Find written and video tutorials for beginners to the most advanced users. Learn about Autodesk products such as 3ds Max, Maya, Flame and more. You can also share your own tutorials, by clicking on the ‘Submit your tutorial’ button in the top right corner. Great tutorials! When I finish these I will definitely be buying your Maya courses. I was also wondering how to install the custom UI for Maya 2019. In Documents I don’t have a 2019 folder. Just a projects folder. Looked for info online and only saw videos for customizing your own UI. Chapter 11: Material, Rendering, Visual Style, and Animation; Index. AutoCAD 2019 3D Modeling PDF Free Download Section. Now, in this section of the article, you will be able to get access to the AutoCAD 2019 3D Modeling PDF Free Download file in.pdf format. The AutoCAD 2019 3D Modeling PDF Free Download file has been uploaded to an online.
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The 3D design software Maya is a must-learn program for entertainment artists. This is used with pretty much all production pipelines from 3D animated films to simpler 2D animations like South Park.
But aside from animation it’s common for concept artists to learn Maya since it’s a huge part of video game development.
That’s why I’ve curated the best books on learning Maya ranging from novice resources to more advanced titles. No matter what you want to learn or your skill level there’s something in this list for you.
Note: If you’re more of a visual learner check out Pluralsight’s Maya video courses. These cover everything about Maya and you can test ’em out with a free trial account.
Getting Started in 3D with Maya
Red giant magic bullet suite 13 for mac free download. If you’re a complete beginner having never used Maya before in your life then pick up a copy of Getting Started in 3D with Maya.
The author Adam Watkins teaches you all about the interface and the various tools you can use in Maya. This is very helpful just so you understand why Maya is so popular and what it can do.
Early chapters talk about modeling and setting up scenery for a mock video game. This also covers organic modeling for creatures, lighting, rendering, complex textures, and even some basic animation.
This is a true beginner’s book and it gets into every little nook & cranny you’d want to learn.
With each project you’ll pick up a new skillset and you even get homework to practice on your own. This forces you to learn Maya from a pragmatic point of how you’d use it every day on the job.
Maya At A Glance
If you’re more of a visual learner then Maya At A Glance takes a novice-friendly approach to teaching.
This book assumes no prior knowledge of Maya or any 3D design program. Every chapter includes a ton of screenshots with guided tutorials to help you work through the content.
If you prefer a visual guide then you’ll love this book. Up uploader for instagram 3 7 download free. It explains things with a “how-to” writing style so you’re learning how to manipulate objects on the screen and create new 3D renderings from scratch.
![Maya 2019 – Professional 3d Modeling And Animation Tool Tutorial Maya 2019 – Professional 3d Modeling And Animation Tool Tutorial](https://i.all3dp.com/cdn-cgi/image/fit=cover,w=360,gravity=0.5x0.5/wp-content/uploads/2016/05/27055948/UV-Unwrapping-and-Texture-Painting-in-Blender-Tutorial-1.jpg)
Just note this is far from a complete guide to Maya. If anything this is the tip of the iceberg, yet it’s just enough information that it’ll whet your appetite for the software and leave you experienced enough to forge ahead on your own.
Introducing Autodesk Maya 2016
Maya 2019 – Professional 3d Modeling And Animation Tool Tutorial For Beginners
The team at Autodesk publishes their own books and the most recent one to date is Introducing Autodesk Maya 2016.
![Maya Maya](https://www.studiodaily.com/wp-content/uploads/2019/05/psd-to-3d_lead.jpg)
Don’t let the year in the title fool you. This book is only updated with newer versions of Maya but the techniques can apply to any version.
Since this is an introductory guide it works on the core fundamentals first. Over a total of 620 pages you’ll follow exercises teaching basic 3D creation, simple animation, and the various tools you can use within Maya.
But be warned these exercises are a touch harder to follow than other beginner books. In many ways that’s a good thing since you’ll be forced to learn faster.
This is a massive introduction to Maya so if you’re easily overwhelmed then start with one of the simpler intro guides. But if you’re willing to dive in and get your hands dirty this book is a godsend from the pros at Autodesk.
Simplifying Maya
If you like digital ebooks then Simplifying Maya is a great resource to teach yourself this 3D design software.
This is one of the newest books on Maya first being published in early 2016. It’s also pretty lengthy with about 588 pages covering all the fundamentals you need to know.
A big portion of this book focuses on the workflows and how you should develop a Maya design system. Naturally your workflow changes based on what you’re trying to do, but author Jana Germano explains many different workflows in very clear writing.
This book delivers exactly what the title promises. A clear no-BS guide to Maya that anyone can use.
You’ll learn a lot through step-by-step tutorials and by the end you should feel incredibly comfortable working with this program.
Beginner’s Guide to Character Creation in Maya
A lot of modelers and animators spend their time in Maya crafting characters. This often overlaps with character design where 2D concept artists might create a design, then import that into Maya for a full render.
Jahirul Amin’s Beginner’s Guide to Character Creation in Maya teaches modeling and anatomy for digital artists. You don’t need to have any artistic abilities to follow this book which may seem strange for aspiring artists.
But a lot of 3D modeling comes from experience in the software, not so much from putting pencil to paper. The real difficulty is understanding how characters work and how they move.
Every character has their own style and this includes a unique kinesiology + locomotion. If you’re an aspiring animator this is a crucial subject to understand.
This book is perfect for all entertainment artists who want to design 3D character models. The book also comes with 30 hours of video tutorials so it has a great price tag for everything you get.
The Art of Maya
Although this book calls itself an “introduction” I don’t really feel it’s suited for complete beginners.
The Art of Maya does cover a lot of fundamentals explaining all the different tools and common workflows. But the writing is very technical and this isn’t a step-by-step guide. Instead it’s more like an owner’s manual covering all the things you can do with this software.
It’s only about 256 pages but it is also one of the deepest references you’ll find on Maya.
Each chapter explains the tools/workflows for a different subject with individual sections for each tool. The main chapters cover time/space, animation, modeling, rendering, FX, and interactivity for game design.
The very last chapter offers an inside look into professional Maya with insights from 6 industry professionals.
I do recommend nabbing a copy of this book if you can, but I also recommend having some basic experience under your belt first.
Cartoon Character Animation With Maya
Some of the largest animation studios worldwide rely on Maya for their movies. So it’s no surprise that professional animators and character artists learn this software if just for job security.
Cartoon Character Animation With Maya offers a pretty simple intro to the topic of 3D animation. It does expect you to understand the fundamentals of Maya and have a sense of the basic tools.
The early chapters help to demystify animation and how Maya works in a production environment. But you’ll quickly move into more complex exercises that do require a decent background in Maya.
If you’re really into 3D animation or want to break into the animation industry then it’s worth picking up this book. There are tons of interviews with pro animators scattered throughout each chapter and those are absolutely worth reading.
But the lessons are also very pragmatic to help you see how animation in Maya really works.
3D Animation for the Raw Beginner Using Maya
Here’s another Maya animation book that’s quite a bit longer and pricier. The author Roger King has classroom teaching experience and it shines through in his writing style.
3D Animation for the Raw Beginner Using Maya is like no other book you’ll find. It totals 486 pages with dozens of exercises you can follow to learn how this complicated program functions.
Each exercise walks through clear steps explaining menu items and what you’re doing along the way. You’ll pick up a lot on modeling and professional workflows to set you on the right track from the very beginning.
All the content is extremely detailed and these lessons can apply to video games as well.
By far the best animation book for Maya but it does get into some complex topics too. This book is something you’d keep nearby while improving your skills on your own. When you reach a section that’s too hard just move onto other projects, then come back to this when you’re ready to forge ahead.
It’ll keep a newbie busy for months on end.
Creating Environments in Maya
Alongside traditional character creation is environment design. Concept artists typically craft environments in 2D and bring these to modelers for 3D rendering.
This is another digital-only book from Maya expert Jana Germano. Her writing style is just as easy to consume and this book Creating Environments in Maya is an excellent follow-up from her introductory guide Simplifying Maya.
Throughout these 210 pages you’ll learn how to design any environment you want right within Maya.
It talks about photorealism and how to work with realistic environments compared to cartoony environments. Other topics cover matte painting and ultimately what background designers need to know for working in the industry.
Definitely a great read although it does focus a lot more on realism over stylized environments.
Rig it Right! Maya Animation Rigging Concepts
I covered this book in my previous post on rigging which is a huge topic of study. Rigging is crucial for animation in movies & games to define how each model should move.
Rig it Right! Maya Animation Rigging Concepts is one of the few Maya-centric books that covers this topic in great detail.
Maya 2019 – Professional 3d Modeling And Animation Tool Tutorial Software
It’s specifically geared towards aspiring animators and modelers who want to work in the animation industry. It’s not a particularly deep subject to learn, however it can be very confusing when you first get started.
Thankfully this book is easy to read through and it covers all the fundamentals you’ll need to know. Even semi-experienced Maya users can learn a lot about rigging from these exercises.
How to Cheat in Maya 2014
How to Cheat in Maya 2014 teaches power workflows and hidden secrets that far surpass the 2014 edition of this software.
Every professional(or aspiring) Maya user should keep a copy of this book nearby. It’s a massive 330+ page guide covering all the professional tricks, hacks, and workflows to save you time performing tedious tasks.
The entire book mostly covers character animation work but a lot of these techniques apply to video games too. You’ll learn various timeline techniques, Maya splines, IK/FK switching, and a bunch of tips for more realistic animation.
Anyone hoping to work as a 3D animator will learn so much from this book.
However you need to know your way around Maya before grabbing a copy. This basically takes your existing knowledge of Maya and kicks it into turbodrive.
MEL Scripting a Character Rig in Maya
Maya comes with its own scripting language called the Maya Embedded Language, or MEL for short.
This is basically a code alternative to using the GUI and with MEL you can even do things that aren’t possible with the Maya tools/menus. MEL Scripting a Character Rig in Maya takes this scripting language to a practical level by teaching you how to script and automate your own projects.
You’ll learn how to perform certain tasks using the visual interface followed by comparisons with MEL. You don’t need any detailed knowledge of coding to learn the ropes, and MEL doesn’t have to be complicated.
But a lot of programming topics are covered such as loops, variables, and procedures. Thankfully you don’t need to be a raging techie to understand this stuff.
If you wanna bring your Maya skills up to power user status you’ll want to learn some MEL scripting. And this book is the perfect intro with lots of practical lessons.
Maya Visual Effects: The Innovator’s Guide
Maya Visual Effects: The Innovator’s Guide is another higher-level book focused on FX for 3D design.
The author Eric Keller has worked as a professional VFX artist for over two decades with experience in film, TV, and video games. He spills all the beans in this 400-page guide full of actionable tips for Maya users.
Most chapters focus on CGI effects and how you can recreate them in Maya. Unfortunately the examples in this book aren’t very creative and they don’t feel like “real” projects.
But since this is a more advanced book you should already have some experience designing your own characters and/or environments by now. This book is merely a resource manual for what you can do. Once you know that you can take these techniques into your regular work.
I highly recommend this for any VFX artists or Maya users who want to push beyond traditional norms.
Advanced Maya Texturing and Lighting
Digital 3D texturing is an insanely detailed topic because there are so many different textures you can make. Advanced Maya Texturing and Lighting looks into this subject in-depth with 456 pages full of tutorials and tips/tricks for Maya users.
This book is very technical and the writing style expects the reader to already be quite familiar with Maya. Early chapters cover some basic concepts of lighting and how to design natural vs stylized lighting for your work.
But this quickly moves into tutorials on how lighting affects certain materials and how to render items realistically in your projects.
Lighting and rendering are two very closely connected subjects and this book organizes them well. It also covers a lot about MEL scripting which is super handy for professionals looking to expand their Maya workflow.
Maya Professional Tips and Techniques
For a super cheap yet detailed guide to advanced Maya work you’ll want a copy of Maya Professional Tips and Techniques.
It comes with 220+ pages full of tips, shortcuts, and workflows that are guaranteed to help you get more out of Maya. These professional tips come from professional animator Lee Lanier along with suggestions from other pros in the industry.
You’ll learn dozens of shortcuts along with timesaving tricks for modeling polygon faces, texturing particles, and using wire deformers to create realistic facial rigs.
Again this book does require experience in Maya so it is not made for complete beginners. If you can already design characters by yourself then the tricks in this book will bring your skillset up a few notches fast.
I’d wager there’s a book in this post for every skill level and every career path. Some people are more visual learners while others want lengthy detailed beginner guides like Introducing Autodesk Maya.
Every book here is valuable, it’s just about finding the right one that meets your needs and can help you learn the most.
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Before jumping in and creating joints left, right and center, let's take a step back and look at some of the main tools used in the rigging process.
In this series of tutorials, we will delve into the depths of rigging in computer graphics. This will be an introductory series focused on using Maya but the concepts can be easily applied to other packages. Over the coming weeks, we will be taking the male mesh that we created previously and building a rig for it that allows an animator to manipulate it. Before we start building the actual rig, however, let's first clarify what the role of the rigger is and get accustomed to some of the principal tools used during this process and also some common practices to create clean rigs that won't drive animator's nuts.
The mesh we will be rigging
So what exactly is rigging?
Rigging is what makes deforming a character possible. It's the process of taking a static mesh, creating an internal digital skeleton, creating a relationship between the mesh and the skeleton (known as skinning, enveloping or binding) and adding a set of controls that the animator can use to push and pull the character around as if he/she is a puppeteer. In layman's terms, rigging is the process of adding the digital strings to the puppet. The rigger is the Geppetto of our times.
As the role of the rigger primarily sits between the modeler and the animator, it's important that the rigger has a good understanding of both what the modeler is delivering to them and what the animator requires. Therefore the rigger needs to understand the importance of good edge flow so he/she can predict how the mesh will deform. The rigger needs to understand the principles of animation and the techniques an animator may employ to create the intended performance. On top of all of this, he needs thorough knowledge of anatomy, animal anatomy and kinesiology. And that's just for character work. There is also mechanical rigging that covers cars, planes, trains and so on. The list goes on. Hopefully, I am making it clear that the role of the rigger is pretty darn important. A model will only be a model until it touches the hands of a rigger and an animator can only create an amazing piece of movement or convey a heartfelt emotion through the use of a solid, reliable rig.
However, before attempting to replicate reality in CG, you would be very wise to take a long hard look at that reality first. If you are creating a human character, for instance, study the skeleton, the muscles and joint articulation. As another example, if you are looking to rig a car, find out how a car moves. In both cases, examples are all around you, so observe them, and where legal, touch them: feel their movement. The importance of basing 3D work on real world examples (where possible) will be a theme we will frequently return to.
The plan in this first tutorial is to cover the basic tools in Maya. We'll look at creating relationships through parent/child setups and Constraints. We'll cover joints: what makes them special and how to create and edit them. We'll look at Rotation Order and Gimbal Lock, before finally looking at how to create clean animation controls.
However, before attempting to replicate reality in CG, you would be very wise to take a long hard look at that reality first. If you are creating a human character, for instance, study the skeleton, the muscles and joint articulation. As another example, if you are looking to rig a car, find out how a car moves. In both cases, examples are all around you, so observe them, and where legal, touch them: feel their movement. The importance of basing 3D work on real world examples (where possible) will be a theme we will frequently return to.
The plan in this first tutorial is to cover the basic tools in Maya. We'll look at creating relationships through parent/child setups and Constraints. We'll cover joints: what makes them special and how to create and edit them. We'll look at Rotation Order and Gimbal Lock, before finally looking at how to create clean animation controls.
Parenting and Hierarchies
When it comes to rigging, understanding relationships is fundamental. If you break a rig down, what you will have is a series of relationships and connections, almost like a family tree. But in this family tree, it's important that your uncle gets on with your kleptomaniac cousin and your mother-in-law is pals with your narcoleptic niece. If this is not the case, you are sure to have a rig that will look fine on the surface but may start to fall apart later on.
In Maya, the most basic relationship you can create is a parent-child relationship. Let's do this now. First create a sphere and a cube and then rename the sphere ‘parent' and the cube ‘child'. Open up the Outliner (Window > Outliner) so we can view the results of the parenting. Now move the objects apart so they do not sit on top of each other. The procedure of parenting is to first select the child object, shift-select the parent object and then go Edit > Parent or hit P on the keyboard. In the Outliner, you should have noticed that the child object now lives beneath the parent object. If you translate the parent object, the child will follow. The same goes for rotations and scaling. In the Channel Box, zero out the translate and rotate values for the child object. In doing so, the child object should snap to the same location as the parent object. This is because the parent object is the child new world center. If you zero out the translate and rotate values for the parent object, the parent object will snap back to the Maya world center. This is because this object is a child of the Maya world, in a manner of speaking. The benefits of simple parent-child relationships are that the child object still has freedom to move around unlike using a Parent Constraint, which we will come to later.
So far, we have parented one object under another. Create a few more objects and parent them one under the other so you have the start of a small hierarchy. You'll notice that the object at the top of the hierarchy will affect all objects and the next object will affect the objects below it and so on. It's like your great-granny tells your granny what to do, your granny tells your mama what to do and your mama tells you what to do. But then you grow up and want to stop holding your mama's hand. To bring an object out of a hierarchy, we can simply unparent it by selecting it and going Edit > Unparent or Shift+P.
In Maya, the most basic relationship you can create is a parent-child relationship. Let's do this now. First create a sphere and a cube and then rename the sphere ‘parent' and the cube ‘child'. Open up the Outliner (Window > Outliner) so we can view the results of the parenting. Now move the objects apart so they do not sit on top of each other. The procedure of parenting is to first select the child object, shift-select the parent object and then go Edit > Parent or hit P on the keyboard. In the Outliner, you should have noticed that the child object now lives beneath the parent object. If you translate the parent object, the child will follow. The same goes for rotations and scaling. In the Channel Box, zero out the translate and rotate values for the child object. In doing so, the child object should snap to the same location as the parent object. This is because the parent object is the child new world center. If you zero out the translate and rotate values for the parent object, the parent object will snap back to the Maya world center. This is because this object is a child of the Maya world, in a manner of speaking. The benefits of simple parent-child relationships are that the child object still has freedom to move around unlike using a Parent Constraint, which we will come to later.
So far, we have parented one object under another. Create a few more objects and parent them one under the other so you have the start of a small hierarchy. You'll notice that the object at the top of the hierarchy will affect all objects and the next object will affect the objects below it and so on. It's like your great-granny tells your granny what to do, your granny tells your mama what to do and your mama tells you what to do. But then you grow up and want to stop holding your mama's hand. To bring an object out of a hierarchy, we can simply unparent it by selecting it and going Edit > Unparent or Shift+P.
A simple parent-child relationship
Constraints
With parenting, you are taking an object or a node and directly popping it under another. Constraints on the other hand, allow you to build relationships without changing the hierarchical structure of the objects. Further to this, where parenting affects all the transformation channels in one hit, constraints allow you to break the relationships down into smaller chunks. For example, you can Point Constrain one object to another so only the translation of an object is affected. When an object is constrained, you cannot manipulate the channels that are constrained as you can a parent-child relationship. The object constrained will simply snap back to the leading object. You can, however, set keys on the constrained object and in doing so, a pairBlend node will be created allowing you to choose if the keyframes or the constraint itself should be active. I've never been a fan of using pairBlend nodes as they tend to drive me nuts. If I need an object to be controlled by multiple inputs, I will simply add more constraints to the object and that is, in my eyes, what makes constraints so much more beneficial than simple parenting: you can have one object constrained to many leading objects and use weighting to determine who is in charge. Let's try this now.
In a new Maya scene, create a sphere and a cube and translate them away from each other. Rename the sphere ‘leader' and the cube ‘follower'. With parenting, we select the child object, then the parent and then perform the command. With constraints, it's the opposite. First we select the object that will be in charge, then the object that will be affected and then perform the command. So, select the ‘leader' object first, shift-select the ‘follower' object and in the Animation menu set, go Constrain > Point (Options). Make sure Maintain Offset is unchecked, leave all the other settings in their default state and hit Apply. The ‘follower' object should snap to the same position as the ‘leader' object. You'll also notice that in the Channel Box the translate channels are highlighted in blue. This indicates that a constraint is active here. Have a look in the Outliner and you will see that the hierarchy has not been altered for the objects and a pointConstraint1 node lives under the ‘follower' object. We'll leave constraints here for now as we will be coming back to them many times later but do have an experiment with the other types of constraints to get a feel for how they could be useful.
In a new Maya scene, create a sphere and a cube and translate them away from each other. Rename the sphere ‘leader' and the cube ‘follower'. With parenting, we select the child object, then the parent and then perform the command. With constraints, it's the opposite. First we select the object that will be in charge, then the object that will be affected and then perform the command. So, select the ‘leader' object first, shift-select the ‘follower' object and in the Animation menu set, go Constrain > Point (Options). Make sure Maintain Offset is unchecked, leave all the other settings in their default state and hit Apply. The ‘follower' object should snap to the same position as the ‘leader' object. You'll also notice that in the Channel Box the translate channels are highlighted in blue. This indicates that a constraint is active here. Have a look in the Outliner and you will see that the hierarchy has not been altered for the objects and a pointConstraint1 node lives under the ‘follower' object. We'll leave constraints here for now as we will be coming back to them many times later but do have an experiment with the other types of constraints to get a feel for how they could be useful.
Using a point constraint to drive the position of the sphere
Joints
Okay, so now we come to the nuts and bolts of rigging in Maya: joints. Like all other objects in Maya, joints are a transform node; they can be translated, rotated and scaled. But joints are unique and what makes them unique is the fact that they, and only they, have orientation. Known as the jointOrient, this allows a joint to orient along an axis. You'll notice this when you have a chain of joints: each parent joint will be orientated to aim at its child joint. Let's put this to the test now and also cover the creation and editing of joints.
In a new Maya scene, go Skeleton > Joint Tool. Now, in the Front or Side view, use the left-mouse button to create a few joints. When you have created a chain of joints, hit Enter on the Keyboard to exit the tool. You can also exit the tool with the right-mouse button but this will create a final joint where the cursor was in the viewport. Open up the Outliner and you'll see that the hierarchy of our joint chain is that of a parent-child relationship. Rotate the root joint and the rest of the chain will follow. This is also known as Forward Kinematics movement: rotational movement that works from the root down to the tip. Now set the Rotate tool to Local under the Rotate Tool Settings and select the first joint in the chain. You should notice that the joint is orientated towards the child joint and the rotate channels all have zero values in them. Pop over to the Attribute Editor and under the Joint tab you will find the jointOrient. Here you can see how the joint uses the orientation to aim at the child joint rather than have values set in the rotate channels. Activate the Translate tool, set the mode to Object and you should also notice that the joint aims at the child joint along the X-axis. This is known as the Aim Axis. The translate X value of the child joint also gives us the length of the parent joint. This is very useful for adding extra features to your rig such as squash and stretch.
Now we shall place the joints or orient them into the correct place within the mesh. I am pretty passionate about this point: if there is one thing that I feel is uber-important when rigging, it is the clean placement of joints. As the joints are, very simply, pivot points, the placement of them will dictate how the character articulates. Bad placement equals bad deformation. So here are some of the guidelines that I follow when creating joints. Firstly, only the root joint in a chain can have translate values in X, Y and Z. All children joints can only have a value in translate X (giving us the length of the joint) and all Rotation values for every joint must be at 0. When we actually come to creating the rig, we'll use some of Maya's default tools as well as a few scripts to aid us in the speedy creation of joint chains, my favorite being Michael Comet's Mel Script Suite.
In a new Maya scene, go Skeleton > Joint Tool. Now, in the Front or Side view, use the left-mouse button to create a few joints. When you have created a chain of joints, hit Enter on the Keyboard to exit the tool. You can also exit the tool with the right-mouse button but this will create a final joint where the cursor was in the viewport. Open up the Outliner and you'll see that the hierarchy of our joint chain is that of a parent-child relationship. Rotate the root joint and the rest of the chain will follow. This is also known as Forward Kinematics movement: rotational movement that works from the root down to the tip. Now set the Rotate tool to Local under the Rotate Tool Settings and select the first joint in the chain. You should notice that the joint is orientated towards the child joint and the rotate channels all have zero values in them. Pop over to the Attribute Editor and under the Joint tab you will find the jointOrient. Here you can see how the joint uses the orientation to aim at the child joint rather than have values set in the rotate channels. Activate the Translate tool, set the mode to Object and you should also notice that the joint aims at the child joint along the X-axis. This is known as the Aim Axis. The translate X value of the child joint also gives us the length of the parent joint. This is very useful for adding extra features to your rig such as squash and stretch.
Now we shall place the joints or orient them into the correct place within the mesh. I am pretty passionate about this point: if there is one thing that I feel is uber-important when rigging, it is the clean placement of joints. As the joints are, very simply, pivot points, the placement of them will dictate how the character articulates. Bad placement equals bad deformation. So here are some of the guidelines that I follow when creating joints. Firstly, only the root joint in a chain can have translate values in X, Y and Z. All children joints can only have a value in translate X (giving us the length of the joint) and all Rotation values for every joint must be at 0. When we actually come to creating the rig, we'll use some of Maya's default tools as well as a few scripts to aid us in the speedy creation of joint chains, my favorite being Michael Comet's Mel Script Suite.
Two of the most important features of joints, the jointOrient and the translate X (the length of the joint)
Rotation Order and Gimbal Lock
Rotation Order refers to the order of operation in which the orientation of the selected object will be evaluated in. Let's pick this apart in Maya. In a new scene, create a 3-joint chain that mimics an arm in the front view. Label the joints from root to tip: ‘shoulder_jnt', ‘elbow_jnt' and ‘wrist_jnt'. The '_jnt' will be the suffix we will add to all the joints. Select the shoulder and in the Attribute Editor you will find the Rotate Order set to XYZ under the Transform Attributes tab. What this means is that the Z axis will carry both the Y and X axes. The Y axis will carry the X axis and the X axis will not carry any other axis. If you read it from right to left, it makes more sense, I find.
Now if you have your rotate mode set to Local, you may think that this is not the case as you rotate the shoulder around. So set the rotate channels to 0 for the shoulder and set Rotate mode to Gimbal. Rotate the arm now and you will be shown the true representation of what the axes are actually doing. Rotate the Y channel 90-degrees and very quickly, you now have 2 axes sitting one on top of the other: the X over the Z axis. You have now hit Gimbal Lock, my friend: 2 axes giving a similar rotational movement. This is not a good state to be in but one that is unfortunately unavoidable in some situations. So, how do we combat this? Well, quite simply, we need to figure out which rotational axes are the most important for that part of the rig and then edit the Rotate Order to support this. As long as we test the rig as we create it and open up the communication lines with the animator to find out how they intend to animate the character, we can put provisions in place to make their life easier.
Now if you have your rotate mode set to Local, you may think that this is not the case as you rotate the shoulder around. So set the rotate channels to 0 for the shoulder and set Rotate mode to Gimbal. Rotate the arm now and you will be shown the true representation of what the axes are actually doing. Rotate the Y channel 90-degrees and very quickly, you now have 2 axes sitting one on top of the other: the X over the Z axis. You have now hit Gimbal Lock, my friend: 2 axes giving a similar rotational movement. This is not a good state to be in but one that is unfortunately unavoidable in some situations. So, how do we combat this? Well, quite simply, we need to figure out which rotational axes are the most important for that part of the rig and then edit the Rotate Order to support this. As long as we test the rig as we create it and open up the communication lines with the animator to find out how they intend to animate the character, we can put provisions in place to make their life easier.
Changing the Rotate mode to Gimbal. allowing us to view the true representation of the axes
Animation controls
Lastly, we will look at creating animation controls. This will bring everything that we've covered so far together: parenting, hierarchies, constraints, clean placement and rotation order will all be at play here. You may be thinking, why not just animate the joints? This is fine with very simple rigs but there is only so much you can do with a purely joint-based setup. Plus animators are a wild bunch who are fond of deleting things they should not, and recreating a deleted joint will keep you up longer than recreating a deleted control (on most occasions). Hektor 1 0 – a psychological horror game.
The most common object for animation controls is a curve. This could be a custom-designed curve using the CV Curve Tool or simply a NURBS Primitive > Circle. Curves are non-renderable and you can very quickly edit the shape by going into component mode. For every control, I like to create a small hierarchy using group (transform) nodes. This allows me to place and orient the control in the same exact location as the joint it will control, which is very important. It allows for secondary levels of control, and also it allows the animator to return the control back to the default state by zeroing out the translate and the rotate channels. So let's try this out now on a simple 3-joint chain.
Like we did previously, create a 3-joint chain that mimics an arm and rename the joints as before. For now, we will create controls for the first 2 joints in the chain. First go Create > NURBS Primitive and disable Interactive Creation so any objects we create will be drawn in the center of the World space. Now go Create > NURBS Primitive > Circle and rename it ‘shoulder_ctrl'. The suffix for all the controls will be '_ctrl'. With the control still in the World center, go Edit > Group or hit Ctrl+G twice to create 2 group nodes to live above the control. Rename the top-most group ‘shoulder_ctrl_offset' and the group below ‘shoulder_ctrl_auto'. The ‘offset' node will be used to position the control cleanly and the ‘auto' node will be used for adding any extra features through Set Driven Keys or expressions.
To position the control, I use one of the 2 following methods. Both will get you to the same end goal so pick either method that suits you. Method number 1: select the ‘shoulder_ctrl_offset' node, shift-select the ‘shoulder_jnt' (the joint it will control) and hit P on the keyboard. This will parent the ‘_offset' node under the joint. Now zero out the translate and the rotate values for the ‘_offset' node so the entire control hierarchy snaps to the same position as the joint. You will also notice that the orientations line up. Now simply select the ‘_offset' and hit Shift+P to unparent it from the joint. As a result, there should be some transform values back on the ‘_offset' node. These are the co-ordinates of where this node is in World space. We need to leave these as they are. Select the ‘_auto' or the ‘_ctrl' and you will see that they both have 0 values for all the rotation and the translate channels, plus the orientations still line up to the joint. This is what we want.
Let's use method number 2 on the ‘elbow_jnt'. Create another control and create the group levels as we did for the shoulder control and re-name them from top to bottom: ‘elbow_ctrl_offset', ‘elbow_ctrl_auto' and ‘elbow_ctrl'. Next, select ‘elbow_jnt', shift-select ‘elbow_ctrl_offset' and go Constraints > Parent (Options). Disable Maintain offset and hit Apply. The entire control hierarchy should snap into place. Now simply delete the parentConstraint node that lives below the ‘_offset' node in the Outliner and again, you have a control in place.
Later on, we'll create a small script to automate the process of creating and positioning controls, as creating each control manually can be a very laborious process.
The next thing we need to do is have these controls drive the joint structure. We will do this with constraints. Select ‘shoulder_ctrl', shift-select ‘shoulder_jnt' and go Constrain > Orient (Options). Make sure Maintain Offset is disabled and hit Apply. Repeat the same step for the elbow. If you rotate the controls, you will notice that they do indeed drive the joints but there are some weird things happening. The reason for this is that currently, the joint chain is a Forward Kinematics setup while the control rig we have in place is not; the controls are independent from each other and share no relationship. To correct this, simply parent ‘elbow_ctrl_offset' under ‘shoulder_ctrl'. This will create a Forward Kinematics relationship similar to that of our joint chain and voila, we have our control rig complete.
Next time, we will look at the spine. Happy rigging.
The most common object for animation controls is a curve. This could be a custom-designed curve using the CV Curve Tool or simply a NURBS Primitive > Circle. Curves are non-renderable and you can very quickly edit the shape by going into component mode. For every control, I like to create a small hierarchy using group (transform) nodes. This allows me to place and orient the control in the same exact location as the joint it will control, which is very important. It allows for secondary levels of control, and also it allows the animator to return the control back to the default state by zeroing out the translate and the rotate channels. So let's try this out now on a simple 3-joint chain.
Like we did previously, create a 3-joint chain that mimics an arm and rename the joints as before. For now, we will create controls for the first 2 joints in the chain. First go Create > NURBS Primitive and disable Interactive Creation so any objects we create will be drawn in the center of the World space. Now go Create > NURBS Primitive > Circle and rename it ‘shoulder_ctrl'. The suffix for all the controls will be '_ctrl'. With the control still in the World center, go Edit > Group or hit Ctrl+G twice to create 2 group nodes to live above the control. Rename the top-most group ‘shoulder_ctrl_offset' and the group below ‘shoulder_ctrl_auto'. The ‘offset' node will be used to position the control cleanly and the ‘auto' node will be used for adding any extra features through Set Driven Keys or expressions.
To position the control, I use one of the 2 following methods. Both will get you to the same end goal so pick either method that suits you. Method number 1: select the ‘shoulder_ctrl_offset' node, shift-select the ‘shoulder_jnt' (the joint it will control) and hit P on the keyboard. This will parent the ‘_offset' node under the joint. Now zero out the translate and the rotate values for the ‘_offset' node so the entire control hierarchy snaps to the same position as the joint. You will also notice that the orientations line up. Now simply select the ‘_offset' and hit Shift+P to unparent it from the joint. As a result, there should be some transform values back on the ‘_offset' node. These are the co-ordinates of where this node is in World space. We need to leave these as they are. Select the ‘_auto' or the ‘_ctrl' and you will see that they both have 0 values for all the rotation and the translate channels, plus the orientations still line up to the joint. This is what we want.
Let's use method number 2 on the ‘elbow_jnt'. Create another control and create the group levels as we did for the shoulder control and re-name them from top to bottom: ‘elbow_ctrl_offset', ‘elbow_ctrl_auto' and ‘elbow_ctrl'. Next, select ‘elbow_jnt', shift-select ‘elbow_ctrl_offset' and go Constraints > Parent (Options). Disable Maintain offset and hit Apply. The entire control hierarchy should snap into place. Now simply delete the parentConstraint node that lives below the ‘_offset' node in the Outliner and again, you have a control in place.
Later on, we'll create a small script to automate the process of creating and positioning controls, as creating each control manually can be a very laborious process.
The next thing we need to do is have these controls drive the joint structure. We will do this with constraints. Select ‘shoulder_ctrl', shift-select ‘shoulder_jnt' and go Constrain > Orient (Options). Make sure Maintain Offset is disabled and hit Apply. Repeat the same step for the elbow. If you rotate the controls, you will notice that they do indeed drive the joints but there are some weird things happening. The reason for this is that currently, the joint chain is a Forward Kinematics setup while the control rig we have in place is not; the controls are independent from each other and share no relationship. To correct this, simply parent ‘elbow_ctrl_offset' under ‘shoulder_ctrl'. This will create a Forward Kinematics relationship similar to that of our joint chain and voila, we have our control rig complete.
Next time, we will look at the spine. Happy rigging.
Maya 2019 – Professional 3d Modeling And Animation Tool Tutorial Download
Using animation controls to drive the joints through constraints
Related links
Helpful scripts can be found at
Michael Comet's Mel Script Suitevisit his site
To see more by Jahirul Amin, check out
Beginner's Guide to Character Creation in Mayaand
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