In this lesson, we're going to learn a few new formers and create the ribs of Mr. Bones here.
So we have our reference.
We have our spine.
We have our head.
We can turn off to formers if we want, but we're actually going to need those in a second.
So I'm just going to leave the farmers visible so we can see the lattice and everything else.
So there's a couple different ways we can make the ribs.
We could do box modeling where we create a box and we start extruding one of the faces here going to
right click and going to face and then going to extrude and start pulling this out and just start pulling
that out and do this kind of a thing.
Right.
Make a rib this way.
Actually, that's one way.
But I want to show you the former that can do this.
And so for us, we just need to make a long kind of tube that would kind of be like a rib, I guess,
or a box, really.
So let's grab a new box.
I'm just clicking up here in the modeling shelf.
I drag this up and I'm going to stay in perspective mode just because this is going to take a couple
of different views.
So I'm going to increase the subdivision's by going to Poly Cube and let's see which direction we want
it in the depth.
So let's just crank that up and then we can.
Well, we cannot.
Oh, I don't know why it's stuck to the that one direction there.
That was weird.
So just grab this and scale it and Z and maybe we'll increase the subdivision's and the other axes as
well.
So you'll notice like when you start scaling something and you try to do this stuff, it goes crazy.
So the proper way to do it, which it's kind of annoying, there has to be a proper way, is to use
the depth values here.
So once we do that and then we make changes, it should work just fine.
So that's one little goofy thing about working with Maya.
OK, so let's maybe increase the subdivision's here.
I'm just trying to give us enough geometry so that when we apply to the former three year old.
Correct.
Look, when we apply that a former change that's too as little too boxy.
Well, I'm trying to say is when we apply the former, it will have enough geometry there and topology
so it can curve properly.
OK, so that looks good.
And so now when we go to the deforming, you go over to non-linear.
I'm going to tear this off.
And these deformities are super useful.
And probably the bend to former is the one I use the most out of all the farmers combined.
So even lattices or whatever else.
And we'll learn about these others later on, probably in rigging.
But yeah, so non-linear.
These are super, super useful and very simple.
You can go through an experiment with these basically when you click one, it'll create kind of like
this to former let me isolate, select these so we can see it by itself.
It'll create like this little deform or handle thing and you can see it over here in the outliner and
it's just going to usually go up and down like this.
So even though our piece of geometry is horizontal, it won't really care when you create it initially.
So if I was to start to crank this one up, you know, it's not going to be working the way it should.
So, you know, you can just simply rotate the former down to line up with whatever object you have.
And then once you start adjusting it, it should work as expected.
And it's super cool.
And, you know, there's it's pretty simple, but there's, you know, handy controls like this.
And if you wanted to save this and not have the deform or of course, the geometry here and go to edit,
delete by type history, and it'll save that out and delete the former.
But we don't want this to form.
And I encourage you to just play around with the other ones.
They're all useful in their own way.
But the Binda farmers just I mean, it's it's classic.
It's hard not to use it on every project.
So I'm going to go back to isolate, select, you know, if we go over to the bean input here and I'm
going to middle mouse drag here in the viewport like I was doing earlier, you can see it's bending
and kind of the x axis direction, which is not what we want.
So we need to rotate this thing.
Check this out.
You can just kind of experiment and play and you could animate this, you know, rotation.
It could do crazy stuff.
But anyway, for our purposes, we're using it for modeling to help us kind of dial in a rib.
So, Zuhur, out the.
Crazy values and get back to being more serious about this.
So I'm gonna flip this around 180 in the Y and then I just need to rotate it 90.
Yes, so we have a rib, kind of the binda former, you can, you know, translate it around as well
so that'll, you know, adjust kind of where the point it's scaling from.
And it also has these inbound things, which I don't think will affect us as far as like the maximum
they should be at because they look like they're already to the maximum.
Right.
Like you can see the little green dot here, hopefully.
So if this was a super long thing, you might need to extend the bounds.
But what we're going to use the balance for is to kind of help, maybe adjust, let's say let's scale
this thing up, because this is like too aggressive of a curve.
Right.
And we could, you know, reduce this here, which is partly what we'll do.
But we also need to maybe scale that a former up because we want this to cover a greater area.
And let's turn back on let's turn off, isolate, select so that we can see the reference.
In general, everything is really too big.
Let's go to the front view, holding down spacebar, left, clicking in the center and just in front
of you.
So when if you tried to start to move this stuff, it's going to get all crazy.
And this may be the kind of effect you're going for.
But what I like to do is parent the handle of any the former under the geometry or applying it to that
way.
When you move the geometry, it should move with it.
You can see the handle ends here are all moving around with it and the pieces is maintaining its deformation
and shape.
So the reason I'm doing that is because the ribs kind of come down like at an angle like this.
Right.
And so we basically just need to kind of figure out where this deform our needs to line up with the
ribs and we can kind of move this around and do all this crazy stuff.
But in general, it looks like it's all way too big.
So I'm going to scale all this way down and.
Let's see, let's look at this first one.
It looks like this first one's kind of.
Like that ish, and this can kind of get us in the ballpark and then we can continue modeling on our
own, um, that looks pretty close at three.
I think maybe just the size of everything is too thick.
Let's see.
Um.
And it's not around enough.
Hmm, it depends on the shape of the rib that you want to create, but for me, this is kind of it's
too uniform, right, as a square.
So we need to break that up.
So I'm going to select a face here and select a face over there, so when I double click, it'll go
between the faces I selected.
I'm going to do the same thing here for the bottom part.
I have those faces and I'm going to control middle mouse drag them so they'll move relative to their,
um.
They move relative to their normals, which is the direction the face is facing, so I'm going to hit
B and hold on to control again.
And just kind of.
Push that I think be might be the wrong thing to do, because I think these are the normals of these
things are those faces are going in the wrong, wrong direction.
So go back to one.
Yeah, it just looks like this stuff needs to be fixed because that's all crashing into itself.
And so I'm going to turn on the edge, slide, transform, constrain here so I can just slide this stuff.
Well, it's freaking out and it looks like I can't undo that now, which is always fun.
So.
You get to see, like real time what modeling is all about, a scale this down, actually, you know,
what I might do is just delete this until the edge and use the multicar tool.
Yeah.
So this is his modeling.
Sometimes Maya is not kind some holding down shift to get to 50 percent and just remaking of these.
I wish I could remember what this went into.
Let me let me back up and see what that went to that star.
Okay.
So.
Slowing down shift.
I want to go 50 percent want to end on that one and enter and I we need to fix all this stuff as well.
This is part of modeling is when Maya freaks out, doesn't let you and do you know, you just kind of
roll with the punches here.
And it's this and.
We push back.
Sure, for the bottom as well.
So, you know, you don't have to do exactly what I'm doing.
This is.
Just kind of my best guess as to what would make the best shape here, you know, kind of rounding off
the corners of the box, actually, I want to do the controlled middle mouse drag here because they're
all kind of going in different directions because it's a semicircle now.
And you could make these adjustments before you applied the the bend, the former, which might make
all this easier.
But, you know, if you didn't have that decision made before you started, it's no big deal like I'm
showing you.
You can just kind of keep going with stuff.
And isolated, Alan.
Just control no mouse dragging three
and I mean, that looks kind of like a ribbon.
I think the middle here is probably too thick still, but I like this.
The difference we get, you know, um, get back to one.
I think these all of this stuff is too narrow, maybe someone like that, it be our skill out in this
direction, maybe a little bit in that direction.
Just making these little tweaks.
To get it back in the ballpark of, uh, proper rebe shape.
Something like that, but you get the idea and the binda to former is still applied, so we can adjust
that later.
I think we need some variation here on the vertical as well.
So I'm just going to grab these vertices and scale them down and y maybe increase the self selection.
I'll do that first one.
I go further out here.
Yeah.
I like that to the object space, so what I did just there was holding R and left clicking, you know,
same kind of deal I've been doing.
You can change the ACSI of The Manipulator.
So in general, this is kind of a bone shape right here, the front of you kind of looks like a rib
to me, but yeah, you can keep messing with this.
But this is the general idea.
You could even, you know, extrude these faces, make the ends more bony looking.
But I think for a rib, this is kind of, you know.
It's a pretty simple shape.
So one thing you can do now is to actually once you finalize this, you could just duplicate this out
and then just kind of slide it down.
Let's go back to the front of you, slide this stuff down and then kind of keep making tweaks to each
one or, you know, instead of it being the copy that you're dragging down, leave the copy where it's
at because it doesn't have the former with it.
So we've made that copy and it says Binda former.
But it's not going to do anything because it's you know, it's not connected to it.
I just copied it just for copy sake.
And it didn't actually make the connection.
So instead of dragging the copy down, why don't we drag this one down and then we can continue adjusting
each one with the binda former so we can go back to the binda former change the curvature of this one
a little bit.
But I think, you know, for our purposes, let's go to the side of you and see what this is looking
like.
Of course, we're way off and I'm sure the drawing is not accurate whatsoever.
That's kind of even hard to tell.
Which ones are rib the bottom, that one.
That's one.
So I think it was like in here somewhere.
So it looks like there are all too big in that direction because they need to connect to the spine.
But you get the kind of general idea here.
And we just want to have like an interesting shape and.
Yeah, so this is, you know, another thing we could do is add another binda former, so we have this
copy.
We could even do it to this one as well.
But let me click this one and go Binda former.
And any time have you been to form, I just crank up the curvature so I can see which direction it's
facing.
So then I know which direction to adjust the handles here and go back to perspective.
Looks like it's collapsing.
The volume of the.
The thing that might hopefully it's just because of how much I'm curving it, let's do something like
this, maybe we can move this away.
Make it out to the right view.
Something like that, and then sometimes I'll just delete it and see what the difference is and undo
the deletion.
Sorry, my arm is hitting my scroll wheel on my tablet.
So, yeah, I think it looks better with the former.
So I'm just going to drag that onto itself and go back to perspective and then just keep refining this
stuff.
You can see where because that had been the former recollapse, the geometry here, it's going to go
back to one she's faces, pull this stuff out, kind of keep modeling, doing what we've been doing,
just making sure we're getting the shape that we want with everything.
So, yeah.
And the next lesson, we all continue modeling this stuff.
But for now, you can just do this for this right side and we'll mirror everything over here in a later
lesson.
So don't worry about doing it for both sides.
Just focus on one side.
So right now I'm doing the right side and I'll probably model all the right side and then we can measure
everything over to the left in a later episode or video.
Cool.
I will see you guys then.
Thanks a lot.
Bye.