices to weld.

3. If the vertices are very close together, simply

click Weld. If that doesn’t work, proceed to

the next step.

4. Click the Settings button to the right of

the Weld button.

This opens the Wel d Ver t ice s d ialo g (p ag e

1–1077).

5. Increase the Weld Threshold value gradually

using the spinner (click and hold on the

up-down arrow buttons to the right of the

numeric field and then drag upward). If you

need the value to change more quickly, hold

down the Ctrl key as you drag.

When the threshold equals or exceeds

the distance between two or more of the

vertices, the weld occurs automatically, and

the resulting vertex moves to their average

location.

6. If not all the vertices are welded, continue

increasing the Weld Threshold value until

they are.

7. Click OK to exit.

2. To u s e Ta r g e t We l d :

1. On the Selection rollout, turn on Ignore

Backfacing, if necessary. This ensures that

you’reweldingonlyverticesyoucansee.

2. Find two vertices you want to weld, and

determine the ultimate location of the

resulting vertex. The two vertices must be

contiguous; that is, they must be connected

by a single edge.

For this example, we’ll call the vertices A and

B, and the resulting vertex will be at vertex

B’s location.

3. Click the Target Weld button.

The button stays highlighted, to indicate that

you’re now in Target Weld mode.

4. Click vertex A and then move the mouse.

A rubber-band line connects the vertex and

the mouse cursor.

5. Position the cursor over vertex B, whereupon

the cursor image changes from an arrow

to a crosshairs. Reminder: Only vertices

connected to the first vertex by a single edge

qualify for target welding.

6. Click to weld the two.

The resulting vertex remains at vertex B’s

position, and you exit Target Weld mode.

To select vertices by color:

1. In the Vertex Properties rollout > Select Vertices

By group, click the color swatch, and specify the

color of vertex you want in the Color Selector

(page 1–161).

2. Specify ranges in the RGB Range spinners.

This lets you select vertices that are close to the

specified color, but don’t match exactly.

3. Click the Select button.

All vertices matching the color, or within the

RGB range, are selected.

You can add to the selection by holding Ctrl as

youclicktheSelectbutton,andsubtractfrom

the selection by holding the Alt key.

Tip: You can select all vertices of the same color

by first selecting the vertex you want matched,

dragging a copy of the Edit Color swatch to the

Existing Color swatch, and then clicking the

Select button. (If you want an exact match, be

sure to set the RGB Range spinners to 0 first.)

Editable Poly (Vertex) 1031

Interface

Selection rollout

See Editable Poly (page 1–1025) for information on

the Selection rollout settings.

Soft Selection rollout

Soft Selection controls apply a smooth falloff

between selected sub-objects and unselected

ones. When Use Soft Selection is on, unselected

sub-objectsnearyourselectionaregivenpartial

selectionvalues. Thesevaluesareshowninthe

viewports by means of a color gradient on the

vertices, and optionally on the faces. They affect

most types of sub-object deformations, such as the

Move, Rotate, and Scale functions, as well as any

deformation modifiers (such as Bend) applied to

the object. This provides a magnet-like effect with

a sphere of influence around the selection.

For more information, see Soft Selection Rollout

(page 1–963).

Edit Vertices rollout

This rollout includes commands specific to vertex

editing.

Note: To delete vertices, select them and press the

Delete key. This can create one or more holes

in the mesh. To delete vertices without creating

holes, use Remove (see below).

Remove—Deletes selected vertices and combines

the polygons that use them. The keyboard shortcut

is Backspace .

Removing one or more vertices deletes them and retriangulates

the mesh to keep the surface intact. If you use Delete instead,

the polygons depending on those vertices are deleted as well,

creating a hole in the mesh.

Warning: Use of Remove can result in mesh shape

changes and non-planar polygons.

Break—Creates a new vertex for each polygon

attached to selected vertices, allowing the polygon

corners to be moved away from each other where

they were once joined at each original vertex. If a

vertex is isolated or used by only one polygon, it

is unaffected.

Extrude—Lets you extrude vertices manually via

direct manipulation in the viewport. Click this

button, and then drag vertically on any vertex to

extrude it.

Extruding a vertex moves it along a normal and

creates new polygons that form the sides of the

extrusion, connecting the vertex to the object.

The extrusion has the same number of sides as

the number of polygons that originally used the

extruded vertex.

Following are important aspects of vertex

extrusion:

• When over a selected vertex, the mouse cursor

changes to an Extrude cursor.

• Drag vertically to specify the extent of the

extrusion, and horizontally to set the size of the

base.

• With multiple vertices selected, dragging on

any one extrudes all selected vertices equally.

1032 Chapter 9: Surface Modeling

• You can drag other vertices in turn to extrude

them while the Extrude button is active. Click

Extrude again or right-click in the active

viewport to end the operation.

Chamfer box showing extruded vertex

Extrude Settings—Opens the Extrude Vertices

dialog (page 1–1073),whichletsyouperform

extrusion via interactive manipulation.

If you click this button after performing a manual

extrusion, the same extrusion is performed on the

current selection as a preview and the dialog opens

with Extrusion Height set to the amount of the last

manual extrusion.

Weld—Combines contiguous, selected vertices

that fall within the tolerance specified in Weld

dialog (page 1–1077). All edges become connected

to the resulting single vertex.

Weld is best suited to automatically simplifying

geometry that has areas with a number of vertices

that are very close together. Before using Weld,

set the Weld Threshold via the Weld dialo g (page

1–1077). To weld vertices that are relatively far

apart, use Ta rg e t We l d instead.

Weld Settings—Opens the Weld di alog (page

1–1077), which lets you specify the weld threshold.

Chamfer—Click this button and then drag

verticesintheactiveobject.Tochamfervertices

numerically, click the Chamfer Settings button and

use the Chamfer Amount value.

If you chamfer multiple selected vertices, all of

them are chamfered identically. If you drag an

unselected vertex, any selected vertices are first

deselected.

Each chamfered vertex is effectively replaced by

a new face that connects new points on all edges

leading to the original vertex. These new points

are exactly <chamfer amount> distance from the

original vertex along each of these edges. New

chamfer faces are created with the material ID of

one of the neighboring faces (picked at random)

and a smoothing group which is an intersection of

all neighboring smoothing groups.

Forexample,ifyouchamferonecornerofabox,

thesinglecornervertexisreplacedbyatriangular

face whose vertices move along the three edges

that led to the corner. Outside faces are rearranged

and split to use these three new vertices, and a new

triangle is created at the corner.

Alternatively, you can create open space around

the chamfered vertices; for details, see Chamfer

Vertices dialog (page 1–1070).

Editable Poly (Vertex) 1033

Top: The original vertex selection

Center: Vertices chamfered

Bottom: Vertices chamfered with Open on

Chamfer Settings—Opens the Chamfer Vertices

dialog (page 1–1070),whichletsyouchamfer

vertices via interactive manipulation and toggle

the Open option.

If you click this button after performing a manual

chamfer, the same chamfer is performed on the

current selection as a preview and the dialog opens

with Chamfer Amount set to the amount of the

last manual extrusion.

Target Weld—Allows you to select a vertex and

weld it to a neighboring target vertex. Target Weld

works only with pairs of contiguous vertices; that

is, vertices connected by a single edge.

In Target Weld mode, the mouse cursor, when

positioned over a vertex, changes to a + cursor.

Click and then move the mouse; a dashed,

rubber-band line connects the vertex to the

mousecursor.Positionthecursoroveranother,

neighboring vertex and when the + cursor appears

again, click the mouse. The first vertex is moved to

the position of the second, the two are welded, and

Target Weld mode is automatically exited.

Connect—Creates new edges between pairs of

selected vertices.

Connectwillnotletthenewedgescross.Thus,

for example, if you select all four vertices of a

four-sided polygon and then click Connect, only

two of the vertices will be connected. In this case,

to connect all four vertices with new edges, use

Cut.

Remove Isolated Vertices—Deletes all vertices that

don’t belong to any polygons.

Remove Unused Map Verts—Certain modeling

operations can leave unused (isolated) map

vertices that show up in the Unwrap UVW editor

(page 1–888),butcannotbeusedformapping.

You can use this button to automatically delete

these map vertices.

Weight—Sets the weight of selected vertices. Used

by the NURMS subdivision option and by the

MeshSmooth modifier (page 1–722).Increasinga

vertex weight tends to pull the smoothed result

toward the vertex.

1034 Chapter 9: Surface Modeling

Edit Geometry rollout

See Edit Geometry Rollout (Polymesh) (page

1–1055) for detailed descriptions of these controls.

Vertex Properties rollout

Edit Vertex Colors group

Use these controls to assign the color, and

illumination color (shading) of selected vertices.

Color—Click the color swatch to change the color

of selected vertices.

Illumination—Click the color swatch to change the

illumination color of selected vertices. This lets

you change the illumination without changing the

vertex’s color.

Alpha—Lets you set specific alpha values of selected

vertices. These alpha values are maintained by

thepipelineandcanbeusedinconjunctionwith

vertex color to provide full RGBA data for export.

Select Vertices By group

Color/Illumination—Determines whether to

selectverticesbyvertexcolorvaluesorvertex

illumination values.

Color Swatch—Displays the Color Selector (page

1–161), where you can specify a color to match.

Select—Dependingonwhichradiobuttonis

chosen, selects all vertices whose vertex color or

illumination values either match the color swatch,

Editable Poly (Edge) 1035

or are within the range specified by the RGB

spinners.

Range—Specifies a range for the color match.

All three RGB values in the vertex color or

illumination must either match the color specified

by the color swatch in Select By Vertex Color, or

be within plus or minus the values in the Range

spinners. Default=10.

Subdivision Surface rollout

See Interface (page 1–1061) for information on the

Subdivision Surface rollout settings.

Subdivision Displacement rollout

See Interface (page 1–1063) for information on the

Subdivision Displacement rollout settings.

Paint Deformation rollout

Paint Deformation lets you stroke elevated and

indented areas directly onto object surfaces. For

more information, see Paint Deformation Rollout

(page 1–1064).

Editable Poly (Edge)

Select an editable poly object. > Modify panel > Selection

rollout > Edge

Select an editable poly object. > Modify panel > Modifier

Stack display > Expand Editable Poly. > Edge

Select an editable poly object. > Quad menu > Tools 1

quadrant > Edge

An edge is a line connecting two vertices that forms

thesideofapolygon.Anedgecan’tbesharedby

more than two polygons. Also, the normals of the

two polygons should be adjacent. If they aren’t,

you wind up with two edges that share vertices.

AttheeditablepolyEdgesub-objectlevel,youcan

select single and multiple edges and transform

them using standard methods. This topic covers

the Edit Geometry and Edit Edges rollouts; for

other controls, see Editable Poly (page 1–1022).

Note: Besidesedges,eachpolygonhasoneormore

internal diagonals (page 3–928) that determine

how the polygon is triangulated by the software.

Diagonals can’t be manipulated directly, but you

can use the Tur n and Edit Triangulation functions

to change their positions.

Procedure

Example: To use the Cut and Turn features:

3ds Max provides a convenient function for

turning edges, which, along with the Cut feature,

streamlines the custom modeling process

considerably. Specifically, cutting a new polygon

into existing geometry minimizes the number of

extra visible edges, typically adding none or one.

And after using cut, the new Turn function lets you

adjust any diagonal with a single click.

1. In the Perspective viewport, add a Plane object.

This object is available from the Create panel >

Standard Primitives > Object Type rollout.

By default, the Plane object is divided into 4 x

4 polygons. If you don’t see the polygons in

the Perspective viewport, press F4 to activate

Edged Faces view mode.

2. ConvertthePlaneobjecttoEditablePoly

format. If you’re not sure how, continue in

this step; otherwise, skip to the next step after

converting.

1036 Chapter 9: Surface Modeling

To convert the object, right-click once in the

Perspectiveviewporttoexitcreatemode.

This leaves the object selected. Right-click

again in the Perspective viewport, and then

at the bottom of the Transform quadrant,

choose Convert To > Convert To Editable Poly.

Alternatively, apply the Edit Poly modifier.

The object is now an editable poly and the

command panel switches to the Modify panel.

3. Cutisavailableattheobjectlevelaswellasat

every sub-object level. On the Edit Geometry

rollout, find the Cut button, and then click it.

4. In the Perspective viewport, position the mouse

cursor in the center of a corner polygon, such

as the one closest to you, click once, and then

move the mouse around the viewport.

Two or three lines appear and move as you

move the mouse. One line connects the mouse

cursor to the original click location, and

indicates where the next cut will appear when

you click the mouse button. Another connects

to a corner of the polygon; this connection

changes depending on the mouse position.

And, if the cursor isn’t over an edge or a vertex

(it changes appearance if it is, depending on

which), a third line connects the mouse cursor

to another vertex.

This demonstrates one aspect of the new Cut

functionality; in previous versions, the first

click in a Cut operation connected to two

corners of the polygon.

5. Continue cutting in a rectangular pattern,

clicking once at the center of a different

polygon, finish by clicking once more at the

starting point, and then right-click to exit Cut

mode.

The result is a rectangle across four polygons,

without any connecting visible edges. In

previous versions, you would have had eight

connecting visible edges: two in each of the

original polygons. Note that all the edges you

created are selected, and ready for further

transformation or editing.

6. Cut a rectangle into the center of a single

polygon.

In this case you end up with a single, additional

visibleedgeinsteadofseven,asinprevious

versions. The edge connects corner of the

new polygon with a corner of the original one.

Thisnewedgeisnotselected,buttheonesyou

created explicitly are.

Editable Poly (Edge) 1037

Connecting the remaining corners are a

number of diagonals (page 3–928),whichserve

to fully triangulate the polygons. The new Turn

function lets you manipulate each of these with

asingleclick.

7. Go to the Edge sub-object level, and then, on

the Edit Edges rollout, click Turn.

All diagonals, including those created from the

Cut operations, appear as dashed lines.

8. Click a diagonal to turn it, and then click it

againtoreturnittoitsoriginalstatus.

In Turn mode, click a diagonal (dashed line) once to turn it.

Each diagonal has only two different available

positions, given no changes in any other

diagonals’ or edges’ positions.

Compare this with the Edit Triangulation tool,

with which you must click two vertices to

change a diagonal’s position.

This simple demonstration shows how, when

manually subdividing a polygon mesh for

modeling and animation purposes, you can

save a good deal of time by using the Cut and

Tur n to ols in 3 ds Max.

To create a shape from one or more edges:

1. Selecttheedgesyouwanttomakeintoshapes.

2. On the Edit Edges rollout, click Create Shape

From Selection.

3. Make changes, as needed, on the Create Shape

dialog that appears.

• Enter a curve name or keep the default.

• Choose Smooth or Linear as the shape type.

4. Click OK.

The resulting shape consists of one or more

splines whose vertices are coincident with the

vertices in the selected edges. The Smooth

option results in vertices using smooth values,

while the Linear option results in linear splines

with corner vertices.

If the selected edges are not continuous, or if

they branch, the resulting shape will consist

of more than one spline. When the Create

Shape function runs into a branching ’Y’ in

the edges, it makes an arbitrary decision as to

which edge produces which spline. If you need

to control this, select only those edges that will

result in a single spline, and perform a Create

Shape operation repeatedly to make the correct

number of shapes. Finally, use Attach (page

1–308) in the Editable Spline to combine the

shapes into one.

1038 Chapter 9: Surface Modeling

Above: Original object

Below: Object with edges selected

Above: Selected edges removed from original object

Below: Unwanted edges removed

Interface

Selection rollout

See Editable Poly (page 1–1025) for information on

the Select rollout settings.

Soft Selection rollout

Soft Selection controls apply a smooth falloff

between selected sub-objects and unselected

ones.WhenUseSoftSelectionison,unselected

sub-objectsnearyourselectionaregivenpartial

selection values. These values are shown in the

viewports by means of a color gradient on the

vertices, and optionally on the faces. They affect

most types of sub-object deformations, such as the

Move, Rotate, and Scale functions, as well as any

deformation modifiers (such as Bend) applied to

Editable Poly (Edge) 1039

the object. This provides a magnet-like effect with

a sphere of influence around the selection.

For more information, see Soft Selection Rollout

(page 1–963).

Edit Edges rollout

This rollout includes commands specific to edge

editing.

Note: To delete edges, select them and press the

Delete key. This deletes all selected edges and

attached polygons, which can create one or more

holes in the mesh. To delete edges without creating

holes, use Remove.

Insert Vertex—Lets you subdivide visible edges

manually.

After turning on Insert Vertex, click an edge to

add a vertex at that location. You can continue

subdividing polygons as long as the command is

active.

To stop inserting edges, right-click in the viewport,

or click Insert Vertex again to turn it off.

Note: In previous versions of the software, this

command was called Divide.

Remove—Deletes selected edges and combines the

polygons that use them.

Removing one edge is like making it invisible. The mesh is

affected only when all or all but one of the edges depending

on one vertex are removed. At that point, the vertex itself is

deleted and the surface is retriangulated.

To delete the associated vertices when you remove

edges, press and hold Ctrl while executing

a Remove operation, either by mouse or with

the Backspace key. This option, called Clean

Remove, ensures that the remaining polygons are

planar.

Left: The original edge selection

Center: Standard Remove operation leaves extra vertices.

Right: Clean Remove with Ctrl +Remove deletes the extra

vertices.

Edges with the same polygon on both sides usually

can’t be removed.

Warning: Use of Remove can result in mesh shape

changes and non-planar polygons.

Split—Divides the mesh along the selected edges.

This does nothing when applied to a single edge in

themiddleofamesh. Theverticesattheendof

affected edges must be separable in order for this

option to work. For example, it would work on a

single edge that intersects an existing border, since

the border vertex can be split in two. Additionally,

twoadjacentedgescouldbesplitinthemiddleofa

grid or sphere, since the shared vertex can be split.

1040 Chapter 9: Surface Modeling

Extrude—Lets you extrude edges manually via

direct manipulation in the viewport. Click this

button, and then drag vertically on any edge to

extrude it.

When extruding a vertex or edge interactively in the viewport,

you set the extrusion height by moving the mouse vertically

and the base width by moving the mouse horizontally.

Extruding an edge moves it along a normal and

creates new polygons that form the sides of the

extrusion, connecting the edge to the object. The

extrusion has either three or four sides; three if the

edgewasonaborder,orfourifitwassharedby

two polygons. As you increase the length of the

extrusion, the base increases in size, to the extent

of the vertices adjacent to the extruded edge’s

endpoints.

Following are important aspects of edge extrusion:

• When over a selected edge, the mouse cursor

changes to an Extrude cursor.

• Drag vertically to specify the extent of the

extrusion, and horizontally to set the size of the

base.

• With multiple edges selected, dragging on any

one extrudes all selected edges equally.

• Youcandragotheredgesinturntoextrude

them while the Extrude button is active. Click

Extrude again or right-click in the active

viewport to end the operation.

Chamfer box showing extruded edge

Extrude Settings—Opens the Extrude Edges

dialog (page 1–1073),whichletsyouperform

extrusion via interactive manipulation.

If you click this button after performing a manual

extrusion,thesameextrusionisperformedonthe

current selection as a preview and the dialog opens

with Extrusion Height set to the amount of the last

manual extrusion.

Weld—Combines selected edges that fall within the

threshold specified in Weld dialog (page 1–1077).

You can weld only edges that have one polygon

attached; that is, edges on a border. Also, you

cannot perform a weld operation that would result

in illegal geometry (e.g., an edge shared by more

than two polygons). For example, you cannot weld

opposite edges on the border of a box that has a

side removed.

Weld Settings—Opens the Weld dialog (page

1–1077), which lets you specify the weld threshold.

Chamfer—Click this button and then drag edges in

the active object. To chamfer vertices numerically,

click the Chamfer Settings button and change the

Chamfer Amount value.

If you chamfer multiple selected edges, all of

them are chamfered identically. If you drag an

unselected edge, any selected edges are first

deselected.

Editable Poly (Edge) 1041

An edge chamfer "chops off " the selected edges,

creating a new polygon connecting new points on

all visible edges leading to the original vertex. The

new edges are exactly <chamfer amount> distance

fromtheoriginaledgealongeachoftheseedges.

New chamfer faces are created with the material ID

of one of the neighboring faces (picked at random)

and a smoothing group which is an intersection of

all neighboring smoothing groups.

For example, if you chamfer one edge of a box,

each corner vertex is replaced by two vertices

moving along the visible edges that lead to the

corner. Outside faces are rearranged and split

to use these new vertices, and a new polygon is

created at the corner.

Alternatively, you can create open space around

the chamfered edges; for details, see Chamfer Edges

dialog (page 1–1070).

Chamfer Settings—Opens the Chamfer Edges

dialog (page 1–1070),whichletsyouchamferedges

via interactive manipulation and toggle the Open

option.

If you click this button after performing a manual

chamfer, the same chamfer is performed on the

current selection as a preview and the dialog opens

with Chamfer Amount set to the amount of the

last manual chamfer.

Target Weld—Allows you to select an edge and

weld it to a target edge. When positioned over an

edge, the cursor changes to a + cursor. Click and

move the mouse and a dashed line appears from

the vertex with an arrow cursor at the other end

of the line. Position the cursor over another edge

and when the + cursor appears again, click the

mouse. The first edge is moved to the position of

the second, and the two are welded.

You can weld only edges that have one polygon

attached; that is, edges on a border. Also, you

cannot perform a weld operation that would result

in illegal geometry (e.g., an edge shared by more

than two polygons). For example, you cannot weld

opposite edges on the border of a box that has a

side removed.

Bridge—Connects border edges on an object with

a polygon “bridge.” Bridge connects only border

edges; that is, edges that have a polygon on only

one side. This tool is particularly useful when

creating edge loops or profiles.

TherearetwowaystouseBridgeinDirect

Manipulation mode (that is, without opening the

BridgeEdgessettingsdialog):

• Select two or more border edges on the object,

and then click Bridge. This immediately creates

the bridge between the pair of selected borders

using the current Bridge settings, and then

deactivates the Bridge button.

• If no qualifying selection exists (that is, two or

more selected border edges), clicking Bridge

activatesthebuttonandplacesyouinBridge

mode. First click a border edge and then move

the mouse; a rubber-band line connects the

mouse cursor to the clicked edge. Click a

second edge on a different border to bridge the

two. This creates the bridge immediately using

the current Bridge settings; the Bridge button

remains active for connecting more edges.

To exit Bridge mode, right-click the active

viewport or click the Bridge button.

Note: Bridge always creates a straight-line

connection between edges. To make the bridge

connection follow a contour, apply modeling

toolsasappropriateafter creating the bridge. For

example, bridge two edges, and then use Bend

(page 1–560).

Bridge Settings—Opens the Bridge Edges

dialog (page 1–1068),whichletsyouadd

polygons between pairs of edges via interactive

manipulation.

Connect—Creates new edges between pairs of

selected edges using the current Connect Edges

1042 Chapter 9: Surface Modeling

dialog settings. Connect is particularly useful for

creating or refining edge loops.

Note: You can connect only edges on the same

polygon. Also, Connect will not let the new edges

cross. For example, if you select all four edges of a

four-sided polygon and then click Connect, only

neighboring edges are connected, resulting in a

diamond pattern.

Connecting two or more edges using the Settings dialog

creates equally spaced edges. The number of edges is set in the

dialog. When you click the Connect button, the current dialog

settings are applied to the selection.

Connect Settings—Opens the Connect Edges

dialog (page 1–1070),whichletsyoupreview

the Connect results, specify the number of edge

segments created by the operation, and set spacing

and placement for the new edges.

Create Shape From Selection—After selecting one

or more edges, click this button to create a spline

shape from the selected edges. A Create Shape

dialog appears, letting you name the shape and set

it to Smooth or Linear. The new shape’s pivot is

placed at the center of the poly object. An edge selection (top); a smooth shape (center); a linear

shape (bottom)

Weight—Sets the weight of selected edges. Used

by the NURMS subdivision option and by the

MeshSmooth modifier (page 1–722).

Increasing an edge weight tends to push the

smoothed result away.

Crease—Specifies how much creasing is performed

ontheselectededgeoredges.UsedbytheNURMS

subdivision option and by the MeshSmooth modifier

(page 1–722).

Editable Poly (Edge) 1043

At low settings, the edge is relatively smooth. At

higher settings, the crease becomes increasingly

visible. At 1.0, the highest setting, the edge

becomes a hard crease.

Edit Tri[angulation]—Lets you modify how

polygons are subdivided into triangles by drawing

internal edges, or diagonals (page 3–928).

In Edit Triangulation mode, you can see the current

triangulation in the viewport, and change it by clicking two

vertices on the same polygon.

To edit triangulation manually, turn on this

button. The hidden edges appear. Click a polygon

vertex. A rubber-band line appears, attached to

the cursor. Click a non-adjacent vertex to create a

new triangulation for the polygon.

Tip: For easier editing of triangulation, use the

Turn command instead (see following).

Turn—Lets you modify how polygons are

subdivided into triangles by clicking diagonals.

When you activate Turn, the diagonals (page

3–928) become visible as dashed lines in wireframe

and edged-faces views. In Turn mode, click a

diagonal to change its position. To exit Turn mode,

right-click in the viewport or click the Turn button

again.

Each diagonal has only two available positions

at any given time, so clicking a diagonal twice in

succession simply returns it to its original position.

But changing the position of a nearby diagonal

can make a different alternate position available

to a diagonal.

For more information on how to use Turn with

the enhanced Cut tool, see this procedure (page

1–1035).

Edit Geometry rollout

See Edit Geometry Rollout (Polymesh) (page

1–1055) for detailed descriptions of these controls.

Subdivision Surface rollout

See Interface (page 1–1061) for information on the

Subdivision Surface rollout settings.

1044 Chapter 9: Surface Modeling

Subdivision Displacement rollout

See Interface (page 1–1063) for information on the

Subdivision Displacement rollout settings.

Paint Deformation rollout

Paint Deformation lets you stroke elevated and

indented areas directly onto object surfaces. For

more information, see Paint Deformation Rollout

(page 1–1064).

Editable Poly (Border)

Select an editable poly object. > Modify panel > Selection

rollout > Border

Select an editable poly object. > Modify panel > Modifier

Stack display > Expand Editable Poly. > Border

Select an editable poly object. > Quad menu > Tools

1quadrant>Border

Aborderisalinearsectionofameshthatcan

generallybedescribedastheedgeofahole.Thisis

usually a sequence of edges with polygons on only

one side. For example, a box doesn’t have a border,

but the teapot object has several: on the lid, on the

body, on the spout, and two on the handle. If you

create a cylinder, and then delete an end polygon,

the adjacent row of edges forms a border.

At the editable poly Border sub-object level,

you can select single and multiple borders and

transform them using standard methods. This

topic covers the Edit Geometry and Edit Borders

rollouts; for other controls, see Editable Poly (page

1–1022).

Procedure

To create a polygon that closes the surface at the

selected border:

1. At the Border sub-object level, select any open

edge.

This selects the entire closed loop of continuous

open edges that make up the border selection.

2. Click Cap.

Interface

Selection rollout

See Editable Poly (page 1–1025) for information on

the Selection rollout settings.

Soft Selection rollout

Soft Selection controls apply a smooth falloff

between selected sub-objects and unselected

ones.WhenUseSoftSelectionison,unselected

sub-objectsnearyourselectionaregivenpartial

selection values. These values are shown in the

viewports by means of a color gradient on the

vertices, and optionally on the faces. They affect

most types of sub-object deformations, such as the

Move, Rotate, and Scale functions, as well as any

deformation modifiers (such as Bend) applied to

the object. This provides a magnet-like effect with

a sphere of influence around the selection.

For more information, see Soft Selection Rollout

(page 1–963).

Edit Borders rollout

This rollout includes commands specific to editing

borders.

Editable Poly (Border) 1045

Note: To delete a border, select it and press the

Delete key. This deletes the border and all

attached polygons.

Extrude—Lets you extrude a border manually via

direct manipulation in the viewport. Click this

button, and then drag vertically on any border to

extrude it.

Extrudingabordermovesitalonganormaland

creates new polygons that form the sides of the

extrusion, connecting the border to the object.

The extrusion can form a varying number of

additional sides, depending on the geometry

near the border. As you increase the length of the

extrusion, the base increases in size, to the extent

of the vertices adjacent to the extruded border’s

endpoints.

Following are important aspects of border

extrusion:

• When over a selected border, the mouse cursor

changes to an Extrude cursor.

• Drag vertically to specify the extent of the

extrusion, and horizontally to set the size of the

base.

• With multiple borders selected, dragging on

any one extrudes all selected borders equally.

• Youcandragotherbordersinturntoextrude

them while the Extrude button is active. Click

Extrude again or right-click in the active

viewport to end the operation.

Extrude Settings—Opens the Extrude Edges

dialog (page 1–1073),whichletsyouperform

extrusion via interactive manipulation.

If you click this button after performing a manual

extrusion, the same extrusion is performed on the

current selection as a preview and the dialog opens

with Extrusion Height set to the amount of the last

manual extrusion.

Insert Vertex—Lets you subdivide border edges

manually.

After turning on Insert Vertex, click a border edge

to add a vertex at that location. You can continue

subdividing border edges as long as the command

is active.

To stop inserting vertices, right-click in the

viewport, or click Insert Vertex again to turn it off.

Note: In previous versions of the software, this

command was called Divide.

Chamfer—Click this button and then drag a border

in the active object. The border need not be

selected first.

If you chamfer multiple selected borders, all of

them are chamfered identically. If you drag an

unselected border, any selected borders are first

deselected.

A border chamfer essentially “frames” the border

edges, creating a new set of edges paralleling the

border edges, plus new diagonal edges at any

corners. These new edges are exactly <chamfer

amount> distance from the original edges. New

chamfer faces are created with the material ID of

one of the neighboring faces (picked at random)

and a smoothing group which is an intersection of

all neighboring smoothing groups.

Alternatively, you can create open space around

the chamfered borders, essentially cutting away

at the open edges; for details, see Chamfer Edges

dialog (page 1–1070).

Chamfer Settings—Opens the Chamfer Edges

dialog (page 1–1070), which lets you chamfer

borders via interactive manipulation and toggle

the Open option.

If you click this button after performing a manual

chamfer, the same chamfer is performed on the

current selection as a preview and the dialog opens

1046 Chapter 9: Surface Modeling

with Chamfer Amount set to the amount of the

last manual chamfer.

Cap—Caps an entire border loop with a single

polygon.

Select the border, and then click Cap.

Bridge—Connectstwobordersonanobjectwitha

polygon “bridge.” There are two ways to use Bridge

in Direct Manipulation mode (that is, without

opening the Bridge Settings dialog):

• Selectanevennumberofbordersontheobject,

and then click Bridge. This immediately creates

the bridge between each pair of selected borders

using the current Bridge settings, and then

deactivates the Bridge button.

• If no qualifying selection exists (that is, two

or more selected borders), clicking Bridge

activatesthebuttonandplacesyouinBridge

mode. First click a border edge and then move

the mouse; a rubber-band line connects the

mouse cursor to the clicked edge. Click a

second edge on a different border to bridge the

two. This creates the bridge immediately using

the current Bridge settings; the Bridge button

remains active for connecting more pairs of

borders. To exit Bridge mode, right-click the

active viewport or click the Bridge button.

Note: Bridge always creates a straight-line

connection between border pairs. To make

thebridgeconnectionfollowacontour,apply

modelingtoolsasappropriateafter creating the

bridge. For example, bridge two borders, and then

use Bend (page 1–560).

Bridge Settings—Opens the Bridge dialog (page

1–1067), which lets you connect pairs of borders

via interactive manipulation.

Connect—Creates new edges between pairs of

selected border edges. The edges are connected

from their midpoints.

You can connect only edges on the same polygon.

Connectwillnotletthenewedgescross.Thus,for

example, if you select all four edges of a four-sided

polygon and then click Connect, only neighboring

edges are connected, resulting in a diamond

pattern.

Connect Settings—Lets you preview the

Connect and specify the number of edge segments

created by the operation. To increase the mesh

resolution around the new edge, increase the

Connect Edge Segments setting.

Create Shape From Selection—After selecting one

or more borders, click this button to create a spline

shape from the selected edges. A Create Shape

dialog appears, letting you name the shape and set

it to Smooth or Linear. The new shape’s pivot is

placed at the center of the poly object.

Weight—Sets the weight of selected borders. Used

by the NURMS subdivision option.

Increasing an edge weight tends to push the

smoothed result away.

Crease—Specifies how much creasing is performed

on the selected border or borders. Used by the

NURMS subdivision option.

At low settings, the border is relatively smooth. At

higher settings, the crease becomes increasingly

visible. At 1.0, the highest setting, the border is

notsmoothedatall.

Edit Tri[angulation]—Lets you modify how

polygons are subdivided into triangles by drawing

internal edges, or diagonals (page 3–928).

To edit triangulation manually, turn on this

button. The hidden edges appear. Click a polygon

vertex. A rubber-band line appears, attached to

the cursor. Click a non-adjacent vertex to create a

new triangulation for the polygon.

Tip: For easier editing of triangulation, use the

Turn command instead (see following).

Editable Poly (Border) 1047

Turn—Lets you modify how polygons are

subdivided into triangles by clicking diagonals.

When you activate Turn, the diagonals (page

3–928) become visible as dashed lines in wireframe

and edged-faces views. In Turn mode, click a

diagonal to change its position. To exit Turn mode,

right-click in the viewport or click the Turn button

again.

Each diagonal has only two available positions

at any given time, so clicking a diagonal twice in

succession simply returns it to its original position.

But changing the position of a nearby diagonal

can make a different alternate position available

to a diagonal.

For more information on how to use Turn with

the enhanced Cut tool, see this procedure (page

1–1035).

Edit Geometry rollout

See Edit Geometry Rollout (Polymesh) (page

1–1055) for detailed descriptions of these controls.

Subdivision Surface rollout

See Interface (page 1–1061) for information on the

Subdivision Surface rollout settings.

Subdivision Displacement rollout

See Interface (page 1–1063) for information on the

Subdivision Displacement rollout settings.

1048 Chapter 9: Surface Modeling

Paint Deformation rollout

Paint Deformation lets you stroke elevated and

indented areas directly onto object surfaces. For

more information, see Paint Deformation Rollout

(page 1–1064).

Editable Poly (Polygon/Element)

Select an editable poly object. > Modify panel > Selection

rollout > Polygon or Element

Select an editable poly object. > Modify panel > Modifier

Stack display > Expand Editable Poly. > Polygon/Element

Select an editable poly object. > Quad menu > Tools 1

quadrant > Polygon or Element

Apolygon is a closed sequence of three or more

edges connected by a surface. Polygons provide

the renderable surface of editable poly objects.

At the Editable Poly (Polygon) sub-object level,

you can select single and multiple polygons and

transform them using standard methods. This is

also true for the Element sub-object level; for the

distinctions between polygon and element, see

Editable Poly > Selection rollout (page 1–1025).

This topic covers the Edit Polygons/Elements

rollout and Edit Geometry rollout functions for

these sub-object types; for other controls, see

Editable Poly (page 1–1022).

Note: Workflow enhancements in the Editable Poly

userinterfacegiveyouachoiceofeditingmethods.

See Editable Poly Workflow (page 1–1022) for more

information.

Interface

Selection rollout

See Editable Poly > Selection rollout (page 1–1025)

for information on the Selection rollout settings.

Soft Selection rollout

Soft Selection controls apply a smooth falloff

between selected sub-objects and unselected

ones.WhenUseSoftSelectionison,unselected

sub-objectsnearyourselectionaregivenpartial

selection values. These values are shown in the

viewports by means of a color gradient on the

vertices, and optionally on the faces. They affect

most types of sub-object deformations, such as the

Move, Rotate, and Scale functions, as well as any

deformation modifiers (such as Bend) applied to

the object. This provides a magnet-like effect with

a sphere of influence around the selection.

For more information, see Soft Selection Rollout

(page 1–963).

Edit Polygons/Elements rollout

At the element sub-object level, this rollout

includes commands that are common to both

polygons and elements. At the polygon level, it

contains those as well as a number more that are

unique to polygons. The commands available at

both levels are Insert Vertex, Edit Triangulation,

Retriangulate, and Flip.

Note: To delete polygons or elements, select them

and press the Delete key. A dialog might appear

asking if you want to delete isolated vertices, which

are vertices that are used only by polygons or

Editable Poly (Polygon/Element) 1049

elements that are to be deleted. Click Yes to delete

them; click No to retain them.

Insert Vertex—Lets you subdivide polygons

manually. Applies to polygons, even if at the

element sub-object level.

After turning on Insert Vertex, click a polygon to

add a vertex at that location. You can continue

subdividing polygons as long as the command is

active.

To stop inserting vertices, right-click in the

viewport, or click Insert Vertex again to turn it off.

Note: In previous versions of the software, this

command was called Divide.

Extrude—Lets you perform manual extrusion via

direct manipulation in the viewport. Click this

button, and then drag vertically on any polygon

to extrude it.

Extrudingpolygonsmovesthemalonganormal

and creates new polygons that form the sides of the

extrusion, connecting the selection to the object.

Following are important aspects of polygon

extrusion:

• When over a selected polygon, the mouse

cursor changes to an Extrude cursor.

• Drag vertically to specify the extent of the

extrusion, and horizontally to set the size of the

base.

• With multiple polygons selected, dragging on

any one extrudes all selected polygons equally.

• You can drag other polygons in turn to extrude

them while the Extrude button is active. Click

Extrude again or right-click in the active

viewport to end the operation.

Chamfer box showing extruded polygon

Extrude Settings—Opens the Extrude Faces

dialog (page 1–1072),whichletsyouperform

extrusion via interactive manipulation.

If you click this button after performing an

extrusion,thesameextrusionisperformedonthe

current selection as a preview and the dialog opens

with Extrusion Height set to the amount of the last

manual extrusion.

Outline—Lets you increase or decrease the

outside edge of each contiguous group of selected

polygons.

Outline is often used after an extrusion or bevel to

adjustthesizeoftheextrudedfaces.Itdoesn’tscale

the polygons; only changes the size of the outer

edge. For example, in the following illustration,

note that the sizes of the inner polygons remain

constant.

1050 Chapter 9: Surface Modeling

Click the Outline Settings button to open the

Outline Selected Faces dialog, which lets you

perform outlining by a numeric setting.

Extruded polygons (top), outline expanded (middle), outline

reduced (bottom)

Note that size of inner polygons doesn’t change.

Bevel—Lets you perform manual beveling via

direct manipulation in the viewport. Click this

button, and then drag vertically on any polygon

toextrudeit.Releasethemousebuttonandthen

move the mouse vertically to outline the extrusion.

Click to finish.

• When over a selected polygon, the mouse

cursor changes to a Bevel cursor.

• With multiple polygons selected, dragging on

any one bevels all selected polygons equally.

• You can drag other polygons in turn to bevel

them while the Bevel button is active. Click

Bevel again or right-click to end the operation.

Polygon beveled outward (left) and inward (right)

Bevel Settings—Opens the Bevel Selection

dialog (page 1–1066),whichletsyouperform

beveling via interactive manipulation.

If you click this button after performing a bevel,

thesamebevelisperformedonthecurrent

selection as a preview and the dialog opens with

thesamesettingsusedforthepreviousbevel.

Inset—Performs a bevel with no height; that is,

within the plane of the polygon selection. Click

this button, and then drag vertically on any

polygon to inset it.

• When over a selected polygon, the mouse

cursor changes to an Inset cursor.

• With multiple polygons selected, dragging on

any one insets all selected polygons equally.

• You can drag other polygons in turn to inset

them while the Inset button is active. Click

Inset again or right-click to end the operation.

Editable Poly (Polygon/Element) 1051

Inset works on a selection of one or more polygons. As with

Outline, only the outer edges are affected.

Inset Settings—Opens the Inset Selected Faces

dialog (page 1–1074),whichletsyouinsetpolygons

via interactive manipulation.

If you click this button after performing a manual

inset, the same inset is performed on the current

selection as a preview and the dialog opens with

InsetAmountsettotheamountofthelastmanual

inset.

Bridge—Connects two polygons or polygon

selections on an object with a polygon “bridge.”

TherearetwowaystouseBridgeinDirect

Manipulation mode (that is, without opening the

Bridge Settings dialog):

• Maketwoseparatepolygonselectionsonthe

object, and then click Bridge. This creates the

bridge immediately using the current Bridge

settings, and then deactivates the Bridge button.

• If no qualifying selection exists (that is, two

or more discrete polygon selections), clicking

Bridge activates the button and places you in

Bridge mode. First click a polygon and move

the mouse; a rubber-band line connects the

mouse cursor to the clicked polygon. Click a

second polygon to bridge the two. This creates

thebridgeimmediatelyusingthecurrentBridge

settings; the Bridge button remains active for

connecting more pairs of polygons. To exit

Bridge mode, right-click the active viewport or

click the Bridge button.

Note: Bridge always creates a straight-line

connection between polygon pairs. To make

thebridgeconnectionfollowacontour,apply

modelingtoolsasappropriateafter creating the

bridge. For example, bridge two polygons, and

then use Bend (page 1–560).

Bridge Settings—Opens the Bridge dialog (page

1–1067),whichletsyouconnectpairsofpolygon

selections via interactive manipulation.

Flip—Reverses the directions of the normals of

selected polygons, hence their facing.

Hinge From Edge—Lets you perform a manual

hinge operation via direct manipulation in the

viewport. Make a polygon selection, click this

button, and then drag vertically on any edge to

hinge the selection. The mouse cursor changes to

a cross when over an edge.

The hinge edge needn’t be part of the selection. It can be any

edge of the mesh. Also, the selection needn’t be contiguous.

Hingingpolygonsrotatesthemaboutanedge

and creates new polygons that form the sides of

the hinge, connecting the selection to the object.

It’s essentially an extrusion with rotation, with

the exception that, if the hinge edge belongs to a

selected polygon, that side is not extruded. The

manual version of Hinge From Edge works only

with an existing polygon selection.

Tip: Turn on Ignore Backfacing to avoid

inadvertently hinging about a backfacing edge.

1052 Chapter 9: Surface Modeling

Hinge Settings—Opens the Hinge From Edge

dialog (page 1–1073),whichletsyouhinge

polygons via interactive manipulation.

If you click this button after performing a manual

hinge, the dialog opens with Angle set to the extent

of the last manual hinge.

Extrude Along Spline—Extrudes the current

selection along a spline.

You can extrude a single face (1) or a selection of contiguous

(2) or non-contiguous faces (3). Extrusion 2 uses Taper Curve

and Twist. Extrusion 3 uses Taper Amount; each extrusion has

a different curve rotation.

Make a selection, click this button, and the select a

spline in the scene. The selection is extruded along

the spline, using the spline’s current orientation,

but as though the spline’s start point were moved

to the center of each polygon or group.

Extrude Along Spline Settings—Opens the

Extrude Polygons Along Spline dialog (page

1–1071),whichletsyouextrudealongsplinesvia

interactive manipulation.

Edit Triangulation—Lets you modify how polygons

are subdivided into triangles by drawing internal

edges.

In Edit Triangulation mode, you can see the current

triangulation in the viewport, and change it by clicking two

vertices on the same polygon.

To manually edit triangulation, turn on this

button. The hidden edges appear. Click a polygon

vertex. A rubber-band line appears, attached to

the cursor. Click a non-adjacent vertex to create a

new triangulation for the polygon.

Retriangulate—Lets the software automatically do

its best triangulation on the polygon or polygons

currently selected.

Retriangulate attempts to optimize how selected polygons are

subdivided into triangles.

Turn—Lets you modify how polygons are

subdivided into triangles by clicking diagonals.

When you activate Turn, the diagonals (page

3–928) become visible as dashed lines in wireframe

and edged-faces views. In Turn mode, click a

diagonal to change its position. To exit Turn mode,

right-click in the viewport or click the Turn button

again.

Editable Poly (Polygon/Element) 1053

Each diagonal has only two available positions

at any given time, so clicking a diagonal twice in

succession simply returns it to its original position.

But changing the position of a nearby diagonal

can make a different alternate position available

to a diagonal.

For more information on how to use Turn with

the enhanced Cut tool, see this procedure (page

1–1035).

Edit Geometry rollout

See Edit Geometry Rollout (Polymesh) (page

1–1055) for detailed descriptions of these controls.

Polygon Properties rollout

These controls let you work with material IDs,

smoothing groups, and vertex colors.

Material group

Set ID—Lets you assign a particular material ID

(page 3–969) number to selected sub-objects for

use with multi/sub-object materials (page 2–1594)

and other applications. Use the spinner or enter

the number from the keyboard. The total number

of available IDs is 65,535.

Select ID—Selectssub-objectscorrespondingto

the Material ID specified in the adjacent ID field.

Type or use the spinner to specify an ID, then click

the Select ID button.

[Select By Name]—This drop-down list shows

the names of sub-materials if an object has a

Multi/Sub-Object material assigned to it. Click

1054 Chapter 9: Surface Modeling

the drop arrow and choose a sub-material from

the list. The sub-objects that are assigned that

material are selected. If an object does not have

a Multi/Sub-Object material assigned, the name

list is unavailable. Likewise, if multiple objects

areselectedthathaveanEditPatch,EditSpline,

orEditMeshmodifierapplied,thenamelistis

inactive.

Note: Sub-material names are those specified in the

Name column on the material’s Multi/Sub-Object

Basic Parameters rollout; these are not created by

default, and must be specified separately from any

material names.

Clear Selection—When on, choosing a new ID or

material name deselects any previously selected

sub-objects. When off, selections are cumulative,

so new ID or sub-material name selections add to

the existing selection set of patches or elements.

Default=on.

Smoothing Groups group

Use these controls to assign selected polygons to

different smoothing groups (page 3–1013),andto

select polygons by smoothing group.

To assign polygons to one or more smoothing

groups, select the polygons, and then click the

number(s) of the smoothing group(s) to assign

them to.

Select By SG (Smoothing Group)—Displays a dialog

that shows the current smoothing groups. Select

a group by clicking the corresponding numbered

button and clicking OK. If Clear Selection is

on, any previously selected polygons are first

deselected. If Clear Selection is off, the new

selection is added to any previous selection set.

Clear All—Removesanysmoothinggroup

assignments from selected polygons.

Auto Smooth—Sets the smoothing groups based

on the angle between polygons. Any two adjacent

polygons will be put in the same smoothing group

if the angle between their normals is less than the

threshold angle, set by the spinner to the right of

this button.

Threshold—This spinner (to the right of Auto

Smooth) lets you specify the maximum angle

betweenthenormalsofadjacentpolygonsthat

determines whether those polygons will be put in

the same smoothing group.

Edit Vertex Colors group

Use these controls to assign the color, illumination

color (shading), and alpha (transparency) values

of vertices on selected polygons or elements.

Color—Click the color swatch to change the color

of vertices on selected polygons or elements.

Illumination—Click the color swatch to change the

illumination color of vertices on selected polygons

or elements. This lets you change the illumination

without changing the vertex’s color.

Alpha—Lets you assign an alpha (transparency)

value to vertices on selected polygons or elements.

The spinner value is a percentage; zero is

completely transparent and 100 is completely

opaque.

Subdivision Surface rollout

See Interface (page 1–1061) for information on the

Subdivision Surface rollout settings.

Subdivision Displacement rollout

See Interface (page 1–1063) for information on the

Subdivision Displacement rollout settings.

Paint Deformation rollout

Paint Deformation lets you stroke elevated and

indented areas directly onto object surfaces. For

more information, see Paint Deformation Rollout

(page 1–1064).

Edit Geometry Rollout (Polymesh) 1055

Edit Geometry Rollout (Polymesh)

Create or select an editable poly object. > Modify panel >

Edit Geometry rollout

The Edit Geometry rollout provides global

controls for changing the geometry of the

polymesh, at either the top (Object) level or the

sub-object levels. The control are the same at all

levels, except as noted in the descriptions below.

Interface

Repeat Last—Repeats the most recently used

command.

For example, if you extrude a polygon, and want to

apply the same extrusion to several others, select

the others, and then click Repeat Last.

You can apply a spline extrusion of a single polygon (left)

repeatedly to other single polygons (1) or to multiple polygon

selections, contiguous (2) or not (3).

Note: Repeat Last does not repeat all operations.

For example, it does not repeat transforms. To

determine which command will be repeated when

you click the button, check the button’s tooltip. If

no tooltip appears, nothing will happen when it is

clicked.

Constraints—Lets you use existing geometry to

constrain sub-object transformation. Use the

drop-down list to choose the constraint type:

•None: No constraints.

•Edge: Constrains vertex transformations to

edge boundaries.

•Face: Constrains vertex transformations to face

surfaces.

When set to Edge, moving a vertex will slide it along one

of the existing edges, depending on the direction of the

transformation. If set to Face, the vertex moves only on the

polygon’s surface.

Note: You can set constraints at the Object level, but

their use pertains primarily to sub-object levels.

The Constraints setting persists at all sub-object

levels.

1056 Chapter 9: Surface Modeling

Preserve UVs—When on, you can edit sub-objects

without affecting the object’s UV mapping. You

can choose any of an object’s mapping channels

to preserve or not; see Preserve UVs Settings,

following. Default=off.

Without Preserve UVs, there is always a direct

correspondence between an object’s geometry

and its UV mapping. For example, if you map an

objectandthenmovevertices,thetexturemoves

along with the sub-objects, whether you want it

toornot.IfyouturnonPreserveUVs,youcan

perform minor editing tasks without changing

the mapping.

Tip: For best results with Preserve UVs at the

vertex level, use it for limited vertex editing. For

example, you’ll usually have no trouble moving

avertexwithinedgeorfaceconstraints. Also,

it’s better to perform one big move than several

smallermoves,asmultiplesmallmovescanbegin

to distort the mapping. If, however, you need

to perform extensive geometry editing while

preserving mapping, use the Channel Info utility

(page 2–1738) instead.

Original object (left); Scaled vertices with Preserve UVs off

(center); Scaled vertices with Preserve UVs on (right)

Preserve UVs Settings—Opens the Preserve Map

Channels dialog (page 1–1075),whichletsyou

specify which vertex color channels and/or texture

channels (map channels) to preserve. By default,

all vertex color channels are off (not preserved),

andalltexturechannelsareon(preserved).

Create—Lets you create new geometry. How this

button behaves depends on which level is active.

•Object, Polygon, and Element levels—Lets you

create polygons from isolated vertices and

border vertices. All vertices in the object are

highlighted. Click three or more existing

vertices in succession to define the shape of the

new polygon. (The cursor changes to a cross

when it is over a vertex that can legally be part

of the polygon.) To finish polygon creation,

double-click the last vertex. You can also finish

creating the polygon by clicking any vertex

of the new polygon a second time. You can

also create new polygons at the Polygon and

Element sub-object levels.

Youcanaddverticesinthismodeby

Shift +clickinginanemptyspace;these

vertices are incorporated into the polygon

you’re creating.

Youcanstartcreatingpolygonsinanyviewport,

but all subsequent clicks must take place in the

same viewport.

Tip: For best results, click vertices in

counterclockwise (preferred) or clockwise

order. If you use clockwise order, the new

polygon will face away from you.

•Vertex level—Lets you add vertices to a single

selected poly object. After selecting the object

and clicking Create, click anywhere in space

to add free-floating (isolated) vertices to the

object. The new vertices are placed on the active

construction plane unless object snapping is

on. For example, with face snapping on, you

can create vertices on object faces.

•Edge and Border levels—Lets you create an edge

betweenapairofnon-adjacentverticesonthe

same polygon. Click Create, click a vertex,

and then move the mouse. A rubber-band line

extends from the vertex to the mouse cursor.

Click a second, non-adjacent vertex on the

same polygon to connect them with an edge.

Repeat,or,toexit,right-clickintheviewport

or click Create again.

Edges you create separate the polygons.

For example, by creating an edge inside a

quadrilateral polygon, you turn it into two

triangles.

Edit Geometry Rollout (Polymesh) 1057

Collapse (Vertex, Edge, Border, and Polygon levels

only)—Collapsesgroupsofcontiguousselected

sub-objects by welding their vertices to a vertex

at the selection center.

Attach—Lets you attach another object in the scene

to the selected editable poly. You can attach any

type of object, including splines, patch objects,

and NURBS surfaces. Attaching a non-mesh

object converts it to editable-poly format. Click

the object you want to attach to the currently

selected poly object.

When you attach an object, the materials of the

two objects are combined in the following way:

• If the object being attached does not have a

material assigned, it inherits the material of the

object it is being attached to.

• Likewise, if the object you’re attaching to

doesn’thaveamaterial,itinheritsthematerial

of the object being attached.

• If both objects have materials, the resulting

new material is a multi/sub-object material

(page 2–1594) that includes the input materials.

A dialog appears offering three methods of

combining the objects’ materials and material

IDs. For more information, see Attach Options

Dialog (page 1–1018).

Attach remains active in all sub-object levels,

but always applies to objects.

Attach List—Lets you attach other objects in

thescenetotheselectedmesh.Clicktodisplaya

Select Objects dialog (page 1–78) where you choose

multiple objects to attach.

Shaded view of model (upper left); wireframe view of model

(upper right); model with objects attached (lower left); and

subsequent multi/sub-object material (lower right)

Detach (sub-object levels only)—Detaches the

selected sub–objects and the polygons attached to

them as a separate object or element. The Detach

AsCloneoptioncopiesthesub-objectsratherthan

moving them.

You’re prompted to enter a name for the new

object. Detached faces leave a hole in the original

object when you move them to a new position,

unless you use the Detach As Clone option.

Cut and Slice group

Theseknife-liketoolsletyousubdividethepoly

mesh along a plane (Slice) or in a specific area

(Cut). Also see Full Interactivity.

Slice Plane (sub-object levels only)—Creates a

gizmoforasliceplanethatyoucanpositionand

rotate to specify where to slice. Also enables the

Slice and Reset Plane buttons.

If snapping is turned off, you see a preview of the

slice as you transform the slice plane. To perform

the slice, click the Slice button.

1058 Chapter 9: Surface Modeling

Split—When on, the QuickSlice and Cut

operations create double sets of vertices at the

points where the edges are divided. This lets you

easily delete the new polygons to create holes, or

animatethenewpolygonsasseparateelements.

Slice (sub-object levels only)—Performs the slice

operation at the location of the slice plane.

Available only when Slice Plane is on. This tool

slicesthepolyjustlikethe“OperateOn:Polygons”

mode of the Slice modifier (page 1–825).

Reset Plane (sub-object levels only)—Returns the

Slice plane to its default position and orientation.

Available only when Slice Plane is on.

QuickSlice—Lets you quickly slice the object

without having to manipulate a gizmo. Make a

selection, click QuickSlice, and then click once

at the slice start point and again at its endpoint.

You can continue slicing the selection while the

command is active.

To stop slicing, right-click in the viewport, or click

QuickSlice again to turn it off.

With Quickslice on, you can draw a line across your mesh in

any viewport, including Perspective and Camera views. The

mesh is sliced interactively as you move the line endpoint.

Note: At the Object level, QuickSlice affects the

entire object. To slice only specific polygons, use

QuickSliceonapolygonselectionatthePoly

sub-object level.

Note: At the Polygon or Element sub-object level,

QuickSlice affects only selected polygons. To

slice the entire object, use QuickSlice at any other

sub-object level, or at the object level.

Cut—Lets you create edges from one polygon to

another or within polygons. Click at the start

point, move the mouse and click again, and

continue moving and clicking to create new

connected edges. Right-click once to exit the

current cut, whereupon you can start a new one,

or right-click again to exit Cut mode.

Cutting to a vertex (top); cutting an edge (center); cutting a

polygon (bottom). Cut is available at the object level and all

sub-object levels.

Note: You can use Cut with Turn for enhanced

productivity. For more information, see this

procedure (page 1–1035).

MSmooth—Smoothes the object using the current

settings. This command uses subdivision

Edit Geometry Rollout (Polymesh) 1059

functionality similar to that of the MeshSmooth

modifier (page 1–722) with NURMS Subdivision,

but unlike NURMS Subdivision, it applies the

smoothing instantly to the selected area of the

control mesh.

MSmooth Settings—Opens the MeshSmooth

Selection dialog (page 1–1074),whichletsyou

specify how smoothing is applied.

Tessellate—Subdivides all polygons in the object

based on the Tessellation settings (page 1–1077).

Tessellation is useful for increasing local mesh

density while modeling. You can subdivide any

selection of polygons. Two tessellation methods

are available: Edge and Face.

Tessellate Settings—Opens the Tess el l ate

Selection dialog (page 1–1077),whichletsyou

specify how smoothing is applied.

Make Planar—Forces all selected sub-objects to be

coplanar. The plane’s normal is the average surface

normal of the selection.

At the Object level, forces all vertices in the object

to become coplanar.

Tip: One application for Make Planar is making a

flat side on an object. Normally, you would use a

contiguous selection set. If the selection includes

vertices on various parts of the object, the vertices

are still made planar, but with distorting effects on

the rest of the geometry.

X/Y/Z—Makes all selected sub-objects planar and

aligns the plane with the corresponding plane

in the object’s local coordinate system. The

planeusedistheonetowhichthebuttonaxisis

perpendicular; so, for example, clicking the X

button aligns the object with the local YZ axis.

At the Object level, makes all vertices in the object

planar.

View Align—Aligns all vertices in the object to the

planeoftheactiveviewport.Ifasub-objectmode

is active, this function affects only selected vertices

or those belonging to selected sub-objects. In the

case of orthographic viewports, using View Align

has the same effect as aligning to the construction

gridwhenthehomegridisactive.Whenaligning

to a perspective viewport (including camera and

light views), the vertices are reoriented to be

aligned to a plane that is parallel to the camera’s

viewing plane. This plane is perpendicular to

the view direction that is closest to the vertices’

average position.

Above: Selected polygons in Perspective view

Below: Same polygons aligned to Front view

Grid Align—Aligns all vertices in the selected object

to the plane of the current view. If a sub-object

mode is active, function aligns only selected

sub-objects. This function aligns the selected

vertices to the current construction plane. The

1060 Chapter 9: Surface Modeling

current plane is specified by the active viewport

in the case of the home grid. When using a grid

object, the current plane is the active grid object.

Relax—Applies the Relax function to the current

selection, using the Relax dialog settings (see

following). Relax normalizes mesh spacing by

moving each vertex toward the average location of

itsneighbors.ItworksthesamewayastheRelax

modifier (page 1–779).

Note: At the object level, Relax applies to the entire

object. At any sub-object level, Relax applies only

to the current selection.

Relax Settings—Opens the Relax dialog (page

1–1076), which lets you specify how the Relax

function is applied.

Hide Selected (Vertex, Polygon, and Element levels

only)—Hides any selected sub-objectgs.

Unhide All (Vertex, Polygon, and Element levels

only)—Restores any hidden sub-objects to

visibility.

Hide Unselected (Vertex, Polygon, and Element

levels only)—Hides any unselected sub-objects.

Named Selections (sub-object levels only)

Lets you copy and paste named selection sets of

sub-objects between objects. Start by creating one

ormorenamedselectionsets,copyone,selecta

different object, go to the same sub-object level,

and then paste the set.

Note: This function uses sub-object IDs, so if the

target object’s geometry differs from that of the

source object, the pasted selection will probably

comprise a different set of sub-objects.

For more information, see Named Selection Sets

(page 1–67).

Copy—Opens a dialog that lets you specify a

named selection set to place into the copy buffer.

Paste—Pastes the named selection from the copy

buffer.

Delete Isolated Vertices (Edge, Border, Polygon, and

Element levels only)—When on, deletes isolated

vertices when you delete a selection of contiguous

sub-objects. When off, deleting sub-objects leaves

all vertices intact. Default=on.

Full Interactivity—Toggles the level of feedback for

theQuickSliceandCuttools,aswellasallsettings

dialogs.

When on (the default), the final result is always

visibleasyouusethemousetomanipulatethe

tool or change a numeric setting. With Cut and

QuickSlice, when Full Interactivity is turned off,

only the rubber-band line is visible until you click.

Similarly, with numeric settings in dialogs, the

final result is visible only when you release the

mouse button after changing the setting.

The state of Full Interactivity doesn’t affect

changing a numeric setting from the keyboard.

Whether it’s on or off, the setting takes effect only

when you exit the field by pressing Ta b or Enter ,

or by clicking a different control in the dialog.

Subdivision Surface Rollout

(Polymesh)

Create or select an editable poly object. > Modify panel >

Subdivision Surface rollout

Applies subdivision to the object in the style of

MeshSmooth (page 1–722), so you can work on a

lower-resolution "cage" mesh and simultaneously

see a smoother, subdivided result. This rollout is

available at all sub-object levels, as well as at the

object level, and always affects the entire object.

Subdivision Surface Rollout (Polymesh) 1061

Interface

Smooth Result—Applies the same smoothing

group to all polygons.

Use NURMS Subdivision—Applies smoothing

via the NURMS method. See NURMS.The

difference between NURMS in Editable Poly and

MeshSmooth is that the latter gives you access to

control vertices, but the former does not.

Youcontrolthedegreeofsmoothingwiththe

Iterations controls in the Display and Render

groups.

Note: The remaining controls on this rollout take

effect only when Use NURMS Subdivision is on.

Isoline Display—When on, the software displays

only isolines: the object’s original edges, before

smoothing. The benefit of using this option is

a less cluttered display. When off, the software

displays all faces added by NURMS Subdivision;

thus,higherIterationssettings(seeDisplay group

(page 1–1062)) result in a greater number of lines.

Default=on.

Smoothed box with Isoline Display off (left) and Isoline Display

on (right).

Note: Applying a modifier to an Editable Poly

object cancels the effect of the Isoline Display

option; the wireframe display reverts to showing

allpolygonsintheobject. Thisisnot,however,

always the case with the MeshSmooth modifier.

Most deformation and mapping modifiers

maintain the isoline display, but others, such as the

selection modifiers (except Volume Select) and the

Turn To ... modifiers, cause the interior edges to

be displayed.

Show Cage—Toggles the display of a two-color

wireframethatshowstheeditablepolyobject

before modification or subdivision. The cage

colors are shown as swatches to the right of the

check box. The first color represents unselected

sub-objects, and the second color represents

selected sub-objects. Change a color by clicking

its swatch.

1062 Chapter 9: Surface Modeling

Thecagedisplaystheoriginalstructureoftheeditedobject.

Typically this feature is used in conjunction with

the NURMS Subdivision feature, or with the

MeshSmooth modifier (page 1–722),becauseitlets

you easily toggle visibility of the unsmoothed base

object while simultaneously viewing the smoothed

result, but it works with any modifier. When used

with a modifier, turn on Show End Result to make

Show Cage available.

Tip: Show Cage is particularly helpful when used

with the Symmetry modifier (page 1–861).

Display group

Iterations—Sets the number of iterations used to

smooth the poly object. Each iteration generates

allpolygonsusingtheverticescreatedfromthe

previous iteration. Range=0 to 10.

WhentheIterationscheckboxintheRendergroup

(see below) is off, this setting controls iterations

both in the viewports and at render time. When

thecheckboxison,thissettingcontrolsiterations

only in the viewports.

Tip: Use caution when increasing the number of

iterations. The number of vertices and polygons

in an object (and thus the calculation time) can

increase as much as four times for each iteration.

Applying four iterations to even a moderately

complex object can take a long time to calculate.

Yo u c a n p r e s s Esc to stop calculation and revert

to the previous iteration setting.

Smoothness—Determines how sharp a corner

must be before polygons are added to smooth it. A

value of 0.0 prevents the creation of any polygons.

A value of 1.0 adds polygons to all vertices even if

theylieonaplane.

When the Smoothness check box in the Render

group(seebelow)isoff,thissettingcontrols

smoothness both in the viewports and at render

time. When the check box is on, this setting

controls smoothness only in the viewports.

Render group

Applies a different number of smoothing iterations

and/or a different Smoothness value to the object

at render time.

Tip: Use a low number of iterations and/or a lower

Sharpness value for modeling, and higher values

for rendering. This lets you work quickly with

a low-resolution object in the viewports, while

producing a smoother object for rendering.

Iterations—Lets you choose a different number of

smoothingiterationstobeappliedtotheobjectat

rendertime.TurnonIterations,andthenusethe

spinnertoitsrighttosetthenumberofiterations.

Smoothness—Lets you choose a different

Smoothness value to be applied to the object at

rendertime.TurnonSmoothness,andthenuse

the spinner to its right to set the smoothness value.

Separate By group

Smoothing Groups—Prevents the creation of new

polygons at edges between faces that don’t share at

least one smoothing group.

Materials—Prevents the creation of new polygons

for edges between faces that do not share Material

IDs.

Subdivision Displacement Rollout (Polymesh) 1063

Update Options group

Setsmanualorrender-timeupdateoptions,for

situations where the complexity of the smoothed

object is too high for automatic updates. Note that

you can also choose Iterations under the Render

group to set a greater degree of smoothing to be

applied only at render time.

Always—Updates the object automatically

whenever you change any MeshSmooth settings.

When Rendering—Updates the viewport display of

theobjectonlyatrendertime.

Manually—Tur ns on m anua l upd at ing . Wh en

manual updating is selected, any settings you

change don’t take effect until you click the Update

button.

Update—Updates the object in the viewport to

matchthecurrentMeshSmoothsettings.Works

only when you choose When Rendering or

Manually.

Subdivision Displacement Rollout

(Polymesh)

Create or select an editable poly object. > Modify panel

>SubdivisionDisplacementrollout

Specifies surface approximation settings for

subdividing the editable poly. These controls work

like the surface approximation settings for NURBS

(page 1–1078) surfaces. They are used when you

apply a displacement map (page 2–1511) to the

editable poly.

Note: These settings differ from the Subdivision

Surface settings in that, while the latter are applied

at the same modifier-stack level as the mesh,

subdivision displacement is always applied at

the top of the stack, when the mesh is used for

rendering. Thus, a Symmetry modifier applied to

an object using surface subdivision would affect

thesubdividedmesh,butwouldnotaffectan

object that uses subdivision displacement only.

Interface

Subdivision Displacement—When on, polygons are

subdivided to accurately displace the poly object,

usingthemethodandsettingsyouspecifyinthe

Subdivision Presets and Subdivision Method

group boxes. When off, the poly is displaced by

moving existing vertices, the way the Displace

modifier (page 1–629) does. Default=off.

Split Mesh—Affects the seams of displaced poly

objects; also affects texture mapping. When on,

the poly object is split into individual polygons

before it is displaced; this helps preserve texture

mapping. When off, the poly is not split and an

internal method is used to assign texture mapping.

Default=on.

Tip: This parameter is required because of an

architectural limitation in the way displacement

1064 Chapter 9: Surface Modeling

mapping works. Turning Split Mesh on is usually

the better technique, but it can cause problems for

objects with clearly distinct faces, such as boxes,

or even spheres. A box’s sides might separate as

they displace outward, leaving gaps. And a sphere

might split along its longitudinal edge (found in

the rear for spheres created in the Top view) unless

you turn off Split Mesh. However, texture mapping

works unpredictably when Split Mesh is off, so

you might need to add a Displace Mesh modifier

(page 1–514) and make a snapshot (page 1–453)

of the poly. You would then apply a UVW Map

modifier (page 1–922) and then reassign mapping

coordinates to the displaced snapshot poly.

Subdivision Presets group & Subdivision

Method group

Thecontrolsinthesetwogroupboxesspecify

how the program applies the displacement map

when Subdivision Displacement is on. They are

identical to the Surface Approximation controls

(page 1–1239) used for NURBS surfaces.

Paint Deformation Rollout

Edit/Editable Poly object > Paint Deformation rollout

Paint Deformation lets you push, pull, or

otherwise affect vertices by dragging the mouse

cursor over the object surface. At the object

level, Paint Deformation affects all vertices in the

selected object. At sub-object levels, it affects only

selected vertices (or vertices that belong to selected

sub-objects), and recognizes soft selection.

By default, deformation occurs in the normal (page

3–980) direction of each vertex. 3ds Max continues

to use a vertex’s original normal for the direction

of deformation, but you can opt to use the altered

normal direction for a more dynamic modeling

process, or even deform along a specific axis.

Note: Paint Deformation cannot be animated.

Tip: You can streamline the painting process by

using the Brush Presets tools (page 3–690).

Procedure

To paint deformation onto a mesh object:

1. Apply an Edit Poly modifier (page 1–640) to

an object, or convert the object to Editable

Poly (page 1–1022) format. Paint Deformation

uses existing geometry, so the object should

have enough mesh resolution for the desired

deformation.

2. Do either of the following:

• To deform anywhere on the object, remain

at the object level, or work at a sub-object

level with no sub-objects selected.

• To deform only specific areas of an object,

go to a sub-object level and then select the

sub-objects in the area to deform.

3. On the Paint Deformation rollout, click

Push/Pull.

4. Set Push/Pull value to a negative value to push

into the object surface, or to a positive value

topullthesurfaceoutward. Thehigherthe

absolute value, the greater the effect.

5. Set Brush Size and Brush Strength.

6. Position the mouse cursor over the surface to

be deformed.

As you move the mouse, the “brush” reorients

dynamically to show the normal direction of

the portion of the mesh currently under the

cursor. You can use the normal direction of

deformed surfaces as the push/pull direction by

choosing Deformed Normals.

7. Press the mouse button and drag to deform the

surface. If you paint in the same spot repeatedly

without lifting the mouse button, the effect

is cumulative up to the maximum Push/Pull

Va l u e s e t t i n g .

Paint Deformation Rollout 1065

Interface

PaintDeformationhasthreemodesofoperation:

Push/Pull, Relax, and Revert. Only one of these

modes can be active at a time. The remaining

settings control the effect of the active deformation

mode.

For any mode, choose the mode, change settings

as necessary, and then drag the cursor over the

object to paint the deformation.

To paint deformation anywhere on the object,

remain at the object level, or work at a sub-object

level with no sub-objects selected. To deform only

specific areas of an object, go to a sub-object level

and select the sub-objects in the area to deform.

Push/Pull—Moves vertices into the object surface

(push) or out of the surface (pull). The direction

and extent of pushing or pulling is determined by

thePush/PullValuesetting.

Tip: To reverse the Push/Pull direction while

painting, press and hold Alt .

Note: Push/Pull supports soft selection in that

effective strength falls off with the selection value

of soft-selected sub-objects.

Relax—Normalizes the distances between vertices

by moving each vertex to a position calculated

from the average of its neighbors. Relax uses the

same method as the Relax modifier (page 1–779).

Use Relax to push apart vertices that are too close

together,ortopulltogetherverticesthataretoo

far apart.

Revert—Lets you gradually “erase” or reverse the

effects of Push/Pull or Relax by painting. Affects

only vertices deformed since the most recent

Commit operation. If no vertices qualify for

reversion, the Revert button is unavailable.

Tip: You can switch to Revert mode temporarily by

pressing and holding the Ctrl key while painting

deformationinPush/PullorRelaxmode.

Push/Pull Direction group

This setting lets you specify whether pushing or

pulling vertices occurs with respect to surface

normals, original or deformed, or along a specific

axis. Default=Original Normals.

Painting deformations with Original Normals

typically moves vertices perpendicular to the

original surface; using Deformed Normals

tendstomoveverticesoutwardaftertheirinitial

deformation, resulting in a “puffy” effect.

Original Normals—When chosen, pushing or

pulling a vertex moves it in the direction of its

normal before deformation. Repeated applications

of Paint Deformation always move each vertex in

thesamedirectionitmovedoriginally.

Deformed Normals—When chosen, pushing or

pulling a vertex moves it in the current direction of

the normal; that is, after deformation.

Transform axis X/Y/Z—When chosen, pushing or

pulling a vertex moves it along the specified axis,

1066 Chapter 9: Surface Modeling

using the current reference coordinate system (page

1–443).

Push/Pull Value—Determines the direction and

maximum extent of a single application of the

push/pull operation. Positive values “pull” vertices

out of the object surface, and negative values

“push” vertices into the surface. Default =10.0.

A single application is defined as painting (that

is,draggingonceormoreoverthesamearea)

without lifting the mouse button.

Tip: Yo u c a n u s e Alt to switch between pushing

and pulling with the same value while painting.

For example, if you’re pulling with a value of 8.5,

press and hold Alt to start pushing with a value

of -8.5.

Brush Size—Sets the radius of the circular brush.

Onlyverticesinsidethebrushcirclearedeformed.

Default=20.0.

Tip: To change the brush radius interactively,

release the mouse button, press and hold

Shift+Ctrl +left mouse button, and then drag

the mouse. This also works with all other

painter-interface features in 3ds Max such as Skin

> Paint Weights and VertexPaint.

Brush Strength—Sets the rate at which the brush

applies the Push/Pull value. A low Strength value

applies the effect more slowly than a high value.

Range=0.0 to 1.0. Default=1.0.

Tip: To change the brush strength interactively,

release the mouse button, press and hold

Shift+Alt +left mouse button, and then drag

the mouse. This also works with all other

painter-interface features in 3ds Max such as Skin

> Paint Weights and VertexPaint.

Brush Options—Click this button to open the

Painter Options dialog (page 1–960),whereyou

can set various brush-related parameters.

Commit—Makes any deformation changes

permanent, “baking” them into the object

geometry. After using Commit, you can no longer

apply Revert to changes up to that point.

Cancel—Eliminates all changes since the initial

application of Paint Deformation or the most

recent Commit operation.

Editable Poly Settings

Dialogs

Bevel Polygons Dialog

Select an Edit Poly or editable poly object. > Modify panel

> Polygon sub-object level > Edit Polygons rollout > Bevel

Settings button

Select an Edit Poly or editable poly object. > Polygon

sub-object level > Quad menu > tools 2 quadrant > Bevel

Settings button

Beveling involves first extruding and then scaling

the extruded polygon(s). Use these settings for

beveling polygons in Interactive Manipulation

mode.

Interface

Bevel Type group

Group—Beveling takes place along the average

normal of each contiguous group of polygons. If

you bevel multiples of such groups, each group

moves along its own averaged normal.

Bridge Borders/Polygons Dialog 1067

Local Normal—Beveling takes place along each

selected polygon’s normal.

By Polygon—Bevels each polygon individually.

Height—Specifies the extent of the extrusion in

scene units. You can extrude selected polygons

outward or inward, depending on whether the

value is positive or negative.

Outline Amount—Makes the outer border of

selected polygons bigger or smaller, depending on

whether the value is positive or negative.

Apply—Applies the settings to the current

selection, retaining them if you then make another

selection.

OK—Applies the settings to the current selection

and closes the dialog.

Cancel—Closes the dialog without applying the

settings to the current selection. Does not reverse

previous uses of Apply.

Bridge Borders/Polygons Dialog

Select an Edit Poly or editable poly object. > Modify panel

> Polygon or Border sub-object level > Edit Polygons

rollout > Bridge Settings button

Select an Edit Poly or editable poly object. > Polygon or

Border sub-object level > Quad menu > tools 2 quadrant

> Bridge Settings button

Use these settings for bridging pairs of polygons,

polygon selections, or borders in Interactive

Manipulation mode.

Note: Bridge calculates which way the bridge

polygons should face. If you bridge two

sub-objects so that the bridge goes through the

object, the bridge polygons face inward. But if you

create a bridge that goes through empty space,

such as when connecting sub-objects between two

elements, the polygons face outward. To make

thebridgepolygonsfacedifferently,usetheFlip

function.

Examples of an internal bridge (left) and an external bridge

(right), the latter connecting two elements

Note: Bridging two elements makes them

contiguous, combining them into a single element.

Interface

Bridge lets you use existing poly/border selections,

or pick them from the dialog. Choose one of the

following:

Use Specific Polygons/Borders—In this mode, use

the Pick buttons to designate polygons or borders

for bridging.

Use Polygon/Border Selection—If one or more

qualifying selection pairs exist, choosing this

option connects them immediately. If not, you can

select pairs of sub-objects in a viewport to connect

them.

Ifyoumakemorethantwoqualifyingselections,

Bridge connects them in increasing order of ID.

1068 Chapter 9: Surface Modeling

For example, if you select polygon 12, 35, and 89,

Bridge connects polygons 12 and 35. But if you

then deselect polygon 35, Bridge then connects

polygons 12 and 89.

Polygon/Edge 1/2—Click each Pick button in turn,

andthenclickapolygonorborderedgeina

viewport. At the Border sub-object level, clicking

anyedgeonaborderdesignatestheentireborder

for bridging. Also, the edges you pick on each

border are connected directly, and the remaining

edges are connected in consecutive order. You can

change the order of the edge correspondences with

the Twist settings. Available only in Use Specific

mode.

After clicking a sub-object, the Pick button shows

its ID number. You can change the selection at

anytimebyclickingaPickbuttonandpickinga

different sub-object.

Twist 1/2—Rotates the order of connection

between the edges of the two selections. The two

controlsletyousetadifferenttwistamountfor

each end of the bridge.

Segments—Specifies the number of polygons

along the length of the bridge connection. This

setting also applies to manually bridged polygons.

Tip: When using Taper, set Segments to a value

greater than 1.

Taper—Sets the extent to which the bridge width

becomes smaller or larger toward its center.

Negative settings taper the bridge center smaller;

positive settings taper it larger.

Note: To change the location of maximum taper,

use the Bias setting.

Bias—Determines the location of maximum taper

amount.

The range of the Bias value is -99.0 to 99.0. At the

default value of 0.0, the taper amount is greatest

at the center of the bridge. At -99.0, the taper

amount is greatest near the first selected polygon

or border; at 99.0, it’s greatest near the second

selected polygon or border.

Smooth—Determines the maximum angle between

columnsacrosswhichsmoothingcanoccur. A

column is a string of polygons extending along the

length of the bridge.

Apply—Applies the settings to the current

selection, retaining them if you then make another

selection.

OK—Applies the settings to the current selection

and closes the dialog.

Cancel—Closes the dialog without applying the

settings to the current selection. Does not reverse

previous uses of Apply.

Bridge Edges Dialog

Select an Edit Poly or editable poly object. > Modify panel

> Polygon or Border sub-object level > Edit Polygons

rollout > Bridge Settings button

Select an Edit Poly or editable poly object. > Polygon or

Border sub-object level > Quad menu > tools 2 quadrant

> Bridge Settings button

Use these settings for bridging pairs of edges in

Interactive Manipulation mode.

Note: Bridge calculates which way the bridge

polygons should face. If you bridge two edges

so that the bridge goes through the object, the

bridge polygons face inward. But if you create a

bridge that goes through empty space, such as

when connecting edges between two elements,

the polygons face outward, in general. To make

thebridgepolygonsfacedifferently,usetheFlip

function.

Note: Bridging edges of two elements makes them

contiguous, combining them into a single element.

Bridge Edges Dialog 1069

Interface

Bridge lets you use existing edge selections, or pick

them from the dialog. Choose one of the following:

Bridge Specific Edges—In this mode, use the Pick

buttons to designate polygons or borders for

bridging.

UseEdgeSelection—If one or more qualifying

selection pairs exist, choosing this option connects

them immediately. If not, you can select pairs of

sub-objects in a viewport to connect them.

Edge 1/Edge 2—Click each Pick button in turn, and

then click a border edge in a viewport. Available

only in Bridge Specific Edges mode.

After clicking an edge, the Pick button shows its ID

number. You can change the selection at any time

by clicking a Pick button and picking a different

sub-object.

Segments—Specifies the number of polygons

along the length of the bridge connection. This

setting also applies to manually bridged edges.

Smooth—Specifies the maximum angle between

columnsacrosswhichsmoothingcanoccur. A

column is a string of polygons extending along the

length of the bridge.

Reverse Triangulation—When bridging two

edge selections each of which contains different

numbers of edges, two ways of triangulating the

bridge polygons are possible. This check box lets

you toggle between them.

Left: Reverse Triangulation on

Right: Reverse Triangulation off

Bridge Adjacent—Specifies the minimum angle

between adjacent edges across which bridging

can occur. Edges less than this angle will not be

bridged, and instead will be skipped.

Top Left: Edge selections before bridging

Top Right: Segments=2, Bridge Adjacent<83.0

Bottom Left: Bridge Adjacent=83.0

Bottom Right: Bridge Adjacent=126.5

Note: The above illustration shows, among other

things, how setting Bridge Adjacent too high can

cause overlapping polygons (left side of the two

bottom images), which is undesirable.

Apply—Applies the settings to the current

selection, retaining them if you then make another

selection.

OK—Applies the settings to the current selection

and closes the dialog.

Cancel—Closes the dialog without applying the

settings to the current selection. Does not reverse

previous uses of Apply.

1070 Chapter 9: Surface Modeling

Chamfer Vertices/Edges/Borders

Dialog

Select an Edit Poly or editable poly object. > Modify

panel > Vertex/Edge/Border sub-object level > Edit

Vertices/Edges/Borders rollout > Chamfer Settings button

Select an Edit Poly or editable poly object. >

Vertex/Edge/Border sub-object level > Quad menu >

tools 2 quadrant > Chamfer Settings button

Chamfering creates new faces around the

chamfered entity, along with connecting edges.

Or,withtheOpenoption,youcancreateanopen

(empty)areainstead.Thisdialogisthesamefor

chamfering vertices, edges, and borders of poly

objects.Youcanuseittosetthechamferamount

numerically, and to toggle the Open option.

Interface

Chamfer Amount—The extent of the chamfer.

Default=1.0.

Segments—(edges only) Adds edges and

polygons over the area of the chamfer, and, with

single chamfered edges, rounds off the chamfer. By

default, the chamfer uses a single segment, which

covers the chamfered area with a new polygon

positioned diagonally with respect to the original

corner. The higher the Segments value you use,

the more the chamfer is rounded off.

If you chamfer two or more adjacent, open edges

at a time, the rounding off takes place only at open

ends of the edges. No rounding takes place where

the edges meet.

Open—When on, the chamfered area is deleted,

leaving open space. Default=off.

This setting stays active during the current session.

IfyouturnonOpenandthenlaterchamfer

sub-objects interactively, the Open option remains

in effect.

Connect Edges Dialog

Select an Edit Poly or editable poly object. > Modify panel

> Edge sub-object level > Edit Edges rollout > Connect

Settings button

Select an Edit Poly or editable poly object. > Edge

sub-object level > Quad menu > tools 2 quadrant >

Connect Settings button

Connecting edges creates new edges between

adjacent pairs of selected edges. The Connect

Edgesdialogsettingsletyouspecifythenumberof

new edges, the amount of separation from each

other, and their general location.

Tip: Connecting edges, and in particular the Slide

function, work best with ring selections.

Extrude Polygons Along Spline Dialog 1071

Top left: Original edge selection

Top right: Segments=3, Pinch=Slide=0

Bottom left: Segments=3, Pinch=-50, Slide=0

Bottom right: Segments=3, Pinch=-50, Slide=–200

Interface

Segments—The number of new edges between

each adjacent pair of selected edges. Default=1.

Pinch—Therelativespacingbetweenthenew,

connecting edges. Negative values move the edges

closer together; positive values move them farther

apart. Default=0.

If Segments=1, the Pinch setting has no effect.

Slide—Therelativepositioningofthenewedges.

Default=0.

By default, the new edges are centered. Positive

values move them in one direction, while negative

values move them in the opposite direction. The

new edges cannot move beyond existing edges.

Extrude Polygons Along Spline

Dialog

Select an Edit Poly or editable poly object. > Modify panel

> Polygon sub-object level > Edit Polygons rollout >

Extrude Along Spline Settings button

Select an Edit Poly or editable poly object. > Polygon

sub-object level > Quad menu > tools 2 quadrant >

Extrude Along Spline Settings button

Use these settings for extruding polygons along

splines in Interactive Manipulation mode.

Interface

Pick Spline—Click this button and then select a

spline along which to extrude in the viewport. The

spline object’s name then appears on the button.

If you open this dialog after performing a manual

Extrude Along Spline, the name of the spline you

used appears on the button.

Align to face normal—Aligns the extrusion with

the face normal, which, in most cases, makes it

perpendicular to the extruded polygon(s). When

turned off (the default), the extrusion is oriented

thesameasthespline.

1072 Chapter 9: Surface Modeling

WithAlignToFaceNormal,theextrusiondoesnotfollowthe

original orientation of the spline (1); it’s reoriented to match

the face normals (2), or averaged normals for contiguous

selections. The Rotation option is available only when Align

To Face Normal is on.

Rotation—Sets the rotation of the extrusion.

Available only when Align To Face Normal is on.

Default=0. Range=-360 to 360.

Segments—Specifies the number of polygons

into which each extruded side is subdivided.

This setting also applies to manually extruded

polygons.

Taper Amount—Sets the extent to which the

extrusion becomes smaller or larger along its

length. Negative settings taper the extrusion

smaller; positive settings taper it larger.

Taper Curve—Setstherateatwhichthetapering

proceeds. Lower settings result in a more gradual

taper;largesettingsresultinamoreabrupttaper.

TaperCurveaffectsthethicknessoftheextrusion

between its endpoints, but not the size of the ends.

Twist—Applies a twist along the length of the

extrusion.

When using this option, increasing the number

of segments will improve the smoothness of the

extrusion.

Apply—Applies the settings to the current

selection, retaining them if you then make another

selection.

OK—Applies the settings to the current selection

and closes the dialog.

Cancel—Closes the dialog without applying the

settings to the current selection. Does not reverse

previous uses of Apply.

Extrude Polygons Dialog

Select an Edit Poly or editable poly object. > Modify

panel > Polygon sub-object level > Edit Polygons rollout

> Extrude Settings button

Select an Edit Poly or editable poly object. > Polygon

sub-object level > Quad menu > tools 2 quadrant >

Extrude Settings button

Use these settings for extruding polygons in

Interactive Manipulation mode.

Interface

Extrusion Type group

Group—Extrusion takes place along the average

normal of each contiguous group of polygons. If

you extrude multiples of such groups, each group

moves along its own averaged normal.

Local Normal—Extrusion takes place along each

selected polygon’s normal.

By Polygon—Extrudes or bevels each polygon

individually.

Extrusion Height—Specifies the amount of the

extrusioninsceneunits.Youcanextrudeselected

Extrude Vertices/Edges Dialog 1073

polygons outward or inward, depending on

whether the value is positive or negative.

Apply—Applies the settings to the current

selection, retaining them if you then make another

selection.

OK—Applies the settings to the current selection

and closes the dialog.

Cancel—Closes the dialog without applying the

settings to the current selection. Does not reverse

previous uses of Apply.

Extrude Vertices/Edges Dialog

Select an Edit Poly or editable poly object. > Modify

panel > Vertex/Edge/Border sub-object level > Edit

Vertices/Edges/Borders rollout > Extrude Settings button

Select an Edit Poly or editable poly object. >

Vertex/Edge/Border sub-object level > Quad menu >

tools 2 quadrant > Extrude Settings button

Use this dialog for extruding vertices, edges, and

borders in Interactive Manipulation mode.

Note: At the Border sub-object level, this dialog is

named Extrude Edges.

Interface

Extrusion Height—Specifies the amount of the

extrusioninsceneunits.

You can extrude sub-objects outward or inward,

depending on whether the value is positive or

negative.

Extrusion Base Width—Specifies the size of the

extrusionbaseinsceneunits.

Youcansetthisashighasyouwant,buttheactual

size cannot extend beyond the vertices adjacent to

the extruded sub-object(s).

Apply—Applies the settings to the current

selection, retaining them if you then make another

selection.

OK—Applies the settings to the current selection

and closes the dialog.

Cancel—Closes the dialog without applying the

settings to the current selection. Does not reverse

previous uses of Apply.

Hinge Polygons From Edge Dialog

Select an Edit Poly or editable poly object. > Modify

panel > Polygon sub-object level > Edit Polygons rollout

> Hinge From Edge Settings button

Select an Edit Poly or editable poly object. > Polygon

sub-object level > Quad menu > tools 2 quadrant > Hinge

From Edge Settings button

Use these settings for hinging polygons in

Interactive Manipulation mode.

Interface

Angle—Quantifies the rotation about the hinge.

You can hinge selected polygons outward or

1074 Chapter 9: Surface Modeling

inward, depending on whether the value is positive

or negative.

Segments—Specifies the number of polygons into

which each extruded side is subdivided. This

setting also applies to manually hinged polygons.

Current Hinge—Click Pick Hinge, and then click an

edge to be the hinge. After you designate a hinge,

the “Pick Hinge” button text is replaced with “Edge

#”where#istheIDnumberofthehingeedge.

All subsequent hinge operations created via the

dialog will use this hinge. To hinge multiple

polygons, each from one of its own sides, you must

reselect the hinge each time.

Apply—Applies the settings to the current

selection, retaining them if you then make another

selection.

OK—Applies the settings to the current selection

and closes the dialog.

Cancel—Closes the dialog without applying the

settings to the current selection. Does not reverse

previous uses of Apply.

Inset Polygons Dialog

Select an Edit Poly or editable poly object. > Modify panel

> Polygon sub-object level > Edit Polygons rollout > Inset

Settings button

Select an Edit Poly or editable poly object. > Polygon

sub-object level > Quad menu > tools 2 quadrant > Inset

Settings button

Use these settings for insetting polygons in

Interactive Manipulation mode.

Interface

Inset Type group

This setting affects how Inset works with selections

of more than one polygon.

Group—The inset takes place across multiple,

contiguous polygons.

By Polygon—Insets each polygon individually.

Inset Amount—Specifies the amount of the inset

in scene units.

Apply—Applies the settings to the current

selection, retaining them if you then make another

selection.

OK—Applies the settings to the current selection

and closes the dialog.

Cancel—Closes the dialog without applying the

settings to the current selection. Does not reverse

previous uses of Apply.

MeshSmooth Selection Dialog

Select an Edit Poly or editable poly object. > Modify panel

> Polygon sub-object level > Edit Geometry rollout >

MSmooth Settings button

This dialog lets you specify how mesh smoothing

affects editable poly and Edit Poly objects.

Preserve Map Channels Dialog 1075

Interface

Smoothness—Determines how sharp a corner

must be before polygons are added to smooth it.

Smoothness is calculated as the average angle of

all edges connected to a vertex. A value of 0.0

prevents the creation of any polygons. A value of

1.0addspolygonstoallverticeseveniftheylieon

aplane.

Separate by Smoothing Groups—Prevents the

creation of new polygons at edges between

polygons that don’t share at least one smoothing

group.

Separate by Materials—Prevents the creation of

new polygons for edges between polygons that do

not share Material IDs.

Apply—Applies the settings to the current

selection, retaining them if you then make another

selection.

OK—Applies the settings to the current selection

and closes the dialog.

Cancel—Closes the dialog without applying the

settings to the current selection. Does not reverse

previous uses of Apply.

Preserve Map Channels Dialog

Select an Edit Poly or editable poly object. > Modify panel

> any sub-object level > Edit Geometry rollout > Preserve

UVs button

Use these settings for specifying which map

channels to preserve when editing sub-objects

with the Preserve UVs option on. A preserved

map channel doesn’t respond to minor editing that

changes vertex locations, but a channel whose UVs

aren’t preserved allows mapping to be changed by

changes in vertex locations.

Interface

Thedialogcontainsbuttonsforallavailable,

data-containing vertex color channels and texture

channels. The number and type of buttons

displayed vary depending on the state of the

object; they can be changed, for example, with the

VertexPaint modifier (page 1–936) and the Channel

Info utility (page 2–1738).

Click a button to toggle its state. When off, a

button is gray and appears higher than the dialog

surface. When on, a button is orange and appears

pressed in.

1076 Chapter 9: Surface Modeling

Vertex Color Channels—Displays buttons for any

vertex-color channels that contain data. These can

be Vertex Colors, Vertex Illumination, and Vertex

Alpha. By default, all vertex-color buttons are off,

so that associated UVs are affected by sub-object

editing. To prevent a channel from being affected

by sub-object editing, click its button.

Texture Channels—Displays buttons for any texture

(mapping)channelsthatcontaindata.Theseare

identified by number. By default these are on, so

that associated UVs are not affected by sub-object

editing. To allow a channel to be affected by

sub-object editing, click its button.

Reset All—Returns all channel buttons to their

default states: all vertex color channels off, all

texture channels on.

Apply—Applies the settings to the current

selection, retaining them if you then make another

selection.

OK—Applies the settings to the current selection

and closes the dialog.

Cancel—Closes the dialog without applying the

settings to the current selection. Does not reverse

previous uses of Apply.

Relax Dialog

Select an Edit Poly or editable poly object. > Modify panel

> object level or any sub-object level > Edit Polygons

rollout > Relax Settings button

Select an Edit Poly or editable poly object. > object level

or any sub-object level > Quad menu > tools 2 quadrant

> Relax Settings button

Use these settings for relaxing vertices in

Interactive Manipulation mode. Relax in

Edit/Editable Poly works much like the Relax

modifier (page 1–779): It normalizes the distance

between each affected vertex and its neighbors by

moving the vertex toward the average position of

its neighbors.

Note: At the object level, Relax applies to the entire

object. At any sub-object level, Relax applies to

selected sub-objects only.

Interface

Amount—Controls how far a vertex moves for each

iteration. The value specifies a percentage of the

distance from the original location of a vertex to

the average location of its neighbors. Range=-1.0

to 1.0. Default=0.5.

Iterations—Sets how many times to repeat the

Relax process. For each iteration, average locations

arerecalculatedandtheRelaxValueisreappliedto

every vertex. Default=1.

Hold Boundary Points—Controls whether

vertices at the edges of open meshes are moved.

Default=on.

When on, boundary vertices do not move while

the rest of the object is relaxed. This option is

particularly useful when working with multiple

elements within a single object that share open

edges.

When this check box is off, all vertices of the object

are relaxed.

Hold Outer Points—When on, preserves the

original positions of vertices farthest away from

the object center.

Apply—Applies the settings to the current

selection, retaining them if you then make another

selection.

OK—Applies the settings to the current selection

and closes the dialog.

Tessellate Selection Dialog 1077

Cancel—Closes the dialog without applying the

settings to the current selection. Cancel does not

reverse previous uses of Apply.

Tessellate Selection Dialog

Select an Edit Poly or editable poly object. > Modify panel

> Polygon sub-object level > Edit Polygons rollout >

Tessellate Settings button

This dialog lets you specify how Tessellate should

subdivide polygons.

Interface

Edge—Inserts vertices in the middle of each edge

and draws lines connecting those vertices. The

number of polygons created will equal the number

of sides of the original polygon.

Face—Adds a vertex to the center of each polygon

and draws connecting lines from that vertex to the

original vertices. The number of polygons created

will equal the number of sides of the original

polygon.

Tension—Lets you increase or decrease the Edge

tension value. Available only when Type: Edge is

active.

A negative value pulls vertices inward from their

plane, resulting in a concave effect. A positive

value pulls vertices outward from their plane,

resultinginaroundingeffect.

Apply—Applies the settings to the current

selection, retaining them if you then make another

selection.

OK—Applies the settings to the current selection

and closes the dialog.

Cancel—Closes the dialog without applying the

settings to the current selection. Does not reverse

previous uses of Apply.

Weld Vertices/Edges Dialog

Select an Edit Poly or editable poly object. > Modify panel

> Vertex or Edge sub-object level > Edit Vertices/Edges

rollout > Weld Settings button

Select an Edit Poly or editable poly object. > Vertex or

Edge sub-object level > Quad menu > tools 2 quadrant >

Weld Settings button

Use this dialog for setting the weld threshold for

vertices and edges.

Interface

Weld Threshold—Specifies the maximum distance,

in scene units, within which selected sub-objects

will be welded.

Any vertex or edge that lies outside this threshold

(that is, it’s farther than this from the nearest

vertex or edge) will not be welded.

Number of Vertices—Shows the number of vertices

before and after the weld.

1078 Chapter 9: Surface Modeling

The After quantity updates dynamically as you

change the setting with the spinner.

Apply—Applies the settings to the current

selection, retaining them if you then make another

selection.

OK—Applies the settings to the current selection

and closes the dialog.

Cancel—Closes the dialog without applying the

settings to the current selection. Does not reverse

previous uses of Apply.

NURBS

Fountain created as a NURBS model

3dsMaxprovidesNURBSsurfacesandcurves.

NURBS stands for Non-Uniform Rational

B-Splines.NURBShavebecomeanindustry

standard for designing and modeling surfaces.

They are especially suited for modeling surfaces

with complicated curves. The tools for modeling

with NURBS do not require an understanding

of the mathematics that produces these objects.

NURBS are popular because they are easy

to manipulate interactively, and because the

algorithms that create them are both efficient and

numerically stable.

You can also model surfaces using polygonal

meshes or patches. Compared to NURBS surfaces,

meshes and patches have these shortcomings:

• Using polygons can make it more difficult to

create complicated curved surfaces.

• Because meshes are faceted, facets appear at the

edge of rendered objects. You must have a large

number of small faces to render a smoothly

curved edge.

NURBS surfaces, on the other hand, are

analytically generated. They are more efficient to

calculate, and you can render a NURBS surface

that appears to be seamless. (A rendered NURBS

surface is actually approximated by polygons,

but the NURBS approximation can be very fine

grained.)

NURBS Models: Objects and Sub-Objects (page

1–1078)

NURBS and Modifiers (page 1–1089)

NURBS and Animation (page 1–1091)

NURBS Concepts (page 1–1091)

Working with NURBS

Models

Like Shape (page 1–262) objects, a NURBS

model can be an assemblage of multiple NURBS

sub-objects. For example, a NURBS object might

contain two surfaces that are separate in space.

NURBS curves and NURBS surfaces are controlled

by either point or control vertex (CV) sub-objects.

Points and CVs behave somewhat like the vertices

of spline objects, but there are differences.

The parent object in a NURBS model is either a

NURBS surface or a NURBS curve. Sub-objects

canbeanyoftheobjectslistedhere. ANURBS

Creating NURBS Models 1079

curve remains a Shape object unless you add a

surfacesub-objecttoitwhenyouconvertittoa

NURBS surface (without changing its name).

Surfaces—There are two kinds of NURBS surfaces.

Apoint surface (page 1–1102) is controlled by

points, which always lie on the surface. A CV

surface (page 1–1103) is controlled by control

vertices (CVs). Instead of lying on the surface, CVs

form a control lattice (page 3–923) that surrounds

the surface. (This is similar to the lattice used by

the FFD [free-form deformation] modifiers.)

See Creating Surface Sub-Objects (page 1–1177)

and Editing Surface Sub-Objects (page 1–1141).

Curves—There are also two kinds of NURBS

curves. These correspond exactly to the two

kinds of surfaces. A point curve (page 1–1106) is

controlled by points, which always lie on the curve.

ACV curve (page 1–1110) is controlled by CVs,

which don’t necessarily lie on the curve.

See Creating Surface Sub-Objects (page 1–1177)

and Editing Curve Sub-Objects (page 1–1135).

Points—Point surfaces and point curves have point

(page 1–1219) sub-objects. You can also create

separate point sub-objects that are not part of a

surface or a curve.

See Creating and Editing Point Sub-Objects (page

1–1219).

CVs—CV surfaces and CV curves have CV

sub-objects. Unlike points, CVs are always part

of a surface or a curve.

See Editing Curve CV Sub-Objects (page 1–1127)

and Editing Surface CV Sub-Objects (page 1–1130).

Imports—Imports are 3ds Max objects, including

other NURBS objects. Within the NURBS model,

they render as NURBS; but they retain their

original parameters and modifiers.

See Attaching and Importing 3ds Max Objects (page

1–1120).

Sub-objects can be dependent (page 1–1087)

sub-objects whose geometry is related to the

geometry of other sub-objects.

See also

Creating NURBS Models (page 1–1079)

Working with NURBS Models (page 1–1080)

Modifying NURBS Models and Creating

Sub-Objects (page 1–1081)

Sub-Object Selection (page 1–1084)

CV Sub-Objects and Point Sub-Objects (page

1–1085)

Rigid Surfaces (page 1–1089)

Dependent Sub-Objects (page 1–1087)

Nonrelational NURBS Surfaces (page 1–1116)

Creating NURBS Models

There are a variety of ways to create NURBS

models. This is a summary of how you create a

top-level, parent NURBS object:

•YoucancreateaNURBS curve (page 1–1106)

on the Shape (page 1–262) panel of the Create

panel.

•YoucancreateaNURBS surface (page 1–1101)

on the Geometry (page 1–153) panel of the

Create panel. When you use this technique, the

NURBS surface is initially a flat rectangle. You

can alter it using the Modify panel.

• Youcanturnastandard geometry primitive

(page 1–170) into a NURBS object.

•Youcanturnatorus knot (page 1–189) into a

NURBS object.

•Youcanturnaprism (page 1–205) extended

primitive into a NURBS object.

• Youcanturnaspline (page 1–266) object

(Bezier spline) into a NURBS object.

1080 Chapter 9: Surface Modeling

• Youcanturnapatch grid (page 1–993) object

(Bezier patch) into a NURBS object.

• Youcanturnaloft (page 1–352) object into a

NURBS object.

To turn objects other than NURBS curves and

surfaces into NURBS objects, use the Modify

panel. Right-click the object’s name in the stack

display (see Modifier Stack (page 3–760))and

choose Convert To: NURBS.

In viewports, the quad menu (page 3–694) also

lets you convert objects to NURBS. Select and

then right-click the object, and in the Transform

(lower-right) quadrant, choose Convert To: >

Convert to NURBS.

• In addition, the modifiers Extrude (page 1–680)

and Lathe (page 1–707) let you choose NURBS

output, which creates a NURBS object.

Working with NURBS Models

When you work with NURBS models, usually you

follow these overall steps:

• Create one NURBS object as the "starter"

object. This can be a surface object, a curve

object, or a converted geometry primitive, as

described in Creating NURBS Models (page

1–1079).

Often modelers like to identify a single, master

surface as the main component of the model.

Converted geometry primitives are good if you

wantthestartersurfacetobecomethemaster

surface. See Creating NURBS Surfaces from

Geometric Primitives (page 1–1116).Pointand

CV surfaces are good as starters for rectangular

surfaces.

•OntheModifypanel,youcanedittheoriginal

object, or you can create additional sub-objects.

See Using the NURBS Toolbox to Create

Sub-Objects (page 1–1083).

You might even choose to delete the original,

starter object once you have built a model from

newer sub-objects.

Going immediately to the Modify panel avoids the

problem of creating additional top-level NURBS

objects, which you can’t use to build relational,

dependent sub-objects. (The exception is using

curves for loft and sweep surfaces. See ULoft

Surface (page 1–1196),UV Loft Surface (page

1–1200),1-Rail Sweep Surface (page 1–1204),or

2-Rail Sweep Surface (page 1–1209).)

Two general references for modeling with NURBS

are Curves and Surfaces for Computer-Aided

Geometric Design: A Practical Guide by Gerald

Farin (Academic Press, fourth edition 1996) and

Interactive Curves and Surfaces: A Multimedia

Tutor ial on Com puter Aided Gra phi c Desig n by

Alyn Rockwood and Peter Chambers (Morgan

Kaufman Publishers, 1996).

Surface Trimming

To trim a surface is to use a curve on the surface

tocutawaypartofthesurface,ortocutaholein

the surface.

Before you trim a surface, you must create a curve

onthatsurface.Thesearethekindsofcurvesthat

can trim surfaces:

•U iso and V iso curves (page 1–1168)

•Surface-surface intersection curve (page 1–1166)

•Normal projected curve (page 1–1169)

•Vector projected curve (page 1–1171)

•CV curve on surface (page 1–1172)

•Point curve on surface (page 1–1175)

Once you’ve created the curve, you trim the surface

by turning on Trim in the curve sub-object’s

parameters. A Flip Trim control inverts the trim

direction.

Modifying NURBS Models and Creating Sub-Objects 1081

The direction of the curve determines the

initial direction of the trim. For example, a

closed curve on surface created in a clockwise

direction trims inward, creating a hole in the

surface; while a closed curve on surface created

in a counterclockwise direction trims outward,

creating a curve-shaped portion of the surface.

When a surface is trimmed, its untrimmed version

is still present in the 3ds Max scene. You can select

itforthepurposesofeditingit,orreplacingitasa

parent to a dependent sub-object (page 1–1087).To

do so, use the Select Objects dialog. See Sub-Object

Selection (page 1–1084).

Procedures

Example: To cut a hole in a CV surface:

1. Create a CV surface in the Top viewport.

2. Create a closed CV curve sub-object that lies on

top of (or above) the surface.

3. In the toolbox, turn on Normal Projected

Curve, then in the Top viewport select first the

CV curve, then the surface.

This creates a projection of the CV curve that

lies on the surface, and can trim it.

4. In the normal projected curve’s parameters,

click to turn on Trim.

Aholeappearsinthesurface. Dependingon

the orientation of the Normal Projected curve,

you might see everything but the hole.

5. UsetheFlipTrimtoggletoinvertthetrim.

Note: Trims aren’t displayed in viewports if the

NURBS surface’s Surface Trims toggle is turned

off on the General rollout’s Display group box.

Above: CV curve on surface

Below left: Using the curve to trim the surface

Below right: Using Flip Trim to change the trimming

direction

To select an untrimmed surface:

1. Make sure the Keyboard Shortcut Override

toggle (page 3–872) is on.

2. At the appropriate sub-object level or during a

replace parent operation, press H.ASelect

Objects dialog (page 1–78) appears.

3. If the untrimmed version is selectable at this

level, the trimmed version appears as a "tree,"

with a plus sign next to it. Click the plus sign to

expandthetree. Thechildistheuntrimmed

version. Highlight its name to select it.

Modifying NURBS Models and

Creating Sub-Objects

You can edit NURBS immediately when you

enter the Modify panel. You don’t have to apply

a modifier, as you do for most kinds of 3ds Max

objects.

WhileyouareeditingaNURBSobjectonthe

Modify panel, you can create sub-objects "on the

fly," without having to go back to the Create panel.

This is an exception to the way you usually use

3ds Max. The Modify panel for NURBS curve and

1082 Chapter 9: Surface Modeling

NURBSsurfaceobjectsincludesrolloutsthatlet

you create new NURBS sub-objects.

Example: Rollout for creating NURBS surface sub-objects

Tip: Another way to create curve and surface

sub-objects is to use the NURBS Creation Toolbox

(page 1–1083).

This is a summary of how to create sub-objects:

• An individual point sub-object is either an

independent point or a dependent point tied to

other NURBS geometry.

• Curve sub-objects are either independent point

curves or CV curves, or they are dependent

(page 3–928) curves whose geometry is based

on other curves or surfaces already present in

the model. For example, a blend curve is a

dependent curve sub-object that connects the

endpoints of two other curves.

• Surface sub-objects are either independent

point surfaces or CV surfaces, or they are

dependent (page 3–928) surfaces whose

geometry is based on other surfaces or curves

already present in the model. For example, a

blend surface is a dependent surface sub-object

thatconnectstheedgesoftwoothersurfaces.

• You can attach 3ds Max objects. If the attached

object is not already a NURBS object, it is

converted to NURBS geometry. You can attach

a NURBS curve, another NURBS surface, or

aconvertible3dsMaxobject. Theattached

object becomes one or more curve or surface

sub-objects.

• You can import 3ds Max objects. The imported

object retains its parameters. While it is part

oftheNURBSobjectitrendersasaNURBS,

but you can still edit it parametrically at the

Imports sub-object level. At this sub-object

level,viewportsdisplayitsusualgeometry,

not its NURBS form. A NURBS curve can

import NURBS curves or spline curves. A

NURBS surface can import curves, surfaces, or

convertible 3ds Max objects.

Note: Yo u c a n d e t a c h a N U R B S s u b - o bj e c t t o

make it a new, top-level NURBS object, and

you can extract an imported object to create an

independent, top-level object once again.

Quad Menu for NURBS Objects

While a NURBS object is selected and the Modify

panel is active, the quad menu (page 3–694)

displays two quadrants that are specifically for

NURBS editing.

Using the NURBS Toolbox to Create Sub-Objects 1083

Quad menu for modifying NURBS models

Tools 1 (upper-left) Quadrant

These options are general display and sub-object

level shortcuts.

Transform Degrade—To g g l e s Degradation Override

(page 1–34).

Display Shaded Lattice, Display Lattices, Display

Surfaces, and Display Curves—See Display Controls

for NURBS Models (page 1–1117).

Sub-objects—Displays the sub-object choices for

the selected object, as well as a Top-level choice.

Tools 2 (lower-left) Quadrant

Theseoptionsarecreationandeditingshortcuts.

Create CV Surface, Create CV Curve, Create Point

Surface, Create Point Curve—Thesecreateanew

NURBS sub-object.

Insert CV Row, Insert CV Column, Refine CV Curve,

Refine CV Row—These add CVs to a CV Surface

sub-object by inserting or refining. For the

difference between inserting and refining, see

Editing Surface CV Sub-Objects (page 1–1130).

See NURBS Concepts (page 1–1091) for more

information about refining.

Using the NURBS Toolbox to

Create Sub-Objects

Modify panel > Select NURBS object. > General rollout >

NURBS Creation Toolbox button

Keyboard > Ctrl+T (Keyboard Shortcut Override Toggle

must be on.)

Besides using rollouts at the NURBS object

level, you can use the NURBS toolbox to create

sub-objects.

Interface

Toolbox for NURBS objects

The toolbox contains buttons for creating NURBS

sub-objects. In general, the toolbox behaves like

this:

• While the button is on, the toolbox is visible

whenever a NURBS object or sub-object is

1084 Chapter 9: Surface Modeling

selected and you are on the Modify panel. It

disappears whenever you deselect the NURBS

object or make a different panel active. When

you return to the Modify panel and select a

NURBS object, it reappears.

• You can use the toolbox to create sub-objects

from either the top, object level, or from any

NURBS sub-object level.

• When you turn on a toolbox button, you go into

creation mode, and the Modify panel changes

to show the parameters (if there are any) for the

kind of sub-object you are creating.

Other NURBS rollouts aren’t displayed while

you create the new sub-object. This differs from

using the NURBS object’s Create rollouts or the

NURBS right-click menu (page 1–1082).

• If you are at the top, object level and use the

toolbox to create a sub-object, you must then

go to the sub-object level to edit the new

sub-object. (This is the same as using the

buttons on the rollouts.)

• Ifyouareatasub-objectlevelandusethe

toolbox to create an object of the same

sub-object type, you can edit it immediately

after you turn off the create button (or

right-click to end object creation).

• Ifyouareatasub-objectlevelandusethe

toolbox to create an object of a different

sub-object type, you must change to that

sub-object level before you can edit the new

sub-object.

The individual creation buttons are described in

these topics:

Creating and Editing Point Sub-Objects (page

1–1219)

Creating Curve Sub-Objects (page 1–1151)

Creating Surface Sub-Objects (page 1–1177)

Sub-Object Selection

When you work with NURBS models, you often

work with sub-objects. While you are at the

sub-object level, you use the usual selection

techniques, such as clicking, dragging a region,

or holding down Ctrl , to choose one or more

sub-objects.

You can also select NURBS point, curve, and

surface sub-objects by name. Turn on the

Keyboard Shortcut Override Toggle (page 3–872),

go to a NURBS sub-object level, and then press the

Hkey. This displays a Select Objects dialog (page

1–78) that lists only sub-objects at the current

level.Chooseoneormoreobjectsinthelist,and

then click Select. You can assign your own names

to NURBS sub-objects (aside from CVs) that you

want to edit frequently.

Press Ctrl+H to have the Select Sub-Objects

dialog list only sub-objects directly beneath the

mouse cursor.

The Hshortcut is also a convenient way to choose

parent objects while you’re creating dependent

sub-objects.

Workflow Tips

When you work with NURBS, you switch

frequently between the object and sub-object

levels, or from one sub-object level to another.

Keyboard shortcuts and pop-up menus can help

you do this.

• The Sub-Object Selection Toggle (default:

Ctrl+B ) switches between object and

sub-object levels.

• The Cycle Sub-Object Level shortcut (default:

Insert )switchesfromonesub-objectlevelto

another.

• When you right-click in a viewport while a

NURBS object is selected and the Modify

panel is active, the quad menu lets you switch

CV Sub-Objects and Point Sub-Objects 1085

between various levels of the NURBS model:

Top Level, Surface CV Level, Surface Level,

Curve CV Level, Point Level, Curve Level, and

Imports Level.

• The command panel’s right-click popup menu

(available whenever the mouse cursor becomes

a pan hand) helps you navigate the rollouts on

the current command panel.

If you have a three-button or wheel mouse,

rolling the wheel scrolls the command panel.

• Sub-object selection sets are persistent. If you

go to a different sub-object level, when you

return to the previous level, your selection is

still available. However, refining or inserting

points or CVs makes the sub-object selection

sets invalid for that object.

• You can move a sub-object selection set among

sub-objects at the active level of the NURBS

model by holding down Ctrl while you press

the arrow keys.

• When you select surface CV sub-objects that are

"on top of" each other in a 3D view, sometimes

all the selected CVs fail to highlight. To fix this,

choose Customize > Viewport Configuration

(page 3–853),andturnonZ-bufferWireframe

Objects.

CV Sub-Objects and Point

Sub-Objects

Independent curves and independent surfaces

both come in two varieties: they are either CV

sub-objects or point sub-objects. This topic

describes the differences between the two.

CV Curves and CV Surfaces

CV curves and CV surfaces have control vertices

(CVs)asdosplines. ThepositionoftheCVs

controls the shape of the curve or the surface.

However, unlike spline vertices, CVs don’t

necessarilylieonthecurveorsurfacetheydefine.

The CVs define a control lattice (page 3–923) that

connects the CVs and surrounds the NURBS

curve or surface. The control lattice displays in

lines that are yellow by default.

Cone-shaped NURBS surface with its control lattice (CVs are

displayed as green squares)

Tip: When you use Zoom Extents, the entire extents

of a NURBS object are displayed, including its

control lattice. Because CVs can be located some

distance from an object, the curve or surface itself

(the object’s renderable geometry) is sometimes

hard to see. If this happens, use Zoom Region or

Field of View to zoom in.

YoucanmoveaCVattheCurveCVorSurface

CV sub-object level on the Modify panel. Other

transforms, rotate and scale, work as well. Rotate

and scale are useful mainly when you have selected

multiple CVs.

1086 Chapter 9: Surface Modeling

Moving and rotating CVs to change a surface (selected CVs are

displayed in red)

Each CV also has a weight, which you can use

toadjusttheCV’seffectonthecurveorsurface.

Increasing the weight pulls the surface toward the

CV. Decreasing the weight relaxes the surface away

from the CV.

Above: Weights=0.0

Below: Weights=40.0

Changing a spherical surface by decreasing or increasing the

weight of four CVs (selected CVs are at the left, in red)

We i g ht s c a n b e a u s e f u l w ay t o " t u ne " t h e

appearance of a NURBS curve or surface.

The weight value of a CV is rational (as in a

"rational number"). That is, it is relative to other

CVs in the curve or surface. Changing the weight

of all CVs at once has no effect, because it doesn’t

change the ratio between weights.

Points,PointCurves,andPointSurfaces

PointcurvesandpointsurfacesaresimilartoCV

curves and surfaces, but the points that control

Dependent Sub-Objects 1087

them are required to lie on the curve or surface.

Unlike CVs, points do not have a weight.

Point curves and point surfaces can be more

intuitive to create and work with. However,

workingwithpointsub-objectsisslowerthan

working with CV sub-objects. You can think of a

point curve or point surface as being dependent

on the points to which it fits.

Points that you create individually are the same as

the points on point curves and surfaces, except that

initially they aren’t part of a curve or surface. You

cancreateapointcurvebyfittingittopointsthat

you select. When you fit the new point curve, you

can use points that are part of curves or surfaces,

and individual point sub-objects.

Dependent Sub-Objects

NURBS sub-objects are either independent or

dependent. A dependent sub-object is based on

the geometry of other sub-objects. For example,

a blend surface smoothly connects two other

surfaces. Transforming or animating either of

the original, parent surfaces causes the shape of

the blend to change as it maintains a connection

between the parents.

Moving a parent surface changes the blend surface (the blend

surface is displayed in green)

The immediate, interactive relation between the

parent and dependent sub-objects is known as

relational modeling. Relational modeling is one of

the reasons NURBS models can be particularly

easy to change or to animate.

Important: Dependent sub-objects must have

parents that are also sub-objects of the same NURBS

model. Dependent relationships can’t exist between

object-level NURBS curves or surfaces. If you want to use

a top-level NURBS object to create a dependent object,

first you must attach or import the top-level object. See

Attaching and Importing 3ds Max Objects (page 1–1120).

You have the option of making a dependent

sub-object independent. After you do so, the

sub-object is no longer related to its parents.

Changestotheformerparentsdon’taffectit,but

you can edit and transform it as an independent

sub-object in its own right.

At the appropriate sub-object level, dependent

NURBS are displayed in green in wireframe

viewports. (You can change the display color using

the Colors panel of the Customize User Interface

dialog (page 3–792).)

Relational modeling does add computation time to

a model, so when you transform or edit dependent

sub-objects in other ways, often you will notice

aslowdowninperformance. Onceadependent

surface sub-object has the shape you want, you

can improve performance by making it into a rigid

surface (page 1–1089).

1088 Chapter 9: Surface Modeling

Transforming Dependent Sub-Objects

In general, you can select and transform

dependent sub-objects, but the effect of the

transform depends on the sub-object type. Some

dependent objects have a gizmo, similar to the

gizmo used with modifiers. Sub-objects that don’t

havegizmoscan’tchangerelativetotheirparent

objects. For these kinds of sub-objects, transforms

apply equally to the sub-object and its parents.

For example, moving a blend sub-object moves its

parentsaswell.Sub-objectsthathavegizmoscan

change relative to their parent objects. In this case,

as with modifiers that use gizmos, you are really

transforming the gizmo. For example, rotating a

mirror sub-object changes the mirror axis, and

therefore the mirror’s position relative to its parent

curve or surface.

When you Shift +Clone (page 1–1237) a

dependent NURBS sub-object, by default the

parent objects are also cloned. For example, if you

Shift +Clone a UV loft, all the lofting curves are

copied as well. This means that the new object has

thesametypeastheoriginalobject.Thecloned

object keeps its parents, so you can edit it just as

you do the original. When you Shift +Clone a

NURBS sub-object, you can also choose to remove

dependencies in order to improve performance.

Error Condition for Dependent

Sub-Objects

Sometimes changes you make to the parent objects

make it no longer possible to correctly update

the dependent object’s geometry. For example, a

fillet between two curves requires the curves to be

coplanar. If you move one curve (or its CVs or

points)sothatthecurvesarenolongercoplanar,

thefilletcannotupdatecorrectly.Inthiscase,the

dependent object’s geometry reverts to a default

position, and it is displayed in orange to indicate

an error condition. (You can change the error

color using the Colors panel (page 3–799) of the

Customize User Interface dialog (page 3–792).)

The arrow points to the segment indicating an error condition.

Seed Values

Some kinds of dependent sub-objects depend on

geometrythatmighthavemorethanonesolution.

For example, if you want to create a surface-curve

intersection point, and the curve intersects the

surfacemorethanonce,thesoftwaremustdecide

which intersection is to be the location of the point.

For these kinds of objects, seed value (page 3–1008)

parameters control the decision. The seed location

is on a parent object, and the software chooses the

location nearest to the seed value that satisfies the

creation condition. You can alter the seed value

whenyoueditthesedependentsub-objects.The

seed location is displayed as a yellow square.

For example, the seed location for a surface-curve

intersection point is a U position along the length

oftheparentcurve.Thesurface-curveintersection

closest to the seed is chosen as the location of the

dependent point.

TheseedlocationforasurfaceisapairofUV

coordinates in the surface’s parameter space (page

3–988).

Replacing Parent Sub-Objects

Dependent sub-objects have controls that let

you replace the object or objects on which they

depend. For example, Offset Surface has a button

Rigid Surfaces 1089

called Replace Base Surface. You can click this

button and then click a different surface to act as

thebaseoftheoffset.

This capability lets you replace a trimmed surface

with its untrimmed version, or vice versa. To

do so, you need to use the Select Objects dialog

(page 1–78). For example, select the trimmed

surface sub-object and turn on the Keyboard

Shortcuts Override toggle (page 3–872).Clickthe

replacement button, press the Hkey, expand the

surface’s tree, and then highlight the name of the

untrimmed version.

Rigid Surfaces

To i m p ro ve p e r f or m a n c e , y o u c a n m a k e a n y k i n d

of surface sub-object into a rigid surface. The only

editing allowed on a rigid surface is to transform

it at the Surface sub-object level. You can’t move

arigidsurface’spointsorCVs,orchangethe

number of points or CVs.

Rigid surfaces reduce the amount of memory

used by the NURBS model. Making surfaces rigid

improves performance, especially for large and

complex models.

When a surface is rigid, you can’t see its points

or CVs when you are at the Point or Surface CV

sub-object levels. If the model has only rigid

surfaces and no point curves, the Point and Surface

CV sub-object levels aren’t available at all.

Tomakearigidsurfaceeditableagain,clickMake

Point, Make Independent, Make Loft, or Convert

Surface.

NURBS and Modifiers

In general, you can apply modifiers to NURBS

modelsasyoudotootherobjects.

Yo u c a n a p p l y Edit Patch (page 1–638) and Edit

Mesh (page 1–634) modifiers to NURBS surface

objects.

Tip: To improve performance while you animate

your scene, make the surfaces in your NURBS

model nonrelational surfaces (page 1–1116).

Modifiers treat nonrelational surfaces as if they

were independent CV surfaces: you can animate

the scene more efficiently, and then turn relational

modeling back on before you render.

Deforming NURBS Objects

Deform modifiers such as Bend (page 1–560)

and Twist (page 1–876) operate on CV and point

sub-objects. They don’t change the NURBS model

into an editable mesh object. This means that

youcanuseadeformmodifier,collapsethestack,

and still have a NURBS object that you can edit

further. However, because the deform modifiers

directly affect CVs and points (and not the mesh

approximation of the NURBS model), they can

produce unexpected results. For example, a Ripple

(page 1–783) modifier does not ripple the surface

if the CVs are farther apart than the wavelength

of the ripples. If you want the modifier to affect

the mesh approximation instead of the CVs, you

can apply a Mesh Select (page 1–719) modifier

first. Then when you collapse the stack, you get an

editable mesh, not a NURBS object.

These are the deform modifiers that collapse to

NURBS:

• Modifiers in the Parametric Modifiers set,

except for Lattice (which collapses to an

editable mesh) and Slice (which collapses to an

editable poly or an editable mesh).

• Modifiers in the Animation Modifiers set,

except for the world space modifier versions of

PatchDeform, PathDeform, and SurfDeform

(which don’t collapse).

Tip: While they will collapse to a NURBS object,

the Morpher and Skin modifiers are meant to

1090 Chapter 9: Surface Modeling

be used with their own controls, and lose their

usefulness when you collapse them.

The modifiers with Soft Selection controls treat

NURBSmodelsthesamewaytheytreateditable

meshes. As with editable mesh vertices, CVs are

colored proportionally according to how severely

the region affects them.

If Relational Stack is turned off (see Nonrelational

NURBS Surfaces (page 1–1116)), the Affect

Neighbors toggle can affect all surface CVs, curve

CVs, and points in neighboring sub-objects.

If Relational Stack is on, Soft Selection affects

neighboring sub-objects only if they are at the

same sub-object level.

Soft Selection works with Scale and Rotate as well

aswiththeMovetransform.

NURBS Objects and the UVW Map

Modifier

When you apply a UVW Map (page 1–922)

modifier, it affects the NURBS object the same way

it affects a mesh. If you then collapse the stack,

UVW mapping is still in effect. However, you

can override the mapper for individual surface

sub-objects. Todoso,turnonthesurface’s

Generate Mapping Coords check box, if necessary.

Whenthecheckboxison,yougetthenatural

mapping of the surface; when it is off, you get the

mapping from the collapsed UVW modifier.

Tip: Don’t use UVW Map to assign a texture to

an animated surface. The texture will shift as the

surface animates.

NURBS Selection Modifier

The NURBS Surface Selection (NSurf Sel) (page

1–747) lets you place a NURBS sub-object

selectiononthemodifierstack. Thisletsyou

modify only the selected sub-objects. Also,

selected curve sub-objects are Shape (page 1–262)

objects that you can use as paths and motion

trajectories.

NSurf Sel can select any kind of NURBS sub-object

except imports. Each sub-object selection is of one

sub-object level only.

Procedure

To use a NURBS select modifier:

1. With a NURBS object selected, go to the

Modify panel and apply NSurf Sel.

The selection modifier has no controls at the

object level.

2. Click to open the modifier’s hierarchy, and

choose a sub-object level.

The selection modifier has the same selection

controls you see for the corresponding

sub-object type.

While applying the modifier, you can also select

NURBS sub-objects by name. Turn on the

Keyboard Shortcut Override Toggle button on

the status bar, and then press the Hkey. This

displays a version of the Select Objects dialog

(page 1–78) that lists only sub-objects at the

current level. Choose one or more objects in

the list, and then click Select. Press Ctrl+H to

have the Select Objects dialog list only objects

directly beneath the mouse cursor.

3. Usetheselectioncontrolstocreateaselection

set of the chosen sub-object type.

With the NSurf Sel modifier, you can select

NURBS sub-objects at any level except imports.

Note: To select point, curve, or curve CV

sub-objects,youmustgototheNURBSobjectand

turn on Relational Stack.

Once you have used the modifier to create the

selection, you can apply other modifiers to it. If

the selected sub-object is a curve, you can also use

it as a path or trajectory.

NURBS and Animation 1091

Note: NSurf Sel doesn’t support copy and paste

of selections as Mesh Select does. Copying and

pastingmeshselectionsisbasedonvertexindexes.

NURBS selections are based on object IDs, which

areuniquetoeachmodel.

NURBS and Animation

In general, you animate NURBS curves and

NURBS surfaces by turning on the Auto Key

button and transforming sub-object attributes

such as CV or point positions, by animating

the parameters that control dependent NURBS

objects, and so on. You can’t animate NURBS

object creation or creation parameters, or

fundamental changes to NURBS geometry such

as adding or deleting CVs or points, attaching

objects, and so on.

Tip: Toimproveperformancewhileyouanimate

your scene, make the surfaces in your NURBS

model nonrelational surfaces (page 1–1116).

Modifierstreatnonrelationalsurfacesasifthey

were independent CV surfaces: you can animate

the scene more efficiently, and then turn relational

modeling back on before you render.

Some NURBS editing operations remove

animation controllers.

Operations that Remove Animation

The following operations remove animation from

a NURBS object or sub-object:

•MakeIndependent

This operation removes the animation of

anything directly dependent on the object.

• Break,Extend,JoinandZip,Refine,Delete,

Rebuild, Reparameterize, Close, Make Loft,

Convert Curve, and Convert Surface

Any operation that changes the number of

points or CVs in a curve or surface removes the

animation of all points or CVs that are lost.

•Fuse

The animation of the point or CV being fused

to the other point or CV (the second one

chosen) is lost. The first point or CV acquires

the animation of the second.

NURBS Concepts

NURBS curves and surfaces did not exist in the

traditional drafting world. They were created

specifically for 3D modeling using computers.

Curves and surfaces represent contours or shapes

within a 3D modeling space. They are constructed

mathematically. NURBS mathematics is complex,

and this section is simply an introduction to some

NURBS concepts that might help you understand

what you are creating, and why NURBS objects

behave as they do. For a comprehensive

description of the mathematics and algorithms

involved in NURBS modeling, see The NURBS

Book by Les Piegl and Wayne Tiller (New York:

Springer, second edition 1997).

Definition and Parameter Space

The term NURBS stands for Non-Uniform

Rational B-Splines. Specifically:

•Non-Uniform means that the extent of a control

vertex’s influence can vary. This is useful when

modeling irregular surfaces.

•Rational means that the equation used to

represent the curve or surface is expressed as a

ratio of two polynomials, rather than a single

summed polynomial. The rational equation

provides a better model of some important

curves and surfaces, especially conic sections,

cones, spheres, and so on.

•AB-spline (for basis spline) is a way to construct

a curve that is interpolated between three or

more points.

1092 Chapter 9: Surface Modeling

Shape curves such as the Line tool and other

ShapetoolsareBeziercurves,whicharea

special case of B-splines.

The non-uniform property of NURBS brings up

an important point. Because they are generated

mathematically, NURBS objects have a parameter

space (page 3–988) in addition to the 3D geometric

space in which they are displayed. Specifically, an

array of values called knots (page 3–961) specifies

the extent of influence of each control vertex (CV)

on the curve or surface. Knots are invisible in 3D

space and you can’t manipulate them directly,

but occasionally their behavior affects the visible

appearance of the NURBS object. This topic

mentions those situations. Parameter space is

one-dimensional for curves, which have only a

single U dimension topologically, even though

they exist geometrically in 3D space. Surfaces have

two dimensions in parameter space, called U and

NURBS curves and surfaces have the important

properties of not changing under the standard

geometric affine transformations (Transforms), or

under perspective projections. The CVs have local

control of the object: moving a CV or changing

its weight does not affect any part of the object

beyond the neighboring CVs. (You can override

this property by using the Soft Selection (page

1–1147) controls.) Also, the control lattice that

connects CVs surrounds the surface. This is

known as the convex hull (page 3–924) property.

Degree and Continuity

All curves have a degree (page 3–927).Thedegree

of a curve is the highest exponent in the equation

used to represent it. A linear equation is degree 1;

a quadratic equation is degree 2. NURBS curves

typically are represented by cubic equations and

have a degree of 3. Higher degrees are possible,

but usually unnecessary.

Curves also have continuity (page 3–923).A

continuouscurveisunbroken.Therearedifferent

levels of continuity (page 3–923).Acurvewithan

angle or cusp is C0continuous: that is, the curve

is continuous but has no derivative at the cusp.

A curve with no such cusp but whose curvature

changes is C1continuous. Its derivative is also

continuous, but its second derivative is not. A

curve with uninterrupted, unchanging curvature

is C2continuous. Both its first and second

derivatives are also continuous.

Levels of curve continuity:

Left: C0, because of the angle at the top

Middle: C1, at the top a semicircle joins a semicircle of smaller

radius

Right: C2, the difference is subtle but the right side is not

semicircular and blends with the left

A curve can have still higher levels of continuity,

but for computer modeling these three are

adequate. Usually the eye can’t distinguish

betweenaC

2continuous curve and one with

higher continuity.

Continuity and degree are related. A degree 3

equation can generate a C2continuous curve.

This is why higher-degree curves aren’t generally

needed in NURBS modeling. Higher-degree

curves are also less stable numerically, so using

them isn’t recommended.

Different segments of a NURBS curve can have

different levels of continuity. In particular, by

placing CVs at the same location or very close

together, you reduce the continuity level. Two

coincident CVs sharpen the curvature. Three

coincident CVs create an angular cusp in the

curve. This property of NURBS curves is known as

multiplicity (page 3–977).Ineffect,theadditional

NURBS Concepts 1093

one or two CVs combine their influence in that

vicinity of the curve.

Effects of multiplicity: there are three CVs at the apex on the

left, two CVs at the apex on the right.

By moving one CV away from the other, you

increase the curve’s continuity level again.

Multiplicity also applies when you fuse CVs. Fused

CVs create a sharper curvature or a cusp in the

curve. Again, the effect goes away if you unfuse the

CVs and move one away from the other.

Degree, continuity, and multiplicity apply to

NURBSsurfacesaswellastocurves.

Refining Curves and Surfaces

Refining a NURBS curve means adding more CVs.

Refining gives you finer control over the shape of

the curve. When you refine a NURBS curve, the

software preserves the original curvature. In other

words, the shape of the curve doesn’t change,

but the neighboring CVs move away from the

CV you add. This is because of multiplicity: if

the neighboring CVs didn’t move, the increased

presence of CVs would sharpen the curve. To

avoid this effect, first refine the curve, and then

change it by transforming the newly added CVs,

or adjusting their weights.

Refining a NURBS curve.

NURBS surfaces have essentially the same

properties as NURBS curves, extended from

a one-dimensional parameter space to two

dimensions.

Reparameterizing CV Curves and

Surfaces

When you refine a NURBS curve or surface, it is a

good idea to reparameterize it. Reparameterizing

adjusts the parameter space so the curve or surface

willbehavewellwhenyouedititinviewports.

There are two ways to reparameterize:

•Chord-length

Chord-length reparameterization spaces knots

in parameter space based on the square root of

the length of each curve segment.

•Uniform

Uniform reparameterization spaces knots

uniformly. A uniform knot vector has the

advantage that the curve or surface changes

only locally when you edit it.

CVcurveandsurfacesub-objectsgiveyou

the option of reparameterizing automatically

whenever you edit the curve or surface.

Point Curve and Surface Concepts

You can work with point curves and point surfaces

as well as with CV curves and surfaces. The

points that control these objects are constrained

to lie on the curve or surface. There is no control

lattice, and no weight control. This is a simpler

interface that you might find easier to work

with. Also, point-based objects give you the

ability to construct curves based on dependent

(constrained) points, and then use these to

construct dependent surfaces.

You can think of point curves and surfaces as an

interface to CV curves and surfaces, which are

thefullydefinedNURBSobjects.Theunderlying

representation of the curve or surface is still

constructed using CVs.

1094 Chapter 9: Surface Modeling

You can also think of a point curve or surface as

dependent on its points. You can use the Convert

Curve button to convert a point curve or surface to

the CV form, or vice versa.

NURBS Tips and Techniques

These topics contain suggestions on how to work

with NURBS. They include tips collected from

various NURBS modeling users.

How to Make Objects with NURBS Modeling (page

1–1094)

How to Fix NURBS Objects (page 1–1098)

How to Improve Performance (page 1–1099)

Animation, Textures, and Rendering (page 1–1099)

How to Make Objects with NURBS

Modeling

These are tips on using NURBS to create models.

Objects and Sub-Objects

• In 3ds Max, a NURBS model is a single,

top-level NURBS object (page 1–1078) that can

contain a variety of sub-objects. Get in the

habit of creating a single object at the top level,

then going immediately to the Modify panel

andaddingsub-objectsbyusingrolloutsorthe

NURBS Creation Toolbox (page 1–1083).

• Sub-objects are either independent or

dependent. Dependent sub-objects (page

1–1087) use relational modeling to build

NURBS geometry that is related to other

geometry. However, understand that the

more dependencies a model has, the slower

interactive performance becomes.

• In general, point curves and surfaces are

slower than CV curves and surfaces. Trims are

the slowest kind of dependency, and texture

surfaces are the slowest kind of dependent

sub-object.

• If a dependent sub-object doesn’t change

during animation, you can help performance

by making the sub-object independent after

you finish creating it.

•YoucanuseNSurf Sel (page 1–747) to apply

modifiers to a sub-object selection. However,

beforeyoudosomakesurethatRelational

Stack is on; Relational Stack (page 1–1116) is

on the General rollout for NURBS models.

Otherwise, NSurf Sel can select only the Surface

and Surface CV sub-object levels.

Converting Other Objects to NURBS

•Rememberthatyoucancollapsesplines (page

1–266) to NURBS objects. A spline Shape or a

NURBS curve can be a good starter object for

aNURBSmodel.

• Shapes with sharp angles collapse to multiple

NURBS curves. You can control this before

NURBS conversion by first converting the

Shape to an editable spline (page 1–289).

Modify the editable spline so that all its vertices

are Bezier or Smooth vertices. Then when you

collapsethesplinetoaNURBScurve,you

obtain a single curve.

• If you want a single NURBS curve, don’t change

vertices to Bezier Corner vertices. These always

convert to a junction between two different

NURBS curves.

•Collapsingaprimitive (page 1–170) into a

NURBSobjectisoneofthequickestwaysto

start building a NURBS model. After collapsing

the primitive, you can select various CVs and

transform them. Other objects you can convert

to NURBS are prisms (page 1–205),torus knots

How to Make Objects with NURBS Modeling 1095

(page 1–189),lofts (page 1–352),andpatch grids

(page 1–993).

• You can also change the NURBS surface by

applying modifiers. The modifiers act on the

points or CVs of the surface, and not on the

surface itself. After applying the modifiers,

collapse the modifier stack (page 3–760).This

removes the modifiers from the stack without

changing the position of the modified points or

CVs,makingforasimplerandquickermodel.

•AnotherwaytocreateaNURBSsurfaceobject

is to apply a Lathe (page 1–707) or Extrude

(page 1–680) modifier to a NURBS curve. Set

themodifier’sOutputTypetoNURBS,and

then collapse when you’re done adjusting the

parameters.

(TherearealsoNURBSlatheandextrude

surface sub-object types, which you can apply

to curve sub-objects.)

Shortcuts, Snaps, and User Interface Tips

•RemembertoturnonthePlug-In Keyboard

Shortcut Toggle (page 3–872).Whileitison,

youcanusealltheNURBSkeyboardshortcuts.

•OneofthemostusefulNURBSkeyboard

shortcuts is H,whichdisplaysaSelect Objects

dialog (page 1–78).Youcanuse Hduring

sub-object creation as well as sub-object

selection. This is handy when sub-objects are

crowdedorhardtosee.

Avariantis Ctrl+H ,whichalsodisplays

the Select Objects dialog, but lists only those

NURBS sub-objects beneath the mouse cursor

position.

• There are special NURBS Snaps in the Grid and

Snap Settings dialog (page 2–41) (right-click

the 3D Snap toggle to display this). When

you use NURBS snaps, turn off Options/Axis

Constraints; otherwise, snaps work only in the

current axis.

Also, remember that snaps work in a viewport

onlywhenyouhavemadetheviewportactive.

And choosing your snap settings does not turn

on snaps. You must also turn on the 3D Snap

Toggle button (page 2–35) (on the status bar).

Snaps are especially important when you create

the curves for building 1-rail (page 1–1204) and

2-rail (page 1–1209) sweep surfaces.

• Remember that without leaving the viewport,

you can right-click to display a quad menu

(page 3–694) with shortcuts for changing the

sub-object level, creating some sub-objects,

and using some other edit commands.

• When you work with NURBS, there are a lot

of rollouts in the Modify panel. Minimize

the rollouts you don’t need. For example,

minimizing the Modifiers rollout helps unless

you’re applying Modifiers, and minimizing the

Surface Common rollout is useful when you’re

creating U loft, UV loft, and 1-rail or 2-rail

sweep surfaces.

• Don’t set viewports to display edged faces.

Displayingedgesisalmosttwiceasslowas

displaying a simple shaded viewport.

Creating Curves

• When drawing a CV curve, click three times

to get a sharp corner.

Be aware, however, that multiple CVs increase

the amount of calculation and therefore reduce

the performance and stability of your model.

However, if you want to use the curve to

construct a U Loft, and so on, this is the best

technique.

• Youcanalsocreatesharpcornersbyfusingthe

ends of two separate NURBS curve sub-objects.

This is the recommended method if you aren’t

using the curves to construct a surface.

• Whilecreatingcurves,youcanturnonthe

Draw in All Viewports toggle. This lets you

1096 Chapter 9: Surface Modeling

draw curves in 3D. Begin drawing a curve in

one viewport, go to another viewport, and

continue drawing.

Ifyourmousehasamiddlemousebutton,

Alt +middle mouse button lets you use arc

rotate (page 3–744) to change a viewport’s

orientation while you are creating the curve.

• To create a transform curve along a specific

axis,turnontheappropriateaxisconstraints,

and then Shift +moveacopyofthetransform

curve.

Curves and Direction

• NURBS curves show their direction in

viewports. A small circle indicates the first

vertex.Ifthecurveisclosed,aplussign(+)

indicates the direction of the curve.

Beawareofcurvedirectionwhenyouuse

curves to construct blend surfaces (page

1–1183),U loft (page 1–1196) and UV loft (page

1–1200) surfaces, and 1-rail (page 1–1204) and

2-rail (page 1–1209) sweeps. If the curves don’t

have the same direction, you can get strange

twisting. Makesurecurveshavethesame

direction before you construct the surface.

On the Curve Common rollout, the controls

Reverse and Make First let you control the

direction of the curve, and where its starting

point or CV is located.

Another good way to make sure curves are

aligned is to draw one curve and then use

Shift +Clone to create the others. After

creating the aligned curves, you can transform

CVs to vary the curves on which the surface

will be based.

Curves for Sweeps

• Besides expecting cross-section curves to be all

in the same direction, 1-rail (page 1–1204) and

2-rail (page 1–1204) sweep surfaces work best if

the cross sections intersect the rail or rails. To

achieve this, draw the rails first, then draw the

crosssectionsusingtheNURBSSnaps (page

2–41) Curve End and Curve Edge turned on.

• 2-rail sweeps have the additional requirement

that the endpoints of the first cross section

intersect the endpoints of the rails. Again,

NURBS Snaps help you do this.

If the endpoints of the first cross-section don’t

coincide with the rail endpoints, the resulting

surface might not follow the rails.

• While you’re editing a sweep, the Edit Curve

button lets you directly transform the CVs of

a rail or cross section, without changing the

sub-object level. Edit Curve also gives you

access to all the rollouts that control the curve.

YoucanuseRefineorMakeFirst,forexample,

without changing levels.

Curves on Surfaces and Projected Curves

• You can use a viewport to draw a curve on a

surface (page 1–1172) (COS), but this works

only for visible portions of the surface. To see

theentiresurfaceandthecurveorcurvesonit

projected into a flat plane, use Edit Curve.

Ifyourmousehasamiddlemousebutton,

Alt +middle mouse button lets you use arc

rotate (page 3–744) to change a viewport’s

orientation while you draw the curve on

surface.

• Neither curves on surfaces nor projected curves

cancrosstheedgeofasurface.Thisincludes

the seam on surfaces with fused CVs. If you

try to project across the seam, only part of the

curve’sprojectioniscreated.

Creating Blend Surfaces

• Youcanblendbetweencurvesorbetween

surface edges. (You can’t blend from a trimmed

edge. In that situation, you are blending from

the curve that trimmed the surface.)

How to Make Objects with NURBS Modeling 1097

• If you want a controllable tangent or tension,

you must blend to a surface edge or a curve on a

surface. Adjusting tension changes the flatness

or "bulginess" of that end of the blend.

When a curve and a surface (or two surfaces)

are near each other, sometimes it can be hard to

tellwhichedgeyouareselecting.Toassistyou,

the currently selected surface turns yellow, and

theedgethatwillbeusedfortheblendturns

blue. Make sure you have selected the right

surfacebeforeyouchoosetheedge.

• Iftheedgesyouareblendinghavedifferent

numbers of points (usually due to different

surface approximation settings), then

sometimesrenderingshowsgapsbetweenthe

blend and the original surface. If this happens,

go to the Surface Approximation rollout (page

1–1239) and increase the value of Merge until

the gaps disappear when you render.

The Merge setting affects only the production

renderer. It has no effect on viewport display.

Lofts

• If you need a surface between only two curves,

use a ruled surface (page 1–1193) instead of a U

loft. Thisisfaster.

• Ifloftcreationseemsslow,makesurethe

Display While Creating check box (in the U

Loft Surface rollout (page 1–1196))isturnedoff.

• If the U loft doesn’t come out as you expected,

try reparameterizing the curves. Click

Reparam. at the Curve sub-object level. This

button is on the CV Curve rollout. In the

Reparameterize dialog (page 1–1237),choose

Chord Length reparameterization.

If a curve is dependent or a point curve, first

youwillhavetomakeitindependent(thisalso

improves performance).

Curves that are made of two joined curves

have this problem more often than others.

Ifyouhaveajoinedcurveasoneofthe

curves to construct the loft, reparameterize it

before you create the loft, or set the curves to

reparameterize automatically.

•TheEditCurvebuttonletsyoudirectly

transform the CVs of a curve within a U loft

or UV loft (page 1–1200),withoutchanging

the sub-object level. Edit Curve also gives you

access to all the rollouts that control the curve.

YoucanuseRefineorMakeFirst,forexample,

without changing levels.

• To close a UV loft, you can pick the first V

curveagaintomakeitthelastcurveintheloft.

Sometimes a seam is visible at this location in

the UV loft.

Multisided Blend Surfaces

•Iftheprogramdoesn’tcreatethemultisided

blend (page 1–1213), fuse the CVs at the three

or four corners. Snapping CVs to each other

doesn’t always succeed, because of rounding

off.

Multicurve Trimmed Surfaces

• Multicurve trimmed surfaces are the only way

to create a trimmed hole that contains sharp

angles.

Displacement Mapping

• In general, the default tessellation settings

aren’t suitable for displaced surfaces. With

these default settings, displacement mapping

can create an extremely high face count,

which performs very slowly. Change the

surface approximation to the lowest necessary

resolution. A good rule of thumb is to start

with Spatial approximation and an Edge value

of 20. If that is too low, reduce the Edge value

untilthemodellooksasitshould.

•UsetheDisplace NURBS world space modifier

(page 1–515) to convert the displacement map

1098 Chapter 9: Surface Modeling

into an actual displaced mesh so you can see the

effect of displacement in viewports. To make a

displaced mesh copy of the NURBS model, use

Snapshot (page 1–453).

Connecting an Arm to a Shoulder

• The easiest approach is to create a CV curve on

surface (page 1–1172) or normal projected curve

(page 1–1169) on the shoulder. Then create the

arm as a U loft (page 1–1196).Forthelastcurve

oftheUloft,selecttheCVcurveonsurfaceor

the normal projected curve. Then turn on Use

COS Tangents, which makes the loft surface

tangent to the other surface where the arm joins

the shoulder.

• If the blend appears twisted, use the Start Point

spinner to change the location of the first point

of the curves that make up the U loft surface.

• Another way to connect a U loft to another

surfaceistoprojectthelastcurveintheU

loft onto the other surface. Click Make COS

to convert the projected curve into a curve on

surface, and then on the U Loft Surface rollout

click Insert to make the new curve on surface

the last curve in the U loft. You can scale the

curve on surface or move its CVs to get the

curvature and blending you want.

How to Fix NURBS Objects

These are tips on fixing problems with NURBS

models.

• Ifyoucreateasurfacebutitisn’tvisiblein

viewports, click Flip Normals. Flip Normals is

availableonthesurface’screationrollout,or

at the Surface sub-object level on the Surface

Common rollout.

•Ifyoucreateablend surface (page 1–1183) and

it looks like a bow tie, use Flip End 1 or Flip

End 2 to correct the twist.

•IfaCVcurvegivesyouunexpectedorincorrect

results, try reparameterizing it. Click Reparam.

at the Curve sub-object level. This button is on

the CV Curve rollout. In the Reparameterize

dialog (page 1–1237), choose Chord Length

reparameterization.

If the curve still gives you trouble, try rebuilding

it. The Rebuild button is on the same rollout.

• If a blend between a surface and a curve

gives you unexpected or incorrect results, try

reparameterizing the parent surface. Click

Reparam. at the Surface sub-object level. This

button is on the CV Surface rollout. In the

Reparameterize dialog (page 1–1237),choose

Chord Length reparameterization.

• If you see a seam in a shaded viewport, render

the viewport first before you try to fix the seam.

What you see in viewports might not be what

you get in a render, and the viewport shader

is less accurate than the production renderer.

Seamsinviewportscanalsoresultfrom

different surface approximation settings (page

1–1239) for the viewport and the renderer, so

check these as well.

• If you see gaps between faces in the rendered

model, increase the Merge value for the

renderer in the surface approximation settings.

• Sometimes gaps between faces appear after

you convert a NURBS model into a mesh. (For

example, by using Mesh Select (page 1–719).)

If this happens, increase the Merge value for

the renderer in the surface approximation (page

1–1239) settings.

• If you see odd twists in a 1-rail (page 1–1204)

or 2-rail (page 1–1209) sweep, add more cross

sections at the areas of change in the surface.

Forexample,ifyourraillookslikeaboxwith

rounded corners, placing cross sections at the

corners helps to control the shape of the sweep.

On the other hand, you don’t need more cross

How to Improve Performance 1099

sections for a rail shaped like an ’S’, because the

curvatureismoreconstant.

• If a U loft or UV loft doubles back on itself

unexpectedly, make sure that all the curves are

going in the same direction. Click Reverse to

change a curve’s direction. Use the Start Point

spinner to align the curve’s initial points.

How to Improve Performance

These are tips on improving the performance of

your NURBS models.

• Avoid using point curves and point surfaces.

These are slower than CV curves and CV

surfaces. Use the point forms only when you

need them for construction; for example,

when you use Curve Fit to create a curve that

interpolates specific points.

•Usethenonrelational stack (page 1–1116)

feature in conjunction with the Shaded Lattice

toggle to improve performance while you

animate your NURBS model.

• Use Transform Degrade to hide surfaces while

you are moving, rotating, and scaling NURBS

sub-objects. The shortcut Ctrl+X toggles this

option.

Yo u c a n u s e Ctrl+X in the middle of a

transform, to turn on degradation if things are

happening slowly.

• Turn off the display of dependent surfaces

whileyouarecreatingnewdependentsurfaces

or moving, rotating, or scaling NURBS

sub-objects. The shortcut Ctrl+D toggles

dependent surface display.

• Trim holes only when you need to. For example,

when you connect an arm to a torso, you don’t

need to create a hole beneath the arm, as it

won’t be visible anyway.

You can also speed up performance by turning

off the Display Trims toggle. The shortcut

Shift+Ctrl+T toggles trim display. The trims

still appear in renderings.

• For symmetrical models, create only half the

geometry, and then mirror it. You can then use

ablend (page 1–1183) surface or ruled (page

1–1193) surface to connect the two halves.

• Restart 3ds Max when performance begins

to slow down. If your NURBS model needs

to page, then working with it for a long time

causes performance to slow. If you notice this,

save your work, close 3ds Max, and then restart.

• Convert point surfaces to CV surfaces whenever

possible.

• When you use texture surfaces, use the Edit

Texture Surface dialog (page 1–1230) (click

Edit Texture Surface on the Material Properties

rollout (page 1–1149)) to rebuild the texture

surface with the minimum necessary number

of UV rows and columns.

• U lofts are faster than UV lofts.

• Every type of surface is faster if you can make it

independent.

•Setthesurface approximation (page 1–1239) for

viewports to use the lowest possible resolution.

Set the renderer to use higher resolution, and

turn on View Dependent for the renderer

so objects far from the camera render more

quickly.

• You can customize and save surface

approximation (page 1–1239) presets by

using the Surface Approximation utility (page

1–1245).Thisutilityalsoletsyousetsurface

approximation values for a selection set of

multiple NURBS models.

Animation, Textures, and

Rendering

These are tips about animating NURBS models

and using textures with animated NURBS models.

1100 Chapter 9: Surface Modeling

• An easy way to animate a growing surface is to

put a curve point (page 1–1220) with trimming

onacurve,thenanimatetheUpositionofthe

curvepoint,andthenusethiscurveastherail

of a 1-rail sweep (page 1–1204). As the trimmed

rail grows, so does the sweep surface. (You

must trim the curve before you create the sweep

surface.)

• If you see gaps between surfaces in rendered

images, increase the value of Merge for the

renderer in the surface approximation (page

1–1239) settings.

• If a texture slides around on the surface during

animation, this is because you are using the

default Chord-Length parameterization of the

texture surface. Select the surface, then on

the Material Properties rollout (page 1–1149)

change the parameterization to User Defined.

Now the texture should stick to the surface

better.

•Don’tusetheUVW Map modifier (page 1–922)

to apply a texture to an animated NURBS

surface.

• If a surface seems to glitter or jump around

as you move toward it in an animation, this

is because View Dependent tessellation is on

(on the Surface Approximation rollout (page

1–1239)) so the tessellation is constantly

changing. Usually View Dependent creates no

visible changes, but if it does, turn it off.

• If a surface seems to glitter or jump around

while it changes during animation, this

is because the tessellation is changing as

the surface animates. Changing surface

approximation (on the Surface Approximation

rollout) to Regular fixes this in all cases.

Parametric tessellation also solves this problem

for every kind of surface except Ulofts(page

1–1196) and UV lofts (page 1–1200).

• If the View Dependent setting doesn’t seem

to be doing much, change the tessellation

(ontheSurfaceApproximationrollout)from

Curvature to Spatial. You will then get a much

more drastic change in face count.

•Togetamaptosmoothlycovertwoormore

surface without tiling, create another surface

whose shape covers and roughly conforms to

the original surfaces. Apply the texture to the

larger surface. In the Material Properties rollout

(page 1–1149) for the original surfaces, set

Texture Surface to Projected, click Pick Source

Surface, and pick the larger surface. Adjust the

larger surface to fine-tune the map projection.

Hide the larger surface before you render.

• To have different maps on a surface sub-object,

use different mapping coordinates (page 3–967),

and multiple map channels (page 3–966).On

the Material Properties rollout (page 1–1149),

change the Map Channel value and then turn

on Generate Mapping Coordinates. (Each

map channel requires its own set of mapping

coordinates.)

NURBS surface sub-objects let you set the map

channel directly, and don’t require you to apply

UVWMapmodifiersasotherobjectsdo.

•Ifamapdoesn’taligntoasurfacesub-objectthe

way you want it to, on the Material Properties

rollout (page 1–1149) choose User Defined as

the Texture Surface, and then use Edit Texture

Points or the Edit Texture Surface dialog to

movethepointsofthetexturesurface.

• To adjust how the map aligns to the edges of

a surface sub-object, use the Texture Corner

settings on the Material Properties rollout (page

1–1149).

NURBS Surfaces 1101

NURBS Surface Primitives

Create panel > Geometry > NURBS Surfaces

Create menu > NURBS > CV Surface/Point Surface

NURBS (page 3–980) surface objects are the basis

ofNURBSmodels.Theinitialsurfaceyoucreate

usingtheCreatepanelisaplanarsegmentwith

points or CVs. It is meant simply to be "raw

material" for creating a NURBS model. Once

you have created the initial surface, you can

modify it on the Modify panel by moving CVs or

NURBS points, attaching other objects, creating

sub-objects, and so on.

There are two kinds of NURBS surfaces:

Point Surface (page 1–1102)

CV Surface (page 1–1103)

Yo u c a n a l s o create a NURBS surface from a

geometric primitive (page 1–1116).

NURBS surfaces can contain multiple sub-objects,

including NURBS points, NURBS curves, and

other NURBS surfaces. These sub-objects are

either dependent or independent.

Creating Curve Sub-Objects (page 1–1151)

Creating Surface Sub-Objects (page 1–1177)

Creating and Editing Point Sub-Objects (page

1–1219)

Common Sub-Object Controls (page 1–1122)

Editing Point Sub-Objects (page 1–1123)

Editing Curve CV Sub-Objects (page 1–1127)

Editing Surface CV Sub-Objects (page 1–1130)

Editing Curve Sub-Objects (page 1–1135)

Editing Surface Sub-Objects (page 1–1141)

Yo u c a n a l s o c r e a t e N U R B S s u r f a c e s u b - o b j e c t s b y

attaching or importing other 3ds Max objects (page

1–1120).

Both NURBS curves and NURBS surfaces have a

Display area in the General rollout on the Modify

panel. These controls affect which portions of

theNURBSgeometryaredisplayed.Nexttothe

Display area is the button that turns on the toolbox

for creating sub-objects.

Display Controls for NURBS Models (page 1–1117)

Warning: When you move CV sub-objects, the effect

must be calculated over a region of the surface.

Although the calculations are optimized, this is a more

involved process than simply moving vertices in an

editable mesh. Because of this, if you manipulate large

numbers of a NURBS surface’s CVs by transforming,

animating, applying modifiers, and so on, you will notice

adropininteractiveperformance.

Yo u c a n u s e M A X S c r i p t t o c o nt r o l N U R B S o b j e c t s .

See "Working with NURBS in MAXScript" in the

MAXScripthelpfile.ChooseHelp>Additional

Help, and then choose MAXScript from the list

of additional help files.

1102 Chapter 9: Surface Modeling

Point Surface

Create panel > Geometry > NURBS Surfaces > Point Surf

Createmenu>NURBS>PointSurface

Points shape the surface they lie on.

Point surfaces are NURBS surfaces (page 1–1101)

whose points are constrained to lie on the surface.

Because an initial NURBS surface is meant to

be edited, the surface creation parameters do

not appear on the Modify panel. In this respect,

NURBS surface objects are different from other

objects. The Modify panel provides other ways to

change the values you set in the Create panel.

Procedure

To create a point surface:

1. Go to the Create panel.

2. Turn on Geometry, and choose NURBS

Surfaces from the drop-down list.

3. Tur n on Point Su rf.

4. In a viewport, drag to specify the area of the

planar segment.

5. Adjust the surface’s creation parameters.

Interface

Thecreationparametersarethesameforboth

pointsurfacesandCVsurfaces,exceptthatthe

labels indicate which kind of basic NURBS surface

you are creating.

Keyboard Entry rollout

The Keyboard Entry rollout lets you create a point

surfacebytyping. Usethe Tab key to move

between the controls on this rollout. To click the

Create button from the keyboard, press Enter

while the button is active.

X, Y, and Z—Let you enter the coordinates of the

center of the surface.

Length and Width—Let you enter the dimensions

of the surface in current 3ds Max units.

Length Points—Lets you enter the number of points

along the length of the surface (this is the initial

number of point columns).

Width Points—Lets you enter the number of points

along the width of the surface (this is the initial

number of point rows).

Create—Creates the surface object.

CV Surface 1103

Create Parameters rollout

Length—The length of the surface in current

3ds Max units.

Width—Thewidthofthesurfaceincurrent

3ds Max units.

On the Modify panel, the Length and Width

spinners are no longer available. You can change

the length or width of the surface by scaling the

surfaceattheSurfacesub-objectlevel. Moving

point sub-objects also alters the length and width

of the surface.

Length Points—The number of points along the

length of the surface. In other words, the initial

number of point columns in the surface. Range=2

to 50. Default=4.

Width Points—The number of points along the

width of the surface. In other words, the initial

number of point rows in the surface. Range=2 to

50. Default=4.

On the Modify panel, the point Length and Width

spinners are no longer available. You can change

thenumberofrowsandcolumnsbydeleting

existing rows and columns, or by adding new rows

and columns using the Refine controls at the Point

sub-object level.

Generate Mapping Coordinates—Generates

mapping coordinates so you can apply mapped

materials to the surface.

The Generate Mapping Coordinates control is

present on the Modify panel. It is at the Surface

sub-object level.

Flip Normals—Turn on to reverse the direction of

the surface normals.

The Flip Normals control is present on the Modify

panel. It is at the Surface sub-object level.

When you modify a point surface, a rollout lets

you change its surface approximation settings (page

1–1239).

CV Surface

Create panel > Geometry > NURBS Surfaces > CV Surf

Createmenu>NURBS>CVSurface

The CVs in a control lattice shape the surface it defines.

CV surfaces are NURBS surfaces (page 1–1101)

controlled by control vertices (CVs (page 3–926)).

TheCVsdon’tlieonthesurface. Theydefine

acontrol lattice (page 3–923) that encloses the

surface. Each CV has a weight that you can adjust

to change the shape of the surface.

Because an initial NURBS surface is meant to

be edited, the surface creation parameters do

not appear on the Modify panel. In this respect,

NURBS surface objects are different from other

1104 Chapter 9: Surface Modeling

objects. The Modify panel provides other ways to

change the values you set in the Create panel.

Procedure

To create a CV surface:

1. Go to the Create panel.

2. Turn on Geometry, and choose NURBS

Surfaces from the drop-down list.

3. Turn on CV Surf.

4. In a viewport, drag to specify the area of the

planar segment.

5. Adjust the surface’s creation parameters.

Note: When you edit a CV surface you can add

or move CVs so that more than one CV is at

thesamelocation(orclosetoit)toincrease

the influence of the CVs in that region of the

surface. Two coincident CVs sharpen the

curvature. Three coincident CVs create an

angular peak in the surface. This technique can

help you shape the surface. However, if you

later move the CVs individually, you lose this

effect. (You can also obtain the influence of

multiple CVs by fusing (page 3–946) CVs.)

Interface

Thecreationparametersarethesameforboth

pointsurfacesandCVsurfaces,exceptthatthe

labels indicate which kind of basic NURBS surface

you are creating.

Keyboard Entry rollout

The Keyboard Entry rollout lets you create a CV

surface by typing. Use the Tab key to move

betweenthecontrolsonthisrollout.Toclickthe

Create button from the keyboard, press Enter

while the button is active.

X, Y, and Z—Let you enter the coordinates of the

center of the surface.

Length and Width—Let you enter the dimensions

of the surface, in current 3ds Max units.

Length CVs—Lets you enter the number of CVs

along the length of the surface (this is the initial

number of CV columns).

Width CVs—Lets you enter the number of CVs

along the width of the surface (this is the initial

number of CV rows).

Create—Creates the surface object.

CV Surface 1105

Create Parameters rollout

Length—The length of the surface in current

3ds Max units.

Width—Thewidthofthesurfaceincurrent

3ds Max units.

On the Modify panel, the Length and Width

spinners are no longer available. You can change

the length or width of the surface by scaling the

surface at the Surface sub-object level. Moving CV

sub-objectsalsoaltersthelengthandwidthofthe

surface.

Length CVs—The number of CVs along the length

of the surface. In other words, the initial number

ofCVcolumnsinthesurface.Canrangefrom4

to 50.

Width CVs—The number of CVs along the width of

the surface. In other words, the initial number of

CV rows in the surface. Can range from 4 to 50.

On the Modify panel, the CV Length and Width

spinners are no longer available. You can change

thenumberofrowsandcolumnsbydeleting

existing rows and columns, or by adding new

rows and columns using the Refine controls at the

Surface CV sub-object level.

Generate Mapping Coordinates—Generates

mapping coordinates so you can apply mapped

materials to the surface.

The Generate Mapping Coordinates control is

present on the Modify panel. It is at the Surface

sub-object level.

Flip Normals—Turn on to reverse the direction of

the surface normals.

The Flip Normals control is present on the Modify

panel. It is at the Surface sub-object level.

When you modify a CV surface, a rollout lets you

change its surface approximation settings (page

1–1239).

Automatic Reparameterization group

The radio buttons in this group box let you

choose automatic reparameterization. With

reparameterization, the surface maintains

its parameterization as you edit it. Without

reparameterization, the surface’s parameterization

doesn’t change as you edit it, and can become

irregular.

None—Do not reparameterize.

Chord Length—Chooses the chord-length

algorithm for reparameterization.

Chord-length reparameterization spaces knots (in

parameter space (page 3–988)) based on the square

rootofthelengthofeachcurvesegment.

Chord-length reparameterization is usually the

best choice.

Uniform—Spaces the knots uniformly.

A uniform knot vector has the advantage that the

surface will change only locally when you edit it.

With the other two forms of parameterization,

moving any CV can change the entire surface.

1106 Chapter 9: Surface Modeling

NURBS Curve Primitives

Create panel > Shapes button > NURBS Curves

NURBS (page 3–980) curves are Shape objects

(page 1–262),andyoucanusethemasyou

dosplines. YoucanusetheExtrudeorLathe

modifiers to generate a 3D surface based on a

NURBS curve. You can use NURBS curves as

thepathortheshapeofaloft. (Loftscreated

using NURBS curves are loft objects, not NURBS

objects.)

You can also use NURBS curves as Path Constraint

and Path Deform paths or as motion trajectories.

You can assign thickness to a NURBS curve so it

rendersasacylindricalobject. (Thethickened

curve renders as a polygonal mesh, not as a

NURBS surface.)

Acurveandthesamecurverenderedwiththickness

There are two kinds of NURBS curve objects:

Point Curve (page 1–1106)

CV Curve (page 1–1110)

Like other Shape objects, NURBS curves can

contain multiple sub-objects, which are either

dependent or independent.

Creating Curve Sub-Objects (page 1–1151)

Creating Surface Sub-Objects (page 1–1177)

Creating and Editing Point Sub-Objects (page

1–1219)

Common Sub-Object Controls (page 1–1122)

Editing Point Sub-Objects (page 1–1123)

Editing Curve CV Sub-Objects (page 1–1127)

Editing Surface CV Sub-Objects (page 1–1130)

Editing Curve Sub-Objects (page 1–1135)

Editing Surface Sub-Objects (page 1–1141)

Note: Like an object-level NURBS surface (page

1–1101), an object-level NURBS curve is a

top-level NURBS model (page 3–980) that can

contain NURBS curve, NURBS surface, and

NURBS point sub-objects. A NURBS curve

remainsaShapeobjectunlessyouaddasurface

sub-objecttoit;ifyoudo,itconvertstoaNURBS

surface (without changing its name).

Creating Independent Surfaces from NURBS Curve

Objects (page 1–1114)

Yo u c a n a l s o c r e at e N U R B S c u r v e s u b - o bj e c t s b y

attachingorimportingotherobjectssuchasother

NURBS curves or spline shapes.

Attaching and Importing 3ds Max Objects (page

1–1120)

Display Controls for NURBS Models (page 1–1117)

Both NURBS curves and NURBS surfaces have a

DisplayareaintheModifypanel.Thesecontrols

affect which portions of the NURBS geometry are

displayed. Next to the Display area is the button

that turns on the toolbox for creating sub-objects.

Point Curve

Create panel > Shapes button > NURBS Curves > Point

Curve button

Createmenu>NURBS>PointCurve

Point curves are NURBS curves (page 1–1106)

whose points are constrained to lie on the curve.

ApointcurvecanbethebasisofafullNURBS

model (page 3–980).

Point Curve 1107

Points lie on the curve they define.

Drawing Three-Dimensional Curves

When you create a point curve, you can draw it in

threedimensions.Therearetwowaystodothis:

• Draw In All Viewports: This toggle lets you use

any viewport to draw the curve, enabling you

to draw three dimensionally.

•Using

Ctrl to drag points: While you draw a

curve, you can use the Ctrl key to drag a point

offoftheconstructionplane.

With the Ctrl –key method, further mouse

movement lifts the latest point off the construction

plane.Therearetwowaystousethis:

•Click-drag.Ifyouholddown

Ctrl and also

hold down the mouse button, you can drag

to change the height of the point. The point’s

location is set when you release the mouse

button.

This method is probably more intuitive.

• Click-click. If you Ctrl +click and then release

the mouse button, the height changes as you

drag the mouse. Clicking the mouse a second

time sets the point’s location.

This method is less prone to repetitive stress

injury.

Whileyouareoffsettingthepoint,areddotted

line is drawn between the original point on the

construction plane and the actual point offset

fromtheplane.Youcanmovethemouseintoan

inactive viewport, in which case the software sets

the height of the point using the point’s Z axis in

the inactive viewport. This lets you set the height

of the point with accuracy.

Snaps (page 2–41) also work when you change the

height of a point. For example, if you turn on Point

snapping, you can set a point to have the same

height as another point by snapping to that other

point in an inactive viewport.

Procedure

To create a NURBS point curve:

1. Go to the Create panel.

2. Turn on Shapes, and choose NURBS

Curves from the drop-down list.

3. Tur n on Point Cu r ve.

4. In a viewport, click and drag to create the first

point, as well as the first curve segment. Release

the mouse button to add the second point. Each

subsequent location you click adds a new point

to the curve. Right-click to end curve creation.

Note: If you begin the curve by clicking without

dragging, this also creates the curve’s first point.

However, if you release the mouse button more

than five pixels away from where you initially

pressed it, this creates an additional point.

Whileyouarecreatingapointcurve,youcan

press Backspace to remove the last point you

created, and then previous points in reverse

order.

If Draw In All Viewports is on, you can draw in

any viewport, creating a 3D curve.

To lift a point off the construction plane, use

the Ctrl key as described earlier in this topic

under "Drawing Three-Dimensional Curves."

1108 Chapter 9: Surface Modeling

As with splines, if you click over the curve’s

initial point, a Close Curve dialog (page 1–1235)

is displayed. This dialog asks whether you

want the curve to be closed. Click No to keep

the curve open or Yes to close the curve. (You

canalsocloseacurvewhenyouedititatthe

Curve sub-object level.) When a closed curve

isdisplayedattheCurvesub-objectlevel,the

initial point is displayed as a green circle, and a

green tick mark indicates the curve’s direction.

5. Adjust the curve’s creation parameters.

6. (Optional.) To add a new NURBS curve

sub-object,youcanturnofftheStartNew

Shape check box, and then repeat the preceding

steps.

Interface

Thecreationparametersarethesameforboth

point curves and CV curves.

Rendering rollout

Lets you turn on and off the renderability of the

curve, specify its thickness in the rendered scene,

and apply mapping coordinates.

Render parameters can be animated. For example,

you can animate the number of sides.

Enable In Renderer—When on, the shape is

rendered as a 3D mesh using the Radial or

Rectangular parameters set for Renderer. In

previous versions of the program, the Renderable

switch performed the same operation.

Enable In Viewport—When on, the shape is

displayedintheviewportasa3Dmeshusingthe

Radial or Rectangular parameters set for Renderer.

In previous versions of the program, the Display

Render Mesh performed the same operation.

Point Curve 1109

Use Viewport settings—Lets you set different

rendering parameters, and displays the mesh

generated by the Viewport settings. Available only

when Enable in Viewport is turned on.

Generate Mapping Coords—Tur n t hi s on to a pp ly

mapping coordinates. Default=off.

The U coordinate wraps once around the thickness

of the spline; the V coordinate is mapped once

along the length of the spline. Tiling is achieved

using the Tiling parameters in the material itself.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625).Default=on.

Viewport—Turn this on to specify Radial or

Rectangular parameters for the shape as it will

display in the viewport when Enable in Viewport

is turned on.

Renderer—Turn this on to specify Radial or

Rectangular parameters for the shape as it will

displaywhenrenderedorviewedintheviewport

when Enable in Viewport is turned on.

Radial—Displays the 3D mesh as a cylindrical

object.

Thickness—Specifies the diameter of the viewport

or rendered spline mesh. Default=1.0. Range=0.0

to 100,000,000.0.

Splines rendered at thickness of 1.0 and 5.0, respectively

Sides—Sets the number of sides (or facets) for

thesplinemeshntheviewportorrenderer.For

example, a value of 4 results in a square cross

section.

Angle—Adjusts the rotational position of the

cross-section in the viewport or renderer. For

example, if the spline mesh has a square cross

section you can use Angle to position a "flat" side

down.

Rectangular—Displays the spline’s mesh shape as

rectangular.

Aspect—Sets the aspect ratio for rectangular

cross-sections. The Lock check box lets you lock

the aspect ratio. When Lock is turned on, Width

is locked to Depth that results in a constant ratio

of Width to Depth.

Length—Specifies the size of the cross–section

along the local Yaxis.

Width—Specifies the size of the cross–section

along the local Xaxis.

Angle—Adjusts the rotational position of the

cross-section in the viewport or renderer. For

example, if you have a square cross-section you

can use Angle to position a "flat" side down.

Auto Smooth—If Auto Smooth is turned on, the

spline is auto-smoothed using the threshold

specified by the Threshold setting below it. Auto

Smooth sets the smoothing based on the angle

between spline segments. Any two adjacent

segmentsareputinthesamesmoothinggroupif

the angle between them is less than the threshold

angle.

Threshold—Specifies the threshold angle in

degrees. Any two adjacent spline segments are put

inthesamesmoothinggroupiftheanglebetween

them is less than the threshold angle.

1110 Chapter 9: Surface Modeling

Keyboard Entry rollout

The Keyboard Entry rollout lets you create a

NURBS curve by typing. Use the Ta b key to

move between the controls in this rollout. To click

a button from the keyboard, press Enter while

the button is active.

X, Y, and Z—Let you enter the coordinates of the

next point to add.

Add Point—Adds the point to the curve.

Close—Ends creation of the curve and creates

a segment between the last point and the initial

point to close the curve.

Finish—Ends creation of the curve, leaving it open.

Create Point Curve rollout

This rollout contains the controls for curve

approximation.

Interpolation group

Thecontrolsinthisgroupboxchangetheaccuracy

and type of curve approximation (page 1–1238)

used to generate and display the curve.

Draw In All Viewports—Lets you use any viewport

whileyouaredrawingthecurve.Thisisoneway

to create a 3D curve. When off, you must finish

drawing the curve in the viewport where you

began it. Default=on.

WhileDrawInAllViewportsison,youcanalso

use snaps (page 2–41) in any viewport.

CV Curve

Create panel > Shapes button > NURBS Curves > CV

Curve button

Create menu > NURBS > CV Curve

CV curves are NURBS curves (page 1–1106)

controlled by control vertices (CVs (page 3–926)).

TheCVsdon’tlieonthecurve. Theydefinea

control lattice (page 3–923) that encloses the curve.

Each CV has a weight that you can adjust to change

the curve.

Whileyou’recreatingaCVcurveyoucanclick

to create more than one CV at the same location

(or close to it), increasing the influence of the

CVsinthatregionofthecurve. Creatingtwo

coincidentCVssharpensthecurvature.Creating

three coincident CVs creates an angular corner

in the curve. This technique can help you shape

the curve; however, if you later move the CVs

individually, you lose this effect. (You can also

obtain the influence of multiple CVs by fusing

(page 3–946) CVs.)

ACVcurvecanbethebasisofafullNURBS model

(page 3–980).

CV Curve 1111

CVs shape the control lattice that defines the curve.

Drawing Three-Dimensional Curves

WhenyoucreateaCVcurve,youcandrawitin

threedimensions.Therearetwowaystodothis:

• Draw In All Viewports: This toggle lets you use

any viewport to draw the curve, enabling you

to draw three dimensionally.

•Using

Ctrl to drag CVs: While you draw a

curve, you can use the Ctrl key to drag a CV

offoftheconstructionplane.

With the Ctrl –key method, further mouse

movement lifts the latest CV off the construction

plane.Therearetwowaystousethis:

•Click-drag.Ifyouholddown

Ctrl and also

hold down the mouse button, you can drag to

change the height of the CV. The CV’s location

is set when you release the mouse button.

This method is probably more intuitive.

• Click-click. If you Ctrl +click and then release

the mouse button, the height changes as you

drag the mouse. Clicking the mouse a second

time sets the CV’s location.

This method is less prone to repetitive stress

injury.

WhileyouareoffsettingtheCV,areddotted

line is drawn between the original CV on the

construction plane and the actual CV offset

fromtheplane.Youcanmovethemouseintoan

inactive viewport, in which case the software sets

the height of the CV using the CV’s Z axis in the

inactive viewport. This lets you set the height of

the CV with accuracy.

Snaps (page 2–41) also work when you change the

height of a CV. For example, if you turn on CV

snapping, you can set a CV to have the same height

as another CV by snapping to that other CV in an

inactive viewport.

Procedure

To create a NURBS CV curve:

1. Go to the Create panel.

2. Turn on Shapes, and choose NURBS

Curves from the drop-down list.

3. Tur n on CV Cur ve .

4. In a viewport, click and drag to create the

first CV, as well as the first curve segment.

ReleasethemousetoaddthesecondCV.Each

subsequent location you click adds a new CV to

the curve. Right-click to end curve creation.

Note: If you begin the curve by clicking without

dragging, this also creates the curve’s first CV.

However, if you release the mouse more than

five pixels away from where you initially pressed

it, this creates an additional CV.

While you are creating a CV curve, you can

press Backspace to remove the last CV you

created, and then previous CVs in reverse order.

If Draw In All Viewports is on, you can draw in

any viewport, creating a 3D curve.

To lift a CV off the construction plane, use

the Ctrl key as described earlier in this topic

under "Drawing Three-Dimensional Curves."

As with splines, if you click over the curve’s

initial CV, a Close Curve dialog (page 1–1228)

is displayed. This dialog asks whether you

1112 Chapter 9: Surface Modeling

want the curve to be closed. Click No to keep

the curve open or Yes to close the curve. (You

canalsocloseacurvewhenyouedititatthe

Curve sub-object level.) When a closed curve

isdisplayedattheCurvesub-objectlevel,the

initial CV is displayed as a green circle, and a

green tick mark indicates the curve’s direction.

5. Adjust the curve’s creation parameters.

6. (Optional) To add a new NURBS curve

sub-object,youcanturnofftheStartNew

Shape check box, and then repeat the preceding

steps.

Interface

Thecreationparametersarethesameforboth

point curves and CV curves.

Rendering rollout

Enable In Renderer—When on, the shape is

rendered as a 3D mesh using the Radial or

Rectangular parameters set for Renderer. In

previous versions of the program, the Renderable

switch performed the same operation.

Enable In Viewport—When on, the shape is

displayedintheviewportasa3Dmeshusingthe

Radial or Rectangular parameters set for Renderer.

In previous versions of the program, the Display

Render Mesh performed the same operation.

Use Viewport settings—Lets you set different

rendering parameters, and displays the mesh

generated by the Viewport settings. Available only

when Enable in Viewport is turned on.

Generate Mapping Coords—Tur n this on to apply

mapping coordinates. Default=off.

The U coordinate wraps once around the thickness

of the spline; the V coordinate is mapped once

along the length of the spline. Tiling is achieved

using the Tiling parameters in the material itself.

Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied

totheobject. Thescalingvaluesarecontrolled

by the Use Real-World Scale settings found in

the applied material’s Coordinates rollout (page

2–1625).Default=on.

Viewport—Turn this on to specify Radial or

Rectangular parameters for the shape as it will

display in the viewport when Enable in Viewport

is turned on.

Renderer—Turn this on to specify Radial or

Rectangular parameters for the shape as it will

displaywhenrenderedorviewedintheviewport

when Enable in Viewport is turned on.

Radial—Displays the 3D mesh as a cylindrical

object.

Thickness—Specifies the diameter of the viewport

or rendered spline mesh. Default=1.0. Range=0.0

to 100,000,000.0.

CV Curve 1113

Splines rendered at thickness of 1.0 and 5.0, respectively

Sides—Sets the number of sides (or facets) for

thesplinemeshntheviewportorrenderer. For

example, a value of 4 results in a square cross

section.

Angle—Adjusts the rotational position of the

cross-section in the viewport or renderer. For

example, if the spline mesh has a square cross

section you can use Angle to position a "flat" side

down.

Rectangular—Displays the spline’s mesh shape as

rectangular.

Aspect—Sets the aspect ratio for rectangular

cross-sections. The Lock check box lets you lock

the aspect ratio. When Lock is turned on, Width

is locked to Depth that results in a constant ratio

of Width to Depth.

Length—Specifies the size of the cross–section

along the local Yaxis.

Width—Specifies the size of the cross–section

along the local Xaxis.

Angle—Adjusts the rotational position of the

cross-section in the viewport or renderer. For

example, if you have a square cross-section you

canuseAngletopositiona"flat"sidedown.

Auto Smooth—If Auto Smooth is turned on, the

spline is auto-smoothed using the threshold

specified by the Threshold setting below it. Auto

Smooth sets the smoothing based on the angle

between spline segments. Any two adjacent

segmentsareputinthesamesmoothinggroupif

the angle between them is less than the threshold

angle.

Threshold—Specifies the threshold angle in

degrees. Any two adjacent spline segments are put

inthesamesmoothinggroupiftheanglebetween

them is less than the threshold angle.

A curve and the same curve rendered with thickness

Keyboard Entry rollout

The Keyboard Entry rollout lets you create a

NURBS curve by typing. Use the Tab key to

move between the controls in this rollout. To click

a button from the keyboard, press Enter while

the button is active.

X, Y, and Z—Let you enter the coordinates of the

next CV to add.

Add Point—Adds the CV to the curve.

Weight—EnteraweightfortheCV.

Close—Ends creation of the curve and creates a

segment between the last CV and the initial CV, to

make the curve a closed curve.

1114 Chapter 9: Surface Modeling

Finish—Ends creation of the curve, leaving it open

ended.

Create CV Curve rollout

This rollout contains the controls for curve

approximation.

Interpolation group

Thecontrolsinthisgroupboxchangetheaccuracy

andkindofcurve approximation (page 1–1238)

used to generate and display the curve.

Draw In All Viewports—Lets you use any viewport

whileyouaredrawingthecurve.Thisisoneway

to create a 3D curve. When off, you must finish

drawing the curve in the viewport where you

began it. Default=On.

WhileDrawInAllViewportsison,youcanalso

use snaps (page 2–41) in any viewport.

Automatic Reparameterization group

The controls in this group box let you specify

automatic reparameterization. They are similar

to the controls in the Reparameterize dialog (page

1–1237), with one addition: all choices except

for None tell the software to reparameterize the

curve automatically; that is, whenever you edit it

by moving CVs, refining, and so on.

None—Do not reparameterize automatically.

Chord Length—Chooses the chord-length

algorithm for reparameterization.

Chord-length reparameterization spaces knots (in

parameter space (page 3–988)) based on the square

rootofthelengthofeachcurvesegment.

Chord-length reparameterization is usually the

best choice.

Uniform—Spaces the knots uniformly.

A uniform knot vector has the advantage that the

curve or surface changes only locally when you edit

it. With the other two forms of parameterization,

moving any CV can change the entire sub-object.

Creating NURBS Curve and

Surface Objects

Creating Independent Surfaces

from NURBS Curve Objects

To create independent surfaces from top-level

NURBS curve objects, use the Extrude (page

1–680) and Lathe (page 1–707) modifiers. Extrude

adds height to the curve, creating a shape by

sweepingitalongthecurve’slocalZaxis.Lathe

createsasurfaceofrotation,revolvingtheshape

along a specified axis. You can also use the Bevel

(page 1–562) and Bevel Profile (page 1–565)

modifiers on NURBS curves.

These modifiers treat NURBS curves the same way

they treat shapes (page 1–262).Theadvantageof

using NURBS curves instead of shapes is in the

different possible shapes that NURBS geometry

and editing provide.

Tip: Whenyoucreateacomplicatedsurface,

especially with the Lathe modifier, you often want

to render both sides of the surface. Turn on Force

Creating NURBS Curves from Splines 1115

2-Sided in the Render Scene dialog to see both

sides of the extruded or lathed surface. To see both

sidesinviewports,turnonForce2-Sidedinthe

Viewport Configuration dialog.

By default, an object with Extrude or Lathe

collapses to an editable mesh (page 1–996) object.

To have Extrude or Lathe output collapse to a

NURBS object, change the setting to NURBS in the

Output group box of the Extrude or Lathe rollout,

and then collapse the modifier stack (page 3–760).

Creating NURBS Curves from

Splines

Select Spline object. > Modify panel > Right-click the

spline name. > Convert To: NURBS

Splines become NURBS curves that then become NURBS

surfaces.

Yo u c a n t u r n a spline (page 1–266) into a NURBS

object formed of CV curves (page 1–1106).Once

converted, you can no longer edit the spline shape

parametrically, but you can edit it as a NURBS

object, moving CVs and so on.

When you convert a spline circle (page 1–273)

to a NURBS curve, the direction of the curve is

reversed. This facilitates using the curve to trim a

surface: if the direction weren’t reversed, usually

the circle would trim outward instead of inward.

Procedure

To turn a spline into NURBS curves:

1. Create the spline.

2. Go to the Modify panel.

3. In the stack display, right-click the name of the

spline.

4. On the pop-up menu, choose Convert To:

NURBS.

ThesplineisconvertedtooneormoreCV

curves.

Smoothly curved splines, such as circles and

arcs, convert to a single CV curve.

Splineswithsharpangles,suchasrectangles

and stars, convert to multiple CV curves whose

endpointsareattheanglesintheoriginal

spline. These endpoints are fused except for the

initial CV in the spline (for a star, the initial

segment is unfused at both ends).

"Sharp angles" doesn’t apply to smooth splines

to which you have given angles by changing

vertex tangents using the Edit Spline (page

1–680) modifier. These still convert to a single

NURBS curve.

1116 Chapter 9: Surface Modeling

Creating NURBS Surfaces from

Geometric Primitives

Primitive objects become NURBS surfaces that you can then

edit in various ways.

Yo u c a n t u r n a standard primitive (page 1–170)

into a NURBS object formed of CV surfaces (page

1–1179). Once converted, you can no longer edit

theobjectparametrically,butyoucanedititasa

NURBS object, moving CVs and so on.

Youcan’tconvertmostextendedprimitiveobjects

in this way, but you can convert the torus knot

(page 1–189) and prism (page 1–205) extended

primitives to NURBS objects.

Yo u c a n a l s o c o n v e r t patch (page 1–993) objects

and loft (page 1–352) compound objects.

Tips

• Geospheres are good for creating rounded

models with no sharp edges.

• Boxes are good for creating models that have

sharp edges.

• Flattened cones work well for models whose

contours are roughly triangular.

If the primitive is closed, the converted surface is

a closed CV surface, which has no visible seams.

Also, relational cap surfaces (page 1–1195) are used

tocapsurfacesthataren’tclosed.

Procedure

To turn a primitive into a NURBS object:

1. Create the primitive object.

2. Go to the Modify panel.

3. In the stack display, right-click the name of the

object.

4. On the pop-up menu, choose Convert To:

NURBS.

The object is converted to one or more CV

surfaces. The surfaces can be independent

surface sub-objects, or dependent surface

sub-objectssuchasLathe.

Nonrelational NURBS Surfaces

Select NURBS object. > Modify panel > General rollout >

Relational Stack toggle

Nonrelational NURBS surfaces provide a way

to improve the performance of NURBS with

modifiers. These are controlled by the Relational

Stack toggle on the General rollout for NURBS

objects.

Display Controls for NURBS Models 1117

When Relational Stack is on, NURBS maintain full

relational modeling on the modifier stack (page

3–760). When this toggle is off (the default),

then using the modifier stack converts surfaces

into independent CV surfaces before applying

modifiers. Surfaces on the stack behave in a

nonrelational way. If your NURBS model contains

no dependent surfaces, then it behaves the same on

the stack regardless of the Relational Stack setting.

However, the results are still faster if Relational

Stack is turned off.

When Relational Stack is off, there is no overhead

of copying the data from the relational model,

and no need to compute the relational surfaces,

so performance is faster.

Tip: To improve performance still further, display

surfaces as shaded lattices (see Display Controls for

NURBS Models (page 1–1117)). With Relational

Stack off and Shaded Lattice chosen, NURBS

objects perform on the stack about as well as mesh

objects do.

Procedure

To use nonrelational NURBS surfaces:

1. Make sure Relational Stack is off and Shaded

Lattice is chosen.

2. Set up your modifiers and animation.

3. If your model has only independent CV

surfaces,youcanrenderitnow. Ifithas

relational surfaces such as blends or lofts, then

before you render, choose the NURBS model at

the bottom of the stack, and turn on Relational

Stack.

When you return to the top of the modifier

stack, performance is slower but dependent

surfaces are accurate. The modified NURBS

modellooksdifferentthanitdidwiththe

nonrelational stack. Usually the difference in

appearance isn’t great, but the nonrelational

stack can show anomalies such as cracks

between Blend surfaces.

Display Controls for NURBS

Models

Modify panel > Select NURBS object. > General rollout

> Display group, Surface Display group, and NURBS

Creation Toolbox button

Modify panel > Select NURBS object. > Right-click in

viewport. > Display commands on the Tools 1 (upper-left)

quadrant of the quad menu

The check boxes on the General rollout for a

NURBS curve or surface control how the object

is displayed in viewports. If all check boxes are

turned off, the NURBS object is invisible (except

for the white bounding-box indicators displayed

in shaded viewports when the object is selected).

An additional rollout, Display Line Parameters

(page 1–1119), contains controls for how surfaces

display in viewports.

1118 Chapter 9: Surface Modeling

Interface

Display group

Lattices—When on, displays control lattices in

yellow lines. (You can change the lattice color using

the Colors panel (page 3–799) of the Customize

User Interface dialog.) The Curve CV and Surface

CV sub-object levels also have a local Display

Lattice toggle, which overrides this global setting

at the sub-object level. The Curve CV and Surface

CV settings are independent. In other words, at

the sub-object level you can turn on the lattice for

an object’s curves but not its surfaces, or vice versa.

Keyboard shortcut (while Keyboard Shortcut

Override Toggle is on): Ctrl+L

Attheobjectlevel,thisshortcutisequivalentto

turning Lattice on or off. At the sub-object level,

Ctrl+L overrides the setting of Lattice, toggling

the local Display Lattice setting.

Curves—When on, displays curves.

Keyboard shortcut (while Keyboard Shortcut

Override Toggle is on): Ctrl+Shift+C

Surfaces—When on, displays surfaces.

Keyboard shortcut (while Keyboard Shortcut

Override Toggle is on): Ctrl+Shift+S

Dependents—When on, displays dependent

sub-objects.

Keyboard shortcut (while Keyboard Shortcut

Override Toggle is on): Ctrl+D

Surface Trims—When on, displays surface trimming

(page 1–1080). When turned off, displays the

entire surface, even if it’s trimmed.

Keyboard shortcut (while Keyboard Shortcut

Override Toggle is on): Ctrl+Shift+T

Transform Degrade—When on, transforming a

NURBS surface can degrade its display in shaded

viewports, to save time. This is similar to the

Degradation Override (page 1–34) button for

playing animations. You can turn off this toggle so

surfaces are always shaded while you transform

them, but transforms can take longer.

Keyboard shortcut (while Keyboard Shortcut

Override Toggle is on): Ctrl+X

Tip: You can toggle Ctrl+X during a transform,

as well as before you begin the transform.

NURBS Creation Toolbox—Tu rn on to dis play

the NURBS sub-object creation toolbox. See Using

the NURBS Toolbox to Create Sub-Objects (page

1–1083).

Keyboard shortcut (while Keyboard Shortcut

Override Toggle is on): Ctrl+T

Surface Display group

This group box, for surfaces only, lets you choose

how to display surfaces in viewports.

Tessellated Mesh—When chosen, NURBS surfaces

displayasfairlyaccuratetessellatedmeshesin

shaded viewports. In wireframe viewports,

they appear as either iso curves or wire meshes,

depending on the settings you’ve chosen on the

Display Line Parameters rollout (page 1–1119).

Display Line Parameters for NURBS Surfaces 1119

Shaded Lattice—When chosen, NURBS surfaces

appear as shaded lattices in shaded viewports.

Wireframe viewports display the surface’s lattice

without shading. A shaded lattice shades the CV

control lattice (page 3–923) of the NURBS surface.

This displays more quickly than a tessellated mesh.

The shading is not accurate. It gives you a fairly

goodideaoflofts,butislessaccurateforfree-form

surfaces. Theshadingisalwaysaslargeorlarger

than the actual surface, because of the convex hull

property (page 3–924).

Shaded lattice display doesn’t show surface

trimming (page 1–1080) or texture mapping.

Tip: Shaded Lattice is a good option to choose

when you use the modifier stack with nonrelational

NURBS surfaces (page 1–1116).

Keyboard shortcut: Alt+L

(You can use this keyboard shortcut without

having to turn on the Keyboard Shortcut Override

To g g l e . )

Display Line Parameters for

NURBS Surfaces

Select NURBS object. > Modify panel > Display Line

Parameters rollout

These parameters are contained on a single rollout

at the top level of a NURBS object.

Interface

ULinesandVLines—The number of lines used to

approximate the NURBS surface in viewports,

along the surface’s local U and V dimensions,

respectively. Reducing these values can speed up

thedisplayofthesurface,butreduceaccuracy

of the display. Increasing these values increases

accuracy at the expense of time. Setting one of

these values to 0 displays only the edge of the

object in the corresponding dimension.

Iso and mesh displays of a NURBS teapot

Iso Only—When chosen, all viewports display iso

line (page 3–959) representations of the surface.

Iso(parametric) lines are similar to contour lines.

ThelinesshowwheretheNURBSsurfacehas

a constant U value or V value or both. Iso line

representations can be less crowded and easier to

visualizethanwiremeshrepresentations.

Iso and Mesh—(The default.) When chosen,

wireframe viewports display iso line

representations of the surface, and shaded

viewports display the shaded surface.

Mesh Only—When chosen, wireframe viewports

display the surface as a wire mesh, and shaded

viewports display the shaded surface. In wireframe

viewports, this option lets you see the surface

approximation (page 1–1239) used for viewports.

1120 Chapter 9: Surface Modeling

Creating and Editing NURBS

Sub-Objects

Attaching and Importing 3ds Max

Objects

Modify panel > Select NURBS object. > General rollout >

Attach button, Import button, and related controls

There are two ways to bring other 3ds Max objects

into a NURBS object:

•Attach,whichworkslikeAttachformeshes

and splines. It converts the attached object to

NURBS format. Once the object is attached,

you can edit it as a NURBS surface or curve.

However, the attached object’s history is lost.

Note: For NURBS surfaces, you can attach

other NURBS objects, standard primitive (page

1–170) objects, or quad patch (page 1–994) and

tri patch (page 1–995) surfaces. The patch is

converted to a NURBS surface. Quad patches

convert more successfully than Tri Patches. A

converted Tri Patch has a collapsed internal

edge, which gives irregular results when you

manipulate its mesh.

When you convert a spline circle (page 1–273)

to a NURBS curve, the direction of the curve

is reversed. This facilitates using the curve to

trim a surface: if the direction weren’t reversed,

usually the circle would trim outward instead

of inward.

• Import, which works somewhat like the

operand of a Boolean (page 1–338).Theobject

is brought into the NURBS object without

losing its history. You can select the imported

object as a sub-object.

Using Imports

Here are reasons to use Import instead of Attach:

• To maintain parametric control over primitives.

For example, if you import a sphere, you can

change its radius directly, which you can’t do

after using Attach.

• TouseBeziersplinesasNURBScurves.

For example, if you want to use a Bezier spline

asacurveinaNURBSmodel,importit.This

allows you to edit it as a Bezier spline, and not

as a NURBS curve.

Surfaces and curves created by an import are

available in the NURBS model. For example, if

youimportabox,youcancreateablendsurface

between one of its polygons and another surface

in your NURBS object.

Once you have imported an object, the NURBS

object has an Imports sub-object level. When you

select an import, it is highlighted in red.

It is an error to apply a modifier to an import when

the modifier converts the import into something

that can’t be converted to a NURBS object. For

example, if you import a sphere and apply a Bend

(page 1–560) to it, the sphere converts to an

editable mesh, which can’t automatically convert

to a NURBS surface. In this case, the import

sub-object is in an error state, and it is displayed in

the error color (orange by default).

Imports are displayed in two different ways.

WhileyouworkattheNURBSobjectlevelorata

sub-object level other than Imports, imports are

displayed as NURBS curves or surfaces, and use

the NURBS object’s mesh tessellation (see Surface

Approximation (page 1–1239)). However, at the

Imports sub-object level, the selected import is

displayed using its native display format. In other

words, it displays as it would if it were a top-level

object.Thisisbecausethedisplaymustletyouedit

the imported object. For example, an imported

Bezier spline needs to display its tangent handles.

Thiswouldn’tbepossibleifitweredisplayedas

Attaching and Importing 3ds Max Objects 1121

a converted NURBS curve. Leaving the Imports

sub-object level returns to NURBS-style display.

You can extract an imported object. This creates

an independent, top-level object again.

Procedures

To attach or import an object to a NURBS object:

1. Select the NURBS object and go to the

Modify panel.

2. (Optional.) TurnonReorientifyouwantto

reorient and align the import with the center

of the NURBS object.

3. Tur n on At ta ch or Imp or t.

Note: At this step, you can click Attach Multiple

or Import Multiple instead. These buttons

display a Select Objects dialog (page 1–78) so

you can choose multiple objects to attach or

import.

4. Click the object to attach or import.

The mouse cursor changes shape to indicate

avalidobject.Youcanattachcurves,NURBS

surfaces, or objects convertible to NURBS.

To extract an imported object:

1. Go to the Imports sub-object level and select

the object to extract.

2. Click Extract Import on the Import sub-object

rollout.

If Copy is set (the default), the extracted object

is a top-level copy of the imported object.

If Instance is set, the extracted object is an

instance of the imported object. Initially the

extracted object occupies the same space as the

imported object: you must move either the

extracted object, the import sub-object, or the

whole NURBS model before you can see the

extracted object.

Interface

Attach and Import controls

Attach—Lets you attach another object to the

NURBS object. Click to turn on Attach, and

then click the object to attach. If the object

you’re attaching isn’t already a NURBS object, it

is converted to one or more NURBS curves or

surfaces that are sub-objects of the object you’re

modifying.

Attach Multiple—Lets you attach multiple objects

to the NURBS surface. Displays a version of the

Select Objects dialog (page 1–78), listing the objects

that can be attached. Use the dialog controls to

selectoneormoreobjectsbyname,andthenclick

Attach.

Reorient—Movesandreorientstheobjectyou

are attaching or importing so its creation local

coordinate system is aligned with the creation

local coordinate system of the NURBS object.

Import—Lets you import another object to the

NURBS object. Works the same way Attach does,

but the imported object retains its parameters and

modifiers.

Import Multiple—Lets you import multiple objects.

Works the same way Attach Multiple does, but

the imported objects retain their parameters and

modifiers.

1122 Chapter 9: Surface Modeling

Common Sub-Object Controls

Many controls are common to the various kinds of

sub-objects in NURBS models (with the exception

of Imports (page 1–1120)). This topic introduces

the controls that are common to most NURBS

sub-objects.

See also

Editing Point Sub-Objects (page 1–1123)

Editing Curve CV Sub-Objects (page 1–1127)

Editing Surface CV Sub-Objects (page 1–1130)

Editing Curve Sub-Objects (page 1–1135)

Editing Surface Sub-Objects (page 1–1141)

Transforming Sub-Objects

One way to alter a NURBS model is to transform

its sub-objects. Transforming lets you interactively

changethemodel’scurvatureandshape.

Transforming points or CVs is especially useful for

adjusting the shape of a NURBS curve or surface.

Yo u c a n a l s o Shift +Clone most kinds of

sub-objects, except CVs. For curves and surfaces,

Shift +Cloning displays a Sub-Object Clone

Options dialog (page 1–1237),whichletsyou

reduce relational dependencies to improve

performance.

Selection Controls

There is a Selection group box on the rollout for all

NURBS sub-objects except Imports. The buttons

in this group let you control which sub-objects

to select. The selection buttons let you select

sub-objects individually, or multiple sub-objects at

once. For example, Surface CV selection buttons

give you the option of selecting individual CVs, or

selecting a row of CVs on the surface, and so on.

Note: There is no delete modifier for NURBS

curves as there is for splines. There is a NURBS

selection modifier, NSurf Sel (page 1–747).See

NURBS and Modifiers (page 1–1089).

Selection controls also include a Name field that

lets you customize the name of individual NURBS

sub-objects other than CVs. (The Name field is

the only selection control for Import sub-objects.)

Visibility

You can hide or unhide NURBS sub-objects as

you do other objects. Hidden sub-objects are

invisible in viewports, but remain renderable.

(Atthesub-objectlevel,hidingdoesn’taffectthe

renderer.) You can’t select hidden sub-objects.

Hide and unhide by name is available for curve

and surface sub-objects.

Make Independent

You can make a dependent point, curve, or surface

sub-object independent.

Warning: When you make an object independent,

you lose the animation controllers for all objects that

depend on it in turn. When you make point objects

independent, you lose the animation controllers for all

points on the curve or surface. Also, if you make a curve

that trims a surface independent, you lose the trimming

of the surface.

Remove Animation

All sub-object rollouts have a Remove Animation

button. This removes animation controllers from

the selected sub-objects.

Detach and Copy

You can create a new curve or surface object by

detaching a curve or surface sub-object from

a NURBS model. To do so, select the curve

or surface and then click Detach. A dialog is

displayed, which lets you enter a name for the new

NURBS object. The new object is no longer part of

the original NURBS object.

Editing Point Sub-Objects 1123

You can also use the Detach button to create a new

NURBSobjectthatisacopyofacurveorsurface

sub-object.Todoso,selectthecurveorsurface,

and click to turn on Copy before you click Detach.

Adialogisdisplayed,whichletsyouenteraname

for the new object. The original curve or surface

sub-objectremainspartoftheNURBSobjectyou

were editing, but the copied curve or surface is

now a NURBS object of its own.

Relational—This toggle affects dependent objects.

When off, detaching a dependent sub-object

makes it an independent object. For example,

detachingaUloftconvertsittoaCVsurface.

When on, detaching a dependent sub-object also

detaches the objects it depends on, so the object

remains dependent. For example, detaching a U

loft also detaches the curves that define it.

Editing Point Sub-Objects

Modify panel > Select NURBS object or sub-object. >

Point sub-object level > Select point sub-objects.

Modify panel > Select NURBS object or sub-object. >

Right-click. > Tools 1 (upper-left) quadrant > Sub-objects

> Point > Select point sub-objects.

This topic describes the controls for point

sub-objects. A rollout labeled Point contains the

point sub-object controls for NURBS models. In

addition to the Point rollout described here, the

Point sub-object level displays the Soft Selection

rollout (page 1–1147).

Procedures

To transform point sub-objects:

1. At the Point sub-object level, select one or more

points.

Thesub-objectselectiontoolsarethesameas

for other kinds of sub-objects. You can also use

the Hkey while the Keyboard Shortcut Override

toggle (page 3–872) is on. See Sub-Object

Selection (page 1–1084).

The Selection group box, described under

"Interface" later in this topic, provides

some additional options for selecting Point

sub-objects.

2. Turn on Move or another transform and then

drag in a viewport to transform the selection.

Theshapeofthemodelchangesasyou

interactively transform the points.

Rotate and Scale are useful only when you’ve

selected multiple points.

Tips

•The Lock Selection Set button is useful

when you transform NURBS point sub-objects.

You can make a selection in one viewport, click

Lock Selection Set (or press the Spacebar ),

andthentransformtheselectioninadifferent

viewport.

•Whenyoumovepointsub-objects,movethem

as systematically as possible to avoid "getting

lost."

• Onsurfaces,avoidmovingpointssotheycross

over or under adjacent points. This can create

odd-looking warps or overlaps in the surface.

To Shift +Clone a point sub-object:

•HolddownShift while you transform the

point.

This works only for points that lie on curves

or surfaces, independent point (page 1–1219)

sub-objects, and curve point (page 1–1220) or

surface point (page 1–1222) sub-objects that

lie on the curve or surface (that is, that aren’t

displaced).

To use the keyboard to select point sub-objects:

Yo u c a n s e l e c t p o i n t s u b - o b j e c t s u s i n g t h e Ctrl

key and the arrow keys. The arrows traverse the

sub-objects in the order they were created. To do

so, follow these steps:

1124 Chapter 9: Surface Modeling

1. Tur n on t he Ke y bo ard Shor tc ut

Override Toggle.

2. Click or drag to select points.

3. Hold down Ctrl and use the arrow keys to

move among the point sub-objects.

For points on curves, the arrow keys traverse

the point selection along the length of the

curve. Thearrowkeysdon’tmovebetween

curve sub-objects.

Forpointsonsurfaces,theleftandrightarrow

keys traverse the U dimension of a surface,

while the up and down arrow keys traverse the

V dimension of the surface. The arrow keys

don’t move between surface sub-objects.

Thearrowkeysdon’ttraverseindividually

createdpointsthataren’tpartofacurveor

surface.

You can also use the Hkeyboard shortcut (while

theKeyboardShortcutOverrideToggleison)

todisplayadialogandselectpointsbyname.

Ctrl+H displays only the names of points directly

beneath the mouse cursor.

To remove a point from a curve:

1. Select a point.

2. In the Delete group box, click Point.

Keyboard shortcut: Delete

Thepointisdeletedandtheshapeofthecurve

is updated.

Note: An open point curve must have at least

two endpoints.

To remove points from a surface:

1. Selectapoint,row,orcolumn.

TheappropriateDeletebuttonsareenabled.

2. IntheDeletegroupbox,clickPoint,Row,or

Col.

Thepoint,row,orcolumnisdeleted.Deletinga

"single" point actually deletes both the row and

column to which the point belongs.

To add a point to a curve:

1. IntheRefinegroupbox,turnonCurve.

2. Click the curve where you want to add the

point.

A point is added at the location you clicked.

The curvature can change.

To add a point and extend the length of a curve:

1. ClicktoturnonExtend.

2. Move the mouse over a point curve. The curve

ishighlightedinblue,andoneofthecurve’s

ends displays a box to show where the curve

will be extended.

3. Drag from the highlighted end point, and then

release the mouse button.

A new point is added beyond the original

length of the curve.

To add points to a point surface:

1. IntheRefinegroupbox,clickSurfRow,Surf

Col., or Surf Row & Col.

2. Click the surface.

Arow,acolumn,orbothareaddedcloseto

thepointwhereyouclickedthesurface.The

new points are placed on the surface so they

preserve the surface’s curvature. The curvature

can change, but only slightly.

To fuse two points:

1. Tur n on Fu se.

2. Click a point without releasing the mouse

button. Drag to another point, and then release

the mouse button.

The first point you choose acquires the position

of the second point, and becomes dependent to

Editing Point Sub-Objects 1125

it. If the first point has an animation controller,

the controller is discarded. If the second point

has an animation controller, the first point

acquires it too.

Fused points display in purple by default.

To unfuse fused points:

1. Select the fused point.

2. Click Unfuse.

Now you can move and edit the two points

independently.

To transform a region:

1. Using sub-object selection, select one or more

points for the center of transformation.

2. Tur n on S of t Sele cti on.

3. Trans for m the point.

A region around the selected point is

transformed accordingly.

Move is the most common transform to use.

Rotate and Scale can be used with a non-local

transform center.

Tip: If Soft Selection appears not to be working,

theFalloffvaluemightbetoosmallforthesize

of your surface. On the Soft Selection rollout

(page 1–1147),increasethevalueofFalloffsoit

encompasses other points.

Interface

In addition to the Point rollout described here,

the Point sub-object level also displays the Soft

Selection rollout (page 1–1147).

Selection group

Point sub-object selection controls

Single Point—(The default.) When on, you can

select individual points by clicking, or groups of

points by dragging a region.

Row of Points—When on, clicking a point selects

theentirerowthepointbelongsto. Dragging

selects all rows in the region.

If the point is on a curve, Row of Points selects all

points in the curve.

1126 Chapter 9: Surface Modeling

Column of Points—When on, clicking a point

selects the entire column the point belongs to.

Draggingselectsallcolumnsintheregion.

If the point is on a curve, Column of Points selects

only a single point.

Row and Column of Points—When on, clicking a

point selects both the row and column the point

belongs to. Dragging selects all rows and columns

in the region.

All Points—When on, clicking or dragging selects

all the points in the curve or surface.

Tip: Rows and columns are easily visible when

theNURBSsurfaceisplanar,ornearlyso.When

the surface has a complicated curvature, rows

and columns can be more difficult to see. The

Row, Column, and Row/Column buttons can be

especially useful in this situation.

Name—Shows the name of the currently selected

point. It is disabled if you have selected multiple

points.

By default, the name is "Point" followed by a

sequence number. You can use this field to give the

point a name that you choose.

Hide—Click to hide the currently selected points.

Unhide All—Click to unhide all hidden points.

Fuse—Fuses a point to another point. (You can’t

fuse a CV to a point, or vice versa.) This is one way

to connect two curves or surfaces. It is also a way

to change the shape of curves and surfaces.

Fusing points does not combine the two point

sub-objects. They are connected but remain

distinct sub-objects that you can unfuse later.

Fused points behave as a single point until you

unfuse them.

Fused points are displayed in a distinct color. The

default is purple. (You can change this color using

the Colors panel (page 3–799) of the Customize

User Interface dialog (page 3–792).)

Unfuse—Unfuses the fused points.

Extend—Extends a point curve. Drag from the end

of a curve to add a new point and extend the curve.

Warning: When you add points with Extend, you lose

the animation controllers for all points on the curve or

surface.

Make Independent—Disabled if the point is

independent. If the point is dependent, clicking

this button makes it independent.

Warning: When you make a point independent, you

lose the animation controllers for all objects that depend

on it in turn.

Remove Animation—Removes animation

controllers from the selected points.

Delete group

The buttons in this group box delete one or more

points.

Point—Deletes a single point (on a curve) or a row

and column of points (on a surface).

Row—Deletes a row from a surface.

Col.—Deletes a column from a surface.

Warning: When you delete points, you lose the

animation controllers for all points on the curve or

surface.

Refine group

The buttons in this box refine point curves or

surfaces by adding points to them.

Curve—Adds points to a point curve.

Surf Row—Addsarowofpointstoapointsurface.

Surf Col.—Addsacolumnofpointstoapoint

surface.

Editing Curve CV Sub-Objects 1127

Surf Row & Col.—Adds both a row and a column

to a point surface; their intersection is where you

click the surface.

Warning: When you add points, you lose the animation

controllers for all points on the curve or surface.

Points Selected—This text field shows how many

points are currently selected.

Editing Curve CV Sub-Objects

Modify panel > Select NURBS object or sub-object. >

Stack display > Curve CV sub-object level > Select CV

sub-objects.

Modify panel > Select NURBS object or sub-object. >

Right-click. > Tools 1 (upper-left) quadrant > Sub-objects

> Curve CV > Select CV sub-objects.

This topic describes the controls for CV

sub-objects that lie on curves. A rollout labeled CV

contains the CV sub-object controls for NURBS

models. In addition to the CV rollout described

here, the Curve CV sub-object level displays the

Soft Selection rollout (page 1–1147).

In you can edit the CVs in CV curves on surfaces

(page 1–1172) as you edit other kinds of curve

CVs. You can transform CVs in CV curves on

surfaces, but you can’t move the CVs off the

surface. Using the Curve CV sub-object level is an

alternativetoeditingtheseCVsbyusingtheEdit

Curve on Surface (page 1–1229) dialog.

Procedures

To transform curve CV sub-objects:

1. At the Curve CV sub-object level, select one or

more CVs.

The sub-object selection tools are the same

as for other kinds of sub-objects. You can

also use the Hkey while the Keyboard

Shortcut Override toggle (page 3–872) is on. See

Sub-Object Selection (page 1–1084).

The Selection group box, described under

"Interface" later in this topic, provides some

additional options for selecting CV sub-objects.

2. Turn on Move or another transform and then

drag in a viewport to transform the selection.

Theshapeofthemodelchangesasyou

interactively transform the CVs.

Rotate and Scale are useful only when you’ve

selected multiple CVs.

Tips

•When you transform NURBS CV

sub-objects, the Lock Selection Set button can

beuseful. Youcanmakeaselectioninone

viewport, click Lock Selection Set (or press the

Spacebar ), and then transform the selection

in a different viewport.

•WhenyoumoveCVsub-objects,movethemas

systematically as possible to avoid "getting lost."

TousethekeyboardtoselectcurveCVsub-objects:

Yo u c a n s e l e c t c u r v e C V s u b - o b j e c t s u s i n g t h e

Ctrl key and the arrow keys. The arrows traverse

the sub-objects in the order they were created. To

do so, follow these steps:

1. Tur n on t he Ke y bo ard S hor tc ut

Override Toggle.

2. Click or drag to select CVs.

3. Hold down Ctrl and use the arrow keys to

move among the CV sub-objects.

For CVs on curves, the arrow keys traverse the

CV selection along the length of the curve.

The arrow keys don’t move between curve

sub-objects.

Yo u c a n a l s o u s e t h e Hkeyboard shortcut (while

theKeyboardShortcutOverrideTogglebuttonis

on)todisplayadialogandselectCVsbyname.

1128 Chapter 9: Surface Modeling

Ctrl+H displays only the names of CVs directly

beneath the mouse cursor.

To remove a CV from a curve:

1. Select a CV.

2. Click Delete.

Keyboard shortcut: Delete

TheCVisdeletedandtheshapeofthecurve

is updated.

Note: A CV curve must have at least one more

CV than the degree (page 3–927) of the curve.

To add a CV to a curve:

1. Tur n on Re fine.

2. Click the curve where you want to add the CV.

A CV is added at the location you clicked.

Neighboring CVs move away from the new CV

in order to preserve the original curvature.

ToaddCVsandextendthelengthofacurve:

1. ClicktoturnonExtend.

2. Move the mouse over a CV curve. The curve is

highlighted in blue, and one of the curve’s ends

displays a box to show where the curve will be

extended.

3. Drag from the highlighted end CV, and then

release the mouse button.

NewCVsareaddedbeyondtheoriginallength

of the curve.

To fuse two CVs:

1. Tur n on Fu se.

2. Click a CV without releasing the mouse button.

Drag to another CV, and then release the mouse

button.

ThefirstCVyouchooseacquirestheposition

of the second CV, and becomes dependent to it.

If the first CV has an animation controller, the

controller is discarded. If the second CV has

an animation controller, the first CV acquires

it too.

Fused CVs display in purple by default.

To unfuse fused CVs:

1. Select the fused CV.

2. Click Unfuse.

Now you can move and edit the two CVs

independently.

To transform a region:

1. Using sub-object selection, select one or more

CVs for the center of transformation.

2. Turn on Soft Selection.

3. Trans for m the CV.

A region around the selected CV is transformed

accordingly.

Move is the most common transform to use.

Rotate and Scale can be used with a non-local

transform center.

Tip: If Soft Selection appears not to be working,

the Falloff value might be too small for the size

of your surface. On the Soft Selection rollout

(page 1–1147), increase the value of Falloff so it

encompasses other points or CVs.

Interface

In addition to the CV rollout described here, the

Curve CV sub-object level also displays the Soft

Selection rollout (page 1–1147).

Editing Curve CV Sub-Objects 1129

Selection group

Curve sub-object selection controls

Single CV—(The default.) When on, you can select

individual CVs by clicking, or groups of CVs by

dragging a region.

All CVs—When on, clicking or dragging selects all

the CVs in the curve.

Name—Showseither"NoCVsselected","Multiple

CVs selected", or "CurveName(index)", where

"CurveName" is the name of the CV’s parent

curve, and "index" is the CV’s U location along the

length of the curve. You can’t edit the Name field

to customize the names of CVs.

If CVs are fused, the Name field shows the name

of the first CV.

Weight—Adjusts the weight of the selected CVs.

Yo u c a n u s e a C V ’ s weight to adjust the CV’s effect

on the curve. Increasing the weight pulls the curve

toward the CV. Decreasing the weight relaxes the

curve away from the CV.

Increasingweightisawaytohardenacurve;that

is, to sharpen its curvature at a particular location.

By default, the weight is 1.0 for the CVs of NURBS

objects that you create on the Create panel or the

NURBS sub-object creation rollouts. The weight

of CVs in geometry that you convert to NURBS

canvary,dependingontheobject’soriginalshape.

You can change the weight when multiple CVs are

selected. Using the Weight field or spinner while

multiple CVs are selected assigns all of them the

value you choose. Because weights are relative to

each other (rational), using the Weight control

when all CVs are selected has no visible effect.

Hide—Click to hide the currently selected CVs.

Unhide All—Click to unhide all hidden CVs.

Fuse—Fuses a CV to another CV. (You can’t fuse a

CV to a point, or vice versa.) This is one way to

connecttwocurves.Itisalsoawaytochangethe

shape of curves.

Fusing CVs does not combine the two CV

sub-objects. They are connected but remain

distinct sub-objects that you can unfuse later.

Fused CVs behave as a single CV until you unfuse

them. Fused CVs behave similar to a single point,

but the property of multiplicity for coincident CVs

also applies. (See NURBS Concepts (page 1–1091)

and CV Curve (page 1–1110).) The fused CVs

have proportionally more influence on the curve.

The curve can become sharper in the fused CVs’

vicinity, or even angular if more than two CVs are

fused together.

Fused CVs are displayed in a distinct color. The

default is purple. (You can change this color using

the Colors panel (page 3–799) of the Customize

User Interface dialog (page 3–792).)

Unfuse—Unfuses the fused CVs.

1130 Chapter 9: Surface Modeling

Refine—Refines the curve by adding CVs.

Warning: When you add CVs with Refine, you lose the

animation controllers for all CVs on the curve.

As you move the mouse over the CV curve, a

preview of the CVs that will be added, and their

locations, is displayed in blue.

Tip: It is a good idea to reparameterize after you

have added CVs to a curve by refining. See Editing

Curve Sub-Objects (page 1–1135).

Delete—Deletes the selected CVs.

Insert—Inserts CVs into the curve. Click Insert

and then click the curve where you want to insert

the new CV. Inserting CVs is similar to refining

with CVs, except that other CVs in the curve do

not move. This means that the shape of the curve

changes when you insert.

Inserting CVs does not remove animation from

thecurve,asrefiningdoes.

Tip: It is a good idea to reparameterize after you

have added CVs to a curve by inserting. See

Editing Curve Sub-Objects (page 1–1135).

Extend—Extends a CV curve. Drag from the end

of a curve to add a new CV and extend the curve.

Warning: When you add points with Extend, you lose

the animation controllers for all points on the curve.

Remove Animation—Removes animation

controllers from the selected CVs.

Display Lattice—When on, displays the control

lattice (page 3–923) that surrounds CV curves.

When off, the control lattice isn’t shown in

viewports. Default=on.

CVs Selected—This text field shows how many CVs

are currently selected.

Editing Surface CV Sub-Objects

Modify panel > Select NURBS object or sub-object. >

Stack display > Surface CV sub-object level > Select CV

sub-objects.

Modify panel > Select NURBS object or sub-object. >

Right-click a viewport. > Tools 1 (upper-left) quadrant >

Sub-objects > Surface CV > Select CV sub-objects.

Transforming CVs changes the shape of the surface.

Procedures (page 1–1130)

Interface (page 1–1132)

This topic describes the controls for CV

sub-objects that lie on surfaces. A rollout labeled

CV contains the CV sub-object controls for

NURBS models. In addition to the CV rollout

described here, the Curve CV sub-object level

displays the Soft Selection rollout (page 1–1147).

Procedures

To transform surface CV sub-objects:

1. At the Surface CV sub-object level, select one

or more CVs.

The sub-object selection tools are the same as

for other kinds of sub-objects. You can also

use the Hkey while the Keyboard Shortcut

Override Toggle (page 3–872) button is on. See

Sub-Object Selection (page 1–1084).

Editing Surface CV Sub-Objects 1131

The Selection group box, described under

"Interface" later in this topic, provides

additional options for selecting CV sub-objects.

2. Turn on Move or another transform and then

drag in a viewport to transform the selection.

Theshapeofthemodelchangesasyou

interactively transform the CVs.

Rotate and Scale are useful only when you’ve

selected multiple CVs.

Tips

•The Lock Selection Set button is useful

when you transform NURBS CV sub-objects.

You can make a selection in one viewport, click

Lock Selection Set (or press the Spacebar ),

andthentransformtheselectioninadifferent

viewport.

• When you move CV sub-objects, move them as

systematically as possible to avoid "getting lost."

•Onsurfaces,avoidmovingCVssotheycross

over or under adjacent points. This can create

odd-looking warps or overlaps in the surface.

To Shift +clone surface sub-objects:

•HolddownShift while you transform the

surface selection.

The Sub-Object Clone Options (page 1–1237)

dialog appears. This dialog provides various

waystoclonethesurfaces,someofwhich

reduce relational dependencies to improve

performance.

To use the keyboard to select surface CV sub-objects:

You can select surface CV sub-objects using the

Ctrl key and the arrow keys. The arrows traverse

the sub-objects in the order they were created. To

do so, follow these steps:

1. Tur n on t he Ke y bo ard S hor tc ut

Override Toggle.

2. Click or drag to select CVs.

3. Hold down Ctrl and use the arrow keys to

move among the CV sub-objects.

For CVs on surfaces, the left and right arrow

keys traverse the U dimension of a surface,

while the up and down arrow keys traverse the

V dimension of the surface. The arrow keys

don’t move between surface sub-objects.

Yo u c a n a l s o u s e t h e Hkeyboard shortcut (while

theKeyboardShortcutOverrideTogglebuttonis

on)todisplayadialogandselectCVsbyname.

Ctrl+H displays only the names of CVs directly

beneath the mouse cursor.

To remove CVs from a surface:

1. Select a row, column, or a row and column.

TheappropriateDeletebuttonsareenabled.

2. IntheDeletegroupbox,clickRow,Col.,or

Both.

The row, the column, or both are deleted.

Note: Yo u c a n’ t d e l e t e a s i n g l e C V f r o m a C V

surface. Nor can you delete a row or column if

thatwouldmakethesurfacehavefewerthan

four rows or columns.

To add CVs to a CV Surface:

1. IntheRefinegroupbox,clickRow,Col.,or

Both.

2. Click the surface.

Arow,acolumn,orbothareaddedclose

to the point where you clicked the surface.

Neighboring CVs move away from the new

CVs in order to preserve the surface’s original

curvature.

1132 Chapter 9: Surface Modeling

To fuse two CVs:

1. Tur n on Fu se.

2. Click a CV without releasing the mouse button.

Drag to another CV, and then release the mouse

button.

ThefirstCVyouchooseacquirestheposition

of the second CV, and becomes dependent to it.

If the first CV has an animation controller, the

controller is discarded. If the second CV has

an animation controller, the first CV acquires

it too.

Note: Fused CVs display in purple by default.

To unfuse fused CVs

1. Select the fused CV.

2. Click Unfuse.

NowyoucanmoveandeditthetwoCVs

independently.

To transform a region:

1. Using sub-object selection, select one or more

CVs for the center of transformation.

2. Tur n on S of t Sele cti on.

3. Trans for m the C V.

A region around the selected CV is transformed

accordingly.

Move is the most common transform to use.

Rotate and Scale can be used with a non-local

transform center.

Tip: If Soft Selection appears not to be working,

theFalloffvaluemightbetoosmallforthesize

of your surface. On the Soft Selection (page

1–1147) rollout, increase the value of Falloff so it

encompasses other CVs.

Interface

In addition to the CV rollout described here, the

Surface CV sub-object level also displays the Soft

Selection rollout (page 1–1147).

CV rollout

Surface CV sub-object rollout

Selection group

Surface CV sub-object selection controls

Editing Surface CV Sub-Objects 1133

Single CV—(The default.) When on, you can select

individual CVs by clicking, or groups of CVs by

dragging a region.

Row of CVs—Whenon,clickingaCVselectsthe

entire row the CV belongs to. Dragging selects all

rows in the region.

Column of CVs—When on, clicking a CV selects the

entire column the CV belongs to. Dragging selects

all columns in the region.

Row and Column of CVs—When on, clicking a CV

selects both the row and column the CV belongs

to. Dragging selects all rows and columns in the

region.

All CVs—When on, clicking or dragging selects all

the CVs in the surface.

Name—Showseither"NoCVsselected","Multiple

CVs selected", or "SurfaceName(uIndex,vIndex)",

where "SurfaceName" is the name of the CV’s

parent surface, and "uIndex,vIndex" is the CV’s

UV location on the surface. You can’t edit the

Name field to customize the names of CVs.

If CVs are fused, the Name field shows the name

of the first CV.

Weight—Adjusts the weight of the selected CVs.

Yo u c a n u s e a C V ’ s weight to adjust the CV’s effect

on the surface. Increasing the weight pulls the

surface toward the CV. Decreasing the weight

relaxes the surface away from the CV.

Increasingweightisawaytohardenasurface:that

is, to sharpen its curvature at a particular location.

By default, the weight is 1.0 for the CVs of NURBS

objects that you create on the Create panel or the

NURBS sub-object creation rollouts. The weight

of CVs in geometry that you convert to NURBS

can vary, depending on the object’s original shape.

You can change the weight when multiple CVs are

selected. Using the Weight field or spinner while

multiple CVs are selected assigns all of them the

value you choose. Because weights are relative to

each other (rational), using the Weight control

when all CVs are selected has no visible effect.

Tip: You can increase the curvature of an

indentation in a surface by increasing the weight

of the CVs surrounding the indented area. This is

easier and often more effective than moving the

indented area’s CVs.

Hide—Click to hide the currently selected CVs.

Unhide All—Click to unhide all hidden CVs.

Fuse—Fuses a CV to another CV. (You can’t fuse a

CV to a point, or vice versa.) This is one way to

connecttwosurfaces.Itisalsoawaytochangethe

shape of surfaces.

Fusing CVs does not combine the two CV

sub-objects. They are connected but remain

distinct sub-objects that you can unfuse later.

Fused CVs behave as a single CV until you unfuse

them. Fused CVs behave similar to a single point,

but the property of multiplicity for coincident CVs

also applies. (See NURBS Concepts (page 1–1091)

and CV Curve (page 1–1110).) The fused CVs have

proportionally more influence on the curve, which

can become sharper in the fused CVs’ vicinity,

or even angular if more than two CVs are fused

together.

Fused CVs are displayed in a distinct color. The

default is purple. (You can change this color using

the Colors panel (page 3–799) of the Customize

User Interface dialog (page 3–792).)

Unfuse—Unfuses the fused CVs.

Remove Animation—Removes animation

controllers from the selected CVs.

Constrained Motion group

These buttons constrain CV motion. They are

enabled when you select one or more CVs. When

1134 Chapter 9: Surface Modeling

you finish dragging the CV selection, the active

constraint button turns off.

U—Constrains the CV selection to move in the

surface’s U dimension.

Keyboard shortcut (Keyboard Shortcut Override

Toggle must be on): Alt+U

V—Constrains the CV selection to move in the

surface’s V dimension.

Keyboard shortcut (Keyboard Shortcut Override

Toggle must be on): Alt+V

Normal—Constrains the CV selection to move

normal to the original surface.

Keyboard shortcut (Keyboard Shortcut Override

Toggle must be on): Alt+N

Delete group

These buttons delete CVs from the surface. Select

one or more CVs, and then click Row, Col., or

Both.

You can’t delete surface CVs if the deletion would

givethesurfacefewerthanfourrowsorfewerthan

four columns. Aside from that restriction, these

buttons delete all rows, columns, or rows and

columns that contain selected CVs. This means

that you can’t delete after you make a selection

using the Row and Column or All selection

buttons: that would imply deleting the entire CV

surface.

Thesebuttonsareunavailableunlessthedeletion

is possible.

Warning: When you delete CVs, you lose the animation

controllers for all CVs on the surface.

Row—Deletes rows of CVs from the surface.

Col.—Deletes columns of CVs from the surface.

Both—DeletesbothrowsandcolumnsofCVs

from the surface.

Refine group

These buttons refine the surface by adding CVs.

Asyoumovethemouseoverthesurface,apreview

of the CVs that will be added, and their locations,

is displayed in blue.

Warning: When you add CVs with Refine, you lose the

animation controllers for all CVs on the surface.

Row—Adds a row of CVs to the surface.

Col.—Adds a column of CVs to the surface.

Both—Adds both a row and a column of CVs to

the surface.

Tip: It is a good idea to reparameterize after you

have added CVs to a surface by refining. See

Editing Surface Sub-Objects (page 1–1141).

Insert group

These buttons insert CVs into the curve. Click

to turn on one of these buttons and then click

thesurfacewhereyouwanttoinsertthenew

CVs. Inserting CVs is similar to refining with

CVs, except that other CVs in the surface do not

move. This means that the shape of the surface can

change when you insert.

Inserting CVs does not remove animation from

the surface the way refining does.

Row—Inserts a row of CVs into the surface.

Col.—InsertsacolumnofCVsintothesurface.

Both—InsertsbotharowandacolumnofCVs

into the surface.

Tip: It is a good idea to reparameterize after you

have added CVs to a surface by inserting. See

Editing Surface Sub-Objects (page 1–1141).

Display Lattice—When on, displays the control

lattice (page 3–923) that surrounds CV surfaces.

When off, the control lattice isn’t shown in

viewports. Default=on.

Editing Curve Sub-Objects 1135

CVs Selected—This text field shows how many CVs

are currently selected.

Editing Curve Sub-Objects

Modify panel > Stack display > Open the NURBS object’s

hierarchy. > Curve sub-object level > Select curve

sub-objects.

This topic describes the controls that are common

to point and CV curves. A rollout labeled Curve

Common contains the curve sub-object controls

for NURBS models.

Procedures

To transform curves:

1. At the Curve sub-object level, select one or

more curves.

The sub-object selection tools are the same

as for other kinds of sub-objects. You can

also press the Hkey when the Keyboard

Shortcut Override toggle (page 3–872) is on. See

Sub-Object Selection (page 1–1084).

The Selection group box, described under

"Interface" later in this topic, provides

additional options for selecting curves.

2. Turn on Move or another transform and then

drag in a viewport to transform the selection.

Theshapeofthemodelchangesasyou

interactively transform the curves.

Tip: The Lock Selection Set button is useful

when you transform NURBS curve sub-objects.

You can make a selection in one viewport, click

Lock Selection Set (or press the Spacebar ),

andthentransformtheselectioninadifferent

viewport.

To Shift +Clone curve sub-objects:

•HolddownShift while you transform the

curve selection.

The Sub-Object Clone Options (page 1–1237)

dialog is displayed. This dialog provides

variouswaystoclonethecurves,someofwhich

reduce relational dependencies to improve

performance.

Tousethekeyboardtoselectcurvesub-objects:

Yo u c a n s e l e c t c u r v e s u b - o b j e c t s u s i n g t h e Ctrl

key and the arrow keys. The arrows traverse the

sub-objects in the order they were created. To do

so, follow these steps:

1. Tur n on t he Ke y bo ard S hor tc ut

Override Toggle.

2. At the Curve sub-object level, set the

selectioncontrolstoselectcurvesindividually.

3. Click or drag to select curves.

4. Hold down Ctrl and use the arrow keys to

move among the curves in the current model.

At the Curve sub-object level, the left and

right arrow keys move forward and backward

through individual curves in the order they

were created. The up and down arrows are

equivalent to left and right.

Yo u c a n a l s o u s e t h e Hkeyboard shortcut (while

theKeyboardShortcutOverrideToggleison)

to display a dialog and select curves by name.

Ctrl+H displays only the names of curves

directly beneath the mouse cursor.

To delete a curve:

• Select the curve and then click Delete.

Keyboard shortcut: Delete

To turn a CV curve into a point curve:

1. Select the curve sub-object, and then click

Make Fit.

1136 Chapter 9: Surface Modeling

The Make Point Curve (page 1–1235) dialog is

displayed. This dialog asks how many points

the new point curve should have.

2. Change the number of points, and then click

OK.

Reducing the number of points can change the

shape of the curve.

If the selected curve is already a point curve, you

can use Make Fit to change the number of points

it has.

To select a first vertex on the curve:

• Select the curve sub-object, turn on Make First,

andthenclickalocationonthecurve.

If the curve is closed and there is a vertex where

you click, this vertex becomes the first vertex. If

the curve is closed and there is no vertex where

you click, a new vertex is created at the location

you click. It becomes the new first vertex, and

the curve’s points or CVs adapt to maintain the

curvature.

If the curve is open, clicking it has no effect.

Warning: Using Make First discards any animation

controllers for the points or CVs in the curve.

Ifthecurveisopen,thefirstvertexmustbeone

of the endpoints (by default, it is the first you

created). The Make First button has no effect,

butyoucanuseReversetochangethecurve’s

direction.

The small circle indicates the first vertex.

To turn a curve that lies on a surface into a Point

Curve on Surface:

1. Select the curve sub-object, and then click

Make COS.

Make COS is unavailable unless the curve

already lies on a surface; for example, it is a U

Iso curve.

2. The Convert Curve on Surface dialog (page

1–1226) is displayed.

Choose CV Curve on Surface to create a CV

curve, or Point Curve on Surface to create a

point curve. The Number of CVs or Number of

Points values let you specify the complexity and

accuracy of the new curve on surface. If Preview

is on, the new curve is previewed in viewports.

This can help you choose the number.

Editing Curve Sub-Objects 1137

To reverse a curve:

• Select a curve sub-object and then click

Reverse.

Reversing a curve affects the blend surface that depends

on it.

To join two curves:

1. In a NURBS object that contains two curve

sub-objects, turn on Join.

2. Click one curve near the end that you want

to connect. Drag to near the end of the other

curve, and then release the mouse.

The Join Curve dialog (page 1–1232) is

displayed. This dialog gives you a choice of

methods for joining the curves. Whichever

method you choose, the two original curves are

replaced by a single curve.

3. If the gap between the curves is small (less than

about30units),usetheJoinCurvedialogtoset

theTolerancevaluegreaterthanthedistance

of the gap.

To break a curve:

• TurnonBreakandthenclickacurve.

Thecurveissplitintotwoindependentcurve

sub-objects.Twocoincident(butindependent)

points or CVs are created at the location you

clicked: each is the endpoint of one part of the

original curve.

If the curve is a closed curve, Break creates a

single curve object, with its new start and end

points at the location you clicked. The new start

and end points are coincident but independent.

To close a curve:

• Select the curve and then click Close.

Thesoftwareclosesthecurvebyaddinga

segment between the curve’s endpoints. The

curvature of the new segment blends the

curvature of the previous end segments.

Closing a curve does not add points or CVs. The

curve retains its original number of points or CVs,

and increases its number of segments by one.

1138 Chapter 9: Surface Modeling

Interface

Curve Common rollout

The controls on this rollout apply to all curve

types. Depending on the type of curve, an

additional rollout is displayed with controls

specific to that type of curve.

Selection group

The selection buttons for curve sub-objects let you

select either individual curves, or curves that are

connected in space.

Curve sub-object selection controls

Single Curve—Clicking or transforming a curve

selects only a single independent curve sub-object.

All Connected Curves—Clicking or transforming

a curve selects all curve sub-objects that are

connected within the NURBS object. To be

connected, two curves must have fused points,

or one curve must be a connected dependent (a

blend, fillet, or chamfer) of the other.

Name—Shows the name of the currently selected

curve. It is disabled if you have selected multiple

curves.

Bydefault,thenameisthenameofthecurve

type ("CV Curve" or "Point Curve") followed by a

sequence number. You can use this field to give the

curve a name that you choose.

Hide—Click to hide the currently selected curves.

Unhide All—Click to unhide all hidden curves.

Hide by Name—Click to display a Select

Sub-Objects dialog that lists curves by name.

Select the curves to hide, then click Hide.

Unhide by Name—Disabled unless there are hidden

curves. Click to display a Select Sub-Objects

dialogthatlistscurvesbyname.Selectthecurves

to make visible, then click Unhide.

Delete—Deletes the selected curve sub-objects.

Make Fit—Tur ns a C V cu r ve i nto a p oi nt c ur ve .

This displays the Make Point Curve dialog (page

1–1235), which lets you set the number of points.

Forapointcurve,thisbuttonletsyouchangethe

number of points in the curve.

Editing Curve Sub-Objects 1139

Reverse—Reverses the order of the CVs or points

in a curve, so that the first vertex becomes the last,

and the last becomes the first.

The first point or CV is significant when you use

the NURBS curve like a spline: as a loft (page

1–352) path or shape, as a path constraint (page

2–398) path, or as a motion trajectory (page

2–301). For these purposes, the first vertex of the

curve is significant. If the curve is a closed curve,

you can use Make First to set the curve’s first

vertex.

The direction of the curve also determines the

initial direction of normals on surfaces based on

this curve.

Make COS—This button is enabled only for the

following kinds of curves:

•U iso curves (page 1–1168)

•V iso curves (page 1–1168)

•Normal projected curves (page 1–1169)

•Vector projected curves (page 1–1171)

•Surface-surface intersection curves (page

1–1166)

•Surface edge curves (page 1–1177)

•CV curves on surfaces (page 1–1172)

•Point curves on surfaces (page 1–1175)

This displays a Make Curve on Surface dialog

(page 1–1226), which turns the selected curve

into a CV or point curve on surface. Once

converted, you can edit the new curve on

surfaceusingthecurveonsurfacecontrols,

including the Edit Curve on Surface dialog (page

1–1229).

Ifthecurveisalreadyacurveonsurface,this

button lets you change it from a point to CV

curveonsurface,orviceversa.

The new Curve on Surface preserves the

trimming of the original curve.

Convert Curve—Click to display the Convert Curve

dialog (page 1–1225).Thisdialogprovidesamore

generalwaytoconvertaCVcurvetoapointcurve,

or a point curve to a CV curve. It also lets you

adjust a number of other curve parameters.

Make Independent—Disabled if the curve is

independent. If the curve is dependent, clicking

this button makes it independent.

Warning: When you make a curve independent, you

lose the animation controllers for all objects that depend

on it in turn. If you make a curve that trims a surface

independent, you lose the trimming of the surface.

Remove Animation—Removes animation

controllers from the selected curves.

Detach—Detaches the selected curve sub-object

from the NURBS model, making it a new top-level

NURBS curve (page 1–1106) object. The Detach

dialog (page 1–1228) is displayed, which lets you

name the new curve. The new object is no longer

part of the original NURBS model.

To create a new top-level NURBS curve that is a

copyoftheselectedcurve,turnonCopybefore

you click Detach.

Copy—When on, clicking Detach creates a copy of

the selected curve instead of detaching it from the

NURBS model. Default=off.

Make First—For a closed curve, lets you choose a

position that becomes the first vertex of the curve.

The first point or CV is significant when you use

theNURBScurvelikeaspline:asaloft (page

1–352) path or shape, as a path constraint (page

2–398) path, or as a motion trajectory (page

2–301). For these purposes, the first vertex of the

curve is significant. If the curve is a closed curve,

you can use Make First to set the curve’s first

vertex.

Break—Breaks a single curve into two curves.

Click in a viewport to choose the location to break

the curve.

1140 Chapter 9: Surface Modeling

Warning: When you break a curve sub-object, you lose

the animation controllers for all points or CVs on the

curve.

Join—Joins two curve sub-objects together. After

you have joined the curves in a viewport, the Join

Curves dialog (page 1–1232) is displayed. This

dialog lets you choose the method for joining the

two curves.

Warning: When you join two curve sub-objects, you

lose the animation controllers for all points or CVs on

both curves.

Material ID—LetsyouassignamaterialIDvalue

to the curve. If the curve is renderable, material

IDs let you assign a material to the curve using

aMulti/Sub-Object (page 2–1594) material. In

addition, the Select by ID button lets you select a

curveormultiplecurvesbyspecifyingamaterial

ID number. Can range from 1 to 100. Default=1.

Select by ID—Displays a Select by Material ID (page

1–1238) dialog.

CV Curve rollout

This additional rollout is displayed when a CV

curve is selected.

Degree—Setsthedegreeofthecurve.Thehigher

the degree value, the greater the continuity. The

lower the degree, the more discontinuous the

curve segments become. The degree can’t be less

than one or greater than the number allowed by

the number of CVs in the curve. Degree 3 curves

are adequate to represent continuous curves, and

arestableandwellbehaved.Default=3.

Setting the degree greater than 3 isn’t

recommended because higher-degree curves are

slower to calculate and less stable numerically.

Higher-degree curves are supported primarily to

be compatible with models created using other

surface modeling programs.

The number of CVs in a CV curve must be at least

onegreaterthanthecurve’sdegree.

Automatic Reparameterization group

The controls in this group box let you specify

automatic reparameterization. They are similar

to the controls in the Reparameterize dialog (page

1–1237), with the addition that all choices except

for None tell the software to reparameterize the

curve automatically; that is, whenever you edit it

by moving CVs, refining, and so on.

None—Do not reparameterize automatically.

Chord Length—Chooses the chord-length

algorithm for reparameterization.

Chord-length reparameterization spaces knots (in

parameter space (page 3–988)) based on the square

rootofthelengthofeachcurvesegment.

Chord-length reparameterization is usually the

best choice.

Uniform—Spaces the knots uniformly.

A uniform knot vector has the advantage that the

curve or surface changes only locally when you edit

it. With chord-length parameterization, moving

any CV can potentially change the entire curve.

Close—Closesthecurve.Disabledifthecurveis

already closed.

Rebuild—Displays the Rebuild CV Curve dialog

(page 1–1236), which lets you specify how to

Editing Surface Sub-Objects 1141

rebuild the curve. Rebuilding the curve can change

its appearance.

Reparam.—Displays the Reparameterize dialog

(page 1–1237). Reparameterizing a curve changes

the curve’s parameter space (page 3–988) to

provide a better relation between control point

locations and the shape of the curve.

Tip: It is a good idea to reparameterize after

youhaveaddedCVstothecurvebyrefiningor

inserting.

Point Curve rollout

This additional rollout appears when a point curve

is selected.

Close—Closesthecurve.Disabledifthecurveis

already closed.

Editing Surface Sub-Objects

Modify panel > Stack display > Open the NURBS object’s

hierarchy. > Surface sub-object level > Select surface

sub-objects.

This topic describes controls that are common

to point surfaces, CV surfaces, and the various

dependent surface types. A rollout labeled Surface

Common contains the surface sub-object controls

for NURBS surfaces. Another rollout, Material

Properties (page 1–1149), controls mapping on

surface sub-objects, and is described in its own

topic. See Surface Approximation (page 1–1239)

for a description of that rollout. The final rollout

for surface sub-objects depends on the type of

surface selected.

Procedures

To transform surface sub-objects:

1. At the Surface sub-object level, select one or

more surface sub-objects.

The sub-object selection tools are the same as

for other kinds of sub-objects. In addition,

you can use the Hkey when the Keyboard

Shortcut Override toggle (page 3–872) is on. See

Sub-Object Selection (page 1–1084).

The Selection group box, described under

"Interface" later in this topic, provides

additional options for selecting surfaces.

2. Turn on Move or another transform and then

drag in a viewport to transform the selection.

Theshapeofthemodelchangesasyou

interactively transform the surfaces.

Tip: The Lock Selection Set button is useful

when you transform NURBS sub-objects. You

canmakeaselectioninoneviewport,click

Lock Selection Set (or press the Spacebar ),

andthentransformtheselectioninadifferent

viewport.

To use the keyboard to select surface sub-objects:

Yo u c a n s e l e c t s u r f a c e s u b - o b j e c t s u s i n g t h e Ctrl

key and the arrow keys. The arrows traverse the

sub-objects in the order they were created. To do

so, follow these steps:

1. Tur n on t he Ke y bo ard S hor tc ut

Override Toggle.

2. At the Surface sub-object level, set the

selectioncontrolstoselectsurfacesindividually.

3. Click or drag to select surfaces.

4. Hold down Ctrl and use the arrow keys to

move among surfaces in the current model.

1142 Chapter 9: Surface Modeling

At the Surface sub-object level, the left and

right arrow keys move forward and backward

through individual surfaces in the order they

were created. The up and down arrows are

equivalent to left and right.

You can also use the Hkeyboard shortcut (while

theKeyboardShortcutOverrideToggleison)

todisplayadialogandselectsurfacesbyname.

Ctrl+H displays only the names of surfaces

directly beneath the mouse cursor.

To delete a surface:

• Select the surface and then click Delete.

Keyboard shortcut: Delete

Tomakeasurfacealoft:

1. Select the surface and then click Make Loft. A

Make Loft dialog (page 1–1234) is displayed.

2. Use the Make Loft dialog controls to choose the

settings for the new surface, and then click OK.

To break a surface:

1. TurnonBreakRow,BreakCol.,orBreakBoth,

and then drag over the surface.

One or two blue curves appear on the surface to

indicate where the break will occur.

2. When you have dragged to the location you

want to break, click the surface.

Note: If you break a dependent surface, the new

"broken" surfaces are made independent.

You cannot break a trimmed surface.

To extend a surface:

1. Tur n on E xte nd .

2. Move the mouse over the surface without

depressing the mouse button. The edge that

will be extended is highlighted in blue.

3. Whentheedgeyouwanttoextendis

highlighted, press the mouse button, and then

drag vertically to increase the length of the

surface.

The surface extension is invalid and disappears if it

would cause the surface to intersect itself or if the

edge of the surface touches itself but is not closed.

For example, you can’t extend the top of a cylinder.

To join two surfaces:

1. In a NURBS object that contains two surface

sub-objects, turn on Join.

2. If the gap between the surfaces is small (less

than about 30 units), set the Tolerance value

greater than the distance of the gap.

3. Click one surface near the edge that you want

to connect. The edge that will be connected is

highlighted in blue. Drag to choose the edge

you want to connect. Without releasing the

mouse button, drag to the other surface. The

edge of the other surface is also highlighted in

blue. Drag on the other surface to choose the

edge to connect, and then release the mouse

button.

The surface that owns the highlighted edge is

highlighted in yellow, to help you distinguish

Editing Surface Sub-Objects 1143

whichedgeyouarechoosingwhentwosurfaces

have coincident edges.

The Join Surfaces dialog (page 1–1233) is

displayed, which gives you a choice of methods

for how to join the surfaces. Whichever method

youchoose,thesoftwarecreatesasinglesurface

that replaces the two original surfaces.

To close a surface:

• Select the surface sub-object and then click

Close Rows or Close Cols.

Interface

Surface Common rollout

Surface sub-object rollout

The controls on this rollout apply to all surface

types. Depending on the type of surface, an

additional rollout is displayed with controls

specific to that type of surface.

Selection group

The selection buttons for surface sub-objects let

you select either individual surfaces, or surfaces

that are connected in space.

1144 Chapter 9: Surface Modeling

Surface sub-object selection controls

Single Surface—Clicking or transforming a surface

selects only a single surface sub-object.

All Connected Surfaces—Clicking or transforming

a surface selects all surface sub-objects that are

connected within the NURBS object. To be

connected, two surfaces must have all the CVs on

a shared edge fused between them, or one surface

must be a connected dependent of the other (for

example, a blend or a cap).

Name—Shows the name of the currently selected

surface. It is disabled if you have selected multiple

surfaces.

By default, the name is the name of the surface type

("CV Surface," "Point Surface," "Blend Surface,"

and so on) followed by a sequence number. You

canusethisfieldtogivethesurfaceanamethat

you choose.

Hide—Click to hide the currently selected surface.

Unhide All—Click to unhide all hidden surfaces.

Hide by Name—Click to display a Select

Sub-Objects dialog that lists surfaces by name.

Select the surfaces to hide, then click Hide.

Unhide by Name—Disabled unless there are hidden

surfaces. Click to display a Select Sub-Objects

dialogthatlistssurfacesbyname. Selectthe

surfaces to make visible, then click Unhide.

Delete—Deletes the selected surface sub-objects.

Make Rigid—Makes the surface rigid. The only

editing allowed on a rigid surface is to transform

it at the Surface sub-object level. You can’t move

arigidsurface’spointsorCVs,orchangethe

number of points or CVs.

Rigid surfaces reduce the amount of memory

used by the NURBS model. Making surfaces rigid

improves performance, especially for large and

complex models.

When a surface is rigid, you can’t see its points

or CVs when you are at the Point or Surface CV

sub-object levels. If the model has no nonrigid

surfaces and no point curves, the Point and Surface

CV sub-object levels aren’t available at all.

To make a surface no longer rigid, click Make

Point or Make Independent. Editing the surface

with Break, Join, and so on also makes it no longer

rigid.

Make Loft—Displays a Make Loft dialog (page

1–1234) to convert the surface sub-object to a

(dependent) U loft or UV loft surface. Can also

change the dimension used to construct a U loft

surface.

Youcan’tuseMakeLoftifthesurfacesub-object

is in an error condition.

Tip: Make Loft creates a loft with uniformly spaced

curves. To make a loft with adaptively spaced iso

curves, manually create the curves and then loft

them with U Iso Lines, V Iso Lines, or U and V

Iso Lines.

Make Point—Displays a Make Point dialog (page

1–1235) to convert any kind of surface to a point

surface. You can also use Make Point to change

thenumberofrowsandcolumnsifthesurfaceis

already a point surface.

Convert Surface—Click to display the Convert

Surface dialog (page 1–1227).Thisdialogprovides

ageneralwaytoconvertasurfacetoadifferent

type of surface. You can convert between lofts,

point ("fit") surfaces, and CV surfaces. The dialog

also lets you adjust a number of other surface

parameters.

Editing Surface Sub-Objects 1145

Make Independent—Disabled if the surface is

independent. If the surface is dependent, clicking

this button makes it independent.

Warning: When you make a surface independent, you

lose the animation controllers for all objects that depend

on it in turn.

Remove Animation—Removes animation

controllers from the selected surfaces.

Detach—Detaches the selected surface sub-object

from the NURBS model, making it a new top-level

NURBS surface object (page 1–1101).TheDetach

dialog (page 1–1228) is displayed, which lets you

name the new surface. The new object is no longer

part of the original NURBS model.

To create a new top-level NURBS surface that is a

copy of the selected surface, turn on Copy before

you click Detach.

Copy—When on, clicking Detach creates a copy of

the selected surface instead of detaching it from

the NURBS model. Default=off.

Renderable—When on, the surface renders. Turn

offtomakethesurfaceinvisibleinrenderings.

Default=on.

Display Normals—When on, the normal for each

selected surface is displayed. There is one normal

per surface sub-object. The normal is displayed at

the surface’s UV origin, so displaying normals can

help you see how materials will be mapped. On

the other hand, the normal can be hard to see if

you are zoomed out. Default=off.

Flip Normals—Turn on to reverse the direction of

the surface normals. Default=off.

Tip: The Flip Normals control is useful for viewing

a surface that is mostly concave or mostly convex.

With more complicated NURBS surfaces, you

often want to render both sides of the surface.

Tur n on Forc e 2-Side d in t he Render Scene dialog

(page 3–2) to see both sides of the surface. To see

both sides of the surfaces in viewports, turn on

Force 2-Sided in the Rendering Method panel of

the Viewport Configuration dialog (page 3–853),or

assign a Double-Sided Material (page 2–1591).

Break Row—Breaks the surface into two surfaces in

the direction of a row (the surface’s U axis).

Break Col.—Breaks the surface into two surfaces in

the direction of a column (the surface’s V axis).

Break Both—Breaks the surface into four surfaces

in both directions.

You cannot break a trimmed surface.

Extend—Extendsthesurfacebychangingits

length.

Warning: Extending a surface loses all animation

controllers for the surface and its points or CVs.

Join—Joins two surface sub-objects together. After

you have joined the surfaces in a viewport, the

Join Surfaces dialog (page 1–1233) is displayed.

This dialog lets you choose the method for joining

the two surfaces. You can join only original edges

of surfaces; you cannot join edges created by

trimming.

Warning: When you join two surface sub-objects, you

lose the animation controllers for all point or CVs on

both surfaces.

CV Surface rollout

This additional rollout is displayed when a CV

surface is selected.

1146 Chapter 9: Surface Modeling

U Degree and V Degree—Letyousetthedegreeof

the surface in either the U or V dimension. The

higher the degree value, the greater the continuity.

Thelowerthedegree,themorediscontinuousthe

surface segments become. The degree can’t be less

than one or greater than the number allowed by the

number of CVs in the specified dimension. Degree

3 is adequate to represent continuous surfaces, and

is stable and well behaved. Default=3.

Setting the degree greater than 3 isn’t

recommended because higher-degrees are

slower to calculate and less stable numerically.

Higher-degrees are supported primarily to be

compatible with models created using other

surface modeling programs.

The number of CVs in a given dimension must be

at least one greater than that dimension’s degree.

Automatic Reparameterization group

The controls in this group box let you specify

automatic reparameterization. They are similar

to the controls in the Reparameterize dialog (page

1–1237), with the addition that all choices except

for None tell the software to reparameterize the

curve automatically; that is, whenever you edit it

by moving CVs, refining, and so on.

None—Do not reparameterize automatically.

Chord Length—Chooses the chord-length

algorithm for reparameterization.

Chord-length reparameterization spaces knots (in

parameter space (page 3–988)) based on the square

rootofthelengthofeachcurvesegment.

Chord-length reparameterization is usually the

best choice.

Uniform—Spaces the knots uniformly.

A uniform knot vector has the advantage that the

curve or surface changes only locally when you edit

it. With chord-length parameterization, moving

any CV can potentially change the entire surface.

The close controls let you close a surface. They

aredisplayedontheCVSurfacerolloutwhilean

independent CV surface sub-object is selected.

They are disabled if the surface is already closed in

that direction.

Close Rows—Closes the surface by joining the ends

of its rows.

Close Cols.—Closes the surface by joining the ends

of its columns.

Rebuild—Displays the Rebuild CV Surface dialog

(page 1–1236), which lets you specify how to

rebuild the surface. Rebuilding the surface can

change its appearance.

Warning: When you rebuild a surface, you lose the

animation controllers for all CVs on the surface.

Reparam.—Displays the Reparameterize dialog

(page 1–1237). Reparameterizing a surface

changes the surface’s parameter space (page 3–988)

to provide a better relation between control point

locationsandtheshapeofthesurface.

Tip: It is a good idea to reparameterize after you

have added CVs to the surface by refining or

inserting.

Warning: When you reparameterize a surface, you lose

the animation controllers for all CVs on the surface.

Soft Selection Rollout (NURBS) 1147

Point Surface rollout

This additional rollout appears when a point

surface is selected.

The close controls let you close a surface. They

appear on the Point Surface rollout while an

independentpointsurfacesub-objectisselected.

They have no effect if the surface is already closed

in that direction.

Close Rows—Closes the surface by joining the ends

of its rows.

Close Cols.—Closes the surface by joining the ends

of its columns.

Soft Selection Rollout (NURBS)

Modify panel > Select NURBS point or CV sub-objects. >

Soft Selection rollout

The soft selection controls for NURBS models

are like the soft selection controls for editable

mesh (page 1–996) objects. Soft selection controls

make a point or CV behave as if surrounded by a

"magnetic field." Unselected points or CVs within

thefieldaredrawnalongsmoothlywhileyoumove

the selected one.

With this feature, you can sculpt the points or CVs

of a curve or surface. For example, you can draw

asphereintoanegg,orgentlycurveaflatsurface

into hills and valleys.

With soft selection, transforming a single vertex can move

others.

The Soft Selection rollout for point and CV

sub-objectscontainsthecontrolsforthisfeature.

The Soft Selection check box is turned off by

default.

Before you begin, you might need to increase the

number of CVs or points on the surface. This

allows smoother and more complex reshaping

effects.

A single point or CV works well for many

purposes. Moving a point or CV along a single

axis is the most useful for smoothly raising and

lowering surfaces. For multiple points or CVs, you

can also use Rotate or Scale.

1148 Chapter 9: Surface Modeling

Interface

Soft Selection—When on, point or CV transforms

affectaregionofthecurveorsurface.

Affect Neighbors—When on, the transform affects

points or CVs not only on this curve or surface

but within the entire Falloff region of the NURBS

object.

Same Type Only—(for point curves and surfaces

only) When on, the transform affects only

neighboring points of the same type; that is, either

curvepoints,surfacepoints,orindependent

points.

Soft Selection Curve—This curve display shows

how Soft Selection will work. You can experiment

with a curve setting, undo it, and try another

setting with the same selection.

Falloff—Distance in current units from the center

totheedgeofaspheredefiningtheregion.Use

higher falloff settings to achieve more gradual

slopes, depending on the scale of your geometry.

Default=20.

Left: Falloff=20 (the default)

Right: Falloff=40

Pinch—Raises and lowers the top point of the

curve along the vertical axis. Sets the relative

"pointedness" of the region. When negative, a

crater is produced instead of a point. At a setting

of 0, Pinch produces a smooth transition across

this axis. Default=0.

Left: Pinch=.5

Right: Pinch=2

Falloff and Bubble have their default values.

Bubble—Expands and contracts the curve along

the vertical axis. Sets the relative "fullness" of

the region. Limited by Pinch, which sets a fixed

starting point for Bubble. A setting of 0 for Pinch

and 1.0 for Bubble produces a maximum smooth

bulge. Negative values for Bubble move the bottom

of the curve below the surface, creating a "valley"

around the base of the region. Default=0.

Material Properties Rollout 1149

Left: Bubble=1

Right: Bubble=6

Falloff and Pinch have their default values.

Material Properties Rollout

Modify panel > Select NURBS object. > Stack display >

Surface sub-object level > Material Properties rollout

This rollout controls material mapping onto a

NURBS surface sub-object.

Procedures

To apply a mapped material to a surface sub-object:

1. On the Material Properties rollout, turn on

Gen. Mapping Coordinates.

2. Use the Material Editor (page 2–1409) to

assign a mapped material to the surface.

Tousemultiplemapchannelsonasinglesurface

sub-object (example):

1. On the Material Properties rollout, turn on

Gen. Mapping Coordinates.

2. Change the Map Channel value to 2, and turn

on Gen. Mapping Coordinates.

3. Change the U and V tiling values for map

channel 2.

Now when you assign a mapped material, maps

on map channel 1 use the default UV tiling,

while maps on map channel 2 use the channel

2 tiling. An easy way to see this is to create a

checker (page 2–1638) map on channel 1, and

make one checker color another checker map

on channel 2.

Interface

Material Properties rollout

Material ID—Usethistochangethesurface’s

material ID number. Multiple material IDs

in a single NURBS object let you assign a

multi/sub-object material (page 2–1594) to the

NURBS object.

Select by ID—Displays a Select by Material ID

dialog (page 1–1238).

1150 Chapter 9: Surface Modeling

Texture Channels group

Thecontrolsinthisgroupboxsupportmaterials,

includingtilingandpositioningmapping

coordinates on the surface.

Map Channel—Chooses a UV coordinates map

channel (page 3–966). Range=1 to 99. A single

surfacecanuseupto99texturechannels.

Default=1.

Gen. Mapping Coordinates—Generates mapping

coordinates so you can apply mapped materials to

the surface. Each surface in a NURBS object has

its own set of mapping coordinates. Default=off.

U and V Offset—Offset mapping coordinates along

the surface’s local U axis or V axis. That is, at

0.0(thedefault),themapbeginsattheUorV

origin. Increasing an Offset value moves the map

forward along that axis, and decreasing it moves it

backward. These parameters are animatable.

U and V Tiling—Control the tiling of UV mapping

coordinates; that is, the number of times a mapped

material’s map is repeated in the surface’s local

UaxisorVaxis.Default=1.0forbothaxes(no

tiling). These parameters are animatable.

Rotation Angle—Letsyouspecifyarotationangle

for the texture. This parameter is animatable.

Texture Corners group

Thecontrolsinthisgroupboxletyouexplicitly

set which texture surface UV values to use at the

corners of a surface. These controls are especially

useful when you are matching the textures of

adjacent surfaces.

These controls are disabled unless Generate

Mapping Coordinates is on.

Corners radio buttons—The four buttons

correspond to the four corners of the currently

selected surface. When you choose a button, the

correspondingcornerishighlightedwithablue

box in 3D viewports, and the U and V spinners

are enabled.

UandV—Unavailableunlessyou’vechosenoneof

the Corners radio buttons. When available, you

use these spinners to set the U and V texture values

for the chosen corner.

By default, the U and V values for most surfaces

range from 0.0 to 1.0. For some kinds of geometry

converted to a NURBS surface, these ranges can

vary.

Texture Surface group

The controls in this group box let you choose

a method for mapping texture to the currently

selected NURBS surface sub-object, and to adjust

the parameters for some of the chosen methods.

These controls are available when Generate

Mapping Coordinates is on.

A texture surface is a surface associated with the

surface sub-object. The texture surface controls

how materials are mapped. In effect, changing

thetexturesurfacestretchesorotherwisechanges

the UV coordinates for the surface, altering the

mapping.

Mapscanshiftwithcertainsurfaceapproximation

methods. This effect is especially noticeable when

thesurfacehasanimatedCVs.Youcanreduceor

eliminate map shifting by changing the mapping

method to User Defined.

Tip: Don’t use the UVW Map modifier to apply a

texture to an animated NURBS surface.

Default—Automatically generates a texture

surface. This method evenly distributes the texture

and attempts to compensate for stretching of the

surface.

Thedefaulttexturesurfacemethodhasno

additional controls.

Creating Curve Sub-Objects 1151

User Defined—Generates a texture surface that you

can edit. You edit the user-defined texture surface

either by using an Edit Texture Surface dialog (as

you did in 3ds Max prior to v3), or by editing

texture points directly in viewports.

Edit Texture Surface—Click to display the Edit

Texture Surface dialog (page 1–1230),whichlets

you control UV mapping on this surface. This

button is available when you’ve chosen User

Defined as the texture surface method.

Edit Texture Points—Click to edit texture surface

points directly in viewports. This button available

when you’ve chosen User Defined as the texture

surface method.

While Edit Texture Points is on, the points of

the texture surface are displayed in viewports,

where you can adjust their positions by using the

selection and transform tools.

Projected—Generates the texture surface by

projecting the texture of another NURBS surface

sub-object in the NURBS model. The projection

travels along the direction of the normals of the

source surface.

Projected texture surfaces are relational: if you

updatethesourcesurface,thetextureupdateson

all the surfaces it projects onto.

Ifyouusethesamesourcesurfacetoprojecta

texture onto several other connected surfaces, the

textures will match along the boundaries where

the mapped surfaces touch.

Pick Source Surface—This button is available when

you’ve chosen Projected as the texture surface

method. To choose a source (projector) surface,

choose Projected, click to turn on this button, and

then click in a viewport to select another surface

sub-objectinthesameNURBSmodel.

Source text field—If Projected is the chosen texture

surface method and you have picked a surface to

project, this field displays the name of the projector

(source) surface. Otherwise, this field says "None."

Creating Curve Sub-Objects

Select NURBS object. > Modify panel > Create Curves

rollout

Select NURBS object. > Modify panel > NURBS toolbox

Keyboard > Ctrl+T to toggle NURBS toolbox display

(KeyboardShortcutOverrideTogglemustbeon)

Curvesub-objectsareeitherindependentpoint

and CV curves (similar to the top-level point

and CV curves described in Point Curve (page

1–1106) and CV Curve (page 1–1110)), or they are

dependent curves. Dependent curves are curve

sub-objects whose geometry depends on other

curves, points, or surfaces in the NURBS object.

When you change the geometry of the original,

parent sub-objects, the dependent curve changes

as well.

You create curve sub-objects using the Create

Curves rollout on the Modify command panel for

aNURBScurve.

1152 Chapter 9: Surface Modeling

Tip: Lathe and extrude surface sub-objects can

be based on only a single curve; see Creating

Dependent Surfaces (page 1–1177).Ifyoucreate

dependent curves and then want to use the set

of curves (for example, two parents and a fillet

betweenthem)asthebasisofanextrudeorloft

surface, first go to the Curve sub-object level and

useJointoconnectthecurves.

Creation operations for dependent sub-objects

require you to select one or more parent objects.

In general, you can click and drag, or click and

then click again. You can also use the Hkeyboard

shortcut to display a Select Objects dialog (page

1–78) for choosing the parent. (The Keyboard

Shortcut Override Toggle (page 3–872) must be on

for Hto work this way.)

Toolbox Buttons for Creating Curves

These are the toolbox (page 1–1083) buttons for

creating curve sub-objects:

Create an independent CV curve sub-object

(page 1–1153).

Create an independent point curve sub-object

(page 1–1155).

Create a dependent fit curve (as with the

Curve Fit (page 1–1157) button).

Create a dependent transform curve (page

1–1157).

Create a dependent blend curve (page

1–1158).

Create a dependent offset curve (page 1–1159).

Create a dependent mirror curve (page

1–1160).

Create a dependent chamfer curve (page

1–1161).

Create a dependent fillet curve (page 1–1164).

Create a dependent surface-surface

intersection curve (page 1–1166).

Create a dependent U iso curve (page

1–1168).

Create a dependent V iso curve (page 1–1168).

Create a dependent normal projected curve

(page 1–1169).

Create a dependent vector projected curve

(page 1–1171).

Create a dependent CV curve on surface (page

1–1172).

CV Curve Sub-Object 1153

Create a dependent point curve on surface

(page 1–1175).

Create a dependent surface offset curve (page

1–1167).

Create a dependent surface edge curve (page

1–1177).

CV Curve Sub-Object

Select NURBS object. > Modify panel > Create Curves

rollout > CV Curve button

Select NURBS object. > Modify panel > NURBS toolbox

>CreateCVCurvebutton

CV curve sub-objects are similar to object-level

CV curves (page 1–1110).Themaindifference

is that you can’t give CV curves a renderable

thickness at the sub-object level.

Drawing Three-Dimensional Curves

WhenyoucreateaCVcurve,youcandrawitin

threedimensions.Therearetwowaystodothis:

• Draw In All Viewports: This toggle lets you use

any viewport to draw the curve, enabling you

to draw three dimensionally.

•Using

Ctrl to drag CVs: While you draw a

curve, you can use the Ctrl key to drag a CV

offoftheconstructionplane.

With the Ctrl –key method, further mouse

movement lifts the latest point off the construction

plane.Therearetwowaystousethis:

•Click-drag.Ifyouholddown

Ctrl and also

hold down the mouse button, you can drag to

change the height of the CV. The CV’s location

is set when you release the mouse button.

This method is probably more intuitive.

•Click-click.Ifyou

Ctrl +click and then release

the mouse button, the height changes as you

dragthemouse.Clickingthemouseasecond

time sets the CV’s location.

This method is less prone to repetitive stress

injury.

WhileyouareoffsettingtheCV,areddotted

lineisdrawnbetweentheoriginalCVonthe

construction plane and the actual CV offset

fromtheplane.Youcanmovethemouseintoan

inactive viewport, in which case the software sets

the height of the CV using the CV’s Z axis in the

inactive viewport. This lets you set the height of

the CV with accuracy.

Snaps (page 2–41) also work when you change the

height of a CV. For example, if you turn on CV

snapping, you can set a CV to have the same height

as another CV by snapping to that other CV in an

inactive viewport.

Procedure

To create a CV curve sub-object:

1. Tur n on C V Cur ve.

2. In a viewport, click and drag to create the first

CV, as well as the first curve segment. Release

the mouse button to add the second CV. Each

subsequent location you click adds a new CV to

the curve. Right-click to end curve creation.

Note: If you begin the curve by clicking without

dragging, this also creates the curve’s first CV.

However, if you release the mouse button more

than five pixels away from where you initially

pressed it, this creates an additional CV.

While you are creating a CV curve, you can

press Backspace to remove the last CV you

created, and then previous CVs in reverse order.

If Draw In All Viewports is on, you can draw in

any viewport, creating a 3D curve.

1154 Chapter 9: Surface Modeling

To lift a CV off the construction plane, use

the Ctrl key as described earlier in this topic

under "Drawing Three-Dimensional Curves."

As with splines, if you click over the curve’s

initial CV, a Close Curve dialog (page 1–1228)

is displayed. This dialog asks whether you

want the curve to be closed. Click No to keep

the curve open or Yes to close the curve. (You

canalsocloseacurvewhenyouedititatthe

Curve sub-object level.) When a closed curve

isdisplayedattheCurvesub-objectlevel,the

initial CV is displayed as a green circle, and a

green tick mark indicates the curve’s direction.

Interface

CV Curve rollout (creation time)

Draw In All Viewports—Lets you use any viewport

whileyouaredrawingthecurve.Thisisoneway

to create a 3D curve. When off, you must finish

drawing the curve in the viewport where you

began it. Default=on.

WhileDrawInAllViewportsison,youcanalso

use snaps (page 2–41) in any viewport.

Automatic Reparameterization group

The controls in this group box let you specify

automatic reparameterization. They are similar

to the controls in the Reparameterize dialog (page

1–1237), with one addition: all choices except

for None tell the software to reparameterize the

curve automatically; that is, whenever you edit it

by moving CVs, refining, and so on.

None—Do not reparameterize automatically.

Chord Length—Chooses the chord-length

algorithm for reparameterization.

Chord-length reparameterization spaces knots (in

parameter space (page 3–988)) based on the square

rootofthelengthofeachcurvesegment.

Chord-length reparameterization is usually the

best choice.

Uniform—Spaces the knots uniformly.

A uniform knot vector has the advantage that the

curve or surface changes only locally when you edit

it. With the other two forms of parameterization,

moving any CV can change the entire sub-object.

CV Curve rollout (modification time)

Degree—Setsthedegreeofthecurve.Thehigher

the degree value, the greater the continuity. The

lowerthedegree,themorediscontinuousthe

curve segments become. The degree can’t be less

than one or greater than the number allowed by

the number of CVs in the curve. Degree 3 curves

are adequate to represent continuous curves, and

arestableandwellbehaved.Default=3.

Setting the degree greater than 3 isn’t

recommended, because higher-degree curves are

slower to calculate and less stable numerically.

Higher-degree curves are supported primarily to

Point Curve Sub-Object 1155

be compatible with models created using other

surface modeling programs.

The number of CVs in a CV curve must be at least

one greater than the curve’s degree.

Automatic Reparameterization group

The controls in this group box let you specify

automatic reparameterization. They are similar

to the controls in the Reparameterize dialog (page

1–1237), with one addition: all choices except

for None tell the software to reparameterize the

curve automatically; that is, whenever you edit it

by moving CVs, refining, and so on.

None—Do not reparameterize automatically.

Chord Length—Chooses the chord-length

algorithm for reparameterization.

Chord-length reparameterization spaces knots (in

parameter space (page 3–988)) based on the square

root of the length of each curve segment.

Chord-length reparameterization is usually the

best choice.

Uniform—Spaces the knots uniformly.

A uniform knot vector has the advantage that the

curve or surface changes only locally when you edit

it. With the other two forms of parameterization,

moving any CV can change the entire sub-object.

Close—Closesthecurve.Disabledifthecurveis

already closed.

Rebuild—Displays the Rebuild CV Curve dialog

(page 1–1236) to let you rebuild the CV curve.

Reparam—Displays the Reparameterize dialog

(page 1–1237) to let you re parameterize the CV.

Point Curve Sub-Object

Select NURBS object. > Modify panel > Create Curves

rollout > Point Curve button

Select NURBS object. > Modify panel > NURBS toolbox >

Create Point Curve button

Point curve sub-objects are similar to object-level

point curves (page 1–1106). Points are constrained

tolieonthecurve.Themaindifferenceisthatyou

can’t give point curves a renderable thickness at

the sub-object level.

Drawing Three-Dimensional Curves

When you create a point curve, you can draw it in

threedimensions.Therearetwowaystodothis:

• Draw In All Viewports: This toggle lets you use

any viewport to draw the curve, enabling you

to draw three dimensionally.

•Using

Ctrl to drag points: While you draw a

curve, you can use the Ctrl key to drag a point

off of the construction plane.

With the Ctrl key method, further mouse

movement lifts the latest point off the construction

plane. There are two ways to use this:

•Click-drag.Ifyouholddown

Ctrl and also

hold down the mouse button, you can drag

to change the height of the point. The point’s

location is set when you release the mouse

button.

This method is probably more intuitive.

•Click-click.Ifyou

Ctrl +click and then release

the mouse button, the height changes as you

dragthemouse.Clickingthemouseasecond

time sets the point’s location.

This method is less prone to repetitive stress

injury.

Whileyouareoffsettingthepoint,areddotted

line is drawn between the original point on the

1156 Chapter 9: Surface Modeling

construction plane and the actual point offset

from the plane. You can move the mouse into an

inactive viewport, in which case the software sets

the height of the point using the point’s Z axis in

the inactive viewport. This lets you set the height

of the point with accuracy.

Snaps (page 2–41) also work when you change the

height of a point. For example, if you turn on Point

snapping, you can set a point to have the same

height as another point by snapping to that other

point in an inactive viewport.

Procedure

To create a point curve sub-object:

1. Tur n on Point Cur ve.

2. In a viewport, click and drag to create the first

point, as well as the first curve segment. Release

the mouse button to add the second point. Each

subsequent location you click adds a new point

to the curve. Right-click to end curve creation.

Note: If you begin the curve by clicking without

dragging, this also creates the curve’s first point.

However, if you release the mouse button more

than five pixels away from where you initially

pressed it, this creates an additional point.

Whileyouarecre

ating a point curve, you can

press Backspace to remove the last point you

created, and then previous points in reverse

order.

If Draw In All Viewports is on, you can draw in

any viewport, creating a 3D curve.

To lift a point off the construction plane, use

the Ctrl key as described earlier in this topic

under Drawing Three-Dimensional Curves

(page 1–1155).

As with splines, if you click over the curve’s

initial point, a Close Curve dialog (page 1–1235)

is displayed. Thisdialogaskswhetheryou

want the curve to be closed. Click No to keep

the curve open or Yes to close the curve. (You

canalsocloseacurvewhenyouedititatthe

Curve sub-object level.) When a closed curve

isdisplayedattheCurvesub-objectlevel,the

initial point is displayed as a green circle, and a

green tick mark indicates the curve’s direction.

Interface

Point Curve rollout (creation time)

Draw In All Viewports—Lets you use any viewport

whileyouaredrawingthecurve.Thisisoneway

to create a 3D curve. When off, you must finish

drawing the curve in the viewport where you

began it. Default=on.

WhileDrawInAllViewportsison,youcanalso

use snaps (page 2–41) in any viewport.

Point Curve rollout (modification time)

Close—Closesthecurve.Disabledifthecurveis

already closed.

Curve Fit 1157

Curve Fit

Select NURBS object. > Modify panel > Create Curves

rollout > Dependent Curves group box > Curve Fit button

Select NURBS object. > Modify panel > NURBS toolbox

>CreateFitCurvebutton

Fitting a curve to selected points

This command creates a point curve fitted to

points you select. The points can be part of

previously created point curve and point surface

objects, or they can be point sub-objects you

created explicitly. They can’t be CVs.

Procedure

To create a point curve with Curve Fit:

1. Tur n on Cu r ve Fit .

2. Click to select two or more points.

Apointcurveiscreated. Itrunsthroughthe

points you select, in the order you select them.

Yo u c a n u s e Backspace to undo point

selectioninreverseorder.

3. Right-click to end creation.

Interface

There are no parameters for a point curve created

with Curve Fit.

Transform Curve

Select NURBS object. > Modify panel > Create Curves

rollout > Dependent Curves group box > Transform

button

Select NURBS object. > Modify panel > NURBS toolbox >

Create Transform Curve button

Atransformcurveisacopyoftheoriginalcurve

with a different position, rotation, or scale.

Curve used to create a transform curve

Procedure

To create a transform curve:

•In a NURBS object that contains at least

onecurve,turnonTransform.

To move the transform curve, click and drag

thecurveyouwanttoduplicate.Torotateor

scale the transform curve, click the parent

curve,clicktoturnonSub-Objectonthe

Modifier Stack rollout, choose Curve from the

drop-down list, and then use a transform to

rotate or scale the transform curve.

When you use Move to create the transform

curve, it simply copies the parent. (It doesn’t

exaggerate curvature as an offset curve does.)

Axis constraints don’t apply to the creation of

transform curves. You can click to create the

1158 Chapter 9: Surface Modeling

curveinplace;thenonceitiscreated,transform

it using constraints.

Tip: You can also use axis constraints by using

Shift +clone at the Curve sub-object level.

Interface

Creation time

At creation time, transform curves have no

parameters.

Transform Curve rollout (modification time)

At modification time, you can transform the

transform curve as a curve sub-object, and you can

animate curve sub-object transforms. Transform

curves also have one control in the Modify panel.

Replace Base Curve—Lets you replace the parent

curve. Click the button, then click the curve to

replace the original curve.

Blend Curve

Select NURBS object. > Modify panel > Create Curves

rollout > Dependent Curves group box > Blend button

Select NURBS object. > Modify panel > NURBS toolbox >

Create Blend Curve button

A blend curve connects the end of one curve to

the end of another, blending the curvature of

the parents to create a smooth curve between

them. You can blend curves of the same type, a

point curve with a CV curve (and vice versa), an

independent curve with a dependent curve, and

so on.

Blendcurvesconnectingoriginalcurves

Procedure

To create a blend curve:

1. In a NURBS object that contains two

curves,turnonBlend.

2. Click one curve near the end that you want

to connect. The end that will be connected

is highlighted. Without releasing the mouse

button, drag to the end of the other curve

that you want to connect. The other end is

highlighted as well. When the end that you

want to connect is highlighted, release the

mouse button.

After the blend curve is created, changing the

position or the curvature of either parent curve

changes the blend curve as well.

3. Adjust the blend parameters.

Interface

Blend Curve rollout (creation time)

"Tension" affects the tangent between a parent

curveandtheblendcurve.Thegreaterthetension

Offset Curve 1159

value,themorecloselythetangentparallelsthe

parent curve, and the smoother the transition. The

lowerthetension,thegreaterthetangentangle

and the sharper the transition between parent and

blend.

Tension 1—Controls tension at the edge of the first

curve you clicked.

Tension 2—Controls tension at the edge of the

second curve you clicked.

Blend Curve rollout (modification time)

"Tension" affects the tangent between a parent

curveandtheblendcurve.Thegreaterthetension

value,themorecloselythetangentparallelsthe

parent curve, and the smoother the transition. The

lowerthetension,thegreaterthetangentangle

and the sharper the transition between parent and

blend.

Tension 1—Controls tension at the edge of the first

curve you clicked.

Tension 2—Controls tension at the edge of the

second curve you clicked.

ReplaceFirstCurveandReplaceSecondCurve—Let

you replace the parent curves. Click the button,

then click the curve to replace the original first or

second curve.

Offset Curve

Select NURBS object. > Modify panel > Create Curves

rollout > Dependent Curves group box > Offset button

Select NURBS object. > Modify panel > NURBS toolbox >

Create Offset Curve button

An Offset curve is offset from the original, parent

curve. It is normal to the original. You can offset

both planar and 3D curves.

Curveusedtocreateanoffsetcurve

Procedure

To create an offset curve:

1. In a NURBS object that contains at least

onecurve,turnonOffset.

2. Click the curve you want to offset, and drag to

set the initial distance.

An offset curve is created.

3. Adjust the Offset parameter.

If the parent curve is not linear, increasing the

distance increasingly exaggerates the curvature

of the offset curve.

1160 Chapter 9: Surface Modeling

Interface

Offset Curve rollout (creation time)

Offset—Thedistancebetweentheparentcurve

and the offset curve, in 3ds Max units.

This parameter is animatable.

Offset Curve rollout (modification time)

Offset—Thedistancebetweentheparentcurve

and the offset curve, in 3ds Max units.

Replace Base Curve—Lets you replace the parent

curve. Click the button, then click the curve to

replace the original curve.

Mirror Curve

Select NURBS object. > Modify panel > Create Curves

rollout > Dependent Curves group box > Mirror button

Select NURBS object. > Modify panel > NURBS toolbox >

Create Mirror Curve button

A mirror curve is a mirror image of the original

curve.

Curveusedtocreateamirrorcurve

Procedure

To create a mirror curve:

1. In a NURBS object that contains at least

one curve, turn on Mirror.

2. On the Mirror Curve rollout, choose the axis or

plane you want to use.

3. Click the curve you want to mirror, and drag to

set the initial distance.

A mirror curve is created. A gizmo (yellow by

default) indicates the direction of mirroring.

Trans for ming the mirror curve’s gizmo changes

the orientation of the mirror, letting you mirror

along an axis that isn’t aligned with a local

coordinate axis.

4. Adjust the mirror parameters.

Interface

In viewports a gizmo (yellow by default) indicates

the mirror axis.

Chamfer Curve 1161

Mirror Curve rollout (creation time)

Mirror Axis group

The Mirror Axis buttons control the direction in

which the original curve is mirrored.

You can’t transform the mirror curve directly (that

would simply transform the mirror curve and its

parent curve at the same time). You transform it

by transforming its gizmo. By using transforms

you can mirror about an arbitrary axis, rather

than using one of the Mirror Axis presets. When

you transform a mirror curve, you are actually

transforming the mirror plane, so Rotate has the

effect of rotating the plane about which the curve

is mirrored. (This is like rotating the mirror gizmo

in the Mirror modifier.)

Offset—Controls the mirror’s distance from the

original curve.

This parameter is animatable.

Mirror Curve rollout (modification time)

Mirror Axis group

The Mirror Axis buttons control the direction in

which the original curve is mirrored.

You can’t transform the mirror curve directly (that

would simply transform the mirror curve and its

parent curve at the same time). You transform it

by transforming its gizmo. By using transforms

you can mirror about an arbitrary axis, rather

than using one of the Mirror Axis presets. When

you transform a mirror curve, you are actually

transforming the mirror plane, so Rotate has the

effect of rotating the plane about which the curve

is mirrored. (This is like rotating the mirror gizmo

in the Mirror modifier.)

Offset—Controls the mirror’s distance from the

original curve.

This parameter is animatable.

Replace Base Curve—Lets you replace the parent

curve. Click the button, then click the curve to

replace the original curve.

Chamfer Curve

Select NURBS object. > Modify panel > Create Curves

rollout>DependentCurvesgroupbox>Chamferbutton

Select NURBS object. > Modify panel > NURBS toolbox >

Create Chamfer Curve button

Chamfer creates a curve that is a straight bevel

between two parent curves.

1162 Chapter 9: Surface Modeling

Creating chamfers between two original curves

Procedure

To create a chamfer curve:

1. In a NURBS object that contains at least

two curves, turn on Chamfer.

Tip: Make sure the curves intersect before you

begin to create thechamfer.

2. Click one curve near the end that you want

to connect. The end that will be connected

is highlighted. Without releasing the mouse

button, drag to the end of the other curve that

youwanttoconnect.Whentheendthatwill

be connected is highlighted, release the mouse

button.

Achamfercurveis created. Changing the

position or the curvature of either parent curve

can change the chamfer as well.

The parent curves must be coplanar. The

chamfer is not necessarily connected at the

endpoints of the parent curves: you can

adjust its position with the chamfer’s Length

parameters.

3. Adjust the chamfer parameters.

Interface

Chamfer Curve rollout (creation time)

The lengths are the distances from the intersection

(or apparent intersection) at which the chamfer

segment is drawn.

Length 1—Thedistancealongthefirstcurveyou

click.

This parameter is animatable.

Length 2—Thedistancealongthesecondcurve

you click.

This parameter is animatable.

Some length values make it impossible to construct

the chamfer. If you set the length to an invalid

value, the chamfer returns to a default position and

is displayed in the error color (orange by default).

TrimFirstCurveandTrimSecondCurvegroups

These two group boxes let you control how the

parent curves are trimmed. The controls are the

same in each. "First" and "second" refer to the

order in which you picked the parent curves.

Chamfer Curve 1163

Flipping the direction of a trim

Trim Curve—When on (the default), trims the

parentcurveagainstthefilletcurve.Whenoff,the

parent isn’t trimmed.

Flip Trim—When on, trims in the opposite

direction.

Seed 1 and Seed 2—Change the U location of the

seed value on the first and second curves. If there

is a choice of directions, the direction indicated

by the seed points is the one used to create the

chamfer.

Chamfer Curve rollout (modification time)

The lengths are the distances from the intersection

(or apparent intersection) at which the chamfer

segment is drawn.

Length 1—Thedistancealongthefirstcurveyou

click.

Length 2—Thedistancealongthesecondcurve

you click.

Some length values make it impossible to construct

the chamfer. If you set the length to an invalid

value, the chamfer returns to a default position and

is displayed in the error color (orange by default).

TrimFirstCurveandTrimSecondCurvegroups

These two group boxes let you control how the

parent curves are trimmed. The controls are the

same in each. "First" and "second" refer to the

order in which you picked the parent curves.

1164 Chapter 9: Surface Modeling

Flipping the direction of a trim

Trim Curve—When on (the default), trims the

parentcurveagainstthefilletcurve.Whenoff,the

parent isn’t trimmed.

Flip Trim—When on, trims in the opposite

direction.

Seed 1 and Seed 2—Change the U location of the

seed value on the first and second curves. If there

is a choice of directions, the direction indicated

by the seed points is the one used to create the

chamfer.

ReplaceFirstCurveandReplaceSecondCurve—Let

you replace the parent curves. Click the button,

then click the curve to replace the original first or

second curve.

Fillet Curve

Select NURBS object. > Modify panel > Create Curves

rollout > Dependent Curves group box > Fillet button

Select NURBS object. > Modify panel > NURBS toolbox >

Create Fillet Curve button

Fillet creates a curve that is a rounded corner

between two parent curves.

Above: Two simple fillets

Below: Flip Trim changes the direction of trimming and the

shape the fillet.

Procedure

To create a fillet curve:

1. In a NURBS object that contains at least

two curves, turn on Fillet.

2. Click one curve neartheendthatyouwant

to connect. The end that will be connected

is highlighted. Without releasing the mouse

button, drag to theendoftheothercurvethat

you want to connect. When the end that you

want to connect is highlighted, release the

mouse button.

Afilletcurveiscreated. It trims the ends of the

parentcurvetomatchthefillet. Thefilletis

not necessarily placed at the endpoints of the

parent curves: placement depends on the value

of the Radius parameter.

Changing the position or the curvature of either

parent curve can change the fillet as well.

The parent curves must be coplanar.

3. Adjust the fillet parameters.

Fillet Curve 1165

Interface

Fillet Curve rollout (creation time)

Radius—The radius of the fillet arc in the current

3ds Max units. Default=10.0.

This parameter is animatable.

Tip: If the fillet you initially create is in an error

state,oftenthisisbecausetheradiusisnotlarge

enough to bridge the distance between the two

curves. Increasing the Radius value gives you a

correct fillet. The fillet becomes an arc displayed

in the dependent object color (green by default).

Whenthefilletisinanerrorstateitisdisplayedasa

straight line in the error color (orange by default).

TrimFirstCurveandTrimSecondCurvegroups

These two group boxes let you control how the

parent curves are trimmed. The controls are the

same in each. "First" and "second" refer to the

order in which you picked the parent curves.

Trim Curve—When on (the default), trims the

parentcurveagainstthefilletcurve.Whenoff,the

parent isn’t trimmed.

Flip Trim—When on, trims in the opposite

direction.

Seed 1 and Seed 2—Change the U location of the

seed value on the first and second curves. If there

is a choice of directions, the direction indicated by

the seed points is the one used to create the fillet.

Fillet Curve rollout (modification time)

Radius—The radius of the fillet arc in the current

3ds Max units. Default=10.0.

Tip: If the fillet you initially create is in an error

state,oftenthisisbecausetheradiusisnotlarge

enoughtobridgethedistancebetweenthetwo

curves. Increasing the Radius value gives you a

correct fillet. The fillet becomes an arc displayed

in the dependent object color (green by default).

Whenthefilletisinanerrorstateitisdisplayedasa

straight line in the error color (orange by default).

TrimFirstCurveandTrimSecondCurvegroups

These two group boxes let you control how the

parent curves are trimmed. The controls are the

same in each. "First" and "second" refer to the

order in which you picked the parent curves.

1166 Chapter 9: Surface Modeling

Trim Curve—When on (the default), trims the

parentcurveagainstthefilletcurve.Whenoff,the

parent isn’t trimmed.

Flip Trim—When on, trims in the opposite

direction.

Seed 1 and Seed 2—Change the U location of the

seed value on the first and second curves. If there

is a choice of directions, the direction indicated by

the seed points is the one used to create the fillet.

ReplaceFirstCurveandReplaceSecondCurve—Let

you replace the parent curves. Click the button,

then click the curve to replace the original first or

second curve.

Surface-Surface Intersection

Curve

Select NURBS object. > Modify panel > Create Curves

rollout > Dependent Curves group box > Surf x Surf

button

Select NURBS object. > Modify panel > NURBS toolbox >

Create Surface-Surface Intersection Curve button

Trimming a surface with a surface-surface intersection curve

This command creates a curve that is defined

by the intersection of two surfaces. You can use

surface-surface intersection curves for trimming

(page 1–1080).

If the surfaces intersect at two or more locations,

the intersection closest to the seed point is the one

that creates the curve.

Procedure

To create a surface-surface intersection curve:

1. Turn on Create Surface-Surface

Intersection Curve in the NURBS toolbox, or

Surf x Surf on the Create Curves rollout.

2. Click the first surface, then the second.

If the two surfaces intersect, a curve that lies

along their intersection is created.

Interface

Surf-Surf Intersection Curve rollout (creation

time)

Trim Controls group

Trim 1 and Trim 2—When on, trim a surface against

the intersectioncurve.Whenoff,thesurfaceisn’t

trimmed. Trim 1 trims the first parent surface

you clicked, and Trim 2 trims the second parent

surface.

If the intersection curve does not pass completely

across a surface, trimming is impossible, and the

affected surface is displayed in the error color

(orange by default).

Flip Trim 1 and Flip Trim 2—When on, trim the

associated surface in the opposite direction.

Surface Offset Curve 1167

U Seed and V Seed—Change the UV location of

theseedvalueonsurface1,thefirstsurfaceyou

clicked. If there is a choice of intersections, the

intersection closest to the seed point is the one

used to create the curve.

Surf-Surf Intersection Curve rollout

(modification time)

Trim Controls group

Trim 1 and Trim 2—When on, trim a surface against

the intersection curve. When off, the surface isn’t

trimmed. Trim 1 trims the first parent surface

you clicked, and Trim 2 trims the second parent

surface.

If the intersection curve does not pass completely

across a surface, trimming is impossible, and the

affected surface is displayed in the error color

(orange by default).

Flip Trim 1 and Flip Trim 2—When on, trim the

associated surface in the opposite direction.

U Seed and V Seed—Change the UV location of

theseedvalueonsurface1,thefirstsurfaceyou

clicked. If there is a choice of intersections, the

intersection closest to the seed point is the one

used to create the curve.

Replace First Surface and Replace Second

Surface—Let you replace the parent surfaces. Click

a button, then click the surface to replace the

original first or second surface.

Surface Offset Curve

Select NURBS object. > Modify panel > Create Curves

rollout>DependentCurvesgroupbox>SurfOffset

button

Select NURBS object. > Modify panel > NURBS toolbox >

Create Surface Offset Curve button

Thiscommandcreatesacurvethatisoffsetfrom

acurvethatliesonasurface.Inotherwords,the

parentcurvemusthaveoneofthefollowingtypes:

surface-surface intersection, U iso, V iso, normal

projected, vector projected, CV curve on surface,

or point curve on surface. The offset is normal to

thesurface.Thatis,thenewcurveiseitherabove

or below the surface by the offset amount.

Creating surface offset curves

Procedure

To create a surface offset curve:

1. In a NURBS object that contains at least

oneNURBSsurfacewithacurveonit,turn

on Create Surface Offset Curve in the NURBS

1168 Chapter 9: Surface Modeling

toolbox, or Surf Offset on the Create Curves

rollout.

2. Put the cursor over a curve that lies on a surface,

and drag to set the offset amount. Release the

mousebuttontoendcurvecreation.

Interface

Surface Offset Curve rollout (creation time)

Offset—The amount by which the curve is offset

from the surface on which the parent curve lies.

Surface Offset Curve rollout (modification time)

Offset—The amount by which the curve is offset

from the surface on which the parent curve lies.

This parameter is animatable.

Replace Curve—Lets you replace the parent curve.

Click the button, then click the curve to replace

the original parent curve.

UandVIsoCurves

Select NURBS object. > Modify panel > Create Curves

rollout>DependentCurvesgroupbox>UIsoCurve

button or V Iso Curve button

Select NURBS object. > Modify panel > NURBS toolbox >

Create U Iso Curve button or Create V Iso Curve button

Iso curves in the U and V dimensions

U and V iso curves are dependent curves created

from the iso (isoparametric) lines of a NURBS

surface. You can use U and V iso curves to trim

surfaces (page 1–1080).

Procedure

To create an iso curve:

•Tur n on U Is o Cu r ve or V Is o Cu r ve,

then drag over the surface.

The iso lines are highlighted in blue as you drag.

Click to create the curve from the highlighted

iso line.

Normal Projected Curve 1169

Interface

Iso Curve rollout (creation time)

Position—Sets the iso curve’s position along the U

or V axis of the surface.

This parameter is animatable.

Trim Controls group

Trim—When on, trims the surface against the iso

curve.

Flip Trim—When on, flips the direction of the trim.

Iso Curve rollout (modification time)

Position—Sets the iso curve’s position along the U

or V axis of the surface.

This parameter is animatable.

Trim Controls group

Trim—When on, trims the surface against the iso

curve.

Flip Trim—When on, flips the direction of the trim.

ReplaceBaseSurface—Lets you replace the parent

surface. Click the button, then click the new

surfaceonwhichtobasetheisocurve.

Normal Projected Curve

Select NURBS object. > Modify panel > Create Curves

rollout > Dependent Curves group box > Normal Proj.

button

Select NURBS object. > Modify panel > NURBS toolbox >

Create Normal Projected Curve button

A normal projected curve lies on a surface. It is

based on an original curve, which is projected

onto the surface in the direction of the surface’s

normals.

You can use normal projected curves for trimming

(page 1–1080).

Trimmingasurfacewithanormalprojectedcurve

If the projection intersects the surface in two or

more locations, the intersection closest to the seed

pointistheonethatcreatesthecurve.

1170 Chapter 9: Surface Modeling

Procedure

To create a normal projected curve:

1. In a NURBS object that contains at least

onesurfaceandonecurvesub-object,turnon

Normal Projected Curve in the NURBS toolbox

or Normal Proj. on the Create Curves rollout.

2. Click the curve, then click the surface where

you want the normal projected curve to lie.

If the curve can be projected onto the surface in

the surface’s normal direction, the projected

curve is created. The original, parent curve can

go"offtheedgeofthesurface."Theprojected

curve is created only where the projection and

the surface intersect.

Interface

Normal Projected Curve rollout (creation time)

Trim Controls group

Trim—When on, trims the surface against the

curve. When off, the surface isn’t trimmed.

If it’s impossible to trim with this curve, the surface

is displayed in the error color (orange by default).

Forexample,thecurveisunusablefortrimmingif

it neither crosses the edge of the surface nor forms

aclosedloop.

Flip Trim—When on, trims the surface in the

opposite direction.

U Seed and V Seed—Change the UV location of

theseedvalueonthesurface.Ifthereisachoice

of projections, the projection closest to the seed

point is the one used to create the curve.

Normal Projected Curve rollout (modification

time)

Trim Controls group

Trim—When on, trims the surface against the

curve. When off, the surface isn’t trimmed.

If it’s impossible to trim with this curve, the surface

is displayed in the error color (orange by default).

For example, the curve is unusable for trimming if

it neither crosses the edge of the surface nor forms

aclosedloop.

Flip Trim—When on, trims the surface in the

opposite direction.

U Seed and V Seed—Change the UV location of

theseedvalueonthesurface.Ifthereisachoice

of projections, the projection closest to the seed

point is the one used to create the curve.

Replace Curve and Replace Surface—Let you replace

the parent sub-objects. Click a button, then click

a curve or surface to replace the original parent

object.

Vector Projected Curve 1171

Vector Projected Curve

Select NURBS object. > Modify panel > Create Curves

rollout > Dependent Curves group box > Vector Proj.

button

Select NURBS object. > Modify panel > NURBS toolbox >

Create Vector Projected Curve button

A Vector Projected curve lies on a surface. This

isalmostthesameasaNormalProjectedcurve,

except that the projection from the original curve

to the surface is in the direction of a vector that

you can control.

You can use vector projected curves for trimming

(page 1–1080).

Trimmingasurfacewithavectorprojectedcurve

If the projection intersects the surface in two or

more locations, the intersection closest to the seed

point is the one that creates the curve.

Procedure

To create a vector projected curve:

1. In a NURBS object that contains at least

onesurfaceandonecurvesub-object,clickto

turn on Vector Projected Curve in the NURBS

toolbox or Vector Proj. in the Create Curves

rollout.

2. Click the curve, then the surface where you

want the vector projection curve to lie.

Theinitialvectordirectionisintheview

direction. That is, the vector points away from

you as you look at the viewport. If the curve can

be projected onto the surface in this direction,

the projection curve is created. The original,

parentcurvecango"offtheedgeofthesurface."

The projection curve is created only where the

projection and the surface intersect.

Interface

In viewports a gizmo (yellow by default) indicates

the projection axis. Transforming the gizmo

changes the projection onto the surface. Rotating

the gizmo is the most useful transform. You can

use rotation to adjust the distortion caused by

projection.

Vector Projected Curve rollout (creation time)

Trim Controls group

Trim—When on, trims the surface against the

curve. When off, the surface isn’t trimmed.

If it’s impossible to trim with this curve, the surface

is displayed in the error color (orange by default).

For example, the curve is unusable for trimming if

it neither crosses the edge of the surface nor forms

aclosedloop.

Flip Trim—When on, trims the surface in the

opposite direction.

1172 Chapter 9: Surface Modeling

U Seed and V Seed—Change the UV location of

theseedvalueonthesurface.Ifthereisachoice

of projections, the projection closest to the seed

pointistheoneusedtocreatethecurve.

Vector Projected Curve rollout (modification

time)

Trim Controls group

Trim—When on, trims the surface against the

curve. When off, the surface isn’t trimmed.

If it’s impossible to trim with this curve, the surface

is displayed in the error color (orange by default).

Forexample,thecurveisunusablefortrimmingif

it neither crosses the edge of the surface nor forms

aclosedloop.

Flip Trim—When on, trims the surface in the

opposite direction.

U Seed and V Seed—Change the UV location of

theseedvalueonthesurface.Ifthereisachoice

of projections, the projection closest to the seed

pointistheoneusedtocreatethecurve.

Replace Curve and Replace Surface—Let you replace

the parent sub-objects. Click a button, then click

acurveorsurfacetoreplacetheoriginalparent

object.

CV Curve on Surface

Select NURBS object. > Modify panel > Create Curves

rollout>DependentCurvesgroupbox>CVonSurf

button

Select NURBS object. > Modify panel > NURBS toolbox >

Create CV Curve on Surface button

A CV curve on surface is similar to a plain CV

curve,butitliesonasurface. Youcreateitby

drawing rather than projecting from a different

curve. You can use this curve type for trimming

(page 1–1080) the surface on which it lies.

Trimming a surface with a CV curve on surface

There are two methods for drawing and editing

curves on surfaces: drawing in a viewport, or

using the Edit Curve on Surface dialog. The choice

is useful because you draw in two dimensions, with

a mouse or other pointing device, while the curve

on a surface can exist in three dimensions. The

more complex the 3D surface, the more effort it

can require to create and edit a curve on a surface.

Visual feedback can help you draw the curve. The

point whose surface you first click is shown as a

blue square, and the surface’s minimum UV point

is shown as a plus sign (+). As you draw the curve,

it is displayed interactively in viewports.

Drawing in a Viewport

When you click to position a CV, the click is

projected in the viewport’s Z dimension. That is,

your click is projected "through the screen" and

ontothesurface.Thisisastraightforwardwayto

CV Curve on Surface 1173

create a curve on a surface if the portion of the

surfacewherethecurvewilllieisclearlyvisiblein

the viewport. However, this method doesn’t let

you place CVs on surface locations that are not

visible in the viewport (they are on back faces, lie

behind other geometry, and so on).

Using the Edit Curve on Surface Dialog

The Edit Curve on Surface dialog (page 1–1229)

letsyoueditcurvesonsurfacesasyoueditregular

curvesinaviewport.Themainpartofthedialog

is a two-dimensional view of the surface. The

controlsprovidetypicalcurveeditingfunctions.

WhileyouarecreatingaCVcurveonsurface,the

2D View toggle controls display of the Edit Curve

on Surface dialog.

You can edit the CVs in CV curves on surfaces at

the Curve CV sub-object level (page 1–1127),asyou

edit other kinds of curve CVs. You can transform

CVsinCVcurvesonsurfaces,butyoucan’tmove

the CVs off the surface. Using the Curve CV

sub-object level is an alternative to editing these

CVs by using the Edit Curve on Surface dialog.

Procedure

To create a CV curve on surface:

1. In a NURBS object that contains at least

onesurface,turnonCreateCVCurveon

Surface in the NURBS toolbox, or CV on Surf

ontheCreateCurvesrollout.

2. Do one of the following:

• Draw the curve in the viewport, using the

mouseabovethesurface.

• Turn on 2D View. This displays an Edit

Curve on Surface dialog, which lets you

create the curve in a two-dimensional (UV)

representation of the surface.

3. Right-click to end curve creation.

Interface

CV Curve on Surface rollout (creation time)

Trim Controls group

Trim—When on, trims the surface against the

curve. When off, the surface isn’t trimmed.

If it’s impossible to trim with this curve, the surface

is displayed in the error color (orange by default).

For example, the curve is unusable for trimming if

it doesn’t form a closed loop.

Flip Trim—When on, trims the surface in the

opposite direction.

Automatic Reparameterization group

The radio buttons in this group box let you

choose automatic reparameterization. With

reparameterization, the curve maintains its

parameterization as you edit it. Without

reparameterization, the curve’s parameterization

doesn’t change as you edit it, and can become

irregular.

None—Do not reparameterize.

Chord Length—Chooses the chord-length

algorithm for reparameterization.

Chord-length reparameterization spaces knots (in

parameter space (page 3–988)) based on the square

rootofthelengthofeachcurvesegment.

1174 Chapter 9: Surface Modeling

Chord-length reparameterization is usually the

best choice.

Uniform—Spaces the knots uniformly.

A uniform knot vector has the advantage that the

curve will change only locally when you edit it.

With the other two forms of parameterization,

moving any CV can change the entire curve.

2D View—When on, displays the Edit Curve on

Surface dialog (page 1–1229),whichletsyou

create the curve in a two-dimensional (UV)

representation of the surface.

CV Curve on Surface rollout (modification time)

Trim Controls group

Trim—When on, trims the surface against the

curve. When off, the surface isn’t trimmed.

If it’s impossible to trim with this curve, the surface

is displayed in the error color (orange by default).

Forexample,thecurveisunusablefortrimmingif

it doesn’t form a closed loop.

Flip Trim—When on, trims the surface in the

opposite direction.

Automatic Reparameterization group

The radio buttons in this group box let you

choose automatic reparameterization. With

reparameterization, the curve maintains its

parameterization as you edit it. Without

reparameterization, the curve’s parameterization

doesn’t change as you edit it, and can become

irregular.

None—Do not reparameterize.

Chord Length—Chooses the chord-length

algorithm for reparameterization.

Chord-length reparameterization spaces knots (in

parameter space (page 3–988)) based on the square

rootofthelengthofeachcurvesegment.

Chord-length reparameterization is usually the

best choice.

Uniform—Spaces the knots uniformly.

A uniform knot vector has the advantage that the

curvewillchangeonlylocallywhenyoueditit.

With the other two forms of parameterization,

moving any CV can change the entire curve.

Replace Surface—Lets you replace the parent

surface. Click a button, then click a surface to

replace the original parent surface.

Edit—Click to display the Edit Curve on Surface

dialog (page 1–1229), which lets you edit the curve

in a two-dimensional (UV) representation of the

surface.

To edit multiple curves on a surface, select more

than one CV curve sub-object on the same surface,

then click Edit.

Rebuild—Displays the Rebuild CV Curve dialog

(page 1–1236) to let you rebuild the CV curve on

surface.

Reparam—Displays the Reparameterize dialog

(page 1–1237) to let you reparameterize the CV

curve on surface.

Point Curve on Surface 1175

Point Curve on Surface

Select NURBS object. > Modify panel > Create Curves

rollout > Dependent Curves group box > Point on Surf

button

Select NURBS object. > Modify panel > NURBS toolbox >

Create Point Curve on Surface button

Apointcurveonsurfaceissimilartoaplainpoint

curve,butitliesonasurface. Youcreateitby

drawing rather than projecting from a different

curve. You can use this curve type for trimming

(page 1–1080) the surface on which it lies.

Trimmingasurfacewithapointcurveonsurface

There are two methods for drawing and editing

curves on surfaces: drawing in a viewport, or

using the Edit Curve on Surface dialog. The choice

is useful because you draw in two dimensions, with

a mouse or other pointing device, while the curve

on a surface can exist in three dimensions. The

more complex the 3D surface, the more effort it

can require to create and edit a curve on a surface.

Visual feedback can help you draw the curve. The

point whose surface you first click is shown as a

blue square, and the surface’s minimum UV point

is shown as a plus sign (+). As you draw the curve,

it is displayed interactively in viewports.

Drawing in a Viewport

When you click to position a point, the click is

projected in the viewport’s Z dimension. That is,

your click is projected "through the screen" and

ontothesurface.Thisisastraightforwardwayto

create a curve on a surface if the portion of the

surfacewherethecurvewilllieisclearlyvisiblein

the viewport. However, this method doesn’t let

you place points on surface locations that are not

visible in the viewport (they are on back faces, lie

behind other geometry, and so on).

Using the Edit Curve on Surface Dialog

The Edit Curve on Surface dialog (page 1–1229)

letsyoueditcurvesonsurfacesasyoueditregular

curves in a viewport. The main part of the dialog

is a two-dimensional view of the surface. The

controls provide typical curve editing functions.

Whileyouarecreatingapointcurveonsurface,

the2DViewtogglecontrolsdisplayoftheEdit

Curve on Surface dialog.

You can edit the points in point curves on surfaces

at the Point sub-object level (page 1–1123),asyou

edit other kinds of points. You can transform

points in point curves on surfaces, but you can’t

move the points off the surface. Using the Point

sub-object level is an alternative to editing these

points by using the Edit Curve on Surface dialog.

1176 Chapter 9: Surface Modeling

Procedure

To create a point curve on surface:

1. In a NURBS object that contains at least

onesurface,turnonCreatePointCurveon

Surface in the NURBS toolbox, or Point on Surf

ontheCreateCurvesrollout.

2. Do one of the following:

• Draw the curve in the viewport, using the

mouseabovethesurface.

• Turn on 2D View. This displays an Edit

Curve on Surface dialog, which lets you

create the curve in a two-dimensional (UV)

representation of the surface.

3. Right-click to end curve creation.

Interface

Pointcurvesonsurfaceshavepointsub-objects

that you can transform and edit in viewports as

you do with plain point curves.

(There is no special Move Surface Points button as

there was prior to 3ds Max 3.)

Point Curve on Surface rollout (creation time)

Trim Controls group

Trim—When on, trims the surface against the

curve. When off, the surface isn’t trimmed.

If it’s impossible to trim with this curve, the surface

is displayed in the error color (orange by default).

Forexample,thecurveisunusablefortrimmingif

it doesn’t form a closed loop.

Flip Trim—When on, trims the surface in the

opposite direction.

2D View—When on, displays the Edit Curve on

Surface dialog (page 1–1229),whichletsyou

create the curve in a two-dimensional (UV)

representation of the surface.

Point Curve on Surface rollout (modification

time)

Trim Controls group

Trim—When on, trims the surface against the

curve. When off, the surface isn’t trimmed.

If it’s impossible to trim with this curve, the surface

is displayed in the error color (orange by default).

For example, the curve is unusable for trimming if

it doesn’t form a closed loop.

Flip Trim—When on, trims the surface in the

opposite direction.

Replace Surface—Lets you replace the parent

surface. Click a button, then click a surface to

replace the original parent surface.

Edit—Click to display the Edit Curve on Surface

dialog (page 1–1229), which lets you edit the curve

in a two-dimensional (UV) representation of the

surface.

To edit multiple curves on a surface, select more

thanonepointcurvesub-objectonthesame

surface, then click Edit.

Surface Edge Curve 1177

SurfaceEdgeCurve

Select NURBS object. > Modify panel > Create Curves

rollout > Dependent Curves group box > Surf Edge

button

Select NURBS object. > Modify panel > NURBS toolbox >

Create Surface Edge Curve button

A surface edge curve is a dependent curve type that

lies on the boundary of the surface. It can be the

original boundary of the surface, or a trim edge.

Procedure

To create a surface edge curve:

1. Tur n on Su rf E dge.

2. Asyoumovethemouseinthescene,NURBS

surface edges are highlighted in blue. Click the

edge where you want to create the curve.

Interface

Surface Edge Curve rollout (creation time)

Seed 1 and Seed 2—The curve resides on the edge

closesttothetwose

ed values. Adjust the seed

values to change the edge on which the curve

resides.

Surface Edge Curve rollout (modification time)

Seed 1 and Seed 2—The curve resides on the edge

closest to the two seed values. Adjust the seed

valuestochangetheedgeonwhichthecurve

resides.

Replace Surface— This lets you replace the parent

surface. Click a button, then click a surface to

replace the original parent surface.

Creating Surface

Sub-Objects

Select NURBS object. > Modify panel > Create Surfaces

rollout

Select NURBS object. > NURBS toolbox

Keyboard > Ctrl+T to toggle NURBS toolbox display

(KeyboardShortcutOverrideTogglemustbeon.)

Surface sub-objects are either independent point

and CV surfaces (like the top-level point and

CV surfaces described in Point Surface and

CV Surface), or they are dependent surfaces.

Dependent surfaces are surface sub-objects whose

geometry depends on other surfaces or curves

intheNURBSmodel. Whenyouchangethe

geometry of the original, parent surface or curve,

the dependent surface changes as well.

Youcreatesurfacesub-objectsusingtheCreate

Surfaces rollout on the Modify panel for a NURBS

surface, or using the NURBS toolbox (page

1–1083).

1178 Chapter 9: Surface Modeling

Tip: Lathe and extrude surface sub-objects can

be based on only a single curve. If you have

dependent curves and want to use the set of curves

(for example, two parents and a fillet between

them)asthebasisofanextrudeorlathesurface,

firstgototheCurvesub-objectlevelanduseJoin

to connect the curves.

Creation operations for dependent sub-objects

require that you select one or more parent objects.

In general, you can click and drag, or click and

then click again. You can also use the Hkeyboard

shortcut to display a Select Objects dialog (page

1–78) for choosing the parent. (The Keyboard

Shortcut Override Toggle (page 3–872) must be on

for Hto work this way.)

Toolbox Buttons for Creating Surfaces

These are the toolbox buttons for creating surface

sub-objects:

Create an independent CV surface sub-object

(page 1–1179).

Create an independent point surface

sub-object (page 1–1181).

Create a dependent transform surface (page

1–1182).

Create a dependent blend surface (page

1–1183).

Create a dependent offset surface (page

1–1186).

Create a dependent mirror surface (page

1–1187).

Create a dependent extrude surface (page

1–1188).

Create a dependent lathe surface (page

1–1190).

Create a dependent ruled surface (page

1–1193).

Create a dependent cap surface (page

1–1195).

Create a dependent Uloftsurface(page

1–1196).

Create a dependent UV loft surface (page

1–1200).

Create a dependent 1-rail sweep surface (page

1–1204).

Create a dependent 2-rail sweep surface (page

1–1209).

Create a dependent multisided blend surface

(page 1–1213).

CV Surface Sub-Object 1179

Create a dependent multicurve trimmed

surface (page 1–1214).

Create a dependent fillet surface (page

1–1216).

CV Surface Sub-Object

SelectNURBSobject. >Modifypanel>CreateSurfaces

rollout > CV Surf

Select NURBS object. > Modify panel > NURBS toolbox >

Create CV Surface button

SelectNURBSobject. >Modifypanel>Right-clicka

viewport. > Tools 2 (lower-left) quadrant > Create CV

Surface

CV surface sub-objects are similar to object-level

CV surfaces (page 1–1103).

See also

Editing Surface Sub-Objects (page 1–1141)

Surface Approximation (page 1–1239)

Procedure

To create a CV surface sub-object:

1. InaNURBSobject,turnonCVSurf

ontheCreateSurfacesrolloutorCreateCV

Surface in the toolbox.

2. In a viewport, drag to specify the initial area

of the CV surface.

3. Adjust the CV surface’s creation parameters.

Interface

The parameters that appear when you create a CV

surface sub-object differ from those you see when

you modify it as a sub-object.

CV Surface rollout (creation time)

Length—The length of the surface in current

3ds Max units.

Width—The width of the surface in current

3ds Max units.

Length Points—The number of points along the

length of the surface. In other words, the initial

number of point columns in the surface. Range=2

to 50. Default=4.

Width Points—The number of points along the

width of the surface. In other words, the initial

number of point rows in the surface. Range=2 to

50. Default=4.

Generate Mapping Coordinates—Generates

mapping coordinates so you can apply mapped

materials to the surface.

Flip Normals—Turn on to reverse the direction of

the surface normals.

Automatic Reparameterization group

The radio buttons in this group box let you

choose automatic reparameterization. With

reparameterization, the surface maintains

its parameterization as you edit it. Without

reparameterization, the surface’s parameterization

1180 Chapter 9: Surface Modeling

doesn’t change as you edit it, and can become

irregular.

None—Do not reparameterize.

Chord Length—Chooses the chord-length

algorithm for reparameterization.

Chord-length reparameterization spaces knots (in

parameter space (page 3–988)) based on the square

root of the length of each curve segment.

Chord-length reparameterization is usually the

best choice.

Uniform—Spaces the knots uniformly.

A uniform knot vector has the advantage that the

surface will change only locally when you edit it.

With the other two forms of parameterization,

moving any CV can change the entire surface.

CV Surface rollout (modification time)

U Degree and V Degree—Letyousetthedegreeof

the surface in either the U or V dimension. The

higher the degree value, the greater the continuity.

Thelowerthedegree,themorediscontinuousthe

surface segments become. The degree can’t be less

than one or greater than the number allowed by the

number of CVs in the specified dimension. Degree

3 is adequate to represent continuous surfaces, and

is stable and well behaved. Default=3.

Setting the degree greater than 3 isn’t

recommended, because higher degrees are slower

to calculate and less stable numerically. Higher

degrees are supported primarily to be compatible

with models created using other surface modeling

programs.

The number of CVs in a given dimension must be

at least one greater than that dimension’s degree.

Automatic Reparameterization group

The radio buttons in this group box let you

choose automatic reparameterization. With

reparameterization, the surface maintains

its parameterization as you edit it. Without

reparameterization, the surface’s parameterization

doesn’t change as you edit it, and can become

irregular.

None—Do not reparameterize.

Chord Length—Chooses the chord-length

algorithm for reparameterization.

Chord-length reparameterization spaces knots (in

parameter space (page 3–988)) based on the square

rootofthelengthofeachcurvesegment.

Chord-length reparameterization is usually the

best choice.

Uniform—Spaces the knots uniformly.

A uniform knot vector has the advantage that the

surface will change only locally when you edit it.

With the other two forms of parameterization,

moving any CV can change the entire surface.

The close controls let you close a surface. They

appear on the Point Surface rollout while an

independent point surface sub-object is selected.

They have no effect if the surface is already closed

in that direction.

Close Rows—Closes the surface by joining the ends

of its rows.

Point Surface Sub-Object 1181

Close Cols.—Closes the surface by joining the ends

of its columns.

Rebuild—Displays the Rebuild CV Surface dialog

(page 1–1236), which lets you specify how to

rebuild the surface. Rebuilding the surface can

change its appearance.

Reparameterize—Displays the Reparameterize

dialog (page 1–1237). Reparameterizing a surface

changes the surface’s parameter space (page 3–988)

to provide a better relation between control point

locations and the shape of the surface.

Tip: It is a good idea to reparameterize after you

have added CVs to the surface by refining or

inserting.

Point Surface Sub-Object

SelectNURBSobject. >Modifypanel>CreateSurfaces

rollout > Point Surf

Select NURBS object. > Modify panel > NURBS toolbox >

Create Point Surface button

SelectNURBSobject. >Modifypanel>Right-clicka

viewport. > Tools 2 (lower-left) quadrant > Create Point

Surface

Point surface sub-objects are similar to object-level

point surfaces (page 1–1102).Thepointsare

constrained to lie on the surface.

See also

Editing Surface Sub-Objects (page 1–1141)

Surface Approximation (page 1–1239)

Procedure

To create a point surface sub-object:

1. InaNURBSobject,turnonPointSurf

on the Create Surfaces rollout or Create Point

Surface in the toolbox.

2. In a viewport, drag to specify the initial area of

the point surface.

3. Adjust the point surface’s creation parameters.

Interface

The parameters that appear when you create a

point surface sub-object differ from those you see

when you modify it as a sub-object.

Point Surface rollout (creation time)

Length—The length of the surface in current

3ds Max units.

Width—The width of the surface in current

3ds Max units.

Length Points—The number of points along the

length of the surface. In other words, the initial

number of point columns in the surface. Range=2

to 50. Default=4.

Width Points—The number of points along the

width of the surface. In other words, the initial

number of point rows in the surface. Range=2 to

50. Default=4.

Generate Mapping Coordinates—Generates

mapping coordinates so you can apply mapped

materials to the surface.

Flip Normals—Turn on to reverse the direction of

the surface normals.

1182 Chapter 9: Surface Modeling

Point Surface rollout (modification time)

The close controls let you close a surface. They

appear on the Point Surface rollout while an

independentpointsurfacesub-objectisselected.

They have no effect if the surface is already closed

in that direction.

Close Rows—Closes the surface by joining the ends

of its rows.

Close Cols.—Closes the surface by joining the ends

of its columns.

Transform Surface

SelectNURBSobject. >Modifypanel>CreateSurfaces

rollout Dependent Surfaces group box > Transform

Select NURBS object. > Modify panel > NURBS toolbox >

Create Transform Surface button

A transform surface is a copy of the original

surface with a different position, rotation, or scale.

Surface created as a transform

Procedure

To create a transform surface:

•In a NURBS object that contains at least

one surface, turn on Transform.

To move the transform surface, click and drag

thesurfaceyouwanttoduplicate.Torotateor

scale the transform surface, click the parent

surface, click to turn on Sub-Object on the

Modifier Stack rollout, choose Surface from the

drop-down list, and then use a transform to

rotate or scale the transform surface.

When you use Move to create the transform

surface, it simply copies the parent. (It doesn’t

exaggeratecurvatureasanoffsetsurfacedoes.)

Axis constraints don’t apply to the creation

of transform surfaces. You can click to create

the surface in place; then once it is created,

transform it using constraints.

The Flip Normals control lets you flip the

surface normals at creation time. (After

creation, you canflipnormalsusingcontrolson

the Surface Common rollout.)

You can later transform the transform surface as a

surface sub-object, and you can animate surface

sub-object transforms.

Interface

Creation time

At creation time, transform surfaces have no

parameters.

Blend Surface 1183

Transform Surface rollout (modification time)

Replace Base Surface—Lets you replace the parent

surface. Click the button, then click the surface to

replace the original surface.

Blend Surface

SelectNURBSobject. >Modifypanel>CreateSurfaces

rollout > Dependent Surfaces group box > Blend

Select NURBS object. > Modify panel > NURBS toolbox >

Create Blend Surface button

A blend surface connects one surface to another,

blending the curvature of the parent surfaces to

create a smooth surface between them. You can

also blend from a surface to a curve, or from a

curve to a curve.

Blend surface connecting two other surfaces

Procedure

To create a blend surface:

1. In a NURBS objectthatcontainstwo

surfaces, two curves, or a surface and a curve,

turn on Blend.

2. Click one surface near the edge that you want

to connect. The edge that will be connected is

highlighted in blue. Drag to choose the other

edge you want to connect. When the edge you

want is highlighted, click and then drag to the

other surface. The edge of the other surface

is also highlighted in blue. Drag on the other

surfacetochoosetheedgetoconnect,andthen

release the mouse button to create the blend

surface.

The surface that owns the highlighted edge is

highlighted in yellow, to help you distinguish

whichedgeyouarechoosingwhentwosurfaces

have coincident edges.

Theblendsurfaceiscreated. Changingthe

position or the curvature of either parent

surface will change the blend surface as well.

3. Adjust the blend parameters.

Interface

While a blend surface sub-object is selected, a

rollout with the blend parameters is displayed at

the bottom of the Modify panel.

Blend Surface rollout (creation time)

"Tension" affects the tangent between a parent

surface and the blend surface. The greater the

tension value, the more closely the tangent

1184 Chapter 9: Surface Modeling

parallels the parent surface, and the smoother

thetransition.Thelowerthetension,thegreater

thetangentangleandthesharperthetransition

between parent and blend.

Tension 1—Controls tension at the edge of the first

surface you clicked. This value has no effect if the

edge is a curve.

Tension 2—Controls tension at the edge of the

second surface you clicked. This value has no

effectiftheedgeisacurve.

A. Tension 1=0, Tension 2=10

B. Tension 1=1, Tension 2=1

C. Tension 1=10, Tension 2=0

D. Tension 1=0, Tension 2=0

Flip End 1 and Flip End 2—Flip one of the normals

used to construct the blend. A blend surface is

created using the normals of the parent surfaces.

If the two parents have opposing normals, or

if a curve has the opposite direction, the blend

surface can be shaped like a bow tie. To correct

the situation, use Flip End 1 or Flip End 2 to

construct the blend using a normal opposite the

corresponding parent surface’s normal.

A. No flipping

B. End 2 is flipped.

Flip Tangent 1 and Flip Tangent 2—Flip the tangent

attheedgeofthefirstorsecondcurveorsurface.

Flipping the tangent reverses the direction in

which the blend surface approaches the parent

sub-object at that edge.

Flipping the tangent has no effect if the edge is a

curve, unless the curve is a curve on surface.

WhenyoublendtoaCVorpointcurveonsurface,

the new blend surface is tangent to the surface on

which the curve on surface lies. The Flip Tangent

controls are especially useful in this situation.

A. Tangent 1 flipped

B. Tangent 2 flipped

Blend Surface 1185

Start Point 1 and Start Point 2—Adjust the position

of the start point at the two edges of the blend.

Adjusting the start points can help eliminate

unwanted twists or "buckles" in the surface.

These spinners are unavailable if the edges or

curves are not closed.

While you’re adjusting start points, a dotted

blue line is displayed between them, to show the

alignment. The surface is not displayed, so it

doesn’t slow down adjustment. When you release

the mouse button, the surface reappears.

Flip Normals—Turn on to reverse the direction of

the blend surface normals.

Blend Surface rollout (modification time)

"Tension" affects the tangent between a parent

surface and the blend surface. The greater the

tension value, the more closely the tangent

parallels the parent surface, and the smoother

thetransition.Thelowerthetension,thegreater

thetangentangleandthesharperthetransition

between parent and blend.

Tension 1—Controls tension at the edge of the first

surface you clicked. This value has no effect if the

edge is a curve.

Tension 2—Controls tension at the edge of the

second surface you clicked. This value has no

effectiftheedgeisacurve.

Flip End 1 and Flip End 2—Flip one of the normals

used to construct the blend. A blend surface is

created using the normals of the parent surfaces.

If the two parents have opposing normals, or

if a curve has the opposite direction, the blend

surface can be shaped like a bow tie. To correct

the situation, use Flip End 1 or Flip End 2 to

construct the blend using a normal opposite the

corresponding parent surface’s normal.

Flip Tangent 1 and Flip Tangent 2—Flip the tangent

attheedgeofthefirstorsecondcurveorsurface.

Flipping the tangent reverses the direction in

which the blend surface approaches the parent

sub-object at that edge.

Flipping the tangent has no effect if the edge is a

curve, unless the curve is a curve on surface.

WhenyoublendtoaCVorpointcurveonsurface,

the new blend surface is tangent to the surface on

which the curve on surface lies. The Flip Tangent

controls are especially useful in this situation.

Start Point 1 and Start Point 2—Adjust the position

of the start point at the two edges of the blend.

Adjusting the start points can help eliminate

unwanted twists or "buckles" in the surface.

These spinners are unavailable if the edges or

curves are not closed.

While you’re adjusting start points, a dotted

blue line is displayed between them, to show the

alignment. The surface is not displayed, so it

doesn’t slow down adjustment. When you release

the mouse button, the surface reappears.

Replace First Edge and Replace Second Edge—Let

you replace the parent edges or curves. Click a

button, then click the edge to replace the original

firstorsecondedge.Theedgecanbeonthesame

1186 Chapter 9: Surface Modeling

surface as the original edge, or on a different

surface.

Offset Surface

SelectNURBSobject. >Modifypanel>CreateSurfaces

rollout > Dependent Surfaces group box > Offset

Select NURBS object. > Modify panel > NURBS toolbox >

Create Offset Surface button

An Offset surface is offset a specified distance from

the original along the parent surface’s normals.

Surface created as an offset

Procedure

To create an offset surface:

1. In a NURBS object that contains at least

one surface, turn on Offset.

2. Click the surface you want to offset, and drag to

set the initial distance of the offset surface.

The offset surface is created.

3. Adjust the Offset parameter.

Interface

While an offset surface sub-object is selected,

a rollout with the offset Distance parameter is

displayed at the bottom of the Modify panel.

Offset Surface rollout (creation time)

Offset—Thedistancebetweentheparentsurface

and the offset surface, in 3ds Max units.

If the parent surface is planar, the appearance of

theoffsetsurfacedoesn’tchangewithdistance.If

the parent surface is curved, increasing the offset

value increasingly exaggerates the curvature of the

offset surface.

Flip Normals—Lets you flip the surface normals

at creation time. (After creation, you can flip

normals using controls on the Surface Common

rollout.)

Cap—When on, eight boundary curves are

generated (four at the four edges of each surface),

and then generates four ruled surfaces to connect

the two original surfaces. While they are present,

cap surfaces are maintained so they match the

dimensions of the offset and its parent.

The Cap check box appears only on the creation

rollout. If you want to remove the caps later,

simply select them as surface sub-objects and

delete them. Think of offset capping as a workflow

shortcut rather than a property (or parameter) of

offset surfaces.

To flip the normal of an offset cap, select it as a

surface sub-object and use the Flip Normals toggle

on the Surface Common rollout.

Note: If you trim the original surface, or make the

offset surface independent and then trim it, the

capping surfaces will look strange.

Mirror Surface 1187

Offset Surface rollout (modification time)

Offset—The distance between the parent surface

and the offset surface in 3ds Max units.

If the parent surface is planar, the appearance of

the offset surface doesn’t change with distance. If

the parent surface is curved, increasing the offset

value increasingly exaggerates the curvature of the

offset surface.

Replace Base Surface—Lets you replace the parent

surface. Click the button, then click the new

surface on which to base the offset.

Mirror Surface

SelectNURBSobject. >Modifypanel>CreateSurfaces

rollout > Dependent Surfaces group box > Mirror

Select NURBS object. > Modify panel > NURBS toolbox >

Create Mirror Surface button

A mirror surface is a mirror image of the original

surface.

Surface created as a mirror

Procedure

To create a mirror surface:

1. In a NURBS object that contains at least

one surface, turn on Mirror.

2. On the Mirror Surface rollout, choose the axis

or plane you want to use.

3. Click the surface you want to mirror, and drag

to set the initial distance of the mirror surface.

The mirror surface is created. A gizmo (yellow

by default) indicates the direction of mirroring.

Transforming the mirror surface’s gizmo

changes the orientation of the mirror, letting

you mirror along an axis that isn’t aligned with

alocalcoordinateaxis.

The Flip Normals control lets you flip the

surface normals at creation time. (After

creation, you can flip normals using controls on

the Surface Common rollout.)

4. Adjust the Offset parameter.

Interface

While a mirror surface sub-object is selected, the

Mirror Surface rollout appears at the bottom of the

Modify panel. Also, a gizmo (yellow by default)

indicates the mirror axis.

Mirror Surface rollout (creation time)

1188 Chapter 9: Surface Modeling

Mirror Axis group

The Mirror Axis buttons control the direction in

which the original surface is mirrored.

You can’t transform the mirror surface directly

(that would simply transform the mirror surface

and its parent surface at the same time). You

transform it by transforming its gizmo. By using

transforms you can mirror about an arbitrary axis,

rather than using one of the Mirror Axis presets.

When you transform a mirror surface, you are

actually transforming the mirror plane, so Rotate

has the effect of rotating the plane about which

the surface is mirrored. (This is like rotating the

mirror gizmo in the Mirror modifier.)

Tip: A convenient way to guarantee that a surface

is symmetrical is to create one side of the surface,

mirror that surface, and then create a blend

between the two sides.

Offset—Controls the mirror’s distance from the

original surface. This parameter is animatable.

Flip Normals—Lets you flip the surface normals.

Mirror Surface rollout (modification time)

Mirror Axis group

The Mirror Axis buttons control the direction in

which the original surface is mirrored.

You can’t transform the mirror surface directly

(that would simply transform the mirror surface

and its parent surface at the same time). You

transform it by transforming its gizmo. By using

transforms you can mirror about an arbitrary axis,

rather than using one of the Mirror Axis presets.

When you transform a mirror surface, you are

actually transforming the mirror plane, so Rotate

has the effect of rotating the plane about which

the surface is mirrored. (This is like rotating the

mirror gizmo in the Mirror modifier.)

Tip: A convenient way to guarantee that a surface

is symmetrical is to create one side of the surface,

mirror that surface, and then create a blend

between the two sides.

Offset—Controls the mirror’s distance from the

original surface. This parameter is animatable.

ReplaceBaseSurface—Lets you replace the parent

surface. Click the button, then click the new

surfaceonwhichtobasethemirror.

Extrude Surface

Select NURBS object. > Modify panel > Create Surfaces

rollout > Dependent Surfaces group box > Extrude

Select NURBS object. > Modify panel > NURBS toolbox >

Create Extrude Surface button

An extrude surface is extruded from a curve

sub-object. It is similar to a surface created with

the Extrude modifier. The advantage is that an

extrudesub-objectispartoftheNURBSmodel,so

you can use it to construct other curve and surface

sub-objects.

Extrude Surface 1189

Surface extruded from a curve

Procedure

To create an extrude surface:

1. In a NURBS object that contains at least

one curve, turn on Extrude.

2. Move the cursor over the curve to extrude, and

drag to set the initial amount.

By default, the surface extrudes along the

NURBS model’s local Z axis. A gizmo (yellow

by default) indicates the direction of extrusion.

Trans for min g the extrude surface’s gizmo

changes the direction of the extrude, letting you

extrude along an axis that isn’t aligned with a

local coordinate axis.

The Flip Normalscontrolletsyouflipthe

surface normals at creation time. (After

creation, you can flip normals using controls on

the Surface Common rollout.)

3. Adjust the extrusion parameters.

Interface

While an extrude sub-object is selected, a rollout

with the extrusion parameters is displayed at the

bottom of the Modify panel.

Extrude Surface rollout (creation time)

Amount—Thedistancethesurfaceisextruded

from the parent curve in current 3ds Max units.

This parameter is animatable.

Direction group

X, Y and Z—Choose the axis of extrusion.

Default=Z.

Start Point—Adjusts the position of the curve’s

start point. This can help eliminate unwanted

twists or "buckles" in the surface.

This control is disabled if the curve is not a closed

curve.

Thestartpointisdisplayedasabluecircle.

Flip Normals—Lets you flip the surface normals

at creation time. (After creation, you can flip

normals using controls in the Surface Common

rollout.)

Cap—When on, two surfaces are generated to close

theendsoftheextrusion.Whiletheyarepresent,

the cap surfaces are maintained so they match the

dimensions of the extrude surface. The parent

curvemustbeaclosedcurve.

The Cap check box appears only on the creation

rollout. If you want to remove the caps later, simply

select them as surface sub-objects and delete them.

Think of extrude capping as a workflow shortcut

1190 Chapter 9: Surface Modeling

rather than a property (or parameter) of extrude

surfaces.

To f l i p t h e n o r m a l of a n e x t r u d e c a p, s e l e c t i t a s a

Surface sub-object and use the Flip Normals toggle

on the Surface Common rollout.

Extrude Surface rollout (modification time)

Amount—The distance the surface is extruded

fromtheparentcurveincurrent3dsMaxunits.

Direction group

X, Y and Z— Choose the axis of extrusion.

Default=Z.

Start Point—Adjusts the position of the curve’s

start point. This can help eliminate unwanted

twists or "buckles" in the surface.

Thiscontrolisdisabledifthecurveisnotaclosed

curve.

Thestartpointisdisplayedasabluecircle.

Replace Base Curve—Lets you replace the parent

curve. Click the button, then click the new curve

on which to base the extruded surface.

Lathe Surface

Select NURBS object. > Modify panel > Create Surfaces

rollout>DependentSurfacesgroupbox>Lathe

Select NURBS object. > Modify panel > NURBS toolbox >

Create Lathe Surface button

A lathe surface is generated from a curve

sub-object. It is similar to a surface created with

the Lathe modifier. The advantage is that a lathe

sub-object is part of the NURBS model, so you

can use it to construct other curve and surface

sub-objects.

Surface created by lathing a curve

Procedure

To create a lathe surface:

1. In a NURBS object that contains at least

one curve, turn on Lathe.

2. Click the curve to lathe.

The lathe surface rotates about the NURBS

model’s local Y axis. The initial lathe amount

is 360 degrees. A gizmo (yellow by default)

indicates the axis of the lathe. Transforming the

lathe surface’s gizmo changes the shape of the

lathe,andletsyoulathearoundanaxisthatisn’t

aligned with a local coordinate axis.

Lathe Surface 1191

The Flip Normals control lets you flip the

surface normals at creation time. (After

creation, you can flip normals using controls on

the Surface Common rollout.)

3. Adjust the lathe parameters.

Interface

While a lathe sub-object is selected, a rollout with

the lathe parameters is displayed at the bottom of

the Modify panel.

Lathe Surface rollout (creation time)

Degrees—Sets the angle of rotation. At 360 degrees

(the default), the surface completely surrounds

the axis. At lower values, the surface is a partial

rotation.

A partial lathe (degrees=225)

Direction group

X, Y, and Z—Choose the axis of rotation. Default=Y.

X, Y, and Z rotations of the same curve

Align group

Thesebuttonspositiontheaxisofrotationrelative

to the curve.

Min—(The default.) Locates the lathe axis at the

curve’s negative local X-axis boundary.

Center—Locatesthelatheaxisatthecurve’scenter.

1192 Chapter 9: Surface Modeling

Max—Locatesthelatheaxisatthecurve’spositive

local X-axis boundary.

Min, Center, and Max lathes of the same curve

Start Point—Adjusts the position of the curve’s

start point. This can help eliminate unwanted

twists or "buckles" in the surface.

Thiscontrolisdisabledifthecurveisnotaclosed

curve.

Thestartpointisdisplayedasabluecircle.

Flip Normals—Lets you flip the surface normals

at creation time. (After creation, you can flip

normals using controls on the Surface Common

rollout.)

Cap—When on, two surfaces are generated to close

the ends of the lathe. While they are present, the

cap surfaces are maintained so they match the

dimensions of the lathe surface. The lathe must be

a 360-degree lathe.

The Cap check box appears only on the creation

rollout. If you want to remove the caps later,

simply select them as surface sub-objects and

delete them. Think of lathe capping as a workflow

shortcut rather than a property (or parameter) of

lathe surfaces.

Toflipthenormalofalathecap,selectitasa

Surface sub-object and use the Flip Normals toggle

on the Surface Common rollout.

Addingacaptoapartiallathe

Lathe Surface rollout (modification time)

Degrees—Sets the angle of rotation. At 360 degrees

(the default), the surface completely surrounds

the axis. At lower values, the surface is a partial

rotation.

Direction group

XYandZ—Choose the axis of rotation. Default=Y.

Align group

Thesebuttonspositiontheaxisofrotationrelative

to the curve.

Min—(The default.) Locates the lathe axis at the

curve’s negative local X-axis boundary.

Ruled Surface 1193

Center—Locatesthelatheaxisatthecurve’scenter.

Max—Locatesthelatheaxisatthecurve’spositive

local X-axis boundary.

Start Point—Adjusts the position of the curve’s

start point. This can help eliminate unwanted

twists or "buckles" in the surface.

Thiscontrolisdisabledifthecurveisnotaclosed

curve.

Thestartpointisdisplayedasabluecircle.

Replace Base Curve—Lets you replace the parent

curve. Click the button, then click the new surface

on which to base the lathed surface.

Ruled Surface

SelectNURBSobject. >Modifypanel>CreateSurfaces

rollout > Dependent Surfaces group box > Ruled

Select NURBS object. > Modify panel > NURBS toolbox >

Create Ruled Surface button

A ruled surface is generated from two curve

sub-objects. It lets you use curves to design the

two opposite borders of a surface.

Using two curves to create a ruled surface

You can animate the parent curves or their CVs to

change the ruled surface.

Automatic Curve Attachment

When you create a ruled surface, you can select

curves that are not already sub-objects of the active

NURBS model. You can select another curve or

spline Splines object in the scene. When you select

that curve, it attaches to the current object as if you

hadusedtheAttach button (page 1–1120).

Warning: If the curve you attach is a sub-object of

anotherNURBSmodel,theentiremodel(thatis,the

curve’s parent NURBS object) is attached as well.

Asyoumovethemouseoveracurvethatisnot

part of the active NURBS object, the cursor

changes shape to indicate that you can pick the

curve, but the curve is not highlighted in blue.

Procedure

To create a ruled surface:

1. In a NURBS object that contains at least

two curves, turn on Ruled.

2. Drag from one curve to the other.

You can also click first one curve, then the other.

A dependent surface is generated, using the

twocurvesasthesurface’soppositeedges.

The perpendicular edges are generated

automatically.

The Flip Normals control lets you flip the

surface normals at creation time. (After

creation, youcanflipnormalsusingcontrolson

the Surface Common rollout.)

1194 Chapter 9: Surface Modeling

Interface

When you turn on the Ruled button, and while a

ruled surface sub-object is selected, a rollout with

the ruled surface parameters is displayed at the

bottom of the Modify panel.

Ruled Surf rollout (creation time)

Flip Beginning and Flip End—Flip one of the curve

directions used to construct the ruled surface.

A ruled surface is created using the directions

oftheparentcurves. Ifthetwoparentshave

opposing directions, the ruled surface can be

shaped like a bow tie. To correct the situation,

use Flip Beginning or Flip End to construct the

ruled surface using a direction opposite the

corresponding parent curve’s direction. These

controls eliminate the need to reverse the curve.

Start Point 1 and Start Point 2—Adjust the position

ofthestartpointatthetwocurvesthatspecify

the ruled surface. Adjusting the start points can

help eliminate unwanted twists or "buckles" in the

surface.

Thesespinnersaredisablediftheedgesorcurves

are not closed.

While you’re adjusting start points, a dotted

blue line is displayed between them, to show the

alignment. The surface is not displayed, so it

doesn’t slow down adjustment. When you release

the mouse button, the surface reappears.

Flip Normals—Turn on to reverse the direction of

the ruled surface’s normals.

Ruled Surf rollout (modification time)

Flip Beginning and Flip End—Flip one of the curve

directions used to construct the ruled surface.

A ruled surface is created using the directions

of the parent curves. If the two parents have

opposing directions, the ruled surface can be

shaped like a bow tie. To correct the situation,

use Flip Beginning or Flip End to construct the

ruled surface using a direction opposite the

corresponding parent curve’s direction. These

controls eliminate the need to reverse the curve.

Start Point 1 and Start Point 2—Adjust the position

of the start point at the two curves that specify

the ruled surface. Adjusting the start points can

help eliminate unwanted twists or "buckles" in the

surface.

These spinners are disabled if the edges or curves

are not closed.

While you’re adjusting start points, a dotted

blue line is displayed between them, to show the

alignment. The surface is not displayed, so it

doesn’t slow down adjustment. When you release

the mouse button, the surface reappears.

ReplaceFirstCurveandReplaceSecondCurve—Let

you replace the parent curves. Click a button,

then click the curve to replace the original first or

second curve.

Cap Surface 1195

Cap Surface

SelectNURBSobject. >Modifypanel>CreateSurfaces

rollout > Dependent Surfaces group box > Cap

Select NURBS object. > Modify panel > NURBS toolbox >

Create Cap Surface button

Thiscommandcreatesasurfacethatcapsaclosed

curve or the edge of a closed surface. Caps are

especially useful with extruded surfaces.

Capping an extrude surface

Procedure

To create a cap surface:

1. In a NURBS object, turn on Cap.

2. Movethemouseovertheclosedcurveorthe

closed edge of a closed surface.

Ifthecapcanbecreated,thecurveoredgeis

highlighted in blue.

3. Click the highlighted curve or edge.

The Flip Normals control lets you flip the

surface normals at creation time. (After

creation, you can flip normals using controls on

the Surface Common rollout.)

Interface

While a cap surface sub-object is selected, a rollout

with cap surface controls is displayed at the bottom

of the Modify panel.

Cap Surface rollout (creation time)

Flip Normals—Turn on to reverse the direction of

the cap surface’s normals.

Start Point—Adjusts the position of the edge or

curve’s start point.

Thestartpointisdisplayedasabluecircle.

Cap Surface rollout (modification time)

Replace Curve—Lets you replace the parent curve

or edge. Click the button, then click the new curve

or edge on which to base the cap.

Start Point—Adjusts the position of the edge or

curve’s start point.

Thestartpointisdisplayedasabluecircle.

1196 Chapter 9: Surface Modeling

ULoftSurface

SelectNURBSobject. >Modifypanel>CreateSurfaces

rollout > Dependent Surfaces group box > U Loft

Select NURBS object. > Modify panel > NURBS toolbox >

Create U Loft Surface button

A U loft surface interpolates a surface across

multiple curve sub-objects. The curves become

U-axis contours of the surface.

UsingmultiplecurvestocreateaULoftsurface

Tips

• A U loft can be an extremely dense surface.

To i mp r ov e p e r f or m a n c e w h i l e w or k i n g w i t h

viewports, set the surface approximation (page

1–1239) for viewports to Curvature Dependent.

• You can speed up U loft creation by making

sure that the curves you loft have the same

number of CVs in the same order (that is, the

curves point in the same direction). Also, CV

curves have a performance advantage over

point curves.

• Turning off display of dependent sub-objects,

including the U loft itself, also speeds up

interactive performance when you create a U

loft. The default keyboard toggle for dependent

sub-object display is Ctrl+D (the Keyboard

Shortcut Override Toggle (page 3–872) button

must be on.)

Closed U lofts

Automatic Curve Attachment

When you create a U loft, you can select curves

that are not already sub-objects of the active

NURBS model. You can select another curve or

spline (page 1–266) object in the scene. When you

select that curve, it is automatically attached to the

currentobjectasifyouhadusedtheAttachbutton.

Warning: If the curve you attach is a sub-object of

anotherNURBSmodel,theentiremodel(thatis,the

curve’s parent NURBS object) is attached as well.

Asyoumovethemouseoveracurvethatisnot

part of the active NURBS object, the cursor

changes shape to indicate you can pick the curve,

but the curve is not highlighted in blue.

Procedures

To create a U loft surface:

1. In a NURBS object that contains at least

two curves, turn on U Loft.

2. Click the firstcurve.

3. Click additional curves in succession.

U Loft Surface 1197

The U loft is created. It is "stretched" across the

curves you click. The order in which you click

thecurvescanaffecttheshapeoftheUloft

surface.Thenamesofthecurvesappearinthe

U Loft Surface creation rollout.

While creating a U loft, you can press

Backspace to remove the last curve you

clicked from the list of U loft curves.

The Flip Normals control lets you flip the

surface normals at creation time. (After

creation, you can flip normals using controls on

the Surface Common rollout.)

4. Right-click to end U loft creation.

To create a U loft with automatic attach (example):

1. From the Create panel, create three or more

independent CV or Point NURBS curves.

2. Go to the Modify panel, and click to turn on U

Loft in the NURBS toolbox.

3. Select the curves in the appropriate order for

the loft.

The U loft is created. You don’t have to collapse

the curves to a NURBS surface, or attach them

to an existing NURBS model (page 1–1120).

Asyoumovethemouseoveracurvethatisnot

partoftheactiveNURBSobject,thecursor

changes shape to indicate you can pick the

curve, but the curve is not highlighted in blue.

Interface

While a U loft sub-object is selected, a rollout with

the U loft parameters is displayed at the bottom

of the Modify panel. This rollout appears only

when one Uloftsub-objectisselected. Itisn’t

possibletoeditmorethanoneUloftatatime,so

unlike some other NURBS sub-objects, the rollout

doesn’t appear when multiple U loft sub-objects

are selected.

When you create lofted and swept surfaces, you

have access to all the parameters, and some of the

editing operations, of the surface. You can reverse

and set start points on curves while you create

the surface. You can also use the arrow buttons

tochangetheorderofthecurves,andyoucan

remove a curve with the Remove button.

Tip: WhenyoueditaUloftsub-object,closethe

Surface Common rollout to see the U Loft Surface

rollout more easily.

1198 Chapter 9: Surface Modeling

U Loft Surface rollout (creation time)

UCurves—This list shows the name of the curves

you click in the order you click them. You can

select curves by clicking their names. Viewports

display the selected curve in blue. Initially the first

curveistheoneselected.

You can also select more than one curve at a time.

This is useful when you use the Edit Curves button.

Arrow Buttons—Usethesetochangetheorderof

curves used to construct the U loft. Select a curve

in the list, and then use the arrows to move the

selection up or down.

Thesebuttonsareavailableatcreationtime.

Curve Properties group

These controls affect individual curves you select

in the U Curves list, as opposed to properties of the

loft surface in general. They are enabled only when

youhaveselectedacurveintheUCurveslist.

Reverse—When set, reverses the direction of the

selected curve.

Start Point—Adjusts the position of the curve’s

start point.

This control is disabled if the curve is not a closed

curve.

While you’re adjusting start points, a dotted

blue line is displayed between them, to show the

alignment. The surface is not displayed, so it

doesn’t slow down adjustment. When you release

the mouse button, the surface reappears.

Tension—Adjusts the tension of the loft where it

intersects that curve.

Use COS Tangents—If the curve is a curve on

surface,turningonthistogglecausestheUloftto

use the tangency of the surface. This can help you

blend a loft smoothly onto a surface. Default=off.

Thistoggleisdisabledunlessthecurveisapoint

or CV curve on surface.

Flip Tangents—Reverses the direction of the

tangents for that curve.

This toggle is disabled unless the curve is a point or

CV curve on surface and Use COS Tangents is on.

Auto Align Curve Starts—(Disabled.)

Close Loft—(Disabled.)

Insert—(Disabled.)

Remove—Removes a curve from the U loft surface.

Selectthecurveinthelist,andthenclickRemove.

This button is available at creation time.

Refine—(Disabled.)

U Loft Surface 1199

Replace—(Disabled.)

Display While Creating—When on, the U loft

surfaceisdisplayedwhileyoucreateit.Whenoff,

the loft is created more quickly. Default=off.

Flip Normals—Reverses the direction of the U loft’s

normals.

U Loft Surface rollout (modification time)

UCurves—This list shows the name of the curves

you click, in the order you click them. You can

select curves by clicking their names in this list.

Viewports display the selected curve in blue.

Initially the first curve is the one selected.

You can also select more than one curve at a time.

This is useful when you use the Edit Curves button.

Arrow Buttons—Usethesetochangetheorderof

curves used to construct the U loft. Select a curve

in the list, and then use the arrows to move the

selection up or down.

Thesebuttonsareavailableatcreationtime.

Curve Properties group

These controls affect individual curves you select

in the U Curves list, as opposed to properties of the

loft surface in general. They are enabled only when

youhaveselectedacurveintheUCurveslist.

Reverse—When set, reverses the direction of the

selected curve.

Start Point—Adjusts the position of the curve’s

start point.

This control is disabled if the curve is not a closed

curve.

While you’re adjusting start points, a dotted

blue line is displayed between them, to show the

alignment. The surface is not displayed, so it

doesn’t slow down adjustment. When you release

the mouse button, the surface reappears.

Tension—Adjusts the tension of the loft where it

intersects that curve.

Use COS Tangents—If the curve is a curve on

surface,turningonthistogglecausestheUloftto

use the tangency of the surface. This can help you

blend a loft smoothly onto a surface. Default=off.

Thistoggleisdisabledunlessthecurveisapoint

or CV curve on surface.

Flip Tangents—Reverses the direction of the

tangents for that curve.

This toggle is disabled unless the curve is a point or

CV curve on surface and Use COS Tangents is on.

Auto Align Curve Starts—When on, aligns the start

points of all curves in the U loft. The software

chooses the location of the start points. Using

1200 Chapter 9: Surface Modeling

automatic alignment minimizes the amount of

twisting in the loft surface. Default=off.

Close Loft—If the loft was initially an open surface,

turning on this toggle closes it by adding a new

segmenttoconnectthefirstcurveandthelast

curve. Default=off.

Insert—Adds a curve to the U loft surface. Click

to turn on Insert, then click the curve. The curve

is inserted before the selected curve. To insert a

curve at the end, first highlight the "----End-----"

marker in the list.

Remove—Removes a curve from the U loft surface.

Selectthecurveinthelist,andthenclickRemove.

This button is available at creation time.

Refine—Refines the U loft surface. Click to turn

onRefine,thenclickaU-axisisocurveonthe

surface. (As you drag the mouse over the surface,

theavailablecurvesarehighlighted.)Thecurve

you click is converted to a CV curve and inserted

into the loft and the U Curves list. As when you

refineapointcurve,refiningaUloftcanchange

the curvature of the surface slightly. Once you’ve

refined the surface by adding a U curve, you can

useEditCurvetochangethecurve.

Replace—Replaces a U curve with a different

curve. Select a U curve, click to turn on Replace,

then click the new curve in a viewport. Available

curves are highlighted as you drag the mouse.

This button is enabled only when you’ve selected a

single curve in the U Curves list.

Display Iso Curves—When set, the U loft’s V-axis

isocurvesaredisplayedaswellastheU-axiscurves

used to construct the loft. The V-axis curves are

only for display. You can’t use them for surface

construction.

Edit Curve—Lets you edit the currently selected

curve without switching to another sub-object

level. ClicktoturnonEditCurve. Thepoints

or CVs of the curve are displayed, as well as the

control lattice if the curve is a CV curve. You can

now transform or otherwise change the points

or CVs as if you were at the Point or Curve CV

sub-object level. To finish editing the curve, click

to turn off Edit Curve.

WhenyouturnonEditCurves,allapplicable

rollouts for the selected curves are displayed,

including the Curve Common rollout, the CV

or Point rollout (depending on the curve type),

and the CV Curve or Point Curve rollout. These

rollouts appear beneath the U Loft rollout. They

let you edit the loft curves and their points or CVs

without having to switch sub-object levels.

Tip: WhenyoueditcurvesinaUloft,turningoff

displayoftheUloftitselfcanmakethecurves

easier to see and improve performance. Use

Ctrl+D (while the Keyboard Shortcut Override

Toggle button (page 3–872) is on) to toggle display

of dependent sub-objects, including U Lofts.

UV Loft Surface

Select NURBS object. > Modify panel > Create Surfaces

rollout > Dependent Surfaces group box > UV Loft

Select NURBS object. > Modify panel > NURBS toolbox >

Create UV Loft Surface button

A UV loft surface is similar to a U loft surface, but

has a set of curves in the V dimension as well as in

the U dimension. This can give you finer control

over the lofted shape, and require fewer curves to

achieve the result you want.

UV Loft Surface 1201

Using perpendicular curves to create a UV loft surface

If the U and V curves intersect, the UV loft

surfaceinterpolatesallthecurves.Ifthecurves

don’t intersect, the lofted surface lies somewhere

between the U and V curves. In general, UV loft

works best if the ends of all the curves in one

direction lie on the two end curves in the other

direction, as in the illustration. UV loft does not

work well if the curves in both directions are

closed.

Note: The Make Loft (page 1–1234) dialog

(displayedbytheMakeLoftbuttonontheSurface

Common rollout for surface sub-objects) now lets

youconvertasurfacetoaUVloftaswellasaU

loft. In addition, you can use point curves instead

of CV curves for the new loft lattice. If you use

point curves for a UV loft, turning on the Fuse

Points option guarantees that the U and V curves

intersect.

Automatic Curve Attachment

When you create a UV loft, you can select curves

that are not already sub-objects of the active

NURBS model. You can select another curve or

spline (page 1–266) object in the scene. When you

select that curve, it attaches to the current object as

if you had used the Attach button (page 1–1120).

Warning: If the curve you attach is a sub-object of

anotherNURBSmodel,theentiremodel(thatis,the

curve’s parent NURBS object) is attached as well.

Asyoumovethemouseoveracurvethatisnot

part of the active NURBS object, the cursor

changes shape to indicate that you can pick the

curve, but the curve is not highlighted in blue.

Procedures

To create a UV loft:

1. Create the curves that outline the surface

you want to create.

2. ClicktoturnonUVLoftinthetoolboxoron

theCreateSurfacesrollout.

3. Click each of the curves in the U dimension,

then right-click. Click each of the curves in

the V dimension, then right-click again to end

creation.

As you click curves, their names appear in the

lists on the UV Loft Surface creation rollout.

The order in which you click the curves can

affect the shape of the UV loft surface.

In either dimension, you can click the same

curvemorethanonc

e. This can help you create

aclosedUVloft.

To create a UV loft with automatic attach (example):

1. From the Create panel, create three or more

independent CV or point NURBS curves.

2. Go to the Modify panel, and click to turn on

UV Loft in the NURBS toolbox.

3. Select the curves in the appropriate order for

the loft.

The UV loft is created. You don’t need to

collapse the curves to a NURBS surface or

Attach them to an existing NURBS model.

Asyoumovethemouseoveracurvethatisnot

partoftheactiveNURBSobject,thecursor

1202 Chapter 9: Surface Modeling

changes shape to indicate that you can pick the

curve, but the curve is not highlighted in blue.

Interface

While a UV Loft sub-object is selected, a rollout

with the UV loft parameters appears. This rollout

appears only when one UV loft sub-object is

selected. It isn’t possible to edit more than one

UV loft at a time, so unlike some other NURBS

sub-objects, the rollout doesn’t appear when

multiple UV loft sub-objects are selected.

Tip: When you edit a UV loft sub-object, close the

SurfaceCommonrollouttoseetheULoftSurface

rollout more easily.

UV Loft Surface rollout (creation time)

U Curves and V Curves—These lists show the names

of the curves you click, in the order you click them.

Youcanselectacurvebyclickingitsnameinalist.

Viewports display the selected curve in blue.

The two buttons above and the four below each list

are identical for both lists.

While you create the loft, in either dimension you

can click the same curve more than once. This can

help you create a closed UV loft.

Arrow Buttons—Usethesetochangetheorderof

curvesintheUCurveorVCurvelist. Selecta

curveinthelist,andthenusethearrowstomove

the selection up or down.

UV Loft Surface 1203

Insert—(Disabled.)

Remove—Removes a curve from the U list or V list.

Selectthecurveinthelist,andthenclickRemove.

Refine—(Disabled.)

Replace—(Disabled.)

Display While Creating—When on, the UV loft

surfaceisdisplayedwhileyoucreateit.Whenoff,

the loft can be created more quickly. Default=off.

Flip Normals—Reverses the direction of the UV

loft’s normals.

UV Loft Surface rollout (modification time)

U Curves and V Curves—These lists show the names

of the curves you click, in the order you click them.

Youcanselectacurvebyclickingitsnameinalist.

Viewports display the selected curve in blue.

The two buttons above and the four below each list

are identical for both lists.

Arrow Buttons—Usethesetochangetheorderof

curvesintheUCurveorVCurvelist. Selecta

curveinthelist,andthenusethearrowstomove

the selection up or down.

Insert—Adds a curve to the U list or V list. Click

to turn on Insert, then click the curve. The curve

is inserted before the selected curve. To insert a

curveattheend,firsthighlightthe"----End-----"

marker in the list.

Remove—Removes a curve from the U list or V list.

Selectthecurveinthelist,andthenclickRemove.

Refine—Refines the UV loft surface. Click to turn

on Refine, then click an iso curve on the surface.

(As you drag the mouse over the surface, the

available curves are highlighted.) The curve you

click is converted to a CV curve and inserted into

the loft and the U Curves or V Curves list. As when

you refine a point curve, refining a UV loft can

change the curvature of the surface slightly. Once

you’ve refined the surface by adding a U curve or

Vcurve,youcanuseEditCurvestochangethe

curve.

Replace—Lets you replace the selected curve.

Select a curve in the list, click this button, then

select the new curve.

Display Iso Curves—When set, the UV loft’s iso

curves are displayed as well as the U-axis and

V-axis curves used to construct the loft. The iso

curves are only for display. You can’t use them for

surface construction.

Edit Curves—Lets you edit the currently selected

curve without switching to another sub-object

level. ClicktoturnonEditCurve. Thepoints

1204 Chapter 9: Surface Modeling

or CVs of the curve are displayed, as well as the

control lattice if the curve is a CV curve. You can

now transform or otherwise change the points

or CVs as if you were at the Point or Curve CV

sub-object level. To finish editing the curve, click

to turn off Edit Curves.

When you turn on Edit Curves, all applicable

rollouts for the selected curves are displayed,

including the Curve Common rollout, the CV

or Point rollout (depending on the curve type),

and the CV Curve or Point Curve rollout. These

rollouts appear beneath the U Loft rollout. They

let you edit the loft curves and their points or CVs

without having to switch sub-object levels.

Tip: When you edit curves in a UV loft, turning

off display of the UV loft itself can make the

curves easier to see and improve performance. Use

Ctrl+D (while the Keyboard Shortcut Override

Toggle button (page 3–872) is on) to toggle display

of dependent sub-objects, including UV lofts.

The UV loft surface can deviate from the curve

if you edit a curve in a UV loft by increasing the

weight of the curve CVs. You can work around

this by refining the curve at the point where the

surface deviates.

1-Rail Sweep Surface

SelectNURBSobject. >Modifypanel>CreateSurfaces

rollout > Dependent Surfaces group box > 1-Rail

Select NURBS object. > Modify panel > NURBS toolbox >

Create 1-Rail Sweep button

Sweep surfaces are constructed from curves. A

1-rail sweep surface uses at least two curves.

One curve, the "rail," defines one edge of the

surface. The other curves define the surface’s cross

sections.

1-rail sweep surface

Changing the position of the rail can change the shape of the

surface.

The cross-section curves should intersect the rail

curve. If the cross-sections don’t intersect the rail,

theresultingsurfaceisunpredictable.Inaddition,

the initial point of the rail and the initial point of

the first cross-section curve must be coincident.

Use NURBS Snaps (page 2–41) to accomplish this.

Automatic Curve Attachment

When you create a 1-rail sweep, you can select

curves that are not already sub-objects of the active

NURBS model. You can select another curve or

spline (page 1–266) object in the scene. When you

select that curve, it attaches to the current object as

if you had used the Attach button (page 1–1120).

Warning: If the curve you attach is a sub-object of

anotherNURBSmodel,theentiremodel(thatis,the

curve’s parent NURBS object) is attached as well.

Asyoumovethemouseoveracurvethatisnot

part of the active NURBS object, the cursor

changes shape to indicate that you can pick the

curve, but the curve is not highlighted in blue.

Procedures

To create a 1-rail sweep:

1. Createthecurvesthatdefinethesurfaceyou

want to create.

1-Rail Sweep Surface 1205

2. Clicktoturnon1RailSweepinthe

toolbox or on the Create Surfaces rollout.

3. Click the curve to use as the rail, then click each

of the cross-section curves. Right-click to end

creation.

The sweep is interpolated smoothly between

the cross sections, following the outline defined

by the rail.

As you click curves, their names appear in

the lists on the 1 Rail Sweep Surface creation

rollout. The order in which you click the curves

can affect the shape of the sweep surface.

Example: To create a 1-rail sweep with automatic

attach:

1. From the Create panel, create two independent

CV or Point NURBS curves.

2. Go to the Modify panel, and click to turn on

1-Rail Sweep in the NURBS toolbox.

3. Select the curves in the appropriate order for

the sweep.

The sweep is created. You don’t need to collapse

the curves to a NURBS surface or Attach them

to an existing NURBS model.

Asyoumovethemouseoveracurvethatisnot

partoftheactiveNURBSobject,thecursor

changes shape to indicate that you can pick the

curve, but the curve is not highlighted in blue.

Interface

While a 1-rail sweep sub-object is selected, a

rollout with the 1-rail sweep parameters appears.

This rollout appears only when one 1-rail sweep

sub-object is selected. It isn’t possible to edit more

than one 1-rail sweep at a time, so unlike some

other NURBS sub-objects, the rollout doesn’t

appear when multiple 1-rail sweep sub-objects are

selected.

Tip: When you edit a 1-rail sweep sub-object,

closetheSurfaceCommonrollouttoseethe1-rail

sweep Surface rollout more easily.

1206 Chapter 9: Surface Modeling

1-Rail Sweep Surface rollout (creation time)

Rail Curve—Shows the name of the curve you chose

to be the rail.

Replace Rail—(Disabled.)

Section Curves—Thislistshowsthenamesofthe

cross-section curves, in the order you click them.

You can select a curve by clicking its name in the

list. Viewports display the selected curve in blue.

Arrow Buttons—Usethesetochangetheorderof

section curves in the list. Select a curve in the list,

andthenusethearrowstomovetheselectionup

or down.

Curve Properties group

These controls affect individual curves you select

in the Section Curves list, as opposed to properties

of the sweep surface in general. They are enabled

onlywhenyouhaveselectedacurveintheSection

Curves list.

Reverse—When set, reverses the direction of the

selected curve.

Start Point—Adjusts the position of the curve’s

start point. This can help eliminate unwanted

twists or "buckles" in the surface.

This control is disabled if the curve is not a closed

curve.

While you’re adjusting start points, a dotted

blue line is displayed between them, to show the

alignment. The surface is not displayed, so it

doesn’t slow down adjustment. When you release

the mouse button, the surface reappears.

Insert—(Disabled.)

Remove—Removes a curve from the list. Select the

curve in the list, and then click Remove.

Refine—(Disabled.)

Replace—(Disabled.)

Sweep Parallel—When on, ensures that the sweep

surface’snormalisparalleltotherail.

Snap Cross-Sections—When on, cross-section

curves are translated so they intersect the rail.

The first cross section is translated to the start of

therail,andthelasttotheendoftherail. The

crosssectionsinthemiddlearetranslatedto

touch the rail at the closest point to the end of the

cross-section curves.

When Snap Cross-Sections is on, the sweep

followstherailcurveexactly.Thismakesiteasier

to construct 1-rail sweep surfaces.

Road-Like—When on, the sweep uses a constant

up-vector so the cross sections twist uniformly

1-Rail Sweep Surface 1207

as they travel along the rail. In other words, the

crosssectionsbanklikeacarfollowingaroad,ora

camera following a path constraint (page 2–398).

Default=off.

Whenyoueditthesurface,youcancontrolthe

angle of banking. The up-vector is displayed

as a yellow gizmo (similar to the gizmo that

lathe surfaces (page 1–1190) useforthecenter

of rotation). To change the up-vector angle, use

Rotate (page 1–439) to change the gizmo’s angle.

Display While Creating—When on, the sweep

surface is displayed while you create it. When

off,thesweepcanbecreatedmorequickly.

Default=off.

Flip Normals—Reverses the direction of the sweep’s

normals.

1-Rail Sweep Surface rollout (modification time)

Rail Curve—Shows the name of the curve you chose

to be the rail.

Replace Rail—Lets you replace the rail curve. Click

this button, then in a viewport click the curve to

use as the new rail.

Section Curves—Thislistshowsthenamesofthe

cross-section curves, in the order you click them.

You can select a curve by clicking its name in the

list. Viewports display the selected curve in blue.

Arrow Buttons—Usethesetochangetheorderof

section curves in the list. Select a curve in the list,

and then use the arrows to move the selection up

or down.

1208 Chapter 9: Surface Modeling

Curve Properties group

These controls affect individual curves you select

in the Section Curves list, as opposed to properties

of the sweep surface in general. They are enabled

only when you have selected a curve in the Section

Curves list.

Reverse—When set, reverses the direction of the

selected curve.

Start Point—Adjusts the position of the curve’s

start point. This can help eliminate unwanted

twists or "buckles" in the surface.

Thiscontrolisdisabledifthecurveisnotaclosed

curve.

While you’re adjusting start points, a dotted

blue line is displayed between them, to show the

alignment. The surface is not displayed, so it

doesn’t slow down adjustment. When you release

the mouse button, the surface reappears.

Insert—Adds a curve to the section list. Click to

turn on Insert, then click the curve. The curve

is inserted before the selected curve. To insert a

curve at the end, first highlight the "----End-----"

marker in the list.

Remove—Removes a curve from the list. Select the

curve in the list, and then click Remove.

Refine—Refines the 1-rail sweep surface. Click

to turn on Refine, then click an iso curve on the

surface. (As you drag the mouse over the surface,

the available section curves are highlighted.) The

curve you click is converted to a CV curve and

inserted into the sweep and the section list. As

when you refine a point curve, refining a sweep

can change the curvature of the surface slightly.

Once you’ve refined the surface by adding a

cross-section curve, you can use Edit Curves to

change the curve.

Replace—Lets you replace the selected curve.

Select a curve in the list, click this button, and then

select the new curve.

Sweep Parallel—When on, ensures that the sweep

surface’snormalisparalleltotherail.

Snap Cross-Sections—When on, cross-section

curves are translated so they intersect the rail.

The first cross section is translated to the start of

therail,andthelasttotheendoftherail. The

crosssectionsinthemiddlearetranslatedto

touch the rail at the closest point to the end of the

cross-section curves.

When Snap Cross-Sections is on, the sweep

followstherailcurveexactly.Thismakesiteasier

to construct 1-rail sweep surfaces.

Road-Like—When on, the sweep uses a constant

up-vector so the cross sections twist uniformly

as they travel along the rail. In other words, the

crosssectionsbanklikeacarfollowingaroad,ora

camera following a path constraint (page 2–398).

Default=off.

When you edit the surface, you can control the

angle of banking. The up-vector is displayed

as a yellow gizmo (similar to the gizmo that

lathe surfaces (page 1–1190) useforthecenter

of rotation). To change the up-vector angle, use

Rotate (page 1–439) to change the gizmo’s angle.

Display Iso Curves—When set, the 1-rail sweep’s

V-axisisocurvesaredisplayedaswellasthe

U-axis curves used to construct the loft. The

V-axis curves are only for display. You can’t use

them for surface construction.

Edit Curves—Lets you edit the currently selected

curve without switching to another sub-object

level. ClicktoturnonEditCurve. Thepoints

or CVs of the curve are displayed, as well as the

control lattice if the curve is a CV curve. You can

now transform or otherwise change the points

or CVs as if you were at the Point or Curve CV

sub-object level. To finish editing the curve, click

to turn off Edit Curves.

Tip: When you edit curves in a 1-rail sweep,

turning off display of the sweep itself can make the

2-Rail Sweep Surface 1209

curves easier to see and improve performance. Use

Ctrl+D (while the Keyboard Shortcut Override

Toggle (page 3–872) is on) to toggle display of

dependent sub-objects, including sweeps.

Thesweepsurfacecandeviatefromthecurve

if you edit a curve in a sweep by increasing the

weight of the curve CVs. You can work around

this by refining the curve at the point where the

surface deviates.

2-Rail Sweep Surface

SelectNURBSobject. >Modifypanel>CreateSurfaces

rollout > Dependent Surfaces group box > 2-Rail

Select NURBS object. > Modify panel > NURBS toolbox >

Create 2-Rail Sweep button

Sweep surfaces are constructed from curves. A

2-rail sweep surface uses at least three curves.

Two curves, the "rails," define the two edges of

the surface. The other curves define the surface’s

crosssections.A2-railsweepsurfaceissimilarto

a 1-rail sweep. The additional rail gives you more

control over the shape of the surface.

Sweep surface created with two rails

The cross-section curves should intersect the rail

curves. If the cross sections don’t intersect the

rails, the resulting surface is unpredictable. In

addition, the initial points of the rails and the

endpoints of the first cross-section curve must be

coincident. Use NURBS Snaps to accomplish this.

Automatic Curve Attachment

When you create a 2-rail sweep, you can select

curves that are not already sub-objects of the active

NURBS model. You can select another curve or

spline object (page 1–266) in the scene. When you

select that curve, it attaches to the current object as

if you had used the Attach button (page 1–1120).

Warning: If the curve you attach is a sub-object of

anotherNURBSmodel,theentiremodel(thatis,the

curve’s parent NURBS object) is attached as well.

Asyoumovethemouseoveracurvethatisnot

part of the active NURBS object, the cursor

changes shape to indicate that you can pick the

curve, but the curve is not highlighted in blue.

Procedures

To create a 2-rail sweep:

1. Createthecurvesthatdefinethesurfaceyou

want to create.

2. Clicktoturnon2RailSweepinthe

toolbox or on the Create Surfaces rollout.

3. Clickthecurvetouseasthefirstrail,thenclick

the curve to use as the second rail. Click each of

the cross-section curves, and then right-click to

end creation.

The sweep is interpolated smoothly between

the cross sections, following the outlines

defined by the two rails.

As you click curves, their names appear in

the lists on the 2 Rail Sweep Surface creation

rollout. The order in which you click the curves

can affect the shape of the sweep surface.

1210 Chapter 9: Surface Modeling

Example: To create a 2-rail sweep with automatic

attach:

1. FromtheCreatepanel,createthreeindependent

CV or Point NURBS curves.

2. Go to the Modify panel, and click to turn on

2-Rail Sweep in the NURBS toolbox.

3. Selectthecurvesintheappropriateorderfor

the sweep.

The sweep is created. You don’t need to collapse

the curves to a NURBS surface or Attach them

to an existing NURBS model.

Asyoumovethemouseoveracurvethatisnot

partoftheactiveNURBSobject,thecursor

changes shape to indicate that you can pick the

curve, but the curve is not highlighted in blue.

Interface

While a 2-rail sweep sub-object is selected, a

rollout with the 2-rail sweep parameters appears.

This rollout appears only and when one 2-rail

sweep sub-object is selected. It isn’t possible

to edit more than one 2-rail sweep at a time,

so unlike some other NURBS sub-objects, the

rollout doesn’t appear when multiple 2-rail sweep

sub-objects are selected.

Tip: When you edit a 2-rail sweep sub-object,

closetheSurfaceCommonrollouttoseethe2-rail

sweep surface rollout more easily.

2-Rail Sweep Surface rollout (creation time)

Rail Curves—Shows the names of the two curves

you chose to be the rails.

Section Curves—Thislistshowsthenamesofthe

cross-section curves, in the order you click them.

You can select a curve by clicking its name in the

list. Viewports display the selected curve in blue.

Arrow Buttons—Usethesetochangetheorderof

section curves in the list. Select a curve in the list,

and then use the arrows to move the selection up

or down.

Curve Properties group

These controls affect individual curves you select

in the Section Curves list, as opposed to properties

2-Rail Sweep Surface 1211

of the sweep surface in general. They are enabled

only when you have selected a curve in the Section

Curves list.

Reverse—When set, reverses the direction of the

selected curve.

Start Point—Adjusts the position of the curve’s

start point. This can help eliminate unwanted

twists or "buckles" in the surface.

Thiscontrolisdisabledifthecurveisnotaclosed

curve.

While you’re adjusting start points, a dotted

blue line is displayed between them, to show the

alignment. The surface is not displayed, so it

doesn’t slow down adjustment. When you release

the mouse button, the surface reappears.

Insert—(Disabled.)

Remove—Removes a curve from the list. Select the

curve in the list, and then click Remove.

Refine—(Disabled.)

Replace—(Disabled.)

Sweep Parallel—When off, the rail curves define

a ruled surface, and the cross sections describe

lofting from this base ruled surface. When on,

each cross section is associated with its best

fittingplane. Thisplanemovesalongtherails

and parallel to them. If the rails are curved, the

plane can rotate. If the spacing between the rails

changes, the section scales or stretches. In either

case, the surface is blended from section to section

along its entire length. Default=off.

Sweep Scale—Whenoff,thesizeoftheplaneis

scaled only in the direction across the rails. When

on, the plane is scaled uniformly in all directions.

Default=off.

Snap Cross-Sections—When on, cross-section

curves are translated and scaled so they intersect

both rails. The first cross section is translated

to the start of the rails, and the last to the end of

the rails. The cross sections in the middle are

translated to touch the rails at the closest point to

the ends of the cross-section curves. Default=off.

When Snap Cross-Sections is on, the sweep

follows the rail curves exactly. This makes it easier

to construct 2-rail sweep surfaces.

Display While Creating—When on, the sweep

surfaceisdisplayedwhileyoucreateit. When

off,thesweepcanbecreatedmorequickly.

Default=off.

Flip Normals—Reverses the direction of the sweep’s

normals.

1212 Chapter 9: Surface Modeling

2-Rail Sweep Surface rollout (Modification time)

Rail Curves—Showsthenamesofthetwocurves

you chose to be the rails.

Replace Rail 1 and Replace Rail 2—Let you replace

therailcurves.Clickoneofthesebuttons,thenin

aviewportclickthecurvetouseasthenewrail.

Section Curves—Thislistshowsthenamesofthe

cross-section curves, in the order you click them.

You can select a curve by clicking its name in the

list. Viewports display the selected curve in blue.

Arrow Buttons—Usethesetochangetheorderof

section curves in the list. Select a curve in the list,

and then use the arrows to move the selection up

or down.

Curve Properties group

These controls affect individual curves you select

in the Section Curves list, as opposed to properties

of the sweep surface in general. They are enabled

onlywhenyouhaveselectedacurveintheSection

Curves list.

Reverse—When set, reverses the direction of the

selected curve.

Start Point—Adjusts the position of the curve’s

start point. This can help eliminate unwanted

twists or "buckles" in the surface.

This control is disabled if the curve is not a closed

curve.

While you’re adjusting start points, a dotted

blue line is displayed between them, to show the

alignment. The surface is not displayed, so it

doesn’t slow down adjustment. When you release

the mouse button, the surface reappears.

Insert—Adds a curve to the section list. Click to

turn on Insert, then click the curve. The curve

is inserted before the selected curve. To insert a

curveattheend,firsthighlightthe"----End-----"

marker in the list.

Remove—Removes a curve from the list. Select the

curve in the list, and then click Remove.

Refine—Refines the 2-rail sweep surface. Click

to turn on Refine, then click an iso curve on the

surface. (As you drag the mouse over the surface,

the available section curves are highlighted.) The

curve you click is converted to a CV curve and

inserted into the sweep and the section list. As

when you refine a point curve, refining a sweep

can change the curvature of the surface slightly.

Once you’ve refined the surface by adding a

cross-section curve, you can use Edit Curves to

change the curve.

Multisided Blend Surface 1213

Replace—Lets you replace the selected curve.

Select a curve in the list, click this button, then

select the new curve.

Sweep Parallel—When off, the rail curves define

a ruled surface, and the cross sections describe

lofting from this base ruled surface. When on,

each cross section is associated with its best

fittingplane. Thisplanemovesalongtherails

and parallel to them. If the rails are curved, the

plane can rotate. If the spacing between the rails

changes, the section scales or stretches. In either

case, the surface is blended from section to section

along its entire length. Default=off.

Sweep Scale—Whenoff,thesizeoftheplaneis

scaled only in the direction across the rails. When

on, the plane is scaled uniformly in all directions.

Default=off.

Snap Cross-Sections—When on, cross-section

curves are translated and scaled so they intersect

both rails. The first cross section is translated

to the start of the rails, and the last to the end of

therails. Thecrosssectionsinthemiddleare

translated to touch the rails at the closest point to

the ends of the cross-section curves. Default=off.

When Snap Cross-Sections is on, the sweep

followstherailcurvesexactly.Thismakesiteasier

to construct 2-rail sweep surfaces.

Display Iso Curves—When set, the 2-Rail Sweep’s

V-axis iso curves are displayed as well as the

U-axis curves used to construct the sweep. The

V-axis curves are only for display. You can’t use

them for surface construction.

Edit Curves—Lets you edit the currently selected

curve without switching to another sub-object

level. ClicktoturnonEditCurve. Thepoints

or CVs of the curve are displayed, as well as the

control lattice if the curve is a CV curve. You can

now transform or otherwise change the points

or CVs as if you were at the Point or Curve CV

sub-object level. To finish editing the curve, click

to turn off Edit Curves.

Tip: When you edit curves in a 2-rail sweep, turning

off display of the sweep itself can make the curves

easier to see and improve performance as well. Use

Ctrl+D (while the Keyboard Shortcut Override

Toggle (page 3–872) is on) to toggle display of

dependent sub-objects, including sweeps.

Thesweepsurfacecandeviatefromthecurve

if you edit a curve in a sweep by increasing the

weight of the curve CVs. You can work around

this by refining the curve at the point where the

surface deviates.

Multisided Blend Surface

Select NURBS object. > Modify panel > Create Surfaces

rollout > Dependent Surfaces group box > N Blend

Select NURBS object. > Modify panel > NURBS toolbox >

Create a Multisided Blend Surface button

Multisided blend between three other surfaces

Amultisidedblendsurface"fillsin"theedges

defined by three or four other curve or surface

sub-objects. Unlike a regular, two-sided blend

surface, the curves’ or surfaces’ edges must form a

closed loop; that is, they must completely surround

the opening that the multisided blend will cover.

1214 Chapter 9: Surface Modeling

Tip: If the multisided blend surface can’t be created,

fuse the points or CVs at the corners where the

surfaces meet. Sometimes snapping the corners

doesn’t work, because of round-off error.

Procedure

To create a multisided blend:

1. Click to turn on Multisided Blend in the

toolbox or N Blend on the Create Surfaces

rollout.

2. In turn, click the three or four surface sides or

curves that surround the opening.

You can flip normals on the multisided blend

while creating it.

3. Right-click to end creation.

A new surface is created. It covers the opening.

Interface

Multisided Blend surfaces have no parameters

other than those on the Surface Common rollout

(page 1–1141).

Multicurve Trimmed Surface

Select NURBS object. > Modify panel > Create Surfaces

rollout > Dependent Surfaces group box > Multi-Trim

Select NURBS object. > Modify panel > NURBS toolbox >

Create a Multicurve Trimmed Surface button

Creating a multicurve trimmed surface

A multicurve trimmed surface is an existing

surface trimmed by multiple curves that form a

loop.

When you create a multicurve trimmed surface,

you create only one trimmed hole. If you want

to create multiple holes, first create holes in the

surface using other techniques, and as the final

step create the multicurve trim.

You can’t trim across the edge between two

surfaces, or across a "seam" where a surface

touches itself, as at the back of a spherical surface

created by converting a Sphere primitive.

Procedure

To create a multicurve trim:

1. Create a loop out of multiple curve sub-objects.

2. AttheCurveCVorPointsub-objectlevel,use

Fuse to connect the ends of the curves.

The curves must form a single closed loop, or

completely traverse the surface.

Multicurve Trimmed Surface 1215

3. Project the curves onto the surface by creating

a normal or vector projected curve for each

curve in the loop.

Tip: YoucanalsouseCVorpointcurveon

surface for these curves.

4. Tur n on Mu lt ic ur ve Tr im me d Su rfac e

in the toolbox or Multi-Trim on the Create

Surfaces rollout.

5. Click the surface to trim, then click each of the

curves in the loop. Right-click to end creation.

The Trim list shows the names of the curves

you select. Flip Trim inverts the direction of

trimming. Flip Normals lets you flip the surface

normals at creation time. (After you have

created the surface, you can flip normals using

controls on the Surface Common rollout.)

Interface

While a multicurve trimmed sub-object is selected,

a rollout with the multicurve trim parameters

appears. This rollout appears only when one

multicurve trimmed sub-object is selected. It

isn’tpossibletoeditmorethanonemulticurve

trimmedobjectatatime,sounlikesomeother

NURBS sub-objects, the rollout doesn’t appear

when multiple multicurve trimmed sub-objects

are selected.

Tip: When you edit a multicurve trimmed

sub-object, close the Surface Common rollout

toseetheMulticurveTrimSurfacerolloutmore

easily.

Multicurve Trimmed Surface rollout (creation

time)

Trim Curves—This list shows the names of the

curves used to trim the surface. You can select a

curve by clicking its name. Viewports display the

selected curve in blue.

Insert—(Disabled.)

Remove—Removes a curve from the list. Select the

curve in the list, and then click Remove.

Replace—(Disabled.)

Flip Trim—Reverses the direction of the trim.

Flip Normals—Turn on to reverse the direction of

the trimmed surface’s normals.

1216 Chapter 9: Surface Modeling

Multicurve Trimmed Surface rollout

(modification time)

Trim Curves—This list shows the names of the

curves used to trim the surface. You can select a

curve by clicking its name. Viewports display the

selected curve in blue.

Insert—Adds a curve to the Trim Curves list. Click

to turn on Insert, then click the curve. The curve

is inserted before the selected curve. To insert a

curve at the end, first highlight the "----End-----"

marker in the list.

Remove—Removes a curve from the list. Select the

curve in the list, and then click Remove.

Edit Curves—Lets you edit the currently selected

curve without switching to another sub-object

level. ClicktoturnonEditCurve. Thepoints

or CVs of the curve are displayed, as well as the

control lattice if the curve is a CV curve. You can

now transform or otherwise change the points

or CVs as if you were at the Point or Curve CV

sub-object level. To finish editing the curve, click

to turn off Edit Curves.

Don’teditthecurvesoyoubreaktheloop.Ifyou

do, the surface goes into an error condition.

Replace—Lets you replace the selected curve.

Select a curve in the list, click this button, and then

select the new curve.

Flip Trim—Reverses the direction of the trim.

Along with Edit Curves, the Insert, Remove, and

Replace buttons let you alter the curves that trim

the surface. While you are making changes, the

surfacewillgointoanerrorcondition(orange

displaybydefault)untilthecurvesyouareworking

on once again form a closed loop.

Fillet Surface

Select NURBS object. > Modify panel > Create Surfaces

rollout>DependentSurfacesgroupbox>FilletSurf

Select NURBS object. > Modify panel > NURBS toolbox >

Create Fillet Surface button

A fillet surface is a rounded corner connecting the

edges of two other surfaces.

Fillet surface created from two parent surfaces

Usually you use both edges of the fillet surface

to trim the parent surfaces, creating a transition

between the fillet and its parents.

Fillet Surface 1217

Procedure

To create a fillet surface:

1. InaNURBSobject,turnonFilletonthe

Create Surfaces rollout or Create Fillet Surface

in the toolbox.

2. Click to choose the first parent surface, then

click to choose the second parent surface.

Potential parent surfaces are highlighted in blue

as you move the mouse in aviewport.

The fillet surface is created. If the fillet surface

can’tbecreated,adefaulterrorsurfaceis

displayed (by default, the error surface displays

as orange).

Interface

Fillet Surface rollout (creation time)

Start Radius and End Radius—Set the radius used

todefinethefilletatthefirstsurfaceyouchose

and the second surface you chose, respectively.

Theradiusescontrolthesizeofthefilletsurface.

Default=1.0.

Lock—LockstheStartandEndradiusvaluesso

they are identical. When on, the End Radius

setting is unavailable. Default=on.

Radius Interpolation group

This group box controls the radius of the fillet.

TheRadiusInterpolationsettinghasnoeffect

unlessoneorbothsurfacesthatdefinethefillet

have curvature to them.

Linear—When chosen (the default), the radius is

linear.

Cubic—When chosen, the radius is treated as a

cubic function, allowing it to change based on the

parent surface’s geometry.

Seeds group

These spinners adjust the seed values for the fillet

surface.Ifthereismorethanonewaytoconstruct

the fillet, the software uses the seed values to

choose the nearest edge for that surface.

Surface 1 X—Sets the local X coordinate of the seed

onthefirstsurfaceyouchose.

Surface 1 Y—Sets the local Y coordinate of the seed

onthefirstsurfaceyouchose.

Surface 2 X—Sets the local X coordinate of the seed

on the second surface you chose.

Surface 2 Y—Sets the local Y coordinate of the seed

on the second surface you chose.

Trim First Surface and Trim Second Surface

groups

For each of the parent surfaces, these controls

affect trimming.

Trim Surface—Trims the parent surface at the edge

of the fillet.

1218 Chapter 9: Surface Modeling

Flip Trim—Reverses the direction of the trim.

Flip Normals—Turn on to reverse the direction of

the fillet surface’s normals.

Fillet Surface rollout (modification time)

Start Radius and End Radius—Set the radius used

todefinethefilletatthefirstsurfaceyouchose

and the second surface you chose, respectively.

The radiuses control the size of the fillet surface.

Default=10.0.

Lock—LockstheStartandEndradiusvaluesso

they are identical. When on, the End Radius

setting is unavailable. Default=on.

Radius Interpolation group

This group box controls the radius of the fillet.

TheRadiusInterpolationsettinghasnoeffect

unlessoneorbothsurfacesthatdefinethefillet

have curvature to them.

Linear—When chosen (the default), the radius is

always linear.

Cubic—When chosen, the radius is treated as a

cubic function, allowing it to change based on the

parent surface’s geometry.

Seeds group

These spinners adjust the seed values for the fillet

surface.Ifthereismorethanonewaytoconstruct

the fillet, the software uses the seed values to

choose the nearest edge for that surface.

Surface 1 X—Sets the local X coordinate of the seed

onthefirstsurfaceyouchose.

Surface 1 Y—Sets the local Y coordinate of the seed

onthefirstsurfaceyouchose.

Surface 2 X—Sets the local X coordinate of the seed

on the second surface you chose.

Surface 2 Y—Sets the local Y coordinate of the seed

on the second surface you chose.

Trim First Surface and Trim Second Surface

groups

For each of the parent surfaces, these controls

affect trimming.

Trim Surface—Trims the parent surface at the edge

of the fillet.

Flip Trim—Reverses the direction of the trim.

Replace First Surface and Replace Second

Surface—Let you replace the parent surfaces. Click

a button, then click the surface to replace the

original first or second surface.

Creating and Editing Point Sub-Objects 1219

Creating and Editing Point

Sub-Objects

Select NURBS object. > Modify panel > Create Points

rollout

SelectNURBSobject.>Modifypanel>NURBStoolbox

Keyboard > Ctrl+T to toggle NURBS toolbox display

(Keyboard Shortcut Override Toggle must be on.)

In addition to the points that are an integral part of

point curve (page 1–1106) and point surface (page

1–1102) objects, you can create "freestanding"

points. Such points can help you construct point

curves by using the Curve Fit (page 1–1157)

button. You also use dependent points to trim

curves.

You create individual points as NURBS sub-objects

whileyouaremodifyingNURBS.Tocreatepoints

individually, use the Create Points rollout or the

NURBS toolbox (page 1–1083).

Toolbox Buttons for Creating Points

These are the toolbox buttons for creating point

sub-objects:

Create an independent point (page 1–1219).

Create a dependent offset point (page 1–1219).

Create a dependent curve point (page

1–1220).

Create a dependent curve-curve intersection

point (page 1–1223).

Create a dependent surface point (page

1–1222).

Create a dependent surface-curve intersection

point (page 1–1224).

Point (NURBS)

SelectNURBSobject. >Modifypanel>CreatePoints

rollout > Point button

Select NURBS object. > Modify panel > NURBS toolbox >

Create Point button

This command creates an independent,

freestanding point.

Procedure

To create a freestanding point:

1. Select a NURBS object.

2. In the Modify > Create Points rollout, turn on

Point.

3. Click a viewport to position the point.

Independent point sub-objects have no additional

parameters. You can use Curve Fit in the Create

Curves rollout to create a curve from multiple

freestanding points.

Interface

There are no additional controls for independent

points.

Offset Point

SelectNURBSobject. >Modifypanel>CreatePoints

rollout > Dependent Points group box > Offset Point

button

Select NURBS object. > Modify panel > NURBS toolbox >

Create Offset Point button

This command creates a dependent point that

is coincident to an existing point or at a relative

distance from an existing point.

Procedure

To create a dependent offset point:

1. Select a NURBS object

1220 Chapter 9: Surface Modeling

2. On the Modify > Create Points rollout, turn on

Offset Point.

3. Inaviewport,clickanexistingpoint.

4. In the Modify > Offset Points rollout, use the

Offset spinners to adjust the point’s position

relative to the original point.

Interface

While an offset point sub-object is selected, the

Offset Point rollout appears.

At Point—When chosen, the dependent point has

thesamelocationastheoriginal,parentpoint.

Offset—Enables point offset. Use the X,Y,Z Offset

spinners to set offset values (in object space

coordinates).

Replace Base Point—(Only at modification time.)

Lets you replace the parent point. Click the button,

then click the new point on which to base the offset

point.

Curve Point

SelectNURBSobject. >Modifypanel>CreatePoints

rollout>DependentPointsgroupbox>CurvePoint

button

Select NURBS object. > Modify panel > NURBS toolbox >

Create Curve Point button

This command creates a dependent point that lies

on a curve or relative to it.

Thepointcanbeeitheronthecurveoroffthe

curve. If it is on the curve, the U Position is

the only control of its location. The U Position

specifies a location along the curve (based on

thecurve’slocalUaxis). Therearethreeways

to displace the point’s location relative to the U

position.

Procedure

To create a dependent curve point:

1. Turn on Curve Point and then click along a

curve to position the point.

2. The curve and cursor position are highlighted

during this operation.

3. At the Point sub-object level, adjust the point’s

position relative to the curve by adjusting the

curve point parameters on the Curve Point

rollout.

Curve Point 1221

4. Right-click to end operation.

Interface

While a curve point sub-object is selected, the

Curve Point rollout appears.

U Position—Specifies the point’s location on the

curveorrelativetothecurve.

On Curve—When on, the point lies on the curve

at the U Position.

Offset—Moves the point according to a relative

(object space) X,Y,Z location.

This is relative to the U Position.

X Offset, Y Offset, and Z Offset—Specify the object

space location of the offset curve point.

Normal—Moves the point along the direction of

the curve’s normal at the U Position.

Distance—Specifies the distance along the curve’s

normal. Negative values move the point opposite

to the normal.

Tangent—Moves the point along the tangent at the

UPosition.

UTangent—Specifies the distance from the curve

along the tangent.

1222 Chapter 9: Surface Modeling

Offset, normal, and tangent displacement of a curve point

Trimming group box

Controls in this group box let you trim the parent

curve.

Trim Curve—When on, trims the parent curve

against the curve point’s U position. When off (the

default), the parent isn’t trimmed.

Flip Trim—When on, trims in the opposite

direction.

Replace Base Curve—(Only at modification time.)

Lets you replace the parent curve. Click the button,

then click the new curve on which to base the

curve point.

Surface Point

Select NURBS object. > Modify panel > Create Points

rollout > Dependent Points group box > Surface Point

button

Select NURBS object. > Modify panel > NURBS toolbox

>CreateSurfPointbutton

This command creates a dependent point that lies

on a surface or relative to it. This is enabled with a

NURBSobjectthatcontainsasurface.

Procedure

To create a dependent surface point:

1. Turn on Surf Point and then click over a

NURBS surface to position the point.

2. The surface cross-section and cursor are

highlighted during this operation.

3. Right-click to end the create operation.

4. At the Point sub-object level, adjust the point’s

position relative to the surface by adjusting the

surface point parameters in the Surface Point

rollout.

Interface

Whileasurfacepointsub-objectisselected,the

Surface Point rollout appears. These controls are

similar to the curve point controls.

Curve-Curve Intersection Point 1223

U Position and V Position—If the point is on the

surface, these coordinates specify the point’s

location, based on the surface’s local UV

coordinates.

On Surface—Specifies that the point lies on the

surface, at the location specified by U Position and

V Position.

If the point lies on the surface, you can move it

using the Move transform. You can also move it

using the Move Surface Point button. See Editing

Point Sub-Objects (page 1–1123).Eitherway,this

updates the U Position and V Position values.

Offset—Moves the point according to a relative

(object space) X,Y,Z location.

X Offset, Y Offset, and Z Offset—Specify the object

space location of the offset surface point.

Normal—Moves the point along the direction of

the surface’s normal.

Distance—Specifies the distance from the surface,

along the normal. Negative values move the point

opposite to the normal.

Tangent—Moves the point along the tangent of the

UV position.

U Tangent and V Tangent—Specify the distance

from the surface along the tangents at U and V.

Replace Base Surface—(Only at modification

time.) Lets you replace the parent surface. Click

the button, then click the new surface on which to

base the surface point.

Curve-Curve Intersection Point

SelectNURBSobject. >Modifypanel>CreatePoints

rollout Dependent Points group box > Curve-Curve

button

Select NURBS object. > Modify panel > NURBS toolbox >

Create Curve-Curve Point button

This command creates a dependent point at the

intersection of two curves.

Procedure

To create a dependent curve-curve point:

1. Turn on Curve-Curve, then drag from the first

curve to the second.

If the curves do not intersect, the point is

orange, an invalid dependent point.

Thepointiscreatedatthenearestintersection

between the two curves. You can use the

curve-curve parameters to trim the parent

curves.

2. Right-click to end the create operation.

1224 Chapter 9: Surface Modeling

Interface

While a curve-curve point sub-object is selected,

the Curve-Curve Intersection rollout appears.

TrimFirstCurveandTrimSecondCurvegroups

These two groups let you control how the parent

curvesaretrimmed. Thecontrolsarethesame

in each. "First" and "second" refer to the order in

which you picked the parent curves.

Trim Curve—When on, the parent curve is trimmed

against the curve-curve point. When off (the

default), the parent isn’t trimmed.

Flip Trim—When on, trims in the opposite

direction.

Seed 1 and Seed 2—Change the U location of the

seed value on the first and second curves. If there is

a choice of intersections, the intersection closest to

the seed points is the one used to create the point.

ReplaceFirstCurveandReplaceSecond

Curve—(Only at modification time.) Let you

replace the parent curves. Click a button, then

click the curve to replace the original first or

second curve.

Surface-Curve Intersection Point

SelectNURBSobject. >Modifypanel>CreatePoints

rollout > Dependent Points group box > Surf-Curve

button

Select NURBS object. > Modify panel > NURBS toolbox >

Create Surface-Curve Point button

This command creates a dependent point at the

intersection of a surface and a curve.

Procedure

To create a dependent surface-curve point:

1. In a NURBS object that has a curve that passes

through a surface, click to turn on Create

Surface Curve Point in the NURBS toolbox or

Surf-CurveontheCreatePointsrollout.

2. Clickthecurve,thenclickthesurface.

Thepointiscreatedatthenearestintersection

between the curve and the surface that is nearest

the seed point. You can use the surface-curve

parameters to trim the parent curve.

Convert Curve Dialog 1225

Interface

While a surface-curve intersection point

sub-object is selected, a rollout with its parameters

appears.

Trim Curve group

Trim—When on, trims the curve from the surface.

When off, the curve isn’t trimmed.

Flip Trim—When on, trims the curve in the

opposite direction.

Seed—Changes the U location of the seed value

on the curve. If there is a choice of intersections,

the intersection closest to the seed point is the one

used to create the point.

Replace Curve and Replace Surface— (Only at

modification time.) Let you replace the parent

sub-objects. Click a button, then click a curve or

surfacetoreplacetheoriginalparentobject.

NURBS Editing Dialogs

Convert Curve Dialog

Modify panel > Select NURBS curve sub-object. > Curve

Commonrollout>ConvertCurvebutton

This dialog is a general way to convert one kind of a

curve to another or to adjust a curve’s parameters.

Interface

Point Curve and CV Curve—Choose whether to

convert to a point curve or a CV curve. If the

curveisalreadyofthetypeyouchose,thesettings

in this dialog don’t convert it, but do change its

properties. Default=CV Curve.

CV Curve options

ThesearetheoptionswhenyouchooseCVCurve.

Number—When chosen, the spinner sets the

number of CVs in the CV curve.

Tolerance—When chosen, the software calculates

thenumberofCVs.Thisoptionrebuildsthecurve

according to accuracy. The lower the Tolerance

value,themoreaccuratetherebuild. Increasing

Tolerance enables the curve to be rebuilt using

fewer CVs.

1226 Chapter 9: Surface Modeling

Reparameterization group

These controls let you reparameterize the CV

curve and turn on automatic reparameterization.

Chord Length—Chooses the chord-length

algorithm for reparameterization.

Chord-length reparameterization spaces knots (in

parameter space (page 3–988)) based on the square

root of the length of each curve segment.

Chord-length reparameterization is usually the

best choice.

Uniform—Spaces the knots uniformly.

A uniform knot vector has the advantage that the

curve changes only locally when you edit it. With

chord-length parameterization, moving any CV

canpotentiallychangetheentiresub-object.

Maintain Parameterization—When on, the curve is

automatically reparameterized as you edit it, using

the currently active method of reparameterization.

When off, no reparameterization happens

unless you use a dialog to specifically request it.

Default=on.

Point Curve options:

These are the options when you choose Point

Curve.

Number—Sets the number of points in the point

curve.

Tolerance—When chosen, the software calculates

the number of points. This option rebuilds the

curve according to accuracy. The lower the

Tolerance value, the more accurate the rebuild.

Increasing Tolerance enables the curve to be

rebuilt using fewer points.

Preview—When on, the effect of the conversion is

previewed in viewports. Default=on.

Convert Curve on Surface Dialog

Modify panel > Select NURBS object. > Stack display >

Curve sub-object level > Select curve sub-object. > Curve

Common rollout > Make COS button

This dialog converts a curve to a point curve on

surface (page 1–1175) or CV curve on surface (page

1–1172). The Make COS button that displays it is

enabled only for the following types of curves:

•U iso curves (page 1–1168)

•V iso curves (page 1–1168)

•Normal projected curves (page 1–1169)

•Vector projected curves (page 1–1171)

•Surface-surface intersection curves (page

1–1166)

•Surface edge curves (page 1–1177)

•CV curves on surfaces (page 1–1172)

•Point curves on surfaces (page 1–1175)

Ifthecurveisalreadyacurveonsurface,this

dialog lets you change its type.

Interface

CV Curve on Surface—Converts the curve to a CV

curve on surface.

Number of CVs—Specifies the number of CVs in

the new curve.

Point Curve on Surface—Converts the curve to a

point curve on surface.

Convert Surface Dialog 1227

Number of Points—Specifies the number of points

in the new curve.

Preview—When on, previews the effect of the

conversion in viewports. Default=on.

Convert Surface Dialog

Modify panel > Select NURBS surface sub-object. >

Surface Common rollout > Convert Surface button

This dialog provides a general way to convert one

kind of a surface to another or to adjust a surface’s

parameters.

Interface

Loft tab

If the surface isn’t already a loft, this tab converts it

to the kind of loft you indicate.

ThecontrolsarecomparabletothoseintheMake

Loft dialog (page 1–1234).

From U Iso Lines—Usescurvesalongthesurface’sU

dimension to construct a U loft.

From V Iso Lines—Uses curves along the surface’s

V dimension to construct a U loft. If the surface

was already a U loft, set this to change the lofting

dimension.

From U and V Iso Lines—Uses curves from both the

U and V dimensions to construct a UV loft.

UCurves—Sets the number of curves in U.

VCurves—Sets the number of curves in V.

Use Point Curves—When on, constructs the loft

from point curves instead of the default CV curves.

Default=off.

Extra Points per Segment—This control is available

only for UV lofts (From U and V Iso Lines). Lets

you increase the number of points in each segment.

Fuse Points—This control is available only for

UV lofts (From U and V Iso Lines). When on,

fusespointsatcurveintersectionstoensurethat

the U and V curves continue to intersect when

you edit the surface, and that the surface remains

coincident with its parent curves. UV lofts

constructed from intersecting curves behave more

predictably. Default=on.

Fit Point tab

If the surface isn’t already a point surface, this tab

converts it to a point surface.

In U—Sets the number of point rows (in the

surface’s U axis).

In V—Sets the number of point columns (in the

surface’s V axis).

Tolerance—When chosen, the software calculates

the number of points. This option rebuilds the

surface according to accuracy. The lower the

Tolerancevalue,themoreaccuratetherebuild.

Increasing Tolerance enables the surface to be

rebuilt using fewer points.

CV Surface tab

If the surface isn’t already a CV surface, this tab

converts it to a CV surface.

This tab is the default.

1228 Chapter 9: Surface Modeling

Number—When chosen, the spinners set the

number of CVs in the CV surface.

In U—Sets the number of CV rows (in the surface’s

U axis).

In V—Sets the number of CV columns (in the

surface’s V axis).

Tolerance—When chosen, the software calculates

thenumberofCVs. Thisoptionrebuildsthe

surface according to accuracy. The lower the

Tolerance value, the more accurate the rebuild.

Increasing Tolerance enables the surface to be

rebuilt using fewer CVs.

Reparameterization group

These controls let you reparameterize the CV

surface and turn on automatic reparameterization.

Chord Length—Chooses the chord-length

algorithm for reparameterization.

Chord-length reparameterization spaces knots (in

parameter space (page 3–988)) based on the square

root of the length of each segment.

Chord-length reparameterization is usually the

best choice.

Uniform—Spaces the knots uniformly.

A uniform knot vector has the advantage that the

surface changes only locally when you edit it. With

chord-length parameterization, moving any CV

can potentially change the entire surface.

Maintain Parameterization—When on, the

surface is automatically reparameterized

as you edit it, using the currently active

method of reparameterization. When off, no

reparameterizationhappensunlessyouusea

dialog to specifically request it. Default=on.

Preview—When on, viewports display a preview of

the conversion. Turning off this toggle can speed

up conversion, especially to lofts.

Delete Original Curves—This is available only if the

surface was already a U loft or UV loft. When on,

Convert Surface deletes the original loft curves

when you click OK. When off, the original curves

remain where they are. Default=off.

CV Curve: Close Curve Dialog

Create panel > Shapes button > CV Curve button > In

viewports, draw a CV curve and click to create a CV in the

same location as the first CV in the curve.

Modify panel > Select NURBS object. > NURBS toolbox

>CreateCVCurve>Inviewports,drawaCVcurve

sub-object and click to create a CV in the same location

as the first CV in the curve.

This dialog lets you create a closed CV curve when

you click to create a CV in the same location as the

curve’s first CV.

Interface

Yes—Closes the curve and ends curve creation.

No—Keeps the curve open and does not end curve

creation.

Detach Dialog (NURBS)

Modify panel > Select a NURBS sub-object. > Curve

Common or Surface Common rollout > (optional) Copy

toggle > Detach button

This dialog appears when you use Detach to

create a new top-level NURBS curve or surface

sub-object.

Edit Curve on Surface Dialog 1229

Interface

Detach as—Lets you assign a name to the new

object. By default, the name is "Curve" or "Surface"

followed by a sequence number.

This option is unavailable when Detach To

Element is on.

Relational —This toggle affects dependent objects.

When off, detaching a dependent sub-object

makes it an independent object. For example,

detachingaUloftconvertsittoaCVsurface.

When on, detaching a dependent sub-object also

detaches the objects on which it depends, so the

object remains dependent. For example, detaching

a U loft also detaches the curves that define it.

Default=on.

Edit Curve on Surface Dialog

Select NURBS object. > Modify panel > Stack display >

Curve sub-object level > Select NURBS curve on surface

sub-object. > CV Curve on Surface or Point Curve on

Surface rollout > Edit button

Thisdialogletsyoueditcurvesonsurfacesasyou

edit regular curves in a viewport. The main part

ofthedialogisatwo-dimensionalviewofthe

surface. The controls provide typical curve editing

functions.

This is a modeless dialog. You can use the main

3ds Max window while Edit Curve on Surface

remains open. However, if you select a different

kind of curve or a sub-object that isn’t a curve, the

dialog closes.

You can edit multiple CV on surface (page 1–1172)

or Point on surface (page 1–1175) curves, but you

can’t edit both types of curves at the same time.

The point whose surface you first click is shown as

a blue square in the dialog as well as in viewports.

As you draw the curve, it appears interactively in

viewportsandablueasterisk(*)showsthecurrent

mouselocationonthesurface.

Whileyouarecreatingacurve,youcanpress

Backspace to remove the last point or CV you

created, and then previous points or CVs in

reverse order.

Interface

Toolbar

Thetoolbarabovethesurfaceimageprovides

selection, transform and viewing controls. These

controls work the way their analogs do in the main

3ds Max viewports. The toolbar is disabled while

you create a new curve on surface.

Select—Selects one or more points. Drag a window

to select multiple points.

1230 Chapter 9: Surface Modeling

Move—Moves the selected points.

Move is a flyout. The alternative buttons constrain

texturepointstomoveeitherverticallyor

horizontally.

Rotate—Rotates the selected points.

Scale—Scales the selected points. This is a flyout

that lets you choose between uniform scale,

nonuniform scale in the surface’s U dimension, or

nonuniform scale in the surface’s V dimension.

Pan—Pans the surface view.

Zoom—Zooms in or out on the surface view.

Zoom Window—Zoomstoawindowyoudragon

the surface view.

Zoom Extents—Zooms to the extents of the surface.

Lock Selection—Locks the active selection set. You

can turn this on to keep from accidentally selecting

otherpointsorCVswhileyou’retransforminga

selection set.

Preview—When on (the default), edits you make

inthedialogarealsoshowninviewports.

Curve on Surface Image

Below the toolbar is a 2D image of the curve.

ThisimageshowsthepointsorCVsofthecurve,

allowingyoutoedititasyoueditsub-objectsin

viewports.

If you right-click while in the image, a pop-up

menu lets you switch between Select, Move,

Rotate, and Scale. This is an alternative to using

the toolbar.

If your mouse has a middle button, you can use it

topaninthiswindow.

Buttons and Weight

These controls are comparable to editing controls

on the rollouts for point sub-objects. (The Open

button works differently.) These controls are

disabled while you create a new curve on surface.

Refine—Addspointstothecurve.Thisdoesnot

change curvature. For point curves, the curvature

can change, but only slightly.

Insert—(Not available for point curves on

surfaces.)

Close—Closes the curve.

Fuse—Fuses two points.

Weight—(Not available for point curves on

surfaces.)

Delete—Deletes the selected points.

Open—Opens the curve by unfusing the points

wherethecurvewasoriginallyclosed.

Unfuse—Unfuses the selected points.

Remove Animation—Removes animation

controllers from the selected points or CVs.

Edit Texture Surface Dialog

Modify panel > Select NURBS surface sub-object. >

Material Properties rollout > Texture Channels group box

>TurnonGen.MappingCoords.>TextureSurfacegroup

box > Choose User-Defined. > Edit Texture Surface button

This dialog lets you edit the texture surface for a

surface sub-object. It is available when you have

chosen User Defined as the sub-object’s texture

surface method.

A texture surface is associated with the surface

sub-object. The texture surface is used to control

how materials are mapped. In effect, changing

thetexturesurfacestretchesorotherwisechanges

the UV coordinates for the surface, altering the

mapping.

The Edit Texture Surface dialog shows a 2D view of

the texture surface. You can also edit user-defined

texture surfaces directly in 3D viewports, using the

Edit Texture Surface Dialog 1231

Edit Texture Points button. See Material Properties

Rollout (page 1–1149).

Maps can shift with certain surface approximation

methods. This effect is especially noticeable when

thesurfacehasanimatedCVs.Youcanreduceor

eliminate map shifting by changing the mapping

method to User Defined.

Tip: Don’t use the UVW Map modifier to apply a

texture to an animated NURBS surface.

Interface

Toolbar

Thetoolbarabovethesurfaceimageprovides

selection, transform and viewing controls.

These controls work the way their analogs do in

viewports.

Note: You can animate transforms to the texture

surface points.

Select—Selects one or more points. Drag a window

to select multiple points or CVs.

Move—Moves the selected points.

Move is a flyout. The alternative buttons constrain

texturepointstomoveeitherverticallyor

horizontally.

Rotate—Rotates the selected points.

Scale—Scales the selected points. This is a flyout

that lets you choose between uniform scale,

nonuniform scale in the surface’s U dimension, or

nonuniform scale in the surface’s V dimension.

Pan—Pans the surface view.

Zoom—Zooms in or out on the surface view.

Zoom Window—Zooms to a window you drag on

the surface view.

Zoom Extents—Zooms to the extents of the surface.

Lock Selection—Locks the active selection set. You

can turn this on so you don’t accidentally select

other points while you’re transforming a selection

set.

Preview—When on (the default), your edits are

alsoshowninviewports.Inviewports,selected

texturepointsaredisplayedinred,andtheothers

are displayed in green.

Texture Surface Image

Below the toolbar is a 2D image showing the points

of the texture surface. You can edit the texture

surfaceasyoueditsub-objectsinviewports.

If you right-click while in the image, the popup

menu lets you switch between Select, Move,

Rotate, and Scale. This is an alternative to using

the toolbar.

If your mouse has a middle button, you can use it

topaninthiswindow.

Texture Surface Controls

The controls below the surface image edit the

texture surface.

1232 Chapter 9: Surface Modeling

Remove Animation—Removes animation

controllers from the selected texture points.

Reset to Defaults—Resets user-defined mapping

to the default.

Rebuild—Displays the Rebuild Texture Surface

dialog (page 1–1236), which rebuilds the texture

surface and lets you change the number of CV

rows or columns.

Insert Row, Insert Col., Insert Both—Click one of

these buttons to insert a row or column of points,

or both at once, into the surface. Insertion adds

points without moving other rows and columns.

While you refine the surface, the operation is

previewed the same way Insert is previewed in 3D

viewports.

Delete Row, Delete Col., Delete Both—Click one of

these buttons to delete a row or column of points,

or both at once.

Join Curves Dialog

Modify panel > Select NURBS curve sub-object. > Curve

Common rollout > Join button > Join two curves in a

viewport.

This dialog lets you choose the way to join two

curves.

Interface

ZIP tab

This tab chooses the zip algorithm. Zipping

concatenates the CV lattices of the two original

curves. Zipping can change the shape of the

original curves, but usually it produces a better

result than joining.

By default, the ZIP tab is active.

If both curves are untrimmed point curves, the

result of zipping is a point curve. In all other cases,

the result is a CV curve.

Tolerance—Adistancein3dsMaxunits. Ifthe

ends of the two original curves are closer than this

distance, zipping deletes one of the points or CVs

in order to avoid creating coincident points or CVs

in the new zipped curve.

Tension 1—(Disabled.)

Tension 2—(Disabled.)

Join tab

This tab chooses the join algorithm. Joining first

creates a blend curve between the two original

curves, and then makes all three into a single

curve. Joining does not change the shape of the

two original curves.

If both curves are point curves, the result is a point

curve. If one or both curves are CV curves, the

result is a CV curve.

Tolerance—Adistancein3dsMaxunits. Ifthe

gapbetweenthecurvesyouarejoiningisgreater

than this value, the join is created by first creating

a blend curve and then joining the three parts. If

the gap is less than this value, or if the curves are

overlapping or coincident, the software doesn’t

create the blend.

Creating a blend and then joining the three curves

into a single curve is the better technique. The

result matches the parent curves well. Without the

blendstep,theresultingcurvecandeviatefromthe

Join Surfaces Dialog 1233

parent curves, in order to maintain smoothness.

(The amount of deviation depends on how far

from tangent the two input curves were at the join.)

A problem arises when the gap is too small. In this

case, the software generates the blend but because

there isn’t enough room for it, the resulting curve

has a loop. To avoid having this loop, set the

Tolerance higher than the gap distance.

If you set the tolerance to 0.0, the software chooses

a value to use for the Tolerance.

Tension 1—Adjusts the tension of the new curve at

the end of the first curve you picked.

Tension 2—Adjusts the tension of the new curve at

the end of the second curve you picked.

Preview—When on, the effect of the zip or join is

previewed in viewports. Default=on.

Join Surfaces Dialog

Modify panel > Select NURBS surface sub-object. >

SurfaceCommonrollout>Joinbutton>Jointwo

surfaces in a viewport.

This dialog lets you choose the way to join two

surfaces.

Interface

ZIP tab

This tab chooses the zip algorithm. Zipping

concatenates the CV lattices of the two original

surfaces. Zipping can change the shape of the

original surfaces, but compared to joining it

usually produces a simpler surface that is easier

to edit.

By default, the ZIP tab is active.

If both curves are untrimmed point surfaces, the

result of zipping is a point surface. In all other

cases, the result is a CV surface.

Tolerance—Adistancein3dsMaxunits. Ifthe

edgesofthetwooriginalsurfacesarecloserthan

this distance, zipping deletes one row (or column)

of the points or CVs in order to avoid creating a

coincident point or CV row (or column) in the

new zipped surface.

Tension 1—(Disabled.)

Tension 2—(Disabled.)

Join tab

This tab chooses the join algorithm. (This method

was the only way to join surfaces in 3ds Max prior

to v3.) Joining first creates a blend surface between

the two original surfaces, and then makes all three

into a single surface. Joining does not change the

shape of the two original surfaces.

If both surfaces are point surfaces, the result is

a point surface. If one or both surfaces are CV

surfaces, the result is a CV surface.

Tolerance—Adistancein3dsMaxunits.Ifthegap

between the surfaces you are joining is greater

than this value, the join is created by first creating

a blend surface and then joining the three parts.

If the gap is less than this value, or if the surfaces

are overlapping or coincident, the software doesn’t

create the blend.

1234 Chapter 9: Surface Modeling

Creating a blend and then joining the three

surfaces into a single surface is the better

technique. The result matches the parent surfaces

well. Without the blend step, the resulting surface

can deviate from the parent surfaces, in order to

maintain smoothness. (The amount of deviation

depends on how far from tangent the two input

surfaces were at the join.)

A problem arises when the gap is too small. In this

case, the software generates the blend but because

there isn’t enough room for it, the resulting surface

has a loop. To avoid having this loop, set the

Tolerance higher than the gap distance.

If you set the tolerance to 0.0, the software chooses

a value to use for the Tolerance.

Tension 1—Adjusts the tension of the new surface

at the edge of the first surface you picked.

Tension 2—Adjusts the tension of the new surface

at the end of the second surface you picked.

Preview—When on, the effect of the zip or join is

previewed in viewports. Default=on.

Make Loft Dialog

Modify panel > Select NURBS surface sub-object. >

Surface Common rollout > Make Loft button

This dialog converts a surface sub-object to a

(dependent) U loft or UV loft surface. You can

also change the dimension used to construct a U

loft surface.

Interface

From U Iso Lines—Usescurvesalongthesurface’sU

dimensiontoconstructaUloft.

From V Iso Lines—Uses curves along the surface’s

V dimension to construct a U loft. If the surface

was already a U loft, set this to change the lofting

dimension.

From U and V Iso Lines—Uses curves from both the

U and V dimensions to construct a UV loft.

UCurves—Sets the number of curves in U.

VCurves—Sets the number of curves in V.

Use Point Curves—When on, constructs the loft

from point curves instead of the default CV curves.

Default=off.

Extra Points per Segment—This control is enabled

only for UV lofts (From U and V Iso Lines). Lets

you increase the number of points in each segment.

Fuse Points—This control is enabled only for UV

lofts (From U and V Iso Lines). When on, fuses

points at curve intersections to ensure that the

U and V curves continue to intersect when you

edit the surface, and that the surface remains

coincident with its parent curves. UV lofts

Make Point Dialog 1235

constructed from intersecting curves behave more

predictably. Default=on.

Delete Original Loft Curves—This is available only if

the surface was already a U loft or UV loft. When

on, Make Loft deletes the original loft curves when

you click OK. When off, the original curves remain

where they are. Default=off.

Preview—When on, displays a preview of the new

loft surface. Loft creation is faster when Preview

is off. Default=off.

Make Point Dialog

Modify panel > Select NURBS surface sub-object. >

Surface Common rollout > Make Point button

This dialog converts a CV surface sub-object to a

point surface sub-object.

Interface

Number in U—Sets the number of columns.

Number in V—Sets the number of rows.

Preview—When on, your changes are previewed in

viewports. Point surface conversion is faster when

Preview is off. Default=off.

Make Point Curve Dialog

Modify panel > Select NURBS curve sub-object. > Curve

Common rollout > Make Fit button

TheMakeFitbuttonforaNURBScurvesub-object

turns a CV curve into a point curve. For point

curves, it lets you change the number of points. It

displays this dialog.

Interface

Number of Points—Sets the number of points in

the point curve.

Point Curve: Close Curve Dialog

Create panel > Shapes button > Point Curve button > In

viewports, draw a point curve and click to create a point

in the same location as the first point in the curve.

Modify panel > Select NURBS object. > NURBS toolbox >

Create Point Curve > In viewports, draw a point curve

sub-object and click to create a point in the same location

as the first point in the curve.

This dialog lets you create a closed point curve

when you click to create a point in the same

location as the curve’s first point.

Interface

Yes—Closes the curve and ends curve creation.

No—Keeps the curve open and does not end curve

creation.

1236 Chapter 9: Surface Modeling

Rebuild CV Curve Dialog

Modify panel > Select NURBS object. > Stack display >

Curve sub-object level > Select an independent CV curve

sub-object. > CV Curve rollout > Rebuild button

TheRebuildbuttonforCVcurvesdisplaysthis

dialog. It lets you specify how to rebuild the curve.

Rebuildingthecurvecanchangeitsappearance.

Interface

Tolerance—Rebuilds the curve according to

accuracy. The lower the Tolerance value, the more

accurate the rebuild. Increasing Tolerance enables

the curve to be rebuilt using fewer CVs.

Number—(The default.) Lets you alter the number

of CVs in the curve.

Preview—When on (the default), your changes are

previewed in viewports.

Rebuild CV Surface Dialog

Modify panel > Select NURBS object. > Stack display >

Surface sub-object level > Select an independent CV

surface sub-object. > CV Surface rollout > Rebuild button

The Rebuild button for CV surfaces displays this

dialog. It lets you specify how to rebuild the

surface. Rebuilding the surface can change its

appearance.

Interface

Tolerance—Rebuilds the surface according to

accuracy. The lower the Tolerance value, the more

accurate the rebuild. Increasing Tolerance enables

the surface to be rebuilt using fewer CVs.

Number—(The default.) Lets you alter the number

of CVs in the surface. Number in U specifies the

number in the U dimension, and Number in V

specifies the number in the V dimension. These

values default to the numbers that already exist in

the surface.

Preview—When on (the default), your changes are

previewed in viewports.

Rebuild Texture Surface Dialog

Modify panel > Select NURBS surface sub-object. >

Surface sub-object level > Material Properties rollout >

Texture Channels group box > Turn on Gen. Mapping

Coords. > Texture Surface group box > Choose

User-Defined. > Edit Texture Surface button > Edit

Texture Surface dialog > Rebuild button

This dialog rebuilds the texture surface and lets

you change the number of CV rows or columns.

Reparameterize Dialog 1237

Interface

Number in U—Sets the number of CV columns.

Number in V—Sets the number of CV rows.

Reparameterize Dialog

Modify panel > Select NURBS object. > Stack display >

Curve sub-object level > Select an independent CV curve

sub-object. > CV Curve rollout > Reparam. button

Modify panel > Select NURBS object. > Stack display

> Curve sub-object level > Select an independent CV

surface sub-object. > CV Surface rollout > Reparam.

button

The Reparam. button for CV curves and surfaces

displays this dialog. Reparameterizing a CV

sub-object changes its parameter space (page

3–988) to provide a better relation between control

point locations and the shape of the sub-object.

Tip: It is a good idea to reparameterize after you

have added CVs to a curve or surface by refining

or inserting.

Interface

Chord Length—Chooses the chord-length

algorithm for reparameterization.

Chord-length reparameterization spaces knots (in

parameter space (page 3–988)) based on the square

rootofthelengthofeachcurvesegment.

Chord-length reparameterization is usually the

best choice.

Uniform—Spaces the knots uniformly.

A uniform knot vector has the advantage that

the curve or surface changes only locally when

you edit it. With chord-length parameterization,

moving any CV can potentially change the entire

sub-object.

Maintain Parameterization—When on, the curve is

automatically reparameterized as you edit it, using

the currently active method of reparameterization.

When off, no reparameterization happens unless

you use this dialog. Default=off.

Preview—Ifon(thedefault),displaystheeffectsof

reparameterizing in viewports.

Sub-Object Clone Options Dialog

Modify panel > Select NURBS surface or curve sub-object.

>Shift +Clone. > Clone Options dialog

When you Shift +Clone (page 1–478) asurface

orcurvesub-object,theCloneOptionsdialog

appears. This dialog asks whether you want the

clone to be a relational copy, an independent copy,

or a transform.

1238 Chapter 9: Surface Modeling

Interface

Relational Copy—The cloned object is the same

typeastheoriginal. Iftheoriginalobjectwasa

dependent object, the clone includes copies of the

parents. For example, when you clone a Blend

surface, the clone remains a Blend surface and its

two parent surfaces are copied along with it.

Because all related sub-objects are copied,

Relational Copy can be time-consuming.

Independent Copy—The cloned object is an

independent CV curve or CV surface. It has

thesameshapeastheoriginal,butitsrelational

dependencies aren’t copied. This method of

cloning uses less time and memory, although

you lose the relational properties. For example,

when you clone a Blend surface, the clone is an

independent CV surface.

Copy as Transform Object(s)—The "clone" is

actually a transform curve or transform surface,

based on the original object and still dependent

on it. This lets you create transform curves and

surfaces based on a rotation and scale as well as

on translation.

Include Parent(s)—(Available only for Independent

Copy or Copy as Transform Object(s).) Tells the

system whether or not to include the parents of

the dependent object. For example, if Include

Parent(s) is on when you clone a blend surface, the

two parent surfaces are also cloned as independent

CV surfaces. If Include Parent(s) is off, only the

onecurveorsurfaceiscloned.Cloningisslower

when Include Parent(s) is on, although quicker

than Relational Copy.

Select By Material ID Dialog

Modify panel > Select NURBS object. > Stack display >

Curve sub-object level > Select By ID button.

This dialog lets you select curve sub-objects by the

material ID number assigned to them.

Interface

ID—Specifies the material ID you want to select.

Clear Selection—When on, replaces the current

selection (if any) by the material ID selection.

When off, adds the material ID selection to the

current selection set.

Curve and Surface

Approximation

Curve Approximation

Modifypanel>Selecttop-levelNURBSobject.>Curve

Approximation rollout

Although NURBS curves are analytically

generated, in order to generate and display them

they must be approximated by line segments.

Surface Approximation 1239

Curve approximation controls are displayed in the

creation parameters for curve objects, and on a

Curve Approximation rollout for NURBS models

(top-level NURBS objects). At the model level,

approximation controls affect all curve sub-objects

in the model.

Curve approximation is accomplished by segments.

Oneormorelinesegments,orsteps, are used

to approximate each segment of the curve. For

point curves, a segment of a curve is the portion

between one point and the next. For CV curves,

the segment is determined by the CV’s parametric

knot (page 3–961). The transition from one CV

curve segment to another isn’t visible in viewports.

Curve approximation parameters aren’t

animatable.

Interface

Steps—The maximum number of line segments

used to approximate each curve segment. If the

curve displays or renders with angles, increase this

value. This control is unavailable when Adaptive

is on. Range=1 to 100.

Optimize—Tur n on this che ck box to opt imize t he

curve. When on, interpolation uses the specified

Steps value unless two segments are collinear, in

which case they are converted to a single segment.

This control is unavailable when Adaptive is on.

Adaptive—(The default.) Segments the curve

adaptively, based on its curvature. In other words,

the curve is assigned more segments where its

curvature is greatest, and fewer segments where

its curvature is less.

Surface Approximation

Modify panel > Select top-level NURBS object. > Surface

Approximation rollout

Modify panel > Select NURBS surface sub-object. >

Surface Approximation rollout

Although NURBS surfaces are analytically

generated, in order to generate and display them

they must be approximated by faces. You use the

controls described in this section to set the type of

approximation used and its parameters.

The Surface Approximation rollout controls how

surfacesub-objectsintheNURBSmodelare

approximated for purposes of rendering and

viewport display. NURBS can be approximated

differently in viewports and in the renderer.

Typicallyyouwantviewportdisplaytobeclear

and quick, while you want rendered display to be

smooth, accurate, and "realistic." However, the

approximation you choose for viewports creates a

mesh, and the kind of mesh you choose can affect

the behavior of modifiers that you later apply to

the NURBS model.

The first two controls on this rollout are radio

buttons for selecting the kind of display output,

viewport or renderer, these parameters control.

Surface approximation parameters are not

animatable.

Note: Ifthesizeorshapeofasurfacechanges

over time, the tessellation used to approximate it

can change (automatically) as well. This has the

advantage of improving render time in animations.

It has the disadvantage that you can’t apply image

motion blur (page 3–955) to NURBS objects

whose tessellation changes during animation. The

Regular method of tessellation is the exception:

it doesn’t change when animated, so you can use

image motion blur with Regular tessellation.

1240 Chapter 9: Surface Modeling

Surface Approximation Per Surface

By default, surface sub-objects use the same

approximationsettingsasthetop-levelNURBS

model. You can override these settings.

Each surface sub-object now has a Surface

Approximation rollout of its own. The controls

on this rollout are disabled unless you turn off

the Lock to Top Level toggle. With this toggle

turned off, you can choose approximation settings

specific to this surface sub-object.

Interface

Tessellation group

Viewports—When chosen, the rollout affects

how surfaces in the NURBS object are displayed

interactively in viewports, including shaded

viewports, and by the preview renderer.

The Viewports surface settings are also used when

youapplyameshmodifiersuchasMeshSelectto

the NURBS object. This is important because the

modifier can affect the scene’s geometry.

Renderer—When chosen, the rollout affects how

surfaces in the NURBS object are displayed by

the renderer, and by the draft renderer for Quick

Render.

The next cluster of buttons lets you choose which

portions of the geometry are affected by the

surface approximation settings.

Base Surface—Settingsaffecttheentiresurface.

This is the default.

Surface Edge—Turn on to set approximation values

fortessellatingsurfaceedgesthataredefinedby

trim curves. With Lock turned off, the surface and

edge tessellation values are independent of each

other.

For object-level surfaces, this is unavailable unless

Lock (described below) is turned off.

Displaced Surface—Tu rn on to se t a thi rd ,

independent approximation setting for surfaces

that have a displacement map (page 2–1511)

applied to them. Available only when Renderer is

chosen.

Using a preset approximation setting (in the

Presets group box) should give you faster results

for displaced surfaces.

Lock—(for object-level surfaces only) Locks the

BaseSurfacesettingstotheSurfaceEdgesettings.

In other words, surfaces and surface edges have a

relational tessellation setting unless Lock is turned

off. Default=on.

Surface Approximation 1241

Tessellation Presets group

Lets you choose a preset low, medium, or high

quality surface approximation. While a preset

is chosen, the values it uses are displayed on the

Tessellation Method rollout.

Preset values are saved in the 3dsmax.ini (page

1–18) file. You can customize the preset values

by using the Surface Approximation utility (page

1–1245).

Low—Selects a (comparatively) low-quality surface

approximation.Thesearethedefaultvalues:

Viewports, Base Surface:

Method=Spatial and Curvature Edge=50.0

Distance=50.0 Angle=50.0 Merge=0.0 Advanced

Parameters > Minimum=0, Maximum=3

Renderer, Base Surface:

Method=Spatial and Curvature Edge=20.0

Distance=20.0 Angle=15.0 Merge=0.01 Advanced

Parameters > Minimum=0, Maximum=3

Renderer, Displaced Surface:

Method=Spatial and Curvature Edge=20.0

Distance=20.0 Angle=10.0 Merge=(Unavailable)

Advanced Parameters > Minimum=0,

Maximum=2

Keyboard shortcut: Alt+1

Medium—(The default for both viewports and

rendering.) Selects a medium-quality surface

approximation.Thesearethedefaultvalues:

Viewports, Base Surface:

Method=Spatial and Curvature Edge=20.0

Distance=20.0 Angle=15.0 Merge=0.0 Advanced

Parameters > Minimum=0, Maximum=3

Renderer, Base Surface:

Method=Spatial and Curvature Edge=10.0

Distance=15.0 Angle=10.0 Merge=0.01 Advanced

Parameters > Minimum=0, Maximum=4

Renderer, Displaced Surface:

Method=Spatial and Curvature Edge=10.0

Distance=10.0 Angle=4.0 Merge=(Unavailable)

Advanced Parameters > Minimum=0,

Maximum=3

Keyboard shortcut: Alt+2

High—Selects a high-quality surface

approximation. These are the default values:

Viewports, Base Surface:

Method=Spatial and Curvature Edge=5.0

Distance=15.0 Angle=10.0 Merge=0.0 Advanced

Parameters > Minimum=0, Maximum=3

Renderer, Base Surface:

Method=Spatial and Curvature Edge=5.0

Distance=5.0 Angle=3.0 Merge=0.01 Advanced

Parameters > Minimum=0, Maximum=4

Renderer, Displaced Surface:

Method=Spatial and Curvature Edge=5.0

Distance=5.0 Angle=2.0 Merge=(Unavailable)

Advanced Parameters > Minimum=0,

Maximum=4

Keyboard shortcut: Alt+3

Note: The keyboard shortcuts for surface

approximation presets don’t require that the

KeyboardShortcutOverrideTogglebeon.You

can change the surface approximation of NURBS

objects by selecting them in a viewport, and then

using Alt+1 ,Alt+2 ,or Alt+3 .Thisworksfor

sub-objectsaswell,butthesurfacesub-object’s

Lock to Top Level toggle must be turned off.

Tessellation Method group

The controls in this group affect the display of the

NURBS surface in viewports if you have chosen

Viewports above, or by the renderer if you have

chosen Renderer above. You can choose between

1242 Chapter 9: Surface Modeling

five algorithms. Each approximates NURBS

surfaces by tessellating them in a different way.

Generally speaking, if the preset values you have

chosen give good results, you don’t need to adjust

the controls on this rollout. Adjust them if you

encounter problems with the preset alternative.

Tips

• Viewport Tessellation: The tessellation method

creates the mesh. If you modify the NURBS

object with Mesh Select (page 1–719),choose

the method that gives the result you need. If

you use modifiers heavily, Spatial or Parametric

might be better than Curvature, because of

their regular tessellation. Curvature-dependent

tessellation can cause problems with some

modifiers.

• Renderer Tessellation: Spatial and Curvature

usually obtains the most accurate rendering.

Curvaturecanbethemoreefficientchoice

when you render animated surfaces.

Lock to Top Level—(for sub-object surfaces only)

When on, the surface sub-object uses the same

surface approximation settings as the top-level

NURBS model, and other controls on this rollout

are disabled. When turned off, you can set the

sub-object approximation to differ from the

top-level model. Default=on.

Regular—Generatesafixedtessellationacrossthe

surface based on U Steps by V Steps. Increasing

these parameters increases accuracy at a cost of

speed, and vice versa, but in general this can be the

quickest and least accurate way to approximate a

NURBS surface. Very low values for U and V Steps

using the Regular method usually doesn’t provide

good results. Model complexity increases slowly

as U and V Steps values increase.

Regular mesh of the NURBS teapot

Parametric—Generates an adaptive tessellation

based on U Steps by V Steps. Low values for U

and V Steps using the Parametric method often

provide good results. Model complexity increases

rapidlyasUandVStepsvaluesincrease,so

take care when you switch from Regular, which

generally requires higher U and V values, to

Parametric, where lower U and V values generally

suffice.

For example, if you convert a teapot to NURBS and

set the U and V steps to 15, the Regular method

generates 4470 faces but the Parametric method

generates 204960 faces.

Parametric mesh of the NURBS teapot

Spatial—Generates a uniform tessellation made

of triangular faces.

Surface Approximation 1243

The Edge parameter specifies the maximum

length of a triangular face in the tessellation. The

valueisapercentageoftheobject’sbounding

box. Decreasing this value increases accuracy but

increases rendering time.

Spatial mesh of the NURBS teapot

Curvature—(The default.) Generates a variable

tessellation based on the curvature of the surface.

The tessellation has a finer grain where the surface

is more curved. Changing surface curvature

dynamically changes the curvature tessellation.

The Distance parameter specifies how far the

approximation can deviate from the actual NURBS

surface. Distance is a percentage of the diagonal of

each surface’s bounding box. Each surface in an

object is tessellated based on its size, independently

of other surfaces. Scaling a surface doesn’t change

its tessellation. Decreasing this value increases

accuracy but increases rendering time. When

you set Distance to 0.0, the software ignores this

parameter and uses the Angle to control accuracy.

The Angle parameter specifies the maximum angle

between faces in the approximation. Decreasing

this value increases accuracy but increases

rendering time. When you set Angle to 0.0, the

softwareignoresthisparameterandusesDistance

to control accuracy.

When both Distance and Angle are 0.0, the

surfaces degenerate and can become flat surfaces.

Curvature mesh of the NURBS teapot

Spatial and Curvature—Combines the spatial

(edge-length) method and the curvature (distance

and angle) methods, using all three values.

TheEdgeparameterspecifiesthemaximum

length of a triangular face in the tessellation. The

valueisapercentageoftheobject’sbounding

box. Decreasing this value increases accuracy but

increases rendering time. When you set Edge

to 0.0, the effect is equivalent to the Curvature

method.

The Distance parameter specifies how far the

approximation can deviate from the actual

NURBS surface. Distance is a percentage of the

diagonal of each surface’s bounding box. Each

surface in an object is tessellated based on its size,

independently of other surfaces. Scaling a surface

doesn’t change its tessellation. Decreasing this

value increases accuracy but increases rendering

time. When you set Distance to 0.0, the software

ignores this parameter and uses the Edge and

Angle values to control accuracy.

The Angle parameter specifies the maximum angle

between faces in the approximation. Decreasing

this value increases accuracy but increases

rendering time. When you set Angle to 0.0, the

1244 Chapter 9: Surface Modeling

software ignores this parameter and uses the Edge

and Distance values to control accuracy.

When Distance, Angle, and Edge are all 0.0, the

surfaces degenerate and can become flat surfaces.

Spatial and Curvature mesh of the NURBS teapot

View-Dependent—(for the Renderer only) When

on, takes the object’s distance from the camera

into account while calculating tessellation. This

can improve rendering time by not generating

fine-grained tessellations for objects in the distance

of the rendered scene. The view-dependent effect

works only when you render camera or perspective

views. It doesn’t work in orthographic views. This

controlisdisabledwhileViewportsisactive.

For the Spatial, Curvature, and Spatial and

Curvature methods, the Distance and Edge values

specify pixels instead of 3ds Max units when

View-Dependent is on.

Note: When View-Dependent is on, tessellation

quickly reaches the maximum subdivision limit.

You might want to increase this value to 7 (the

greatest value allowed). See the description of

Advanced Parameters, below.

Merge (sub-object surfaces only)—Controls the

tessellation of surface sub-objects whose edges

are joined or very nearly joined. When input

to a modifier (such as Mesh Select) requires a

mesh, and when NURBS surfaces are tessellated

for production rendering, by default the software

adjusts the tessellation of adjoining surfaces to

match each other, in terms of the number of faces

along the edges. The Merge parameter controls

howthisisdone.IfMergeiszero,adjoiningfaces

are unchanged. Increasing the value of Merge

increases the distance the software uses to calculate

how edges should match, guaranteeing no gaps

between the surfaces when they are rendered.

Default=0.0.

In most cases, you don’t need to adjust Merge. If

rendering shows gaps between nearly adjoining

faces, increase Merge to eliminate them.

Technically,theMergevalueis0.1percentofthe

diagonal of the object’s bounding box. In other

words, a Merge value of 1.0 (higher than necessary

for most purposes) is 0.1 percent of the length

of the diagonal. Because Merge is based on the

object’s dimensions, you can scale the NURBS

model without affecting the Merge setting.

Advanced Parameters—Click to display the

Advanced Surface Approximation dialog (page

1–1245). The parameters in this dialog apply to

the Spatial, Curvature, and Spatial and Curvature

approximation methods.

Clear Surface Level—(Appears only for top-level

surfaces.) Clears all surface approximation

settings assigned to individual surface sub-objects.

When you click this button, all surface-specific

approximations are lost, and Lock to Top Level is

on for surface sub-objects.

Advanced Surface Approximation Dialog 1245

Advanced Surface Approximation

Dialog

Modify panel > Select a NURBS surface object or

surface sub-object. > Surface Approximation rollout >

Tessellation Method group box > Turn off Lock to Top

Level > Advanced Parameters button

Select an editable mesh object. > Modify panel > Surface

Properties rollout > Advanced Parameters button

This dialog sets parameters that control the

tessellation used in the Spatial, Curvature, and

Spatial and Curvature approximation methods.

Interface

Subdivision Style

Chooses the method used to subdivide the surface:

Grid—Subdivides the surface using a regular grid.

Tree—(The default.) Subdivides the surface using

a binary tree.

Delaunay—Subdivides the surface using nearly

equilateral triangles.

Delauney surface subdivision style

Subdivision Limits

For Grid or Tree subdivisions, the limits control

the number of recursive decompositions that are

performed during tessellation.

Minimum Subdivision Levels—Sets the minimum

number of recursions. Default=0.

Maximum Subdivision Levels—Sets the maximum

number of recursions. The maximum can be no

greater than 7. Be careful: setting the maximum

greater than 5 can result in massive face counts

and poor performance. Default=3.

Maximum Number of Triangles

For Delaunay subdivision, the Maximum Number

ofTrianglesletsyouspecifythemaximumnumber

of triangles into which the surface will be divided.

Default=20000.

Surface Approximation

Utility

Utilities panel > Utilities rollout > More button > Utilities

dialog > Surface Approximation

The Surface Approximation utility lets you change

approximation and display settings without going

1246 Chapter 9: Surface Modeling

into the NURBS model, and is especially useful

for changing settings on multiple NURBS objects

at once.

It has two rollouts, one for surface approximation

and the other for surface display controls.

Surface Approximation Rollout (page 1–1246)

Surface Display Rollout (page 1–1252)

Procedure

To use the Surface Approximation utility:

1. On the Utilities panel, click the More button,

and choose Surface Approximation from the

list.

2. Set the desired options on the Surface

Approximation and Surface Display rollouts.

3. Select the NURBS objects to apply the settings

to.

4. On the Surface Display rollout, click Set

Selected to apply the settings.

Surface Approximation Rollout

Utilities panel > Utilities rollout > More button > Utilities

dialog > Surface Approximation > Surface Approximation

rollout

The controls in the Surface Approximation rollout

are the same as the surface approximation (page

1–1239) controls for NURBS (page 1–1078) surface

objects, with two additional buttons: Set Selected

and Reset.

Interface

Surface Approximation Rollout 1247

Iso Parametric Lines group

Thecontrolsinthisgroupboxaffectthedisplayof

the NURBS surfaces in viewports.

ULinesandVLines—The number of lines used to

approximate the NURBS surfaces in viewports,

alongthesurface’slocalUandVdimensions,

respectively. Reducing these values can speed up

the display of the surface, but reduce accuracy

of the display. Increasing these values increases

accuracy at the expense of time. Setting one of

these values to 0 displays only the edge of the

object in the corresponding dimension.

Iso Only—When chosen, all viewports display iso

line (page 3–959) representations of the surface.

Iso (parametric) lines are similar to contour lines.

ThelinesshowwheretheNURBSsurfacehas

a constant U value or V value or both. Iso line

representations can be less crowded and easier to

visualize than wire mesh representations.

Iso and Mesh—(The default.) When chosen,

wireframe viewports display iso line

representations of the surface, and shaded

viewports display the shaded surface.

Mesh Only—When chosen, wireframe viewports

display the surface as a wire mesh, and shaded

viewports display the shaded surface.

In wireframe viewports, this option lets you see

the surface approximation used for viewports.

Iso and mesh displays of a NURBS teapot

Viewports—When chosen, the utility affects how

surfaces in the NURBS objects are displayed

interactively in viewports, including shaded

viewports, and by the preview renderer.

The Viewports surface settings are also used when

youapplyameshmodifiersuchasMeshSelectto

the NURBS objects. This is important because it

can affect the scene’s geometry.

Renderer—When chosen, the utility affects how

surfaces in the NURBS objects are displayed by

the renderer, and by the draft renderer for Quick

Render.

Base Surface—When on, settings affect entire

surfaces in the selection set. Default=on.

Surface Edge—When on, settings affect the

tessellation of surface edges that are defined by

trim curves.

Displaced Surface—Enabled only when Renderer

is chosen. Turn on to set a third, independent

approximation setting for surfaces that have a

displacement map (page 2–1511) or Displace (page

1–629) modifier applied to them.

Load Tessellation Preset group

Lets you choose a preset low, medium, or

high-quality level of surface approximation. While

a preset is chosen, the values it uses are displayed

in the Tessellation Method group box.

Preset values are saved in the 3dsmax.ini file.

You can customize the preset values by using

the buttons in the following group box, Save

Tessellation Preset.

Low—Selects a (comparatively) low-quality level

of surface approximation. These are the default

values:

Viewports, Base Surface:

Method=Spatial and Curvature

Edge=50.0

1248 Chapter 9: Surface Modeling

Distance=50.0

Angle=50.0

Merge=0.0

Advanced Parameters > Minimum=0,

Maximum=3

Renderer, Base Surface:

Method=Spatial and Curvature

Edge=20.0

Distance=20.0

Angle=15.0

Merge=0.01

Advanced Parameters > Minimum=0,

Maximum=3

Renderer, Displaced Surface:

Method=Spatial and Curvature

Edge=20.0 Distance=20.0

Angle=10.0 Merge=(Unavailable)

Advanced Parameters > Minimum=0,

Maximum=2

Medium—(The default for both viewports and

rendering.) Selects a medium-quality level of

surfaceapproximation. Thesearethedefault

values:

Viewports, Base Surface:

Method=Spatial and Curvature

Edge=20.0

Distance=20.0

Angle=15.0

Merge=0.0

Advanced Parameters > Minimum=0,

Maximum=3

Renderer, Base Surface:

Method=Spatial and Curvature

Edge=10.0

Distance=15.0

Angle=10.0

Merge=0.01

Advanced Parameters > Minimum=0,

Maximum=4

Renderer, Displaced Surface:

Method=Spatial and Curvature

Edge=10.0

Distance=10.0

Angle=4.0

Merge=(Unavailable)

Advanced Parameters > Minimum=0,

Maximum=3

High—Selects a high-quality level of surface

approximation. These are the default values:

Viewports, Base Surface:

Method=Spatial and Curvature Edge=5.0

Distance=15.0 Angle=10.0 Merge=0.0 Advanced

Parameters > Minimum=0, Maximum=3

Renderer, Base Surface:

Method=Spatial and Curvature

Edge=5.0

Distance=5.0

Angle=3.0

Merge=0.01

Advanced Parameters > Minimum=0,

Maximum=4

Renderer, Displaced Surface:

Surface Approximation Rollout 1249

Method=Spatial and Curvature

Edge=5.0

Distance=5.0

Angle=2.0

Merge=(Unavailable)

Advanced Parameters > Minimum=0,

Maximum=4

Save Tessellation Preset group

Click a button to save the current Tessellation

Method settings as a new Low, Medium, or High

preset. These values are saved in the 3dsmax.ini

file.

Note: There is a separate Low, Medium, and High

preset for Base Surface and Displaced Surface

approximation. Check whether Base Surface or

Displaced Surface is on before you use the buttons

in this group box to save a custom preset.

Customizingpresetvaluesoverwritesthedefault

presets. To restore the defaults, you can re-enter

the default preset values shown above, and then

save them with the corresponding button. You can

also restore defaults by editing the 3dsmax.ini file

to delete the custom preset values.

When you customize the preset values, there is no

necessary correlation between the button names

and the quality of surface approximation. The

software has no way of knowing how "good" a

tessellation is, and you can save a very high-quality

surfaceapproximationintheLowpreset,for

example.

Tessellation Method group

Thecontrolsinthisgroupboxaffectthedisplay

of the NURBS surfaces in either viewports,

ifViewportsischosen,orbytherenderer,if

Renderer is chosen. You can choose between five

algorithms. Each approximates NURBS surfaces

by tessellating them in a different way.

Note: When Viewports is chosen, you must also

choose Mesh Only in order to see the effect of the

Mesh Parameter settings in wireframe viewports.

Generally speaking, if the preset values you have

chosen give good results, you don’t need to adjust

thecontrolsinthisrolloutfurther.Usethemifyou

encounter problems with the preset alternative.

Tips

• Viewport Tessellation: The tessellation method

creates the mesh, so if you modify the NURBS

object with Mesh Select, choose the method

that gives the result you need. If you use

modifiers heavily, Spatial or Parametric might

be better than Curvature, because of their

regular tessellation. Curvature-dependent

tessellation can cause problems with some

modifiers.

• Renderer Tessellation: Spatial and Curvature

usually obtains the most accurate rendering.

Curvaturecanbethemoreefficientchoice

when you render animated surfaces.

Regular—Generatesafixedtessellationacrossthe

surface based on U Steps by V Steps. Increasing

these parameters increases accuracy at a cost of

speed, and vice versa, but in general this can be the

quickest and least accurate way to approximate a

NURBS surface. Very low values for U and V Steps

using the Regular method usually doesn’t provide

good results. Model complexity increases slowly

as U and V Steps values increase.

Parametric—Generates an adaptive tessellation

based on U Steps by V Steps. Low values for U

and V Steps using the Parametric method often

provide good results. Model complexity increases

rapidlyasUandVStepsvaluesincrease,so

take care when you switch from Regular, which

generally requires higher U and V values, to

Parametric, where lower U and V values generally

suffice.

1250 Chapter 9: Surface Modeling

For example, if you convert a teapot to NURBS and

set the U and V steps to 15, the Regular method

generates 4470 faces but the Parametric method

generates 204960 faces.

Parametric mesh of the NURBS teapot

Spatial—Generates a uniform tessellation made

of triangular faces.

The Edge parameter specifies the maximum

length of a triangular face in the tessellation. The

valueisapercentageoftheobject’sbounding

box. Decreasing this value increases accuracy but

increases rendering time.

Spatial mesh of the NURBS teapot

Curvature—Generates a variable tessellation based

on the curvature of the surface. The tessellation

has a finer grain where the surface is more curved.

Changing surface curvature dynamically changes

the curvature tessellation.

The Distance parameter specifies how far the

approximation can deviate from the actual NURBS

surface. Distance is a percentage of the diagonal of

each surface’s bounding box. Each surface in an

object is tessellated based on its size, independently

of other surfaces, and scaling a surface doesn’t

change its tessellation. Decreasing this value

increases accuracy but increases rendering time.

When you set Distance to 0.0, the software ignores

this parameter and uses the Angle to control

accuracy.

The Angle parameter specifies the maximum angle

between faces in the approximation. Decreasing

this value increases accuracy but increases

rendering time. When you set Angle to 0.0, the

software ignores this parameter and uses the

Distance to control accuracy.

When both Distance and Angle are 0.0, the

surfaces degenerate and can become flat surfaces.

Curvature mesh of the NURBS teapot

Spatial and Curvature—(The default.) Combines

the spatial (edge-length) method and the

curvature (distance and angle) methods, using all

three values.

TheEdgeparameterspecifiesthemaximum

length of a triangular face in the tessellation. The

Surface Approximation Rollout 1251

valueisapercentageoftheobject’sbounding

box. Decreasing this value increases accuracy but

increases rendering time. When you set Edge

to 0.0, the effect is equivalent to the Curvature

method.

The Distance parameter specifies how far the

approximation can deviate from the actual NURBS

surface. Distance is a percentage of the diagonal of

each surface’s bounding box. Each surface in an

object is tessellated based on its size, independently

of other surfaces, and scaling a surface doesn’t

change its tessellation. Decreasing this value

increases accuracy but increases rendering time.

When you set Distance to 0.0, the software ignores

this parameter and uses the Edge and Angle values

to control accuracy.

The Angle parameter specifies the maximum angle

between faces in the approximation. Decreasing

this value increases accuracy but increases

rendering time. When you set Angle to 0.0, the

software ignores this parameter and uses the Edge

and Distance values to control accuracy.

When Distance, Angle, and Edge are all 0.0, the

surfaces degenerate and can become flat surfaces.

View-Dependent—(for the Renderer only):When

on, takes the object’s distance from the camera

into account while calculating its tessellation. This

can improve rendering time by not generating

fine-grained tessellations for objects that are

in the distance of the rendered scene. The

view-dependent effect only works when you

render camera or perspective views. It doesn’t

work in orthographic views. This control is

disabled while Viewports is active.

For the Spatial, Curvature, and Spatial and

Curvature methods, when View-Dependent is on,

the Distance and Edge values specify pixels instead

of the software’s default units.

Note: When View-Dependent is on, tessellation

very quickly reaches the maximum subdivision

limit. You might want to increase this value to 7

(the greatest value allowed). See the description of

Advanced Parameters, below.

Merge—Controls the tessellation of surface

sub-objectswhoseedgesarejoinedorverynearly

joined.Wheninputtoamodifier(suchasMesh

Select)thatrequiresamesh,andwhenNURBS

surfaces are tessellated for production rendering,

by default the software adjusts the tessellation of

adjoining surfaces to match each other, in terms of

the number of faces along the edges. The Merge

parameter controls how this is done. If Merge is

zero, adjoining faces are unchanged. Increasing

thevalueofMergeincreasesthedistancethe

software uses to calculate how edges should match,

guaranteeing no gaps between the surfaces when

they are rendered. Default=0.01.

In most cases, you don’t need to adjust Merge. If

rendering shows gaps between nearly adjoining

faces, increase Merge to eliminate them.

Technically, the Merge value is one tenth of one

percent of the diagonal of the object’s bounding

box. In other words, a Merge value of 1.0 (higher

than necessary for most purposes) is 0.1 percent

of the length of the diagonal. Because Merge is

based on the object’s dimensions, you can scale the

NURBS model without affecting the Merge setting.

Advanced Parameters—Click to display the

Advanced Surface Approximation dialog (page

1–1245). The parameters in this dialog apply to

the Spatial, Curvature, and Spatial and Curvature

approximation methods.

Clear Surfaces—When on, the settings you choose

in this utility override all sub-object specific

surface approximation settings in the selected

NURBS models. When off, the utility affects

top-level NURBS models but settings local to

individual surface sub-objects remain unaffected.

Default=Off.

1252 Chapter 9: Surface Modeling

Set Selected—Applies the surface approximation

values active in the utility to all selected NURBS

objects.

Reset—Resets the values in the utility to the default

settings for a NURBS surface.

Surface Display Rollout

Utilities panel > Utilities rollout > More button > Utilities

dialog > Surface Approximation > Surface Display rollout

The controls in the Surface Display rollout are the

same as the display controls for NURBS surface

objects, with two additional buttons: Set Selected

and Reset.

Interface

Display group

Lattices—When on, displays control lattices, in

yellow lines. (You can change the lattice color

by using the Colors panel (page 3–799) of the

Customize User Interface dialog. The Curve CV

and Surface CV sub-object levels also have a local

Display Lattice toggle, which overrides this global

setting at the sub-object level. The Curve CV and

Surface CV settings are independent. In other

words,atthesub-objectlevel,youcanturnonthe

lattice for an object’s curves but not its surfaces,

or vice versa.

Curves—When on, displays curves.

Surfaces—When on, displays surfaces.

Dependents—When on, displays dependent

sub-objects.

Surface Trims—When on, displays surface

trimming. When turned off, displays all of a

surface even if it’s trimmed.

Transform Degrade—When on, transforming a

NURBS surface can degrade its display in shaded

viewports, to save time. This is similar to using

the Adaptive Degradation toggle for playing

animations. You can turn off this toggle so surfaces

are always shaded while you transform them, but

transforms can take longer to create.

Button set

Set Selected—Appliesthedisplaysettingsactivein

the utility to all selected NURBS objects.

Reset—Resets the values in the utility to the default

settings for a NURBS surface.

Tools for Low-Polygon

Modeling

Acoupleofutilitieshelpyoumanagethepolygon

countforscenesandanimationsthatmustnot

become too complex. Show Statistics, available

from the viewport right-click menu, lets you

monitor the number of polygons, vertices, etc.,

inthescene,aswellastheframespersecond

displayed. The Level of Detail utility, available

from the Utilities panel (page 3–778),letsyou

manage the complexity of an object in the scene.

For example, Level of Detail enables you to display

Show Statistics 1253

a complex object as simple geometry when the

object is at a distance from the camera.

Show Statistics (page 1–1253)

Level of Detail Utility (page 1–1253)

Show Statistics

Right-click a viewport label. > Show Statistics

Keyboard > 7

You can quickly access various statistics related to

your current selection and entire scene.

Note: These statistics are relevant primarily to mesh

and poly objects. Some statistics information

might be unavailable with certain other types of

object.

Procedure

To use the viewport statistics display:

1. Customize the statistics display on the

Customize menu > Viewport Configuration

dialog > Statistics panel.

2. Activate the viewport in which to display

statistics.

3. Toggle the statistics display by pressing 7or

right-clicking the viewport label and choosing

Show Statistics.

Interface

You can customize the viewport statistics by

turning on and off options on the Statistics (page

3–861) panel of the Viewport Configuration

dialog. The following statistics reflect all options

turned on.

The first column lists the statistics for the entire scene, while the

second only refers to the selected objects.

Polys —Displays the number of polygons in the

scene and selection.

Note: This is valid only for poly objects.

Tris —Displays the number of triangle faces in the

scene and selection.

Note: If you select a polygon in a poly object, this

option shows two or more triangles.

Edges —Displays the number of edges in the scene

and selection.

Verts —Displays the number of vertices in the

scene and selection.

FPS —The frames per second displayed in the

viewport.

LevelofDetailUtility

Utilities panel > Utilities rollout > More button > Utilities

dialog > Level of Detail

The Level Of Detail utility lets you construct an

object that alters its geometric complexity or level

of detail based on its size in the rendered image.

Youcreateseveralversionsofthesameobjecteach

with different levels of detail, group them as one,

and then run the Level Of Detail utility, which

automatically creates a special LOD controller as

a Visibility track. The LOD controller then hides

1254 Chapter 9: Surface Modeling

and unhides the objects in the group, depending

on their size in the rendered scene.

The main purpose of this utility is to save time in

renderingcomplexobjectsandinmanipulating

objects in the viewports. Since a portion of

rendering speed is directly related to the number

offacesthatmustberenderedinascene,usingthe

LevelOfDetailutilityletsyoureducethenumber

of rendered faces as an object reduces its apparent

size. In addition, you can use this utility to display

a simple stand-in for a more complex object in

the viewports. Since the stack is not calculated for

objects hidden in the viewports, you can speed

up viewport manipulation by using this utility

to substitute complex stack objects with simple

stand-ins.

Procedures

To set up an object for the Level Of Detail utility:

1. Create two or more objects that are identical

except for their complexity.

Note: It’s best to assign materials and mapping

coordinates, as well as all modifiers while the

objects are still separate.

2. Select all of the objects, and use the Align tool

to center all of them about a common center.

3. Group the objects.

4. Choose the Level Of Detail utility.

5. While the grouped object is selected, click the

Create New Set button.

Thenameoftheobjectswithinthegroup

appear in the Level Of Detail list, in order of

complexity; only the least complex object in the

group is displayed in the viewports, while all

otherobjectsaremadeinvisible.

6. UsethecontrolsintheLevelOfDetailrolloutto

adjust when the objects will switch their display

in the rendered scene.

To access an object’s stack:

1. Select the Level Of Detail object, and then

choose Group menu > Open.

2. In the Level Of Detail utility, choose the object

you want to access from the list window,

andthenturnonDisplayInViewports(or

double-click the object’s name in the list

window).

3. Select the object in the viewport.

4. Open the Modify panel to access that object’s

parameters.

5. When finished, choose Group menu > Close.

To assign materials within the group:

1. Select the grouped object.

2. Use Display In Viewports in the Level Of Detail

utility to display the grouped object you want

to assign the material to.

3. Drag the material from the Material Editor (or

the Browser) over to the object in the viewport.

4. Choose Assign To Object in the Assign Material

alert, and then click OK.

Note: Be sure and choose Assign To Object. If

you choose the default Assign To Selection, all

objectsinthegroupwillbeassignedthesame

material.

To dismantle a Level Of Detail object:

IfyoulookataLevelOfDetailobjectinTrack

View, you’ll see only the tracks for the sub-object

that’s currently displayed in the viewports. To see

all sub-objects in Track View, you need to turn off

Visible Objects.

If you need to dismantle a grouped Level Of

Detail object, and restore its sub-objects to their

independent states, follow these steps:

1. Open the Filters dialog in Track View, and turn

off Visible Objects in the Show Only group box.

LevelofDetailUtility 1255

2. The tracks for all of the sub-objects in the Level

Of Detail object are now visible.

3. Open the hierarchy of each of the sub-objects,

and then select each of their Visibility tracks.

4. On the Track View toolbar, click the Delete

Controller button.

5. If you also want to remove the grouping, select

the grouped objects, and then choose Explode

in the Group menu.

Interface

LevelofDetailSetgroup

Lets you create a new set, and add or remove

objects from the current set.

Create New Set—Creates a new Level of Detail set

based on a currently selected group object.

1256 Chapter 9: Surface Modeling

Add To Set—Adds an object to the Level of Detail

set.Youmustfirstattachtheobjectyouwantto

add to the group object. To add an object to the

set, use Align to center the object with the group

object. Select the object you want to add, and then

choose Attach from the Group menu, and then

click the group object. Finally, click the Add to Set

button, and then click the object you want added.

Remove from Set—Removes the object highlighted

in the list window from the current set. Note that

the object then becomes visible in the viewports,

butisstillpartofthegroup.Toremovetheobject

from the group, choose Group menu > Open,

select the object you want removed, and choose

Group menu > Detach. Select the group object

again, and choose Group menu > Close.

Image Output Size group

Width/Height—The Width and Height spinners in

this area are set to the current rendering output

size each time you enter the Level of Detail utility.

Using the spinners, you can change this to any

resolution. If the percent of Target Image option is

selected, as you change the Target Image Size, the

thresholdvalueschangeaswell.

Reset to Current—Resets both spinners to the

current rendering output size.

List window—Lists all of the objects in the group by

complexity, with the least complex at the top of the

list. The numbers at the left of each object name

are the threshold values that indicate at what size

theobjectwillbedisplayedintherenderedscene.

The numbers can be one of two types of units,

pixels, or percentage of the target image. You set

thetypeofunitintheThresholdUnitsgroup.

Display in Viewports—Displays in the viewport the

object highlighted in the list window. Only one

object in the group is displayed in the viewports at

any time. As a default, the least complex object is

displayed, but you can look at the other objects

by highlighting them in the list and selecting this

item. Double-clicking the object name in the list

performsthesamefunction.

Threshold Units group

The options in this group box let you choose

between two types of threshold units. Switching

between these two options does not alter the

effect; it alters the method by which you set the

thresholds.

Pixels—The thresholds are determined by

specifying the maximum pixel size of the image

(measured diagonally). Use when you want to set

the transfer thresholds using absolute rather than

relative values.

%ofTargetImage—Sets the thresholds based on

thepercentageofthesizeoftheimage(measured

diagonally) relative to the size of the rendered

output.

Thresholds group

Min Size/Max Size—Sets the minimum size of the

object before it’s replaced by the less complex

object, and the maximum size of the object before

it’sreplacedbythemorecomplexobject. The

values vary depending on the current type of

Threshold Unit. The default threshold values are

initialized so that the most complex object is 100

percentoftheimageoutputsize.Theremaining

thresholds are set using an algorithm based on a

ratio of the number of faces between each object.

It assumes that all faces are the same size, and then

picks thresholds so that the faces would remain a

constant size as displayed on the screen. Usually,

this will provide the type of smooth transition you

need, but you can customize the threshold values.

The threshold values are interrelated between

the objects, so altering the minimum size of one

object, for example, will also alter the maximum

size of the next object.

Reset All—Resets all thresholds for all objects in

the list, using the previously described algorithm.

LevelofDetailUtility 1257

Tip: You can use the Level of Detail utility to create

objects that display very simple geometry in the

viewports, while displaying complex geometry

in the rendered scene. Create a grouped Level

of Detail object consisting of only two objects,

the complex object and the simple object. Select

thesimpleobjectinthelistwindowand,inthe

Thresholds are, set its Min Size and its Max Size

to 0. This will display the simple object in the

viewports, but the complex object will always

appear in the rendered scene, regardless of its

apparent size.

Close button

Close—Closes the utility.

1258 Chapter 9: Surface Modeling

index

Symbols & Numerics

1-rail sweep surface 1–1204

2 3 4 links 2–1111, 2–1150

2 feet down 2–988, 2–997

2.5D snap 2–35

2-point perspective 2–1392

2-rail sweep surface 1–1209

2-sided 3–855, 3–901

2D coordinates rollout 2–1625

2D images 3–608

2D maps 2–1624

2D snap 2–35

2D map

glossary 3–901

32–bit floating-point output 3–613

3D coordinates rollout 2–1663

3D maps 2–1662

3D snap 2–35

viewing and navigating 3D space 1–21

3D displacement shader (mental ray) 2–1714

3D DWF

exporting 3–555

glossary 3–901

3D map

glossary 3–902

3DS files

3DS import dialog 3–530

exporting 3–532

importing 3–530

3ds Max

bones 2–834, 2–1080

knowledge of 2–832

main window 1–9

materials 3–83

3dsmax.ini file 1–17 to 1–18

about

about MAXScript 1–xvii

buttons 2–1106

footstep animation 2–856

freeform animations 2–886

absolute 2–1150

absolute snap 2–35, 2–41

absolute/offset coordinate display 3–709

abut selected (video post) 3–329

acceleration (raytrace) 2–1531

acceleration techniques (raytracer) 2–1528

acceleration test (particle flow) 2–233

accuracy 2–120, 3–815

AccuRender materials

in 3ds Max 3–455

actions (particle flow) 2–141, 3–903

action recovery 2–121

adding 2–131

and order/priority 2–124

and time frames 2–141

editing parameters 2–131

order of 2–123, 2–130

activate all maps 1–50

activate options 2–974

activating

grid object 2–34

home grid 2–34

joint axes 2–485

maps 1–50

activating footsteps 2–865

active 2–1136

active link (glossary) 3–903

active time segment 2–286

active time segment (glossary) 3–904

active viewport 1–22

active/inactive footsteps 3–904

Index

1260 Index

ActiveShade 3–17

commands (quad menu) 3–22

floater 3–21

glossary 3–904

quick render 3–17

viewport 3–21

actual stride height 2–992, 2–995

actual stride length 2–992, 2–995, 2–997

actual stride width 2–992, 2–995, 2–997

adapt locks 2–871, 2–980, 3–905

adaptation 3–905

adapting

keyframes to edits 2–871

keys to footstep edits 2–871

adaptive antialiaser dialogs 2–1533 to 2–1534

adaptive control 1–167, 1–828, 2–1534, 2–1698

adaptive degradation

glossary 3–905

override 1–34

viewport configuration dialog 3–859

adaptive subdivision dialog 1–706

add

alpha compositor (video post) 3–381

atmosphere 2–1351, 3–304

contrast filter (video post) 3–343

cross fade compositor (video post) 3–381

default lights to scene 1–49

effect 2–1351

external event (video post) 3–340

fade filter (video post) 3–344

image alpha filter (video post) 3–344

image filter event (video post) 3–335

image input event (video post) 3–332

image layer event (video post) 3–337

image output event (video post) 3–339

lens effects filter (video post) 3–345

loop event (video post) 3–342

negative filter (video post) 3–345

note track (Track View) 2–552

pseudo alpha compositor (video post) 3–382

pseudo alpha filter (video post) 3–346

scene event (video post) 3–329

simple additive compositor (video post) 3–383

simple wipe compositor (video post) 3–383

simple wipe filter (video post) 3–347

starfield filter (video post) 3–347

time tag dialog 3–710

visibility track 2–556

add change option 2–1108

add keys

function curves 2–581

Track View toolbar 2–560

add layer 2–326, 2–334

add selection to current layer 3–667

add texture elements dialog 3–164

add to track set 2–591

add twist pose 2–950

add/edit DBR host dialog 3–128

adding

comments (particle system) 2–134

editablesplinevertices 1–297

footsteps 2–863

poses 2–1096

splines 1–303, 1–308

adding controllers to bipeds 2–896

additive opacity (glossary) 3–906

adjust animation range (track bar) 3–703

adjust color dialog

vertexpaint modifier 1–949

adjust pivot rollout 2–488

adjust talent pose option 2–1065

adjust transform rollout 2–489

adjusting

default envelope shape 2–1086

keys in Track View 2–875

link parameters 2–1091

normals and smoothing 1–166

object transforms 2–432

pivots 2–423

talent pose 2–1065, 3–906

Adobe Illustrator files

exporting 3–534

importing AI 88 format 3–533

advanced effects rollout 2–1341

advanced file link settings 3–431

advanced key info 2–306

advanced lighting

object properties 1–123

select advanced lighting rollout 3–44

advanced lighting override material 2–1601

advanced quad menu options 3–801

advanced ray-traced parameters rollout 2–1356

advanced rollout 1–791

advanced shaders rollout

mental ray material 2–1548

advanced surface approximation dialog 1–1245

AEC design elements 1–210

AEC extended 1–210

editing wall objects 1–228

foliage 1–214

railing 1–217

wall 1–223

affect region 1–557

soft selection rollout (EMesh) 1–963

soft selection rollout (NURBS) 1–1147

affine transformation (glossary) 3–906

Index 1261

after trajectory 2–944

age test 2–211

AI import dialog 3–524

airborne option 2–988, 2–995, 2–997

airborne periods 2–878, 3–906

aliasing/antialiasing

alias against background 3–826

and supersampling 2–1459

fast adaptive 2–1533

filters 1–567, 3–38

glossary 3–907

multiresolution adaptive 2–1534

align 1–462

align geometry dialog (edit poly) 1–679

and pivot point 2–488

camera 1–468

dialog 1–462

editable mesh objects 1–1011

editable mesh vertices 1–1011

flyout 1–462

grid to view 2–35

keys (Track View) 2–556

normals 1–465, 2–10

objects 2–8

selected left (video post) 3–328

selected right (video post) 3–328

to view (dialog) 1–468

to view (toolbar) 1–468

all bipeds 2–944

all links 2–1150

allow non-vertical jambs 1–210

alpha channel 3–272, 3–907

alpha compositor (video post) 3–381

alpha map (baking) 3–149

alternate 2–992, 2–995, 2–997

altitude (sunlight and daylight systems) 1–421

ambient

and diffuse map lock 2–1474

and raytrace materials 2–1514

color (glossary) 3–908

light 2–1276, 2–1279 to 2–1280, 3–908

lighting (rendered environment) 3–272

mapping 2–1497

ambient occlusion map (baking) 3–149

analysis of lighting 3–76

analyze errors 2–1017

analyze panel 2–1017

analyzing

Shockwave 3D files 3–585

W3D files 3–585

anatomy of biped 2–846

anchor (VRML97 helpers) 3–597

anchor patches 1–968

anchors 2–962

angle 1–286, 2–1070

transition editor 2–1051

angle of incidence 2–1276, 2–1279

angle separation 3–826

angle snap 2–37

angular dashpot 2–732

animatable IK attachments to 3ds Max objects 2–908

animated

bitmap 2–1450

material previews 2–1450

reference objects (particle flow) 2–178

texture 3–908

animating

a biped with footsteps 2–856

a tablecloth (FFD(cylinder) space warp) 2–95

attachment 2–433

cameras 2–1381

lens effects properties (video post) 3–349

lights 2–1282

links 2–430

materials 2–1449

NURBS models 1–1099

parameters 2–121

scene 1–8

shift+rotate 1–482

shift+scale 1–482

sub-object geometry 1–998

transforms 1–432

vertices 2–346

with applied IK 2–481

with IK solvers 2–446, 2–461, 2–472

with interactive IK 2–480

animating a quadruped 2–907

animating hair 1–520, 1–540, 1–545

animation

and particle system time frames 2–123

auto key mode 2–278

combining animations 2–1026

concepts 2–275 to 2–276

constraints 2–392

controllers 2–307, 3–909

dynamics & adaptation rollout 2–980

expanding tracks 2–886

glossary 3–909

hair and fur modifier 1–520, 1–540, 1–545

importing and exporting 2–921

importing from another scene 3–466

insert animation 1–114

layers 3–910

loading 3–474

mapping 3–478 to 3–479, 3–481

methods 2–275

1262 Index

NURBS 1–1091

preferences settings 3–828

previewing animations after attaching Physique 2–1084

sample animations in this release 2–920

saving 3–476

selecting and moving tracks 2–886

show ghosting 1–46

tips (NURBS) 1–1099

toggle animation mode 2–278

utilities 2–653

with radiosity 3–60

animation controls 3–716

animation layer weight 2–325 to 2–326

animation layers 2–325 to 2–326, 2–333 to 2–334, 3–690

animation layers toolbar 3–690

animation menu 3–681

bone tools 1–411

constraints 2–371, 2–392 to 2–393, 2–396, 2–398,

2–401, 2–406, 2–409

create bones 1–404

dummy 2–16

IK solvers 2–440, 2–473

make preview 3–168

parameter collector 1–138

parameter editor 1–129

previews 3–168

rename preview 3–170

view preview 3–170

wire parameters 2–411 to 2–412

animation mode

set key 2–280

animation modifiers 1–557

animationquadmenu 3–697

animation range

ignore 2–521

respect 2–521

animation workbench 2–1012

anisotropic highlights 2–1492

anisotropic shader

anisotropy mapping 2–1504

basic parameters rollout 2–1480

ankle attach option 2–846, 2–984

ankle tension 2–959

antialiasing 3–98, 3–939, 3–1005

append

.mfe file 2–1032

motion flow editor 2–1032

append footsteps 2–863, 2–936

applied ik

glossary 3–910

applied IK 2–439, 2–481, 2–491, 2–497

apply ease curve 2–584

apply ease or multiplier curve (Track View) 2–584

apply increment 2–962, 2–965

apply multiplier curve 2–584

applying materials 2–1405, 2–1409

arc 1–274

arc rotate 3–744

arch & design material

main reference 2–1549

overview 2–1562

tips & tricks 2–1569

architectural material 2–1535

advanced lighting override rollout 2–1540

and radiosity solution 2–1540

physical qualities rollout 2–1536

special effects rollout 2–1539

templates rollout 2–1536

Autodesk Print Preview C 3ds Max 9 User’s Reference Volume 1 3dsmax Ref Vol1

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