User’s Reference

Volume I

AUTODESK
®

3DS MAX
®

9
 © 2007 Autodesk, Inc. All rights reserved.
This publication, or parts thereof, may not be reproduced in any form, by any method, for any purpose.
AUTODESK, INC., MAKES NO WARRANTY, EITHER EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO ANY IMPLIED
WARRANTIES OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE REGARDING THESE MATERIALS, AND MAKES SUCH
MATERIALS AVAILABLE SOLELY ON AN "AS-IS" BASIS. IN NO EVENT SHALL AUTODESK, INC., BE LIABLE TO ANYONE FOR SPECIAL,
COLLATERAL, INCIDENTAL, OR CONSEQUENTIAL DAMAGES IN CONNECTION WITH OR ARISING OUT OF PURCHASE OR USE OF
THESE MATERIALS. THE SOLE AND EXCLUSIVE LIABILITY TO AUTODESK, INC., REGARDLESS OF THE FORM OF ACTION, SHALL NOT
EXCEED THE PURCHASE PRICE OF THE MATERIALS DESCRIBED HEREIN.
Autodesk, Inc., reserves the right to revise and improve its products as it sees fit. This publication describes the state of this product at the time of its
publication, and may not reflect the product at all times in the future.
The following are registered trademarks or trademarks of Autodesk, Inc., in the USA and other countries: 3DEC (design/logo), 3December,
3December.com, 3ds Max, ActiveShapes, Actrix, ADI, Alias, Alias (swirl design/logo), AliasStudio, Alias|Wavefront (design/logo), ATC, AUGI,
AutoCAD, AutoCAD Learning Assistance, AutoCAD LT, AutoCAD Simulator, AutoCAD SQL Extension, AutoCAD SQL Interface, Autodesk,
Autodesk Envision, Autodesk Insight, Autodesk Intent, Autodesk Inventor, Autodesk Map, Autodesk MapGuide, Autodesk Streamline, AutoLISP,
AutoSnap, AutoSketch, AutoTrack, Backdraft, Built with ObjectARX (logo), Burn, Buzzsaw, CAiCE, Can You Imagine, Character Studio, Cinestream,
Civil 3D, Cleaner, Cleaner Central, ClearScale, Colour Warper, Combustion, Communication Specification, Constructware, Content Explorer,
Create>what’s>Next> (design/logo), Dancing Baby (image), DesignCenter, Design Doctor, Designer’s Toolkit, DesignKids, DesignProf, DesignServer,
DesignStudio, Design|Studio (design/logo), Design Your World, Design Your World (design/logo), DWF, DWG, DWG (logo), DWG TrueConvert,
DWG TrueView, DXF, EditDV, Education by Design, Extending the Design Team, FBX, Filmbox, FMDesktop, GDX Driver, Gmax, Heads-up Design,
Heidi, HOOPS, HumanIK, i-drop, iMOUT, Incinerator, IntroDV, Kaydara, Kaydara (design/logo), LocationLogic, Lustre, Maya, Mechanical Desktop,
MotionBuilder, ObjectARX, ObjectDBX, Open Reality, PolarSnap, PortfolioWall, Powered with Autodesk Technology, Productstream, ProjectPoint,
Reactor, RealDWG, Real-time Roto, Render Queue, Revit, Showcase, SketchBook, StudioTools, Topobase, Toxik, Visual, Visual Bridge, Visual
Construction, Visual Drainage, Visual Hydro, Visual Landscape, Visual Roads, Visual Survey, Visual Syllabus, Visual Toolbox, Visual Tugboat,
Visual LISP, Voice Reality, Volo, and Wiretap.
The following are registered trademarks or trademarks of Autodesk Canada Co. in the USA and/or Canada and other countries: Backburner, Discreet,
Fire, Flame, Flint, Frost, Inferno, Multi-Master Editing, River, Smoke, Sparks, Stone, Wire.
clothfx is a trademark of Size8 Software, Inc. mental ray is a registered trademark of mental images GmbH licensed for use by Autodesk, Inc. RE:Flex is
a trademark of RE:Vision Effects, Inc. Intel is a registered trademark and the Intel Optimizer Logo is a trademark of Intel Corporation, used under
license. Havok is a trademark or registered trademark of Havok.com, Inc. or its affiliates in the United States and/or in other countries. All other brand
names, product names, or trademarks belong to their respective holders.

Third-Party Software Credits and Attributions

OpenEXR Bitmap I/O Plugin © 2003-2005 SplutterFish, LLC.
OpenEXR © 2003 Industrial Light and Magic a division of Lucas Digital Ltd. LLC.
Zlib © 1995-2003 Jean-loup Gaily and Mark Adler.
HDRI Import created 2002 by SplutterFish and Cuncyt Ozdas.
Portions Copyrighted © 2000-2005 Size8 Software, Inc.
Portions of this software are Copyright 1998-2004 Hybrid Graphics Limited.
This product includes Radiance software (http://radsite.lbl.gov/) developed by the Lawrence Berkeley National Laboratory (http://www.lbl.gov/).
The JPEG software is copyright © 1991-1998, Thomas G. Lane. All Rights Reserved.
Portions Copyrighted mental images GmbH 1989-2002.
Portions Copyright © IntegrityWare, Inc.; Npower Software LLC. All rights reserved.
Portions Copyright © 1991-1996 Arthur D. Applegate. All rights reserved.
Lenzfx and Max R2 Copyright © Digimation, Inc. All rights reserved.

GOVERNMENT USE
Use, duplication, or disclosure by the U.S. Government is subject to restrictions as set forth in FAR 12.212 (Commercial Computer Software-Restricted
Rights) and DFAR 227.7202 (Rights in Technical Data and Computer Software), as applicable.
Published By: Autodesk, Inc.
111 McInnis Parkway
San Rafael, CA 94903, USA
 toc
Contents

Introduction .............................................. xiii Using Standard View Navigation .............................. 29

What’s New in 3ds Max 9 Extension 1 ..................... xiii Zooming, Panning, and Rotating Views................... 29
3ds Max Documentation Set.................................... xiv Using Walkthrough Navigation ................................ 30
About MAXScript ................................................... xvii Navigating Camera and Light Views......................... 33
Adaptive Degradation Toggle ................................... 34
1 Getting Started with 3ds Max ..................... 1 Grab Viewport........................................................... 35
Getting Started with 3ds Max ..................................... 1 View-Handling Commands .................................... 35
Project Workflow......................................................... 1 View-Handling Commands...................................... 35
Setting Up Your Scene ................................................. 4 Undo View Change / Redo View Change ................. 36
Modeling Objects ........................................................ 5 Save Active View........................................................ 37
Using Materials............................................................ 6 Restore Active View................................................... 37
Placing Lights and Cameras........................................ 7 Viewport Background Dialog ................................... 38
Animating Your Scene................................................. 8 Select Background Image Dialog .............................. 42
Rendering Your Scene ................................................. 9 Update Background Image ....................................... 44
The 3ds Max Window ................................................. 9 Reset Background Transform ................................... 45
Special Controls......................................................... 12 Show Transform Gizmo ............................................ 45
Managing Files .......................................................... 15 Show Ghosting .......................................................... 46
Importing, Merging, Replacing, and Externally Show Key Times ........................................................ 46
Referencing Scenes ................................................. 16 Shade Selected ........................................................... 47
Using the Asset Browser ............................................ 17 Show Dependencies .................................................. 47
Startup Files and Defaults ......................................... 17 Create Camera From View ........................................ 48
3dsmax.ini File .......................................................... 18 Add Default Lights to Scene ...................................... 49
Backing Up and Archiving Scenes ............................ 19 Redraw All Views....................................................... 50
Crash Recovery System ............................................. 20 Activate All Maps ...................................................... 50
2 Viewing and Navigating 3D Space ........... 21 Deactivate All Maps .................................................. 50
Viewing and Navigating 3D Space ............................ 21 Update During Spinner Drag.................................... 51
General Viewport Concepts...................................... 22 Expert Mode.............................................................. 51
Home Grid: Views Based on the World Controlling Object Display .................................... 51
Coordinate Axes ..................................................... 23 Controlling Object Display ....................................... 51
Understanding Views ................................................ 24 Display Color Rollout ............................................... 52
Setting Viewport Layout ........................................... 26 Hide By Category Rollout ......................................... 52
Controlling Viewport Rendering.............................. 27 Hide Rollout .............................................................. 53
Controlling Display Performance ............................. 28 Freeze Rollout............................................................ 54
Display Properties Rollout ........................................ 55
iv Contents

Link Display Rollout.................................................. 58 Undo/Redo ............................................................... 94

Object Display Culling Utility................................... 58 Hold/Fetch................................................................. 95
Delete......................................................................... 95
3 Selecting Objects ....................................... 61 Groups and Assemblies.......................................... 95
Selecting Objects ....................................................... 61 Groups and Assemblies............................................. 95
Introducing Object Selection .................................... 61 Using Groups............................................................. 96
Basics of Selecting Objects ........................................ 64 Using Assemblies....................................................... 98
Selecting by Region ................................................... 65 Character Assembly ................................................ 102
Using Select By Name................................................ 67 Group Commands................................................. 104
Using Named Selection Sets...................................... 67 Group Commands .................................................. 104
Using Selection Filters ............................................... 68 Group....................................................................... 104
Selecting with Track View ......................................... 69 Open Group ............................................................ 105
Selecting with Schematic View.................................. 69 Close Group............................................................. 105
Freezing and Unfreezing Objects .............................. 70 Ungroup .................................................................. 106
Hiding and Unhiding Objects by Selection .............. 70 Explode Group ........................................................ 106
Hiding and Unhiding Objects by Category .............. 72 Detach Group .......................................................... 106
Isolate Selection......................................................... 73 Attach Group ........................................................... 106
Introduction to Sub-Object Selection....................... 74 Assembly Commands ........................................... 107
Selection Commands ............................................. 76 Assembly Commands ............................................. 107
Selection Commands ................................................ 76 Assemble.................................................................. 107
Select Object ............................................................. 77 Open Assembly ....................................................... 109
Select By Name ......................................................... 77 Close Assembly........................................................ 109
Selection Floater ........................................................ 79 Disassemble ............................................................. 110
Selection Region Flyout............................................. 80 Explode Assembly ................................................... 110
Selection Filter List .................................................... 81 Detach Assembly ..................................................... 110
Filter Combinations Dialog....................................... 81 Attach Assembly...................................................... 111
Named Selections ................................................... 83 Assembly Head Helper Objects ........................... 111
Named Selection Sets ................................................ 83 Assembly Head Helper Object ................................ 111
Named Selection Sets Dialog ................................... 84 Luminaire Helper Object ........................................ 111
Edit Named Selections Dialog................................... 86 Character Assembly Commands ......................... 112
Select All .................................................................... 87 Character Assembly Commands ........................... 112
Select None ................................................................ 88 Create Character...................................................... 112
Select Invert ............................................................... 88 Destroy Character ................................................... 115
Select By..................................................................... 88 Lock/Unlock Character........................................... 115
Select By Color .......................................................... 88 Insert Character....................................................... 115
Select By Name (Edit Menu) ..................................... 88 Save Character......................................................... 115
Select Similar ............................................................. 88 Skin Pose Commands ............................................. 116
Region Selection..................................................... 89
Rectangular Selection Region .................................. 89 4 Object Properties..................................... 117
Circular Selection Region ......................................... 89 Object Properties..................................................... 117
Fence Selection Region ............................................. 90 Object Properties Dialog Panels ......................... 117
Lasso Selection Region ............................................. 90 General Panel (Object Properties Dialog) .............. 117
Paint Selection Region .............................................. 91 Advanced Lighting Panel (Object Properties
Region ....................................................................... 92 Dialog) .................................................................. 123
Select Region Window .............................................. 92 mental ray Panel (Object Properties Dialog).......... 126
Select Region Crossing ............................................. 93 User Defined Panel (Object Properties Dialog)...... 127
Window/Crossing Selection Toggle ......................... 93 Rename Objects Tool .............................................. 128
Edit Commands....................................................... 94 Custom Attributes ................................................... 129
Edit Commands ........................................................ 94 Parameter Collector ............................................. 138
 Contents v

Parameter Collector ................................................ 138 Gengon Extended Primitive.................................... 199

Parameter Collector Menu Bar ............................... 142 C-Ext Extended Primitive ....................................... 200
Notes Dialog (Parameter Collector) ....................... 145 RingWave Extended Primitive ................................ 202
Expression Techniques......................................... 146 Prism Extended Primitive ....................................... 205
Expression Techniques ............................................ 146 Hose Extended Primitive ........................................ 206
Trigonometric Functions ........................................ 150 Architectural Objects ........................................... 209
Vectors ..................................................................... 151 Architectural Objects .............................................. 209
AEC Extended Objects.......................................... 210
5 Creating Geometry .................................. 153 AEC Extended Objects............................................ 210
Creating Geometry.................................................. 153 Working with AEC Design Elements...................... 210
Basics of Creating and Modifying Objects.......... 153 Foliage...................................................................... 214
Basics of Creating and Modifying Objects ............. 153 Railing ..................................................................... 217
Using the Create Panel............................................. 154 Wall.......................................................................... 223
Identifying the Basic Building Blocks ..................... 155 Editing Wall Objects................................................ 228
Creating an Object .................................................. 157 Stairs...................................................................... 231
Assigning Colors to Objects................................. 159 Stairs ........................................................................ 231
Assigning Colors to Objects.................................... 159 L-Type Stair ............................................................. 232
Object Color Dialog ................................................ 159 Spiral Stair ............................................................... 235
Color Selector Dialog .............................................. 161 Straight Stair............................................................ 239
Color Clipboard Utility........................................... 165 U-Type Stair ............................................................ 243
Adjusting Normals and Smoothing .................... 166 Doors ..................................................................... 246
Adjusting Normals and Smoothing ........................ 166 Doors ....................................................................... 246
Viewing and Changing Normals............................. 166 Pivot Door ............................................................... 251
Viewing and Changing Smoothing......................... 167 Sliding Door ............................................................ 251
Creating Geometric Primitives ............................ 169 BiFold Door............................................................. 252
Geometric Primitives .............................................. 169 Windows................................................................ 253
Creating Primitives from the Keyboard.................. 169 Windows.................................................................. 253
Standard Primitives.............................................. 170 Awning Window...................................................... 256
Standard Primitives................................................. 170 Casement Window .................................................. 257
Box Primitive........................................................... 171 Fixed Window ......................................................... 258
Cone Primitive ........................................................ 172 Pivoted Window...................................................... 259
Sphere Primitive ...................................................... 174 Projected Window................................................... 260
GeoSphere Primitive ............................................... 176 Sliding Window....................................................... 261
Cylinder Primitive ................................................... 177 Shapes ................................................................... 262
Tube Primitive ......................................................... 179 Shapes ..................................................................... 262
Torus Primitive........................................................ 180 Shape Check Utility................................................. 265
Pyramid Primitive................................................... 182 Splines ................................................................... 266
Teapot Primitive ...................................................... 183 Splines and Extended Splines.................................. 266
Plane Primitive ........................................................ 185 Line Spline ............................................................... 270
Extended Primitives ............................................. 186 Rectangle Spline ...................................................... 272
Extended Primitives ................................................ 186 Circle Spline............................................................. 273
Hedra Extended Primitive ...................................... 187 Ellipse Spline ........................................................... 274
Torus Knot Extended Primitive .............................. 189 Arc Spline ................................................................ 274
ChamferBox Extended Primitive ............................ 191 Donut Spline............................................................ 276
ChamferCyl Extended Primitive............................. 192 NGon Spline ............................................................ 277
OilTank Extended Primitive ................................... 194 Star Spline................................................................ 277
Capsule Extended Primitive.................................... 195 Text Spline ............................................................... 278
Spindle Extended Primitive .................................... 196 Helix Spline ............................................................. 281
L-Ext Extended Primitive........................................ 198 Section Spline .......................................................... 282
vi Contents

Extended Splines .................................................. 284 Spring Dynamics Object ......................................... 400

WRectangle Spline .................................................. 284 Creating Systems .................................................. 404
Channel Spline ........................................................ 285 Systems .................................................................... 404
Angle Spline............................................................. 286 Bones System........................................................ 404
Tee Spline................................................................. 287 Bones System........................................................... 404
Wide Flange Spline.................................................. 288 Using Objects as Bones ........................................... 410
Editable Spline...................................................... 289 Bone Tools ............................................................... 411
Editable Spline......................................................... 289 Bone Tools Rollouts .............................................. 411
Editable Spline (Object) .......................................... 295 Bone Editing Tools Rollout ..................................... 411
Editable Spline (Vertex) ......................................... 297 Fin Adjustment Tools Rollout ................................. 413
Editable Spline (Segment) ...................................... 303 Object Properties Rollout (Bone Tools).................. 414
Editable Spline (Spline) .......................................... 308 Ring Array System................................................... 415
Compound Objects............................................... 313 Sunlight and Daylight Systems ........................... 418
Compound Objects ................................................. 313 Sunlight and Daylight Systems................................ 418
Morph Compound Object ...................................... 314 Geographic Location Dialog................................... 422
Scatter Compound Object....................................... 318
Conform Compound Object................................... 324 6 Transforms: Moving, Rotating, and
Connect Compound Object.................................... 328 Scaling Objects ........................................ 423
BlobMesh Compound Object ................................. 331 Moving, Rotating, and Scaling Objects .................. 423
ShapeMerge Compound Object ............................. 336 Axis Tripod and World Axis ................................... 424
Boolean Compound Object ................................. 338 Using Transforms.................................................. 424
Boolean Compound Object .................................... 338 Using Transforms .................................................... 424
Material Attach Options Dialog .............................. 345 Using Transform Gizmos ........................................ 426
Terrain Compound Object...................................... 347 Transform Type-In .................................................. 431
Loft Compound Object......................................... 352 Animating Transforms ............................................ 432
Loft Compound Object........................................... 352 Transform Managers ............................................... 433
Creation Method Rollout ........................................ 354 Specifying a Reference Coordinate System............. 435
Surface Parameters Rollout ..................................... 354 Choosing a Transform Center................................. 435
Path Parameters Rollout.......................................... 356 Using the Axis Constraints...................................... 437
Skin Parameters Rollout.......................................... 358 Reset Transform Utility ........................................... 438
Deformations .......................................................... 363 Transform Commands .......................................... 438
Deform Scale ........................................................... 364 Transform Commands ............................................ 438
Deform Twist........................................................... 364 Select and Move ...................................................... 439
Deform Teeter.......................................................... 365 Select and Rotate .................................................... 439
Deform Bevel........................................................... 366 Select and Scale ....................................................... 440
Deform Fit ............................................................... 367 Select and Uniform Scale ........................................ 441
Deformation Dialog ................................................ 368 Select and Non-Uniform Scale ............................... 441
Path Commands...................................................... 372 Select and Squash ................................................... 442
Shape Commands ................................................... 373 Transform Coordinates and Coordinate
Compare Dialog ...................................................... 374 Center ................................................................. 442
Mesher Compound Object...................................... 374 Transform Coordinates and Coordinate Center..... 442
ProBoolean/ProCutter Compound Objects ........ 377 Reference Coordinate System ................................. 443
ProBoolean/ProCutter Compound Objects ........... 377 Use Center Flyout .................................................... 445
ProBoolean Compound Object .............................. 378 Use Pivot Point Center ............................................ 446
ProCutter Compound Object ................................. 388 Use Selection Center ............................................... 447
Quad Meshing and Smoothing ............................... 392 Use Transform Coordinate Center ......................... 447
Creating Dynamics Objects ................................. 395 Transform Tools .................................................... 448
Dynamics Objects ................................................... 395 Transform Tools ...................................................... 448
Damper Dynamics Object ...................................... 396 Array Flyout............................................................. 448
 Contents vii

Mirror Selected Objects .......................................... 448 World-Space Modifiers (WSMs)............................. 512

Array ....................................................................... 450 Camera Map Modifier (World Space) .................... 513
Snapshot ................................................................. 453 Displace Mesh Modifier (World Space).................. 514
Spacing Tool ........................................................... 455 Displace NURBS Modifier (World Space).............. 515
Clone and Align Tool .............................................. 459 Hair and Fur Modifier (WSM) ............................... 516
Align Flyout............................................................. 462 Hair And Fur Modifier............................................ 516
Align ....................................................................... 462 Selection Rollout (Hair and Fur) ............................ 521
Quick Align ............................................................ 465 Tools Rollout (Hair and Fur)................................... 523
Normal Align .......................................................... 465 Styling Rollout (Hair and Fur)................................ 526
Place Highlight ....................................................... 467 Quad Menu for Hair Styling ................................... 532
Align Camera .......................................................... 468 General Parameters Rollout (Hair and Fur) ........... 534
Align to View .......................................................... 468 Material Parameters Rollout (Hair and Fur) .......... 537
mr Parameters Rollout (Hair and Fur) ................... 540
7 Creating Copies and Arrays .................... 471 Frizz Parameters Rollout (Hair and Fur) ................ 540
Creating Copies and Arrays .................................... 471 Kink Parameters Rollout (Hair and Fur) ................ 542
Overview of Copies, Instances, and References...... 472 Multi Strand Parameters Rollout (Hair and Fur) ... 544
Cloning Objects .................................................... 474 Dynamics Rollout (Hair and Fur)........................... 545
Techniques for Cloning Objects.............................. 474 Display Rollout (Hair and Fur) ............................... 549
Clone ....................................................................... 476 LS Colors Modifier (World Space).......................... 550
Clone Options Dialog ............................................. 476 MapScaler Modifier (World Space) ........................ 551
Using Shift +Clone ............................................... 478 PatchDeform Modifier (World Space).................... 552
Cloning with Shift +Move .................................... 479 PathDeform Modifier (World Space) ..................... 552
Cloning with Shift +Rotate................................... 480 Point Cache Modifier (World Space)...................... 555
Cloning with Shift +Scale ..................................... 481 Subdivide Modifier (World Space) ......................... 555
Animating Shift +Rotate and Shift +Scale......... 482 Surface Mapper Modifier (World Space)................ 556
Cloning Objects Over Time with Snapshot ............ 483 SurfDeform Modifier (World Space)...................... 557
Arraying Objects................................................... 484 Object-Space Modifiers........................................ 557
Arraying Objects ..................................................... 484 Object-Space Modifiers........................................... 557
Using the Array Dialog............................................ 485 Affect Region Modifier............................................ 557
Creating Linear Arrays ............................................ 487 Attribute Holder Modifier....................................... 559
Creating Circular and Spiral Arrays........................ 489 Bend Modifier ......................................................... 560
Mirroring Objects ................................................... 491 Bevel Modifier ......................................................... 562
Using the Spacing Tool ............................................ 491 Bevel Profile Modifier ............................................. 565
8 Modifiers .................................................. 493 Camera Map Modifier (Object Space).................... 567
Modifiers ................................................................. 493 Cap Holes Modifier ................................................. 569
Transforms, Modifiers, and Object Data Flow ....... 494 Cloth and Garment Maker Modifiers .................. 571
List of Available Modifiers....................................... 497 Cloth and Garment Maker Modifiers ..................... 571
Using Modifiers .................................................... 499 Cloth Overview ....................................................... 571
Using Modifiers ....................................................... 499 Cloth Modifier......................................................... 578
Using the Modify Panel ........................................... 499 Object Properties Dialog (Cloth)............................ 602
Using the Modifier Stack......................................... 502 Garment Maker Modifier........................................ 607
Editing the Stack ..................................................... 504 Troubleshooting and Error Codes in Garment
Edit Modifiers and Editable Objects ....................... 506 Maker.................................................................... 622
Modifying at the Sub-Object Level ......................... 506 CrossSection Modifier ............................................ 623
Using the Stack at the Sub-Object Level ................. 508 Delete Mesh Modifier.............................................. 626
Modifying Multiple Objects.................................... 509 Delete Patch Modifier.............................................. 627
How Instanced Modifiers Work.............................. 511 Delete Spline Modifier............................................. 627
World-Space Modifiers......................................... 512 Disp Approx Modifier ............................................. 628
Displace Modifier .................................................... 629
viii Contents

Edit Mesh Modifier ................................................. 634 Poly Select Modifier ................................................ 762
Edit Normals Modifier ............................................ 634 Preserve Modifier .................................................... 766
Edit Patch Modifier ................................................. 638 Projection Modifier .............................................. 769
Edit Poly Modifier ................................................. 640 Projection Modifier ................................................. 769
Edit Poly Modifier ................................................... 640 Selection Rollout (Projection Modifier) ................. 771
Selection Rollout (Edit Poly Modifier) ................... 647 Reference Geometry Rollout (Projection
Edit Poly (Object).................................................... 651 Modifier)............................................................... 772
Edit Poly (Vertex) ................................................... 652 Cage Rollout (Projection Modifier) ........................ 773
Edit Poly (Edge) ...................................................... 656 Selection Check Rollout (Projection Modifier) ...... 775
Edit Poly (Border) .................................................. 663 Projection Rollout (Projection Modifier) ............... 776
Edit Poly (Polygon/Element) .................................. 666 Project Mapping Rollout (Projection Modifier)..... 777
Edit Geometry Rollout (Edit Poly Modifier) .......... 673 Projection Holder Modifier..................................... 778
Align Geometry Dialog........................................... 679 Push Modifier.......................................................... 779
Detach Dialog.......................................................... 679 Relax Modifier ......................................................... 779
Edit Spline Modifier ................................................ 680 Renderable Spline Modifier .................................... 781
Extrude Modifier..................................................... 680 Ripple Modifier ....................................................... 783
Face Extrude Modifier............................................. 682 Select By Channel Modifier..................................... 785
FFD (Free-Form Deformation) Modifiers.............. 683 Shell Modifier .......................................................... 785
FFD (Box/Cylinder) Modifiers ............................... 685 Skew Modifier.......................................................... 790
FFD (Free-Form Deformation) Select Modifier..... 689 Skin Modifier ........................................................ 791
Fillet/Chamfer Modifier .......................................... 689 Skin Modifier........................................................... 791
Flex Modifier ......................................................... 691 Load Envelopes Dialog (Skin Modifier) ................. 805
Flex Modifier ........................................................... 691 Weight Tool Dialog.................................................. 807
Spring Option Dialog .............................................. 700 Weight Table (Skin Modifier).................................. 810
HSDS Modifier ...................................................... 701 Skin Morph Modifier .............................................. 812
HSDS Modifier........................................................ 701 Skin Wrap Modifier................................................. 818
Adaptive Subdivision Dialog .................................. 706 Skin Wrap Patch Modifier....................................... 824
Lathe Modifier......................................................... 707 Slice Modifier .......................................................... 825
Lattice Modifier....................................................... 709 Smooth Modifier ..................................................... 828
Linked XForm Modifier.......................................... 712 Spherify Modifier .................................................... 829
LS Mesh Modifier .................................................... 713 Spline IK Control Modifier ..................................... 830
MapScaler Modifier (Object Space)........................ 713 Spline Select Modifier ............................................. 831
Material Modifier .................................................... 714 Squeeze Modifier..................................................... 833
MaterialByElement Modifier .................................. 716 STL Check Modifier ................................................ 834
Melt Modifier........................................................... 717 Stretch Modifier ...................................................... 836
Mesh Select Modifier............................................... 719 Subdivide Modifier ................................................. 839
MeshSmooth Modifier ............................................ 722 Substitute Modifier.................................................. 840
Mirror Modifier....................................................... 728 Surface Modifier...................................................... 842
Morpher Modifier ................................................... 729 SurfDeform Modifier .............................................. 848
MultiRes Modifier ................................................... 739 Sweep Modifier ..................................................... 848
Noise Modifier......................................................... 743 Sweep Modifier........................................................ 848
Normal Modifier ..................................................... 746 Pick Shape Dialog.................................................... 857
Normalize Spline Modifier...................................... 747 Extract Shape Dialog............................................... 858
NSurf Sel Modifier................................................... 747 Merge File (Sweep Modifier)................................... 859
Optimize Modifier .................................................. 748 Symmetry Modifier ................................................ 861
Patch Select Modifier............................................... 751 Taper Modifier......................................................... 863
PatchDeform Modifier ............................................ 754 Tessellate Modifier................................................... 865
PathDeform Modifier.............................................. 755 Trim/Extend Modifier............................................. 866
Point Cache Modifier .............................................. 758 TurboSmooth Modifier ........................................... 868
 Contents ix

Turn To Mesh Modifier ........................................... 871 Editable Patch (Element) ........................................ 984
Turn To Patch Modifier ........................................... 873 Geometry Rollout (Patch)....................................... 986
Turn To Poly Modifier ............................................. 874 Patch Grids ............................................................ 993
Twist Modifier ......................................................... 876 Patch Grids .............................................................. 993
Unwrap UVW Modifier ......................................... 878 Quad Patch .............................................................. 994
Unwrap UVW Modifier .......................................... 878 Tri Patch................................................................... 995
Edit UVWs Dialog .................................................. 888 Meshes .................................................................. 996
Edit UVWs Dialog Menu Bar ................................. 895 Editable Mesh Surface ............................................. 996
Unwrap UVW Shortcuts......................................... 900 Working with Mesh Sub-Objects ............................ 998
UVW Editor Dialogs .............................................. 907 Selection Rollout (Editable Mesh) .......................... 999
Flatten Mapping Dialog........................................... 907 Editable Mesh (Object) ..........................................1001
Normal Mapping Dialog ......................................... 908 Editable Mesh (Vertex) ..........................................1003
Pack UVs Dialog ..................................................... 909 Editable Mesh (Edge) ............................................1006
Pelt Map Parameters Dialog.................................... 909 Editable Mesh (Face/Polygon/Element) ...............1009
Relax Tool Dialog .................................................... 912 Edit Geometry Rollout (Mesh) ..............................1011
Render UVs Dialog ................................................. 914 Attach Options Dialog ...........................................1018
Sketch Tool Dialog................................................... 916 Cut and Slice...........................................................1019
Stitch Tool Dialog .................................................... 918 Polymeshes ......................................................... 1022
Unfold Mapping Dialog .......................................... 919 Editable Poly Surface..............................................1022
Unwrap Options Dialog .......................................... 920 Selection Rollout (Polymesh) ................................1024
UVW Map Modifier................................................ 922 Editable Poly (Object) ............................................1028
UVW Mapping Add Modifier................................. 933 Editable Poly (Vertex) ...........................................1029
UVW Mapping Clear Modifier............................... 933 Editable Poly (Edge) ..............................................1035
UVW Mapping Paste Modifier ............................... 934 Editable Poly (Border) ...........................................1044
UVW XForm Modifier............................................ 934 Editable Poly (Polygon/Element) ..........................1048
Vertex Weld Modifier ............................................. 935 Edit Geometry Rollout (Polymesh) .......................1055
VertexPaint Modifier ............................................ 936 Subdivision Surface Rollout (Polymesh) ...............1060
VertexPaint Modifier ............................................... 936 Subdivision Displacement Rollout (Polymesh).....1063
VertexPaint Paintbox............................................... 941 Paint Deformation Rollout.....................................1064
Adjust Color Dialog (VertexPaint Modifier) .......... 949 Editable Poly Settings Dialogs .......................... 1066
Color Palette (VertexPaint Modifier)...................... 950 Bevel Polygons Dialog ............................................1066
Volume Select Modifier ........................................... 952 Bridge Borders/Polygons Dialog............................1067
Wave Modifier ......................................................... 957 Bridge Edges Dialog ...............................................1068
XForm Modifier ...................................................... 959 Chamfer Vertices/Edges/Borders Dialog ...............1070
Painter Options Dialog............................................ 960 Connect Edges Dialog............................................1070
Extrude Polygons Along Spline Dialog..................1071
9 Surface Modeling .................................... 963 Extrude Polygons Dialog........................................1072
Surface Modeling .................................................... 963 Extrude Vertices/Edges Dialog ..............................1073
Subdivision Surfaces ............................................... 963 Hinge Polygons From Edge Dialog ........................1073
Soft Selection Rollout .............................................. 963 Inset Polygons Dialog.............................................1074
Collapse Utility........................................................ 966 MeshSmooth Selection Dialog...............................1074
Editable Patches ................................................... 968 Preserve Map Channels Dialog ..............................1075
Editable Patch Surface ............................................. 968 Relax Dialog ...........................................................1076
Selection Rollout (Editable Patch) .......................... 971 Tessellate Selection Dialog .....................................1077
Editable Patch (Object) ........................................... 974 Weld Vertices/Edges Dialog ...................................1077
Editable Patch (Vertex) ........................................... 975 NURBS ................................................................. 1078
Editable Patch (Handle) ......................................... 979 NURBS Modeling...................................................1078
Editable Patch (Edge) ............................................. 980 Working with NURBS Models ............................ 1078
Editable Patch (Patch) ............................................ 981 NURBS Models: Objects and Sub-Objects............1078
x Contents

Creating NURBS Models .......................................1079 Creating Curve Sub-Objects ..................................1151

Working with NURBS Models ...............................1080 CV Curve Sub-Object ...........................................1153
Surface Trimming...................................................1080 Point Curve Sub-Object ........................................1155
Modifying NURBS Models and Creating Curve Fit ................................................................1157
Sub-Objects .........................................................1081 Transform Curve ...................................................1157
Quad Menu for NURBS Objects ............................1082 Blend Curve ...........................................................1158
Using the NURBS Toolbox to Create Offset Curve ...........................................................1159
Sub-Objects .........................................................1083 Mirror Curve .........................................................1160
Sub-Object Selection..............................................1084 Chamfer Curve ......................................................1161
CV Sub-Objects and Point Sub-Objects ................1085 Fillet Curve ............................................................1164
Dependent Sub-Objects .........................................1087 Surface-Surface Intersection Curve ......................1166
Rigid Surfaces.........................................................1089 Surface Offset Curve ..............................................1167
NURBS and Modifiers ...........................................1089 U and V Iso Curves ...............................................1168
NURBS and Animation .........................................1091 Normal Projected Curve .......................................1169
NURBS Concepts ...................................................1091 Vector Projected Curve ..........................................1171
NURBS Tips and Techniques .............................. 1094 CV Curve on Surface .............................................1172
NURBS Tips and Techniques .................................1094 Point Curve on Surface ..........................................1175
How to Make Objects with NURBS Modeling ......1094 Surface Edge Curve ...............................................1177
How to Fix NURBS Objects ...................................1098 Creating Surface Sub-Objects ........................... 1177
How to Improve Performance................................1099 Creating Surface Sub-Objects ................................1177
Animation, Textures, and Rendering.....................1099 CV Surface Sub-Object .........................................1179
NURBS Surface Primitives .................................. 1101 Point Surface Sub-Object ......................................1181
NURBS Surfaces.....................................................1101 Transform Surface .................................................1182
Point Surface...........................................................1102 Blend Surface .........................................................1183
CV Surface..............................................................1103 Offset Surface .........................................................1186
NURBS Curve Primitives..................................... 1106 Mirror Surface .......................................................1187
NURBS Curves.......................................................1106 Extrude Surface .....................................................1188
Point Curve.............................................................1106 Lathe Surface .........................................................1190
CV Curve................................................................1110 Ruled Surface .........................................................1193
Creating NURBS Curve and Surface Objects .... 1114 Cap Surface ............................................................1195
Creating Independent Surfaces from NURBS U Loft Surface ........................................................1196
Curve Objects ......................................................1114 UV Loft Surface .....................................................1200
Creating NURBS Curves from Splines ..................1115 1-Rail Sweep Surface .............................................1204
Creating NURBS Surfaces from Geometric 2-Rail Sweep Surface .............................................1209
Primitives.............................................................1116 Multisided Blend Surface ......................................1213
Nonrelational NURBS Surfaces .............................1116 Multicurve Trimmed Surface ................................1214
Display Controls for NURBS Models ....................1117 Fillet Surface ..........................................................1216
Display Line Parameters for NURBS Surfaces.......1119 Creating and Editing Point Sub-Objects ........... 1219
Creating and Editing NURBS Sub-Objects ........ 1120 Creating and Editing Point Sub-Objects................1219
Attaching and Importing 3ds Max Objects ...........1120 Point (NURBS) ......................................................1219
Common Sub-Object Controls..............................1122 Offset Point ............................................................1219
Editing Point Sub-Objects......................................1123 Curve Point ............................................................1220
Editing Curve CV Sub-Objects..............................1127 Surface Point ..........................................................1222
Editing Surface CV Sub-Objects............................1130 Curve-Curve Intersection Point ............................1223
Editing Curve Sub-Objects ....................................1135 Surface-Curve Intersection Point ..........................1224
Editing Surface Sub-Objects ..................................1141 NURBS Editing Dialogs....................................... 1225
Soft Selection Rollout (NURBS) ............................1147 Convert Curve Dialog ............................................1225
Material Properties Rollout....................................1149 Convert Curve on Surface Dialog ..........................1226
Creating Curve Sub-Objects .............................. 1151 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
Introduction

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

What’s New in 3ds Max 9 Extension with the dialog’s new ability to list only nodes
1 that are selected in the scene.
This latest release of 3ds Max brings compelling • Getting a rendered image into a bitmap editor
new features and value to the problems you face is a snap with the Rendered Frame Window’s
on a day-by-day basis. This short guide is to help (page 3–5) new Copy Bitmap function.
you understand what those features are and how
they can help you. Scene and Project Management
Note: This topic doesn’t comprehensively list all • 3ds Max supports multiple materials per object
the changes in 3ds Max. As you proceed through in DWG files exported as ACIS solids from
the documentation, keep an eye out for the Revit Architecture/Structure/MEP 2008 and
icon, which designates a new feature. You can also later, as well as solid primitives created in
use the index in this reference to identify topics AutoCAD Architecture 2008 (formerly ADT)
that contain information about new features in the and later. See Support of Multiple Materials on
program. For topics that describe new program Imported ACIS Solids (page 3–537).
features, check the index entry "new feature". For • DWF Export (page 3–555) now supports named
changes in existing features, check the index entry camera views, so you can choose different views
"changed feature". by name in the DWF Viewer program.
Following is a list of major new features with brief • Reloading XRef items works correctly even
descriptions and links to the relevant reference when an object in the source scene has been
topic: renamed, or deleted and then re-created with
the same name.
General Improvements • The new Select Similar (page 1–88) command
• The new Sample function in the Color Selector lets you select all items in an imported or linked
dialog (page 1–161) lets you grab colors from DWG file with the same style(s) (page 3–461),
anywhere on the screen. as defined in AutoCAD Architecture.
xiv Introduction

• Thanks to a revamped interface, the DWG • Remapping an XAF animation file when
Import (page 3–539) toolset for geometry is loading it onto an object whose animation
now significantly easier to use. layers status has changed is easier thanks to the
new Load Into Active Layer switch.
Animation Improvements • Animate an effect such as a curling finger with
• If you enable animation layers for an object that ease with Use Pivot Point Center’s (page 1–446)
has animation loaded in the Motion Mixer, new support for accumulated rotation of linked
3ds Max can automatically create new map files objects.
for you.
• New Biped quadrants on the quad menu
Modeling Improvements
provide quick access to many commonly used • Users of normal bump mapping can take
Biped tools. Just select any biped part and then advantage of new export/import functionality
right-click the biped. available on the Projection modifier > Cage
• You can assign the same type of controller or rollout (page 1–773). You can convert the cage
constraint to several different objects at once. into standard geometry of the same type and
Just select the objects and then choose the topology as the cage and modified object,
controller or constraint from the Animation which you can edit using standard methods
menu. and then use to define a new shape for the
cage. This provides access to the full range of
• Visualizing and editing biped IK animation mesh-editing tools available in 3ds Max for
is easier thanks to new color-coded keys and shaping the cage to your precise requirements.
trajectories in the viewports, and color-coded
keys on the track bar. Trajectories use gradients • Automatically round off chamfered edges (page
to depict transitions between FK and IK 1–1070) of poly meshes with the new Segments
periods. See Biped Color-coded Keys and parameter.
Trajectories (page 2–1005).
• You can view and edit controller properties 3ds Max Documentation Set
simply by double-clicking the controller label
anywhere it appears. The documentation set for 3ds Max® comprises
online material only.
• The new Euler Filter utility (page 2–564) in
Track View can automatically correct rotation • 3ds Max Installation Guide: Contains
anomalies caused by gimbal flipping. complete installation and configuration
instructions, as well as Read This First
• New Track View filtering options (page 2–542)
information to help you get started.
let you show or hide global tracks, display
only animated tracks with full hierarchies, and The Installation Guide includes information
assign filters to hotkeys and other custom UI about system requirements and
elements. troubleshooting. It also tells you how to
uninstall 3ds Max.
• Switch pivot points on biped hands and feet
faster and more easily with the new Pivot The Installation Guide is available in PDF
Selection Dialog feature. format on the product disc, in the \manuals
folder.
 3ds Max Documentation Set xv

• 3ds Max 9 Extension 1 User Reference : Access the MAXScript Reference by choosing
This document covers fundamental concepts Help > MAXScript Reference.
and strategies for using the product, as well • Readme (Readme.rtf ): Contains the latest
as details about the features of 3ds Max. In information about 3ds Max. Find this file
this version of the product, the this manual is in electronic format in the program install
available online only. directory.
Access the reference online by choosing Help
> User Reference. Additional Help Files
Note: A printable version of the In addition to the main documentation
reference in PDF format is available for components described above, these additional
downloading from the Training Website at online documents describe various features
http://www.autodesk.com/me_training. From available in 3ds Max.
the Product Training drop-down list, choose
• The 3ds Max SDK Help system documents the
Autodesk 3ds Max, and then click the link for
software development kit (SDK) for:
Documentation, Online Tutorials, Sample Files.
• 3ds Max
• 3ds Max 9 Tutorials: Contains tutorial
information and detailed procedures to walk • Game Export Interface
you through increasingly complex operations. • Particle Flow
This is the best source for learning 3ds Max. • mental ray
Access the online version of the tutorials by • Character Studio
choosing Help > Tutorials.
• MAXScript
Note: All the sample files required to do the
tutorials are found on the program disc. None Using the SDK, you can create new 3ds Max
of these files are installed automatically. features and tools by writing your own plug-ins.

The printed 3ds Max Tutorials book (included Note: To install the SDK and the SDK
with 3ds Max 9) duplicates a subset of the documentation, choose 3ds Max 9 SDK under
online tutorials. the Install Supplemental Tools section of the
Installer program. You can do this the first time
Note: Due to print time requirements, some
you install 3ds Max, or run the setup program
topics in the printed tutorials could differ to add them at a later time. See the Installation
slightly from the online version. Where there is Guide for more information. You can also
a difference, the online version is more current. find SDK downloads, sample solutions, and
• Backburner Reference: Describes procedures documentation updates on the sparks Web site.
for rendering with networked computers. • Additional mental ray® Help Files:
Available from the 3ds Max Reference online Documentation from mental images® is
Contents tab. available from Help menu > Additional Help.
• MAXScript Reference: Describes the There, you’ll find the mental ray 3.5 Reference,
MAXScript scripting language (page 1–xvii). comprising the mental ray Manual, mental ray
This reference is available online only. Check Shader Reference, and LumeTools Collection.
out the “Learning MAXScript” chapter there if Note: Third-party shaders are documented in
you’re new to MAXScript. the mental ray Shader Reference, and LumeTools
xvi Introduction

Collection documents, but the 3ds Max User Note: By default, the SDK and its document
Reference documents all other mental ray files are not installed. You can choose to add
components available in the 3ds Max user them when you first install 3ds Max, or you
interface. This includes documentation for can run the setup program to add them to your
lights for mental ray and specific shadow installation at a later time. See the Installation
types, controls for adding mental ray shaders Guide for more information.
to lights and cameras, mental ray materials,
custom shaders for 3ds Max, and the mental Install Documentation
ray renderer controls.
All of the following install documents are available
• Autodesk License Borrowing Utility Help: from the 3ds Max Install DVD. You can find them
Available as the file adsk_brw.chm, installed in the \Manuals folder.
in the \program files\common files\autodesk
• Stand-Alone Licensing Guide: Available as the
shared\enu folder on your local drive.
file adsk_slg.pdf.
• Portable License Utility Help: Available as the
• Network Licensing Guide: Available as the file
file adsk_plu.chm, installed in the \program
adsk_nlg.pdf.
files\common files\autodesk shared\enu folder
on your local drive. • Network Administrator’s Guide: Available as
the file adsk_nag.pdf.
• 3ds Max Software Development Kit
Help Files: Available as the files sdk.chm, • Network Installation Guide: Available as the
sparks_archive.chm, and igamehelp.chm, file NetInstallGuide.pdf, on the product disc,
installed in the 3dsmax9\maxsdk\help folder on in the \Manuals folder.
your local drive. The file index.chm is installed • SAMreport-Lite User’s Guide: Available as the
in the 3dsmax9\maxsdk\samples\howto\xrefutil file SAMlite_UG.pdf.
folder.
You can find updated SDK documentation on How to Print from the Online
the sparks Web site. Documentation Files
Note: By default, the SDK and its document If your computer is connected to a printer, you can
files are not installed. You can choose to add print single help topics or entire chapters.
them when you first install 3ds Max, or you To print a topic or chapter, highlight the topic or
can run the setup program to add them to your chapter title and click the Print button at the top of
installation at a later time. See the Installation the help display. A dialog appears.
Guide for more information.
• The 3dsMaxSDKHelp.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.)
You can find updated SDK documentation on
the sparks Web site.
 About MAXScript xvii

Choose to print only the selected topic, or to print • Package scripts within custom utility panel
all topics in that chapter. After you make your rollouts or modeless windows, giving them a
selection, another dialog appears where you can standard 3ds Max user interface.
choose your printer and other options. • 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
to complement 3ds Max. It is object-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
The tabs available at the top of the dialog depend object hierarchy.
on the selected printer. Choose options for the
print job, and click OK to begin printing. The syntax is simple enough for non-programmers
to use, with minimal punctuation and formatting
How to Contact Us rules.

We are also interested in hearing your views about Visual MAXScript

3ds Max. We’d like to hear ways you think we can
improve our program, features you’re interested Visual MAXScript is a powerful addition to
in, as well as your views on the documentation set. MAXScript, making the MAXScript feature easier
to learn and use. With Visual MAXScript, you
Please send us email about the documentation set can quickly create UI elements and layouts for
at: me.documentation@autodesk.com scripting.
For detailed information about Visual MAXScript,
About MAXScript open the MAXScript Reference, available from
Help menu > MAXScript Reference.
MAXScript is the built-in scripting language for
3ds Max. It provides users with the ability to: See also
• Script all aspects of 3ds Max use, such as MAXScript Interface (page 3–780)
modeling, animation, materials, rendering, and
so on.
• Control 3ds Max interactively through a
command-line shell window.
xviii Introduction

Procedure
To access MAXScript, do one of the following:
• On the menu bar, choose MAXScript. The
MAXScript menu appears.
• Choose Utilities panel > MAXScript.
From here, you can either write new scripts, edit
or run existing scripts, open the MAXScript
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.
Getting Started with 3ds Max

You use 3ds Max to quickly create • Placing Lights and Cameras (page 1–7)
professional-quality 3D models, photorealistic still • Animating Your Scene (page 1–8)
images, and film-quality animation on your PC.
• 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)
Image by Michael McCarthy • Startup Files and Defaults (page 1–17)
Before using this reference material, we highly • 3dsmax.ini File (page 1–18)
recommend you get to know 3ds Max firsthand by
• Backing Up and Archiving Scenes (page 1–19)
following the included tutorials. You can access
the tutorials using the Help menu > Tutorials • Crash Recovery System (page 1–20)
command, or in the printed version.
This section presents these brief topics designed to Project Workflow
help you quickly start using 3ds Max.
Once you’ve installed 3ds Max (see the Installation
• Project Workflow (page 1–1)
Guide included with your software package), you
• Setting Up Your Scene (page 1–4) open it from the Start menu, or use any other
• Modeling Objects (page 1–5) Windows method. The figure below shows the
application window with a scene file loaded.
• Using Materials (page 1–6)
2 Chapter 1: Getting Started with 3ds Max

Modeling Objects

Main program window

You model and animate objects in the viewports,

Note: If you open 3ds Max from a Command whose layout is configurable. You can start with a
Prompt window or batch file, you can add variety of 3D geometric primitives. You can also
command-line switches. See Starting 3ds Max use 2D shapes as the basis for lofted or extruded
from the Command Line (page 3–671). objects. You can convert objects to a variety of
Note: 3ds Max is a single-document application, editable surface types, which you can then model
meaning you can work on only one scene at a time. further by pulling vertices and using other tools.
However, you can open more than one copy of
Another modeling tool is to apply modifiers to
3ds Max and open a different scene in each copy.
objects. Modifiers can change object geometry.
Opening additional copies of 3ds Max requires a
Bend and Twist are examples of modifiers.
lot of RAM. For the best performance, you should
plan to open one copy and work on one scene at a Modeling, editing, and animation tools are
time. available in the command panels and toolbar. See
Modeling Objects (page 1–5). Also, you can learn
Opening multiple copies of 3ds Max is not
a good deal about modeling from the tutorials
supported in Windows ME.
available from Help menu > Tutorials.
 Project Workflow 3

Material Design 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 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."
You can begin animating your scene at any time by
Lights and Cameras turning on the Auto Key button. Turn the button
off to return to modeling. You can also perform
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
You create lights with various properties to viewports.
illuminate your scene. The lights can cast shadows,
You use Track View (page 2–501) to control
project images, and create volumetric effects for
animation. Track View is a floating window
atmospheric lighting. Physically-based lights let
where you edit animation keys, set up animation
you use real-world lighting data in your scenes and
controllers, or edit motion curves for your
4 Chapter 1: Getting Started with 3ds Max

animated effects. The Lip Sync tutorial covers A Typical Project Workflow
Track View usage.
These topics explain the basic procedures for
creating scenes:
Rendering
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
Rendering adds color and shading to your scene. open the program. You can also start a new scene
The renderers available with 3ds Max include at any time by choosing New or Reset from the
features such as selective ray tracing, analytical File menu.
antialiasing, motion blur, volumetric lighting, and
environmental effects. See Rendering Your Scene Choosing a Unit Display
(page 1–9). The tutorials can help you learn about You choose a system of unit display on the Units
rendering. Setup dialog (page 3–848). Choose from Metric,
When you use the default scanline renderer, Standard US, and Generic methods, or design a
a radiosity solution (page 3–51) can provide custom measuring system. You can switch between
accurate light simulation in renderings, including different systems of unit display at any time.
the ambient lighting that results from reflected Note: For best results, use consistent units when
light. When you use the mental ray renderer, you are going to:
a comparable effect is provided by global
• Merge scenes and objects (page 3–463).
illumination (page 3–93).
• Use XRef objects (page 3–394) or XRef scenes
If your workstation is part of a network, network (page 3–407).
rendering can distribute rendering jobs over
multiple workstations. See Network Rendering Setting the System Unit
(page 3–173).
The System Unit setting, in the Units Setup dialog
With Video Post (page 3–311), you can also (page 3–848), determines how 3ds Max relates to
composite the scene with animations stored on distance information you input to your scene. The
disk. 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 shapes, and then applying modifiers to those

objects. The program includes a wide range of
Set spacing for the visible grid in the Grid And
standard objects and modifiers.
Snap Settings dialog > Home Grid panel (page
2–49). You can change grid spacing at any time.
Creating Objects
See Precision and Drawing Aids (page 2–1) for
You create objects by clicking an object category
information about the system unit, unit display,
and type on the Create panel and then clicking
and grid spacing.
or dragging in a viewport to define the object’s
creation parameters. The program organizes the
Setting the Viewport Display
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
Viewport layout options
menu by choosing an object category and type
The default four viewports in 3ds Max represent and then clicking or dragging in a viewport to
an efficient and popular screen layout. Set options define the object’s creation parameters. The
in the Viewport Configuration dialog (page 3–853) program organizes the Create menu into these
to change viewport layout and display properties. basic categories: Standard Primitives, Extended
Primitives, AEC Objects, Compound, Particles,
See Viewing and Navigating 3D Space (page 1–21)
Patch Grids, NURBS, Dynamics, Shapes, Lights,
for more information.
Cameras, Helpers, Space Warps, and Systems.
Saving Scenes See Basics of Creating and Modifying Objects (page
Save your scene frequently to protect yourself from 1–153).
mistakes and loss of work. See Backing Up and
Archiving Scenes (page 1–19). Selecting and Positioning Objects
You select objects by clicking or dragging a region
around them. You can also select objects by name
Modeling Objects 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,
1. Modify panel Rotating, and Scaling Objects (page 1–423), and
2. Create panel Precision and Drawing Aids (page 2–1).
3. Object categories
Modifying Objects
You model objects in your scene by creating
standard objects, such as 3D geometry and 2D You sculpt and edit objects into their final form by
applying modifiers from the Modify panel. The
6 Chapter 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.
Maps can also be used to control the appearance
of environmental effects such as lighting, fog, and House on left uses the default standard material.
the background. House on right uses a compound material.

Basic Material Properties

You set basic material properties to control
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
A variety of materials in the Material Editor’s sample slots image file, such as one you might create in a paint
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

The program includes the following standard light

Placing Lights and Cameras types: omni, spot, and directional lights. You can
You place lights and cameras to complete your set a light to any color and even animate the color
scene in much the same way lights and cameras are to simulate dimming or color-shifting lights. All
placed on a movie set prior to filming. 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), LTLI (page
3–964)) so that you can model the characteristics
of real-world manufactured luminaires, or even
Lights and cameras placed to compose a scene drag ready-to-use luminaires from the Web.
Used in conjunction with the 3ds Max radiosity
solution (page 3–51), photometric lights let you
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
The resulting scene
geographically correct angle and movement of
the sun over the earth at a given location. You
Default Lighting
can choose location, date, time, and compass
Default lighting evenly illuminates the entire scene. orientation. You can also animate the date and
Such lighting is useful while modeling, but it is not time. This system is suitable for shadow studies of
especially artistic or realistic. proposed and existing structures.

Placing Lights Viewing Lighting Effects in the Scene

You create and place lights from the Lights category When you place lights in a scene, the default
of the Create panel when you are ready to get more lighting turns off and the scene is illuminated only
specific about the lighting in your scene. by the lights you create. The illumination you
8 Chapter 1: Getting Started with 3ds Max

see in a viewport is just an approximation of the Animating Transforms and Parameters

true lighting. Render your scene to view lighting
While the Auto Key button is on, the program
accurately.
creates an animation key (page 3–960) whenever
Tip: If the Daylight system appears to wash out the you transform an object or change a parameter.
scene, try using the Logarithmic exposure control To animate a parameter over a range of frames,
(page 3–297). specify the values at the first and last frames of the
range. The program calculates the values for all of
Placing Cameras the frames in between.
You create and place cameras from the Cameras See Animation Concepts and Methods (page
category of the Create panel. Cameras define 2–275).
viewpoints for rendering, and you can animate
cameras to produce cinematic effects such as Editing Animation
dollies and truck shots.
You edit your animation by opening the Track
You can also create a camera automatically from a View window or by changing options on the
Perspective viewport by using the Create Camera Motion panel. Track View is like a spreadsheet that
from View command (page 1–48) found on the displays animation keys along a time line. You edit
Views menu. Just adjust your Perspective viewport the animation by changing the keys.
until you like it, and then choose Views > Create
Track View has two modes. You can display the
Camera From View. 3ds Max creates a camera and
animation as a series of function curves that
replaces the Perspective viewport with a Camera
graphically show how a value changes over time
viewport showing the same perspective.
in the Curve Editor mode. Alternatively, you can
See Common Camera Parameters (page 2–1373). display your animation as a sequence of keys or
ranges on a grid in the Dope Sheet mode.
See Track View (page 2–501).
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). You can also
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.
 Rendering Your Scene 9

Rendering an animation is the same as rendering

Rendering Your Scene 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.
Rendering "fills in" geometry with color, shadow, lighting
effects, and so on. One of the most important aspects of using
Use the rendering features to define an 3ds Max is its versatility. Many program functions
environment and to produce the final output from are available from multiple user-interface
your scene. elements. For example, you can open Track View
for animation control from the Main toolbar as
Defining Environments and well as the Graph Editors menu, but the easiest
Backgrounds way to get to a specific object’s track in Track View
is to right-click the object, and then choose Track
Rarely do you want to render your scene against the View Selected from the quad menu.
default background color. Open the Environment
And Effects dialog > Environment panel (page You can customize the user interface in a variety
3–272) to define a background for your scene, or of ways: by adding keyboard shortcuts, moving
to set up effects such as fog. toolbars and command panels around, creating
new toolbars and tool buttons, and even recording
Setting Rendering Options scripts into toolbar buttons.
To set the size and quality of your final output, MAXScript lets you create and use custom
you can choose from many options on the Render commands in the built-in scripting language.
Scene dialog (page 3–2). You have full control For more information, access the MAXScript
over professional grade film and video properties Reference from the Help menu.
as well as effects such as reflection, antialiasing,
shadow properties, and motion blur. Menu Bar
A standard Windows menu bar with typical File
Rendering Images and Animation (page 3–673), Edit (page 3–673), and Help (page
You render a single image by setting the renderer 3–684) menus. Special menus include:
to render a single frame of your animation. You • Tools (page 3–674) contains duplicates of many
specify what type of image file to produce and of the Main toolbar commands.
where the program stores the file.
10 Chapter 1: Getting Started with 3ds Max

• Group (page 3–674) contains commands for Command Panel

managing combined objects.
This collection of six panels provides handy
• Views (page 3–675) contains commands for access to most of the modeling and animation
setting up and controlling the viewports. commands.
• Create (page 3–675) contains commands for You can "tear off " the command panel and place it
creating objects. anywhere you like.
• Modifiers (page 3–678) contains commands for
By default, the command panel is docked at the
modifying objects.
right of your screen. You can access a menu
• Animation (page 3–681) contains commands that lets you float (page 3–930) or dismiss the
for animating and constraining objects, plus command panel by right-clicking just above it.
commands such as Bone Tools for setting up If it is not displayed, or you want to change its
animated characters. location and docking or floating status, right-click
• Graph Editors (page 3–682) provides graphical in a blank area of any toolbar, and choose from
access to editing objects and animation: Track the shortcut menu.
View lets you open and manage animation • Create (page 3–757) holds all object creation
tracks in Track View (page 2–501) windows, tools.
and Schematic View (page 3–640) gives you an
• Modify (page 3–758) holds modifiers and
alternate way to work with the objects in your
editing tools.
scene and navigate to them.
• Hierarchy (page 3–773) holds linking and
• Rendering (page 3–683) contains commands
inverse kinematics parameters.
for rendering, Video Post, radiosity, (page
3–51)and the environment. • Motion (page 3–774) holds animation
controllers and trajectories.
• Customize (page 3–683) gives you access
to controls that let you customize the user • Display (page 3–775) holds object display
interface. controls.

• MAXScript (page 3–780) has commands for • Utilities (page 3–778) holds miscellaneous
working with MAXScript, the built-in scripting utilities.
language.
Status Bar and Prompt Line
For more information about the 3ds Max menus,
see Menu Bar (page 3–672). These two lines display prompts and information
about your scene and the active command. They
Time Controls also contain system toggles controlling selections,
precision, and display properties. See Status Bar
The Auto Key button (page 2–278) turns on Controls (page 3–698).
animation mode. The other controls navigate
through time and play back an animation. Viewports
You can display from one to four viewports. These
can show multiple views of the same geometry,
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 and navigate the panel quickly. And most other
3–729). windows, including Schematic View and Track
View, have right-click menus that provide fast
Viewport Navigation Buttons access to commonly used functions.
The button cluster at the lower-right corner of
the main window contains controls for zooming,
Flyouts
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) 1. Flyout arrow

• Rollouts (page 1–12) 2. Flyout buttons

• Scrolling panels and toolbars (page 1–13) A flyout (page 3–943) is similar to a menu, except
that its items are buttons. A flyout button is
• Spinners (page 1–13)
indicated by a small arrow in the lower-right
• Numerical Expression Evaluator (page 1–13) corner. To display the flyout, click and hold the
• Entering numbers (page 1–14) button for a moment, then choose a button by
dragging the cursor to it and then releasing the
• Controls and color (page 1–14)
mouse button.
• Undoing actions (page 1–14)
Note: You can define customized text annotations
for flyouts by editing the maxstart.cui file. See
Right-Click Menus
Customize Menu (page 3–683).
The program uses several different types of
right-click menus. Rollouts
For object editing and ActiveShade control (page
3–22), you use the quad menu (page 3–694).
Commands on the quad menu vary depending on
the kind of object you are editing and the mode Rollouts are areas in the command panels and
you are in. dialogs that you can expand (roll out) or collapse
Right-clicking a viewport label displays the (roll in) to manage screen space. In the illustration
viewport right-click menu (page 3–731), which above, the Keyboard entry rollout is collapsed, as
lets you change viewport display settings, choose indicated by the + sign, and the Parameters rollout
which view appears in the viewport, and so on. is expanded, as indicated by the sign.

Also, the command panel and the Material Editor

have right-click menus that let you manage rollouts
 Special Controls 13

To open and close a rollout: • Place the pointer over any part of a toolbar,
• Click the rollout title bar to toggle between then press and hold the middle mouse
expanded and collapsed. button.
2. When the pointer icon changes to a hand, drag
To move a rollout: the toolbar horizontally.
• You can move a rollout in the expanded or
collapsed state. To move the rollout, drag the Spinners
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 A spinner is a mouse-based control for numeric
for the rollout, a blue, horizontal line appears at fields. You can click or drag the spinner arrows to
the position where the rollout will drop when change the value in the field.
you release the mouse button.
To change a value using a spinner, do any of the
Scrolling Panels and Toolbars following:
Sometimes a command panel or dialog is not large • Click the spinner’s up arrow to increment the
enough to display all of its rollouts. In this case, value; click the down arrow to decrement the
a pan ("hand") cursor appears over the inactive value. Click and hold for continuous change.
parts of the panel. You can scroll command panels • Drag upward to increase the value, or drag
and dialogs vertically, and you can scroll a toolbar downward to decrease it.
along its major axis.
• Press Ctrl while you drag to increase the rate
To scroll a panel: at which the value changes.
1. Place the pointer over an empty area of a panel • Press Alt while you drag to decrease the rate
to display the pan cursor. at which the value changes.
2. When the pointer icon changes to a hand, drag • Right-click a spinner to reset the field to its
the panel up or down. minimum value.
A thin scroll bar also appears on the right side
Numerical Expression Evaluator
of the scrolling panel. You can use the pointer
to drag the scroll bar as well. While a numeric field is active, you can display
a calculator called the Numerical Expression
To scroll a toolbar: Evaluator. To display the calculator, press
You can scroll a toolbar only when some tool Ctrl+N .
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.
14 Chapter 1: Getting Started with 3ds Max

The expression you enter is evaluated, and its the active viewport turn red when you are in
result is displayed in the Result field. Click Paste Animate mode.
to replace the field value with the result of the • Yellow for modal function buttons: When
calculation. Click Cancel to exit the Expression you turn on a button that puts you in a generic
Evaluator. creation or editing mode, the button turns
The expressions you can enter are described in yellow.
Expression Techniques (page 1–146). You can’t use • Yellow for special action modes: When you
variables in the Expression Evaluator, but you can turn on a button that alters the normal behavior
enter the constants pi (circular ratio), e (natural of other functions, the button is highlighted
logarithm base), and TPS (ticks per second). in yellow. Common examples of this behavior
These constants are case-sensitive: the Expression include sub-object selection and locking your
Evaluator does not recognize PI, E, or tps. current selection set.
You can also enter a vector expression or an You can exit a functional mode by clicking another
Expression Controller function call, but the result modal button. Other exit methods supported by
of the expression or function must be a scalar some buttons include right-clicking in a viewport,
value. Otherwise, the Expression Evaluator won’t or clicking the modal button a second time.
evaluate it.
Undoing Actions
Entering Numbers
You can easily undo changes you make to your
You can change a numeric value by a relative offset scene and your viewports. There are separate
by highlighting the contents of a numeric field Undo buffers for both the scene objects and each
(not in the Numerical Expression Evaluator) and viewport.
typing R or r followed by the offset amount.
For example, a Radius field shows 70 and you
highlight it:
Use the toolbar Undo and Redo buttons (page 1–94)
• If you enter R30, 30 is added to the radius and or the Edit menu > Undo and Redo commands to
the value changes to 100. reverse the effects of most scene operations. You
• If you enter R-30, 30 is subtracted from the can also use Ctrl+Z for Undo and Ctrl+Y for
radius and the value changes to 40. Redo. Most things you do in the program can be
undone.
Controls and Color
Use the Views menu > Undo and Redo commands
The user interface uses color cues to remind you (page 1–36) to reverse the effects of most viewport
what state the program is in. operations, such as zooming and panning. You
Note: You can customize most of these colors can also use Shift+Z for Undo View Change and
by using the Colors panel (page 3–799) of the Shift+Y for Redo View Change.
Customize User Interface dialog (page 3–792). You can also undo actions by using the Hold and
• Red for animation: The Auto Key button, Fetch commands on the Edit menu. Choose Edit
the time slider background, and the border of menu > Hold to save a copy of your scene in a
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

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
File-management dialogs most of the standard support files. You can specify
3ds Max supports many types of files for working one path for each of file types 3ds Max uses.
with plug-ins, image maps, models from other
Setting Plug-In File Paths
programs, rendering images and animations, and
of course saving and opening your scene files. Many features of 3ds Max are implemented as
plug-ins. This means you can change and extend
File dialogs (such as Open, Save, Save As)
3ds Max functionality by adding new plug-ins
uniformly remember the previous path you used,
from Autodesk Media and Entertainment or from
and default to that location.
third-party developers.
Configuring File Paths You tell 3ds Max where to find additional plug-in
files by adding path entries on the 3rd Party
The locations that 3ds Max searches to locate all
Plug-Ins panel (page 3–814). If you place all of
file types are specified on the Customize menu >
your plug-ins in a single directory, plug-in file
Configure Paths dialogs (page 3–808).
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), downloaded files (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 Depending on the file type you choose, you might
environment effects. have options available for that import plug-in.

Setting XRefs File Paths Merging Scenes Together

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

Pipe and ashtray models merged into one scene
You can realize great productivity gains when Use Merge (page 3–463) to combine multiple
you reuse work by combining geometry from scenes into a single large scene. When you merge
scenes or other programs. 3ds Max supports this a file, you can select which objects to merge. If
technique with the Import, Merge, and Replace objects being merged have the same name as
commands. You can also share scenes and objects objects in your scene, you have the option to
with others working on the same project using rename or skip over the merged objects.
XRef functionality.
Merging Animation into Scenes
Importing Geometry from Other
Programs Use Merge Animation (page 3–466) to merge the
animation from one scene into another with the
Use File menu > Import (page 3–485) to bring
same (or similar) geometry.
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.
 Using the Asset Browser 17

Replacing Scene Objects You can drag these samples and models into
your scene for immediate visualization and
Use Replace (page 3–470) to replace objects in
presentation. You can snap geometry into
your scene with objects in another scene that have
predefined locations, or drag and drop them
duplicate names. Replace is useful when you want
interactively in your scene.
to set up and animate your scene with simplified
objects, and then replace the simple objects with You can also use the Asset Browser to browse
detailed objects before rendering. thumbnail displays of bitmap textures and
geometry files on your hard disk or shared
The Replace dialog looks and functions the same
network drives. Then you can either view them or
as Merge, except that it lists only objects that have
drag and drop them into your scene or into valid
the same name as objects in your current scene.
map buttons or slots.
Using External References Note: The thumbnail display of a geometry file is a
bitmap representation of a view of the geometry.
Use XRef Objects (page 3–394) and XRef Scenes
Since the thumbnail display is not a vector-based
(page 3–407) to use objects and scene setups
representation, you can’t rotate it or perform
in your scene that are actually referenced from
zooms on it.
external MAX files. These functions allow sharing
files with others in your workgroup, with options You can drag and drop most graphic images that
for updating and protecting external files. are embedded in a Web page into your scene. The
exception is images or regions of a Web page that
are tagged as hyperlinks or other HTML controls
Using the Asset Browser (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
Left: Dragging geometry into the scene maxstart.max, that automatically loads when you
Right: Dragging a bitmap onto the geometry start or reset the program. In some cases, the
program updates files when you change settings
The Asset Browser provides access from your and when you quit the program.
desktop to design content on the World Wide Web.
From within 3ds Max you can browse the Internet Note: 3ds Max comes with several different
for texture samples and product models. This market-specific defaults (page 3–790). These set
includes bitmap textures (BMP, JPG, GIF, TIF, and different program defaults on startup, based on
TGA) and geometry files (MAX, 3DS, and so on). the type of files you expect to work on most often.
18 Chapter 1: Getting Started with 3ds Max

You can load the preset defaults that come with program INI file, but plugin.ini is maintained
3ds Max, or you can create your own. as a separate file because third-party plug-ins
often add entries to the list at installation.
In general, you don’t need to work directly with the
auxiliary files, but it’s good to know about them. Note: It is possible to use multiple plug-in
Among the auxiliary files the program uses are: configuration files by nesting additional paths
in your plugin.ini file. This can be very useful
• 3dsmax.ini (page 1–18) : This file gets updated
for allowing an entire network of users to share
when you start and exit 3ds Max, as well as
one plugin.ini file, making the system easier
when you change most Preferences settings. It
to maintain for the network administrator.
contains values relating to program defaults,
For more information, see Network Plug-In
including the graphics driver, directories used
Configuration (page 3–814).
to access external files such as sounds and
images, preset render sizes, dialog positions, • startup.ms: A MAXScript file that automatically
snap settings, and other preferences and default executes at startup time. For more information,
settings. If you edit this file, be sure to make a see Startup Script (page 3–1015).
copy first, so you can return to the original if • splash.bmp: To substitute a custom splash
anything goes wrong. screen (startup screen) for the default image,
Note: Many program defaults are set in copy any Windows Bitmap (.bmp) file into
currentdefaults.ini, found within the \defaults the program root directory and rename it
directory. For more information on this file, see splash.bmp. The program will thereafter use
Market-Specific Defaults (page 3–790). this image at startup.
• maxstart.max: At startup and when you reset
the program, 3ds Max looks for this file in the
MaxStart folder specified in Configure User
3dsmax.ini File
Paths > File I/O panel (page 3–810), and if The file 3ds Max uses to store settings between
found, loads it. This allows you to specify the sessions is named 3dsmax.ini. By default, you can
default state of the workspace whenever you find it in the location indicated by the MaxData
start or reset the program. For example, if you setting on the Configure System Paths dialog (page
always use a ground plane, you can make it the 3–810).
default setup by creating one, and then saving it
You can make changes to 3ds Max startup
as maxstart.max.
conditions by editing the 3dsmax.ini file in a text
If you save a different file over maxstart.max, editor such as Notepad. If you do edit the file, be
you can return to program defaults by deleting sure to maintain the structure and syntax of the
the maxstart.max file, and then resetting the original file.
program.
Tip: If you encounter unusual and unexplained
• maxstart.cui: This is the default custom user user-interface problems using 3ds Max, try
interface file. You can load and save CUI files, deleting the 3dsmax.ini file and restarting.
and set the program to use a different default 3ds Max writes a new 3dsmax.ini file to replace the
CUI file. See Customize Menu (page 3–683). deleted one. Often this will fix problems related to
• plugin.ini: This file contains directory paths the state of the user interface.
for plug-ins. Most other paths are kept in the
 Backing Up and Archiving Scenes 19

Note: Startup scene conditions are defined by

the maxstart.max file. To save a particular Backing Up and Archiving Scenes
startup condition, such as a Plane object You should regularly back up and archive
representing the ground, create a scene file your work. One convenient method is to save
with the condition present and then save it as incremental copies of your scenes. This method
maxstart.maxvizstart.maxvizstart.drf. 3ds Max creates a history of your work process.
automatically opens this file when you start
3ds Max. Saving Incremental Files
The 3dsmax.ini file includes the following If you turn on the Increment On Save option on
categories: the Files panel (page 3–819) of the Preferences
[Directories]—Defines the default paths for various dialog, the current scene is renamed by appending
file operations. a two-digit number to the end of the file and
incrementing the number each time you save. For
[Performance]—Controls that speed up viewport example, if you open a file named myfile.max and
performance. then save it, the saved file is named myfile01.max.
[PlugInKeys]—Turns on or off the keyboard Each time you save the file its name is incremented,
shortcuts for plug-ins. producing the files myfile02.max, myfile03.max,
and so on.
[Renderer]—Controls for rendering alpha and filter
backgrounds. You can also use Save As (page 3–391) to increment
the file name manually with a two-digit number
[RenderPresets]—Defines the paths for Rendering by clicking the increment button (+) on the Save
Preset files. As dialog.
[BitmapDirs]—Defines the default map paths for
bitmaps used by materials. Using Auto Backup
[Modstack]—Controls modifier stack button sets You can automatically save backup files at regular
and icon display. intervals by setting the Auto Backup options
(page 3–820) on the Preferences dialog (see File
[WindowState]—Settings for software display, Preferences (page 3–819)). The backup files are
OpenGL, or Direct3D drivers. named AutoBackupN.max, where N is a number
[CustomMenus]—Defines path for the .mnu file. from 1 to 99, and stored, by default, in the
\autoback folder. You can load a backup file like
[CustomColors]—Defines the path for the .clr file. any other scene file.
[KeyboardFile]—Defines the path for the .kbd file.
Archiving a Scene
[Material Editor]—Material Editor settings.
3ds Max scenes can make use of many different
[ObjectSnapSettings]—Settings associated with files. When you want to exchange scenes with
snaps. other users or store scenes for archival purposes,
[CommandPanel]—Sets number of columns, and you often need to save more than just the scene file.
controls rollout display in multiple columns. 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" in this path. It is also
placed in the INI file as the most recently used file
in the File menu. This makes it easy to return to
the file, if you choose to do so.
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) > File Handling
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.
Viewing and Navigating 3D Space

Everything you create in 3ds Max is located in Understanding Views (page 1–24)
a three-dimensional world. You have a variety
Setting Viewport Layout (page 1–26)
of options for viewing this enormous stage-like
space, from the details of the smallest object to the Controlling Viewport Rendering (page 1–27)
full extent of your scene.
Controlling Display Performance (page 1–28)
Using the view options discussed in this section
Using Standard View Navigation (page 1–29)
you move from one view to another, as your
work and imagination require. You can fill your Zooming, Panning, and Rotating Views (page 1–29)
screen with a single, large viewport, or set multiple
Navigating Camera and Light Views (page 1–33)
viewports to track various aspects of your scene.
For exact positioning, flat drawing views are Grab Viewport (page 1–35)
available, as are 3D perspective (page 3–992) and For details about viewport commands, see
axonometric views (page 3–913). Viewport Controls (page 3–729).
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.
You can also use the 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)
22 Chapter 2: Viewing and Navigating 3D Space

Another way to use viewports is to place a camera

General Viewport Concepts 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,
the viewport can display the ActiveShade window.

Active Viewport
One viewport, marked with a highlighted border,
The 3ds Max main window, with a docked toolbar and
viewport layout displaying multiple views.
is always active. The active viewport is where
commands and other actions take effect. Only one
Viewports are openings into the three-dimensional viewport can be in the active state at a time. If other
space of your scene, like windows looking into viewports are visible, they are set for observation
an enclosed garden or atrium. But viewports are only; unless disabled, they simultaneously track
more than passive observation points. While actions taken in the active viewport.
creating a scene, you can use them as dynamic and
flexible tools to understand the 3D relationships Saving the Active Viewport
among objects.
You can save the view in any active viewport and
At times you might want to look at your scene later restore it with the Views menu’s Save Active
through a large, undivided viewport, giving you View (page 1–37) and Restore Active View (page
a "picture-window" view of the world you’re 1–37) commands. One view can be saved for each
creating. Often you use multiple viewports, each of the following view types: Top, Bottom, Left,
set to a different orientation. Right, Front, Back, User, Perspective.
If you want to move an object horizontally in the For example, while in the Front view, you choose
world space, you might do this in a top viewport, Save Active Front View, and then zoom and pan
looking directly down on the object as you move it. that view. You then activate the Top viewport,
At the same time, you could be watching a shaded choose Save Active Top View, and then click Zoom
perspective viewport to see when the object you’re Extents. You return to the Front view, and choose
moving slides behind another. Using the two Restore Active Front View to return to its original
windows together, you can get exactly the position zoom and pan. At any time, you can activate the
and alignment you want. Top viewport, and then choose Restore Active Top
You also have pan and zoom features available in View to restore its saved view.
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.
 Home Grid: Views Based on the World Coordinate Axes 23

Axes, Planes, and Views

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

Home grid axes and planes

Two axes define each plane of the home grid. In

the default Perspective viewport, you are looking
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.
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.
The figure shows all three planes as they would
appear if you could see them in a single perspective
viewport.
24 Chapter 2: Viewing and Navigating 3D Space

Home Grid and Grid Objects • 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

Above: Inactive grid object in a scene

• Perspective views (page 3–992) show the
Below: Activated grid object
scene with lines that converge at the horizon.
The home grid is aligned with the world coordinate The Perspective and Camera viewports are
axes. You can turn it on and off for any viewport, examples of perspective views.
but you can’t change its orientation.
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 Perspective view of the same model
create geometry off the face of any object by first
creating the temporary grid, then the object. You Perspective views most closely resemble human
also have the option to make the temporary grids vision, where objects appear to recede into the
permanent. See AutoGrid (page 2–7). distance, creating a sense of depth and space.
Axonometric views provide an undistorted view
of the scene for accurate scaling and placement. A
Understanding Views common workflow is to use axonometric views
to create the scene, then use a perspective view to
There are two types of views visible in viewports: 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 viewport on the right is seen through a camera in the scene.
the scene from an angle while retaining parallel
projection. This type of view is represented by a
Two and Three-Point Perspective and the
User viewport.
Camera Correction Modifier
Perspective Views By default, camera views use three-point
perspective, in which vertical lines appear to
A perspective viewport, labeled Perspective, is
converge with height (in traditional photography
one of the startup viewports in 3ds Max. You can
this is known as keystoning). The Camera
change any active viewport to this "eye-like" point
Correction modifier (page 2–1392) applies
of view by pressing P .
two-point perspective to a camera view. In
two-point perspective, vertical lines remain
Camera View
vertical. A similar effect can be attained by putting
Once you create a camera object in your scene, a Skew modifier on a camera.
you can change the active viewport to a camera
view by pressing C and then selecting from a list Light View
of cameras in your scene. You can also create a
Light view works much like a targeted camera
camera view directly from a perspective viewport,
view. You first create a spotlight or directional light
using the Create Camera from View (page 1–48)
and then set the active viewport to that spotlight.
command.
The easiest way is to press the keyboard shortcut
A camera viewport tracks the view through the $ . See Lights (page 2–1272).
lens of the selected camera. As you move the
camera (or target) in another viewport, you see the
scene move accordingly. This is the advantage of
the Camera view over the Perspective view, which
can’t be animated over time.
If you turn on Orthographic Projection on a
camera’s Parameters rollout, that camera produces
an axonometric view like a User view. See Cameras
(page 2–1365).
26 Chapter 2: Viewing and Navigating 3D Space

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.

The viewport on the right looks through the lens of a spotlight

in the scene.
Resized viewport

Setting Viewport Layout Changing the View Type

3ds Max defaults to a two-over-two arrangement As you work, you can quickly change the view in
of viewports. Thirteen other layouts are possible, any viewport. For example, you can switch from
but the maximum number of viewports on the front view to back view. You can use either of two
screen remains four. methods: menu or keyboard shortcut.
Using the Layout panel (page 3–856) of the • Right-click the label of the viewport you want
Viewport Configuration dialog, you can pick from to change and click Views. Then, click the view
the different layouts and customize the viewports type that you want.
in each. Your viewport configuration is saved with • Click the viewport you want to change, and
your work. then press one of the keyboard shortcuts in the
following table.
Key V iew type
T Top view
B Bottom view
F Front view
L Left view
C Camera view. If your scene has only one
camera, or you select a camera before using
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.
P Perspective view. Retains viewing angle of
previous view.
 Controlling Viewport Rendering 27

Key V iew type you can select the object and choose Display
U User (axonometric) view. Retains viewing
as Box on the Display properties rollout on the
angle of previous view. Allows use of Zoom display panel.
Region (page 3–742).
none Right view. Use viewport right-click menu. Using Viewport Rendering Controls
none Shape view. Use viewport right-click menu. Viewport rendering options are found on the
Automatically aligns view to the extents of a
selected shape and its local XY axes. Rendering Method panel (page 3–853) of the
Viewport Configuration dialog. Using this panel
you choose a rendering level and any options
See also associated with that level. You can then choose
Viewport Layout (page 3–856) whether to apply those settings to the active
viewport or all viewports, or to all but the active
Camera Viewport Controls (page 3–745)
viewport.
Spotlight Parameters (page 2–1338)
The rendering level you choose is determined
Precision and Drawing Aids (page 2–1) by your need for realistic display, accuracy, and
speed. For example, Box Mode display is much
Track View (page 2–501)
faster than Smooth Shading with Highlights. The
more realistic the rendering level, the slower the
display speed.
Controlling Viewport Rendering
After choosing a rendering level, you can set
rendering options. Different options are available
for different rendering levels.
You can also use 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
Box display, wireframe display, and smooth shading of your view display, they can also have a profound
effect on display performance. Using higher
You can choose from multiple options to display quality rendering levels and realistic options slows
your scene. You can display objects as simple display performance.
boxes, or render them with smooth shading and
texture mapping. If you want, you can choose a After setting a rendering method, you can
different display method for each viewport. choose additional options that adjust display
performance. One of these controls, Adaptive
Tip: If you want to display individual objects as
Degradation, speeds up display performance when
wireframe, you can use Wireframe materials. If
you use realistic rendering levels.
you want individual objects to display as boxes,
28 Chapter 2: Viewing and Navigating 3D Space

Tip: If your scene mysteriously disappears and only Properties (page 1–117). These options affect
displays as boxes when you rotate your viewport, display performance much the same way as
you have pressed the “o” key on the keyboard, and viewport rendering options. For example, turning
unintentionally turned on Adaptive Degradation. on Vertex Ticks for an object with a lot of vertices
will slow performance.
See Rendering Method (page 3–853).
Note: Display Properties are only available when
the By Object/By Layer toggle is set to By Object.
Controlling Display Performance To see and modify how objects are displayed, you
3ds Max contains controls to help you adjust can use layers (page 3–655). You can then quickly
display performance: the balance between quality control the visibility and editability of similar
and time in displaying objects. objects from the quad menu.

Depending on your needs, you might give up some Which Objects Are Displayed
display speed to work at higher levels of rendering
quality, or you might choose to maximize display One way to increase display speed is not to display
speed by using Wireframe or Bounding Box something. You can use the Hide and Freeze
display. Which method you choose depends on features on the Display panel or quad menu to
your preferences and the requirements of your change the display state of objects in your scene.
work. The Hide and Freeze features also affect final
Rendering and Video Post output. See Hide
Display Performance Controls Rollout (page 1–53) and Freeze Rollout (page 1–54).

You use display performance controls to determine Setting Adaptive Degradation

how objects are rendered and displayed.
Adaptive Degradation dynamically adjusts your
Viewport Preferences rendering levels to maintain a desired level of
display speed. You have direct control over how
The Customize > Preferences dialog’s Viewports much "degradation" occurs and when it occurs.
panel contains options for fine-tuning the
performance of the viewport display software. See Active and General Degradation use the same
Viewport Preferences (page 3–821). choices as the viewport Rendering Levels panel.
Active Degradation controls rendering in the
How Objects Are Rendered active viewport while General Degradation
controls rendering in all other viewports.
The Adaptive Degradation panel on the Viewport
Configuration dialog dynamically drops the The selected levels determine which rendering
rendering level on display performance. You set levels 3ds Max falls back to when it cannot
the parameters controlling the trade-off between maintain the desired display speed. You can
display quality and display speed. choose as many levels as you want but you are
advised to choose only one or two levels for each
How Objects Are Displayed type of degradation.
To see and modify an object’s display properties, See Adaptive Degradation (page 3–905).
right-click the object, select Properties, and go
to the Display Properties group box; see Object
 Using Standard View Navigation 29

You can step back through the Undo View/Redo

Using Standard View Navigation View buffer until you have undone all of the stored
To navigate through your scene, use the view view-navigation commands.
navigation buttons located at the lower-right
corner of the program window. All view types,
except Camera and Light views, use a standard set Zooming, Panning, and Rotating
of view navigation buttons. Views

Button Operation
Clicking standard view navigation buttons
produces one of two results:
• Executes the command and returns to your
previous action. Before and after zooming a viewport

• Activates a view navigation mode.

You can tell that you are in a mode because the
button remains selected and is highlighted. This
mode remains active until you right-click or
choose another command.
Before and after rotating a viewport
While in a navigation mode, you can activate other
viewports of the same type, without exiting the When you click one of the view navigation buttons,
mode, by clicking in any viewport. See Viewport you can change these basic view properties:
Controls (page 3–729).
View magnification—Controls zooming in
Undoing Standard and out.
View Navigation Commands
View position—Controls panning in any
Use the Undo View Change and Redo View Change
direction.
commands (page 1–36) on the Views menu to
reset standard view navigation commands without View rotation—Controls rotating in any
affecting other viewports or the geometry in your direction
scene. These commands are also found in the
menu displayed when you right-click a viewport Zooming a View
label.
Views menu > Undo and Views menu > Redo Click Zoom (page 3–739) or Zoom All
are separate from Undo and Redo on the Edit (page 3–740) and drag in a viewport to change the
menu or the toolbar. 3ds Max maintains separate view magnification. Zoom changes only the active
Undo/Redo buffers for scene editing and for each view, while Zoom All simultaneously changes all
viewport. non-camera views.

The View Undo/Redo buffer stores your last 20 If a perspective view is active, you can also
view navigation commands for each viewport. click Field of View (FOV) (page 3–741). The effect
30 Chapter 2: Viewing and Navigating 3D Space

of changing FOV is similar to changing the lens on viewport plane. You can also pan a viewport by
a camera. As FOV gets larger you see more of your dragging with the middle mouse button held down
scene and perspective becomes distorted, similar while any tool is active.
to using a wide-angle lens. As FOV gets smaller
you see less of your scene and the perspective Rotating a View
flattens, similar to using a telephoto lens.
Click Arc Rotate, Arc Rotate on Selection, or
Warning: Be cautious using extreme Field of View
Arc Rotate Sub-Object (page 3–744) to rotate your
settings. These can produce unexpected results.
view around the view center, the selection, or the
current sub-object selection respectively. When
Zooming a Region
you rotate an orthogonal view, such as a Top view,
it is converted to a User view.
Click Zoom Region (page 3–742) to drag a
rectangular region within the active viewport and With Arc Rotate, if objects are near the edges of
magnify that region to fill the viewport. Zoom the viewport they might rotate out of view.
Region is available for all standard views.
With Arc Rotate Selected, selected objects
In a perspective viewport, Zoom Region remain at the same position in the viewport while
mode is available from the Field of View flyout the view rotates around them. If no objects are
(page 3–741). selected, the function reverts to the standard Arc
Rotate.
Zooming to Extents
With Arc Rotate Sub-Object, selected
Click the Zoom Extents or Zoom Extents sub-objects or objects remain at the same position
All flyout buttons to change the magnification in the viewport while the view rotates around
and position of your view to display the extents them.
of objects in your scene. Your view is centered on Note: You can rotate a view by holding down
the objects and the magnification changed so the the Alt key while you drag in a viewport using
objects fill the viewport. middle-button. This uses the current Arc Rotate
mode, whether or not the Arc Rotate button is
• The Zoom Extents, Zoom Extents Selected
active. You can also activate Arc Rotate by pressing
buttons (page 3–737) zoom the active viewport
Ctrl+R .
to the extents of all visible or selected objects
in the scene.

• The Zoom Extents All, Zoom Extents Using Walkthrough Navigation

All Selected buttons (page 3–737) zoom all Walkthrough navigation lets you move through
viewports to the extents of all objects or the a viewport by pressing a set of shortcut keys,
current selection. including the arrow keys, much as you can navigate
a 3D world in many video games.
Panning a View
When you enter the walkthrough navigation
Click Pan View (page 3–743) and drag in mode, the cursor changes to a hollow circle that
a viewport to move your view parallel to the shows a directional arrow while you are pressing
 Using Walkthrough Navigation 31

one of the directional keys (forward, back, left, or Note: You do not exit walkthrough mode when
right). you select an object or change the viewport
shading type (between shaded and wireframe, for
This feature is available for perspective and camera
example).
viewports. It is not available for orthographic
views or for spotlight viewports.
Interface
Animating a Walkthrough The Walk Through button is the only graphical
element of the interface to walkthrough navigation.
When you use walkthrough navigation in a
The other features are provided by mouse actions
Camera viewport, you can animate the camera
or by keyboard shortcuts. The following table
walkthrough using either Auto Key (page 3–717)
shows the keyboard actions:
or Set Key (page 2–280). In either case, to get an
animated camera you have to change the frame Command Shortcut
number manually (the easiest way is to use the Accelerate Toggle Q
Time Slider (page 3–701)), and in the case of Set
Back S , Down Arrow
Key, you have to change the frame number and
click Set Keys. Decelerate Toggle Z

Tip: Select the camera before you animate it. If the Decrease Rotation
Sensitivity
camera isn’t selected, its keys won’t appear in the
Track Bar (page 3–703). Decrease Step Size [
Down C , Shift+Down Arrow
Procedures Forward W , Up Arrow
To begin using walkthrough navigation, do one of Increase Rotation Sensitivity
the following:
Increase Step Size ]
• Press the Up Arrow key.
Invert Vertical Rotation
Toggle
• Click the Walk Through button (page
Left A , Left Arrow
3–738) to turn it on.
Level Shift+Spacebar
This button is found on the Pan/Truck And
Walkthrough flyout (page 3–738). Lock Horizontal Rotation
Lock Vertical Rotation Spacebar
To stop using walkthrough navigation, do one of
Reset Step Size Alt+[
the following:
Right D , Right Arrow
• Right-click.
Up E , Shift+Up Arrow
• Activate a different viewport.
• Change the active viewport to a different type. If nothing appears in the Shortcut column, no
• Turn on a different viewport navigation tool default key is assigned to this command. You can
(such as Zoom or Pan). set custom keystrokes using the Keyboard panel
(page 3–793) of the Customize User Interface
• Turn on Select Object or one of the transform dialog.
tools.
32 Chapter 2: Viewing and Navigating 3D Space

Forward, Backward, and Sideways Movement (and pressing the alternate key turns off the first).
They are especially useful when you are navigating
For movement, you can use either the arrow keys,
by holding down keys.
or letters at the left of the keyboard pad.
Tip: When you are in a Perspective viewport, The acceleration and deceleration toggles are
you can use Undo View Change and Redo View independent of the step size.
Change ( Shift+Z , Shift+Y ) to undo or redo
your navigation. However, when you are in Adjusting Step Size
a Camera viewport, walkthrough animation Increase Step Size and Decrease Step Size—Pressing
transforms the camera object, so you must use Edit Increase Step Size ( ] ) increases the motion
> Undo and Edit > Redo ( Ctrl+Z and Ctrl+Y ). increments when you move the camera or
viewpoint. Pressing Decrease Step Size ( [ )
Holding down any of these keys causes the motion
reduces them. You can press either of these
to be continuous.
shortcuts repeatedly, to increase the effect.
Forward— W or the Up Arrow . Moves the Changing the step size is apparent when you
camera or the viewpoint forward. navigate either by single clicks, or by holding down
Note: If you are not already in walkthrough keys. Step size changes are useful for adjusting
navigation mode, pressing Up Arrow enters it. movement to the scale of the scene. They are saved
with the MAX file.
Back— S or Down Arrow . Moves the camera or
the viewpoint backward. Reset Step Size—Pressing Reset Step Size ( Alt+[ )
restores the step size to its default value.
When you are in a camera viewport, Forward and
Back are equivalent to dollying in or out. The step size is independent of acceleration or
deceleration.
Left— A or Left Arrow . Moves the camera or
the viewpoint to the left. Rotation (Tilting)
Right— D or Right Arrow . Moves the camera Tilt View—Click+drag to tilt the camera or
or the viewpoint to the right. viewpoint.
When you are in a camera viewport, Left and When you are in a camera viewport, Tilt View is
Right are equivalent to trucking left or right. equivalent to panning the camera.
Up— E or Shift+Up Arrow . Moves the camera Increase Rotation Sensitivity and Decrease Rotation
or the viewpoint up. Sensitivity—Pressing Increase Rotation Sensitivity
Down— C or Shift+Down Arrow . Moves the (no default key) increases the motion increments
camera or the viewpoint down. when you use Tilt View. Pressing Decrease
Rotation Sensitivity (no default key) decreases
Acceleration and Deceleration them. You can press either of these shortcuts
repeatedly, to increase the effect. They are useful
Accelerate Toggle and Decelerate Toggle—Pressing
for adjusting movement to the scale of the scene.
Accelerate ( Q ) causes motion to be quicker. They are saved with the MAX file.
Pressing Decelerate ( Z ) causes movement to be
slower. These controls are toggles: pressing the Lock Horizontal Rotation—Pressing Lock
key a second time restores the default motion rate Horizontal Rotation (no default key) locks the
 Navigating Camera and Light Views 33

horizontal axis, so the camera or viewpoint tilts • Changes made with Camera or Light view
only vertically. navigation buttons can be animated the same
as other object changes.
Lock Vertical Rotation—Pressing Lock Vertical
Rotation ( Spacebar ) locks the vertical axis, so
Zooming a Camera or Light View
the camera or viewpoint tilts only horizontally.
Invert Vertical Rotation Toggle—Pressing Invert
Vertical Rotation (no default key) inverts the tilt
direction when you drag the mouse. When this
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).
When this toggle is on, objects in the view move in
the same direction you are dragging the mouse.
Level—Pressing Level ( Shift+Spacebar ) removes
any tilt or roll the camera or viewpoint might have,
making the view both level and vertical. Zooming a camera

You zoom a camera view by clicking FOV

Navigating Camera and Light (page 3–741) and then dragging in the Camera
Views viewport.
The field of view defines the width of your view as
an angle with its apex at eye level and the ends at
the sides of the view. The effect of changing FOV is
The camera navigation buttons
exactly like changing the lens on a camera. As the
The Camera and Light view navigation buttons FOV gets larger you see more of your scene and
are the same with a few exceptions. The buttons the perspective becomes distorted, similar to using
are visible when a viewport with a Camera or a wide-angle lens. As the FOV gets smaller you
Light view is active. The Camera and Light view see less of your scene and the perspective flattens,
navigation buttons do more than adjust your view. similar to using a telephoto lens. See Cameras
They transform and change the parameters of the (page 2–1365).
associated camera or light object.
Click Light Hotspot (page 3–752) for a light
Light views treat the light (spotlight or directional
viewport to achieve the same effect as zooming.
light) as if it were a camera. The light falloff is
treated the same as the camera field of view. The hotspot is the inner of the two circles or
rectangles visible in a light viewport. Objects
Keep in mind the following:
inside the hotspot are illuminated with the
• Using the Camera and Light viewport full intensity of the light. Objects between the
navigation buttons is the same as moving or hotspot and falloff are illuminated with decreasing
rotating the camera or Light, or changing their intensity as objects approach the falloff boundary.
base parameters. See Using Lights (page 2–1274).
34 Chapter 2: Viewing and Navigating 3D Space

Moving a Camera or Light View Changing Camera Perspective

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
Changing perspective
is a flyout that shares the same location with
Orbit.
Click Perspective (page 3–747), and drag in
• Orbit (page 3–749) moves the camera a camera viewport to change the Field of View
or light in a circle around the target. The (FOV) and dolly the camera simultaneously. The
effect is similar to Arc Rotate for non-camera effect is to change the amount of perspective flare
viewports. while maintaining the composition of the view.

Rolling a Camera or Light 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.
Rolling a camera Animation playback might drop frames if the
graphics card cannot display frames in real time.
Click Roll (page 3–747), and drag in a camera
or a light viewport to rotate the camera or light Turn off the Adaptive Degradation Toggle if you
about its line of sight. The line of sight is defined have large models you need to navigate around
as the line drawn from the camera or light to its and if you are finding performance sluggish.
target. The line of sight is also the same as the Adaptive degradation causes shaded objects to be
camera’s or the light’s local Z axis. replaced by a quicker display mode. By default,
 Grab Viewport 35

shaded objects are replaced by their bounding Procedure

boxes. To create a snapshot of a viewport:
You can change the display option, and set 1. Activate the viewport you want to capture.
other adaptive degradation parameters, on the
2. Choose Tools menu > Grab Viewport.
Viewport Configuration dialog (Customize menu
> Viewport Configuration > Adaptive Degradation A dialog appears that allows you to add a label
panel (page 3–859)). to your snapshot.
Note: When you use arc rotate (page 3–744) in a 3. Enter a label for your snapshot, if desired.
shaded viewport while the Adaptive Degradation The label appears in the lower-right corner of
Toggle is off, objects degrade to bounding boxes the image as you enter it into the dialog.
regardless of the adaptive degradation settings.
4. Click Grab.

Procedures The Rendered Frame Window opens to display

a snapshot of your viewport.
To turn off or override adaptive degradation, do one
of the following: 5. Use the controls in the Rendered Frame
Window to save your image.
• Choose Views menu > Adaptive Degradation
Toggle.
Interface
• 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 Label—Enter text here to add a label to your
the Adaptive Degradation panel. screenshot. The text you enter is displayed in the
lower-right corner of your screenshot.
3. Adjust settings in the General and Active
Degradation group boxes. Grab—Opens the Rendered Frame Window with a
snapshot of the active viewport.
Cancel—Cancels the Grab Viewport command.
Grab Viewport
Tools menu > Grab Viewport

Grab Viewport creates a snapshot of the active

viewport in the Rendered Frame Window (page View-Handling Commands
3–5), where you can save it as an Image file (page
3–608). 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
Undo View Change / Redo View Change (page
Change
1–36)
Views menu > Undo View Change or Redo View Change
Save Active View (page 1–37)
Keyboard > Shift+Z (Undo) or Shift+Y (Redo)
Restore Active View (page 1–37)
Display Color Rollout (page 1–52) Undo View Change cancels the last change made to
Grid Commands (page 2–33) the current viewport. Redo View Change cancels
the last Undo in the current viewport.
Viewport Background Dialog (page 1–38)
These commands act like Undo and Redo on the
Select Background Image Dialog (page 1–42) Main toolbar and Edit menu, but operate on a
Update Background Image (page 1–44) different list of events. They affect changes made to
the viewport, rather than changes made to objects
Reset Background Transform (page 1–45) in the viewport.
Show Transform Gizmo (page 1–45) Use Undo View Change and Redo View Change
Show Ghosting (page 1–46) when you have inadvertently made a view unusable
by zooming in too close, or rotating the wrong
Show Key Times (page 1–46) way. You can keep stepping back until a useful
Shade Selected (page 1–47) view appears. The keyboard shortcuts are handy
for multiple commands.
Show Dependencies (page 1–47)
You can also access Undo View Change and Redo
Create Camera From View (page 1–48) View Change of view changes by right-clicking the
Add Default Lights to Scene (page 1–49) viewport label and choosing Undo View or Redo
View. The last change made in that viewport will
Redraw All Views (page 1–50) be indicated (for example, "Undo View Zoom").
Activate All Maps (page 1–50) Each viewport has its own independent undo/redo
stack.
Deactivate All Maps (page 1–50)
Camera and Spotlight viewports use object-based
Update During Spinner Drag (page 1–51) Undo and Redo, because the viewport change is
Adaptive Degradation Toggle (page 1–34) actually a change to the camera or spotlight object.
In these viewports, use Edit > Undo ( Ctrl+Z ) or
Smart Object Culling (page 1–58) Edit > Redo ( Ctrl+Y ).
Expert Mode (page 1–51)
Interface
See also Undo View Change—Cancels viewport changes.
Viewing and Navigating 3D Space (page 1–21) The name of the change you’re undoing is
displayed in the View menu beside the command.
Views Menu (page 3–675)
Undo is useful when you are working with a
Quad Menu (page 3–694)
background image in the viewport. You can zoom
 Save Active View 37

into the geometry to adjust it, then use Undo 2. Choose Views menu > Save Active View. The
Viewport Zoom to restore the original alignment view is now saved and can be recalled using
of the geometry with the background. Restore Active View.
Redo V iew Change—Cancels the previous Undo
View Change. The name of the change you’re
redoing appears in the View menu beside the
Restore Active View
command. Views menu > Restore Active View (the name of the
active viewport is part of the command.)

Save Active View Restore Active View displays the view previously
stored with Save Active View (page 1–37).
Views menu > Save Active View (the name of the active
viewport is part of the command) The viewport to be restored is displayed in
the menu item (for example, "Restore Active
Save Active View stores the active view to an Perspective View").
internal buffer. If you have framed a shot in any
The active view is restored if the same viewport
view other than a camera, use Save Active View
and layout are active.
to preserve the viewport’s appearance. The saved
active view is saved with the scene file. Once saved, If an active view won’t restore with this command,
you can retrieve it using Restore Active View (page check the following:
1–37). • Be sure the viewport is active.
The viewport that will be restored is displayed • Make sure the layout is the same as before.
in the menu item (for example, "Save Active Use Viewport Configuration (right-click any
Perspective View"). You can save and restore up viewport label and choose Configure) and
to eight different views (Top, Bottom, Left, Right, choose Layout.
Front, Back, User, Perspective).
• If the layout and active viewport are the same,
Viewport changes that are saved include viewport be sure Viewport Clipping on the Viewport
type, zoom and rotations, and field-of-view Right-Click Menu (page 3–731) is set the same
(FOV). as it was when the viewport was saved.
The options available on the viewport right-click
Procedure
menu (page 3–731), such as Show Safe Frame and
Viewport Clipping, are not saved. If these settings To restore a saved view:
are important to the view, make a note of what they 1. Activate the viewport where you saved the view.
are so you can reset them after restoring the view.
2. Choose Views menu > Restore Active View.
This option is available only in a viewport with
Procedure a saved view.
To save an active view:
3. The viewport returns to the saved view.
1. Activate the viewport with the view you want
If you’re not sure whether a viewport has a
to save.
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

See also
Viewport Background Dialog
Select Background Image Dialog (page 1–42)
Views menu > Viewport Background > Viewport
Background dialog Update Background Image (page 1–44)

Keyboard > Alt+B Reset Background Transform (page 1–45)

The Viewport Background dialog controls display Procedures

of an image or animation as the background for To assign an image to one or all viewports:
one or all viewports.You can use this for modeling,
1. Activate the viewport that is to display the
for example, by placing front, top or side view
background image.
sketches in the corresponding viewports. Or use
Viewport background to match 3D elements with 2. Choose Views menu > Viewport Background
digitized camera footage, or for rotoscoping (page or press Alt+B .
3–1003). This opens the Viewport Background dialog.
You select the image or animation to display in 3. In the Background Source group, click the Files
the active viewport, set the frame synchronization button.
between the animated image file and the current This opens the Select Background Image dialog.
scene, and turn the assigned image on and off.
4. Use the dialog to open the image or animation
These changes do not affect the rendered scene.
to use.
To place an image in the background of the 5. To display the image in all viewports, choose
rendered scene, use the Environment And Effects All Views in the Apply Source And Display To
dialog > Environment panel (page 3–271), accessed group.
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
6. Click OK.
match the rendered background bitmap.
Tip: If you are using a viewport driver with
The image is displayed in a single viewport or
hardware acceleration (OpenGL or Direct3D), all viewports.
the viewport background might not appear. If
To update the image or map in the viewport:
this happens, choose Customize > Preferences.
In the Viewports preferences (page 3–821), click Because of the time it takes to render the image or
Configure Driver. Then in the Configure OpenGL map in the viewport, the map is not automatically
dialog (page 3–841) or the Configure Direct3D updated when you alter the bitmap or assign a new
dialog (page 3–844), go to the Background Texture bitmap.
Size group and turn on Match Bitmap Size As • Choose Views menu > Update Background
Closely As Possible (do not change the numeric Image.
setting). Click OK in both dialogs to accept your
change.
 Viewport Background Dialog 39

The revised image or map is displayed in the 1. In the Viewport Background dialog >
viewport. Background Source group, turn off Use
Environment Background.
To display the environment map in a viewport:
2. In the same group, click File.
1. In the Environment dialog, assign an
3. Choose the same map you’re using as the
environment map. (See the procedure “To
environment map.
choose an environment map.” (page 3–272))
4. Set parameters in the Animation
2. In the Environment dialog > Background
Synchronization group.
group, be sure Use Map is turned on (the
default). 5. Click OK.

3. Activate the viewport where you want the map The environment map appears in the viewport.
displayed. The image is renderable.
4. Choose Views menu > Background Image. To match the viewport background with the
5. In the Viewport Background dialog > rendered background:
Background Source group, turn on Use 1. Activate the viewport to render.
Environment Background.
2. Right-click the viewport label and choose Show
6. Click OK. Safe Frame.
The map is displayed in the viewport. This turns on Safe Frames (page 3–857) in the
viewport.
To display an animated background:
Note: You can also use Views menu > Configure
1. Assign an animation file (AVI, MOV, or IFL
> Safe Frame tab. In the Application group,
file) as the viewport background. turn on Show Safe Frames In Active View.
2. Turn on Animate Background.
3. In the Material Editor, create a material
3. Choose Customize > Preferences. On the that contains the bitmap for your rendered
Viewports panel, turn on Update Background background.
While Playing. 4. At the bitmap level of the Material Editor, on
Now the background plays when you click Play, the Coordinates rollout, choose Environ.
or when you drag the time slider. The Mapping control is automatically set to
Tip: If you follow these steps and the background Screen. This is the only mapping type that
still doesn’t appear to animate, open the Time works for this purpose.
Configuration dialog (page 3–725) and in the 5. On the main menu, choose Rendering >
Playback group, turn off Real Time. Environment.
To use the environment map with animation 6. Drag the map from the Material Editor > Maps
controls: rollout to the Environment Map button on the
This procedure is useful if you’ve assigned an Environment dialog. Click OK on the Instance
animated environment map and want access to the (Copy) Map dialog.
animation controls on the Viewport Background
dialog.
40 Chapter 2: Viewing and Navigating 3D Space

7. In the Viewport Background dialog > Interface

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.
Notice the name and path of the background Background Source group
file is displayed in the Current field in the Options let you select the background image,
Background Source group either from a bitmap image file (page 3–917),
3. In the Background Source group, click Devices. a video file, or from a device such as a video
recorder.
4. On the Select Image Input Device dialog,
choose No I/O Handlers from the drop-down Files—Displays the Select Background Image dialog
list, then click OK. (page 1–42), which lets you select a file or sequence
5. On the Bitmap Manager Error dialog, click OK.
of files for your background.

The current field no longer displays the Devices—Displays the Select Image Input Device
background file name. Instead No I/O Handler dialog. This lets you use a background from a
is listed in the Current field. digital device. (No device is supported by the
default 3ds Max installation.)
6. Click OK to close the Viewport Background
dialog. Use Environment Background—Lets you display

Next time you open up the Viewport in the viewports the map you’ve assigned as your
Background dialog, no file name will be environment background. If no environment
displayed in the Current field. map has been assigned in the Environment
dialog, or Use Map in that dialog is off, then the
Tip: This technique will work only on systems Use Environment Background check box is not
that don’t have any other Image Input Devices available.
installed.
 Viewport Background Dialog 41

Animation Synchronization group Hold After End—Specifies that the viewport

background will contain the last input frame until
Controls how sequences of images (for example,
the last frame in the animation.
from IFL (page 3–616), AVI (page 3–609), or
MOV (page 3–621) files) are synchronized to the Loop After End—Specifies that the viewport
viewport for rotoscoping (page 3–1003). background will loop from the end frame back to
the start frame, ad infinitum.
Use Frame—The first field sets the first frame of the
incoming sequence that you want to use, and the
Aspect Ratio group
second field sets the last one.
Controls the proportions of the viewport
Step—Sets the interval between the frames you
background by matching it to the bitmap,
want to use. For example, if this spinner is set to 7,
rendering output, or to the viewport itself.
3ds Max uses every seventh frame.
Match Viewport—Changes the aspect ratio (page
Start At—Specifies the frame number at which you
3–911) of the image to match the aspect ratio of
want the first input frame to appear. What happens
the viewport.
in the viewport before the start frame depends
on the option you choose for "Start Processing," Match Bitmap—Locks the aspect ratio of the image
below. to the native aspect ratio of the bitmap.
Sync Start To Frame—Determines which frame Match Rendering Output—Changes the aspect
from your incoming sequence is displayed at the ratio of the image to match the aspect ratio of the
Start At frame. For example, you could have a currently chosen rendering output device.
30-frame IFL sequence that starts in your scene at Note: When the Match Bitmap or Match Rendering
frame 10, but you could use the 5th frame from the Output option is chosen, 3ds Max centers the
IFL on frame 10 by setting Sync Start to 5. image and clears the edges of the viewport to the
background color.
Start Processing group
Determines what happens in the viewport Display Background
background before the start frame. Turns on display of the background image or
Blank Before Start—Makes the viewport animation in the viewport.
background blank before the start frame.
Lock Zoom/Pan
Hold Before Start—Specifies that the viewport
Locks the background to the geometry during
background will contain the start frame.
zoom and pan operations in orthographic or
End Processing group user viewports. When you Zoom or Pan the
viewport, the background zooms and pans along
Determines what happens in the viewport with it. When Lock Zoom/Pan is turned off, the
background after the last input frame. background stays where it is, and the geometry
Blank After End—Makes the viewport background moves independently of it. Use Match Bitmap
blank after the last input frame. 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

Select Background Image Dialog
Warning: If you zoom in too far, you can exceed the
limit of virtual memory, and crash 3ds Max. When you Views menu > Viewport Background > Background
perform a zoom that requires more than 16 megabytes Source group > Files > Select Background Image dialog
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
Turns on animation of the background. Shows the
appropriate frame of the background video in the
scene.

Apply Source And Display To group

UFO model rendered against a background
All Views—Assigns the background image to all
viewports. The Select Background Image dialog allows you
to choose a file or sequence of files for a viewport
Active Only—Assigns the background image to
background.
only the active viewport.
You can also convert a set of sequentially numbered
Viewport files to an Image File List (IFL) (page 3–616). This
The name of the currently active viewport appears is the same process used by the IFL Manager Utility
in a list to the left of the OK and Cancel buttons. (page 3–619).
This reminds you which viewport you’re working
with and lets you change the active viewport by Procedures
selecting its name from the list. To select a background image for a viewport:

Note: When you use different images for different 1. Activate the viewport where you want the
viewports, the settings for each viewport are stored image.
separately. Each time you display the Viewport 2. Choose Views menu > Viewport Background.
Background dialog, the settings of the currently
3. Under Background Source in the dialog that
active viewport are displayed. If you switch the
displays, click Files.
viewport using the list, the settings remain the
same. This is useful for copying settings from one 4. In the Look In field, navigate to the directory
viewport to another. containing the file you want to use for the
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. Interface

6. Click Open to select the image and close the
dialog.
7. Click OK to close the Viewport Background
dialog and display the background image.

To select a set of still images as a viewport

background:
1. Activate the viewport where you want the
image.
2. Choose Views menu > Viewport Background.
3. Under Background Source, click Files.
4. In the Look In field, navigate to the directory
containing the sequence of files.
The files must be sequentially numbered
(for example, image01.bmp, image02.bmp,
image03.bmp).
History—Displays a list of the directories most
Tip: If necessary, change Files Of Type to match recently searched.
the file extension of the sequence, or choose
Look In—Opens a navigation window to move to
All Formats.
other directories or drives.
5. Turn on Sequence, and choose the name of the
first sequential file (for example, image01.bmp). Up One Level—Move up a level in the
Tip: Click the Setup button to display the Image directory structure.
File List Control dialog (page 3–618).
6. In the Image File List Control dialog, use Create New Folder—Lets you create a new
the Browse button to set the Target Path to a folder while in this dialog.
directory on your hard disk. Do not set this
path to a CD-ROM drive, because you cannot List—Displays the contents of a directory by
save the file there. file name.
7. Choose the options you want, and then click
Details—Displays the contents of a directory
OK.
including all the file details.
The Image File List (IFL) file is saved to the
List Window—When Details is on, the contents of
target directory.
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 Preview—Displays the image as a thumbnail in the
displayed. This serves as a filter for the list. Image Window.
Open—Selects the highlighted file and closes the Image Window—Displays a thumbnail of the
dialog. selected file if Preview is on.
Cancel—Cancels the selection and closes the Statistics—Displays the resolution, color depth, file
dialog. type and number of frames of the selected file.
Devices—Lets you select a background image from Location—Displays the full path for the file. With
a digital device. (No device is supported by the this information at the bottom of the dialog, you
default 3ds Max installation.) always know exactly where you are.
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
Update Background Image
numbered files in the displayed directory. Views menu > Update Background Image (available only
when a viewport background is displayed)
Info—Displays expanded information about the
file, such as frame rate, compression quality, file This command updates the background image
size, and resolution. The information here is displayed in the active viewport. If the active
dependent on the type of information that is saved viewport is not displaying a background image,
with the file type. this command is unavailable.
View—Displays the file at its actual resolution. If Use this command to update the background for
the file is a movie, the Media Player is opened to changes that are not updated automatically, such
play the file. as the following:
Gamma—Selects the type of gamma to be used • Reassigning the map, or changing any
for the selected file. Available only when Enable parameters affecting the map in the Materials
Gamma Selection is turned on in the Gamma Editor, the Environment dialog, or the
panel (page 3–824). Viewport Background dialog.
Use Image’s Own Gamma—Uses the gamma of the • Changing the rendering resolution and aspect
incoming bitmap. ratio.
Use System Default Gamma—Ignores the image’s The following changes update the viewport
own gamma and uses the system default gamma background image automatically:
instead, as set in the Gamma panel (page 3–824). • Changing the camera view.
Override—Defines a new gamma for the bitmap • Undo (for views).
that is neither the image’s own, nor the system • Undo (for objects).
default.
• Assigning a different view type.
Sequence—Creates an "Image File List" to your
• Toggling Safe Frames display on or off.
specifications. Each selected image is checked to
see if a valid IFL sequence can be created. If the • Changing the rendering parameters.
selected image doesn’t yield a list, this option is • Moving the time slider when the viewport
still available, but doesn’t do anything. 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) Show Transform Gizmo
of the Environment and Effects dialog) as the
Views menu > Show Transform Gizmo
background image.
Keyboard > X
Procedure
Show Transform Gizmo toggles the display of
To update the background image displayed in a
the Transform gizmo axis tripod (page 1–424)
viewport:
for all viewports when objects are selected and a
1. Activate a viewport that contains a background transform is active.
image.
Additional controls for the Transform gizmo are
2. Choose Views menu > Update Background
found on the Gizmo Preferences settings (page
Image.
3–832).
When the Transform gizmo is turned off, Show
Reset Background Transform Transform Gizmo controls the display of the axis
tripod on selected objects.
Views menu > Reset Background Transform (available
only when a viewport background image is displayed and The state of Transform gizmo is saved in
Lock Zoom/Pan is turned on)
3dsmax.ini, so it’s maintained between scenes and
sessions.
Reset Background Transform rescales and
recenters the current background to fit an The related entries in the 3dsmax.ini file are:
orthographic or user viewport. Use this command • INI: Transformgizmo=1 (for Transform Gizmo
when you want to reset the background to the visibility, controlled by Preferences)
new position of your geometry. See Procedure for
detailed requirements. • INI: ShowAxisIcon=1 (for Axis Icon visibility,
controlled in Views menu)
Procedure The visibility of the Axis tripod overrides the
To reset the background to fit the viewport: visibility of the Transform Gizmo. If you turn off
the Transform Gizmo in Preferences, the Axis
1. Activate an orthographic or user viewport that
tripod remains on the selected object. If you then
has a background image.
turn off the Show Transform Gizmo in the Views
2. Press Alt+B . menu, it actually turns off the Axis tripod. When
3. Turn on either Match Bitmap or Match the Axis tripod is disabled, the Transform Gizmo
Rendering Output, and then turn on Lock is also hidden.
Zoom/Pan. Tip: The converse is not true. If the transform
4. Click OK. gizmo is turned off, turning on the axis tripod
visibility does not display the transform gizmo.
5. Choose Views menu > Reset Background
Transform.
The background image readjusts in the
viewport.
46 Chapter 2: Viewing and Navigating 3D Space

Procedure Procedure
To scale the transform gizmo, do one of the following: To show wireframe ghost copies of an animated
object:
• Press – (hyphen) to shrink the Transform
gizmo. • Choose Views menu > Show Ghosting.
• Press = (equal sign) to enlarge the Transform
gizmo.
Show Key Times
Select an object with animation. > Views menu > Show
Show Ghosting Key Times

Views menu > Show Ghosting Key Times shows the frame numbers along a
displayed animation trajectory (page 2–301).
Ghosting is a method of displaying wireframe Key times correspond to the settings in Time
"ghost copies" of an animated object at a number Configuration (page 3–725) for Frames or SMPTE
of frames before or after the current frame. Use it (page 3–1013). By default, key times are shown
to analyze and adjust your animation. Ghosts that as frame numbers.
overlap indicate slower motion; ghosts that are
spread further apart show faster motion. Procedure
When this command is active, ghosting is To display trajectory time values in the viewport:
displayed for selected objects in the scene. Only 1. Select an object with animation.
currently selected objects display the ghosting.

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.
The time values are displayed as white numbers
along the trajectory. They remain displayed in
Ghosting helps to visualize animation. red when the animated object is deselected.
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
after the current frame, or both, and you can also
show frame numbers with the ghosts.
 Shade Selected 47

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
Keyframes with frame number shown on a trajectory. Views menu > Show Dependencies

While you are using the Modify panel, this

Shade Selected command toggles viewport highlighting of objects
dependent on the currently selected object.
Select an object to be shaded. > Views menu > Shade
Selected
When Show Dependencies is on and the Modify
panel is active, any object that is dependent upon
Shade Selected shades only the selected objects in the currently selected object in any way appears
the scene when the viewport is set to Wireframe magenta. This includes instances (page 3–957),
or Other. When Smooth + Highlights is on, all references (page 3–1002), and shared modifiers
objects are shaded whether they are selected or not. (page 3–974). Default=off.
Shade Selected lets you work with a wireframe You can also see similar dependencies in Schematic
scene and shade only the selected objects when View (page 3–638).
you want to visualize them more clearly. All other
objects in the scene will appear in wireframe.

Selected objects shaded in a wireframe viewport.

48 Chapter 2: Viewing and Navigating 3D Space

Procedures
To show dependencies between objects:
Create Camera From View
1. Select an object with an instanced modifier Views menu > Create Camera From View
(page 1–511). Create menu > Cameras > Create Camera From View

Keyboard > Ctrl+C

2. On the Modify panel, choose the
instanced modifier in the modifier stack.
3. Choose Views menu > Show Dependencies
Other objects with instances of the same
modifier appear in a different color.

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.
Create Camera From View creates a Target camera
3. Click an object to be the control object. Choose (page 2–1371) whose field of view matches an
a dummy object if you want to keep the control active, Perspective viewport. At the same time, it
hidden in final rendering. changes the viewport to a Camera viewport (page
4. The chosen object is now linked as parent to 3–745) for the new camera object, and makes the
the sub-object selection and its name is listed new camera the current selection.
on the Parameters rollout. Alternatively, if the scene already contains a camera
5. Choose Views menu > Show Dependencies to and the camera is selected, then Create Camera
make the link visible when the control object From View does not create a new camera from
is selected. the view. Instead, it simply matches the selected
6. Use any of the transforms to animate the camera to the active, Perspective viewport. This
control object. functionality was adopted from the Match Camera
to View command, which is now available only as
The selection is animated in parallel with the an assignable main user interface shortcut (see
control object. 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.
Two default lights are placed opposite to each other.
A, the key light is in front of the object, on the upper left side,
Add Default Lights to Scene while B, the fill light is behind on the lower right side.

Right-click a viewport label. > Configure > Viewport You can add either the key light, the fill light, or
Configuration dialog > Rendering Method tab >
Rendering Options group > Turn on Default Lighting and both. The omni light objects have the names
choose 2 Lights (to activate the Add Default Lights To DefaultKeyLight and DefaultFillLight.
Scene menu item) > Views menu > Add Default Lights
To Scene
If you have already added one or both default
lights, a warning prompts you to rename or delete
This command displays the Add Default Lights To
the previous default light object before you add
Scene dialog, which provides options that let you
another.
convert the default scene lighting into actual light
objects (page 2–1272).
Procedure
The default lighting for viewports consists of a To add the default lights as objects:
key light, positioned in front and to the left of
1. Right-click a viewport label, and click
the scene, which behaves as an omni light (page
Configure.
2–1295)..
2. On the Viewport Configuration dialog >
This command is unavailable unless you use the Rendering Method tab, in the Rendering
Viewport Configuration dialog (page 3–853) to Options group, turn on Default Lighting and
configure the active viewport to use two lights. choose 2 Lights. Click OK to close the dialog.
When viewports use two lights, and you invoke
this command, the lights are added to the scene as 3. Choose Views menu > Add Default Lights To
omni lights. You can add either the key light, the Scene.
fill light, or both. 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 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
Add Default Key Light—When on, adds the default All Maps. This will turn off the maps for all
key light to the scene. The key light is in front of materials. If you only want to turn off individual
the scene and to the left. The key light becomes maps, you need to turn off Show Map In Viewport
an omni light (page 2–1295) with the name, in the Material Editor.
DefaultKeyLight. Default=on.
Note: This command does not apply to XRef objects
Add Default Fill Light—When on, adds the default (page 3–394) and objects in XRef scenes (page
fill light to the scene. The fill light is behind the 3–407).
scene and to the right. The fill light becomes
an omni light (page 2–1295) with the name,
DefaultFillLight. Default=on. Deactivate All Maps
Distance Scaling—Affects how far the lights are Views menu > Deactivate All Maps
placed from the origin (0,0,0). The default value
leaves the scene’s lighting unchanged. Larger Deactivate All Maps turns off the Show Map In
values move the lights farther away, dimming Viewport flag for all materials assigned to the
the scene, and smaller values move them closer, scene.
brightening the scene. Default=1.0. Range=0.0
To undo this action, use Views menu > Activate All
to 1000.0.
Maps. This will turn on the maps for all materials.
If you only want to turn on individual maps, you
need to turn on Show Map in Viewport in the
Redraw All Views Material Editor.
Views menu > Redraw All Views Note: This command does not apply to XRef objects
Keyboard > ‘ (accent grave) (page 3–394) and objects in XRef scenes (page
3–407).
Redraw All Views refreshes the display in all
viewports. When you move, rotate, scale, or
otherwise manipulate geometry, the viewports
may display the scene with some irregularities,
or with objects or parts of objects missing. Use
 Update During Spinner Drag 51

• Press Ctrl+X .
Update During Spinner Drag
To turn off Expert mode and return to full display,
Views menu > Update During Spinner Drag do one of the following:

When Update During Spinner Drag is on, dragging • Click the Cancel Expert Mode button to the
a spinner (such as a Radius spinner for a sphere) right of the time slider.
updates the effects in real time in the viewports. • Press Ctrl+X .
Default=on. • Choose Views menu > Expert Mode.
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.
Controlling Object Display
You use the Display panel or layers (page 3–655)
Expert Mode to control how objects and selected objects are
Views menu > Expert Mode displayed in viewports, and to hide or freeze
objects.
Keyboard > Ctrl+X
You can also use layers (page 3–655) to hide or
When Expert mode is on, the title bar, toolbar, unhide objects in the viewport.
command panel, status bar, and all of the viewport Tip: You can also use the Isolate Selection command
navigation buttons are removed from the display, (page 1–73) to hide everything except your
leaving only the menu bar, time slider, and selection set.
viewports. Use Expert mode when you need to
view your composition alone without the rest of Display Color Rollout (page 1–52)
the interface. Hide By Category Rollout (page 1–52)
With the ability to customize the user interface Hide Rollout (page 1–53)
in 3ds Max, you can create your own versions
Freeze Rollout (page 1–54)
of Expert mode by hiding whatever you want
item-by-item. Expert mode is only a quick way to Display Properties Rollout (page 1–55)
hide everything that can be hidden at once.
Link Display Rollout (page 1–58)
You can assign keyboard shortcuts to hide and
Object Display Culling Utility (page 1–58)
unhide the command panel, toolbars, and so on
and then use these while in Expert mode. You can
See also
also use the quad menu to access tools quickly in
Expert mode as well. Object Properties (page 1–117)

Procedures
To turn on Expert mode, do one of the following:
• Choose Views menu > Expert Mode.
52 Chapter 2: Viewing and Navigating 3D Space

Wireframe— Controls the color of objects when the

viewport is in wireframe display mode.
Display Color Rollout
Object Color—Displays the wireframes in object
Display panel > Display Color rollout
color.

The Display Color rollout specifies whether Material Color—Displays the wireframes using the
3ds Max displays objects using their object colors material color.
or their diffuse material colors (page 3–929), when Shaded—Controls the color of the object when the
the objects have their display properties (page viewport is in any shaded display mode.
1–117) set to By Object. If the display properties
of an object is set to By Layer, the layer color Object Color—Displays the shaded objects using
will be used for the display. You can choose one the object color.
method for wireframe display and a different one Material Color—Displays the shaded objects using
for shaded display. In each shading mode you can the material color.
specify whether the material or the object color
is used.
As a default, all new objects have their display Hide By Category Rollout
properties set to By Layer. The default can be
Display panel > Hide By Category rollout
changed in Customize > Preferences > Preferences
dialog > General panel > Layer Defaults group. If
The Hide By Category rollout toggles the display
you turn off Default To By Layer For New Nodes,
of objects by category (objects, cameras, lights,
all new objects created in 3ds Max will display in
and so on).
the viewports based on the settings in the Display
Color rollout. You can switch individual objects By default, 3ds Max displays all objects in the
between By Object and By Layer by setting the scene. Objects hidden by category aren’t evaluated
Display Properties in the Object Properties dialog in the scene, so hiding objects by category
(page 1–117), accessible by right-clicking any improves performance.
selected object.
You can use any of the default display filters
If the object color box displays black and white provided, or add new display filters for fast
rectangles, this indicates that the object has its selection of objects to hide.
display properties set to By Layer.

Interface
 Hide Rollout 53

Interface Bones—Hides all bones in the scene.

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
Turn on the check boxes to hide objects of that
category. You can use the All, None, and Invert The Hide rollout provides controls that let you
buttons to quickly change the settings of the check hide and unhide individual objects by selecting
boxes. them, regardless of their category.

The Display Filter box gives you finer control in You can also hide and unhide objects using the
creating categories to hide. Click the Add button Display Floater (page 3–775).
to display a list of display filters. Hold down
the Ctrl key and click the filter name to select See also
whatever category you’d like to hide. Hide By Category Rollout (page 1–52)
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—Hides all space warps in the scene.

Particle Systems—Hides all particle systems in the

scene.
Bone Objects—Hides all bones in the scene.
54 Chapter 2: Viewing and Navigating 3D Space

Interface Unhide by Name—Displays a dialog you use to

unhide objects you choose from a list. See Select
Objects dialog (page 1–78), which describes nearly
identical controls.
Note: If you select an object on a hidden layer, a
dialog will pop up prompting you to unhide the
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
Hide Selected—Hides the selected objects. Display panel > Freeze rollout

Hide Unselected—Hides all visible objects except The Freeze rollout provides controls that let you
the selected ones. Use this to hide all objects except freeze or unfreeze (page 3–945) individual objects
the one you’re working on. Objects hidden by by selecting them, regardless of their category.
category aren’t affected.
Frozen objects remain on the screen, but you can’t
Hide by Name—Displays a dialog you use to select, transform, or modify them. By default,
hide objects you choose from a list. See Select frozen objects turn dark gray. Frozen lights and
Objects dialog (page 1–78), which describes nearly cameras, and their associated viewports, continue
identical controls. to work as they normally do.
Hide by Hit—Hides any object you click in the You can choose to have frozen objects retain their
viewport. If you hold the Ctrl key while selecting usual color or texture in viewports. Use the Show
an object, that object and all of its children are Frozen In Gray toggle in the Object Properties
hidden. To exit Hide by Hit mode, right-click, dialog (page 1–117).
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, a dialog will pop up prompting you to
unhide all layers. You cannot unhide an object on
a hidden layer.
 Display Properties Rollout 55

Interface Note: If you unfreeze by name an object on a frozen

layer, a dialog opens prompting you to unfreeze
the object’s layer. You cannot unfreeze an object
on a frozen layer.
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. You cannot unfreeze an object on a frozen
layer.

Freeze Selected—Freezes the selected object(s).

Display Properties Rollout
Freeze Unselected—Freezes all visible objects
Display panel > Display Properties rollout
except the selected ones. Use this to quickly freeze
all the objects except the one you’re working on.
The Display Properties rollout provides controls
Freeze by Name—Displays a dialog that lets you for altering the display of selected objects.
choose objects to freeze from a list. See Select
Objects dialog (page 1–78), which describes nearly See also
identical controls.
Link Display Rollout (page 1–58)
Freeze by Hit—Freezes any object you click in a
viewport. If you press Ctrl while selecting an Procedure
object, that object and all of its children are frozen. To display trajectories using the Display panel:
To exit Freeze by Hit mode, right-click, press
1. Select one or more animated objects.
Esc , or select a different function. This mode is
automatically turned off if you freeze all objects 2. Right-click the selection, and choose
in the scene. Properties.
Unfreeze All—Unfreezes all frozen objects. 3. In the Display properties group, click By Layer
to change it to By Object, and then click OK.
Note: If you click Unfreeze All in a scene with
frozen layers, a dialog opens prompting you to 4. Expand the Display Properties rollout in the
unfreeze all layers. You cannot unfreeze an object Display panel.
on a frozen layer. 5. Turn on Trajectory.

Unfreeze by Name—Displays a dialog that lets you By default, object trajectories appear with the
choose objects to unfreeze from a list. See Select following properties:
Objects dialog (page 1–78), which describes nearly • The trajectory curve is drawn in red.
identical controls.
• Frame increments display as white dots on
the curve.
56 Chapter 2: Viewing and Navigating 3D Space

• Position keys display as red boxes Display as Box—Toggles the display of selected
surrounding the appropriate frame dot on objects, including 3D objects and 2D shapes, as
the curve. The boxes are white when the bounding boxes (page 3–919). Produces minimum
object is selected. geometric complexity.
• If Views > Show Key Times is turned on, the Particle systems appear as bounding boxes when
keyframe numbers are displayed along side adaptive degradation takes effect. Because particle
the keys on the trajectory. systems naturally exist in world space, their
Trajectories can also be displayed through bounding box is always oriented parallel to the
Object Properties. Right-click any object world planes.
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.
You can also use object properties to display
trajectories: right-click any object and choose
Properties, then turn on Trajectory.

Interface 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.

The first three options reduce the displayed

geometric complexity of selected objects in a
scene, resulting in faster response time because the
computer has less to calculate. These options are
also available in the Display Properties group of Edges Only—Toggles the display of hidden edges
the Object Properties dialog > General panel (page and polygon diagonals (page 3–928). When on,
1–117) and the Display floater (page 3–775). 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.

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
Vertex Ticks—Displays the vertices in the selected is especially useful in adjusting the position of
geometry as tick marks. objects behind or inside the See-Through object.
This is very handy when you have objects within
If the current selection has no displayed tick
other objects in your scene.
marks, the check box is clear. If some of the
vertices in the current selection display tick marks, This option is also available from Object Properties
the check box contains a gray X. If all vertices in dialog (page 1–117) and the Tools > Display Floater
the current selection display tick marks, the check (page 3–775).
box contains a black X.
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

Trajectory—Toggles trajectory (page 3–1025)

display for the selected object so its trajectory is
visible in viewports.

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 Interface

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
Assign Vertex Color utility, or the VertexPaint
Display Links—Displays a wireframe representation
modifier. Once vertex colors have been assigned
of any hierarchical links affecting the selected
they can also be edited in the Vertex Properties
object.
rollout in the editable mesh or editable poly in
vertex or face sub-object level. Note: Display Links must be turned on in order to
see Joint Limits on a inverse kinematics chain.
The Shaded button determines whether the object
with the assigned vertex colors appears shaded in Link Replaces Object—Replaces the selected
the viewport. When this button is off, the colors object with the wireframe representation of the
are unshaded and appear in their pure RGB values, hierarchical link. This option offers another way
looking a little like self-illuminated materials. to reduce the geometric complexity of selected
When the Shaded button is on, the colors appear objects in a scene. See also Display Properties
like any other assigned color in the viewports. rollout (page 1–55).
The Draw Links As Lines option on the Viewports
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
Link Display Rollout more easily and quickly by intelligently hiding
less-important objects as you work.
Display panel > Link Display rollout

The Link Display rollout provides controls that

alter the display of hierarchical linkages (page
3–951).
 Object Display Culling Utility 59

Interface Culled Objects—Choose how to prevent display of

culled geometry:
• Hidden: Culled objects don’t appear in the
viewports.
• Display as Bounding Box: Culled objects
appear as bounding boxes (page 3–919).
Close—Closes the rollout.

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
frame rate drops below this, 3ds Max culls objects
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
the Target Framerate value automatically. 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) are culled as well as native objects.
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
displayed as bounding boxes.
60 Chapter 2: Viewing and Navigating 3D Space
Selecting Objects

Most actions in 3ds Max are performed on selected Selecting with Track View (page 1–69)
objects in your scene. You must select an object in
Selecting with Schematic View (page 1–69)
a viewport before you can apply a command. As a
result, the act of selection is an essential part of the Freezing and Unfreezing Objects (page 1–70)
modeling and animation process.
Hiding and Unhiding Objects by Selection (page
This section presents the selection tools available 1–70)
in 3ds Max. Besides the basic techniques of
Hiding and Unhiding Objects by Category (page
selecting single and multiple objects using mouse
1–72)
and keyboard, these topics cover the use of named
selection sets and other features that help you Isolate Selection (page 1–73)
manage object selection, such as hiding and
Introduction to Sub-Object Selection (page 1–74)
freezing objects and layers. Also included is an
introduction to sub-object selection, essential to Using Assemblies (page 1–98)
working with an object’s underlying geometry. Using Groups (page 1–96)
Lastly, a technique for grouping objects is
presented. Grouping lets you create more
permanent selections that have many of the Introducing Object Selection
characteristics of independent objects. 3ds Max is an object-oriented program. This
This section presents the following topics: means that each object in the 3D scene carries
instructions that tell the program what you can
Introducing Object Selection (page 1–61)
do with it. These instructions vary with the type
Basics of Selecting Objects (page 1–64) of object.
Selecting by Region (page 1–65) Because each object can respond to a different
set of commands, you apply commands by
Using Select By Name (page 1–67)
first selecting the object and then selecting the
Using Named Selection Sets (page 1–67) command. This is known as a noun-verb interface,
because you first select the object (the noun) and
Using Selection Filters (page 1–68)
then select the command (the verb).
62 Chapter 3: Selecting Objects

Identifying the Selection Interface

In the user interface, selection commands or Select Object
functions appear in the following areas:
• Main toolbar Selection Objects
• Edit menu
• Quad menu (while objects are selected) Select And Move
• Tools menu
Select And Rotate
• Track View
• Display panel
Select And Scale
• Schematic View
The buttons on the main toolbar are a direct means Select And Manipulate
of selection. The Selection Floater, available from
The main toolbar has several selection-mode
the Tools menu, is easy to use, while the Edit menu
provides more general selection commands, plus buttons. When any of the selection buttons is
active, the program is in a state where you can
methods of selecting objects by property. Track
select objects by clicking them.
View and Schematic View let you select objects
from a hierarchical list. Of the selection buttons, you use Select Object
or Selection Floater when you want selection
Selecting From the Quad Menu only. The remaining buttons let you both select
The quickest way to select an object is from the and transform or manipulate your selection.
Transform quadrant of the quad menu, where you Use transforms to move, rotate, and scale your
can easily switch among the Move, Rotate, Scale, selection. See Moving, Rotating, and Scaling
and Select modes. Choose any of these and click Objects (page 1–423) and Select and Manipulate
on the object you want to select in the viewport. (page 2–15).

Selecting by Name Crossing Versus Window Selection

Another quick way to select an object is to
use keyboard shortcuts for the Select by Name The Selection toggle, available from the
command. Press H on the keyboard then select toolbar, switches between Window and Crossing
the object by name from the list. This is the most modes when you select by region. In Window
foolproof way to ensure you select the correct mode, you select only the objects within the
object when you have many overlapping objects selection. In Crossing mode, you select all objects
in the scene. within the region, plus any objects crossing the
boundaries of the region.
Selection Buttons
Edit Menu Commands
Another way to select an object is to click one of
these buttons, then click the object. The Edit menu contains selection commands that
operate globally on your objects.
 Introducing Object Selection 63

Edit menu selection commands include: The Selection Floater has the same features as
Select By Name. See Selection Floater (page 1–79).
Select All (page 1–87)
Select None (page 1–88) Track/Schematic View Selection
Select Invert (page 1–88) Track View (page 2–501) is primarily designed
as an animation tool, but you can also use its
Select By Color (page 1–88)
Hierarchy List window as an alternative method
Select By Name (Edit Menu) (page 1–88) (also a of selecting objects by name and hierarchy. This
toolbar button) works in both the Curve Editor and Dope Sheet
modes of Track View.
Select by Rectangular Region (page 1–89)
Schematic View (page 3–638) is specifically
Select by Circular Region (page 1–89)
designed to let you navigate your scene efficiently,
Select by Fence Region (page 1–90) presenting a hierarchical view and letting you
select objects and their properties by name.
Select by Lasso Region (page 1–90)
Region Window (page 1–92) (also a toolbar button) Display Panel Selection
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."
You can place them anywhere on the screen, or
minimize them by right-clicking the title bar and
choosing Minimize.

Selection Floater
The Display panel provides options for hiding and
• Same features as Select By Name. See Selection freezing objects. These techniques exclude objects
Floater (page 1–79). from other selection methods, and are useful in
simplifying complex scenes. Frozen objects are
Display Floater still visible, but hidden objects are not.
• 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.
64 Chapter 3: Selecting Objects

The cursor changes to a small cross when it’s

Basics of Selecting Objects positioned over an object that can be selected.
The valid selection zones of an object depend
on the type of object and the display mode
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
Bed selected in wireframe at the corners of its bounding box.

To select all objects do one of the following:

• Choose Edit menu > Select All.
This selects all objects in your scene.
• On the keyboard press Ctrl+A .

To invert the current selection do one of the

following:
• Choose Edit menu > Select Invert.
This reverses the current selection pattern. For
example, assume you begin with five objects in
Bed selected in smooth and shaded view your scene, and two of them are selected. After
choosing Invert, the two are deselected, and the
The most basic selection techniques use either
remaining objects are selected.
the mouse, or the mouse in conjunction with a
keystroke. • On the keyboard press Ctrl+I .

To extend or reduce a selection:

Procedures
To select an object:
• Hold down Ctrl while you click to make
selections.
1. Click one of the selection buttons on the
toolbar: Select Object, Select by Name, Select This toggles the selection state of the objects
and Move, Select and Rotate, or Select and you select. Use this method to select or deselect
Scale, or Select and Manipulate. objects. For example, if you have two objects
selected and Ctrl +click to select a third, the
2. In any viewport, move the cursor over the third object is added to the selection. If you
object you want to select. 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. Selecting by Region
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
mouse anywhere on the screen without losing
the selection. The cursor displays the current
selection icon. When you want to deselect or
alter your selection, click the Lock button again
to turn off locked selection mode. SPACEBAR
is the keyboard toggle for locked selection
mode. Top Left: Selecting face sub-objects with a rectangular region
Top Right: Selecting vertex sub-objects with a circular region
To deselect an object, do any of the following:
Center: Selecting face sub-objects with a painted region
• Click an empty area anywhere outside the Bottom Left: Selecting edge sub-objects with a fence region
current selection. Bottom Right: Selecting edge sub-objects with a lasso region
• Hold down the Alt key, and either click an The region-selection tools let you use the mouse to
object, or drag a region around the object to select one or more objects by defining an outline
deselect it. or area.
• Hold down the Ctrl key and click to deselect a
selected object. This also selects non-selected Region Selection
objects.
By default, when you drag the mouse a rectangular
• Choose Edit menu > Select None to deselect region is created. When you release the mouse
all objects in the scene. 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 Choose Edit menu > Region to display a submenu
of the following two items. Only one can be active
at a time. The option is also available on the main
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. This is the default region. See Select
Region Crossing (page 1–93).
The Window/Crossing toggle (page 1–93) on the
The type of region you define when you drag the main toolbar also switches between these two
mouse is set by the Region flyout button to the modes.
right of the Select By Name button. You can use
You can set up a preference to automatically
any of five types of region selection:
switch between Window and crossing based
• Rectangular Region—Dragging the mouse on the direction of your cursor movement. See
selects a rectangular region. See Rectangular Auto Window/Crossing by Direction in General
Selection Region (page 1–89). Preferences (page 3–815).
• Circular Region—Dragging the mouse selects a
circular region. See Circular Selection Region Procedure
(page 1–89). To make a region selection using defaults:
• Fence Region—Draw an irregular 1. Click Select Object (page 1–77).
selection-region outline by alternating
2. Drag the mouse to define a region.
between moving the mouse and clicking (begin
with a drag). See Fence Selection Region (page A rubber-band rectangle appears.
1–90). 3. Release the mouse button to select all objects
• Lasso Region—Dragging the mouse outlines an within or touching the region.
irregular selection region. See Lasso Selection The selected objects turn white.
Region (page 1–90).
You can also use the Select and Transform buttons
• Paint Region—Drag the mouse over objects or on the main toolbar to select by region. You must
sub-objects to be included in the selection. See start defining the region over an unselectable area
Paint Selection Region (page 1–91) of the viewport. Otherwise, you’ll transform the
object beneath your mouse when you begin to
Setting Region Inclusion drag.
This option lets you specify whether to include
objects touched by the region border. It applies to
all region methods.
 Using Select By Name 67

Using Select By Name You can also edit the contents of named sets
from the Named Selection Sets dialog (page 1–84).
You can select objects by their assigned names,
avoiding mouse clicks completely, from the Select Editing Named Selections
Objects dialog.
As you model and create a scene, you’re likely
to rearrange the objects making up your named
Procedure
selection sets. If you do, you’ll need to edit the
To select objects by name: contents of those sets.
1. Do one of the following:
Procedures
• On the main toolbar, click Select By To assign a name to a selection set:
Name. 1. Select one or more objects or sub-objects using
• Choose Edit menu > Select By > Name. any combination of selection methods.
• Choose Tools menu > Selection Floater. 2. Click in the Named Selection field on the main
toolbar.
The Select Objects or Selection Floater
dialog is displayed. By default, these dialogs 3. Enter a name for your set. The name can contain
list all objects in the scene. Any selected any standard ASCII characters, including
objects are highlighted in the list. letters, numerals, symbols, punctuation, and
spaces.
2. Choose one or more objects in the list. Use
Ctrl to add to the selection. Note: Names are case-sensitive.

3. Click Select to make the selection. 4. Press Enter to complete the selection set.

Select Object closes, while Selection Floater You can now select another combination of objects
remains active. or sub-objects and repeat the process to create
another named selection set.
For more information, see the Select Objects dialog
description (page 1–78).
To retrieve a named selection set:
1. In the Named Selection field, click the arrow.
Using Named Selection Sets Note: If you’re working with a sub-object
selection set, you must be at the same level
You can assign a name to the current selection, and
at which you created the selection set (for
then later reselect those objects by choosing their
example, editable mesh > vertex) for it to
selection name from a list.
appear on the list.
2. On the list, click a name.

To edit named selection sets:

Named Selection Sets

• On the main toolbar, click Named
Selection Sets to display the Named Selection
Sets dialog.
68 Chapter 3: Selecting Objects

Geometry—Only geometric objects can be

Using Selection Filters 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.

You can use the Selection Filter list on the main Bone—Only bones objects can be selected.
toolbar to deactivate selection for all but a specific IK Chain—Only objects in IK chains can be
category of object. By default, all categories can be selected.
selected, but you can set the Selection Filter so that Point—Only point objects can be selected.
only one category, such as lights, can be selected.
You can also create combinations of filters to add To create a combination category:
to the list.
1. From the drop-down list, choose Combos to
For greater ease of use while working with display the Filter Combinations dialog (page
animations, you can choose filters that let you 1–81).
select only Bones, objects in IK chains, or Points. All single categories are listed.
2. Select the categories you want to combine.
Using Combos
3. Click Add.
The Combos feature allows you to combine two or
more categories into a single filter category. The combination appears in a list to the right,
abbreviated by the first letter of each category.
Procedures Click OK.
To use the selection filter: For example, if you selected Geometry, Lights,
• Click the Selection Filter arrow and click a and Cameras, the Combo would be named
category from the Selection Filter list. GLC. This name appears below Combo on the
drop-down list. For more information, see
Selection is now limited to objects defined in Selection Filters List (page 1–81).
this category. The category remains in effect
until you change it.
The following categories are available:
All—All categories can be selected. This is the
default setting.
 Selecting with Track View 69

2. Click any cube icon in the list to select the

Selecting with Track View named object.
You can make the following kinds of selections:
• Select several adjacent objects in the list. Click
the first object, hold down Shift , and click
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-click the object’s cube
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
a convenient area on your screen.

Selecting with Schematic View

Schematic view is a window that displays the
Track View provides sophisticated methods to edit objects in your scene in a hierarchical view. It
your animation tracks. In addition, its Hierarchy gives you an alternate way to select and choose the
list displays all objects in the scene by name and objects in your scene and navigate to them.
hierarchy. Using Track View, you can select any
When the Modify panel is open, double-clicking
object in the scene by clicking its object icon in the
an object modifier in Schematic view navigates the
Hierarchy list.
modifier stack to that modifier for quick access
to its parameters.
Procedure
You can use Track View selection functionality in Procedure
both the Curve Editor (page 2–507) and the Dope To open Schematic View and display and select
Sheet (page 2–507). This procedure illustrates objects:
usage of the Curve Editor; the same methods work
in the Dope Sheet.
1. Click Open Schematic View on the main
To open Track View and display and select objects: toolbar.
2. Click the rectangle containing the name of your
1. On the main toolbar, click Curve Editor object.
(Open).
70 Chapter 3: Selecting Objects

You can select any number of objects in Schematic For more information, see Freeze Rollout (page
View using standard methods, including dragging 1–54).
a region. For more information, see Using
Schematic View (page 3–640). Freezing Objects
You can freeze one or more selected objects. This
is the usual method to put objects "on hold."
Freezing and Unfreezing Objects
You can also freeze all objects that are not selected.
You can freeze any selection of objects in your
This method lets you keep only the selected object
scene. By default, frozen objects, whether
active, useful in a cluttered scene, for example,
wireframe or rendered, turn a dark gray. They
where you want to be sure no other objects are
remain visible, but can’t be selected, and therefore
affected.
can’t be directly transformed or modified.
Freezing lets you protect objects from accidental
Procedure
editing and speeds up redraws.
To access Freeze options, do one of the following:

• Open the Display panel, then expand

the Freeze rollout.
• 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
Above: No layers frozen
menu > Display quadrant.
Below: Trash can and streetlight are frozen, and displayed in
gray

You can choose to have frozen objects retain their Hiding and Unhiding Objects by
usual color or texture in viewports. Use the Show Selection
Frozen In Gray toggle in the General tab of the
Object Properties dialog (page 1–117). You can hide any selection of individual objects in
your scene. They disappear from view, making it
Frozen objects are similar to hidden objects. easier to select remaining objects. Hiding objects
Linked, instanced, and referenced objects behave also speeds up redraws. You can then unhide
when frozen just as they would if unfrozen. Frozen all objects at once or by individual object name.
lights and cameras and any associated viewports You can also filter the names by category, so only
continue to work as they normally do. 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 Another option is to hide objects by category. See
still illuminates the scene. 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.
• Use All On to display all objects at the same
time.
• Use Unhide By Name to unhide object
selectively. When you click Unhide By Name,
Original scene
the same dialog is displayed as for hiding, now
called Unhide Objects.
The Unhide buttons are unavailable when no
object in the scene is hidden.
Objects that were first hidden by selection and then
hidden by category do not reappear. 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: Objects on a hidden layer cannot be
unhidden. If you try to unhide an object on a hidden
Scene with bed hidden layer, you are prompted to unhide the object’s layer.
Hiding objects is similar to freezing objects.
Linked, instanced, and referenced objects behave Procedure
when hidden just as they would if unhidden. To access Hide options, do one of the following:
Hidden lights and cameras and any associated • Open the Layer Manager (page 3–656).
viewports continue to work normally.
In the Layer Manager, you can easily hide
For more information, see Hide Rollout (page groups of objects or layers.
1–53).
• Open the Display panel. Click Hide, if
Hiding Objects necessary, to expand the rollout.
Hiding objects is similar to freezing objects. See • Choose Tools menu > Display Floater. This
Freezing and Unfreezing Objects (page 1–70). You modeless dialog has the same options as the
can hide one or more selected objects. You can Hide rollout. It also contains Freeze options.
also hide all objects that are not selected.
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, click By Layer to change it to By Object.
• Right-click in the active viewport and choose a
Hide or Unhide command from the quad menu
> Display quadrant.

Hiding and Unhiding Objects by

Category
You can hide objects by category, the basic types
of objects. For example, you can hide all lights
in your scene at one time, or all shapes, or any
combination of categories. By hiding all categories,
your scene appears empty. Hidden objects, while
not displayed, continue to exist as part of the
geometry of your scene but cannot be selected.

Above: All objects displayed

Below: Lights and shapes are hidden

Hiding Geometry and Particle Systems

Geometry and particle systems have separate
categories, even though particle systems are also
geometry.
• Selecting Geometry hides all geometry in the
scene, including particle systems. The option
for particle systems becomes unavailable.
• Selecting Particle Systems hides only these
objects, leaving the other geometry unaffected.

Effects of Hiding by Category

• If you create an object in a category that is
hidden, the category selection is cleared and
the objects in that category are unhidden.
• Unhiding by category has no effect on objects
hidden with the controls on the Hide rollout
 Isolate Selection 73

(see Hiding and Unhiding Objects by Selection

(page 1–70)). These objects remain hidden. Isolate Selection
You need to use the controls on that rollout to
Tools menu > Isolate Selection
unhide them.
Right-click to open the quad menu. > Display
• Unhiding by selection does not return a hidden (upper-right) quadrant > Isolate Selection
object to the scene if the category of the object is
Keyboard > Alt + Q
hidden. The Unhide All and Unhide By Name
controls continue to work, but the effect is not
The Isolate Selection tool lets you edit a single
seen until the category is cleared.
object or selection set of objects while hiding the
• Lights hidden by category continue to shine. rest of the scene on a temporary basis. This guards
Views through cameras and targeted lights are against selecting other objects while working
still active. on a single selection. It allows you to focus on
• Linked, instanced, and referenced objects the objects you need to see, without the visual
behave when hidden just as they would if distraction of the surroundings. It also reduces
visible. the performance overhead that can come from
displaying other objects in the viewports.
Procedures When you turn on Isolate Selection, the isolated
To hide a category of objects: object selection is centered in all viewports. The
active viewport also does a Zoom Extents (page
1. Open the Display panel. 3–737) on the isolated objects.
2. Click Hide by Category, if necessary, to expand When an isolated selection includes multiple
the rollout. By default, all categories are turned objects, you can select a subset of these, and
off (unhidden) on this rollout. choose Isolate Selection once again. This isolates
3. Choose the category you want to hide. All the subset. However, clicking Exit Isolation
objects of that category disappear from your unhides the entire scene. You can’t “step back”
scene as soon as you make the choice. through individual levels of isolation.
Note: Isolate Selection works only at the object
The same Hide By Category options appear on the
level. You can’t choose it while at the sub-object
Object Level panel of the Display Floater (Tools
level. If you go to a sub-object level while working
menu > Display Floater).
with an isolated object, you can click Exit Isolation,
To unhide a category of objects: but you can’t isolate sub-objects.

• Deselect the category. Tip: You can also use Isolate Unselected to isolate
all of the unselected objects in your scene.
All objects in the category reappear, unless
some have been hidden by selection. See Interface
“Effects of Hiding by Category”.
While the Isolate tool is active, a dialog labeled
Warning: Isolated Selection appears.
74 Chapter 3: Selecting Objects

You can access sub-object geometry through a

variety of methods. The most common technique
is to convert an object into "editable" geometry
such as a mesh, spline, patch, NURBS, or poly
object. These object types let you select and edit
Exit Isolation Mode—Click to end isolation, close geometry at the sub-object level.
the dialog, and unhide the rest of the scene.
If you have a primitive object and want to retain
The views are restored to what they showed before control of its creation parameters, you can apply
you chose Isolate Selection. a modifier such as Edit Mesh (page 1–634), Edit
Spline (page 1–680), Edit Patch (page 1–638), or
Mesh Select (page 1–719).
Introduction to Sub-Object Spline Lines and NURBS curves and surfaces are
Selection the exception: you can edit their sub-objects as
This is a general introduction to sub-object soon as you create these kinds of objects.
selection. For specific information, see Editable
You choose a sub-object level in the stack
Mesh (page 1–996), Editable Patch (page 1–968),
display. Click the plus sign that appears next to
Editable Poly (page 1–1022), and Editable Spline
the name of an object that has sub-objects. This
(page 1–289).
expands the hierarchy, showing the available
When you model an object, often you edit a sub-object levels. Click a level to choose it. The
portion of its underlying geometry, such as name of the sub-object level highlights in yellow,
a set of its faces or vertices. Or when you are and the icon for that sub-object level appears to
working with a model, you may want to apply the right of both its name and the name of the
mapping coordinates to a portion of its underlying top-level object.
geometry. Use the methods described in this topic
to make sub-object selections.

Stack display shows the sub-object hierarchy, letting you

choose a sub-object level.
Left: A selection of face sub-objects
Middle: A selection of edge sub-objects
Editing at the Sub-Object Level
Right: A selection of vertex sub-objects
When you edit an object at the sub-object level,
you can select only components at that level, such
 Introduction to Sub-Object Selection 75

as vertex, edge, face sub-objects, and so on. You right-click the viewport label and choose
can’t deselect the current object, nor can you select Wireframe or Edged Faces view.
other objects. To leave sub-object editing and Tip: For a detailed selection, you might want to
return to object-level editing, click the top-level zoom in on the object.
name of the object in the modifier stack, or click
6. Click one of the toolbar selection buttons, and
the highlighted sub-object level.
then use the same selection methods you’d use
on objects to select the sub-object components.
Or from the quad menu > Transform quadrant,
choose one of the selection methods and select
the sub-object components.
There are two alternative ways to go to a sub-object
level:

• Select the object and go to the Modify

panel. Then right-click the object, and use the
quad menu > Tools 1 (upper-left) quadrant >
Sub-objects submenu.
Click the top-level object name to exit sub-object editing.
• Choose the selection level using buttons
Procedures in the Modify panel’s Selection rollout, if one is
To make a sub-object selection: present for the type of object you’re editing.

These methods assume the object has sub-object Tip: Once you’re at a sub-object level, the INSERT
levels. If the object has no sub-object levels (for key cycles through the levels of other kinds of
example, a primitive such as a sphere), the + icon sub-objects.
is not present. In that case, you need to collapse
To exit sub-object selection mode, do one of the
the object or apply an Edit modifier before you can
following:
edit its sub-object geometry.
• In the stack display, click the highlighted
1. Select the object you want to edit.
sub-object name or the top-level name of the
2. Apply an Edit Mesh modifier (optional, object.
depending on the object you select).
• If the object has a Selection rollout, click to turn
off the button of the active sub-object level.
3. Open the Modify panel.
• Right-click the object, and then in the Tools
4. On the modifier stack display, click the + 1 (upper-left) quadrant of the quad menu,
icon to expand the object’s hierarchy. choose Top-level.
5. On the stack display, click to choose a level of • Open another command panel. This turns off
selection, such as vertex, edge, face, and so on. sub-object editing.
Tip: For some kinds of objects, such as editable If you think you’ve turned off sub-object editing
meshes, shaded viewports don’t display but top-level object selection is still not restored, it
sub-object selections. If this is the case, might be due to the following reasons:
76 Chapter 3: Selecting Objects

Circular Selection Region (page 1–89)

• Your selection is locked. Click the Lock
Selection Set button in the prompt line to turn Fence Selection Region (page 1–90)
it off. Lasso Selection Region (page 1–90)
• You’ve set the Selection Filter (page 1–68) on the
Paint Selection Region (page 1–91)
main toolbar to a specific category of object, so
you can’t select any of the other categories. To Selection Filter List (page 1–81)
fix this, select All in the Selection Filter list.
Window/Crossing Selection Toggle (page 1–93)
Named Selection Sets (page 1–83)
The Window/Crossing toggle determines how the
region selection options (on the toolbars) behave.
Selection Commands
Selection commands appear on the quad menu, Selection Commands on the Edit Menu
on the main toolbar, on the Edit menu, and on the The following selection commands appear by
status bar. default on the Edit menu. They complement the
The simplest method of selection is to turn on toolbar selection commands.
Select Object mode (page 1–77), and then click Select All (page 1–87)
an object in a viewport (or drag to surround the
object). While the method is simple, it is not Select None (page 1–88)
effective for selecting multiple objects, especially Select Invert (page 1–88)
in a crowded scene. Other tools let you select
objects by name, filter out the kinds of objects you Select By (page 1–88)
want to select, and to create named selection sets Select By Color (page 1–88)
you can select repeatedly.
Select By Name (Edit Menu) (page 1–88)
See also Region (page 1–92)
Basics of Selecting Objects (page 1–64) Region Window (page 1–92)
Isolate Selection (page 1–73) Region Crossing (page 1–93)
Selection Floater (page 1–79) Edit Named Selections (page 1–84)

Selection Commands on the Main Selection Command on the Status Bar

Toolbar
The Selection Lock Toggle (page 3–707) is located
The following selection commands appear by on the status bar. Locking a selection is useful
default on the Main toolbar. when you are doing a lot of editing on a selection,
Select Object (page 1–77) and don’t want to select something else by mistake.

Select By Name (page 1–77)

Rectangular Selection Region (page 1–89)
 Select Object 77

• Hold down the Alt key and select objects to

remove from the current selection set.
Select Object
Note: Adding and removing objects doesn’t
Main toolbar > Select Object change a named selection set.
Right-click to open quad menu. > Transform quadrant
> Select To toggle the selected/deselected state of multiple
objects in the selection set:
Select Object lets you select an objects and • Hold down the Shift key and drag to
sub-objects for manipulation. region-select the objects to toggle.
Object selection is affected by several other
To select objects and move, rotate, or scale them:
controls:
• The active Selection Region type: Rectangular
• Use the Select And Move, Select
(page 1–89), Circular (page 1–89), Fence (page
And Rotate, or Select And Scale tools, available
1–90), Lasso (page 1–90), or Paint (page 1–91).
from the Main toolbar and the quad menu >
• The active selection filter (All, Geometry, Transform quadrant.
Shapes, Lights, and so forth).
When you rotate a selection set, the pivot of
• The state of the crossing selection tool (which rotation depends on which option is selected
determines whether completely surrounded on the Use Center flyout (page 1–445) on the
objects or surrounded and crossing objects are toolbar.
selected).
These tools are restricted to a specific axis
You can also select objects by name using the Select or plane, which you choose from the axis
By Name list; press the H key to access the list. constraints toolbar. Right-click any blank area
of the toolbar and activate the Axis Constraints
A number of objects selected together are called a
toolbar to access these tools.
selection set (page 1–67). You can name selection
sets in the Named Selection Sets field on the main
toolbar and then recall them for later use.
Note: The Smart Select command activates Select By Name
the Select Object function and, with repeated
main toolbar > Select By Name
invocations, cycles through the available Selection
Region methods. By default, Smart Select is Keyboard > H
assigned to the Q key; you can use Customize
Edit menu > Select By > Name
User Interface (page 3–792) to assign it to a
different keyboard shortcut, a menu, etc.
Select By Name lets you select objects by choosing
them from a list of all objects currently in the scene
Procedures
presented via the Select Objects dialog.
To add or remove individual objects from a selection
Note: The Select Objects dialog name and
set:
functionality are context dependent. When a
• Hold down the Ctrl key and select the objects transform such as Select And Move is active, the
to add or remove. dialog lets you choose from all objects in the scene.
78 Chapter 3: Selecting Objects

But when certain modes are active, the choices in Interface

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
Attach to Group and lists groups but not solitary
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.
• Choose Edit menu > Select By > Name.
• Press H .
[select objects field]
The Select Objects dialog appears. By
default, it lists all objects in the scene. Enter a name to highlight objects in the list whose
Currently selected objects are highlighted names begin with the text you specify.
in the list. Find Case Sensitive—When on, the select objects
2. Choose one or more objects in the list by doing field above the list is case-sensitive. For example,
one of the following: if the list contains objects named apple and Apple
and Find Case Sensitive is on, typing “a” will
• Drag, or click and then Shift +click to
highlight only the apple entry. Also, sorts the list
select a continuous range of objects and
so uppercase names come before lowercase.
Ctrl +click to select noncontinuous objects.
• In the field above the list, type a name to Select Objects list
select that object. You can use the asterisk
Objects are listed according to the current Sort
(*) and the question mark (?) as wildcards
and List Types selections.
to select multiple names. You can also
enable Find Case Sensitive to list objects Influences—When you highlight an object in the
with uppercase letters at the top of the list list window and then click the Influences button,
and objects with lowercase letters at the the selected object’s influences are highlighted as
bottom of the list. well.
3. Click Select. You can choose to load and save influences with or
The selection is made as the dialog disappears. without their dependents.
 Selection Floater 79

All, None, and Invert—These buttons alter the By Type—Sorts by category, using the same order
pattern of selection in the list window. as the check boxes in the List Types group.
Display Subtree—Displays each item in the list so By Color—Sorts by object wireframe color. The
that its hierarchical branch (page 3–951) is included sorting order is arbitrary; the value of this option is
(for example, Thigh/Shin/Foot). Hierarchical that objects of the same color are grouped together.
branches are indented.
By Size—Sorts based on the number of faces in
Select Subtree—When this is on and you select each object. The object with the least number
an item in the list window, all of its hierarchical of faces is listed first, followed by objects with
children are selected as well. successively greater number of faces.
Display Influences—When this is on and you select
List Types group
an item in the list window, all of its influences
are shown in blue. If you want to highlight these Determines the types of objects to display in the
influences, click Influences. list.

You can choose to load and save influences with or All, None, and Invert—These buttons alter the
without their dependents. pattern of activation of the List Types options.

Select Dependents—When this is on and you select Selection Sets group

an item in the list window, all of its dependent
objects are selected as well. Lists any named selection sets that you have
defined in the scene. When you choose a selection
When both Select Subtree and Select Dependents set from the drop-down list, 3ds Max highlights its
are on, the subtree of any newly selected node is component objects in the main list.
selected, and then the dependents are selected.
(Dependents of the subtree are selected, but not
the subtrees of all dependents.) Selection Floater
If you click Select By Name while Select And Tools menu > Selection Floater
Link is active, then the Select Subtree and Select
Dependents check boxes are not available. This modeless dialog lets you select objects in the
You can choose to load and save dependents scene.
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.
80 Chapter 3: Selecting Objects

Selection Region Flyout

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
You can leave this dialog up while you work in displays a flyout containing the Rectangle (page
your scene, making it easier to select objects. The 1–89), Circular (page 1–89), Fence (page 1–90),
selection options are the same as those in the Select Lasso (page 1–90), and Paint (page 1–91) Selection
Objects dialog (page 1–78). Region buttons.
You can display the Selection Floater only from For the first four methods, you can select either
the Tools menu. If you use the H key during objects that are completely within the selection
selection, the modal Select Objects dialog appears region (window method), or objects that are
instead. 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
Selection Region methods. By default, Smart
Select is assigned to the Q key; you can use
 Selection Filter List 81

Customize User Interface (page 3–792) to assign it The Selection Filter list lets you restrict to specific
to a different keyboard shortcut, a menu, etc. types and combinations of objects that can be
selected by the selection tools. For example, if you
Procedure choose Cameras, you can select only cameras with
To select using a region (general method): the selection tools. Other objects do not respond.
When you need to select objects of a certain type,
1. Choose a Selection Region method from the
this is useful as a quick method of freezing all other
flyout.
objects.
2. Drag in a viewport, then release the mouse.
Use the drop-down list to select a single filter.
The first location you click is one corner of the
Choose Combos from the drop-down list to use
rectangle, and where you release the mouse is
multiple filters from the Filter Combinations dialog
the opposite corner.
(page 1–81).
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 Filter Combinations Dialog
the transform tools, such as Select and Move (page
1–439), start the drag operation away from an object; Main toolbar > Selection Filter list > Combos > Filter
Combinations dialog
that is, in an empty part of the viewport. Otherwise,
if you start dragging on an object, most likely the Use the Filter Combinations dialog to create your
software will assume you intend to select where own custom combinations of categories to add to
you click and will begin the transform operation the Selection Filters list (page 1–81).
immediately.
You can also add specific types of objects, or Class
To cancel the selection, right-click before you
IDs, to the list. For example, you can set a filter
release the mouse.
that lets you select only Sphere primitives.

Procedures
Selection Filter List
To create a combination filter:
Main toolbar > Selection 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
Current Combinations list to the right as a
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 Create Combination group
the Select Filter list.
Geometry, Shapes, Lights, Cameras, Helpers, Space
Combos are stored in the 3dsmax.ini (page Warps—Choose the category or categories you
1–18) file, so they remain in effect for all scenes want included in the combination.
through all sessions.
Add—After choosing the categories to include
To delete a combination filter: in a combination, click this button to place the
categories, labeled with the categories’ initials, in
1. Open the Selection Filter list and choose
the Current Combinations list, as well as at the
Combos.
bottom of the Selection Filter list.
The Filter Combinations dialog appears.
2. Choose one or more of the combos in the Current Combinations group
Current Combinations list. Current Combinations list—Lists current
3. Click the Delete button. combinations. To delete one or more
combinations, choose them, and then click Delete.
4. Click OK.
Delete—After choosing one or more combinations
Interface 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—After choosing a class in the Current Class
ID Filter list, click this button to delete the class.
 Named Selection Sets 83

sub-object, but you can’t transfer it to face or

Named Selections edge sub-object level.
• You must transfer the selection between
modifiers that handle like geometry. You can
Named Selection Sets copy and paste between an editable mesh and
a mesh select modifier, but you can’t copy and
Main toolbar > Named Selection Sets
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.
The Named Selection Sets list allows you to name a
selection set and recall the selection for later use. It • If you change the topology of a mesh after
supports selection sets both at the object level and creating a named selection (such as deleting
at sub-object levels. You edit named object-level some vertices), the named selections will
selection sets with the Named Selections Sets dialog probably no longer select the same geometry.
(page 1–84)and sub-object level sets with the Edit
Named Selections dialog (page 1–86). Procedures
To create a named selection set:
A named selection set is removed from the list if
all of its objects have been deleted from the scene, 1. Select the objects you want to be in a set.
or if all of its objects have been removed from the 2. Type the name of the set in the Named Selection
named set in the Named Selections Sets dialog. Set field and press Enter .
Selection set names are case sensitive at both the 3. Whenever you want to access the selection,
object level and at sub-object levels. choose its name from the Named Selection Sets
list.
You can transfer sub-object named selections from
one level in the stack to another. The Copy and To select a named selection set, do one of the
Paste buttons let you copy named selections from following:
one modifier to another.
• To select a single item, click it in the list.
While at a specific sub-object level, such as Vertex,
• To select more than one item in the list, select
you can make selections and name those selections
one, and then select others while holding down
in the Named Selection Sets field of the toolbar.
the Ctrl key.
The named sets are specific to both the selection
level and the level on the stack. • To deselect single items after you’ve selected
multiple items, hold down the Alt key.
Keep in mind the following restrictions:
• You can transfer named selections only between
the same type of sub-object level. In other
words, you can transfer named selections
from vertex sub-object to another vertex
84 Chapter 3: Selecting Objects

To add objects to a named selection set:

Named Selection Sets Dialog

1. Click the toolbar Named Selection Sets
Edit menu > Edit Named Selections button or choose Edit > Edit Named Selections.
Main toolbar > Named Selection Sets 2. Choose the named selection set in the dialog.
3. Select one or more objects in the viewport.
The Named Selection Sets dialog, available from
the Edit menu, is a modeless dialog (page 3–973)
4. In the dialog, click Add Selected Objects.
that lets you create named selection sets or select
objects to add to (or remove from) a selection set, To remove objects from a named 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 1. Click the toolbar Named Selection Sets
identify which named selection sets a particular button or choose Edit > Edit Named Selections.
object belongs to. 2. Choose the named selection set in the dialog.

Note: This dialog applies to objects only. For editing 3. In the viewport, select the objects you want to
sub-object named selection sets, see Edit Named remove.
Selections Dialog (page 1–86).
4. In the dialog, click Subtract Selected
See also Objects.

Named Selection Sets (page 1–83)

Note: You can also remove objects by
Using Named Selection Sets (page 1–67) selecting them in the Named Selection Sets dialog,
then clicking Remove or pressing Delete .
Edit Named Selections Dialog (page 1–86)
To move an object from one set to another:
Procedures
To create a named selection:
1. Click the toolbar Named Selection Sets
1. In the viewport, select the objects you want to button or choose Edit > Edit Named Selections.
gather as a selection set. 2. In the Named Selection Sets dialog, expand the
selection sets.
2. Click the toolbar Named Selection Sets 3. Drag an object from one set to another.
button or choose Edit > Edit Named Selections.
The object is moved into the second set. If you
3. On the Named Selection Sets dialog, click use Ctrl +drag, the object will be copied into
Create New Set. the second set.
4. Enter a name for the new selection 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: Note: If no objects are selected, an empty set is

1. Highlight the set in the Named Selection Sets created.
dialog.
Remove—Removes the selected object or

2. Click Select Objects In Set to select all of selection set.

the objects in the highlighted set. Note: Deleting an object or its selection set does not
delete the object; it only destroys the named set.
Interface
Add Selected Objects—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), where you can select a
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.

In the Named Selection Sets dialog, all of the Status Bar—Displays the
current named selection sets are displayed. By current named selection set, as well as what’s
clicking the plus (+) or minus (-) icon, you can currently selected in the scene. If more than one
expand or collapse (respectively) the object list for object is selected, the number of selected objects is
each set. displayed.
The buttons along the top of the dialog let you
Right-click menu
create or delete sets, add or remove objects from a
set, select objects (independently or as a selection Additional commands are available when you
set), and see which named selection set(s) a right-click in the Named Selection Sets dialog.
particular object belongs to.
Rename—Lets you rename the selected set or
object.
Create New Set—Creates a new selection
Tip: You can rename objects or sets by pressing
set, including any currently selected objects as
members. F2 .
86 Chapter 3: Selecting Objects

Cut—Removes the selected object or set and stores collaboration with the Highlight Selected Objects
it in a buffer for reuse with the Paste command, command.
similar to the Cut command in Windows. Tip: You can use Ctrl+G to toggle through the
Tip: You can cut an object or set by pressing sets.
Ctrl+X .
Copy—Copies the selected object or set and stores
it in a buffer for reuse with the Paste command,
Edit Named Selections Dialog
similar to the Copy command in Windows. Make a sub-object selection. > Edit menu > Edit Named
Selections
Tip: You can copy an object or set by pressing
Ctrl+C . Make a sub-object selection. > Main toolbar > Named
Selection Sets
Paste—Adds a Cut or Copied object or set into
another set. Edit Named Selections displays the Edit Named
Selections dialog, letting you manage named
Tip: You can paste an object or set by pressing
selection sets of sub-objects (page 1–74). Unlike
Ctrl+V .
the Named Selection Sets dialog (page 1–84), which
Collapse All—Collapses all expanded selection sets. applies to objects only, it is a modal dialog, which
Expand All—Expands all collapsed selection sets.
means that you must close it in order to work in
other areas of 3ds Max. Also, you can work only
Create New Set—Creates a new selection set, with existing named sub-object selections; you
including any currently selected objects as cannot use the dialog to create new selections.
members.
Remove—Removes the selected object or selection Procedure
set. To edit named sub-object selections:

Add Selected Objects—Adds currently selected 1. At a sub-object level, create one or more named
objects to the selected named selection set. selection sets (page 1–83).

Subtract Selected Objects—Removes currently

selected objects from the selected named selection 2. Click the toolbar Named Selection Sets
set. button or choose Edit > Edit Named Selections.
The Edit Named Selections dialog opens,
Select Objects in Set—Selects all members of the
listing all named selection sets for the current
current named selection.
sub-object level.
Select Objects by Name—Opens the Select Objects
3. Use the dialog controls to edit the named
dialog (page 1–78), and adds all objects selected selection sets.
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
 Select All 87

Interface 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
The dialog window lists all named selections at
Keyboard > Ctrl + A
the current sub-object level. The buttons beneath
the windows let you delete, merge, and edit the
This command selects all objects in the scene
listed items. Use standard mouse-plus-keyboard
matching the current selection filter type (page
methods (using Ctrl or Shift ) to highlight
1–81) on the main toolbar.
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
88 Chapter 3: Selecting Objects

Select None Select By Color

Edit menu > Select None Edit menu > Select By > Color

Keyboard > Ctrl + D

Select By Color lets you select all objects having the
This command deselects all objects in the scene same color as the selected object. Selection is made
conforming to the current selection filter type (page by wireframe color (see Object Color Dialog (page
1–81) on the main toolbar. 1–159)), rather than by any materials associated
with the objects.
After you choose this command, click any object
Select Invert in the scene to determine the color for the selection
set.
Edit menu > Select Invert
Tip: To select objects by material, use Schematic
Keyboard > Ctrl + I
View (page 3–640).
This command inverts the current selection set.
All objects not currently selected are selected,
and all objects currently selected are deselected, Select By Name (Edit Menu)
respecting the current selection filter type (page Edit menu > Select By > Name
1–81) on the main toolbar.
Keyboard > H

Select By Select By Name lets you select objects by choosing

them from a list of all objects in the scene.
Edit menu > Select By
For a full description of the Select By Name
function, see Select By Name (page 1–77).
The Select By submenu on the Edit menu provides
commands for selecting objects in the scene by Tip: To select objects by material, use Select By
color, name, and other characteristics. It also Material (page 2–1439).
gives quick access to the various Region selection
options.
Select Similar
Select By Color (page 1–88)
Edit menu > Select By > Select Similar
Select By Name (Edit Menu) (page 1–88)
Select Similar (page 1–88) Use this command to select all items in the selected
object’s or objects’ layer that have the same style(s)
Rectangular Selection Region (page 1–89)
(page 3–461), as defined in AutoCAD Architecture
Circular Selection Region (page 1–89) (formerly known as ADT, or Architectural
Desktop). For example, if you’ve imported or
Fence Selection Region (page 1–90)
linked to a DWG file that contains walls in several
Lasso Selection Region (page 1–90) different styles, such as CMU-8, Concrete-8, and
Paint Selection Region (page 1–91) Stud-4, you could select all CMU-8 wall segments
 Rectangular Selection Region 89

in the same layer by selecting one and then Procedure

invoking Select Similar. To select using a rectangle:
If you start by selecting multiple objects with
different styles, Select Similar will select all objects 1. Click the Rectangular Selection Region
with those styles. 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
the opposite corner.
Region Selection
To cancel the selection, right-click before you
release the mouse.

Rectangular Selection Region

Main toolbar > Rectangular Selection Region (Selection Circular Selection Region
Region flyout)
Main toolbar > Circular Selection Region (Selection
Edit menu > Select By > Rectangular Region Region flyout)

The Rectangular Selection Region option, available Edit menu > Select By > Circular Region

from the Selection Region flyout (page 1–80) and

the Edit menu, provides one of five methods you The Circular Selection Region option, available
can use to select objects by region. The other from the Selection Region flyout (page 1–80) and
methods are Circular (page 1–89), Fence (page the Edit menu, provides one of five methods you
1–90), Lasso (page 1–90), and Paint (page 1–91). can use to select objects by region. The other
methods are Rectangular (page 1–89), Fence (page
You can use Rectangular to select either objects 1–90), Lasso (page 1–90), and Paint (page 1–91).
that are completely within the selection region
(window method), or objects that are either You can use Circular to select either objects that are
within or touched by the selection shape (crossing completely within the selection region (window
method). Toggle between the window and crossing method), or objects that are either within or
selection methods by using the Window/Crossing touched by the selection shape (crossing method).
Selection button (page 1–93) on the main toolbar. Toggle between the window and crossing selection
methods by using the Crossing Selection button
Note: If you hold down Ctrl while specifying (page 1–93) on the main toolbar.
a region, the affected objects are added to the
Note: If you hold down Ctrl while specifying
current selection. Conversely, if you hold down
Alt while specifying a region, the affected objects a region, the affected objects are added to the
are removed from the current selection. 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 Procedure
To select using a circle: To select using a fence:

1. Click the Circular Selection Region 1. Click the Fence Selection Region button.
button. 2. Drag to draw the first segment of a polygon,
2. Drag in a viewport, then release the mouse. then release the mouse button.
The first location you click is the center of the A "rubber-band line" is now attached to the
circle, where you release the mouse defines the cursor, anchored at the point of release.
circle’s radius.
3. Move the mouse and click to define the next
To cancel the selection, right-click before you segment of the fence. You can make as many
release the mouse. steps as you want.
4. To complete the fence, either click the first
point, or double-click.
Fence Selection Region A pair of cross hairs appears when you’re near
enough to click the first point. This creates a
Main toolbar > Fence Selection Region (Selection Region
flyout) closed fence.
Edit menu > Select By > Fence Region Double-clicking creates an open fence, which
can select objects only by the crossing method.
The Fence Selection Region option, available from To cancel the selection, right-click before you
the Selection Region flyout (page 1–80) and the Edit release the mouse.
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), and Paint (page 1–91). Lasso Selection Region
You can use Fence to select either objects that are Main toolbar > Lasso Selection Region (Selection Region
completely within the selection region (window flyout)

method), or objects that are either within or Edit menu > Select By > Lasso Region
touched by the selection shape (crossing method).
Toggle between the window and crossing selection The Lasso Selection method lets you select
methods by using the Window/Crossing button multiple objects within a complex or irregular
(page 1–93) on the main toolbar. region with a single mouse action.
Note: If you hold down Ctrl while specifying The Lasso Selection Region option, available from
a region, the affected objects are added to the the Selection Region flyout (page 1–80) and the Edit
current selection. Conversely, if you hold down menu, provides one of five methods you can use
Alt while specifying a region, the affected objects to select objects by region. The other methods
are removed from the current selection. are Rectangular (page 1–89), Circular (page 1–89),
Fence (page 1–90), and Paint (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 Tip: You can also create custom tools for changing
touched by the selection shape (crossing method). the brush size; choose Customize menu >
Toggle between the window and crossing selection Customize User Interface and set keyboard
methods by using the Window/Crossing button shortcuts or other user interface items for the
(page 1–93) on the Main toolbar. actions Paint Selection Size Up and Paint Selection
Note: If you hold down Ctrl while specifying Size Down.
a region, the affected objects are added to the Note: Paint Selection Region respects the
current selection. Conversely, if you hold down Window/Crossing selection toggle (page 1–93)
Alt while specifying a region, the affected objects setting. If the toggle is set to Select Region Window
are removed from the current selection. (page 1–92) and the brush is smaller than an object
or sub-object to be selected, you won’t be able to
Procedure select the item. To resolve this, enlarge the brush
To select using a lasso: or choose Select Region Crossing (page 1–93).
Note: With editable poly (page 1–1022) and Edit
1. Click the Lasso Selection Region button. Poly (page 1–640) objects, you can also paint soft
selections (page 1–966) and deformation (page
2. Drag to draw a shape around the object(s) that
1–1024).
should be selected, then release the mouse
button. The Paint Selection Region button, available from
the Selection Region flyout (page 1–80), provides
Note: To cancel the selection, right-click before
one of five methods you can use to select objects by
you release the mouse.
region. The other methods are Rectangular (page
1–89), Circular (page 1–89), Lasso (page 1–90),
and Fence (page 1–90).
Paint Selection Region
Procedure
Main toolbar > Paint Selection Region (Selection Region
flyout) To select by painting a region:

Edit menu > Select By > Paint Region

1. Choose Paint Selection Region from the
The Paint Selection method lets you select multiple flyout.
objects or sub-objects by dragging the mouse over 2. Drag over the object(s) to select, then release
them. To change the brush size, right-click the the mouse button. As you drag, a circle showing
Paint Selection Region button, and then, on the the brush radius appears attached to the mouse.
Preference Settings dialog > General tab > Scene Note: To cancel the selection, right-click before
Selection group, change the Paint Selection Brush you release the mouse.
Size value.
3. To change the brush size, right-click the
If you hold down Ctrl while specifying a region, Paint Selection Region button, and then, on
the affected objects are added to the current the Preference Settings dialog > General tab
selection. Conversely, if you hold down Alt > Scene Selection group, change the Paint
while specifying a region, the affected objects are Selection Brush Size value.
removed from the current selection.
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 Select Region Window
Down action items. See Keyboard Panel (page Edit menu > Region > Window
3–793).
Main toolbar > Window/Crossing Selection

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)
Select Region Window selects only those objects completely
on the Status bar.
inside the window: the trash can and bench.
You can automatically switch between Window
Select Region Window selects objects within a
and Crossing Region Selection based on cursor
selection region (page 1–80).
movement direction. To set this up, choose
Customize > Preferences and on the General After you choose this command, draw a selection
tab in the Scene Selection group turn on Auto region around any objects in the scene. Only those
Window/Crossing Selection by Direction. objects that are entirely inside the region boundary
are selected.
See also
Procedure
Select Region Window (page 1–92)
To select objects within a selection region:
Select Region Crossing (page 1–93)
1. Do one of the following:
• Choose Edit > Region > Window.
• Click the Window/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 2. From the Main toolbar, click the Selection
completely encompass an object or sub-object Region flyout (page 1–80) and choose a method:
to select it. Rectangular, Circular, Fence or Lasso Selection
3. Drag to specify the region and select the objects. 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 painting a region in Crossing mode, the brush
selects every object or sub-object it touches or
Edit menu > Region > Crossing
encompasses.
Main toolbar > Crossing Selection
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

The Window/Crossing Selection toggle switches

between window and crossing modes when you
select by region.
Select Region Crossing selects objects within the window and
also objects it crosses: the trash can, bench, and streetlight. • In Window mode (page 1–92), you select only
the objects or sub-objectswithin the selection.
Select Region Crossing selects objects within and
crossed by a selection region (page 1–80) boundary. • In Crossing mode (page 1–93), you select
all objects or sub-objects within the region,
After you choose this command, draw a selection plus any objects or sub-objects crossing the
region around or crossing objects in the scene. boundaries of the region.
Objects within the region boundary as well as
those that intersect the boundary are selected. Tip: If you’re making sub-object selections of faces
and you select more faces than you want, make
Procedure sure you’re in Window mode.

To select objects within and crossed by a selection The Selection Region flyout (page 1–80) on the
region: toolbar allows you to create different-shaped
1. Do one of the following: boundaries.

1. Choose Edit > Region > Crossing. 3ds Max automatically saves the Window/Crossing
setting in the 3dsmax.ini (page 1–18) file.
2. Click the Window/Crossing Selection Toggle
(page 1–93) to display the Crossing icon.
94 Chapter 3: Selecting Objects

the last operation performed by the Undo

Edit Commands command.

These commands on the Edit menu (page 3–673) Some actions cannot be undone: for example,
are for basic edit manipulations of selections. applying the Collapse utility or Reset Transform
utility, or saving a file, which overwrites the
Undo and Redo work as in standard Windows previous version. When you know something
applications. These commands are available on the cannot be undone, use Hold (page 1–95) first.
default main toolbar as well. 3ds Max also provides Then if you want to undo it, use Fetch. Hold and
a history of commands. Right-clicking the Undo Fetch are also commands on the Edit menu (page
or Redo buttons displays a list of commands you 3–673).
can undo or redo. Not all operations are reversible
using Undo. Afer you perform an action that is undoable, the
Edit menu shows the name of the function to be
Note: Viewport changes such as panning and undone. After you undo an action, the Edit menu
zooming have a separate Undo and Redo. See shows the name of the function you can redo.
View-Handling Commands (page 1–35).
Undo and Redo are also available as buttons on
The Hold and Fetch command pair serves as an the main toolbar. You can right-click the Undo
alternative to Undo and Redo. Hold saves the or Redo button to display a box that lists the
current state of the scene. After using Hold, you last operations performed. You can highlight
can restore that state at a later point by using Fetch. and reverse any number of these operations
Sometimes, when you are about to perform a risky in sequence with the respective Undo or Redo
operation, an alert prompts you to first use Hold. command. By default, there are 20 levels of Undo.
3ds Max does not have the Cut or Paste functions You can change the number of levels with the
found in many Windows applications. The Delete Customize > Preferences > General tab (page
command simply removes the selection from the 3–815) > Scene Undo group.
scene.
Undo/Redo and Object Creation
Undo/Redo (page 1–94)
When you create an object, the Create operation
Hold/Fetch (page 1–95) is recorded by 3ds Max and displayed next to the
Delete (page 1–95) 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
Undo/Redo commands in the Edit menu are unavailable when
no valid operation was performed or recorded.
Edit menu > Undo or Redo

Main toolbar > Undo or Redo Procedures

Keyboard > Ctrl+Z (Undo) or Ctrl+Y (Redo) To undo the most recent action:

The Undo command reverses the last operation • Click Undo, choose Edit menu > Undo,
performed on any selected objects. Redo reverses or press Ctrl+Z .
 Hold/Fetch 95

To undo several actions: Use Hold before you perform an operation

that might not work as expected, that is new or
1. Right-click Undo. unfamiliar to you, or that cannot be undone. If
the results aren’t as expected, you can use Fetch to
2. From the list, select the level where you want
return to the point where you chose Hold.
to return. You must choose a continuous
selection; you can’t skip over items in the list. Tip: Also use Save or Save As before you perform
an operation that cannot be undone: for example,
3. Click the Undo button.
applying the Reset Transform utility.
To exit the list without performing an action,
click the Cancel button, or click somewhere If you experience an unexpected end of operation
outside of the list. or crash after you perform Hold, you can retrieve
your scene from the buffer with the Fetch
To redo an action, do one of the following: command after you restart 3ds Max.

Additional Details
• Click Redo.
• The Hold buffer is a temporary file
• Edit menu > Redo.
(maxhold.mx) in the directory specified by the
• Press Ctrl+Y . AutoBackup path on the Configure User Paths
dialog > File I/O panel (page 3–810).
To redo several actions:
• Fetch also deletes all operations recorded in the
Undo and Redo History lists.
1. Right-click Redo.
2. From the list, click the action to return to.
Your selection must be continuous: you can’t Delete
skip over any items in the list.
Make a selection. > Edit menu > Delete
3. Click the Redo button.
Make a selection. > Keyboard > Delete
To exit the list without performing an action,
click the Cancel button or click somewhere The Delete command deletes the current selection
outside of the list. from the model.
The Undo command (page 1–94) can restore
Hold/Fetch the deleted selection to the model. (The Undo
command is also available as a button on the main
Edit menu > Hold or Fetch toolbar.)

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, Groups and Assemblies
cameras, the viewport configuration, and selection
sets. 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 General Features of Groups
manipulate as one. Grouping works with all
Once you group objects, you can treat them as
objects, while assemblies are best used for light
a single object in your scene. You can click any
fixtures and characters.
object in the group to select the group object.
For more information about groups, see Using
When you create a group, all of its member objects
Groups (page 1–96) and Group Commands (page
are rigidly linked to an invisible dummy object.
1–104).
The group object uses the pivot point and the
For more information about assemblies, see Using local transform coordinate system of this dummy
Assemblies (page 1–98) and Assembly Commands object.
(page 1–107)
Groups can be nested. That is, groups can contain
For more information about character assemblies, other groups, up to any level.
see Character Assembly (page 1–102) and Character
Assembly Commands (page 1–112) 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
Using Groups 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.
When you apply a transform to the group, on the
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
Object on the right is a group and treated as a single entity. itself. However, when you transform the group
Grouping lets you combine two or more objects itself, the transform affects all grouped objects
into a single grouped object. The grouped object equally. The group transform is uniformly added
is given a name, and then treated much like any to objects that have independent motions. An
other object. analogy is a cage of birds, each flying around on
its own, while the cage itself is being moved. In
Group names are similar to object names, except the case of groups, the "cage" (the dummy object)
that they’re carried by the group object. In lists like expands to surround all objects in the group,
the one for the Select Object dialog, group names wherever the objects’ independent transforms take
appear in square brackets, for example [Group01]. them.
The commands to manage groups are on the
default Group menu (page 3–674).
 Using Groups 97

Accessing Objects in a Group permanent than selection sets, but less permanent
than attaching objects.
You can open and close groups to access the
individual objects contained in them without • Selection sets (page 1–64): Form a temporary
dissolving the group. These commands maintain collection of objects to which you apply the
the integrity of the group. current commands. As soon as you select
another object, the selection set is gone.
• Open (page 1–105): Temporarily opens the
group so that you can access its member • Named selection sets (page 1–67): Let you
objects. While a group is open, you can treat reselect the same pattern of objects, but the
the objects (or nested groups) as individuals. positional relationship between those objects
You can transform them, apply modifiers, and (their transforms) might be different each time
access their modifier stacks. you recall the named set.
• Close (page 1–105): Restores the group when • Grouped objects: Maintain their positional
you’re finished working with the individual relationships unless you open the group and
objects. rearrange them. A group also keeps its identity
as an individual object.
Dissolving Groups Each object in a group retains its modifier stack,
You can permanently dissolve groups by either including its base parameters. At any time, you
ungrouping or exploding them. Both commands can open the group to edit an object, and then
dissolve groups, but to different levels. close the group to restore the group identity.
• Ungroup (page 1–106): Goes one level deep in • Attached objects (see Editable Mesh (Object)
the group hierarchy. It separates the current (page 1–1001)): Attached objects form a
group into its component objects (or groups), single object. The modifier stacks of the
and deletes the group dummy object. original objects are lost, including their base
parameters. You can regain the form of the
• Explode (page 1–106): Similar to Ungroup,
original objects by detaching them, but they
but dissolves all nested groups as well, leaving
become plain meshes.
independent objects.
• Assemblies (page 1–98) are useful for creating
When you Ungroup or Explode a group, the combinations of geometry and light objects
objects within the group lose all group transforms that act as lighting fixtures.
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
98 Chapter 3: Selecting Objects

Using Assemblies

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
Object on the right is an assembly and is treated as a single lets you combine two or more objects and treat
entity.
them as a single object. The assembled object
Assemblies are useful for creating combinations is given a name, and then treated much like any
of geometry and light objects that act as lighting other object.
fixtures; you use them to represent the housing of The main difference with assemblies is that,
a lamp and its light source or sources. You can use when you assemble (page 1–107) the member
assemblies to represent lighting fixtures such as objects, you specify a head object (page 1–111): a
simple desk lamps, lighting strips, track systems, Luminaire helper object (page 1–111). The head
wall sconces with fluorescent or incandescent object acts as a front end for the assembly, and its
lights, chandelier systems, line voltage cable parameters appear in the Modify panel when the
systems, and so on. assembly is selected. You can use these parameters
When you create light assemblies, first you create to control the light sources in the assembly via
your objects and build a hierarchy, then set joint parameter wiring (page 2–411). You can create
parameters and assign inverse kinematics (IK) other types of head objects with MAXScript;
(page 2–435). As a final step, you assemble the for further information, open the MAXScript
object hierarchy. The lights you use in the assembly Reference, available from the Help menu, and look
have light-multiplier and filter color controls. You in Creating MAXScript Tools > Scripted Plug-ins
wire (page 2–411) the Dimmer and Filter Color > Scripted Helper Plug-ins.
parameters of the Luminaire helper object to the Assembly names are similar to object names,
parameters of the light sources that are members except that they’re carried by the assembly. In lists
of the light assembly. like the one in the Select Object dialog, assembly
Note: In order to wire the Luminaire controls to the names appear in square brackets, for example
light parameters, you must first open (page 1–109) [Assembly01].
the assembly; then, after wiring, you close (page Tip: After you’ve created one fixture and assembled
1–109) it. 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

for a light source in an assembly, the change will Transforming and Modifying an
be reflected in all the instanced light sources. For Assembly
example, in the early design stages, you might You can transform or modify an assembly as if
use shadow maps, but later you might want to it were a single object, and you can animate the
switch to advanced ray-trace shadows for greater transforms.
accuracy in rendering. Using instancing makes it
easier to change such settings globally. Unlike a group, when you apply a modifier to the
assembly, only the luminaire receives the modifier.
General Features of Assemblies Thus, deforming modifiers such as Bend don’t
have any effect on assemblies.
Once you assemble objects, you can treat them as
a single object in your scene. You can click any When you apply a transform to the assembly, it
object in the assembly to select the entire assembly. applies to the assembly as a whole. More precisely,
3ds Max applies transforms to the dummy object
When you create an assembly, all of its member
that represents the assembly. To modify member
objects are rigidly linked to an invisible Luminaire
objects, you must first open the assembly, select the
helper object. The assembly uses the pivot point
objects, and then apply modifiers. Such modifiers
and the local transform coordinate system of this
do not appear in the modifier stack when the
helper object.
assembly is closed.
You can nest assemblies. That is, assemblies can
You can transform and animate individual objects
contain other assemblies (or groups), up to any
within an assembly independently from the
level.
assembly itself. However, when you transform the
The head object parameters appear in the Modify assembly itself, the transform affects all assembled
panel when the assembly is selected. You can objects equally. The assembly transform is
use the 3ds Max Wire Parameters (page 2–411) uniformly added to objects that have independent
functionality to connect these parameters to those motions. An analogy is a cage of birds, each flying
of light objects in the assembly. For a step-by-step around on its own, while the cage itself is being
procedure, see To wire a head object to a light moved. In the case of assemblies, the "cage" (the
source (page 1–108). dummy object) expands to surround all objects in
the assembly, wherever the objects’ independent
transforms take them.

Accessing Objects in an Assembly

You can open and close assemblies to access the
individual objects contained in them without
dissolving the assembly. These commands
maintain the integrity of the assembly.
Luminaire types • Open (page 1–109): Temporarily opens the
Left: Fixed assembly so that you can access its member
Middle: Orientable objects. While an assembly is open, you can
Right: Multiple lights treat the objects (or nested assemblies/groups)
100 Chapter 3: Selecting Objects

as individuals. You can transform them, apply When multiple assembly instances are selected, the
modifiers, and access their modifier stacks. Make Unique command works the same as when
• Close (page 1–109): Restores the assembly when multiple instances of an object are selected. You’re
you’re finished working with the individual asked whether you want to make the selected
objects. assemblies unique one with respect to each other.
• If you answer Yes, 3ds Max makes the
Using Make Unique with Assemblies assemblies unique one with respect to another
and parameter wires are reconnected inside
When you clone assemblies using instancing,
each unique assembly. That is, the parameters
and then make the clones unique, it’s important
of each unique assembly head drives only the
to consider how this affects parameter wiring.
parameters of its own members, not that of the
Consider the following typical usage case:
members in any other assembly instances.
1. Drag an assembly, such as a light fixture, into
• If you answer No, then the selected assemblies
the scene.
are made unique only with respect to the other
2. Clone the assembly several times using the assembly instances. The parameters of unique
Instance option and position the instances in assembly heads drive only the parameters of
the scene. their members, not the members of the other
3. To make the scene look more realistic, giving assembly instances.
the appearance of randomness to the objects in Note: If you chose to instance the controllers
the scene, make some of the assembly instances when you instanced the assembly, the Modify
unique and adjust their parameters to differ panel > Make Unique command does not make
from the rest of the instances. the controllers unique. You can make them
When you clone-instance an assembly, all objects unique by doing the following: Open Track
in the assembly, along with all the parameter wires, View, select the Transform track for object
are instanced. So if you change a wired luminaire whose controller you want to make unique, and
parameter, all instanced assemblies are affected. click the Make Unique button in the Track View
toolbar.
When the modifier stack displays an assembly
head that is an instance or reference, the Make Dissolving Assemblies
Unique (page 3–770) button is active. By clicking
it, the assembly head object is made unique You can permanently dissolve assemblies by either
with respect to its instances and all the assembly disassembling or exploding them. Both commands
members are also made unique. dissolve assemblies, but to different levels.
• Disassemble (page 1–110): Goes one level deep
The parameter wiring between the unique
in the assembly hierarchy. It separates the
assembly head and its members is de-coupled from
current assembly into its component objects (or
the other instances of the assembly. Changing the
assemblies/groups), and deletes the assembly
parameters of the unique assembly head object
head object.
affects only the parameters of its own members,
not the members of the other instances of the • Explode (page 1–110): Similar to Disassemble,
assembly. but dissolves all nested assemblies and groups
as well, leaving independent objects.
 Using Assemblies 101

When you disassemble or explode an assembly, original objects by detaching them, but they
any transform animation applied to the assembly is become plain meshes.
lost, and objects remain as they were in the frame
at which the dissolution is performed. However, See also
objects retain any individual animation.
Lights (page 2–1272)
To transform or modify the objects within an
assembly, you must first remove them from the Procedures
assembly, either temporarily or permanently. The To insert and place an existing assembly:
Open command lets you do this.
1. Turn on AutoGrid (page 2–7).

Comparing Assemblies with Other 2. Drag the assembly from a Web page (if it’s an
Selection Methods i-drop object (page 3–523)) or from your local
disk and drop it into your scene, placing it on
Compared to the other methods you can use to
any existing surface.
combine objects in 3ds Max, assembling is more
permanent than selection sets, but less permanent
than attaching objects. 3. On the main toolbar, click Use Pivot
Point Center (page 1–446).
• Selection sets (page 1–64): Form a temporary
collection of objects to which you apply the 4. Position the assembly as you would any other
current commands. As soon as you select object to aim it in a specific direction.
another object, the selection set is gone. 5. If necessary, wire (page 1–108) the assembly
• Named selection sets (page 1–83): Let you luminaire to its light source or sources.
reselect the same pattern of objects, but the 6. Select the assembly, and then use the Modify
positional relationship between those objects panel settings to adjust the intensity of the light
(their transforms) might be different each time with the Dimmer control.
you recall the named set.
• Assembled and grouped (page 1–96) objects: To create your own luminaire:
Maintain their positional relationships unless 1. Create the geometry of the lighting fixture.
you open the assembly and rearrange them. An 2. Create a light source (page 2–1274) or on the
assembly also keeps its identity as an individual Create panel, click Lights to add a standard
object. or photometric light to the geometry of the
Each object in an assembly retains its modifier lighting fixture you just made.
stack, including its base parameters. At any 3. Select all the objects in the assembly, including
time, you can open the assembly to edit an geometrical objects and lights.
object, and then close the assembly to restore
the assembly identity. Note: If using IK, leave the light targets out of
the assembly so that you can manipulate them
• Attached objects (see Editable Mesh (Object) independently.
(page 1–1001)): Attached objects form a
single object. The modifier stacks of the 4. Choose Assembly menu > Assemble.
original objects are lost, including their base A dialog appears requesting a name for the
parameters. You can regain the form of the assembly and that you specify a head object.
102 Chapter 3: Selecting Objects

The only head object type available by default is the character mesh, bones, IK chains, helper
Luminaire (page 1–111). objects, controllers, and other objects used to
5. Enter a name for the assembly and click OK. animate characters. Once the objects are grouped
(assembled), you can perform various functions
6. Wire (page 1–108) the assembly luminaire to its
on the group as a whole, such as saving and loading
light source or sources. More information on animation for the entire bone/mesh set.
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:

• When you adjust the pivot point of a closed
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.
The objects that make up a typical character assembly
To use an assembly with radiosity:
Unlike an ordinary group, there is no need to open
• Right-click the Luminaire, choose Properties, a character assembly to work with its individual
and on the Object Properties dialog (page 1–117) members.
choose the Radiosity tab. You can exclude and
control radiosity parameters of the geometry When a character assembly is created, it is
and lights independently. designated by a placeholder object called a node,
placed near the bottom of the character assembly.
To adjust the properties of an assembly: Selecting the node gives access to special tools for
working with character models and animation.
1. After wiring the Dimmer and Filter Color
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
A character assembly is a special type of group
for objects particular to a character setup:
 Character Assembly 103

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, choose the Create Character
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
Character assembly node available after a character assembly is created, see
A character assembly will not create a character Create Character (page 1–112).
mesh or bone structure for you. The character
assembly tool is designed for use on character Linked Objects in Character Assemblies
structures that have already been set up using Any or all members of the character assembly can
other tools. be linked to a single object outside the assembly,
but no more than one. For example, ThighLeft
Although the character assembly feature was
and ThighRight, which are both part of the
designed for use with character structures, it will
assembly, can both be linked to Pelvis, which is
work equally well with any type of hierarchy or
not part of the assembly. However, if ThighLeft
related set of objects.
and ThighRight are each linked to different objects
outside the assembly, the creation of the assembly
Adding Character Assembly Commands
to the UI will fail, and will show the following error message:

By default, the character-assembly commands

described here are not part of the 3ds Max
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.
104 Chapter 3: Selecting Objects

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)
Parameter Wiring and Animation
See also
If you plan to wire parameters between two
objects, create the assembly first and then set up Using Groups (page 1–96)
the wiring. Be sure to include both objects in the
assembly.
Group
Because wiring should be done after the assembly
is created, you will probably find it easiest to Group menu > Group
create the character assembly before animating
the character. The Group command combines a selection set of
objects or groups into a single group.
See also
Once you group objects, you can treat them as
Create Character (page 1–112) a single object in your scene. You can click any
object in the group to select the group object. You
Destroy Character (page 1–115)
can transform the group as a single object, and you
Lock/Unlock Character (page 1–115) can apply modifiers as if it were a single object.
Save Character (page 1–115) Groups can contain other groups, up to any level.
Insert Character (page 1–115) Group names are similar to object names, except
Skin Pose Commands (page 1–116) that they’re carried by the group object. In lists
like the one in the Select Objects dialog (page
Merge Animation (page 3–466) 1–78), group names appear in square brackets. For
example: [Group01].
If a group is selected, its name will appear in
“bolded” text in the Name And Color rollout.
 Open Group 105

All members of a group inherit the visibility of Procedures

the parent when a visibility controller is assigned To open a group:
to the parent.
1. Select one or more groups.
Groups are considered whole objects in the Light
2. Choose Group > Open. A pink bounding box
Exclude/Include dialog, so you can exclude (or
appears, and the objects in the group are now
include) all objects in a group by selecting the
accessible.
group in the list. If a group is nested within
another group, only the "outer" group is available To open nested groups:
in the list. To exclude only certain objects in
1. Select the group within the opened group.
a group, open the group before displaying the
Exclude/Include dialog. 2. Choose Group > Open.

Procedures
To define a group:
Close Group
1. Select two or more objects. Select the pink dummy object of an opened group. >
Group menu > Close
2. Choose Group menu > Group.
A dialog appears requesting a name for the The Close command regroups an opened group.
group. For nested groups, closing the outermost group
object closes all open inner groups.
3. Enter a name for the group and click OK.
When you link an object to a closed group, the
To define a nested group: object becomes a child of the group parent rather
1. Select two or more groups or any combination than of any member of the group. The entire group
of groups and objects. flashes to show that you’ve linked to the group.
2. Choose Group > Group.
Procedures
A dialog appears requesting a name for the
To close all opened groups nested within a main
group.
group:
3. Enter a name for the new group object and click
1. Select the pink bounding box representing the
OK.
main group.
2. Choose Group > Close.
Open Group
To close a nested group:
Select one or more groups. > Group menu > Open 1. Select any object in the nested group or its
dummy.
The Open command lets you ungroup a group
2. Choose Group > Close.
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.
106 Chapter 3: Selecting Objects

Procedure
Ungroup To explode a group:
Select one or more groups. > Group menu > Ungroup 1. Select one or more groups.
2. Choose Group > Explode.
Ungroup separates the current group into its
component objects or groups. All objects in the groups remain selected but no
longer belong to groups. All nested groups are
The Ungroup command ungroups one level, exploded. All group dummies in the selection
unlike Explode (page 1–106), which ungroups all are deleted.
levels of nested groups.
When you Ungroup a group, the objects within the
group lose all group transforms that were applied Detach Group
on nonzero frames, but they retain any individual
Select a group. > Group menu > Open > Select one or
animation. more objects detach. > Group menu > Detach

All ungrouped entities remain in the current

The Detach command detaches the selected object
selection set.
from its group.
Procedure This command becomes active when you open the
To ungroup a group: group by choosing the Open command from the
Group menu.
1. Select one or more groups.
2. Choose Group > Ungroup. Procedure
All components of the group remain selected, To detach an object from a group:
but are no longer part of the group. The group
1. Open the group.
dummy is deleted.
2. Choose Group > Detach.
The selected objects are now separate,
Explode Group independent objects, no longer members of the
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,
Attach Group
unlike Ungroup (page 1–106), which ungroups one Select one or more objects. > Group menu > Attach
level only.
The Attach command makes the selected object
As with the Ungroup command, all exploded
part of an existing group.
entities remain in the current selection set.
Warning: Ungroup and Explode remove all transform
With an object selected, choose this command,
animations that have been applied to the group as a and then click a group in the scene.
whole. As with the Ungroup command, all exploded
entities remain in the current selection set.
 Assembly Commands 107

Procedure Once you assemble objects, you can treat them as

To attach an object to a group: a single object in your scene. You can click any
object in the group to select the entire assembly.
1. Select one or more objects to attach.
You can transform the assembly as a single object,
2. Choose Group > Attach. and you can apply modifiers as if it were a single
3. Click any member of a closed group. object.
The selected objects become part of the group, Assemblies can contain other assemblies and/or
which is now selected. groups, up to any level.
Note: To attach an object to an open group, click Assembly names are similar to object names,
the pink bounding box. except that they’re carried by the assembly. In
lists like the one in the Select Objects dialog (page
1–78), assembly names appear in square brackets.
For example: [Assembly01].
Each member of an assembly inherits the visibility
Assembly Commands of the parent when a visibility controller is assigned
The commands to manage assemblies are available to the parent, providing its Object Properties
from the Group > Assembly submenu. > Rendering Control group > Inherit Visibility
check box is turned on, or if its Rendering Control
Assemble (page 1–107)
is set to By Layer and Inherit Visibility is turned
Disassemble (page 1–110) on for its layer.
Open Assembly (page 1–109) Assemblies are considered whole objects in the
Light Exclude/Include dialog, so you can exclude
Close Assembly (page 1–109)
(or include) all objects in an assembly by selecting
Attach Assembly (page 1–111) the assembly in the list. If an assembly is nested
within another assembly, only the "outer" assembly
Detach Assembly (page 1–110)
is available in the list. To exclude only certain
Explode Assembly (page 1–110) objects in an assembly, open the assembly before
displaying the Exclude/Include dialog.
See also
Using Assemblies (page 1–98) See also
Using Assemblies (page 1–98)

Assemble Procedures
Select the objects to assemble. > Group menu > To define an assembly:
Assembly > Assemble
1. Select two or more objects.

The Assemble command combines a selection set 2. Choose Group menu > Assembly > Assemble.
of objects, assemblies, and/or groups into a single The Create Assembly dialog appears. It requests
assembly, and adds a Luminaire helper object (page you to specify a name for the assembly and
1–111) as a head object (page 1–111).
108 Chapter 3: Selecting Objects

a head object (page 1–111). The default head sure to turn on the Multiplier check box on the
object type is Luminaire (page 1–111). Intensity/Color/Distribution rollout.
3. Enter a name for the assembly, choose 2. Select all objects in the fixture and define them
Luminaire (page 1–111) from the list, and click as an assembly.
OK. When the assembly is selected, the luminaire
The selected objects are assembled. The parameters Dimmer and Filter Color appear in
assembly head object position and orientation the Modify panel.
is determined as follows: 3. From the Animation menu, choose Wire
• If there are multiple immediate children Parameters > Parameter Wire Dialog.
of the assembly head (for example, you’re 4. The Parameter Wiring dialog (page 2–412)
assembling several non-hierarchical appears.
objects), the head object is aligned with
5. On one side of the dialog, find the assembly
center of bottom face of the assembly
bounding box. and expand the branch titled Object
(LuminaireHelper). Click the Dimmer item to
• If there’s only one immediate child of the highlight it.
assembly head, the assembly head pivot
6. On the other side, find the assembly and
point is aligned with that object’s pivot
point. For example, if you’re assembling a expand its hierarchy branch (click the + symbol
single hierarchy, the topmost object in the in the square box). Find and expand the branch
hierarchy would be the single immediate for the light source, and then expand its Object
child of the assembly head. branch. Click the Multiplier item to highlight it.
7. Between the two hierarchy lists, click the
To define a nested assembly: Control Direction arrow button that points
1. Select two or more assemblies or any from the selected Dimmer item to the selected
combination of assemblies and objects. Multiplier item.
2. Choose Group menu > Assembly > Assemble.
The Create Assembly dialog appears. It requests
a name for the assembly, and a head object.
3. Enter a name for the new assembly object and
click OK.

To wire a head object to a light source:

1. Create a hierarchy of lights and geometrical
objects that models a lighting fixture. Sets up all
the necessary IK chains and other constraints 8. If you’re wiring a photometric light, skip this
that make the model behave properly when the step. If you’re wiring a standard light, or any
user interacts with it (orients, positions, aims, light whose default Multiplier setting is 1.0, do
etc.). this:
• The Expression box below the selected
Important: For any photometric lights that
Multiplier item contains the word "Dimmer."
you want to control with the head object, be
 Open Assembly 109

Edit this to read "Dimmer/100". This divides

the Dimmer value by 100, giving a 1:1 value Open Assembly
ratio between it and the Multiplier setting.
Select one or more assemblies. > Group menu >
9. Click the Connect button. Assembly > Open

Now, when you change the luminaire’s Dimmer

The Open command lets you temporarily
setting, the light source intensity changes as
disassemble an assembly and access its head and
well.
member objects individually.
10. If you like, use the same method to wire the
You can transform and modify the head
luminaire to any additional light sources in the
and member objects within the assembly
light fixture.
independently from the rest of the assembly, then
You can also use this method to wire the restore the original assembly using the Close
luminaire’s Filter Color parameter to any light command (page 1–109).
sources’ color settings.
Procedure
Interface
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.
Name—Specifies the name of the new assembly.
The default name is "Assembly" followed by
Procedures
a two-place number starting with 01 and
incremented by one for each new assembly. To close all opened assemblies nested within a main
assembly:
Choose Head Object—Lets you choose the type of
1. Select any object in the main assembly or its
object to serve as the assembly head object.
luminaire head object.
110 Chapter 3: Selecting Objects

Note: If you select an object within an opened

inner assembly, using Close will close only that Explode Assembly
assembly.
Select one or more assemblies. > Group menu >
2. Choose Group menu > Assembly > Close. Assembly > Explode

To close a nested assembly: The Explode command separates all objects in

an assembly, regardless of the number of nested
1. Select any object in the nested assembly or its
luminaire. assemblies and/or groups, unlike Disassemble
(page 1–110), which separates one level only.
2. Choose Group menu > Assembly > Close.
When you explode an assembly, all components of
the assembly remain selected, but are no longer
Disassemble part of the assembly. Any transform animation
applied to the assembly is lost, and objects remain
Select one or more assemblies. > Group menu > as they were in the frame at which the dissolution is
Assembly > Disassemble
performed. However, objects retain any individual
animation.
Disassemble separates the current assembly into
its component objects or assemblies. Note: If you have wired the luminaire head to
any other parameters, those parameters are still
The Disassemble command separates one level,
controlled by the wiring setup after exploding
unlike Explode (page 1–110), which separates all
and are not adjustable until you apply a standard
levels of nested assemblies.
controller, such as Bezier Float. Use Track View
When you disassemble an assembly, all to do this.
components of the assembly remain selected, but
are no longer part of the assembly. Any transform
animation applied to the assembly is lost, and Detach Assembly
objects remain as they were in the frame at which
Select an assembly. > Group menu > Assembly > Open
the dissolution is performed. However, objects > Select one or more objects to detach. > Assembly >
retain any individual animation. Detach

All disassembled entities remain in the current Select one or more objects to detach in an open assembly.
> Group menu > Assembly > Detach
selection set.
Note: If you have wired the luminaire head to The Detach command detaches the selected object
any other parameters, those parameters are still from its assembly. If the object is a member of a
controlled by the wiring setup after disassembly nested assembly, after you detach it, it is no longer
and are not adjustable until you apply a standard a member of any assembly.
controller, such as Bezier Float. Use Track View
This command becomes active when you open the
to do this.
assembly by choosing Open (page 1–109) from the
Assembly menu.
 Attach Assembly 111

Attach Assembly Luminaire Helper Object

Select one or more objects. > Group menu > Assembly Create panel > Helpers > Assembly Heads > Object Type
> Attach rollout > Luminaire

The Attach command makes the selected object The Luminaire helper object serves primarily as a
part of an existing assembly. head, or control, object for light fixtures. When
you assemble (page 1–107) a set of objects into
With an object selected, choose this command,
a light fixture, you specify that a new luminaire
and then click either a closed assembly in the
object should be used as the assembly head object.
scene, or the head object of an open assembly.
The luminaire’s parameters, available from the
Modify panel, let you control the light sources in
Procedure
the fixture. See Using Assemblies (page 1–98) for
To attach an object to an assembly: more information.
1. Select one or more objects to attach.
You can also add a Luminaire object separately
2. Choose Group menu > Assembly > Attach. from the Create panel, but in general it’s not
3. Click any member of an assembly. necessary.
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 A luminaire object groups and manages the components as a
3ds Max, the program automatically adds a special whole.
type of helper object called a head object, or
assembly head. This object serves as the fulcrum Interface
of the assembly and also exposes parameters, When a selected assembly is closed, the Modify
available in the Modify panel when the assembly panel displays the Luminaire parameters.
is selected, that you can wire (page 2–411) to However, when you open an assembly, 3ds Max
properties of objects inside the assembly. Thus, shows you the parameters of the whichever
you can change and animate parameters of object is selected. The Luminaire object provides
assembly member objects without having to open Dimmer and Filter Color parameters. You wire
the assembly, as you would with a group. these to the light objects that are part of the
assembly.
112 Chapter 3: Selecting Objects

Character Assembly
Commands
Luminaire icon in the viewport
By default, the character-assembly commands
listed here are not part of the 3ds Max 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
Luminaire rollout
3–792) to add the commands.
Dimmer—Emulates the dimmer switch of a
real-world lighting fixture. The setting determines Create Character (page 1–112)
the percentage of the default light intensity is Destroy Character (page 1–115)
emitted by the light source of a lighting fixture.
You wire this parameter to one or more light Lock/Unlock Character (page 1–115)
sources’ Multiplier settings. Save Character (page 1–115)
Filter Color—An RGB color parameter that you Insert Character (page 1–115)
link to a light source’s color or filter color.
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
The Dimmer option can control the intensity of all the lights in To create a character assembly:
the luminaire
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 rollout
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.
All members of the assembly are listed in the
Character Members rollout. Skin Pose group

Interface The Skin pose is the bone structure pose used by

the Skin modifier for associating bones with the
To work with the character assembly, select the mesh. When the Skin modifier is first applied, the
character assembly node and work with the current bone structure pose is used as the Skin
parameters on the Modify panel. 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 Animation group

assembly is selected.
Animation for the character assembly can be saved
Set as Skin Pose—Sets the Skin pose to the current or reset in this group. Previously saved animation
bone structure’s pose. The Skin modifier’s from another character can also be inserted to the
envelopes and vertex weighting are automatically current character assembly.
recalculated to work with the new pose.
Insert Animation—Displays the Merge Animation
Assume Skin Pose—Causes the bone structure to dialog (page 3–466), and prompts for a previously
take on the Skin pose. This feature can be useful saved animation file.
during the animation phase. For example, if you
Save Animation—Saves the character assembly
have animated the character on various keyframes
animation in an ANM or XML file. Both file types
and want the character to animate back to its Skin
contain the character assembly and its animation.
pose at frame 50, you can turn on Auto Key at
An ANM file is a proprietary format that can be
frame 50 and click Assume Skin Pose.
read and saved only by 3ds Max. An XML file
Skin Pose Mode—Poses the character in its Skin formats the information as XML code, and can be
pose and allows the Skin pose to be refined. edited with a text editor.
Changes to the bone structure when Skin Pose
Animation saved as an ANM file loads and saves
Mode is on will affect only the Skin pose and not
faster than an XML file. Saving and editing an
the animation. When Skin Pose Mode is turned
XML animation file is recommended only for
off, the bone structure returns to its pose at the
users who are familiar with the XML language,
current frame.
and who have a specific need for editing the file.
Display group Reset All Animation—Removes all animation from
the character assembly.
When a high resolution character model is
animated, redraw time can slow the animation
Character Members rollout
process. To speed up your work, a low resolution
version of the model can be used for the animation Add—Allows you to select individual objects to
process, then switched for the full resolution add to the character assembly.
version at render time. Character assembly objects Add List—Displays the Pick Character Members
can be designated as Full Res or Low Res on the dialog, where you can select multiple objects from
Character Members rollout. a list and add them to the character assembly.
Low Res Objects—Displays only the objects
Remove—Removes highlighted object(s) from the
checked in the Low Res display in the Character assembly. Bones and objects upon which other
Members rollout. assembly objects depend, cannot be removed.
Full Res Objects—Displays only the objects not
Low Res—All members of the character assembly
checked in the Low Res display in the Character are displayed on this list. By default, all members
Members rollout. are designated as Full Res objects. To designate a
All Objects—Displays all objects in the character member as Low Res, check the object on the list.
assembly. 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 See also

Destroy Character (page 1–115) Character Assembly (page 1–102)
Lock/Unlock Character (page 1–115)
Save Character (page 1–115) Insert Character
Merge Animation (page 3–466) See Adding Character Assembly Commands to the UI (page
1–103).

Destroy Character Choose this command to insert a previously saved

character into the current scene.
See Adding Character Assembly Commands to the UI (page
1–103). You save a character assembly as a CHR file with
Save Character (page 1–115). A CHR file contains
Destroying a character deletes the character the character assembly node, all members of the
assembly node. If the character assembly is locked, assembly and any animation on the members.
the entire assembly is deleted. If the assembly is
When a character is inserted into the scene, it is
unlocked, the members of the assembly and any
placed at the same world-space location it had
animation on the members are unaffected.
when saved.
This command is available only when a character
assembly node is selected. See also
Character Assembly (page 1–102)
See also
Save Character (page 1–115)
Character Assembly (page 1–102)
Lock/Unlock Character (page 1–115)
Save Character
See Adding Character Assembly Commands to the UI (page
Lock/Unlock Character 1–103).

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,
Locking a character assembly prevents the all members, and any animation on its members.
character from being animated. Use these Use this command for storing a character assembly
commands when you want to prevent accidental to disk prior to inserting it into another scene.
animation of the character, such as when the
Saving a character with this command saves the
animation process is complete.
assembly as a CHR file. You can then insert the
Unlocking a locked character assembly allows you CHR file into a scene with Insert Character (page
to animate the character. 1–115).
These commands are available only when a This option is available only when a character
character-assembly node is selected. assembly node is selected.
116 Chapter 3: Selecting Objects

is on will affect only the skin pose and not the

Skin Pose Commands animation. When Skin Pose Mode is turned off,
the structure returns to its pose at the current
Animation menu > Set as Skin Pose
frame.
Animation menu > Assume Skin Pose

Animation menu > Skin Pose Mode See also

Character Assembly (page 1–102)
When the Skin modifier is first applied to a mesh,
the bone structure’s current pose is used as the
skin pose. Subsequent animation of the bone
structure on frame 0 can cause the skin pose to
be altered. The skin pose commands allow you to
change and set the skin pose either before or after
you apply the Skin modifier.
The skin pose stores a specific position, rotation
and scale for an object. Its intended use is for
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
Object Properties

The Object Properties dialog, available from the

Edit and right-click menus, lets you view and edit Object Properties Dialog
parameters for how selected objects behave in
viewports and renderings. Note that you cannot Panels
necessarily edit all properties; parameters that
apply to renderable geometry are unavailable for
non-renderable objects. However, parameters General Panel (Object Properties
that apply to any object, such as Hide/Unhide, Dialog)
Freeze/Unfreeze, Trajectory, and so on, remain
Edit menu > Object Properties > Object Properties dialog
available for these non-renderable objects. > General panel

With the Object Properties dialog you can specify Select object or objects. > Right-click. > Transform
settings per object or by layer (page 3–920). Object (lower-right) quadrant of the quad menu > Properties >
Object Properties dialog > General panel
settings affect only the object or objects selected.
When an object is set to By Layer, it inherits its Layer manager > Click the icon next to an object’s name.
> Object Properties dialog > General panel
properties from the layer settings, which you set
with the Layer Properties dialog (page 3–662).
This panel of the Object Properties dialog displays
The Object Properties dialog panels are: general object information, as well as controls for
• General Panel (Object Properties Dialog) (page rendering the object and displaying it in viewports.
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)
118 Chapter 4: Object Properties

Interface 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
for shape objects. Shape Vertices is the number
of vertices in the shape, and Shape Curves is the
number of polygons. (Shape Curves is the value
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—Displays the name of the material
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—Displays the name of the
group or assembly to which the object belongs.
Displays "None" if the object is not part of a group.
Layer—Displays the name of the layer which the
Object Information group object is assigned to.
This group displays information about the selected
object, including the following: Interactivity Group
Hide— Hides the selected object or objects.
Name—Shows the name of the object. When a
single object is selected, you can edit this field to Hidden objects exist in the scene, but do not
give the object a new name. When multiple objects appear in the viewports or rendered images. To
are selected, this field shows "Multiple Selected," unhide hidden objects, use the Display panel (page
and cannot be edited. 3–775) or choose Tools > Display Floater (page
3–775).
Color—The color swatch shows the object’s color.
You can click it to display the Object Color dialog Note: Objects residing on a hidden layer are
(page 1–159) and select a different color. automatically hidden, regardless of this setting.

Dimensions—Displays the X, Y, and Z dimensions Tip: The Layer Manager (page 3–656) is the easiest
of the object’s extents (page 3–936). way to hide groups of objects or layers.

Vertices and Faces—Display the number of vertices Freeze—Freezes the selected object or objects.
and faces in the object. For shapes (page 1–262),
 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 Display as Box—Toggles the display of selected

By Object/By Layer—Toggles between object objects, both 3D objects and 2D shapes, as
settings or object layer settings. Object settings bounding boxes (page 3–919). Produces minimum
affect only the object or objects selected. Object geometric complexity for rapid display in
layer settings affect all objects on the same layer as viewports. Default=off.
the selected object. Note: This option is also available in the Display
Note: If multiple objects are selected and have panel (page 3–775) and by choosing Tools >
different By Layer settings, this button will read Display Floater (page 3–775).
‘Mixed’.
See-Through—Makes the object or selection
translucent in viewports. This setting has no
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 Backface Cull—Toggles the display of faces with
by using the Colors panel (page 3–799) of the normals (page 3–980) that point away from the
Customize > Customize User Interface dialog (page view. When on, you see through the wireframe
3–792). to the backfaces. Applies only to wireframe
viewports. Default=on.
Keyboard shortcut (default): Alt+X
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 Trajectory—Displays the object’s trajectory (page
and polygon diagonals (page 3–928). When on, 3–1025). Default=off.
only outside edges appear. When off, all mesh Note: This option is also available in the Display
geometry appears. Applies to Wireframe viewport panel (page 3–775) and by choosing Tools >
display mode, as well as other modes with Edged Display Floater (page 3–775).
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).

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 >
Vertex Ticks—Displays the object’s vertices as tick Display Floater (page 3–775).
marks. Default=off. Keyboard shortcut: No default, but you can
Note: This option is also available in the Display customize it using the Keyboard panel (page 3–793)
panel (page 3–775) and by choosing Tools > of the Customize > Customize User Interface dialog
Display Floater (page 3–775). (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
texture even when it is frozen. Default=on.
 General Panel (Object Properties Dialog) 121

Note: This option is also available in the Display quickly turn large groups of lights on or off using
panel (page 3–775) and by choosing Tools > the Layer Manager (page 3–656).
Display Floater (page 3–775).
By Object/By Layer—Toggles between object
Vertex Channel Display—For editable mesh (page settings or object layer settings. Object settings
1–996), editable poly (page 1–1022), and editable affect only the object or objects selected. Object
patch (page 1–968) objects, displays the assigned layer settings affect the rendering controls of all
vertex colors in viewports. The drop-down list objects on the same layer as the selected object.
lets you choose to display Vertex Color, Vertex Note: If multiple objects are selected and have
Illumination, Vertex Alpha, Map Channel Color, different By Layer settings, this button will read
or Soft Selection Color. Default=off. ‘Mixed’.
You can assign vertex colors at all sub-object levels Visibility—Controls the rendered visibility of the
except Edge. object. At 1.0, the object is fully visible. At 0.0,
Note: This option is also available on the Display the object is completely invisible when rendered.
panel (page 3–775). Default=1.0.
Map Channel—Sets the map channel for the vertex You can animate this parameter. Animating
color. Available only when the Map Channel Color Visibility assigns a visibility controller to the
option is active. 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
Shaded—When on, shaded viewports add shading
shape has an Enable In Renderer parameter.
to the vertex coloring. When off, colors are
When both check boxes are on, the shape appears
unshaded. Default=off.
in rendered output. If Renderable in the Object
Note: This option is also available on the Display Properties dialog is off, the shape is not renderable,
panel and by choosing Tools > Display Floater regardless of the state of its local Enable In
(page 3–775). Renderer check box.

Rendering Control group If you apply a modifier that converts the shape
into a mesh object, such as a Lathe modifier (page
You can set rendering control for lights to By
1–707) or Extrude modifier (page 1–680), the shape
Object or By Layer (the latter is the default setting),
automatically becomes renderable regardless of
and you can also change their Renderable setting.
the state of its local Enable In Renderer setting.
This allows you to turn individual lights on and off
in your renderings, but more importantly, you can 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 occluded objects. Turning on this control makes
references to the shape. the object transparent for the purposes of special
effects. This makes no difference when you render
Inherit Visibility—Causes the object to inherit
to most image files. When you render to either
a percentage of the visibility of its parent (as
the RLA (page 3–630) or RPF (page 3–631) file
determined by the parent’s Visibility track in Track
format, however, occluded objects appear with the
View). When a group parent is assigned a visibility
effect applied on their designated G-buffer layer.
track, Inherit Visibility is automatically turned on
Default=off.
for all children in the group. The children will have
the maximum visibility of the parent. Transparent
G-Buffer group
materials and hidden objects have no effect on this
function. Allows you to tag an object as a target for a render
effect (page 3–218) based on the G-buffer (page
Visible to Camera—When on, the object is visible
3–946) channel. Assigning the object a nonzero ID
to cameras in the scene. When off, cameras do creates a G-buffer channel that can be associated
not view this object; however, its shadows and with a render effect.
reflections are rendered. Default=on.
Warning: The mental ray renderer (page 3–78) does not
Visible to Reflection/Refraction—When on, the recognize Z-depth with G-buffers. G-buffer data is saved
object has “secondary” visibility: it appears in on a single layer. Also, the mental ray renderer does not
rendered reflections and refractions. When off, support the following effects:
the object does not appear in rendered reflections
• Glow lens effect (page 3–226) (rendering effect)
or refractions. Default=on.
• Ring lens effect (page 3–230) (rendering effect)
Note: An object can have Visible To Camera on but
Visible To Reflection/Refraction off, in which case • Lens effects Focus filter (page 3–362) (Video
the object renders in the scene but does not appear Post)
in reflections or refractions. Object Channel—Setting this spinner to a nonzero
Receive Shadows—When on, the object can receive number means that the object will receive the
shadows. Default=on. rendering effects associated with that channel in
Render Effects and the post-processing effects
The mental ray renderer supports the Receive associated with that channel in Video Post.
Shadows toggle.
To save the channel data with the rendering,
Cast Shadows—When on, the object can cast
render to either the RLA (page 3–630) or RPF
shadows. Default=on. (page 3–631) file format.
Apply Atmospherics—When on, atmospheric
effects are applied to the object. When off, Motion Blur group
atmospheric effects do not change the rendered By Object/By Layer—Toggles between object
appearance of this object. Default=on. settings or object layer settings. Object settings
Render Occluded Objects—Allows special effects affect only the object or objects selected. Object
to affect objects in the scene that are occluded by layer settings affect all objects on the same layer as
this object. The special effects, typically applied the selected object.
by plug-ins (page 3–995) such as Glow (page
3–226), use G-buffer (page 3–946) layers to access
 Advanced Lighting Panel (Object Properties Dialog) 123

Note: If multiple objects are selected and have they do not generate motion blur with the default
different By Layer settings, this button will read scanline renderer.
‘Mixed’. • None—Turns off the state of motion blur for the
Multiplier—Affects the length of the motion-blur object.
streak. • Object—Object motion blur (page 3–981)
If you choose either form of motion blur here in provides a time-slice blur effect.
the Object Properties dialog, you must also choose • Image—Image motion blur (page 3–955) blurs
to apply that type of blur in the Render Scene dialog the object’s image based on the velocity of each
(page 3–2). pixel.
The rendering speed of object motion blur
depends on the complexity of the geometry to
which it’s assigned. The rendering speed of image
Advanced Lighting Panel (Object
motion blur depends on the amount of rendered Properties Dialog)
screen space taken up by the blurring object. Select object or objects. > Edit menu > Object Properties
In most cases image motion blur renders more > Object Properties dialog > Advanced Lighting panel
quickly. Object motion blur renders more quickly Select object or objects. > Right-click. > Transform
when applied to very simple objects, and image (lower-right) quadrant of the quad menu > Properties >
Object Properties dialog > Advanced Lighting panel
motion blur renders more slowly when the object
takes up a lot of screen space, and moves all the Layer manager > Click the icon next to an object’s name.
way across the screen in a single frame. > 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)).

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,
124 Chapter 4: Object Properties

Interface 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
Selection Information rollout objects with large, smooth surfaces. More complex
geometry tends not to show advanced lighting
Num. Geometric Objects—The number of
artifacts as much as smooth surfaces do.
geometric objects present in the current selection.
Num. Light Objects—The number of lights present Radiosity-only Properties group
in the current selection.
Diffuse (reflective & translucent)—When on, the
radiosity solution will process diffuse reflection
Geometric Object Radiosity Properties rollout
and translucency (page 3–1027) of the selected
Exclude from Adv. Lighting Calculations—When objects.
on, the current selection is excluded from
Specular (transparent)—When on, radiosity will
advanced lighting (radiosity or light tracing).
process transparency of the selected objects.
Objects excluded from advanced lighting will not
contribute to indirect illumination. Exclude from Regathering—When on, objects
are excluded from the regathering process when
By Object/By Layer—Toggles between object
rendering.
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
 Advanced Lighting Panel (Object Properties Dialog) 125

For more information on the Radiosity-only Contrast Threshold—Faces that have vertex
Properties group, see Radiosity Control Panel (page illuminations that differ by more than the Contrast
3–61). Threshold setting are subdivided. Default=75.0.
Initial Mesh Size—When improving the face shape,
Object Subdivision Properties group
faces that are smaller than the Initial Mesh Size
Use Global Subdivision Settings—When on, the are not subdivided. The threshold for deciding
object’s meshing settings correspond to the global whether a face is poorly shaped also gets larger
subdivision settings on the Radiosity Control as the face size is closer to the Initial Mesh Size.
Panel. When off, you can change the meshing Default=12 inches for Imperial units and 30cm for
settings for each object. Default=on. metric units.
• Subdivide—When on, a radiosity mesh is
created for the objects regardless of the
global meshing state. The subdivision that is Radiosity Refine Iterations—The number of refine
performed is determined by the Use Adaptive iterations in the radiosity process for the current
Subdivision switch. When off, the settings selection.
in the Mesh Settings group are unavailable.
Iterations Done—The number of refine iterations
Default=on.
performed on the current selection.
• Use Adaptive Subdivision—Toggles adaptive
subdivision. Default=on. Light Object Radiosity Properties rollout
Tip: Adaptive meshing is computed for an These options are available only for light objects.
object only if Shoot Direct Lights is turned on in
the Radiosity Meshing Parameters rollout (page Exclude from Radiosity Processing—When on, the
3–67). current selection is excluded from the radiosity
solution. When lights are excluded from radiosity,
Note: The Mesh Settings group parameters
their direct contribution is only used for rendering.
Contrast Threshold, Min Mesh Size, and Initial
This option is available only when By Object is
Mesh Size are available only when Use Adaptive
selected.
Subdivision is turned on.
By Object/By Layer—Toggles between object
Mesh Settings group settings or object layer settings. Object settings
Max Mesh Size—The size of the largest faces after
affect only the object or objects selected. Object
adaptive subdivision. Default=36” for imperial layer settings affect all objects on the same layer as
units and 100cm for metric units. the selected object.
Note: If multiple objects are selected and have
When Use Adaptive Subdivision is off, Max Mesh
different settings, this button reads “Mixed.”
Size sets the size of the radiosity mesh in world
units. Store Direct Illumination in Mesh—When on, the
light’s direct illumination is added to the radiosity
Min Mesh Size—Faces are not divided smaller than
mesh, even if the global rendering mode is Render
the minimum mesh size. Default=3 inches for
Direct Illumination. This is comparable to the
Imperial units and 10cm for metric units.
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 Interface

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) The mental ray panel contains parameters for the mental ray
renderer.
takes more time but gives you a more finished and
accurate image.
Indirect Illumination group
Generate Caustics—When on, the object can
mental ray Panel (Object generate caustics. (For this to happen, Caustics
Properties Dialog) must also be enabled using the Render Scene
dialog’s Caustics And Global Illumination rollout
Edit menu > Object Properties > Object Properties dialog (page 3–106).) When off, the object does not
> mental ray panel
generate caustics. Default=off.
Select object or objects. > Right-click. > Transform
(lower-right) quadrant of the quad menu > Properties > Receive Caustics—When on, the object can receive
Object Properties dialog > mental ray panel caustics. That is, caustic effects are cast onto
Layer manager > Click the icon next to an object’s name. this object. (For this to happen, Caustics must
> Object Properties dialog > mental ray panel also be enabled using the Caustics And Global
Illumination rollout.) When off, the object does
This panel of the Object Properties dialog supports not receive caustics. Default=on.
mental ray rendering; specifically, the indirect
Generate Global Illumination—When on, the object
illumination features caustics (page 3–92) and
global illumination (page 3–93). They control can generate global illumination. (For this to
whether objects generate or receive caustics or happen, Global Illumination must also be enabled
global illumination. using the Caustics And Global Illumination
rollout.) When off, the object does not generate
These settings are ignored where they aren’t global illumination. Default=off.
appropriate. For example, lights can be set to
Receive Global Illumination—When on, the object
generate caustics, but for a light, the Receive
Caustics setting has no effect, as lights aren’t can receive global illumination. That is, reflected
renderable. Similarly, these settings have no light is cast onto this object. (For this to happen,
meaning for cameras. Global must also be enabled using the Caustics
And Global Illumination rollout.) When off,
Also available on this panel are controls for setting the object does not receive global illumination.
displacement parameters on a per-object basis. Default=on.
 User Defined Panel (Object Properties Dialog) 127

Displacement group when Use Placeholder Objects is on, try lowering

the Max. Displace value.
These settings let you apply displacement
parameters on a per-object basis. Max. Level—Controls how many times a triangle
can be subdivided. Default=6.
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). Turn off to
User Defined Panel (Object
make settings on a per-object basis. Default=on. Properties Dialog)
View-Dependent—Defines the space for Edit menu > Object Properties > Object Properties dialog
> User Defined panel
displacement. When View-Dependent is on, the
Edge Length setting specifies the length in pixels. Select object or objects. > Right-click. > Transform
(lower-right) quadrant of the quad menu > Properties >
When off, Edge Length is specified in world-space Object Properties dialog > User Defined panel
units. Default=on.
Layer manager > Click the icon next to an object’s name.
Smoothing—Turn off to have the mental ray > Object Properties dialog > User Defined panel
renderer correctly render height maps. Height
maps can be generated by normal mapping; see This panel of the Object Properties dialog lets
Creating and Using Normal Bump Maps (page you enter properties or comments that you define
3–150). yourself.

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
you experience slow times while displaced objects
128 Chapter 4: Object Properties

Interface 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
User Defined Properties—In this text box, you can toggle enables or disables this name.
enter properties for the object, or comments about
it, that you define yourself. 3ds Max doesn’t use Prefix—When on, lets you enter a string that will
these properties, but it saves them with the scene, be a prefix to the name of all renamed objects.
and they reappear whenever you view the Object Remove First N Digits—When on, the first N
Properties dialog for the object. characters in the base name are removed from
object names. The spinner sets the value of N.

Rename Objects Tool Suffix—When on, lets you enter a string that will
be a suffix to the name of all renamed objects.
Tools menu > Rename Objects
Remove Last N Digits—When on, the last N
The Rename Objects tool helps you rename several characters in the base name are removed from
objects at once. object names. The spinner sets the value of N.
Numbered—When on, lets you number object
names incrementally.
• Base Number—The base number appended to
the name of the first renamed object.
 Custom Attributes 129

• Step—The step by which the base number is As you customize an attribute, the result is
incremented in succeeding renamed objects. displayed on the Testing Attribute rollout at the
bottom of the dialog.
Rename—Click to rename the affected objects and
have your changes take effect.
See also
Parameter Collector (page 1–138)
Custom Attributes Attribute Holder Modifier (page 1–559)
Animation menu > Parameter Editor
Custom Attributes Special Features
Keyboard > Alt+1
The Custom Attributes feature offers an array of
Use the Parameter Editor to assign custom workflow-enhancing functionality, including:
attributes to objects, modifiers, materials, and • the ability to add custom attributes to specific
animation tracks. A custom attribute is an animation tracks.
additional, abstract parameter; abstract in
• the ability to edit existing custom attributes.
the sense that it does not directly extend the
functionality of the object by default. It affects an • 13 available data types.
object only after wire parameters (page 2–411), • a variety of available UI options, such as
reaction controllers (page 2–358), or expression ComboBox and ListBox for the Array data type.
controllers (page 2–320) are set up to connect
• the ability to position UI elements precisely
the custom attribute to another parameter in the
with X and Y Offset controls.
scene. You can also use custom attributes to store
job-specific notes and data. • the ability to preserve custom attributes when
collapsing the stack.
Custom attributes behave like other object
parameters in several ways: • A special Attribute Holder modifier (page
1–559) that lets you collect attributes from
• They are saved and loaded in the scene file different entities and access them in one place
along with the object. on the Modify panel.
• They can be animated and keyframed.
• They are displayed in Track View along with the Procedures
base parameters. To add a parameter to an object:

Each custom attribute parameter can be one of a 1. Select the object.

number of different data types, including integers, 2. Choose Animation menu > Parameter Editor.
floating numbers, Booleans, arrays, nodes, colors,
The Parameter Editor opens.
and texture maps. Parameters added to an object
or modifier appear on a Custom Attributes rollout 3. Change settings as desired.
on the Modify panel. For each custom attribute 4. Click Add.
parameter you create, you can specify the name,
The parameter is added to the level specified
layout, value range, default value, and UI type:
in the Add To Type list. If an object has no
spinner or slider for floats and integers, check box
custom attributes, Parameter Editor first adds a
for Booleans, etc.
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

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.
Note: If you chose Add To Type > Picked Track, To delete one or more custom attributes instead,
the Track View Pick dialog might open first click a Custom Attributes heading, and then
to prompt you to choose the animation track click Delete Attribute or Delete All Attributes.
whose attribute to edit. Multiple attributes can result from collapsing an
object’s stack with Preserve Custom Attributes
4. In the Edit Attributes/Parameters dialog,
on. For example, one set of custom attributes
highlight the parameter to edit.
might be applied to an object and a second set
Its settings appear in the Parameter Editor. of attributes assigned to one of its modifiers.
5. Change the settings in the Parameter editor, Collapsing such an object results in two sets of
and then click Accept Parameter changes. custom attributes.
6. With multiple parameters or custom attributes, 5. Click Apply Changes, and then close the dialog
to change the ordering, click the entity to move, by clicking its Close box or the Cancel button.
and then use the up and down arrow buttons to
move the entity in the list. Moving a Custom Interface
Attributes entry also moves its parameters. The Parameter Editor takes the form of a dialog
Note: You cannot rename a Custom Attributes with several rollouts: The first rollout sets general
entry. options for the attribute; the central rollout sets
options for the current parameter type; and the
7. When finished editing, click Apply Changes,
third lets you preview the attribute user interface
and then exit the dialog by clicking the Close
(UI).
or Cancel button.
132 Chapter 4: Object Properties

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.

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 Add/Edit/Delete group
this drop-down list to choose the attribute type to Add—Applies the custom attribute parameter to
delete or edit. the current object, modifier, material, or track,
depending on the current choice in the Add To
If the text “Pick Explicit Track” appears in the
Type list.
box below the drop-down list before you choose
Picked Track , the Track View Pick dialog appears If a custom attribute parameter is assigned to an
showing the Track View hierarchy. Expand the object or modifier, you can see and edit its value
hierarchy as necessary, click the track to add the on the Modify panel after adding it by activating
attribute to, and then click OK. 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 • WorldUnits: Spinner (page 1–133) or Slider
access a parameter that’s assigned to an animation (page 1–134)
track, open Track View, highlight the track’s
Custom Attributes entry, and then right-click and UI Type group
choose View Attribute Dialog. UI Type—Selects the type of UI element that
Edit/Delete—Opens the Edit Attributes/Parameters controls the parameter.
dialog. The UI types available depend on which parameter
This dialog displays a list of all of the custom type you specify. For example, float and integer
attribute parameters assigned to the currently values are controlled by spinners or sliders, and
object at the current level. Dialog behavior is Boolean values by check boxes or check buttons.
described in these two procedures: To edit a Array values are always controlled by drop-down
parameter or custom attribute: (page 1–130) and lists, node values by pick buttons, color values
To delete a custom attribute or parameter: (page by color pickers, and texture map values by map
1–131). buttons.
Full descriptions of each UI Options rollout
Parameter Type group
follow, and the list of parameter types, above,
Parameter Type—Use the drop-down list to includes links to the respective UI Options rollout
choose the data type for the current parameter. descriptions.
The following list includes links to the sections
Name—The name of the parameter. Parameter
describing the UI settings for each parameter’s
Editor gives the parameter the default name
data type:
Param#, with # being a number. Change the name
• Angle: Spinner (page 1–133) or Slider (page by editing this field.
1–134)
• Array (page 1–135) Angle/Float/Integer/Percent/WorldUnits UI
Options rollout: Spinner
• Boolean: CheckBox (page 1–135) or
CheckButton (page 1–135) This is a numeric value that the user can set with a
standard 3ds Max spinner.
• 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)
134 Chapter 4: Object Properties

Size group Size group

Width—Sets the width of the spinner. Width—Sets the width of the slider.

Range group Range group

From—Sets the minimum value of the spinner. From—Sets the minimum value of the slider.

To—Sets the maximum value of the spinner. To—Sets the maximum value of the slider.

Default—Sets the default value of the spinner. Default—Sets the default value of the slider.

Alignment group Alignment group

Left/Right/Center—Sets the alignment of the Left/Right/Center—Sets the alignment of the slider
spinner in the rollout. in the rollout.

Offsets X/Y—Fine-tune the position of the spinner Offsets X/Y—Fine-tune the position of the slider on
on the horizontal and vertical axes. the horizontal and vertical axes.

Angle/Float/Integer/Percent/WorldUnits UI Orientation And Ticks group

Options rollout: Slider
Vertical—When on, the slider will be displayed
This is a numeric value that the user can set with a vertically. When off, the slider is displayed
standard 3ds Max slider. horizontally.
Ticks—Sets the number of ticks along the slider.
The ticks are distributed evenly along the length
of the slider.
 Custom Attributes 135

Boolean UI Options rollout: Check Box Size group

This is a standard 3ds Max check box that the user Width—Sets the width of the check button.
can turn on and off by clicking it with the mouse.
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.

Size group Array UI Options rollout: Drop-Down

List/ComboBox/ListBox
Width—Sets the width of the check box.
This lets the user of the custom attribute choose
Height—Sets the height of the check box. a named option from a list. The options for the
three Array UI types are the same; they differ in
Alignment group
how they appear on the Custom Attributes rollout.
Left/Right/Center—Sets the alignment of the check The types are:
box in the rollout. • Drop-Down List: Only the current choice is
Offsets X/Y—Fine-tune the position of the check visible by default. The user clicks the field
box on the horizontal and vertical axes. to open the list and then clicks to choose a
different item.
Boolean UI Options rollout: Check Button • ComboBox: Displays an editable field above a
This is a standard 3ds Max check button that the list box. The user clicks to choose from the list,
user can turn on and off by clicking it with the or edits the field.
mouse. • ListBox: Displays a list. The user clicks the
desired item; the highlighting indicates the
current choice.
136 Chapter 4: Object Properties

The item at the top of the array list is the default

selection.

Node UI Options rollout: Pick Button

A node is any object in the 3ds Max scene. The
Node UI element creates a button that, when
clicked, lets the user pick a scene node other than
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.
Size group Height—Sets the height of the pick button.
Width—Sets the width of the list.
Alignment group
Height—Sets the height of the list.
Left/Right/Center—Sets the alignment of the pick
Alignment group button in the rollout.

Left/Right/Center—Sets the alignment of the Offsets X/Y—Fine-tune the position of the pick
drop-down list in the rollout. button on the horizontal and vertical axes.

Offsets X/Y—Fine-tune the position of the array list Color UI Options rollout: Color Picker
on the horizontal and vertical axes.
This creates a color swatch that displays the current
Array group color and lets the user click it to choose a new color
with the Color Selector dialog.
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.
 Custom Attributes 137

Size group
Width—Sets the width of the material/map button.

Size group Height—Sets the height of the material/map

Width—Sets the width of the color picker.

button.

Height—Sets the height of the color picker. Alignment group

Left/Right/Center—Sets the alignment of the
Alignment group
material/map button in the rollout.
Left/Right/Center—Sets the alignment of color
Offsets X/Y—Fine-tune the position of the
picker in the rollout.
material/map button on the horizontal and vertical
Offsets X/Y—Fine-tune the position of the color axes.
picker on the horizontal and vertical axes.
String Options rollout: EditText
ColorPicker Default Color group
The String parameter type creates a text box that
Default Color—Sets the default color of the color the user can edit with the keyboard, with optional
picker. default text.

Material/TextureMap Options rollout: Size group

MaterialButton/MapButton
Width—Sets the width of the material/map button.
The options for the Material UI type
(MaterialButton) and TextureMap UI type Height—Sets the height of the material/map
(MapButton) are the same. The difference is that, button.
when the user clicks the resulting button to open
the Material/Map Browser, the former displays Alignment group
only materials and the latter displays only maps. 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 One of Parameter Collector’s most powerful

features is the ability to change all parameters
Label above text box—When off, the label
in a collection simultaneously, in an absolute or
(parameter name) appears to the left of the text
relative mode. For example, if you’re animating a
box. When on, the label appears above the text
character’s hand, you can use Parameter Collector
box.
to easily make all the fingers curl up together to
EditText Default Text group form a fist.
Note: Parameter Collector does not support
Default Text—Enter any default text that should
parameters of externally referenced objects (page
appear in the box before the user edits it.
3–394) or objects in externally referenced scenes
Testing Attribute rollout (page 3–407).

See also
Custom Attributes (page 1–129)
Attribute Holder Modifier (page 1–559)
This rollout displays the UI layout for the custom
attribute that you are working on. It updates
Procedure
continuously so that you can see how different
settings in the various rollouts affect the UI display Example: To use Parameter Collector:
of the attribute. This exercise demonstrates some basic Parameter
Collector functions.
The UI element is operational in this rollout in
the sense that it can be moved, clicked, toggled, In general, start with a scene containing one or
and so on. 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.
Parameter Collector 2. Open Parameter Collector from the Animation
Animation menu > Parameter Collector menu, or press Alt+2 .
Keyboard > Alt+2
3. On the Parameter Collector toolbar, click
the Add To New Rollout button.
Parameter Collector lets you sort and present
animatable parameters so that you can access and The Track View Pick dialog opens. This lets you
key selected parameter sets with a click or two. It specify parameters to collect.
takes the form of a resizable dialog that regenerates 4. On the Track View Pick dialog, expand
dynamically as parameters change. The dialog Objects > Sphere01 > Transform:
supports drag-and-drop rollout reordering. Position/Rotation/Scale > Position:
Collections are saved with their scenes and can be Position XYZ.
merged into other scenes. 5. Click X Position: Bezier Float.
The parameter highlights.
 Parameter Collector 139

6. Click OK to close the dialog. All the values display 0.0, as with Offset mode
A new rollout named Parameters 1 appears, on the status bar coordinate display.
containing the X Position parameter. 15. Use the spinner to set Y Position to 0.65.
Note: A parameter in Parameter Collector can The three change in unison, and then reset back
contain only a single value (e.g., float, integer, to 0.0 when you release the mouse button. This
color), so the software doesn’t let you add has added the value you set to each of the three
parameters such as Position: Position XYZ, positions, as you’ll see in the next step.
which contains three distinct values. 16. Click the Absolute/Relative button to return
7. Click Add To Selected Rollout and then to Absolute mode.
use the same method to add the Y Position The values are all set to 30.65, reflecting the
and Z Position parameters: Highlight both relative change that you made.
parameters on the Track View Pick dialog and
Next, you’ll try a few Edit commands.
then click Add To Selected Rollout to add both
at once to the Parameters 1 rollout. 17. Click the Y Position check button to deselect
the parameter.
8. Drag each spinner in turn to move the sphere
on the respective axis. 18. From the Edit menu, choose Select Invert.

As you change each parameter value, the sphere The Y Position parameter is now selected, and
moves in real time in the viewports. the other two are deselected.
9. Set all three parameters to 0.0. 19. Click the Move Parameters Up button.
10. Click the check button next to each parameter The Y Position parameter now sits above the
to select all three. 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,
11. On the toolbar, turn on Multiple Edits. and enter comments.
12. Drag one of the spinners. 22. In the box below Parameter Name, type Sphere
All three change by the same amount, so that Y Loc., and then press Enter .
the sphere moves diagonally in the scene. The new name replaces the old one on the
13. Use the keyboard to change the Y Position rollout. You can see the original name by
value to 30.0. hovering the mouse cursor over the parameter
name; it appears on a tooltip.
Again, the other two change.
To conclude this exercise, you’ll use Parameter
14. Click the Absolute/Relative button to turn Collector to set and edit animation keyframes.
on Relative mode.
140 Chapter 4: Object Properties

23. On the Collection menu, turn on Show Keys In the track bar right-click menu, but it’s much
Track Bar if necessary. easier to access the data for a specific key from
Parameter Collector.
24. On the 3ds Max status bar, turn on
Auto Key. Interface
25. Change the Sphere Y Loc. (the old Y Position)
parameter value to 20.0.
Because you’re at frame 0, no key is set. This is
the same way Auto Key works normally.
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
the sphere only on one axis.
Parameter Collector can set keys for unselected
objects as well.
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
Parameter Collector takes the form of a dialog with
on.
a menu bar, a toolbar, and rollouts that you create
30. Check the track bar key again. Now there are and modify using the dialog tools. You can resize
keys for all three parameters, as demonstrated the dialog horizontally and vertically; expanding it
by the red brackets on the spinners in Parameter lets you see all rollouts simultaneously.
Collector.
31. Click the Properties button to the right of Menu Bar
the Sphere Y Loc. parameter. The menu bar provides a range of functions for
This opens a Key Info dialog (page 2–304) for using Parameter Collector. See Parameter Collector
the parameter, with the ability to edit the key Menu Bar (page 1–142) for details. Also, you can
time and value as well as interpolation with open the Spinner Right-Click menu (page 2–282)
other keys. The dialog is also available from
 Parameter Collector 141

by right-clicking a numeric field in Parameter modifying a value changes it to the exact amount
Collector. you specify. When Relative is chosen, the displayed
value is 0, and modifying the parameter adds the
Toolbar 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.

The Parameter Collector toolbar provides button Note: With multiple parameters selected, and
access to the most commonly used functions. Multiple Edits on, changing the value of a selected
parameter changes the other selected parameter
[collection name]—If empty, enter a name for the values by the same amount, not to the same
current collection, or choose a different collection amount. This happens in both Absolute and
from the drop-down list. If a name appears and Relative modes.
you edit it, pressing Enter duplicates the current
collection with the new name. Key Selected—Sets keys (page 3–960) for
selected parameters only at the current frame.
New Collection—Creates a new, empty Available only when Auto Key (page 3–717) is on.
collection, clearing the current collection name
and the rollout area. You can restore any existing Reset Selected—Sets all selected numeric
collection by choosing it from the drop-down list. parameters to 0. Has no effect on other parameter
types.
Duplicate Collection—Creates a new, unnamed
collection containing the same data as the current Move Parameters Down—Moves each selected
collection. Enter a name for the duplicate selection parameter down one position within its rollout,
in the editable field. if possible.
You can also duplicate a collection and name it at Move Parameters Up—Moves each selected
the same time by editing the name of an existing parameter up one position within its rollout, if
collection and pressing Enter . possible.

Delete Collection—Removes the current Add to Selected Rollout—Lets you add new
collection from memory. parameters to the selected rollout. Click this
button to open the Track View Pick dialog, and
Multiple Edits—Enables multiple editing, then choose the parameters from the dialog.
in which changing the value of any selected
Note: You can add several parameters at once by
parameter simultaneously changes all selected
highlighting them in the dialog before clicking OK.
parameters of the same type by the same amount.
This applies to both Absolute and Relative modes Add to New Rollout—Lets you add new
(see following). parameters to a new rollout. Click this button
to open the Track View Pick dialog, and then
Absolute/Relative—Works the same way as
choose the parameter from the dialog. Parameter
the Absolute/Offset mode toggle on the Coordinate Collector creates a new rollout to hold the
Display (page 3–708). When Absolute is chosen, parameters.
142 Chapter 4: Object Properties

Note: You can add several parameters at once by If a key exists for the value at the current frame,
highlighting them in the dialog before clicking OK. the spinner or swatch appears with red brackets
at the corners.
Delete Selected—Deletes all selected
parameters. [Properties]—Opens a Key Info dialog (page
2–304) for the parameter. Available only if the
Delete All—Deletes all parameters and rollouts. parameter has an animation controller.
Use the Key Info dialog to edit an animation key’s
Rollouts value, time, and interpolation methods.
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 Parameter Collector Menu Bar
its title bar, and move it to another location by
Animation menu > Parameter Collector > Parameter
dragging the title bar. You can resize the dialog to Collector menu bar
be able to see all rollouts at once.
Keyboard > Alt+2 > Parameter Collector menu bar
Only one rollout can be selected at a time.
You select a rollout by clicking the horizontal The Parameter Collector dialog menu bar provides
bar beneath the title; when selected, this bar access to a number of important commands.
is orange-yellow in color, and angle brackets Some of these commands are replicated on the
surround the rollout title (for example, “> Hand dialog toolbar; others, such as the Select tools,
Parameters <”). are available only from the menus. Also, you can
open the Spinner Right-Click menu (page 2–282)
The interface for each parameter on a rollout is as
by right-clicking a numeric field in Parameter
follows:
Collector.
[Select Parameter]—A small check button on
the left side of the rollout. Click it to toggle the Interface
parameter’s selection status. When selected, Collection menu
the button appears pressed in and is colored
yellow-orange. The first three items in this menu are unavailable
until you enter a name for the current collection in
[parameter name]—By default, the parameter has the editable field (drop-down list) just below the
the same name as is shown in Track View, but you menu bar.
can change it with the Edit menu > Edit Notes
New Collection—Creates a new, empty collection,
command. You can see the default name for a
parameter as well as the object it controls, if any, clearing the current collection name and the
by hovering the mouse over the parameter name; rollout area. You can restore any existing collection
the information appears on a tooltip. by choosing it from the drop-down list.
Duplicate Collection—Creates a new, unnamed
[parameter value]—Shows the current value of the
parameter. The parameter type determines how collection containing the same data as the current
this appears: numeric field/spinner, color swatch, collection. Enter a name for the duplicate selection
etc. You can edit the value the same way as on the in the editable field.
command panel or a dialog.
 Parameter Collector Menu Bar 143

Delete Collection—Removes the current collection version of the collection stored in the object.
from memory. Opens the Link To Object dialog; highlight an
object in the list, and then click Pick.
Show Keys in Track Bar—Displays in the track bar
(page 3–703) animation keys for all objects with Link to Object has basically the same function as
parameters in the current collection, whether or Put To Object (see previous entry), except that
not the objects are selected in the scene. it guarantees an up-to-date stored version of the
collection, especially when merging the object
Isolate Keys in Track Bar—The track bar displays
into another scene that is a common production
only keys for parameters in the Parameter
workflow.
Collector.
Note: Only one “linked-to” object can be active
Show Selected Keys in Track Bar—Displays in the
in a scene, but you can use Put To Object on any
track bar (page 3–703) animation keys for all number of objects at a time.
objects with selected parameters in the current
collection, whether or not the objects are selected Get from Object—Retrieves a collection that you
in the scene. stored with Put To Object or Link To Object.

Isolate Selected Keys in Track Bar—The track bar Remove from Object—Deletes a collection that you
displays only keys for selected parameters in the stored with Put To Object or Link To Object.
Parameter Collector.
Edit menu
Put to Object—Stores the current collection as part
of an object in the scene. Opens the Put To Object Parameter Collector lets you select parameters
dialog; highlight an object in the list, and then in any combination, but you can select no more
click Pick. than one rollout at a time. To select or deselect
a parameter, click the small button on its left
Although parameter collections are stored with side. To select or deselect a rollout, click the wide
the scene in which they’re created, you can use horizontal button just below the rollout title.
this function to transfer a collection to a different Selecting a rollout deselects any other selected
scene. After putting the collection to an object, rollout.
save the scene. Open or create another scene,
merge the object from the saved scene to the new Select All—Selects all parameters and rollouts.
one, and then use Get from Object. Select All Rollout—Selects all parameters on
You can also back up, organize and streamline the current rollout. Unavailable if no rollout is
parameter collections by putting and getting selected.
different collections to and from various objects in Select None—Deselects all parameters.
your scene. Just remember that if you add, reorder,
Select Invert—Inverts the current selection of
or remove parameters or rollouts to a collection
that has been put to an object, you must then put parameters.
it to the object again so the changes are saved to Delete Selected—Deletes all selected parameters.
the collection.
Delete All—Deletes all parameters and rollouts.
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
144 Chapter 4: Object Properties

Multiple Edits—Enables multiple editing, in which Key All—Sets keys (page 3–960) for all parameters
changing any parameter simultaneously changes at the current frame. Available only when Auto Key
all selected parameters of the same or similar type. (page 3–717) is on.
Note: The changed parameter need not be selected. Key Selected—Sets keys (page 3–960) for selected
Absolute/Relative—This works the same as the parameters only at the current frame. Available
Absolute/Offset mode toggle on the Coordinate only when Auto Key (page 3–717) is on.
Display (page 3–708). When Absolute is chosen, Reset All—Sets all numeric parameters to 0. Has
modifying a value changes it to the exact amount no effect on other parameter types.
you specify. When Relative is chosen, the displayed
Reset Selected—Sets all selected numeric
value shows 0, and modifying the parameter adds
the specified change to the original value. This parameters to 0. Has no effect on other parameter
applies to numeric values only; changes to any types.
other value types such as color are always absolute.
Rollout menu
Edit Notes—Opens a single Notes dialog (page
Note: While there are no menu commands for
1–145) for all selected parameters.
moving rollouts, you can do so simply by dragging
You can open the Notes dialog for a single the rollout title bar to a new location.
parameter by right-clicking its Select Parameter
New Rollout—Creates a new, empty rollout.
button.
New Rollout Selected Parameters—Creates a new
Parameters menu rollout and populates it with copies of any selected
Add to Selected—Lets you add new parameters to
parameters.
the selected rollout. Rename Rollout—Opens a small dialog that lets

Add to New Rollout—Lets you add new parameters

you rename the selected rollout.
to a new rollout. Delete Rollout—Deletes the selected rollout.

Move Up—Moves selected parameters up one Delete Rollout Move Up—Deletes the selected
position within their rollout, if possible. rollout and moves its parameters to the rollout
Move Down—Moves selected parameters down
above.
one position within their rollout, if possible. Delete Rollout Move Down—Deletes the selected

Move Up By Rollout—Moves selected parameters

rollout and moves its parameters to the rollout
to the rollout above, if possible. If the same below.
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.
 Notes Dialog (Parameter Collector) 145

Interface
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 The Notes dialog interface comprises three text
for a box in all selected parameters are the same (or boxes, each with its respective check box, and a
null), its check box is on, indicating that changes button. By default, the text boxes are empty; you
to the text will apply to all selected parameters. can enter any text into each box, although each has
If a text box has different contents for different a specific purpose, as described below.
selected parameters, the check box is off, and the Parameter Name—Lets you change the parameter
corresponding text box is empty and unavailable, name shown in Parameter Collector.
preventing any changes. If you turn on a check
box, you can edit the text, and changes will be By default, the parameter name displayed in
applied to all selected parameters. 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
the same as before.
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 Scene element Calculatable property
Go button. Modifiers Any numeric modifier parameter
(including creation parameters)
Go—If the URL text box contains a valid URL,
clicking Go opens the URL in a separate browser Materials Colors [R, G, B]
window. Any numeric material parameter

Notes—Contains any comments on the parameters. Note: Expressions only work with the individual
This field is strictly for informational purposes. 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 Techniques
Expression Return Types (page 1–146)
In 3ds Max, you can use mathematical expressions
(rather than constant numbers) to express Operators (page 1–147)
parameter values. For example, you could use the
Variables (page 1–148)
expression 24*6 to represent the number 144.
Functions (page 1–148)
You can use mathematical expressions to control
the following object properties:
See also
• Object parameters, such as length, width, and
Trigonometric Functions (page 1–150)
height
• Transform and modifier values, such as an Vectors (page 1–151)
object’s position coordinates Expression Controller Techniques (page 2–324)
Parameter wiring (page 2–411), the expression
controller (page 2–320), and the numerical Expression Return Types
expression evaluator (page 1–13) all use The type of value returned by an expression
expressions, which are described in this topic. depends on the kind of controller:
An expression is a mathematical function that • Float expressions return a floating-point
returns a value. You can use expressions to control scalar value (For example, 5.617). Scalars are
the following scene elements: used in the animation controllers of numeric
parameters.
Scene element Calculatable property
If the parameter has an integer value, the
Creation Any numeric creation parameter
parameters
expression rounds the float value to the nearest
integer.
Transforms Position [X, Y, Z]
X Rotation • Position, Scale, and Point3 expressions return a
Y Rotation
three-component vector. For example, [5, 18,
Z Rotation
24]. The vector can represent an object’s X,Y,Z
location, percent scaling in X, Y, and Z, or a
Scale [X%, Y%, Z%]
color (RGB values) in a material.
 Expression Techniques 147

Operators Tip: Logical operators are useful with the "if "
function.
In the following tables, p and q are any scalar value
or expression, V and W are any vector value or
Vector Operators
expression. (The character "x" is used as the vector
cross-product operator.) For vectors that have a variable name, you can use
a special component operator (.) to refer to the
Scalar Operators three scalar components of the vector:
These are the arithmetic operators for scalar Use Meaning
values:
V.x first component (X)
Operator Use Meaning V.y second component (Y)
+ p+q Addition V.z third component (Z)
- p-q Subtraction
- -p
These are the operators for vector arithmetic:
Additive inverse
* p*q Multiplication Operator Use Meaning

/ p/q Division + V+W Addition

^ p^q power (p to the - V-W subtraction

power of q)
* p*V scalar multiplication
** p**q ^ and ** are the
* V*p scalar multiplication
same operation
* V*W dot product
You can also use logical (Boolean) operators with X VxW cross product
scalar values. These operators all return 1 if true, 0
/ V/p scalar division
otherwise:
Operator Use Meaning Operator Precedence
= p=q equal to
Expressions have eight levels of precedence. The
< p<q less than higher the operator is on the list, the earlier it is
> p>q Greater than evaluated.
<= p<=q less than or equal Operator Level of Precedence
to
-+ as unary operators, as in -8, +25
>= p>=q Greater than or
equal to . the component operator, as in V.x
| p|q Logical OR, ** ^
returns 1 if either
p or q is nonzero; X cross product
otherwise, returns
*/
0
+-
& p&q Logical AND,
returns 1 if p and q = < > <= >=
are both nonzero;
otherwise, returns |&
0
148 Chapter 4: Object Properties

Parentheses are a special case. They are a grouping Variable Meaning

or subexpression operator that is provided so you Name
can override the precedence order of the other NT Normalized time. By definition, normalized
operators. time (NT) ranges from 0 to 1 over the active
time segment, regardless of how many
frames are in the segment. If you base
Variables an expression on NT, its effect happens
exactly once over the range. You can also
In expressions you write for expression controllers multiply NT by a factor for the expression’s
(page 2–320), variables are represented by effect to occur a certain number of times
(for example, 2*NT causes the expression’s
symbolic names. You create them to contain effect to occur twice). Expressions based
constant or variable values in your expressions. on NT speed up or slow down if you change
the length of the time segment.
Several predefined variables are also provided.
Some of these have a constant value, others can S Seconds (elapsed time in seconds). Elapsed
time is measured from the first frame to the
vary. current frame. The range of seconds can
vary depending on the total time of the
In expressions used for parameter wiring (page active time segment.
2–411) and the numerical expression evaluator
T Ticks (elapsed time in ticks). There are 4800
(page 1–13), you can use predefined variables with ticks per second. Elapsed time is measured
constant values. from the first frame to the current frame.
The range of ticks can vary depending on
the total time of the active time segment.
Predefined Variables with Constant Values
These are the predefined variables that have a
Rules for Variable Names
constant value (variable names are case-sensitive):
• Variable names can contain as many
Variable Constant Use alphanumeric characters as you like. Their
Name Value
length is not limited.
pi 3.14159 Ratio of a circle’s
circumference to its diameter. • Variable names cannot contain spaces.
e 2.71828 Base of natural logarithms. • The variable name must begin with a letter.
TPS 4800 Ticks per second. The tick is Numbers are valid within a variable name (as
the basic time unit of 3ds Max in "Pos1" or "M23").
animation.
• Variable names are case-sensitive. For example,
"pos", "Pos", and "POS" designate three
Predefined Variables with Variable Values different variables.
These are the predefined variables that have a • You can’t create a variable with a name that
variable, time-based value (variable names are duplicates another name, including the variable
case-sensitive). names that are predefined.
Variable Meaning
Name Functions
F Frame number. For each frame, F equals the Following is a list of the functions provided for
current frame number, counting from zero. expressions. In this list, p, q, and r represent scalar
The range of frames can vary depending
on the number of frames in the active time values or scalar expressions. V and W represent
segment. vector values or vector expressions.
 Expression Techniques 149

To use a function in an expression, enter the name Rounding Functions

of the function and appropriate arguments to it. Function Meaning
ceil(p) smallest integer greater
Trigonometric Functions than or equal to p
The sine, cosine, and tangent functions take an floor(p) largest integer less than or
angle in degrees and return a floating-point value. equal to p
The arc functions take a floating-point value and
return a value in degrees. Standard Calculations
Function Meaning Function Meaning

sin(p) sine ln(p) natural (base e) logarithm

cos(p) cosine log(p) common (base 10)

logarithm
tan(p) tangent
exp(p) exponential function
asin(p) arc sine exp(p)=e^p
acos(p) arc cosine pow(p,q) p to the power of q (p^q)
atan(p) arc tangent sqrt(p) square root

abs(p) absolute value

Hyperbolic Functions min(p,q) minimum returns p or q,
depending on which is
Hyperbolic functions take a floating-point value smaller
and return a floating-point value.
max(p,q) maximum returns p or q,
depending on which is
Function Meaning
greater
sinh(p) hyperbolic sine
mod(p,q) remainder of p divided by q
cosh(p) hyperbolic cosine
tanh(p) hyperbolic tangent Conditional Functions
Function Meaning
Conversion Between Radians and Degrees if(p,q,r) works like the common
Function Meaning spreadsheet "if" (If p is
nonzero then "if" returns q,
radToDeg(p) takes p in radians and otherwise "if" returns r.)
returns the same angle in
degrees vif(c,V1,V2) "Vector If" (Value is V1 if c is
true, else V2.)
degToRad(p) takes p in degrees and
returns the same angle in
radians 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: The comp function is an alternative to the

notation V.x, V.y, V.z.

Special Animation Function

Function Meaning
noise(p,q,r) 3D noise: returns a randomly
generated position

The arbitrary values p, q and r, are used as a

random-generation seed. You can reuse these
values to ensure that noise() returns the same
value.
Trigonometric functions based on the unit circle

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. The tangent function is undefined for x=0.
If you find this topic difficult to follow, you might Another way to define the target is:
consult a more basic reference on mathematics.
Trigonometric functions are principally used to
model or describe:
• The relation between angles in a triangle (hence Because XYR defines a right-angled triangle, the
the name). relation between the sine and cosine is:
• Rotations about a circle, including locations
given in polar coordinates.
• Cyclical or periodic values, such as sound
The graphs of the basic trigonometric functions
waves.
illustrate their cyclical nature.
The three basic trigonometric functions are
derived from an angle rotating about a unit circle.

Graphs of basic trigonometric functions

The sine and cosine functions yield the same

values, but the phase differs along the X axis by
∏/2: in other words, 90 degrees.
The inverse functions for the trigonometric
functions are the arc functions; the inverse only
 Vectors 151

applies to values of x restricted by –∏/2 ≤ X ≤ ∏/2.

The graphs for these functions appear like the Vectors
basic trigonometric function graphs, but turned This topic is a quick review for readers who need
on their sides. 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
Graphs of basic arc functions
through) the point.
The hyperbolic functions are based on the In 3ds Max, vectors have three values and describe
exponential constant e instead of on circular positions in three-dimensional space. They can
measurement. However, they behave similarly to also represent percent scaling in X, Y, and Z; and
the trigonometric functions and are named for (more abstractly) describe locations in RGB color
them. The basic hyperbolic functions are: 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
three axes (X, Y, and Z) of 3D space.

Basic vectors and the XYZ axes

Graphs of basic hyperbolic functions

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: Vector Length and Direction

V+W=W+V.
The length of a vector is obtained from the
Pythagorean theorem.

In 3ds Max expressions, the length() function

returns this value.
The direction of the vector is the vector divided
by its length; this gives you a unit vector with the
Adding two vectors same direction.

Subtracting two vectors gives the vector between The distance between two points is the length of
the two points. the vector between them.

Subtracting vectors to obtain a distance

Subtracting two vectors

Scalar Multiplication and Division

Multiplying a vector by a scalar changes the
vector’s length, as does dividing the vector by a
scalar.
Creating Geometry

The solid 3D objects in the scene, and the objects

used to create them, are known as geometry. Basics of Creating and
Usually, geometry comprises the subject of your
scene and the objects that you render. Modifying Objects
This section describes the types of geometry you This section provides an introduction to
can create using the Create panel (page 3–757). techniques for creating and modeling objects.

Basics of Creating and Modifying Objects (page The Create panel (page 3–757) contains controls
1–153) for creating new objects, the first step in building
a scene. Despite the variety of object types, the
Geometric Primitives (page 1–169) creation process is consistent for most objects.
Shapes (page 1–262) The Modify panel (page 3–758) provides controls
Compound Objects (page 1–313) to complete the modeling process. Any object
can be reworked, from its creation parameters
Dynamics Objects (page 1–395) to its internal geometry. Both object-space and
Systems (page 1–404) world-space modifiers let you apply a wide range
of effects to objects in your scene. The modifier
See also stack allows editing of the modifier sequence.

Surface Modeling (page 1–963) In 3ds Max, you model basic parametric (page
3–989) objects into more complex ones by:
Space Warps and Particle Systems (page 2–55)
• Changing parameters (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)
154 Chapter 5: Creating Geometry

Using the Modify Panel (page 1–499) (page 1–289), or NURBS object. The easiest way
to collapse an object is to select it, right-click it,
Using the Modifier Stack (page 1–502)
and choose a "Convert to" option from the quad
Editing the Stack (page 1–504) menu > Transform quadrant. This lets you use
explicit editing methods with the object, such as
Modifying at the Sub-Object Level (page 1–506)
transforming vertices. You can also use the Modify
Using the Stack at the Sub-Object Level (page panel to collapse a primitive.
1–508)
Modifying Multiple Objects (page 1–509)
Mapping Coordinates
Most Geometry objects have an option for
How Instanced Modifiers Work (page 1–511)
generating mapping coordinates. Objects need
Transforms, Modifiers, and Object Data Flow (page these mapping coordinates if you plan to apply
1–494) a mapped material to them. Mapped materials
include a wide range of rendered effects, from
Varying the Parameters 2D bitmaps to reflections and refractions. See
Unlike physical objects, with a fixed shape and Mapping Coordinates (page 2–1405) and Using
size, you can change the creation parameters of Maps to Enhance a Material (page 2–1403). If
objects and shapes to dramatically alter topology. mapping coordinates have already been applied to
Here are some examples of changes you can make: an object, the check box for this feature is turned
on.
• Turn a cone into a four-sided pyramid by
reducing the number of sides and turning the
Smooth option off. Using the Create Panel
• Slice any circular object as if it were a pie.
The Create panel provides the controls for creating
• Animate almost all creation parameters, and objects and adjusting their parameters.
interactively change their settings during
animation playback. To access the Create panel:
• Render splines directly at any assigned width.
1. Click the Create tab in the command
• Break, detach, and divide wall segments.
panels (page 3–756).
• Change the number of risers without affecting
By default, this panel is open when you start the
the overall rise of the stairs.
program. If the command panel isn’t visible,
choose it from the Customize Display right-click
Collapsing Primitives to Base Geometry
menu (page 3–787).
You can collapse a geometric primitive or shape to
2. Click an object type to display its Parameters
one of a variety of base geometric types once you
rollout.
no longer need access to its creation parameters.
For example, you can convert any standard
The Creation Process
primitive to an editable mesh (page 1–996), editable
poly (page 1–1022), editable patch (page 1–968), or The actual creation of objects is accomplished
NURBS (page 1–1091) object, and you can convert with a single click of the mouse, a drag, or some
a spline shape to an editable mesh, editable spline
 Identifying the Basic Building Blocks 155

combination, depending on the object type. This Creation Method—This rollout provides a choice of
is the general sequence: how you use the mouse to create an object. For
• Choose an object type. example, you can use either the center (radius) or
edge (diameter) to define the size of a Circle shape.
• Click or drag in a viewport to create an object
of approximate size and location. A default creation method is always selected
when you access the tool. If you want to use an
• Adjust the object’s parameters and position,
alternate method, choose the option before you
either immediately or later.
create the object. The creation method has no
See Creating an Object (page 1–157). effect on a finished object; the options are for your
convenience during creation.
Create Panel Interface
Keyboard Entry—This rollout lets you enter
Controls in the Create panel vary depending on creation parameters from the keyboard for
the kind of object you are creating. However, geometric primitive and shape objects.
certain controls are always present, and others are
Parameters—This rollout shows creation
shared by nearly all object types.
parameters: the defining values for an object.
Category—Buttons at the top of the panel access Some parameters can be preset, while others
the seven main categories of objects. Geometry are only for adjustment after an object has been
is the default category. created.
Subcategory—A list lets you select subcategories. Other rollouts—Additional rollouts can appear
For example, subcategories under Geometry on the Create panel, depending on what kind of
include Standard Primitives, Extended Primitives, object you create.
Compound Objects, Particle Systems, Patch Grids,
NURBS Surfaces, and Dynamics Objects.
Each subcategory contains one or more object Identifying the Basic Building
types. If you’ve installed plug-in components for Blocks
additional object types, these might be grouped On the Create panel, the categories for Geometry
as a single subcategory. and Shapes supply the "building blocks" to
Object Type—A rollout contains labeled buttons combine and modify into more sophisticated
for creating objects in a particular subcategory, objects. These parametric (page 3–989) objects are
plus the AutoGrid (page 2–7) check box. ready to use. By adjusting values and turning some
buttons on or off, you can create dozens of "new"
Name and Color—The Name shows the building blocks from the ones listed here.
automatically assigned name of the object. You can
edit this name or replace it with another. (Different You can choose these types from the sub-categories
objects can have the same name, though this is not list on the Create panel.
recommended.) Clicking the square color swatch
brings up an Object Color dialog (page 1–159) Geometry Types
to change the color of the object as it appears in Standard Primitives—Relatively simple 3D objects
viewports (the wireframe color). such as Box, Sphere, and Cylinder, as well as
156 Chapter 5: Creating Geometry

Torus, Plane, Cone, GeoSphere, Tube, Teapot, and Dynamics Objects—Objects designed for use in
Pyramid. dynamics simulations.
Extended Primitives—More complex 3D objects
Shape Types
such as Capsule, OilTank, Spindle, Hedra, Torus
Knot, and Prism. Splines—Common 2D shapes such as a Line,
Rectangle, Circle, Ellipse, Arc, Donut, NGon, and
Compound Objects—Compound objects include
Star. Text shapes support TrueType fonts. Section
Scatter, Connect, ShapeMerge, Booleans, Morph,
creates a spline from the cross-section of an object.
BlobMesh, Terrain, and Loft. Booleans combine
Helix is a 3D shape.
the geometry of two objects using union,
intersection, and difference operations. Morphs NURBS Curves—A Point Curve and CV Curve
are animated objects that change one geometric provide the starting points for complex surfaces.
shape into other shapes over time. ShapeMerge See Introduction to NURBS Modeling (page
lets you embed a spline shape into a geometric 1–1078).
mesh. Loft (page 1–352) uses shapes as cross
Extended Splines—More complex 2D shapes
sections along a path to produce a 3D object.
including Walled Rectangle, Channel Spline,
Particle Systems—Animated objects that simulate Angle Spline, Tee Spline, and Wide Flange Spline.
spray, snow, blizzard, and similar collections of Extended splines can be used in architectural and
small objects. similar applications.
Patch Grids—Simple 2D surfaces ready for
Varying the Parameters
modeling or repairing existing meshes.
Unlike physical building blocks, with fixed shape
NURBS Surfaces—Analytically generated surfaces
and size, you can change the parameters of objects
especially suited for modeling surfaces with and shapes to dramatically alter topology. Here are
complicated curves. some examples of changes you can make:
AEC Extended—Elements useful for AEC design, • Turn a cone into a four-sided pyramid by
including Terrain, Foliage (plants and trees), reducing the number of sides and turning the
Railing, for creating custom railings, and Wall, for Smooth option off.
the production of Wall objects.
• Slice any circular object as if it were a pie.
Stairs—Four types of stairs: Spiral, L-Type,
• Animate almost all creation parameters, and
Straight, and U-Type. interactively change their settings during
Doors—Parametric door styles include Pivot, animation playback.
BiFold, and Sliding. • Render splines directly at any assigned width.
Windows—Parametric window styles include • Break, detach, and divide wall segments.
Awning, Fixed, Projected, Casement, Pivoted, and • Change the number of risers without affecting
Sliding. the overall rise of the stairs.
Note: Default materials are automatically applied
to Foliage, as well as to the following object types: Collapsing Primitives to Base Geometry
Railing, Stairs, Doors, and Windows.
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), 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. 1. Radius defined
2. Height defined
Mapping Coordinates
Most Geometry objects have an option for
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.
3. Sides increased
4. Height Segments increased
Creating an Object
To choose an object category:
With some variations, the steps shown in the
following images apply to creating any type of
object on the Create panel. For specific examples, 1. Click the Create tab to view the Create
see the Procedures section in any object’s topic. 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: 5. Click when the second parameter has the value
• Click the button for the type of object you want you want, and so on.
to create. The number of times you press or release the
The button highlights, showing that it is mouse button depends on how many spatial
active. Four rollouts appear: Name and dimensions are required to define the object.
Color, Creation Method, Keyboard Entry, and (For some kinds of objects, such as Line and
Parameters. Bones, the number is open-ended.)
When the object is complete, it is in a selected state
To choose a creation method (optional): and ready for adjustments.
You can accept the default method and skip this
step. To name the object (optional):

• Choose a method in the Creation Method • Highlight the default object name in the Name
rollout. and Color rollout, and then enter a name. This
option is available only when a single object is
To preset the creation parameters (optional): selected.
You can adjust all creation parameters after you Naming objects is a good practice for
create an object. Skip this step if you prefer. organizing your scenes. To name a set of
• In the Parameters rollout, you can set selected objects, see Named Selection Sets (page
parameters before you create an object. 1–67).
However, the values of parameters you set by
To change the object’s display color (optional):
dragging the mouse (for example, the Radius
and Height of a cylinder) have no effect until • The color swatch next to the object name field
after you create the object. displays the selected object’s color and lets you
select a new one. The color is the one used to
To create the object: display the object in viewports. Click the color
1. Put the cursor at a point in any viewport where swatch to display the Object Color dialog (page
you want to place the object, and hold the 1–159).
mouse button down (do not release the button). You can also change object colors with Layers
2. Drag the mouse to define the first parameter (page 3–656).
of the object; for example, the circular base of
To adjust the object’s parameters:
a cylinder.
• You can change the creation parameters
3. Release the mouse button. The first parameter
immediately after you complete an object, while
is set with this release.
it’s still selected. Or, you can select the object
4. Move up or down without touching the mouse later and adjust its creation parameters on the
button. This sets the next parameter; for Modify panel.
example, the height of a cylinder.
While making adjustments, you can use viewport
If you want to cancel: Until you complete the navigation controls like Zoom, Pan, and Arc
next step, you can cancel the creation process Rotate to change your view of the selected object.
with a right-click. You can also adjust the time slider.
 Assigning Colors to Objects 159

To end the creation process: colors to assign to objects, it is available only

While the object type button remains active, you through the Default palette.
can continue creating objects of the same type Note:
until you do one of the following:
The Layers functionality lets you organize your
• Select an object other than the one you created scene and can also be used for assigning object
most recently. colors. For more information, see Layer Manager
• Transform an object. (page 3–656).
• Change to another command panel.
• Use commands other than viewport navigation Object Color Dialog
or the time slider.
Click the color swatch by the object’s name in any
After you end the creation process, changing command panel.
parameters on the Create panel will have no effect
on the object; you must go to the Modify panel The Object Color dialog contains two preset
to adjust the object’s parameters. See Using the palettes of colors that you use to set an object’s
Modify Panel (page 1–499). wireframe color. This is also the surface color you
see in a shaded viewport.

Using Random Color Assignment

By default, 3ds Max assigns colors randomly as
Assigning Colors to Objects objects are created. The colors are chosen from the
3ds Max is a truecolor (page 3–1027) program. current palette in the Object Color dialog. If you
When you pick a color in the program, you are turn on Customize > Preferences > General panel
specifying 24 bits of color data, which provide a (page 3–815) > Default to By Layer for New Nodes,
range of over 16 million colors. new objects are assigned the color set by the layer.

Object wireframe colors are used primarily as an For individual objects, you can click the By
organizational tool. Object naming strategies, Layer/By Object button on the Object Color dialog
named selection sets, and object wireframe color to change the method used to set the object color.
strategies provide a rich set of tools for organizing
even the most complex scenes. Defining Custom Colors
You can use two dialogs to specify colors: When using the 3ds Max palette, the Object
Color dialog contains a palette of 16 custom color
• The Object Color dialog (page 1–159) contains swatches. You can define any color for each of the
two preset palettes of colors that you use to set 16 color swatches by selecting a swatch from the
an object’s wireframe color. This is also the Custom Colors group, then clicking Add Custom
surface color you see in a rendered viewport. Colors.
The two color palettes are Default palette and
AutoCAD ACI palette.
• The Color 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
160 Chapter 5: Creating Geometry

Switching Between Palettes To define a custom color:

You can alternate between two versions of the 1. With the 3ds Max palette option active, click
Object Color dialog at any time by clicking the one of the 16 custom color swatches.
appropriate Basic Colors toggle: 2. Click Add Custom Colors to display the Color
• 3ds Max palette: Contains a fixed palette of 64 Selector (page 1–161).
colors, plus a custom palette of 16 user-defined 3. Define a custom color and click Add Color.
custom colors.
The custom color is stored in the selected color
Use this version when you want to work with a swatch of the Object Color dialog and is set as
smaller palette of colors or when you want to the current color.
define custom object wireframe colors.
• AutoCAD-compatible version: Contains a To copy a custom color from an object in your scene
to one of your custom color swatches:
fixed palette of 256 colors matching the colors
in the AutoCAD Color Index (ACI). • Drag the Active Color swatch up to one of the
Use this version when you want to assign object custom color swatches.
colors that match the AutoCAD Color Index. The Active Color swatch is in the Object Color
Using ACI colors is useful if you plan to export dialog, to the left of the OK button.
objects to AutoCAD and want to organize
them by object color, or when you want a wide To select objects by color:
selection of colors to choose from.
• Click Select By Color. This displays the
Procedures Select Objects dialog (page 1–78). All objects
To set object color:
that have the same color as the current object
are highlighted in the list. Click Select.
This is the general procedure for selecting object
color. Interface
1. Select one or more objects.
2. On any command panel, click the color swatch
to the right of the Object Name field to display
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.
Newly created objects appear in this color until Palette—Choose one of these:
you change the setting.
• 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 Active/Current Color—Displays the active color (if
AutoCAD ACI palette is shown. When you no object is selected) or current color. When you
click a color, its ACI# is displayed at the bottom click the color swatch, the Color Selector dialog
of the dialog. (page 1–161) opens, where you can mix a custom
color.
Basic Colors—A set of 64 default colors, available
only when 3ds Max Palette is active.
Custom Colors—Displays 16 custom colors when Color Selector Dialog
3ds Max Palette is active. To choose a custom
Any command panel > Name and Color fields > Click
color, click its swatch. To define or change a color swatch. > Object Color dialog > Add Custom Colors
custom color, click its swatch and then click Add button or Current Color swatch.
Custom Colors. Material Editor > Click any color swatch.
Add Custom Colors—Available only when 3ds Max Select or add a light object. > Modify panel >
Palette is active. Clicking this option displays the Intensity/Color/(Distribution/Attenuation) rollout > Click
color or Filter Color swatch.
Color Selector (page 1–161), which allows you to
modify the currently selected custom color. If Rendering menu > Environment > Environment and
Effects dialog > Click color swatch for Background, Tint,
you click Add Custom Colors with a basic color and Ambient components of Global Lighting, and various
chosen, the dialog switches to the first custom components of atmospheric effects such as Fire, Fog, and
so on..
color before opening the Color Selector.
By Layer/By Object—Sets the object’s color by layer The Color Selector dialog lets you specify a
or by object. If color is set by object, choosing a custom color parameter in 3ds Max. You can work
new color on the Object Color dialog changes the simultaneously with three different color models
object’s wireframe color in viewports. to help you zero in on the exact color you want.
ACI#—Displays the ACI number for the selected You can use the Color Selector to specify many
color. Available only when AutoCAD ACI palette color parameters, such as light colors, material
is active. colors, background colors, and custom object
colors. (Another way to choose an object’s
Select by Color—Displays a Select Objects viewport color is to use the predefined colors in
dialog (page 1–78) listing all objects that use the the Object Color dialog (page 1–159).)
current color as their wireframe color. In most contexts, the Color Selector is modeless
Note: This button is available only if at least one (page 3–973); that is, it remains on the screen until
object in the scene has the Current Color as its you dismiss it, and you can use other controls or
wireframe color. work in a viewport while the dialog is still visible.
In other contexts, the Color Selector is modal, and
Assign Random Colors—When on, 3ds Max will
you must close the dialog before proceeding.
assign a random color to each object created.
When off, 3ds Max will assign the same color The dialog is divided into three different color
to every object created until the color swatch is selection models. You can use the controls for any
changed. This setting affects wireframe colors only model to define a color. The three color models
when By Object is turned on as the color method. are:
• Hue/Blackness/Whiteness (HBW)
162 Chapter 5: Creating Geometry

The most prominently displayed and intuitive original color, before you began making changes,
color model is the HBW model. This model is displayed in the left half.
represents a natural, pigment-based way of
mixing color by starting with a pure color (hue) Procedures
and then making it darker by adding black, or To display the Color Selector:
lighter by adding white.
1. Click the color swatch of a color parameter
The main feature of the HBW model is a large such as the color of a light or of a material
square box displaying the color spectrum. component.
Across the top of this box you have the spectrum
Note: The object color displayed next to an
of pure colors, or hue. Down the side of the box
object’s name on command panels uses the
you see increasing levels of blackness, making
Object Color dialog (page 1–159). On the Object
the color dark as you approach the bottom.
Color dialog, clicking the Active (or Current)
To the right of the color spectrum box is the Color swatch or the Add Custom Colors button
Whiteness box, which controls the amount displays a Color Selector.
of white in the color. Use higher positions to
2. Make a color selection and click OK or Cancel,
decrease the whiteness, or lower positions to
or the Close button (X).
increase the whiteness.
If using the Add Color version of the Color
• Red/Blue/Green (RGB)
Selector, be sure to click Add Color first.
The RGB model adjusts the mix of Red,
3. To revert to the original color, click Reset.
Green, and Blue to define a color. This model
represents the way colored light can be mixed.
To choose the hue of a color, do one of the following:
This is additive color mixing, as opposed to the
subtractive color mixing for paint and other • Click anywhere in the Hue rainbow (the large,
pigments. You can adjust values using the color multicolored square).
sliders, the numeric fields to their right (via the • Drag the Hue slider at the top of the rainbow.
keyboard), or the spinners to the right of the
• Drag the Red, Green, and Blue sliders.
numeric fields.
• Drag the Hue slider.
• Hue/Saturation/Value (HSV)
• Use the Red, Green, Blue, or Hue spinners.
The HSV color model adjusts Hue, Saturation,
and Value. Hue sets the color; Saturation To make a color lighter, do one of the following:
(labeled "Sat") sets the color’s purity; and Value
• Drag the vertical Whiteness slider (at the right
sets the color’s brightness, or intensity. You
of the Hue rainbow) downward.
can adjust values using the color sliders, the
numeric fields to their right (via the keyboard), • Drag the vertical Blackness slider (at the left of
or the spinners to the right of the numeric fields. the Hue rainbow) upward.

As you adjust the controls of one color model, the • Drag the Saturation (Sat.) slider to the left.
controls of the other two models change to match. • Use the Saturation spinner to decrease
The color defined by the color model is displayed saturation.
in the right half of the Color Output box. The • 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: the bar and pure white at the bottom. Drag the
• Drag the vertical Whiteness slider (at the right whiteness pointer down to lighten the color by
of the Hue rainbow) upward. adding white.

• Drag the vertical Blackness slider (at the left of Red, Green, and Blue—When a red, green, or blue
the Hue rainbow) downward. slider is all the way to the left, its numeric field
contains 0; none of the color controlled by that
• Drag the Saturation (Sat.) slider to the right.
slider is used. If the slider is all the way to the right,
• Use the Saturation spinner to increase the field reads 255; the maximum amount of that
saturation. color is being used.
• Drag the Value slider to the left. The spinners to the right of each slider are another
• Use the Value spinner to decrease the value. way of setting the red, blue, or green component.

To return to the original color: The colors in the sliders change to show an
approximation of what the color result will be
• Click Reset. if you move the slider to that location, without
The new color is replaced by the original color, adjusting any other color parameter.
and all parameter values are reset.
Hue—Sets the pure color. Locating the slider all
To dismiss the Color Selector, do one of the following: the way to the left gives you pure red. As you
drag the slider to the right you move through
• Click OK or Cancel. the spectrum of Red, Yellow, Green, Cyan, Blue,
• Click the dialog’s Close (X) button. Magenta, and back to Red again. Hue is more
accurately represented as a color wheel rather than
Interface 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.
Hue—Define a pure color by dragging the hue Low values darken the color toward black. High
pointer across the top of the box. values lighten the color toward white. A value in
the middle, at a setting of 127, gives you the color
Blackness—Drag the blackness pointer down the
defined only by hue and saturation.
side to darken the pure color by adding black. You
can also click or drag inside the box to change hue Color Output—This pair of color swatches, below
and blackness at the same time. the Value slider, lets you compare the new color,
shown on the right, to the original color, shown
Whiteness—The vertical bar to the right controls
on the left.
the amount of whiteness. The color set by the hue
and blackness pointers is displayed at the top of
164 Chapter 5: Creating Geometry

The color sampler tool compensates for any

Sample Screen Color—Lets you pick a
gamma applied to the color selector using the
new color from anywhere on the screen. After Customize > Preferences > Gamma And LUT
clicking this button, the mouse cursor changes to (page 3–824) > Affect Color Selectors option. This
the eyedropper icon shown on the button. While means that the color-corrected, displayed sampled
this cursor appears, use any of these methods: visual color in the color selector always matches
• Click anywhere on the screen to replace the the on-screen visual color of the sampled location.
current color with the color of the pixel under If the gamma of the color selector does not match
the lower-right corner of the cursor. the gamma of the sampled location, the true color
• Drag to continually update the current color values (RGB/HSV) of the sampled color will differ
with the color of the pixel under the lower-right from the true color values of the sampled location.
corner of the cursor. This makes it easier to This behavior applies to both regular gamma and
make sure you get the right color if the desired Autodesk LUT gamma correction modes.
color area is small (say, a one-pixel-thick line). Reset—Click to restore color settings to the
• At any time, press and hold Shift to average original color.
the current color with colors the cursor moves OK—Accepts any changes and closes the dialog.
over.
Cancel—Restores the original color and closes the
Instead of replacing the current color with
dialog.
the new sampled color, smoothed sampling
gradually mixes the sampled color with
Color Selector for mental ray Materials and
the current color, giving a smoothed color Shaders
transition during sampling. This is useful for
sampling noisy areas, where the variations When you click a color swatch in the interface for
in colors are accumulated to provide a a mental ray material (page 2–1543) or mental ray
representative general color. shader (page 2–1710), or a DirectX material (page
2–1613), you see a variant of the Color Selector.
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.
This dialog differs from the standard Color
Sampling can occur under any conditions Selector in two ways:
anywhere within any windows that belong to the
• The RGB and HSV values appear as normalized
current instance of 3ds Max. To sample anywhere
values between 0.0 and 1.0, rather than as 8-bit
outside of 3ds Max (for example, the desktop),
integers (0–255).
drag the mouse from within one of these 3ds Max
windows.
 Color Clipboard Utility 165

• An additional Alpha slider and spinner let you 3. Select a color from any swatch in a material.
explicitly set the alpha value for this color. This 4. Drag the color to a swatch in the color
value is also normalized, where 0.0 represents clipboard.
fully transparent, and 1.0 represents fully
5. A dialog appears asking if you want to copy or
opaque.
swap the material. Choose copy to replace the
This version of the Color Selector also appears swatch in the color clipboard with the swatch
when you use the DirectX 9 Shader material (page from the material you selected. Choose swap
2–1613) and the mental ray renderer’s Sampling to swap colors on the Color Clipboard swatch
Quality rollout (page 3–98). and material swatch.

Interface
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
Color swatches—Click a color swatch to edit its
it with drag and drop. This is because you can’t
value with the Color Selector.
have two materials/maps visible at the same time.
However, you can drag the color from one material Note: The Color Selector invoked by this utility
to the color clipboard, switch to the other material, uses decimal numbers in the range 0.0 to 1.0,
and then drag the color from the clipboard to the instead of integers in the range 0 to 255 as with
swatch in the new material. other color-selection dialogs in 3ds Max.

You can save and load color clipboard files. The New Floater—Displays a floating clipboard with 12
saved file, which is given a .ccb (color clip board) slots, plus buttons for opening and saving color
extension, is an ASCII file that contains a palette clipboard files. You can open up as many of these
description. The first 12 lines of the file consist floaters as you want and you can minimize them.
of three RGB numbers, so you can easily edit or If you exit the Utilities panel or select the Close
create your own clipboard files. This file format is button to exit the Color Clipboard utility, any
also used by the VertexPaint modifier (page 1–936). visible floaters remain open. When you close a
floater, any changed values are lost.
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.
166 Chapter 5: Creating Geometry

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
Close—Exits the Clipboard utility. correctly using these default normals. Sometimes,
however, you need to adjust the normals.

Adjusting Normals and

Smoothing
In general, you adjust normals and smoothing to
prepare objects for rendering.
A normal (page 3–980) is a unit vector that defines
which way a face or vertex is pointing. The
direction in which the normal points represents
the front, or outer surface of the face or vertex,
which is the side of the surface that is normally Left: The normals shown as spikes indicate the orientation of
displayed and rendered. faces on the pyramid.

You can manually flip or unify face normals to fix Right: Flipping normals can make faces invisible (or visible) in
shaded viewports and renderings.
surface errors caused by modeling operations or
by importing meshes from other programs. Undesired normals can appear in these objects:
Smoothing groups define whether a surface is • Meshes imported from other applications.
rendered with sharp edges or smooth surfaces. • Geometry generated by complex operations
Smoothing groups are numbers assigned to the such as Boolean objects, lathe objects, or lofts.
faces of an object. Each face can carry any number
of smoothing groups up to the maximum of 32. Normals are used to define which side of a face or
If two faces share an edge and share the same vertex is considered the "out" side. The out side of
smoothing group, they render as a smooth surface. a face or vertex is the side that gets rendered unless
If they don’t share the same smoothing group, the you are using two-sided materials, or turn on the
edge between them renders as a corner. You can Force 2-Sided option in the Render Scene dialog
manually change or animate smoothing group > Common panel > Common Parameters rollout
assignment. Changing smoothing groups does not (page 3–27).
alter geometry in any way; it only changes the way Do one of the following to view or change face
faces and edges are shaded. normals:
 Viewing and Changing Smoothing 167

• Apply a Normal modifier (page 1–746). If a Face Flipping Normals

sub-object selection is active, Normal applies
Use Flip Normals to reverse the direction of all
to the selected faces. If no faces are selected,
selected faces. Flipping the normals of an object
Normal applies to the entire object.
turns it inside-out.
• Apply an Edit Mesh modifier (page 1–634),
Flip Normals is found on the Surface Properties
enable Face, Polygon or Element sub-object
rollout and on the Normal modifier.
mode, and then use the features on the Surface
Properties rollout to change the directions in The Lathe modifier (page 1–707) sometimes creates
which normals point. an object with normals pointing inward. Use the
• Convert the object to an editable mesh (page Flip Normals check box on the Lathe modifier’s
1–996), enable Face, Polygon or Element Parameters rollout to adjust the normals. You can
sub-object mode, and use the features on the also use the Normal modifier with both Unify and
Surface Properties rollout Flip turned on to fix inside-out lathed objects.

Viewing Normals
Viewing and Changing Smoothing
The easiest way to view normals is to look at an
object in a shaded viewport. In this case, you are Smoothing blends the shading at the edges
not viewing the normal arrows themselves, but between faces to produce the appearance of a
rather their effects on the shaded surface. If the smooth, curved surface. You can control how
object looks as if it is inside-out, or has holes, then smoothing is applied to a surface so your objects
some of the normals might be pointing in the can have both smooth surfaces and sharp faceted
wrong direction. edges at the appropriate places.

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 The face labeled “1-2” shares smoothing groups with adjacent
rollout and on the Normal modifier. faces, so the edges between them are smoothed over in
renderings.
If you are animating the creation of a complex The face labeled “3” does not share a smoothing group, so its
object such as a nested Boolean or a loft, and you edge is visible in renderings.
think the operation might result in inconsistent
Smoothing does not affect geometry. It affects only
faces, apply a Normal modifier (page 1–746) to the
the way geometry is colored when rendered.
result, and turn on Unify Normals.
168 Chapter 5: Creating Geometry

Smoothing is controlled by smoothing groups, Viewing Smoothing Groups

which are numbered groups ranging from 1 to 32.
The easiest way to view smoothing is to look at an
Each face is assigned to one or more smoothing
object in a shaded viewport. In this case, you are
groups. When a scene is rendered, the renderer
not viewing the smoothing groups themselves but
checks each adjacent pair of faces to see if they
rather their effects on the shaded surface.
share a smoothing group, and renders the object
as follows: You can see the smoothing group numbers for
selected faces of an editable mesh object or the Edit
• If faces have no smoothing groups in common,
Mesh modifier by looking at the Smoothing Group
the faces are rendered with a sharp edge
buttons on the Surface Properties rollout, or of
between them.
an editable poly object on the Polygon Properties
• If faces have at least one smoothing group rollout.
in common, the edge between the faces is
“smoothed”, meaning it is shaded in such a Smoothing Group buttons appear as follows:
way that the area where the faces meet appears • Group numbers not used by any face in the
smooth. selection, appear normal.
Because each face has three edges, only three • Group numbers used by all faces in the
smoothing groups can be in effect for any face. selection, appear selected.
Extra smoothing groups assigned to a face are • Group numbers used by some, but not all, faces
ignored. in the selection, appear blank.
Do one of the following to view or change
smoothing group assignments: Automatically Smoothing an Object
• Turn on the Smooth check box on the Click Auto Smooth to assign smoothing
Parameters rollout of a parametric object to set automatically. You set a Threshold angle to
default smoothing for the object. determine whether to smooth adjacent faces.
• Turn on the Auto Smooth check box on the • If the angle between face normals is less than or
Rendering rollout of a spline shape to turn on equal to the threshold, the faces are assigned to
smoothing. a common smoothing group.
• Apply a Smooth modifier (page 1–828). If a Face • If the angle between face normals is greater
sub-object selection is active, Smooth applies than the threshold, the faces are assigned to
to the selected faces. If no faces are selected, separate groups.
Smooth applies to the entire object. Auto Smooth is found on the Surface Properties
• Apply an Edit Mesh modifier (page 1–634), rollout and on the Smooth modifier.
enable Face (or Polygon or Element) sub-object
mode, then use the features on the Surface Manually Applying Smoothing Groups
Properties rollout. You manually assign smoothing groups to a
• Convert the object to an editable mesh (page selection of faces by clicking Smoothing Group
1–996), enable Face (or Polygon or Element) buttons on the Surface Properties rollout or the
sub-object mode, then use the features on the Smooth modifier. The smoothing group of each
Surface Properties rollout. button you click is assigned to the selection.
 Geometric Primitives 169

Selecting Faces by Smoothing Group See Object Name and Wireframe Color (page
3–757).
You can also select faces according to the assigned
smoothing groups. Click Select By SG on the This method is generally the same for all
Surface Properties rollout (editable mesh) or primitives; differences occur in the type and
Polygon Properties rollout (editable poly) and then number of parameters. The Hedra primitive, a
click the smoothing group of the faces to select. complex and highly visual family of objects, is
unsuited to this method and has no keyboard
This is a convenient way to examine smoothing
entry.
groups on an object someone else created.

Procedures
To open the Keyboard Entry rollout:
1. On the Create panel for Standard or Extended
Creating Geometric Primitives, click any of the primitive Object
Primitives Type rollout buttons, except Hedra or
RingWave.
Geometric primitives are basic shapes that
2. Click the Keyboard Entry rollout to open it.
3ds Max provides as parametric objects (page
This rollout is closed by default.
3–989). Primitives are divided into two categories:
Note: The buttons on the Creation Method
Standard Primitives (page 1–170)
rollout have no effect on keyboard entry.
Extended Primitives (page 1–186)
To create a primitive from the keyboard:
See also 1. On the Keyboard Entry rollout, select a numeric
Basics of Creating and Modifying Objects (page field with the mouse and then enter a number.
1–153) 2. Press Tab to move to the next field. You do
not have to press Enter after entering a value.
Creating an Object (page 1–157)
Press Shift+Tab to reverse direction.
Creating Primitives from the Keyboard (page 1–169) 3. When you have all fields set, press Tab to move
the focus to the Create button. Press Enter .

Creating Primitives from the 4. The object appears in the active viewport.

Keyboard Once created, a new primitive is unaffected by the

numeric fields in the Keyboard Entry rollout. You
Create panel > Geometry > Standard or Extended
Primitives > Keyboard Entry rollout can adjust parameter values on the Parameters
rollout, either immediately after creation or on the
You can create most geometric primitives from Modify panel.
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.
170 Chapter 5: Creating Geometry

Interface
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.

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-down position in the standard method of
creating objects.
A collection of standard primitive objects
Each standard primitive has the following
parameters on its Keyboard Entry rollout.
Primitive Parameters XYZ point
Box Length, Width, Center of base
Height
Cone Radius 1, Radius 2, Center of base
Height
Sphere Radius Center

GeoSphere Radius Center

Cylinder Radius, Height Center of base 3ds Max includes a set of 10 basic primitives. You
Tube Radius 1, Radius 2, Center of base can easily create the primitives with the mouse in
Height the viewport, and most can be generated from the
Torus Radius 1, Radius 2 Center keyboard as well.
Pyramid Width, Depth, Center of base These primitives are listed in the Object Type
Height
rollout and on the Create menu:
Teapot Radius Center of base
Box Primitive (page 1–171)
Plane Length, Width Center
Cone Primitive (page 1–172)
 Box Primitive 171

Sphere Primitive (page 1–174) kinds of rectangular objects, from large, flat panels
and slabs to tall columns and small blocks.
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 Examples of boxes
editable mesh objects (page 1–996), editable poly
objects (page 1–1022), and NURBS surfaces. (page Procedures
1–1116) You can also convert primitives to patch To create a box:
objects; see the path annotation at Editable Patch
1. On the Object Type rollout, click Box.
(page 1–968) (the information at the start of the
topic that tells you how to create this type of 2. In any viewport, drag to define a rectangular
object). base, then release to set length and width.
All primitives have name and color controls, and 3. Move the mouse up or down to define the
allow you to enter initial values from the keyboard. height.
See these topics: 4. Click to set the finished height and create the

Object Name and Wireframe Color (page 3–757) box.

Creating Primitives from the Keyboard (page 1–169) To create a box with a square base:

The remaining rollouts are covered in the topic for • Hold down Ctrl as you drag the base of the
each primitive. box. This keeps length and width the same.
Holding the Ctrl key has no effect on height.

Box Primitive To create a cube:

1. On the Creation Method rollout, choose Cube.
Create panel > Geometry button > Standard Primitives >
Object Type rollout > Box button 2. In any viewport, drag to define the size of the

Create menu > Standard Primitives > Box

cube.
3. As you drag, a cube emerges with the pivot
Box produces the simplest of the primitives. Cube point at the center of its base.
is the only variation of Box. However, you can vary 4. Release to set the dimensions of all sides.
the scale and proportion to make many different
172 Chapter 5: Creating Geometry

Interface For example, if you’re going to bend (page 1–560) a

Creation Method rollout box on the Z axis, you might want to set its Height
Segments parameter to 4 or more.
Cube—Forces length, width, and height to be equal.
Creating a cube is a one-step operation. Starting at Generate Mapping Coords—Generates coordinates
the center of the cube, drag in a viewport to set all for applying mapped materials to the box.
three dimensions simultaneously. You can change Default=on.
a cube’s individual dimensions in the Parameters Real-World Map Size—Controls the scaling method
rollout. used for texture mapped materials that are applied
Box—Creates a standard box primitive from one to the object. The scaling values are controlled
corner to the diagonally opposite corner, with by the Use Real-World Scale settings found in
different settings for length, width, and height. the applied material’s Coordinates rollout (page
2–1625). Default=off.
Parameters rollout

Cone Primitive
Create panel > Geometry button > Standard Primitives
> Object Type rollout > Cone button

Create menu > Standard Primitives > Cone

The Cone button on the Creation command panel

lets you produce round cones, either upright or
inverted.

The defaults produce a box with one segment on

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 Examples of cones
set before or after creation. By default, each side of
the box is a single segment. When you reset these Procedure
values, the new values become the default during a To create a cone:
session. Default=1,1,1.
1. On the Create menu choose Standard
Tip: Increase the Segments settings to give objects
Primitives > Cone.
extra resolution for being affected by modifiers.
 Cone Primitive 173

2. In any viewport, drag to define a radius for the Radius 1, Radius 2—Set the first and second radii
base of the cone, then release to set it. for the cone. The minimum value for both is 0.0.
3. Move to up or down to define a height, either If you enter a negative value, the software converts
positive or negative, then click to set it. it to 0.0. You can combine these settings to create
pointed and flat-topped cones, upright or inverted.
4. Move to define a radius for the other end of the
The following combinations assume a positive
cone. Decrease this radius to 0 for a pointed height:
cone.
Radius Combinations Effect
5. Click to set the second radius and create the
cone.
Radius 2 is 0 Creates a pointed cone

Interface Radius 1 is 0 Creates an inverted pointed

cone
Creation Method rollout
Radius 1 is larger than Creates a flat-topped cone
Edge—Draws a cone from edge to edge. You can Radius 2
change the center location by moving the mouse. Radius 2 is larger than Creates an inverted
Radius 1 flat-topped cone
Center—Draws a cone from the center out.
If Radius 1 and 2 are the same, a cylinder is
Parameters rollout 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.
The defaults produce a smooth, round cone of 24
sides with five height segments, one cap segment, Higher numbers shade and render as true circles
and the pivot point at the center of the base. For with Smooth selected. Lower numbers create
improved rendering of smoothly shaded cones, regular polygonal objects with Smooth off.
particularly those with pointed tips, increase the
number of height segments.
174 Chapter 5: Creating Geometry

Smooth—Blends the faces of the cone, creating a

smooth appearance in rendered views.
Slice On—Enables the Slice function. Default=off.

When you create a slice and then turn off Slice On,
the complete cone 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 Examples of spheres
clockwise. Either setting can be made first. When
the ends meet, the whole cone reappears. Procedures
Generate Mapping Coords—Generates coordinates To create a sphere:
for applying mapped materials to the cone. 1. On the Create menu choose Standard
Default=on. Primitives > Sphere.
Real-World Map Size—Controls the scaling method 2. In any viewport, drag to define a radius.
used for texture mapped materials that are applied
As you drag, a sphere emerges with its center
to the object. The scaling values are controlled
at the pivot point.
by the Use Real-World Scale settings found in
the applied material’s Coordinates rollout (page 3. Release the mouse to set the radius and create
2–1625). Default=off. the sphere.

To create a hemisphere:

Sphere Primitive You can reverse the order of the following steps,
if you like.
Create panel > Geometry button > Standard Primitives >
Object Type rollout > Sphere button 1. Create a sphere of desired radius.

Create menu > Standard Primitives > Sphere 2. Type 0.5 in the Hemisphere field.
The sphere is reduced to exactly the upper half,
Sphere produces a full sphere, or a hemisphere or a hemisphere. If you use the spinner, the sphere
other portion of a sphere. You can also "slice" a changes in size.
sphere about its vertical axis.
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 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 defaults produce a smooth sphere of 32 the ends meet, the whole sphere reappears.
segments with the pivot point at its center.
Smoothing groups are assigned to sliced spheres
Radius—Specifies the radius of the sphere. as follows: The surface of the sphere is always
assigned group 1; the bottom, when Smooth is on,
Segments—Sets the number of polygonal divisions
gets group 2. Facing the pie-slice surfaces, the cut
for the sphere.
on the left gets group 3, and the cut on the right
Smooth—Blends the faces of the sphere, creating a gets group 4.
smooth appearance in rendered views.
Material IDs are assigned to sliced spheres as
Hemisphere—Increasing values progressively will follows: The bottom is 1 (when Hemisphere is
"cut off " the sphere, starting at the base, to create a greater than 0.0), the surface is 2, and the slice
partial sphere. Values range from 0.0 to 1.0. The surfaces are 3 and 4.
default is 0.0, producing a full sphere. A setting of
Base To Pivot—Moves a sphere upward along its
0.5 produces a hemisphere, and 1.0 reduces the
local Z axis so the pivot point is at its base. When
sphere to nothing. Default=0.0.
off, the pivot point is on the construction plane at
Chop and Squash toggle creation options for the center of the sphere. Default=off.
Hemisphere.
Turning on Base To Pivot lets you place spheres so
Chop—Reduces the number of vertices and faces they rest on the construction plane, like pool balls
in the sphere by "chopping" them out as the on a table. It also lets you animate a hemisphere so
hemisphere is cut off. Default=on. it appears to grow out of the construction plane
or sink into it.
176 Chapter 5: Creating Geometry

Examples of geospheres

Geospheres produce a more regular surface than

standard spheres. They also render with a slightly
Effect of using Base To Pivot setting
smoother profile than a standard sphere given
the same number of faces. Unlike a standard
Generate Mapping Coords—Generates coordinates sphere, a geosphere has no poles, which can be an
for applying mapped materials to the sphere. advantage when you apply certain modifiers such
Default=on. as Free-Form Deformation (FFD) modifiers (page
Real-World Map Size—Controls the scaling method 1–685).
used for texture mapped materials that are applied
to the object. The scaling values are controlled Procedures
by the Use Real-World Scale settings found in To create a geosphere:
the applied material’s Coordinates rollout (page 1. On the Create menu choose Standard
2–1625). Default=off. Primitives > Geosphere.
2. In any viewport, drag to set the center and
radius of the geosphere.
GeoSphere Primitive
3. Set parameters such as Geodesic Base Type and
Create panel > Geometry button > Standard Primitives > Segments.
Object Type rollout > GeoSphere button

Create menu > Standard Primitives > GeoSphere To create a geo-hemisphere:

1. Create a geosphere.
Use GeoSphere to make spheres and hemispheres
based on three classes of regular polyhedrons. 2. In the Parameters rollout, turn on the
Hemisphere check box. The geosphere is
converted to a hemisphere.
 Cylinder Primitive 177

Interface size. The sphere can be divided into eight equal

Creation Method rollout segments.

Diameter—Draws a geosphere from edge to edge.

• Icosa—Based on a 20-sided icosahedron. The
You can change the center location by moving the facets are all equally sized equilateral triangles.
mouse. The sphere can be divided into any number
of equal segments, based on multiples and
Center—Draws a geosphere from the center out. divisions of 20 faces.

Parameters rollout 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
to the object. The scaling values are controlled
by the Use Real-World Scale settings found in
Radius—Sets the size of the geosphere. the applied material’s Coordinates rollout (page
Segments—Sets the total number of faces in the 2–1625). Default=off.
geosphere. The number of faces in a geosphere is
equal to the sides of the base polyhedron times the
segments squared. Cylinder Primitive
Lower segment values work best. Using the Create panel > Geometry button > Standard Primitives >
Object Type rollout > Cylinder button
maximum segment value of 200 can generate up to
800,000 faces, impairing performance. Create menu > Standard Primitives > Cylinder

Geodesic Base Type group Cylinder produces a cylinder, which you can
Lets you choose one of three types of regular "slice" around its major axis.
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
178 Chapter 5: Creating Geometry

Parameters rollout

Examples of cylinders

Procedure
To create a cylinder:
1. On the Create panel, choose Standard
Primitives > Cylinder.
2. In any viewport, drag to define the radius of the The defaults produce a smooth cylinder of 18 sides
base, then release to set the radius. with the pivot point at the center of the base. There
are five height segments and one cap segment. If
3. Move up or down to define a height, either
you don’t plan to modify the cylinder’s shape, such
positive or negative.
as with a Bend modifier, set Height Segments to 1
4. Click to set the height and create the cylinder. to reduce scene complexity. If you plan to modify
the ends of the cylinder, consider increasing the
Interface Cap Segments setting.
Creation Method rollout Radius—Sets the radius of the cylinder.
Edge—Draws a cylinder from edge to edge. You
Height—Sets the dimension along the central axis.
can change the center location by moving the Negative values create the cylinder below the
mouse. construction plane.
Center—Draws a cylinder from the center out.
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. With Smooth on, higher numbers shade
and render as true circles. With Smooth off, lower
numbers create regular polygonal objects.
 Tube Primitive 179

Smooth—The faces of the cylinder are blended

together, creating a smooth appearance in
rendered views.
Slice On—Enables the Slice function. Default=off.

When you create a slice and then turn off Slice On,
the complete 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 Examples of tubes
the slice counterclockwise; negative values move it
clockwise. Either setting can be made first. When Procedures
the ends meet, the whole cylinder reappears.
To create a tube:
Generate Mapping Coords—Generates coordinates 1. On the Create menu choose Standard
for applying mapped materials to the cylinder. Primitives > Tube.
Default=on.
2. In any viewport, drag to define the first radius,
Real-World Map Size—Controls the scaling method which can be either the inner or outer radius of
used for texture mapped materials that are applied the tube. Release to set the first radius.
to the object. The scaling values are controlled
3. Move to define the second radius, then click
by the Use Real-World Scale settings found in
to set it.
the applied material’s Coordinates rollout (page
2–1625). Default=off. 4. Move up or down to define a height, either
positive or negative.
5. Click to set the height and create the tube.
Tube Primitive
To create a prismatic tube:
Create panel > Geometry button > Standard Primitives
> Object Type rollout > Tube button 1. Set the number of sides for the kind of prism
you want.
Create menu > Standard Primitives > Tube
2. Turn Smooth off.
Tube produces both round and prismatic tubes. 3. Create a tube.
The tube is similar to the cylinder with a hole in it.
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 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.
When you create a slice and then turn off Slice On,
the complete tube 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
The defaults produce a smooth, round tube of clockwise. Either setting can be made first. When
18 sides with the pivot point at the center of the the ends meet, the whole tube reappears.
base. There are five height segments and one cap
Generate Mapping Coords—Generates coordinates
segment. If you don’t plan to modify the cylinder’s
for applying mapped materials to the tube.
shape, such as with a Bend modifier, set Height
Default=on.
Segments to 1 to reduce scene complexity. If you
plan to modify the ends of the cylinder, consider Real-World Map Size—Controls the scaling method
increasing the Cap Segments setting. used for texture mapped materials that are applied
to the object. The scaling values are controlled
Radius 1, Radius 2—The larger setting specifies
by the Use Real-World Scale settings found in
the outside radius of the tube, while the smaller
the applied material’s Coordinates rollout (page
specifies the inside radius.
2–1625). Default=off.
Height—Sets the dimension along the central
axis. Negative values create the tube below the
construction plane. Torus Primitive
Height Segments—Sets the number of divisions Create panel > Geometry button > Standard Primitives
along the tube’s major axis. > Object Type rollout > Torus button

Cap Segments—Sets the number of concentric Create menu > Standard Primitives > Torus
divisions around the center of the tube’s top and
bottom. Torus produces a torus, or a ring with a circular
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 Parameters rollout

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 defaults produce a smooth torus with 12 sides
the pivot point. and 24 segments. The pivot point is at the center
4. Release to set the radius of the torus ring. of the torus on the plane, cutting through the
center of the torus. Higher settings for sides and
5. Move to define the radius of the cross-sectional
segments produce a more dense geometry that
circle, then click to create the torus.
might be required for some modeling or rendering
situations.
Interface
Creation Method rollout Radius 1—Sets the distance from the center of the
torus to the center of the cross-sectional circle.
Edge—Draws a torus from edge to edge. You can This is the radius of the torus ring.
change the center location by moving the mouse.
Radius 2—Sets the radius of the cross-sectional
Center—Draws a torus from the center out. circle. This value is replaced each time you create a
torus. Default = 10.
182 Chapter 5: Creating Geometry

• 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.
Radius 1 and Radius 2 • Segments—Smoothes each segment
Rotation—Sets the degree of rotation. Vertices individually, producing ring-like segments
are uniformly rotated about the circle running along the torus.
through the center of the torus ring. Positive and Slice On—Creates a portion of a sliced torus rather
negative values for this setting "roll" the vertices in than the entire 360 degrees.
either direction over the surface of the torus.
Slice From—When Slice On is on, specifies the
angle where the torus slice begins.
Slice To—When Slice On is on, specifies the angle
where the torus slice ends.
Rotation and Twist
Generate Mapping Coords—Generates coordinates
Twist—Sets the degree of twist. Cross sections for applying mapped materials to the torus.
are progressively rotated about the circle running Default=on.
through the center of the torus. Beginning with
Real-World Map Size—Controls the scaling method
twist, each successive cross section is rotated until
used for texture mapped materials that are applied
the last one has the number of degrees specified.
to the object. The scaling values are controlled
Twisting a closed (unsliced) torus creates a by the Use Real-World Scale settings found in
constriction in the first segment. You can avoid the applied material’s Coordinates rollout (page
this by either twisting in increments of 360 degrees, 2–1625). Default=off.
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
Pyramid Primitive
around the torus. By reducing this number, you Create panel > Geometry button > Standard Primitives >
can create polygonal rings instead of circular ones. Object Type rollout > Pyramid button

Sides—Sets the number of sides on the Create menu > Standard Primitives > Pyramid
cross-sectional circle of the torus. By reducing this
number, you can create prism-like cross sections The Pyramid primitive has a square or rectangular
instead of circular ones. base and triangular sides.

Smooth group
Choose one of four levels of smoothing:
• All—(default) Produces complete smoothing on
all surfaces of the torus.
 Teapot Primitive 183

Parameters rollout

Examples of pyramids

Procedure
To create a Pyramid: Width, Depth and Height—Sets the dimension of
1. On the Create menu choose Standard the corresponding side of the pyramid.
Primitives > Pyramid.
Width, Depth and Height Segs—Sets the number
2. Choose a creation method, either Base/Apex of segments to the corresponding sides of the
or Center. pyramid.
Note: Hold the Ctrl key while using either Generate Mapping Coords—Generates coordinates
creation method to constrain the base to a for applying mapped materials to the pyramid.
square. Default=on.
3. In any viewport, drag to define the base of the
Real-World Map Size—Controls the scaling method
pyramid. If you’re using Base/Apex, define the
used for texture mapped materials that are applied
opposite corners of the base, moving the mouse
to the object. The scaling values are controlled
horizontally or vertically to define the width
by the Use Real-World Scale settings found in
and depth of the base. If you’re using Center,
the applied material’s Coordinates rollout (page
drag from the center of the base.
2–1625). Default=off.
4. Click, and then move the mouse to define the
Height.
5. Click to complete the pyramid. Teapot Primitive
Create panel > Geometry button > Standard Primitives >
Interface Object Type rollout > Teapot button
Creation Method rollout Create menu > Standard Primitives > Teapot
Base/Apex—Creates the pyramid base from one
corner to the diagonally opposite corner. Teapot produces a teapot. You can choose to make
the whole teapot at once (the default), or any of
Center—Creates the pyramid base from the center
its parts. Since the Teapot is a parametric object,
out.
184 Chapter 5: Creating Geometry

you can choose which parts of the teapot to display To create a teapot part:
after creation. 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
remains at the center of the teapot’s base.
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
Examples of teapots
same time. The body alone is a ready-made bowl,
or a pot with optional lid.
History of the Teapot
This teapot derives from the original data To turn a part into a teapot:
developed by Martin Newell in 1975. Beginning 1. Select a teapot part in the viewport.
with a graph-paper sketch of a teapot that he kept
2. On the Modify panel > Parameters rollout, turn
on his desk, Newell calculated cubic Bezier splines
on all parts. (This is the default.)
(page 3–915) to create a wireframe model. James
Blinn, also at the University of Utah during this The whole teapot appears.
period, produced early renderings of exceptional You can apply modifiers to any separate part. If
quality using this model. you later turn on another part, the modifier affects
The teapot has since become a classic in computer the additional geometry as well.
graphics. Its complexly curved and intersecting
surfaces are well suited to testing different kinds Interface
of material mappings and rendering settings on a Creation Method rollout
real-world object.
Edge—Draws a teapot from edge to edge. You can
change the center location by moving the mouse.
Procedures
To create a teapot: Center—Draws a teapot from the center out.

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
point at the center of its base.
3. Release the mouse to set the radius and create
the teapot.
 Plane Primitive 185

Parameters rollout
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
a hilly terrain.

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. Example of plane
Generate Mapping Coords—Generates coordinates
for applying mapped materials to the teapot. Procedure
Default=on. To create a plane:
Real-World Map Size—Controls the scaling method 1. On the Create menu choose Standard
used for texture mapped materials that are applied Primitives > Plane.
to the object. The scaling values are controlled 2. In any viewport, drag to create the Plane.
by the Use Real-World Scale settings found in
the applied material’s Coordinates rollout (page Interface
2–1625). Default=off.
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 Render Segs—Specifies the factor by which the
width. number of segments in both length and width are
multiplied at render time.
Square—Creates a square plane where length and
width are equal. You can change dimensions in the Generate Mapping Coords—Generates coordinates
Parameters rollout subsequent to creation. for applying mapped materials to the plane.
Default=on.
Parameters rollout
Real-World Map Size—Controls the scaling method
used for texture mapped materials that are applied
to the object. The scaling values are controlled
by the Use Real-World Scale settings found in
the applied material’s Coordinates rollout (page
2–1625). Default=off.

Extended Primitives

Length, Width—Sets the length and width of the

plane object. These fields act also as readouts
while you drag the sides of the box. You can revise
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 A collection of extended primitive objects
before or after creation. By default, each side of
Extended Primitives are a collection of complex
the plane has four segments. When you reset these
primitives for 3ds Max. The topics that follow
values, the new values become the default during a
describe each type of extended primitive and its
session.
creation parameters.
Render Multipliers group These primitives are available from the Object
Render Scale—Specifies the factor by which both Type rollout on the Create panel and from the
length and width are multiplied at render time. Create menu > Extended Primitives.
Scaling is performed from the center outward.
 Hedra Extended Primitive 187

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.

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)
Examples of hedra
Capsule Extended Primitive (page 1–195)
Spindle Extended Primitive (page 1–196) Procedure
L-Ext Extended Primitive (page 1–198) To create a polyhedron:

Gengon Extended Primitive (page 1–199) 1. From the Create menu, choose Extended
Primitives > Hedra.
C-Ext Extended Primitive (page 1–200)
2. In any viewport, drag to define a radius, then
RingWave Extended Primitive (page 1–202) release to create the polyhedron.
Hose Extended Primitive (page 1–206) As you drag, a polyhedron emerges from the
pivot point.
Prism Extended Primitive (page 1–205)
3. Adjust the Family Parameter and Axis Scaling
All primitives have name and color controls, and spinners to vary the Hedra’s appearance.
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)
The remaining rollouts are covered in the topic for
each primitive.
188 Chapter 5: Creating Geometry

Interface 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.
Turn on the Auto Key button, go to any frame,
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:
• Range of possible values is 0.0 through 1.0.
• 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
balance between the two parameters.

Axis Scaling group

Polyhedra can have as many as three kinds of
Family group polygonal facets, such as triangle, square, or
Use this group to select the type of polyhedron to pentagon. These facets can be regular or irregular.
create. If a polyhedron has only one or two types of facet,
only one or two of the axis scaling parameters are
Tetra—Creates a tetrahedron.
active. Inactive parameters have no effect.
Cube/Octa—Creates a cubic or octahedral
P, Q, R—Controls the axis of reflection for one of
polyhedron (depending on parameter settings).
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. Torus Knot Extended Primitive
Reset—Returns axes to their default setting. Create panel > Geometry > Extended Primitives > Object
Type rollout > Torus Knot button

Vertices group Create menu > Extended Primitives > Torus Knot
Parameters in the Vertices group determine the
internal geometry of each facet of a polyhedron. Use Torus Knot to create a complex or knotted
Center and Center & Sides increase the number of torus by drawing 2D curves in the normal planes
vertices in the object and therefore the number of around a 3D curve. The 3D curve (called the Base
faces. These parameters cannot be animated. Curve) can be either a circle or a torus knot.

Basic—Facets are not subdivided beyond the You can convert a torus knot object to a NURBS
minimum. surface (page 1–1116).

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. Example of torus knot

To see the internal edges shown in the figure, turn

Procedure
off Edges Only on the Display command panel.
To create a Torus Knot:
Radius—Sets the radius of any polyhedron in
1. On the Create menu, choose Extended
current units.
Primitives > Torus Knot.
Generate Mapping Coords—Generates coordinates
2. Drag the mouse to define the size of the torus
for applying mapped materials to the polyhedron.
knot.
Default=on.
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 Parameters rollout > Cross Section group

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 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
Provides parameters that affect the base curve. a circular cross section, while other values create
elliptical cross sections.
Knot/Circle—With Knot, the torus interweaves
itself, based on various other parameters. With Twist—Sets the number of times the cross section
Circle, the base curve is a circle, resulting in a twists around the base curve.
standard torus if parameters such as Warp and
Lumps—Sets the number of bulges in the torus
Eccentricity are left at their defaults.
knot. Note that the Lump Height spinner value
Radius—Sets the radius of the base curve. must be greater than 0 to see any effect.
Segments—Sets the number of segments around Lump Height—Sets the height of the lumps, as a
the perimeter of the torus. percentage of the radius of the cross section. Note
that the Lumps spinner must be greater than 0 to
P and Q—Describes up-and-down (P) and
see any effect.
around-the-center (Q) winding numbers. (Active
only when Knot is chosen.) Lump Offset—Sets the offset of the start of the
lumps, measured in degrees. The purpose of this
Warp Count—Sets the number of "points" in a star
value is to animate the lumps around the torus.
shape around the curve. (Active only when Circle
is chosen.) Parameters rollout > Smooth group
Warp Height—Sets the height of the "points" given
as a percentage of the base curve radius.
 ChamferBox Extended Primitive 191

Provides options to alter the smoothing displayed

or rendered of the torus knot. This smoothing
does not displace or tesselate the geometry, it only
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
Examples of chamfered boxes

Procedures
To create a standard chamfered box:
1. From the Create menu, choose Extended
Primitives > Chamfer Box.
2. Drag the mouse to define the diagonal corners
of the base of the chamfered box. (Press Ctrl
Provides methods of assigning and adjusting to constrain the base to a square.)
mapping coordinates.
3. Release the mouse button, and then move the
Generate Mapping Coords—Assigns mapping mouse vertically to define the height of the box.
coordinates based on the geometry of the torus Click to set the height
knot. Default=on.
4. Move the mouse diagonally to define the width
Offset U/V—Offset the mapping coordinates along of the fillet, or chamfer (toward the upper left
U and V. increases the width; toward the lower right
decreases it).
Tiling U/V—Tile the mapping coordinates along U
and V. 5. Click again to finish the chamfered box.

To create a cubic chamfered box:

ChamferBox Extended Primitive 1. On the Creation Method rollout, click Cube.

Create panel > Geometry button > Extended Primitives >

2. Beginning at the center of the cube, drag
Object Type rollout > ChamferBox button in a viewport to set all three dimensions
simultaneously.
Create menu > Extended Primitives > Chamfer Box
3. Release the button, and move the mouse to set
Use ChamferBox to create a box with beveled or the fillet or chamfer.
rounded edges. 4. Click to create the object.
You can change a cube’s individual dimensions
in the Parameters rollout.
192 Chapter 5: Creating Geometry

Interface Smooth—Blends the display of the faces of the

Creation Method rollout chamfered box, creating a smooth appearance in
rendered views.
Cube—Forces length, width, and height to be
equal. You can change a cube’s individual Generate Mapping Coords—Generates coordinates
dimensions in the Parameters rollout. for applying mapped materials to the chamfered
box. Default=on.
Box—Creates a standard chamfered box primitive
from one corner to the diagonally opposite corner, Real-World Map Size—Controls the scaling method
with individual settings for length, width, and used for texture mapped materials that are applied
height. to the object. The scaling values are controlled
by the Use Real-World Scale settings found in
Parameters rollout 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.

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. Examples of chamfered cylinders

Length, Width, Height Segs—Sets the number of Procedure

divisions along the corresponding axis.
To create a chamfered cylinder:
Fillet Segs—Sets the number of segments in the
1. From the Create menu, choose Extended
filleted edges of the box. Adding fillet segments
Primitives > Chamfer Cylinder.
increases the edge roundness.
 ChamferCyl Extended Primitive 193

2. Drag the mouse to define the radius of the base Height—Sets the dimension along the central axis.
of the chamfered cylinder. Negative values create the chamfered cylinder
3. Release the mouse button, and then move the below the construction plane.
mouse vertically to define the height of the Fillet—Chamfers the top and bottom cap edges of
cylinder. Click to set the height. the chamfered cylinder. Higher numbers result in
4. Move the mouse diagonally to define the width a more refined fillet along the cap edge.
of the fillet, or chamfer (toward the upper left Height Segs—Sets the number of divisions along
increases the width; toward the lower right the corresponding axis.
decreases it).
Fillet Segs—Sets the number of segments in
5. Click to finish the cylinder.
the filleted edges of the cylinder. Adding fillet
segments curves the edges, producing a filleted
Interface
cylinder.
Creation Method rollout
Sides—Sets the number of sides around the
Edge—Draws the object from edge to edge. You chamfered cylinder. Higher numbers shade and
can change the center location by moving the render as true circles with Smooth on. Lower
mouse. numbers create regular polygonal objects with
Center—Draws the object from the center out. Smooth off.
Cap Segs—Sets the number of concentric divisions
Parameters rollout 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.

When you create a slice and then turn off Slice On,
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.

Radius—Sets the radius of the chamfered cylinder.

194 Chapter 5: Creating Geometry

Generate Mapping Coords—Generates coordinates 4. Move the mouse diagonally to define the height
for applying mapped materials to the chamfered of the convex caps (toward the upper left to
cylinder. Default=on. increase the height; toward the lower right to
decrease it).
Real-World Map Size—Controls the scaling method
used for texture mapped materials that are applied 5. Click again to finish the oil tank.
to the object. The scaling values are controlled
by the Use Real-World Scale settings found in Interface
the applied material’s Coordinates rollout (page Creation Method rollout
2–1625). Default=off.
Edge—Draws the object from edge to edge. You
can change the center location by moving the
mouse.
OilTank Extended Primitive
Center—Draws the object from the center out.
Create panel > Geometry button > Extended Primitives >
Object Type rollout > OilTank button
Parameters rollout
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. From the Create menu, choose Extended
Primitives > Oil Tank. Radius—Sets the radius of the oil tank.
2. Drag the mouse to define the radius of the base Height—Sets the dimension along the central
of the oil tank. axis. Negative values create the oil tank below the
3. Release the mouse button, and then move the construction plane.
mouse vertically to define the height of the oil Cap Height—Sets the height of the convex caps.
tank. Click to set the height. The minimum value is 2.5% of the Radius setting.
 Capsule Extended Primitive 195

The maximum value is the Radius setting, unless by the Use Real-World Scale settings found in
the absolute value of the Height setting is less the applied material’s Coordinates rollout (page
than the double Radius setting, in which case cap 2–1625). Default=off.
height cannot exceed ½ of the absolute value of
the Height setting.
Overall/Centers—Determines what the Height
Capsule Extended Primitive
value specifies. Overall is the overall height of the Create panel > Geometry button > Extended Primitives >
object. Centers is the height of the midsection of Object Type rollout > Capsule button
the cylinder, not including its convex caps. Create menu > Extended Primitives > Capsule
Blend—When greater than 0, creates a bevel at the
edge of the caps. Use Capsule to create a cylinder with hemispherical
caps.
Sides—Sets the number of sides around the oil
tank. To create a smoothly rounded object, use
a higher number of sides and turn Smooth on.
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—Turns on the Slice function. Default=off.

When you create a slice and then turn off Slice

On, the complete oil tank reappears. You can Examples of capsules
therefore use this check box to switch between the
two topologies. Procedure
To create a capsule:
Slice From, Slice To—Sets the number of degrees
around the local Z axis from a zero point at the 1. From the Create menu, choose Extended
local X axis. Primitives > Capsule.
For both settings, positive values move the end of 2. Drag the mouse to define the radius of the
the slice counterclockwise; negative values move it capsule.
clockwise. Either setting can be made first. When 3. Release the mouse button, and then move the
the ends meet, the whole oil tank reappears. mouse vertically to define the height of the
Generate Mapping Coords—Generates coordinates
capsule.
for applying mapped materials to the oil tank. 4. Click to set the height and finish the capsule.
Default=on.
Real-World Map Size—Controls the scaling method
used for texture mapped materials that are applied
to the object. The scaling values are controlled
196 Chapter 5: Creating Geometry

Interface Height Segs—Sets the number of divisions along

Creation Method rollout the capsule’s major axis.

Edge—Draws the object from edge to edge. You Smooth—Blends the faces of the capsule, creating a
can change the center location by moving the smooth appearance in rendered views.
mouse. Slice On—Turns on the Slice function. Default=off.
Center—Draws the object from the center out. When you create a slice and then turn off Slice On,
the complete capsule reappears. You can use this
Parameters rollout 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 capsule reappears.
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
to the object. The scaling values are controlled
by the Use Real-World Scale settings found in
the applied material’s Coordinates rollout (page
2–1625). Default=off.
Radius—Sets the radius of the capsule.

Height—Sets the height along the central axis. Spindle Extended Primitive
Negative values create the capsule below the
construction plane. Create panel > Geometry button > Extended Primitives >
Object Type rollout > Spindle button
Overall/Centers—Determines what the Height
Create menu > Extended Primitives > Spindle
value specifies. Overall specifies the overall height
of the object. Centers specifies the height of Use the Spindle primitive to create a cylinder with
the midsection of the cylinder, not including its conical caps.
domed caps.
Sides—Sets the number of sides around the
capsule. Higher numbers shade and render as true
circles with Smooth on. Lower numbers create
regular polygonal objects with Smooth off.
 Spindle Extended Primitive 197

Parameters rollout

Examples of spindles

Procedure
To create a spindle:
1. From the Create menu, choose Extended
Primitives > Spindle.
2. Drag the mouse to define the radius of the base
of the spindle.
3. Release the mouse button, and then move the
mouse vertically to define the height of the
spindle. Click to set the height. Radius—Sets the radius of the spindle.

4. Move the mouse diagonally to define the height Height—Sets the dimension along the central
of the conical caps (toward the upper left to axis. Negative values create the spindle below the
increase the height; toward the lower right to construction plane.
decrease it).
Cap Height—Sets the height of the conical caps.
5. Click again to finish the spindle. The minimum value is 0.1; the maximum value is
½ the absolute value of the Height setting.
Interface
Overall/Centers—Determines what the Height
Creation Method rollout value specifies. Overall specifies the overall height
Edge—Draws the object from edge to edge. You of the object. Centers specifies the height of
can change the center location by moving the the midsection of the cylinder, not including its
mouse. conical caps.

Center—Draws the object from the center out. 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

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 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—Turns on the Slice function. Default=off.

When you create a slice and then turn off Slice On,
Example of L-Ext
the complete spindle reappears. You can therefore
use this check box to switch between the two
topologies. Procedure
To create an L-Ext object:
Slice From, Slice To—Sets the number of degrees
around the local Z axis from a zero point at the 1. From the Create menu, choose Extended
local X axis. Primitives > L-Ext.
2. Drag the mouse to define the base. (Press Ctrl
For both settings, positive values move the end of
to constrain the base to a square.)
the slice counterclockwise; negative values move it
clockwise. Either setting can be made first. When 3. Release the mouse and move it vertically to
the ends meet, the whole spindle reappears. define the height of the L-extrusion.
Generate Mapping Coords—Sets up the required 4. Click, and then move the mouse vertically to
coordinates for applying mapped materials to the define the thickness or width of the walls of the
spindle. Default=on. L-extrusion.
5. Click to finish the L-extrusion.
Real-World Map Size—Controls the scaling method
used for texture mapped materials that are applied
to the object. The scaling values are controlled Interface
by the Use Real-World Scale settings found in Creation Method rollout
the applied material’s Coordinates rollout (page Corners—Draws the object from corner to corner.
2–1625). Default=off. You can change the center location by moving the
mouse.

L-Ext Extended Primitive Center—Draws the object from the center out.

Create panel > Geometry button > Extended Primitives

> Object Type rollout > L-Ext button

Create menu > Extended Primitives > L-Extrustion

Use L-Ext to create an extruded L-shaped object.

 Gengon Extended Primitive 199

Parameters rollout 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

Use Gengon to create an extruded, regular-sided

polygon with optionally filleted side edges.

Side/Front Length—Specify the lengths of each

"leg" of the L.
Side/Front Width—Specify the widths of each "leg"
of the L.
Examples of gengons
Height—Specifies the height of the object.

Side/Front Segs—Specify the number of segments Procedure

for a specific "leg" of the object. To create a gengon:

Width/Height Segs—Specify the number of 1. From the Create menu, choose Extended
segments for the overall width and height. Primitives > Gengon.
Note: The object’s dimensions (Back, Side, Front) 2. Set the Sides spinner to specify the number of
are labeled as though it were created in the Top or side wedges in the gengon.
Perspective viewports, and seen from the front in 3. Drag the mouse to create the radius of the
world space. gengon.
Generate Mapping Coords—Sets up the required 4. Release the mouse button, then move the
coordinates for applying mapped materials to the mouse vertically to define the height of the
object. Default=on. gengon. Click to set the height.
Real-World Map Size—Controls the scaling method 5. Move the mouse diagonally to specify the size
used for texture mapped materials that are applied of the chamfer along the side angles (toward the
to the object. The scaling values are controlled upper left to increase the size; toward the lower
by the Use Real-World Scale settings found in right to decrease it).
200 Chapter 5: Creating Geometry

6. Click to finish the gengon. Side Segs—Sets the number of divisions around
Tip: In the Parameters rollout, increase the Fillet the gengon.
Segs spinner to round the chamfered corners into Height Segs—Sets the number of divisions along
fillets. the gengon’s major axis.
Fillet Segs—Sets the number of divisions for the
Interface
edge filleting. Increasing this setting will produce
Creation Method rollout round, filleted corners instead of chamfers.
Edge—Draws the object from edge to edge. You
Smooth—Blends the faces of the gengon, creating a
can change the center location by moving the
smooth appearance in rendered views.
mouse.
Generate Mapping Coords—Sets up the required
Center—Draws the object from the center out.
coordinates for applying mapped materials to the
gengon. Default=on.
Parameters rollout
Real-World Map Size—Controls the scaling method
used for texture mapped materials that are applied
to the object. The scaling values are controlled
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
Type rollout > C-Ext button

Create menu > Extended Primitives > C-Extrusion

Use C-Ext to create an extruded C-shaped object.

Sides—Sets the number of sides around the

gengon. Higher numbers shade and render as true
circles with Smooth on. Lower numbers create
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 Example of C-Ext

axis. Negative values create the gengon below the
construction plane.
 C-Ext Extended Primitive 201

Procedure Parameters rollout

To create a C-Ext object:
1. From the Create menu, choose Extended
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
define the thickness or width of the walls of the
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.

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: The object’s dimensions (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 Procedure

coordinates for applying mapped materials to the To create a basic animated ringwave:
object. Default=on.
1. On the menu bar choose Create > Extended
Real-World Map Size—Controls the scaling method Primitives > Ringwave.
used for texture mapped materials that are applied
2. Drag in a viewport to set the outer radius of the
to the object. The scaling values are controlled
ringwave.
by the Use Real-World Scale settings found in
the applied material’s Coordinates rollout (page 3. Release the mouse button, and then move the
2–1625). Default=off. mouse back toward the center of the ring to set
the inner radius.
4. Click to create the ringwave object.
RingWave Extended Primitive 5. Drag the time slider to see the basic animation.
Create panel > Geometry button > Extended Primitives > This is determined by the Inner Edge Breakup
Object Type rollout > RingWave button group > Crawl Time settings.
Create menu > Extended Primitives > RingWave 6. To animate the ring’s growth, choose RingWave
Timing group > Grow And Stay or Cyclic
Growth.

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
animate the growth of the ringwave object, 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.
 RingWave Extended Primitive 203

Interface RingWave Size group

Parameters rollout 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

inner and outer surfaces in the direction of the
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
a shock wave, you will want to apply a two-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
the ringwave grows from nothing to its full size.
No Growth—Sets a static ringwave, which appears
at Start Time and disappears after End Time.
Grow and Stay—Animates a single growth cycle.
The ringwave begins growing at the Start Time and
reaches its full size at Start Time plus Grow Time.
Cyclic Growth—The ringwave grows repeatedly
from the Start Time to Start Time plus Grow Time.
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
the course of the animation.
204 Chapter 5: Creating Geometry

Start Time—The frame number where the ringwave Inner Edge Breakup group
appears, and begins to grow if you choose Grow
Use these settings to change the shape of the
and Stay or Cyclic Growth.
ringwave’s inner edge.
Grow Time—The number of frames after Start
On—Turns on the breakup of the inner edge. The
Time the ringwave takes to reach full size. Grow
remaining parameters in this group are active only
Time is available only if Grow and Stay or Cyclic
when this is on. Default=on.
Growth is chosen.
Major Cycles—Sets the number of major waves
End Time—The frame number after which the
around the inner edge.
ringwave disappears.
Width Flux—Sets the size of the major waves,
Outer Edge Breakup group expressed as a percentage of the unmodulated
width.
Use these settings to change the shape of the
ringwave’s outer edge. Crawl Time—Sets the number of frames each
Tip: For effects like shock waves, the ringwave major wave takes to move around the inner
typically has little or no breakup on the outer edge circumference of the RingWave.
but relatively massive breakup on the inner edge. Minor Cycles—Sets the number of random-sized
On—Turns on breakup of the outer edge. The smaller waves in each major cycle.
remaining parameters in this group are active only Width Flux—Sets the average size of the
when this is on. Default=off. smaller waves, expressed as a percentage of the
Major Cycles—Sets the number of major waves unmodulated width.
around the outer edge. Crawl Time—Sets the number of frames each minor
Width Flux—Sets the size of the major waves, wave takes to move across its respective major
expressed as a percentage of the unmodulated wave.
width. Note: Negative values in the Crawl Time parameters
change the direction of the wave. To produce
Crawl Time—Sets the number of frames each
interference patterns, use Crawl Time settings
major wave takes to move around the outer
of opposite sign for major and minor waves, but
circumference of the RingWave.
similar Width Flux and Cycles settings.
Minor Cycles—Sets the number of random-sized
Tip: To produce the best "random" results, use
smaller waves in each major cycle.
prime numbers for major and minor cycles that
Width Flux—Sets the average size of the differ by a multiple of two to four. For example, a
smaller waves, expressed as a percentage of the major wave of 11 or 17 cycles using a width flux
unmodulated width. of 50 combined with a minor wave of 23 or 31
cycles with a width flux of 10 to 20 makes a nice
Crawl Time—Sets the number of frames each minor
random-appearing edge.
wave takes to move across its respective major
wave. 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 To create a prism with a scalene or obtuse triangle
setting all polygons to smoothing group 1. at its base:
Default=on. 1. Choose Base/Apex in the Creation Method
rollout.
2. Drag horizontally in the viewport to define
Prism Extended Primitive the length of Side 1 (along the X axis). Drag
Create panel > Geometry button > Extended Primitives vertically to define the length of Sides 2 and 3
> Object Type rollout > Prism button (along the Y axis).
Create menu > Extended Primitives > Prism 3. Click, and then move the mouse to specify
the placement of the apex of the triangle. This
Use Prism to create a three-sided prism with alters the length of sides 2 and 3, and the angles
independently segmented sides. 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.
Example of a prism Base/Apex—Draws a prism with a scalene or
obtuse triangle at its base.
Procedures
To create a prism with an isosceles triangle as its Parameters rollout
base:
1. Choose Isosceles on the Creation Method
rollout.
2. Drag horizontally in the viewport to define
the length of Side 1 (along the X axis). Drag
vertically to define the length of Sides 2 and 3
(along the Y axis).
(To constrain the base to an equilateral triangle,
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.
206 Chapter 5: Creating Geometry

Side (n) Length—Sets the length of triangle’s Procedures

corresponding side (and thus the triangle’s corner To create a hose:
angles).
1. From the menu bar, choose Create > Extended
Height—Sets the dimension of the prism’s central Primitives > Hose.
axis.
2. Drag the mouse to define the radius of the hose.
Side (n) Segs—Specifies the number of segments 3. Release the mouse, and then move it to define
for each side of the prism. the length of the hose.
Height Segs—Sets the number of divisions along 4. Click to finish the hose.
the prism’s central axis.
To bind a hose to two objects:
Generate Mapping Coordinates—Sets up the
required coordinates for applying mapped 1. Add a hose and two other objects. Select the
materials to the prism. Default=off. hose.
2. In the Modify panel > Hose Parameters rollout
> End Point Method group, choose Bound To
Hose Extended Primitive Object Pivots.
Create panel > Geometry > Extended Primitives > Object 3. In the Binding Objects group, click Pick Top
Type rollout > Hose button Object, and then select one of the two objects.
Create menu > Extended Primitives > Hose 4. In the Binding Objects group, click Pick Bottom
Object, and then select the second of the two
The Hose object is a flexible object that you can objects.
connect between two objects, whereupon it reacts
The two ends of the hose attach themselves to
to their movement. It’s similar to Spring (page
the two objects.
1–400), but does not have dynamics properties.
You can specify the overall diameter and length of 5. Move one of the objects.
the hose, the number of turns, and the diameter The hose adjusts itself to remain attached to
and shape of its "wire." both objects.

Interface
Hose Parameters rollout > End Point Method
group

Hose models a workable spring on a motorcycle

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 the bend occur further away from the Top object.
the hose to two objects, using the buttons in the Default=100.
Binding Objects group.
Bottom (label)—Displays the name of the "bottom"
binding object.
Hose Parameters rollout > Binding Objects
group Pick Bottom Object—Click this button and then
select the "bottom" object.
Tension—Determines the tension of the hose curve
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

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 Height—Use this field to set the straight-line height
descriptors; the two bound objects can have any or length of the hose when it is not bound. This
positional relationship to each other. is not necessarily the actual length of the hose.
Each end point of the hose is defined by the center Available only when Free Hose is chosen.
of the overall diameter. This end point is placed at
the pivot point of the object to which it is bound.
You can adjust the relative position of the binding
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)—Displays the name of the "top" binding
object.
Pick Top Object—Click this button and then select
the "top" object.
Tension—Determines the tension of the hose curve
near the Top object as it reaches for the Bottom
object. Lower the tension to have the bend occur
closer to the Top object, raise the tension to have
208 Chapter 5: Creating Geometry

Hose Parameters rollout > Common Hose enough to support the number of cycles, then not
Parameters group 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—The entire hose is smoothed.
• Sides—Smoothing is applied along the length
of the hose but not around its circumference.
• None—No smoothing is applied.
• Segments—Smoothing is applied only on the
Segments—The total number of segments in the inner section of the hose.
hose’s length. Increase this setting for a smooth
Renderable—When on, the hose is rendered using
profile when the hose is curved. Default=45.
the specified settings. When off, the hose is not
Flex Section Enable—When on, lets you set the rendered. Default=on.
following four parameters for the central, flexible
Generate Mapping Coords—Sets up required
section of the hose. When off, the hose’s diameter
coordinates for applying mapped materials to the
is uniform throughout its length.
hose. Default=on.
Starts—The percentage of the hose length from
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—The percentage of the hose length from the
end extremity of the hose at which the flex section
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
 Architectural Objects 209

Hose Parameters rollout > Hose Shape group 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
Sets the shape of the hose cross section. corner straight across; use higher settings for
Default=Round Hose. rounded corners. Default=0.

Round Hose—Sets a circular cross section. Rotation—The orientation of the hose along its
long axis. Default=0.
Diameter—The maximum width of the hose at the
ends.
Sides—The number of sides of the hose. A Sides
setting of 3 gives a triangular cross section; 4 gives
a square cross section; and 5 gives a pentagonal Architectural Objects
cross section. Increase Sides for a circular cross
3ds Max provides an array of architectural objects,
section. Default=8.
useful as building blocks for models of homes,
Rectangular Hose—Lets you specify different businesses, and similar projects. These include:
settings for width and depth.
AEC Extended Objects (page 1–210): Foliage,
Width—The width of the hose. Railing, and Wall
Depth—The height of the hose. Stairs (page 1–231)
210 Chapter 5: Creating Geometry

Doors (page 1–246) This section provides general information about

these features. For detailed explanations and
Windows (page 1–253)
procedures, see the topics listed below:
Doors (page 1–246)
Windows (page 1–253)

AEC Extended Objects Stairs (page 1–231)

Create panel > Geometry > AEC Extended

Railing (page 1–217)

Create menu > AEC Objects

Wall (page 1–223)
Foliage (page 1–214)
AEC Extended objects are designed for use in
the architectural, engineering, and construction Doors and Windows
fields. Use Foliage to create plants, Railing to create
3ds Max supplies a number of parametric window
railings and fences, and Wall to create walls.
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
panel fill in your model.
Tip: Use Snaps (page 2–46) for added precision
when adding doors and windows.

Interface When you create a new door or window, you must

select four points in the scene that define the size
Foliage (page 1–214) and orientation of the rectangle that will be the
Railing (page 1–217) door or window. You may find it easier to select
these points in a given sequence, depending on
Wall (page 1–223) your scene and views of the scene.
The Object Name and Wireframe Color rollout (page If you already have a rectangular hole you want to
3–757) in each AEC Extended object’s creation fill, you can still create a door or window to your
panel functions identically. The remaining rollouts specifications by using the following procedure.
are covered in each object’s topic.
To create a door or window:
1. Set up an angled User view so that you can see
Working with AEC Design the bottom and one vertical edge of the opening
Elements and its full height.
3ds Max includes such features as Foliage, Doors, 2. Set the appropriate object snaps, such as Vertex
Windows, Stairs, Railing, and Wall to make or Endpoint. This helps make the model more
exploring three-dimensional design ideas much precise.
easier.
 Working with AEC Design Elements 211

3. After clicking Window or Door, choose one of unless you bring the cursor in proximity to a
two Creation Methods: Width/Depth/Height nonplanar point to which it can snap.
or Width/Height/Depth.
Additional Parameters
4. Make parameter adjustments to define details.
There are additional parameters specific to
The width and orientation of the door/window
each door and window type that control overall
is always defined by the first mouse click and
dimension parameters, as well as detailed
subsequent mouse drag. Depending on the
parameters for sub-object components such as
creation method you use, either the height or
mullions, trim, and panels within leaves. See Doors
depth of the object is defined next.
(page 1–246) and Windows (page 1–253) for more
If you have no object snaps set and are working information on these parameters.
in a Perspective or User Viewport, using
the Width/Depth/Height Creation Method Animating Doors and Windows
creates an upright Door or Window. The Certain door and window creation parameters,
Width/Height/Depth Creation Method creates the including the Open parameter, can be animated.
object as if it were lying on its side. See Doors (page 1–246) and Windows (page 1–253)
for more information.
Allowing Non-vertical Jambs
The Allow Non-vertical Jambs toggle is useful Creating Stairs and Railings
for creating doors or windows that do not fit in
3ds Max contains four types of stair objects: spiral
a vertical plane, such as a skylight window in a
stairs (page 1–235), U-type stairs (page 1–243) with
sloping roof. By default, this toggle is off, making
an intermediate landing, L-type stairs (page 1–232)
the third point in the creation sequence either
with a landing at the bend in the stair, and straight
directly above (Width/Height/Depth) or on the
stairs (page 1–239) with no intermediate landing.
same horizontal plane (Width/Depth/Height)
A complementary Railing object can be used to
with the second point.
create any number of handrail designs that follow
When you turn on Allow Non-vertical Jambs, the along a spline path.
third point in the creation sequence falls wherever
For more information, see Stairs (page 1–231).
you choose and the fourth point is added by the
program. Its offset from the plane is determined The Railing Object
by the first three points.
Use the Railing button on the Create panel in the
Using the Width/Height/Depth Creation Method to produce railing objects. Railing components
in Perspective and User viewports with Allow include rails, AEC Extended category (page
Non-vertical Jambs off can be an efficient way 1–210)posts, and fencing. Fencing includes pickets
to create doors and windows with Object Snaps. (balusters) or solid-filled material (such as glass or
However, it can also be confusing at first. Keep in wood strips).
mind that the third point you define, the Height,
is interpreted as a point on the home grid until You can create a railing in two ways: specify the
you indicate a point higher or lower than the grid. orientation and height of the railing, or pick a
If you are using an Object Snap setting, 3ds Max spline path and apply the railing to that path.
might not know you mean a point off the grid The spline path with a railing is called a rail path.
Later, if you edit the rail path, the Railing object
212 Chapter 5: Creating Geometry

automatically updates to follow the changes you If you move, scale, or rotate the wall object, the
make. Rail paths can occupy three-dimensional linked door and window moves, scales, or rotates
space. along with the wall. If you move the linked door or
window along the wall, using the door or window’s
When you create the lower rails, posts, and fencing
Local coordinate system and activating Restrict
components of a Railing object, you use a special
to XY Plane in the Axis Constraints toolbar (page
version of the Spacing Tool to specify the spacing
1–437), the opening will follow. Also, if you change
of those components. The program displays the
a door or window’s overall width and height in the
Spacing Tool dialog for each railing component:
Modify panel, the hole will reflect those changes.
Lower Rail, Post Spacing, or Picket Spacing. For
more information on the Spacing Tool, see Spacing
Usage Tips
Tool (page 1–455).
The following are a few tips for working with wall
For details on Railing parameters and information objects:
on creating a Railing object, see Railing (page
1–217). • Use the Top viewport when creating wall
objects.
Creating Walls • Single walls with many windows and doors can
slow down snap calculations and movement
Use the Wall button (page 1–223) on the Create
of the wall object. To speed up insertion and
panel, in the AEC Extended category, to produce
editing, use multiple walls instead of a single
straight-wall objects. A wall object is made up of
wall.
sub-object segments that you can edit with the
Modify panel. • You can speed up performance in a scene with
many walls, windows, and doors by collapsing
You can:
them. First save an uncollapsed version for any
• Break or insert wall segments to create separate future parametric changes you might want to
wall objects. make. Then right-click the wall and pick Select
• Delete wall segments. Children from the right-click menu. Next use
Collapse in the Utility rollout to collapse them
• Connect two wall objects.
all.
When you create two wall segments that meet at a
For complete information, see Wall (page 1–223).
corner, 3ds Max removes any duplicate geometry.
This “cleaning up” of the corners might involve To create a wall:
trimming. 3ds Max cleans up only the first two
1. On the Create panel, in the AEC Extended
wall segments of a corner, not other wall segments
that might share the corner. 3ds Max does not category, click Wall.
clean up intersections. 2. Use Customize > Units Setup to establish
precision, and then set the parameters for the
You can edit the segments of a wall using
Width, Height, and Justification of the wall.
sub-object selection mode on the Modify panel.
For example, you can define a wall’s height profile. 3. In any viewport, click, release the mouse, drag
3ds Max moves the active grid to the plane of the the wall segment to the length you want and
wall you’re editing. This allows you to snap to the click again.
profile vertices in the plane of the wall.
 Working with AEC Design Elements 213

This creates a wall segment. You can end the Tip: It is easier to work with wall vertices in
wall or you can continue to create another wall wireframe view mode.
segment. 1. Select a wall object that has more than one
4. To complete the wall, right-click, or to add section. Typically you would use Attach to
another wall segment, drag the next wall create such an object.
segment to the length you want and click again. 2. In the modifier stack (page 3–760), go to the
If you create a room by ending a segment at Vertex sub-object level.
the end of another segment of the same wall 3. Click Connect and point the mouse over an end
object, the program displays the Weld Point vertex until the cursor changes to a cross.
dialog. This dialog lets you convert the two end
4. Click once over the end vertex.
vertices into a single vertex, or keep the two end
vertices separate. 5. Move the cursor to another end vertex, and

5. If you want the wall segments to be welded at

then click to connect the two segments.
a corner (when you move one wall, the other
To insert a vertex in a wall:
wall stays at the corner), click Yes. Otherwise,
click No. It is easier to work with wall vertices in wireframe
view mode.
6. Right-click to complete the wall, or continue to
add another wall segment. 1. Select a wall segment.
2. In the modifier stack (page 3–760), go to the
To attach separate walls: Vertex sub-object level.
1. Select a wall object. 3. Click Insert.
2. On the Modify panel, click Attach, and then A highlighted line appears along the bottom of
pick another wall object. the wall, showing where you can insert vertices.
The two wall objects become part of the same 4. Click anywhere on the highlighted line to insert
wall object, but are not physically connected. a vertex.
Attach stays active, and you can continue The new vertex is attached to the mouse cursor.
clicking wall segments to attach. To stop
5. Move the mouse to position the vertex, and
attaching, click the Attach button or right-click
then click to place it.
in the active viewport.
Now the mouse is attached to one of the new
To attach multiple wall objects simultaneously
segments.
to the selected wall object, click Attach Multiple
on the Modify panel to open the Attach 6. Move the mouse along the segment and click to
Multiple dialog. This works the same as the add vertices.
Select Objects dialog (page 1–78), except that it 7. Right-click to finish working on this segment.
shows only wall objects; choose multiple walls You can now insert vertices in other segments,
to attach, and then click the Attach button. or right-click again to exit Insert mode.

To connect vertices in a wall:

This method lets you connect two separate wall
sections with a new segment.
214 Chapter 5: Creating Geometry

Tips
Foliage
• Use the Spacing tool (page 1–455) to place plants
Create panel > Geometry > AEC Extended > Foliage along a path.
button
• Use vertex or face snapping (see Snaps Settings
Create menu > AEC Objects > Foliage (page 2–41)) to position plants on a surface.

Foliage produces various types of plant objects

such tree species. 3ds Max generates mesh
representations to create fast, efficient, and
good-looking plants.

Using the Spacing tool to distribute trees along paths

Procedure
To add plants to a scene:
1. Click the Favorite Plants rollout > Plant Library
You control height, density, pruning, seed, canopy button to display the Configure Palette dialog.
display, and level of detail. The seed option 2. Double-click the row for each plant you want to
controls creation of different representations of the add or remove from the Palette and click OK.
same species. You can create millions of variations
3. On the Favorite Plants rollout, select a plant and
of the same species, so each object can be unique.
drag it to a location in a viewport. Alternatively,
With the viewport canopy mode (page 1–217)
select a plant in the rollout and then click in the
option, you can control the amount of plant detail,
viewport to place the plant.
reducing the number of vertices and faces 3ds Max
uses to display 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.
Some of the plants that can be created from the standard
library 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 • Click the icon in the Favorite Plants list and then
Color (page 3–757). click a location in a viewport. Double-click the
icon to place the plant at the world origin.
When Favorite Plants rollout > Automatic
Materials is on, each plant is assigned its own • Drag the plant from the palette and drop it into
default material. For more information, see a viewport.
Favorite Plants rollout, following. Automatic Materials—Assigns default materials for
the plant. To modify these material assignments,
Keyboard Entry rollout
use the Material Editor (page 2–1409). Select the
See Creating Primitives from the Keyboard (page plant in the viewport, and click Main toolbar >
1–169). Material Editor. Click the Get Material button
(page 2–1439) to display the Material/Map
Favorite Plants rollout Browser. Under Browse From, choose Selected.
Then, from the list pane, double-click the material
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
The palette displays the plants currently loaded also add and remove plants from the palette, and
from the Plant Library. There are three ways to clear the palette, which removes all plants from the
add a plant to the scene: palette.

• Use keyboard entry. 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

Two trees with varying foliage densities

Pruning—Applies only to plants with branches.

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
Height—Controls the approximate height of the trying to adjust the tree using modifiers.
plant. 3ds Max applies a random noise factor to
Seed—A value between 0 and 16,777,215
the height of all of the plants. Therefore, the actual
height of a plant, as measured in the viewports, representing the possible variations of branch and
won’t necessarily match the setting given in the leaf placement and shape and angle of the trunk of
Height parameter. the current plant.
Generate Mapping Coords—Applies default
Density—Controls the amount of leaves and
flowers on the plant. A value of 1 displays a plant mapping coordinates (page 3–967) to the plant.
with all its leaves and flowers, .5 displays a plant Default=on.
with half its leaves and flowers, and 0 displays a
plant with no leaves or flowers.
 Railing 217

Show group Level-of-Detail group

Controls how 3ds Max renders the plant. For

information on how 3ds Max displays the plant in
Controls the display of leaves, fruit, flowers,
the viewports, see Viewport Canopy Mode (page
trunk, branches, and roots of plants. Available
1–217).
options depend on the type of plant you select.
For example, if a plant doesn’t have fruit, 3ds Max Low—Renders the plant canopy, providing the
disables that option. Turning off options reduces lowest level of detail.
the number of vertices and faces displayed. Medium—Renders a reduced-face-count version
of the plant. How 3ds Max reduces the face count
Viewport Canopy Mode group
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.
In 3ds Max, the canopy of a plant is a shell covering Tip: Set the parameters before creating multiple
the outermost parts of the plant, such as the leaves plants. This can avoid slowing down the display,
or the tips of the branches and trunk. The term and might reduce editing you have to do on the
derives from "forest canopy." Use reasonable plants.
parameters when you create many plants and want
to optimize display performance.
Because this setting applies only to the plant’s
Railing
representation in the viewports, it has no effect on Create panel > Geometry > AEC Extended > Railing
how 3ds Max renders the plant. For information on button
how 3ds Max renders the plant, see Level-of-Detail Create menu > AEC Objects > Railing
(page 1–217).
When Not Selected—Displays the plant in canopy
Components of the railing object include rails,
mode when it’s not selected. posts, and fencing. Fencing includes either pickets
(balusters) or solid-filled material, such as glass
Always—Always displays the plant in canopy or wood strip.
mode.
Never—Never displays the plant in canopy mode.
3ds Max displays all the features of the plant.
218 Chapter 5: Creating Geometry

Material ID Railing/Material Component

1 Lower rails
2 Posts of the railing
3 Solid fill of the railing
4 Top of the railing
5 Pickets 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.
Railings used to create fences in a field.
Procedures
You can create a railing object either by specifying
the orientation and height of the railing, or by The following procedures describe how to create
picking a spline path and applying the railing to railings combining each of the components: upper
that path. When 3ds Max applies railing to a spline rail, lower rails, posts, picket fencing, and solid
path, the latter is called a rail path. Later, if you filled fencing.
edit the rail path, the railing object automatically You can create a railing object in any viewport,
updates to follow the changes you made. You can but for best results, use a Perspective, Camera, or
use three-dimensional splines as rail paths. Top viewport.
When you create the lower rails, posts, and fencing
components of a railing, you use the Spacing To create a railing:
tool (page 1–455) to specify the spacing of those 1. Click and drag the railing to the desired length.
components. 3ds Max names the Spacing tool 2. Release the mouse button, and then move the
dialog for each railing component: Lower Rail mouse vertically to set the height. Click to
Spacing, Post Spacing, or Picket Spacing. finish.
Tip: Use Railing to create complete railings
By default, 3ds Max creates the top rail along
for stairs. See Stairs (page 1–231) for more with two posts, a lower rail at half the railing
information. height, and two evenly spaced pickets.

Railings and Materials 3. If you need to, change any of the parameters
to adjust the segments, length, profile, depth,
By default, 3ds Max assigns five different material width, and height of the rail.
IDs to railings. The aectemplates.mat material
library includes Rail-Template, a multi/sub-object To adjust lower rails:
material (page 2–1594) designed to be used with
1. To modify the lower rail, or add more, choose
railings. Each component of the railing/material is
an option from the Lower Rail(s) group >
listed below along with its corresponding Material
Profile list.
ID.
 Railing 219

2. Under Solid Fill, adjust the options for

2. Specify the depth and width for the lower Thickness and offsets.
rails and then click the Lower Rail(s) > Spacing
button. To create railings along a spline path:
3. Specify the number of lower rails you want Before you can create railings along a spline path,
using the Count option. Click Close to apply you need to create a spline, or use an existing
your changes. For more information on spacing spline from your scene.
options in this dialog, see Spacing Tool (page
1. Click Create panel > Geometry > AEC
1–455).
Extended > Railing.
To create posts: 2. Click Pick Railing Path, then select a spline in
1. If you want to modify the posts, or add more, your scene.
choose an option from the Profile list under the Since the number of segments is 1 by default,
Posts rollout. the upper rail extends for one segment between
the start and end of the spline.
2. Specify the depth and width of the posts
3. Change the amount of segments using the
and how much they should extend above the
Modify panel > Segment setting.
top rail. Then click the Posts rollout > Spacing
button. The higher the segment value, the more closely
the railing approximates the spline shape.
3. Specify the number of posts you want using
the Count option. Click Close to apply your 4. If you want the railing to contain corners where
changes. For more information on spacing the spline does, turn on Respect Corners.
options in this dialog, see Spacing Tool (page 5. Complete the remainder of the railing options
1–455). as described in the preceding procedures.

To create picket fencing:

Thereafter, the spline is associated with the
railing; any changes you make to the spline
1. Choose Fencing rollout > Type list > Pickets.
shape are reflected in the railing.
The Solid Fill options will be unavailable.
Interface
2. Choose an option from the Profile list,
specify the depth and width of the pickets, and Name and Color rollout
then click the Picket rollout > Spacing button. This rollout lets you set the selected railing’s name
3. Specify the number of pickets you want using and color. For detailed information, see Object
the Count option. Click Close to apply your Name and Wireframe Color (page 3–757).
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).
220 Chapter 5: Creating Geometry

Railing rollout 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
a railing path.
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,
Pick Railing Path—Click this, and then click a spline consisting of one segment by the length you
in the viewport to use as the railing path. 3ds Max specify, a square profile, four units deep, three
uses the spline as the path along which to apply units wide, and the height you specify.
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 1. Width

panel. 2. Depth
3. Height
Tip: When you create a railing using a closed spline
4. Profile for the square top rail
for the rail path, open the Post Spacing dialog (page
5. Profile for the round top rail
1–455), turn off Start Offset and End Offset, and
lock End Offset. This will ensure that 3ds Max Profile—Sets the cross-section shape of the top rail.
properly creates the railing with any fill, pickets,
Depth—Sets the depth of the top rail.
and posts you specify.
 Railing 221

Width—Sets the width of the top rail. Note: If a visible viewport is set to a non-wireframe
or non-bounding-box display, Generate Mapping
Height—Sets the height of the top rail. During
Coordinates is on for all primitives to which you
creation, you can drag the top rail to the height
apply a material containing a map with Show
you want using the mouse in the viewport. Or you
Map In Viewport on. If all viewports are set to
can enter the height amount from the keyboard
wireframe or bounding box, 3ds Max turns on
or use the spinners.
Generate Mapping Coordinates for primitives
containing mapped materials at render time.
Lower Rail(s) group
Controls the profile, depth, width, and spacing Real-World Map Size—Controls the scaling method
between the lower rails. You specify how many used for texture mapped materials that are applied
lower rails you want using the Lower Rail Spacing to the object. The scaling values are controlled
button. by the Use Real-World Scale settings found in
the applied material’s Coordinates rollout (page
2–1625). Default=off.

Posts rollout

Controls the profile, depth, width, extension, and

A railing with the rails defined by their profile, depth, and width spacing between the posts. You specify how many
as planks.
posts you want using the Post Spacing button.
Profile—Sets the cross-section shape of the lower
Profile—Sets the cross-section shape of the posts:
rails. none, Square, or Round.
Depth—Sets the depth of the lower rails.
Depth—Sets the depth of the posts.
Width—Sets the width of the lower rails.
Width—Sets the width of the posts.

Lower Rail Spacing—Sets the spacing of the Extension—Sets the amount the posts extend above
lower rails. When you click this button, the Lower the bottom of the top railing.
Rail Spacing dialog displays. Specify the number
of lower rails you want using the Count option. Post Spacing—Sets the spacing of the posts.
For more information on spacing options in this When you click this button, the Post Spacing
dialog, see Spacing Tool (page 1–455). dialog displays. Specify the number of posts
you want using the Count option. For more
Generate Mapping Coords—Assigns mapping
information on spacing options in this dialog, see
coordinates (page 3–967) to the railing object.
Spacing Tool (page 1–455).
222 Chapter 5: Creating Geometry

Tip: Setting Profile to (none) makes an "invisible"

post. You might want to do this to create a railing
with gaps between solid fill fencing. Or you could
use it to make a railing with openings between
groups of pickets. This is different from setting the
post count to 0 in the Post Spacing dialog.
1. A railing with pickets using a square profile
Fencing rollout 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—Sets the type of fencing between the posts:
Type to Solid.
none, Pickets, or Solid Fill.
Thickness—Sets the thickness of the solid fill.
Picket group
Top Offset—Sets the offset of the solid fill from the
Controls the profile, depth, width, and spacing bottom of the top rail.
between the pickets. Specify how many pickets you
Bottom Offset—Sets the offset of the solid fill from
want using the Picket Spacing button. Available
only when you set Type to Pickets. 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

Walls and Materials

Wall
By default, 3ds Max assigns five different material
Create panel > Geometry > AEC Extended > Object Type IDs to walls. The aectemplates.mat material
rollout > Wall button
library includes Wall-Template, a multi/sub-object
Create menu > AEC Objects > Wall material (page 2–1594) designed to be used with
walls. Each component of the wall/material is
The Wall object is made up of three sub-object listed below along with its corresponding Material
types that you can edit in the Modify panel. ID.
Similarly to the way you edit splines, you can edit
Material ID Wall/Material Component
the wall object (page 1–228), its vertices (page
1–228), its segments (page 1–229), and its profile 1 Vertical ends of the wall
(page 1–230). 2 Outside of the wall

When you create two wall segments that meet at a 3 Inside of the wall
corner, 3ds Max removes any duplicate geometry. 4 Top of the wall, including any edges cut
This "cleaning up" of the corners might involve out of the wall
trimming. 3ds Max cleans up only the first two 5 Bottom of the wall
wall segments of a corner, not any other wall
segments that might share the corner. 3ds Max Note: 3ds Max does not automatically assign a
does not clean up intersections. material to the wall object. To use the included
material, open the library and then assign the
Inserting Doors and Windows in a Wall material to your object.
3ds Max can automatically make openings for Note: The definitions of slots 2 and 3 are
doors and windows in a wall. At the same time, it interchangeable; inside and outside simply depend
links the door or window to the wall as it child. on your point of view, and how you created the
The most effective way of doing both is to create wall.
the doors and windows directly on a wall segment
by snapping to the faces, vertices, or edges of the See also
wall object. Editing Wall Objects (page 1–228)
If you move, scale, or rotate the wall object, the
linked door or window moves, scales, or rotates Tips
along with the wall. If you move the linked door or • To make a passageway through a wall you can
window along the wall, using the door or window’s perform a Boolean operation (page 1–338) with
local coordinate system and constraining motion to the wall as Operand A, and another object,
the XY plane (page 3–687), the opening will follow. such as a box or an extruded archway shape,
Also, if you change a door or window’s overall as Operand B. The wall will still be accessible
width and height on the Modify panel, the hole at the Boolean sub-object level. Then, you can
will reflect those changes. add a window or door in the passageway, and
For further information, see the procedure To link (page 2–421) it as a child of the wall.
create and place a window or door in a wall (page • Single walls with many windows and doors
1–226). 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 To attach separate walls:

using multiple walls instead of a single wall. 1. Select a wall object.
• You can speed up performance in a scene with 2. On the Modify panel, click Attach, and then
many walls, windows and doors by collapsing pick another wall object.
them. First save an uncollapsed version for any
future parametric changes you might want to The two wall objects become part of the same
make. Then double-click the wall to select it wall object, but are not physically connected.
and its children. Next use Convert To from the Attach stays active, and you can continue
right-click menu to convert them to an editable clicking wall segments to attach. To stop
mesh, and so on. attaching, click the Attach button or right-click
in the active viewport.
Procedures To attach multiple wall objects simultaneously
To create a wall: to the selected wall object, click Attach Multiple
You can create a wall in any viewport, but for on the Modify panel to open the Attach
vertical walls, use a Perspective, Camera, or Top Multiple dialog. This works the same as the
viewport. Select Objects dialog (page 1–78), except that it
shows only wall objects; choose multiple walls
1. Set parameters for the Width, Height, and
to attach, and then click the Attach button.
Justification of the wall.
2. In a viewport, click and release, move the To connect vertices in a wall:
mouse to set the desired length for the wall This method lets you connect two separate wall
segment, and click again. sections with a new segment.
This creates a wall segment. You can end the Tip: It is easier to work with wall vertices in
wall by right-clicking or you can continue to wireframe view mode.
create another wall segment.
1. Select a wall object that has more than one
3. To add another wall segment, move the mouse section. Typically you would use Attach to
to set the length of the next wall segment and create such an object.
click again.
2. In the modifier stack (page 3–760), go to the
If you create a room by ending a segment at the Vertex sub-object level.
end of another segment of the same wall object,
3. Click Connect and point the mouse over an end
3ds Max displays the Weld Point dialog. This
vertex until the cursor changes to a cross.
dialog lets you convert the two end vertices into
a single vertex, or to keep the two end vertices 4. Click once over the end vertex.
distinct. 5. Move the cursor to another end vertex, and
4. If you want the wall segments to be welded at then click to connect the two segments.
that corner so that when you move one wall,
the other wall stays correct at the corner, click To insert a vertex in a wall:
Yes. Otherwise, click No. It is easier to work with wall vertices in wireframe
5. Right-click to end the wall, or continue to add view mode.
other wall segments. 1. Select a wall segment.
 Wall 225

2. In the modifier stack (page 3–760), go to the To add a gable point to a wall profile or adjust for
Vertex sub-object level. uneven terrain:

3. Click Insert. Tip: It is easier to work with wall vertices in

wireframe view mode.
A highlighted line appears along the bottom of
the wall, showing where you can insert vertices. 1. Select a wall.

4. Click anywhere on the highlighted line to insert 2. In the modifier stack (page 3–760), go to the
a vertex. Profile sub-object level.
The new vertex is attached to the mouse cursor. 3. Select a wall profile by clicking a wall segment.

5. Move the mouse to position the vertex, and A grid appears.

then click to place it. 4. To add a gable point procedurally, set the height
Now the mouse is attached to one of the new and click Create Gable.
segments. If you prefer to add the profile point manually,
6. Move the mouse along the segment and click to click Insert, click a point on the highlighted top
add vertices. profile, drag the new point into place and then
release where you want to place the new gable
7. Right-click to finish working on this segment.
point. You can move profile points you create
You can now insert vertices in other segments,
with Insert only within the plane of the wall
or right-click again to exit Insert mode.
segment, and you cannot move them below the
To detach and reorient a copy of a wall segment: original top edge.

Tip: It is easier to work with wall vertices in If you want to adjust the profile for uneven
wireframe view mode. terrain below a wall, click Insert, pick the
highlighted bottom profile and add points as
1. Select a wall.
necessary.
2. In the modifier stack (page 3–760), go to the
If you want to extend multiple segments
Segment sub-object level.
uniformly downward below floor level, do the
3. Select a wall segment. following: At the Segment sub-object level,
4. Turn on both Reorient and Copy, and then select the segments and, on the Edit Segment
click Detach. rollout, enter a negative Bottom Offset value
to move the segments downward. Add the
5. Enter a name for the new wall object in the
absolute value of the Bottom Offset setting back
Detach dialog or click OK to accept the default
to the Height value to bring the top of the wall
name.
height back up and make it flush with the other
3ds Max copies the original wall’s Local wall segments.
coordinate system (page 3–963) when it makes
the copy of the detached segment. It places the To apply a texture to a wall:
new object so that its Local coordinate system Walls are created with five different material IDs
is coincident with the World space origin (page (page 3–969) for their various parts.
3–1035).
The aectemplates.mat material library includes
Wall-Template, a Multi/Sub-Object material
226 Chapter 5: Creating Geometry

designed for use with walls. You can copy or copy brevity) directly on an existing wall. You can
and modify this template, or create your own define the window’s exact dimensions after
material as follows: insertion. Use edge snap (page 2–41) for the
1. Create a Multi/Sub-Object material (page first snaps to place and align the window on the
2–1594) using five textures for the following wall and to establish its exact depth. Snap to
Material IDs: and then click the near top edge of the wall to
start creation. Drag to another edge snap point
• Slot #1 is the material for the vertical ends on the near top edge of the wall and release to
on the wall align the window with the wall segment and to
• Slot #2 is the material for the outside of the set its width. Snap to the rear top edge of the
wall wall to set the proper depth and click. Move
• Slot #3 is the material for the inside of the the cursor downward and click to define the
wall window height. This final click doesn’t require
a snap, as it simply defines a rough height.
• Slot #4 is the material for the top of the wall,
as well as any inside edges cut out of the wall 2. The window should now be cut out of the wall.
On the Modify panel for windows or doors,
• Slot #5 is the material for the bottom of the
set the correct width and height. Change the
wall
depth if it’s different from the snap depth you
Note: The definitions of slots 2 and 3 are set above.
interchangeable; inside and outside simply
3. Use vertex snap to move the window or door
depend on your point of view, and how you
from a reference point to a known point on the
created the wall.
wall segment. Then
2. If the top and bottom surfaces of the wall aren’t
Next, use relative offset values from this new
visible in the rendered scene, you can use a
position to accurately locate the window or
three-sided material instead. The inside and
door. As an example, following the next two
outside of the wall are relative to the direction
steps, you could move a window from its top
in which the wall was created. To swap a texture
left corner to the top left corner of the wall
between slots in the Material Editor, drag one
segment so that you can then move it 3 feet to
of the textures over the other slot in the Basic
the right and 2 feet down.
Parameters rollout of the Multi/Sub-Object
material, and then choose Swap. 4. With the window or door selected, set the
coordinate system to Local.
3. For greater control in tiling across the wall
surface, apply a Map Scaler world-space modifier 5. On the Coordinate Display (page 3–708),
(page 1–551) to the wall. Then adjust the scale activate Offset mode and then enter the offset
of the map in the Map Scaler’s Parameters distances on the X axis for horizontal and the Y
rollout. axis for vertical.
Note: For best results, do not position an inserted
To create and place a window or door in a wall: window or door at the bottom of 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
 Wall 227

Interface Note: If you designate a curved spline as the

Keyboard Entry rollout path, 3ds Max creates straight wall segments that
approximate the spline as closely as possible, with
one wall segment per spline segment.

Parameters 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 The defaults produce a wall object 5 units wide, 96
construction plane. units high, and justified at the center of the wall.
Add Point—Adds the point from the X, Y, and Z Width—Sets the thickness of the wall. Range=0.01
coordinate values you enter. unit to 100,000 units. Default=5.
Close—Ends creation of the wall object and creates Height—Sets the height of the wall. Range=0.01
a segment between the end point of the last unit to 100,000 units. Default=96.
segment and the start point of the first segment, to
make a closed wall. Justification group

Finish—Ends creation of the wall object, leaving Left—Justifies the wall at the left edge of its baseline
it open ended. (the line between the wall’s front and back sides,
which is equal to the wall thickness). If you turn
Pick Spline—Lets you use a spline as the wall path. Grid Snap on, the left edge of the wall’s baseline
Click this, and then click a spline in the viewport snaps to the grid line.
to use as the wall path. 3ds Max uses the spline
as the path along which to apply the wall object. Center—Justifies the wall at the center of its
3ds Max doesn’t immediately recognize 2D Shapes baseline. If you turn Grid Snap on, the center of
from a linked AutoCAD drawing. To recognize the wall’s baseline snaps to the grid line. This is
Shapes from a linked AutoCAD drawing, edit the default.
the Shape with Edit Spline (page 1–680) from the
Modify panel.
228 Chapter 5: Creating Geometry

Right—Justifies the wall at the right edge of its Justification group

baseline. If you turn Grid Snap on, the right edge
See Justification (page 1–227).
of the wall’s baseline snaps to the grid line.
Generate Mapping Coords.—Assigns mapping
Generate Mapping Coords—Assigns mapping
coordinates (page 3–967) to the wall. Default=on.
coordinates (page 3–967) to the wall. Default=on.
Real-World Map Size—Controls the scaling method
Real-World Map Size—Controls the scaling method
used for texture mapped materials that are applied
used for texture mapped materials that are applied
to the object. The scaling values are controlled
to the object. The scaling values are controlled
by the Use Real-World Scale settings found in
by the Use Real-World Scale settings found in
the applied material’s Coordinates rollout (page
the applied material’s Coordinates rollout (page
2–1625). Default=off.
2–1625). Default=off.
Edit Vertex rollout

Editing Wall Objects Appears at the Vertex sub-object level. Each wall
segment has two vertices; one in each bottom
Select a wall object. > Modify panel corner. In wireframe views, wall vertices appear as
+ symbols. Connected segments in the same wall
The following reference describes the Wall options object each share a vertex. Moving a wall vertex
on the Modify panel. It’s generally easiest to edit has the effect of scaling attached segments as well
wall objects in wireframe mode. as rotating them about their other vertices. You
cannot rotate or scale wall vertices.
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
Connect—Lets you connect any two vertices,
selected wall by a single pick. The object you attach
must also be a wall. 3ds Max applies the material creating a new linear segment between the vertices.
of the selected wall to the wall being attached. Click this button, click a vertex, and then click a
Attach Multiple—Attaches other walls in a viewport
second vertex on a different segment. When you
to the selected wall. Click this button to open the move the cursor over a valid second vertex, the
Attach Multiple dialog, which lists all the other mouse icon changes to a Connect icon.
wall objects in the scene. Select the walls you want Break—Lets you disconnect segments at a shared
to attach from the list and click the Attach button. vertex.
3ds Max applies the material of the selected wall to
Tip: Select a vertex shared between wall segments,
the walls being attached.
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
segment that you click. When you move the cursor
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
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 the currently selected vertex or
vertices, including any segments in between.
Deleting vertices shared by two or more segments
doesn’t create a gap, but rather results in a single
segment connecting vertices adjacent to those
being deleted.
Break—Specifies a break point in a wall segment.
Edit Segment rollout You needn’t select a segment first. When you move
This rollout appears when you select a wall object the cursor over the object, the mouse icon changes
and then access Segment sub-object level. to a Break icon. The position you select on the
segment becomes two coincident vertices, and
Each wall segment is defined by, and effectively 3ds Max breaks the segment in two.
connects, two wall vertices. Moving a segment is
the same as moving its two vertices in tandem. It Detach—Detaches wall segments you select and
has the effect of scaling adjacent wall segments as creates a new wall object out of them.
well as rotating them about their other vertices. Same Shape—Detaches the wall segment keeping
You can scale a wall segment horizontally only it part of the same wall object. If you also turn
(any Scale function does this). You cannot rotate on Copy, 3ds Max places a detached copy of the
a segment. 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 World
space origin (page 3–1035). If you also turn on
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 can insert and delete vertices along the horizontal
of vertices specified in the Divisions spinner. edges, move an inserted vertex along the grid to
Select one or more segments, set the Divisions change the profile, create gables, and change the
spinner, and then click Divide. grid properties.
Divisions—Sets the number by which to divide the
segment.
Insert—Provides the same function as the Insert
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—Provides the same function as the Refine
button at the Vertex sub-object level. Adds a vertex Insert—Inserts a vertex so that you can adjust the
to the position along a wall segment you select. profile of the selected wall segment.
When you move the cursor over a valid Refine
Use this option to adjust the profile of walls under
point, the mouse icon changes to a Refine icon.
gables or to align walls to a slope. When you move
the cursor over the selected segment, the mouse
Parameters group
icon changes to an Insert icon. Click to insert a
Width—Changes the width of a selected segment new profile point, then drag and release to position
or segments. and place it. You can add new profile points to
Height—Changes the height of a selected segment both the top and the bottom of the wall, but you
or segments. cannot position profile points below the original
top edge or above the original bottom edge.
Bottom Offset—Sets the distance of the bottom of
the selected segment or segments from the floor. Delete—Deletes the selected vertices on the profile
of the selected wall segment.
Edit Profile rollout Create Gable—Creates a gable by moving the center
This rollout appears when you select a wall object point of the top profile of the selected wall segment
and then access Profile sub-object level. to a height you specify.

The term "profile" refers to the outline of a wall Select the segment, set the height, and then click
segment’s top and bottom edges. When in Profile Create Gable.
sub-object mode, the selected wall object’s inner Height—Specifies the height of a gable.
horizontal edges appear dark orange. Click any of
these edges to select the corresponding segment,
highlight it in red, and place a temporary active
grid in the plane of the segment. At that point, you
 Stairs 231

Grid Properties group Material ID Railing/Material Component

The grid constricts profile point insertion and 4 Center pole of the stairs
movement to the plane of the wall and allows you 5 Handrails of the stairs
to snap to grid points on the plane of the wall. 6 Carriage of the stairs
Width—Sets the width of the active grid. 7 Stringers of the stairs

Length—Sets the length of the active grid.

Note: 3ds Max does not automatically assign a
Spacing—Sets the size of the smallest square in the material to the stairs object. To use the included
active grid. material, open the library and then assign the
material to your object.

Procedure
To create railings on stairs:
Stairs 1. Create the stairs. See individual stair-type
Create panel > Geometry > Stairs topics for more information.

Create menu > AEC Objects 2. In the Generate Geometry group, turn on Rail
Path > Left and Right.
You can create four different types of stairs in 3ds Max places left and right rail paths above
3ds Max: the stairs.
Spiral Stair (page 1–235) 3. In the Railings rollout, set Height to 0.0.

Straight Stair (page 1–239) 4. Click Create panel > AEC Extended > Railing
(page 1–217) to create the first railing.
L-Type Stair (page 1–232)
5. Click Railing rollout > Pick Railing Path and
U-Type Stair (page 1–243) select one of the rail paths on the stairs.
6. Adjust the railing parameters.
Railings and Materials
3ds Max remembers the parameters you set.
By default, 3ds Max assigns seven different material When you create the next railing, it will have the
IDs to stairs. The aectemplates.mat material same parameters as you set for the first railing.
library includes Stair-Template, a multi/sub-object
7. Right-click to end the creation of the first
material (page 2–1594) designed to be used with
stairs. Each component of the stair/material is railing.
listed below along with its corresponding Material 8. Click Railing again to create the second railing.
ID. 9. Click Pick Railing Path and select the other rail
Material ID Railing/Material Component path on the stairs.
1 Treads of the stairs
2 Front riser of the stairs
3 Bottom, back, and sides of the risers of
the stairs
232 Chapter 5: Creating Geometry

Interface 3. Adjust the stairs by using the options in the

Object Type rollout Parameters rollout.

Interface
Parameters rollout > Type group

Stair Selection Buttons—Click one of these to

specify the type of stairs you want to create.
Open—Creates an open riser stair, as shown on the
Name and Color rollout left in the illustration above.
This rollout lets you set the stairs object’s name Closed—Creates a closed riser stair, as shown in
and color. For detailed information, see Object the center in the illustration above.
Name and Wireframe Color (page 3–757).
Box—Creates a stair with closed risers and closed
stringers on both sides, as shown on the right in
L-Type Stair the illustration above.

Create panel > Geometry > Stairs > L-Type Stair button Generate Geometry group
Create menu > AEC Objects > L-Type Stair

The L-Type Stair object lets you create a staircase

with two flights at right angles to each other.

Types of L-type stair: open, closed, and boxed

Stringers—Creates stringers along the ends of
L-type stairs have two flights at right angles, and a landing. the treads of the stairs. To modify the stringers’
depth, width, offset and spring from the floor, see
Procedure Stringers rollout (page 1–234).
To create L-Type stairs:
Carriage—Creates an inclined, notched beam
1. In any viewport, drag to set the length for the under the treads which supports the steps or adds
first flight. Release the mouse button, then support between the stringers of the stairs. You
move the cursor and click to set the length, might also know this as a carriage piece, a horse, or
width, and direction for the second flight. a rough string. See Carriage rollout (page 1–234) to
2. Move the cursor up or down to define the rise modify the parameters.
of the stairs, then click to end. Handrail—Creates left and right handrails. See
Railings rollout (page 1–235) to modify the
 L-Type Stair 233

handrails’ height, offset, number of segments, and the spinner values of the parameter with the raised
radius. push pins to change.
Rail Path—Creates left and right paths you can use Overall—Controls the height of the flight of stairs.
to install railings on the stairs. See Stairs (page
Riser Ht—Controls the height of the risers.
1–231) for the instructions on how to do this.
Riser Ct—Controls the number of risers. There will
Layout group always be one more riser than steps. This implied
riser is between the top step of the stair and the
upper floor.

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. Linear stair with five risers
1 through 4. Risers
Angle—Controls the angle of the second flight
5. The implied riser
from the landing. Range=-90 to 90 degrees.
6. The upper floor you snap to
Offset—Controls the distance of the second flight 7. The lower floor you snap to
from the landing. The length of the landing adjusts 8. The steps
accordingly.
Steps group
Rise group

Thickness—Controls the thickness of the steps.

3ds Max keeps one Rise option locked while you

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
parameter with the depressed push pin and allows
Step thickness variance between two stairs
234 Chapter 5: Creating Geometry

Depth—Controls the depth of the steps. 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
Step depth variance between two stairs control the amount the stringer extends below the
floor with the Offset option.
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
Coordinates is on for all primitives to which you
apply a material containing a map with Show
Map In Viewport on. If all viewports are set to Left: The stringer extending below the floor. (Spring From Floor
wireframe or bounding box, 3ds Max turns on off.)
Generate Mapping Coordinates for primitives Right: The stringer springing from the floor. (Spring From Floor
containing mapped materials at render time. on.)

Real-World Map Size—Controls the scaling method Carriage rollout

used for texture mapped materials that are applied
to the object. The scaling values are controlled These controls are available only when you turn
by the Use Real-World Scale settings found in on Carriage on the Parameters rollout > Generate
the applied material’s Coordinates rollout (page Geometry group.
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 carriage

reaches toward the floor.
Width—Controls the width of the carriage.

Carriage Spacing—Sets the spacing of the carriage.

When you pick this button, the Carriage Spacing
Depth—Controls how far down the stringers reach dialog displays. Specify the number of carriages
toward the floor. you want using the Count option. For more
 Spiral Stair 235

information on spacing options in this dialog, see Radius—Controls the thickness of the railings.
Spacing Tool (page 1–455).
Spring from Floor—Controls whether the carriage
starts at the floor, flush with the start of the first
Spiral Stair
riser, or if the carriage extends below the floor. You Create panel > Geometry > Stairs > Spiral Stair button
control the amount the carriage extends below the
Create menu > AEC Objects > Spiral Stair
floor with the Offset option.
The Spiral Stair object lets you specify the radius
and number of revolutions, add stringers and a
center pole, and more.

Left: The carriage springing from the floor. (Spring From Floor
on.)
Right: The carriage extending below the floor. (Spring from
Floor off.) Types of spiral stair: open, closed, and boxed
Spiral stairs wind around a center
Railings rollout
These controls are available only when you turn on Procedure
one or more of the Handrail or Rail Path options To create spiral stairs:
on the Parameters rollout > Generate Geometry
1. In any viewport, click for the start point of the
group. Also, Segments and Radius aren’t available
stairs, and drag to the specify the radius you
if neither of the Handrail options is on.
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
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 Open—Creates an open riser stair, as shown on the
in the railings. Higher values display smoother left of the illustration above.
railings.
236 Chapter 5: Creating Geometry

Closed—Creates a closed riser stair, as shown in Layout group

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

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.

Stringers—Creates stringers along the ends of

the treads of the stairs. To modify the stringers’
Left: CCW (counterclockwise) right-hand spiral stairs. The
depth, width, offset and spring from the floor, see arrow indicates “Up.”
Stringers rollout (page 1–237). Right: CW (clockwise) left-hand spiral stairs. The arrow
indicates “Up.”
Carriage—Creates an inclined, notched beam
under the treads which supports the steps or adds Radius—Controls the size of the radius of the
support between the stringers of the stairs. You spiral.
might also know this as a carriage piece, a horse, or
Revs—Controls the number of revolutions in the
a rough string. See Carriage rollout (page 1–238) to
spiral.
modify the parameters.
Width—Controls the width of the spiral stairs.
Center Pole—Creates a pole at the center of the
spiral. See Center Pole rollout (page 1–238) to
Rise group
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 3ds Max keeps one Rise option locked while you
Stairs (page 1–231) for the instructions on how to adjust the other two. To lock an option, click a
do this. 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 Step thickness variance between two stairs
always be one more riser than steps. This implied
riser is between the top step of the stair and the Depth—Controls the depth of the steps.
upper floor.

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
Linear stair with five risers
Coordinates is on for all primitives to which you
1 through 4. Risers
apply a material containing a map with Show
5. The implied riser
Map In Viewport on. If all viewports are set to
6. The upper floor you snap to
wireframe or bounding box, 3ds Max turns on
7. The lower floor you snap to
Generate Mapping Coordinates for primitives
8. The steps. containing mapped materials at render time.

Steps group Real-World Map Size—Controls the scaling method

used for texture mapped materials that are applied
to the object. The scaling values are controlled
by the Use Real-World Scale settings found in
the applied material’s Coordinates rollout (page
2–1625). Default=off.

Stringers rollout
Thickness—Controls the thickness of the steps.
These controls are available only when you turn
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. Depth—Controls how far down the carriage
reaches toward the floor.
Width—Controls the width of the stringers.
Width—Controls the width of the carriage.
Offset—Controls the vertical distance of the
stringers from the floor. Carriage Spacing—Sets the spacing of the carriage.
When you pick this button, the Carriage Spacing
Spring from Floor—Controls whether the stringer
dialog displays. Specify the number of carriages
starts at the floor, flush with the start of the first
you want using the Count option. For more
riser, or if the stringer extends below the floor. You
information on spacing options in this dialog, see
control the amount the stringer extends below the
Spacing Tool (page 1–455).
floor with the Offset option.
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 stringer extending below the floor. (Spring From Floor
turned off.)
Right: the stringer springing from the floor. (Spring From Floor
turned on.)

Carriage rollout
Left: The carriage springing from the floor. (Spring From Floor
These controls are available only when you turn turned on.)
on Carriage on the Parameters rollout > Generate Right: The carriage extending below the floor. (Spring From
Floor turned off.)
Geometry group.
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 Height—Controls the height of the railings from
the center pole. Higher values display a smoother the steps.
pole. Offset—Controls the offset of the railings from the
Height—The spinner controls the height of the ends of the steps.
center pole. Turning on Height lets you adjust Segments—Controls the number of segments
the height of the pole independently of the stairs. in the railings. Higher values display smoother
Turning off Height makes the spinner unavailable railings.
and locks the top of the pole to the top of the
implied last riser. Typically, this riser would attach Radius—Controls the thickness of the railings.
to the fascia of a landing.

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
Left: The center pole locked to the top of the implied last riser. handrail.
(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 Types of straight stair: open, closed, and boxed
on the Parameters rollout > Generate Geometry Straight stairs have a single flight.
group. Also, Segments and Radius aren’t available
if neither of the Handrail options is on.
240 Chapter 5: Creating Geometry

Procedures Carriage—Creates an inclined, notched beam

To create straight stairs: under the treads which supports the steps or adds
support between the stringers of the stairs. You
1. In any viewport, drag to set the length. Release
might also know this as a carriage piece, a horse, or
the mouse button, then move the cursor and
a rough string. See Carriage rollout (page 1–242) to
click to set the width you want.
modify the parameters.
2. Move the cursor up or down to define the rise
Handrail—Creates left and right handrails. See
of the stairs, and click to end.
Railings rollout (page 1–242) to modify the
3. Adjust the stairs with the options in the handrails’ height, offset, number of segments, and
Parameters rollout. radius.

Interface Rail Path—Creates left and right paths you can use
to install railings on the stairs. See Stairs (page
Parameters rollout > Type group
1–231) for the instructions on how to do this.

Layout group

Open—Creates an open riser stair as shown on the

left of the illustration above.
Closed—Creates a closed riser stair as shown in the Length—Controls the length of the stairs.
center of the illustration above.
Width—Controls the width of the stairs.
Box—Creates a stair with closed risers and closed
stringers on both sides as shown on the right of the Rise group
illustration above.

Generate Geometry group

3ds Max keeps one Rise option locked while you

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
parameter with the depressed push pin and allows
the spinner values of the parameter with the raised
push pins to change.
Stringers—Creates stringers along the ends of
the treads of the stairs. To modify the stringers’ Overall—Controls the height of the flight of stairs.
depth, width, offset and spring from the floor, see
Riser Ht—Controls the height of the risers.
Stringers rollout (page 1–241).
 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.

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
Coordinates is on for all primitives to which you
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
Linear stair with five risers containing mapped materials at render time.
1 through 4. Risers Real-World Map Size—Controls the scaling method
5. The implied riser used for texture mapped materials that are applied
6. The upper floor you snap to to the object. The scaling values are controlled
7. The lower floor you snap to by the Use Real-World Scale settings found in
8. The steps. the applied material’s Coordinates rollout (page
2–1625). Default=off.
Steps group
Stringers rollout
These controls are available only when you turn
on Stringers on the Parameters rollout > Generate
Geometry group.
Thickness—Controls the thickness of the steps.

Step thickness variance between two stairs

Depth—Controls the depth of the steps.

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 information on spacing options in this dialog, see
stringers from the floor. Spacing Tool (page 1–455).
Spring from Floor—Controls whether the stringer Spring from Floor—Controls whether the carriage
starts at the floor, flush with the start of the first starts at the floor, flush with the start of the first
riser, or if the stringer extends below the floor. You riser, or if the carriage extends below the floor. You
control the amount the stringer extends below the control the amount the carriage extends below the
floor with the Offset option. floor with the Offset option.

Left: The stringer extending below the floor. (Spring From Floor Left: The carriage springing from the floor. (Spring From Floor
off.) on.)
Right: The stringer springing from the floor. (Spring From Floor Right: The carriage extending below the floor. (Spring From
on.) Floor off.)

Carriage rollout Railings rollout

These controls are available only when you turn These controls are available only when you turn on
on Carriage on the Parameters rollout > Generate one or more of the Handrail or Rail Path options
Geometry group. on the Parameters rollout > Generate Geometry
group. Also, Segments and Radius aren’t available
if neither of the Handrail options is on.

Depth—Controls how far down the carriage

reaches toward the floor. Height—Controls the height of the railings from

Width—Controls the width of the carriage.

the steps.
Offset—Controls the offset of the railings from the
Carriage Spacing—Sets the spacing of the carriage.
When you pick this button, the Carriage Spacing ends of the steps.
dialog displays. Specify the number of carriages Segments—Controls the number of segments
you want using the Count option. For more in the railings. Higher values display smoother
railings.
 U-Type Stair 243

Radius—Controls the thickness of the railings. 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
U-Type Stair center in the illustration above.
Create panel > Geometry > Stairs > U-Type Stair button Box—Creates a stair with closed risers and closed
Create menu > AEC Objects > U-Type Stair stringers on both sides as shown on the right in the
illustration above.
The U-Type Stair object lets you create a two-flight
staircase, with the two flights parallel to each other Generate Geometry group
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.
Stringers—Creates stringers along the ends of
Procedure the treads of the stairs. To modify the stringers’
depth, width, offset and spring from the floor, see
To create U-Type stairs:
Stringers rollout (page 1–245).
1. In any viewport, drag to set the length for the
first flight. Release the mouse button, then Carriage—Creates an inclined, notched beam
move the cursor and click to set the width of under the treads which supports the steps or adds
the landing, or the distance separating the two support between the stringers of the stairs. You
flights. might also know this as a carriage piece, a horse,
or a roughstring. See Carriage rollout (page 1–245)
2. Click and move the cursor up or down to define
to modify the parameters.
the rise of the stairs, then click to end.
Handrail—Creates left and right handrails. See
3. Adjust the stairs by using the options in the
Railings rollout (page 1–246) to modify the
Parameters rollout.
handrails’ height, offset, number of segments, and
radius.
Interface
Parameters rollout > Type group 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.
244 Chapter 5: Creating Geometry

Layout group 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.

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. Linear stair with five risers
Length 2—Controls the length of the second flight 1 through 4. Risers
of stairs. 5. The implied riser
6. The upper floor you snap to
Width—Controls the width of the stairs, including
7. The lower floor you snap to
the steps and the landing.
8. The steps.
Offset—Controls the distance separating the two
flights and thus the length of the landing. Steps group

Rise group

Thickness—Controls the thickness of the steps.

3ds Max keeps one Rise option locked while you

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
parameter with the depressed push pin and allows Step thickness variance between two stairs
the spinner values of the parameter with the raised Depth—Controls the depth of the steps.
push pins to change.
Overall—Controls the height of the flight of stairs.

Riser Ht—Controls the height of the risers.

 U-Type Stair 245

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
Step depth variance between two stairs control the amount the stringer extends below the
floor with the Offset option.
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
Coordinates is on for all primitives to which you
apply a material containing a map with Show
Map In Viewport on. If all viewports are set to Left: The stringer extending below the floor. (Spring From Floor
wireframe or bounding box, 3ds Max turns on off.)
Generate Mapping Coordinates for primitives Right: The stringer springing from the floor. (Spring From Floor
containing mapped materials at render time. on.)

Real-World Map Size—Controls the scaling method Carriage rollout

used for texture mapped materials that are applied
to the object. The scaling values are controlled These controls are available only when you turn
by the Use Real-World Scale settings found in on Carriage on the Parameters rollout > Generate
the applied material’s Coordinates rollout (page Geometry group.
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 carriage

reaches toward the floor.
Width—Controls the width of the carriage.

Carriage Spacing—Sets the spacing of the carriage.

When you pick this button, the Carriage Spacing
Depth—Controls how far down the stringers reach dialog displays. Specify the number of carriages
toward the floor. you want using the Count option. For more
Width—Controls the width of the stringers.
246 Chapter 5: Creating Geometry

information on spacing options in this dialog, see Radius—Controls the thickness of the railings.
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 Doors
floor with the Offset option. 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.
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.

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
on one side only. The Bifold door (page 1–252) is
hinged in the middle as well as the side, like many
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.
Height—Controls the height of the railings from
the steps. The topic for each kind of door describes its unique
controls and behavior. Most door parameters are
Offset—Controls the offset of the railings from the
common to all kinds of doors, and are described
ends of the steps.
here.
Segments—Controls the number of segments
in the railings. Higher values display smoother
railings.
 Doors 247

Doors and Materials on Allow Non-vertical Jambs if you want an

inclined door.
By default, 3ds Max assigns five different material
IDs to doors. The aectemplates.mat material 3. Drag the mouse in the viewport to create the
library includes Door-Template, a multi/sub-object first two points, defining the width and angle
material designed to be used with doors. Each of the base of the door.
component of the door/material is listed below 4. Release the mouse and move to adjust the depth
along with its corresponding Material ID. of the door (default creation method), and then
Material ID Door/Material Component
click to set.
1 Front By default, the depth is perpendicular to the
line between the first two points and parallel
2 Back
to the active grid.
3 Inner Bevel (used for glazing when
Panels set to Glass or Beveled). 5. Move the mouse to adjust the height, and then

4
click to finish.
Frame
5 Inner Door The height is perpendicular to the plane defined
by the first three points and perpendicular to
Note: 3ds Max does not automatically assign a the active grid.
material to the door object. To use the included You can adjust the Height, Width, and Depth
material, open the library and then assign the values on the Parameters rollout.
material to your object.
On the Creation Method rollout, you can change
Making an Opening for a Door the creation order to width-height-depth instead
of width-depth-height.
To make an opening in a wall, you can perform a
Boolean operation (page 1–338) with the wall as To create a door material:
Operand A, and another object, such as a box, as
1. Create a door or select an existing door.
Operand B. Then, you can create and add a door
in the opening, and link (page 2–421) it, if you 2. Open the Material Editor, and select a slot for
choose, as a child of the wall. the material.
Note: Using snaps, you can insert a door in a wall 3. Click the Type button below the Material Editor
object, automatically linking the two and creating toolbar.
a cutout for the door. See the procedure To create The Material/Map Browser dialog opens.
and place a window or door in a wall: (page 1–226).
4. In the Material list, double-click the
Multi/Sub-Object item, and then on the
Procedures
Replace Material dialog that appears, choose
To create a door: either option and click OK.
1. On the Object Type rollout, click the button for 5. On the Multi/Sub-Object Basic Parameters
the type of door you want to create. rollout, click Set Number and change Number
2. Choose options as needed, such as changing Of Materials to 5. Click OK.
the default creation method. Turn off Create 6. Optionally, change the sub-material names to
Frame to eliminate the door frame. Turn those specified in the above table.
248 Chapter 5: Creating Geometry

7. Edit the material as you would any of door to make a set of double doors. See BiFold
Multi/Sub-Object material. Door (page 1–252).

To animate a door: Name and Color rollout

You can animate a door opening and closing by See Object Name and Wireframe Color (page
keyframing the Open setting. 3–757).
1. Create a door or select an existing door.
Creation Method rollout
If using an existing door, also access the Modify
panel.
2. Set the Parameters rollout > Open parameter
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. You define each type of door with four points:
Drag the first two, followed by two move-click
4. Change the Open setting.
sequences. The Creation Method setting
5. Continue moving to any additional keyframes determines the order in which these actions define
and changing the Open setting as necessary. the door’s dimensions.
6. Play the animation.
Width/Depth/Height—The first two points define
the width and angle of the base of the door. You
Interface set these points by dragging in a viewport, as the
The topic for each kind of door describes its unique first step in creating a door. The first point, where
controls and behavior. Most door parameters are you click and hold before dragging, defines a
common to all kinds of doors, and are described point on the jamb at the hinge for single-pivot and
here. bifold doors (both jambs have hinges on double
doors, and sliding doors have no hinge). The
Object Type rollout 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,
There are three kinds of doors in 3ds Max: and the fourth click, where you click after moving
the mouse again, specifies the height.
Pivot—The familiar door type that is hinged on
one side only. See Pivot Door (page 1–251). Width/Height/Depth—Works like the
Width/Depth/Height option, except that
Sliding—Has a fixed half and a sliding half. See
the last two points create first the height and then
Sliding Door (page 1–251).
the depth.
BiFold—Hinged in the middle as well as the side,
like many closet doors. You can also use this type
 Doors 249

Note: With this method, the depth is perpendicular Frame group

to the plane set by the first three points. Thus,
This rollout has controls for the door-jamb frame.
if you draw the door in the Top or Perspective
Though part of the door object, the frame behaves
viewport, the door lies flat on the active grid.
as if it were part of the wall. It doesn’t move when
Allow Non-vertical Jambs—Lets you create tilted you open or close the door.
doors. Set snaps (page 2–35) to define points off
Create Frame—This is turned on as a default to
the construction plane. Default=off.
display the frame. Turn this off to disable display
of the frame.
Parameters rollout
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
to the frame. At 0.0, the door is flush with one
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
to the object. The scaling values are controlled
by the Use Real-World Scale settings found in
the applied material’s Coordinates rollout (page
2–1625). Default=off.

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.
250 Chapter 5: Creating Geometry

Leaf Parameters rollout Bottom Rail—Sets the width of the panel framing at
the base of the door. This setting is apparent only
if the door is paneled.
# Panels Horiz.—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.
Provides controls that affect the door itself (as
opposed to the door unit, which includes the Thickness 1—Sets the outer thickness of the panel.
frame). You can adjust the dimensions of the Thickness 2—Sets the thickness where the bevel
door, add panels, and adjust the dimensions and begins.
placement of those panels. The total number of
Middle Thick.—Sets the thickness of the inner part
panels for each door element is the number of
horizontal divisions times the number of vertical of the panel.
divisions. Pivot doors have a single door element Width 1—Sets the width where the bevel begins.
unless they are double doors. BiFold doors have
Width 2—Sets the width of the inner part of the
two door elements, or four if they are double
panel.
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.
 Pivot Door 251

Interface
Pivot Door Parameters rollout
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

The Parameters rollout contains three check boxes
This topic describes only controls and behavior specific to Pivot doors.
unique to the Pivot door. Most door parameters
are common to all kinds of doors; see Doors (page Double Doors—Makes a double door.
1–246). 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

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
Sliding doors with different numbers of panels elements.
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

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).

Flip Front Back—Changes which element is in front,

compared to the default.
 Windows 253

Interface
Parameters rollout 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.

The Parameters rollout contains three check boxes

specific to BiFold doors. Different types of windows in a model of a house

Double Doors—Makes the door a double door, 3ds Max offers six kinds of windows:
with four door elements, meeting in the center. • The Casement window (page 1–257) has one
Flip Swing—Makes the door swing in the opposite or two door-like sashes that swing inward or
direction from the default. outward.
• The Pivoted window (page 1–259) pivots
Flip Hinge—Makes the door hinged on the opposite
at the center of its sash, either vertically or
side from the default. Flip Hinge is unavailable
horizontally.
when Double Doors is on.
• The Projected window (page 1–260) has three
sashes, two of which open like awnings in
opposite directions.
• The Sliding window (page 1–261) has two
sashes, one of which slides either vertically or
horizontally.
• The Fixed window (page 1–258) doesn’t open.
• The Awning window (page 1–256) has a sash
that is hinged at the top.
254 Chapter 5: Creating Geometry

Windows and Materials Non-vertical Jambs if you want an inclined

window.
By default, 3ds Max assigns five different
material IDs to windows. The aectemplates.mat 3. Drag the mouse in the viewport to create the
material library includes Window-Template, first two points, defining the width and angle of
a multi/sub-object material designed to be the base of the window.
used with windows. Each component of the 4. Release the mouse and move to adjust the depth
window/material is listed below along with its of the window (default creation method), and
corresponding Material ID. then click to set.
Material ID Window/Material Component By default, the depth is perpendicular to the
1 Front Rails line between the first two points and parallel
to the active grid.
2 Back Rails
5. Move the mouse to adjust the height, and then
3 Panels (glazing), with 50% opacity
click to finish.
4 Front Frame
The height is perpendicular to the plane defined
5 Back Frame
by the first three points and perpendicular to
Note: 3ds Max does not automatically assign a
the active grid.
material to the window object. To use the included You can adjust the height, width, and depth
material, open the library and then assign the values on the Parameters rollout.
material to your object.
In the Creation Method rollout, you can change
the creation order to width-height-depth instead
Making an Opening for a Window
of width-depth-height.
To make an opening in a wall, you can perform a
Boolean operation (page 1–338) with the wall as To create a window material:
Operand A, and another object, such as a box, 1. Create a window or select an existing window.
as Operand B. Then, you can create and add a
2. Open the Material Editor, and select a slot for
window in the opening, and link (page 2–421) it, if
the material.
you choose, as a child of the wall.
3. Click the Type button below the Material Editor
Note: Using snaps, you can insert a window
toolbar.
in a wall object, automatically linking the two
and creating a cutout for the window. See the The Material/Map Browser dialog opens.
procedure To create and place a window or door 4. In the Material list, double-click the
in a wall: (page 1–226). Multi/Sub-Object item, and then on the
Replace Material dialog that appears, choose
Procedures either option and click OK.
To create a window: 5. On the Multi/Sub-Object Basic Parameters
1. On the Object Type rollout, click the button for rollout, click Set Number and change Number
the type of window you want to create. Of Materials to 5. Click OK.
2. Choose options as needed, such as changing 6. Optionally, change the sub-material names to
the default creation method. Turn on Allow those specified in the above table.
 Windows 255

7. Edit the material as you would any Fixed—Doesn’t open. See Fixed (page 1–258).
Multi/Sub-Object material.
Pivoted—Pivots at the center of its sash, either

To animate a window:
vertically or horizontally. See Pivoted (page 1–259).

You can animate a window opening and closing by Projected—Has three sashes, two of which open
keyframing the Open setting. like awnings in opposite directions. See Projected
(page 1–260).
1. Create a window or select an existing window.
Sliding—Has two sashes, one of which slides
2. If using an existing window, also access the
Modify panel. vertically or horizontally. See Sliding (page 1–261).

3. Set the Parameters rollout > Open parameter to Name and Color rollout
the amount you want the window to be open at
the start of the animation. If you want it to be See Object Name and Wireframe Color (page
closed, set it to 0. 3–757).

4. Click the Auto Key button (page 3–717) to turn Creation Method rollout
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 You define each type of window with four points:

Most window parameters are common to all kinds Drag the first two, followed by two move-click
of windows, and are described here. The topic for sequences. The Creation Method setting
each window type describes its unique controls determines the order in which these actions define
and behavior. the window’s dimensions.
Width/Depth/Height—The first two points define
Object Type rollout
the width and angle of the base of the window. You
set these points by dragging in a viewport, as the
first step in creating a window. This lets you align
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
Six types of window are available in 3ds Max: mouse again, specifies the height.
Awning—Has a sash that is hinged at the top. See Width/Height/Depth—Works like the
Awning (page 1–256). Width/Depth/Height option, except that
Casement—Has one or two door-like sashes that
the last two points create first the height and then
swing inward or outward. See Casement (page the depth.
1–257).
256 Chapter 5: Creating Geometry

Note: With this method, the depth is perpendicular Vert. Width—Sets the width of the vertical part of
to the plane set by the first three points. Thus, if the window frame (at the sides). This setting also
you draw the window in the Top or Perspective affects the glazed portion of the window’s height.
viewport, the door lies flat on the active grid.
Thickness—Sets the thickness of the frame. This
Allow Non-vertical Jambs—Select to create tilted also controls the thickness of casements or railings
windows. Set snaps (page 2–35) to define points on the window’s sashes.
off the construction plane. Default=off.
Glazing group
Parameters rollout
Thickness—Specifies the thickness of the glass.

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
to the object. The scaling values are controlled
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.

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 Awning window
window’s width.
 Casement Window 257

Interface
Parameters rollout
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

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.
258 Chapter 5: Creating Geometry

Interface Open Window group

Parameters rollout Open—Specifies the percent that the window is
open. This control is animatable.
Flip Swing—Turn this on to have the sashes open in
the opposite direction.

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.

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).
Fixed windows

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.
 Pivoted Window 259

Interface window. When Chamfered Profile is off, the rails

have a rectangular profile.

Pivoted Window
Create panel > Geometry > Windows > Pivoted button

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.

Parameters rollout Pivoted windows

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.
# Panels Horiz—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
260 Chapter 5: Creating Geometry

Interface Open Window group

Parameters rollout 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
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.
 Sliding Window 261

Interface Open Window group

Parameters rollout 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
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.
262 Chapter 5: Creating Geometry

Interface Chamfered Profile—Chamfers the rails between

Parameters rollout 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
The topic for each kind of Window describes its
you typically use as components of other objects.
unique controls and behavior. Most Window
Most of the default shapes are made from splines.
parameters are common to all kinds of Windows;
You use these spline shapes to do the following:
see Windows (page 1–253).
• Generate planar and thin 3D surfaces
Rails and Panels group • Define loft components such as paths, shapes,
Rail Width—Sets the width of the rails in the sash. and fit curves

# Panels Horiz—Sets the number of horizontal • Generate surfaces of revolution

divisions in each sash. • Generate extrusions
# Panels Vert—Sets the number of vertical divisions • Define motion paths
in each sash. The program supplies 11 basic spline shape
objects, plus two types of NURBS curves. You
 Shapes 263

can quickly create these shapes using mouse When you convert a spline to an editable spline,
or keyboard entry and combine them to form you lose the ability to adjust or animate its creation
compound shapes. See Splines (page 1–266) for parameters.
information about the methods and parameters
used to create these shapes. Renderable Shapes
When you use a shape to create a 3D object by
Creating Shapes lofting, extruding, or other means, the shape
becomes a renderable 3D object. However, you
To access the shape creation tools, go to can make a shape render without making it into a
the Create panel and click the Shapes button. 3D object. There are three basic steps to rendering
You’ll find the standard shapes under Splines in a shape:
the category list, and Point Curve and CV Curve
under NURBS Curves. 1. On the Rendering rollout of the shape’s creation
parameters, turn on Enable In Renderer.
As you add plug-ins, other shape categories might
2. Specify the thickness for the spline using the
appear in this list.
Thickness spinner in the Rendering rollout.
The Object Type rollout contains the spline
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
Edge selection level, in the Edit Geometry rollout,
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
Shape button at the Edge selection level. See
Editable Poly (Edge) (page 1–1035)

Editable Splines
You can convert a basic spline to an 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. 3. If you plan to assign a mapped material to the
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. 2D objects

Please observe the following: You can also apply an Edit Mesh modifier to a 3D
• When you apply a modifier that converts a shape (for example, a shape whose vertices have
shape into a mesh (such as Extrude (page been moved vertically away from the construction
1–680) or Lathe (page 1–707)), the object plane by different amounts) to create a curved
automatically becomes renderable, regardless surface. The resulting 3D surface often requires
of the state of the Enable in Renderer check box. manual editing of faces and edges to smooth
You need to turn on the Enable in Renderer surface ridges.
check box only when you want to render an
unmodified spline shape in the scene. Extruded and Lathed Shapes
• As with all objects, a shape’s layer must be on You can apply modifiers to a shape to create a 3D
for the shape to render. See Layer Properties object. Two of these modifiers are Extrude and
(page 3–656). Lathe. Extrude (page 1–680) creates a 3D object
by adding height to a shape. Lathe (page 1–707)
• The Object Properties dialog (page 1–117) also
creates a 3D object by rotating a shape about an
has a Renderable check box, which is turned on
axis.
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).
 Shape Check Utility 265

• You can use a Path 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

Initial text shape with extruded shape below
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
Lathed object with initial shape on right viewports and it will continually display the
locations of intersecting curves in the shape you
Lofting Shapes pick.
You create Lofts (page 1–352) by combining two If a shape is animated, moving the time slider will
or more splines in special ways. Shapes form the recheck the shape on each frame of the animation,
lofting path, loft cross-sections, and loft fit curves. allowing for easy checking of these changing
shapes.
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:
266 Chapter 5: Creating Geometry

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)
Intersection points highlighted by Shape Check
Channel Spline (page 1–285)
Interface Angle Spline (page 1–286)
Pick Object—Click this button, and then click the
Tee Spline (page 1–287)
shape for the utility to check. You can pick only
spline- and NURBS-based shapes and curves. Wide Flange Spline (page 1–288)
Points of intersection discovered by the utility are This topic covers aspects of spline and extended
highlighted with red boxes. The text below the spline creation that are common to all spline
button indicates whether any points of intersection object types, including the parameters available
occur. in the General rollout. For parameters unique to
Close—Closes the utility. a particular spline or extended spline type, see its
section by clicking the appropriate link above.

Procedures
To control starting a new shape manually:
Splines 1. On the Create panel, turn off the check box
Create panel > Shapes > Splines
next to the Start New Shape button.
2. Click the Start New Shape button.
Create menu > Shapes
3. Begin creating splines.
Create panel > Shapes > Extended Splines
Each spline is added to the compound shape.
Splines include the following object types: You can tell you are creating a compound shape
because all the splines remain selected.
Line Spline (page 1–270)
4. Click Start New Shape to complete the current
Rectangle Spline (page 1–272) shape and prepare to start another.
Circle Spline (page 1–273) Issues to remember about creating shapes:
Ellipse Spline (page 1–274)
Arc Spline (page 1–274)
 Splines and Extended Splines 267

• You can go back and change the parameters when new shapes are created. When the box is on,
of a shape containing a single spline after the the program creates a new shape object for every
shape is created. spline you create. When the box is off, splines are
• You can create a compound shape by adding added to the current shape until you click the Start
splines to a shape: Select the shape, turn off New Shape button.
Start New Shape, and then create more splines. Shape Selection buttons—Lets you specify the type
• You cannot change the parameters of a of shape to create.
compound shape. For example, create a
compound shape by creating a circle and then Name and Color rollout
adding an arc. Once you create the arc, you Lets you name an object and assign it a viewport
cannot change the circle parameters. color. For details, see Object Name and Wireframe
Color (page 3–757).
To create a spline using keyboard entry:
1. Click a spline creation button. Rendering rollout
2. Expand the Keyboard Entry rollout.
3. Enter X, Y, and Z values for the first point.
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—A shape can contain a single
spline or it can be a compound shape containing Lets you turn on and off the renderability of a
multiple splines. You control how many splines are spline or NURBS curve, specify its thickness in the
in a shape using the Start New Shape button and rendered scene, and apply mapping coordinates.
check box on the Object Type rollout. The check
box next to the Start New Shape button determines
268 Chapter 5: Creating Geometry

You can animate render parameters, such as the to the object. The scaling values are controlled
number of sides, but you cannot animate the by the Use Real-World Scale settings found in
Viewport settings. the applied material’s Coordinates rollout (page
2–1625). Default=off.
You can convert the displayed mesh into a mesh
object by applying an Edit Mesh or Edit Poly Viewport—Choose this to specify Radial or
modifier or converting to an editable mesh or Rectangular parameters for the shape as it will
editable poly object. If Enable In Viewport is off display in the viewports when Enable In Viewport
when converting, closed shapes will be “filled is on.
in” and open shapes will contain only vertices;
Renderer—Choose this on to specify Radial or
no edges or faces. If Enable In Viewport is on
Rectangular parameters for the shape as it will
when converting, the system will use the Viewport
display when rendered or viewed in the viewport
settings for this mesh conversion. This gives
when Enable in Viewport is turned on.
maximum flexibility, and will always give the
conversion of the mesh displayed in the viewports. Radial—Displays the 3D mesh as a cylindrical
object.
Enable In Renderer—When on, the shape is
rendered as a 3D mesh using the Radial or Thickness—Specifies the diameter of the viewport
Rectangular parameters set for Renderer. In or rendered spline mesh. Default=1.0. Range=0.0
previous versions of the program, the Renderable to 100,000,000.0.
switch performed the same operation.
Enable In Viewport—When on, the shape is
displayed in the viewport as a 3D mesh using the
Radial or Rectangular parameters set for Renderer.
In previous versions of the program, the Display
Render Mesh performed the same operation.
Use V iewport settings—Lets you set different
rendering parameters, and displays the mesh
generated by the Viewport settings. Available only
Splines rendered at thickness of 1.0 and 5.0, respectively
when Enable in Viewport is turned on.
Sides—Sets the number of sides (or facets) for
Generate Mapping Coords—Turn this on to apply
mapping coordinates. Default=off. the spline mesh n the viewport or renderer. For
example, a value of 4 results in a square cross
3ds Max generates the mapping coordinates in section.
the U and V dimensions. The U coordinate
Angle—Adjusts the rotational position of the
wraps once around the spline; the V coordinate is
mapped once along its length. Tiling is achieved cross-section in the viewport or renderer. For
using the Tiling parameters in the applied material. example, if the spline mesh has a square cross
For more information, see Mapping Coordinates section you can use Angle to position a "flat" side
(page 2–1405). down.
Rectangular—Displays the spline’s mesh shape as
Real-World Map Size—Controls the scaling method
used for texture mapped materials that are applied a rectangle.
 Splines and Extended Splines 269

Length—Specifies the size of the cross–section lines that approximate the true curve. The number
along the local Y axis. of divisions between each vertex on the spline are
called steps. The more steps used, the smoother
Width—Specifies the size of the cross–section
the curve appears.
along the local X axis.
Steps—Spline steps can be either adaptive (that
Angle—Adjusts the rotational position of the
is, set automatically by turning on Adaptive) or
cross-section in the viewport or renderer. For
specified manually.
example, if you have a square cross-section you
can use Angle to position a "flat" side down. When Adaptive is off, use the Steps field/spinner
to set the number of divisions between each vertex.
Aspect—Sets the aspect ratio for rectangular
Splines with tight curves require many steps to
cross-sections. The Lock check box lets you lock
look smooth while gentle curves require fewer
the aspect ratio. When Lock is turned on, Width is
steps. Range=0 to 100.
locked to Length that results in a constant ratio of
Width to Length. Optimize—When on, removes unneeded steps
from straight segments in the spline. Optimize is
Auto Smooth—If Auto Smooth is turned on, the
not available when Adaptive is on. Default=on.
spline is auto-smoothed using the threshold
specified by the Threshold setting below it. Auto Adaptive—When off, enables manual interpolation
Smooth sets the smoothing based on the angle control using Optimize and Steps. Default=off.
between spline segments. Any two adjacent
When on, Adaptive sets the number of steps for
segments are put in the same smoothing group if
each spline to produce a smooth curve. Straight
the angle between them is less than the threshold
segments always receive 0 steps.
angle.
Note: Turning Auto Smooth on for every situation
does not always give you the best smoothing
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 Optimized spline left and adaptive spline right. Resulting
in the same smoothing group if the angle between wireframe view of each, respectively, on the right.
them is less than the threshold angle.
The main use for manual interpolation of splines is
in morphing or other operations where you must
Interpolation rollout
have exact control over the number of vertices
created.

Creation Method rollout

These settings control how a spline is generated.

All spline curves are divided into small straight
270 Chapter 5: Creating Geometry

Many spline tools use the Creation Methods

rollout. On this rollout you choose to define Line Spline
splines by either their center point or their
Create panel > Shapes > Splines > Object Type rollout
diagonal. > Line

Edge—Your first click defines a point on the side or Create menu > Shapes > Line
at a corner of the shape and you drag a diameter
or the diagonal corner. Use Line to create a free-form spline made of
multiple segments.
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
have a Creation Methods rollout.
Line (page 1–270) and Arc (page 1–274) have
unique Creation Methods rollouts that are
discussed in their respective topics.

Keyboard Entry rollout

Example of line

Procedures
To create a line:

1. Go to the Create panel and choose

Shapes.
You can create most splines using keyboard entry.
The process is generally the same for all splines 2. On the Object Type rollout, click the Line
and the parameters are found under the Keyboard button.
Entry rollout. Keyboard entry varies primarily in 3. Choose a creation method.
the number of optional parameters. The image
4. Click or drag the start point.
above shows a sample Keyboard Entry rollout for
the Circle shape. Clicking creates a corner vertex; dragging
creates a Bezier vertex.
The Keyboard Entry rollout contains three
fields for the X, Y, and Z coordinates of the 5. Click or drag additional points.
initial creation point, plus a variable number of Clicking creates a corner vertex; dragging
parameters to complete the spline. Enter values creates a Bezier vertex.
in each field and click the Create button to create 6. Do one of the following:
the spline.
• Right-click to create an open spline.
 Line Spline 271

• Click the first vertex and click Yes in the Interface

"Close spline?" dialog to create a closed Automatic Conversion to an Editable Spline
spline.
Because the Line object has no dimension
To create a line using rectilinear and angle-snap parameters to be carried over to the Modify panel,
options: it converts to an editable spline (page 1–289) when
These two options aid in creating regular shapes: you move from the Create panel to the Modify
panel. While you are creating the line, the Create
• While creating a spline with the mouse, press panel displays the original controls, such as
and hold Shift to constrain new points to Interpolation, Rendering, Creation Method, and
90-degree-angle increments from previous Keyboard Entry. After creating the line, when you
points. Use the default Initial type setting of go to the Modify panel you have immediate access
Corner and click all subsequent points to create to the Selection and Geometry rollouts to edit the
fully rectilinear shapes. vertices or any part of the shape.
• While creating a spline with the mouse, press
and hold Ctrl to constrain new points to angle Rendering and Interpolation rollouts
increments determined by the current Angle All spline-based shapes share these parameters.
Snap setting (page 2–12). To set this angle, go See Splines (page 1–266) for an explanation of
to Customize menu > Grid and Snap Settings, these parameters.
click the Options tab (page 2–46) in the Grid
and Snap Settings dialog, and change the value Creation Method rollout
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 Creation method options for lines are different
line at the specified coordinate. from other spline tools. You choose options to
3. Repeat steps 1 and 2 for each additional vertex. control the type of vertex created when you click
or drag vertices.
4. Do one of the following:
• Click Finish to create an open spline. You can preset the default types of spline vertices
during line creation with these settings:
• Click Close to connect the current vertex to
the first vertex and create a closed spline. Initial Type group
Sets the type of vertex you create when you click
a vertex location.
272 Chapter 5: Creating Geometry

Corner—Produces a sharp point. The spline is Close—Closes the shape, adding a final spline
linear to either side of the vertex. segment between the most recent vertex and the
first.
Smooth—Produces a smooth, nonadjustable curve
through the vertex. The amount of curvature is set Finish—Finishes the spline without closing it.
by the spacing of the vertices.

Drag Type group Rectangle Spline

Sets the type of vertex you create when you drag a Create panel > Shapes > Splines > Object Type rollout
vertex location. The vertex is located at the cursor > Rectangle
position where you first press the mouse button.
Create menu > Shapes > Rectangle
The direction and distance that you drag are used
only when creating Bezier vertices. Use Rectangle to create square and rectangular
Corner—Produces a sharp point. The spline is splines.
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 Examples of rectangles
through the vertex. The amount of curvature
and direction of the curve are set by dragging the Procedure
mouse at each vertex. To create a rectangle:

Keyboard Entry rollout

1. Go to the Create panel and choose
Shapes.
2. Click Rectangle.
3. Choose a creation method.
4. Drag in a viewport to create a rectangle.
Optionally, press Ctrl while dragging to
constrain the spline to a square.

Interface
Rendering and Interpolation rollouts
Keyboard entry for lines is different from keyboard All spline-based shapes share these parameters.
entry for other splines. Entering keyboard values See Splines (page 1–266) for an explanation of
continues to add vertices to the existing line until these parameters.
you click Close or Finish.
Add Point—Adds a new point to the line at the
current X/Y/Z coordinates.
 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

Example of circle

Procedure
Once you have created a rectangle, you can make To create a circle:
changes using the following parameters:
Length—Specifies the size of the rectangle along 1. Go to the Create panel and choose
the local Y axis. Shapes.
Width—Specifies the size of the rectangle along the 2. Click Circle.
local X axis. 3. Choose a creation method.

Corner Radius—Creates rounded corners. When 4. Drag in a viewport to draw the circle.
set to 0, the rectangle contains 90-degree corners.
Interface
Rendering and Interpolation rollouts
Circle Spline
All spline-based shapes share these parameters.
Create panel > Shapes > Splines > Object Type rollout > See Splines (page 1–266) for explanations of these
Circle
parameters.
Create menu > Shapes > Circle
Creation Method rollout
Use Circle to create closed circular splines made of The Circle shape uses the standard creation
four vertices. 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
274 Chapter 5: Creating Geometry

Once you have created a circle, you can make Creation Method rollout
changes using the following parameter:
The Ellipse shape uses the standard creation
Radius—Specifies the radius of the circle. methods of Center or Edge. Most spline-based
shapes share the same Creation Method
parameters. See Splines (page 1–266) for an
Ellipse Spline explanation of these parameters.

Create panel > Shapes > Splines > Object Type rollout Parameters rollout
> Ellipse

Create menu > Shapes > Ellipse

Use Ellipse to create elliptical and circular splines.

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.
Examples of ellipses

Procedure Arc Spline

To create an ellipse: Create panel > Shapes > Splines > Object Type rollout
> Arc

1. Go to the Create panel and choose Create menu > Shapes > Arc
Shapes.
2. Click Ellipse. Use Arc to create open and closed circular arcs
made of four vertices.
3. Choose a creation method.
4. Drag in a viewport to draw the ellipse. Procedures
Optionally, press Ctrl while dragging to To create an arc using the end-end-middle method:
constrain the spline to a circle.
1. Go to the Create panel and choose
Interface Shapes.
Rendering and Interpolation rollouts 2. Click Arc.
All spline-based shapes share these parameters. 3. Choose the End-End-Middle creation method.
See Splines (page 1–266) for explanations of these
4. Drag in a viewport to set the two ends of the arc.
parameters.
5. Release the mouse button, then move the
mouse and click to specify a third point on an
arc between the two endpoints.
 Arc Spline 275

Creation Method rollout

These options determine the sequence of mouse

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
Creating an arc using the End-End-Middle creation method third point between the two endpoints.
To create an arc using the center-end-end method: Center-End-End—Press the mouse button to specify
the center point of the arc, drag and release to
1. Go to the Create panel and choose specify one endpoint of the arc, and click to specify
Shapes. the other endpoint of the arc.

2. Click Arc. Parameters rollout

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.

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.
Creating an arc using the Center-End-End creation method
To—Specifies the location of the end point as an
Interface angle measured from the local positive X axis.

Rendering and Interpolation rollouts Pie Slice—When on, creates a closed spline in the
form of a pie. The start point and end point are
All spline-based shapes share these parameters.
connected to the center with straight segments.
See Splines (page 1–266) for an explanation of
these parameters.
276 Chapter 5: Creating Geometry

3. Choose a creation method.

4. Drag and release the mouse button to define
the first donut circle.
5. Move the mouse and then click to define the
Closed pie slice arcs
radius of the second concentric donut circle.
Reverse—When on, the direction of the arc spline The second circle can be larger or smaller than
is reversed, and the first vertex is placed at the the first.
opposite end of an open arc. As long as the shape
remains an original shape (and not an editable Interface
spline), you can switch its direction by toggling
Rendering and Interpolation rollouts
Reverse. Once the arc is converted to an editable
spline, you can use Reverse at the Spline sub-object All spline-based shapes share these parameters.
level to reverse direction. See Splines (page 1–266) for explanations of these
parameters.

Donut Spline Creation Method rollout

The Donut shape uses the standard creation
Create panel > Shapes > Splines > Object Type rollout
> Donut methods of Center or Edge. Most spline-based
shapes share the same Creation Method
Create menu > Shapes > Donut
parameters. See Splines (page 1–266) for an
Use Donut to create closed shapes from two explanation of these parameters.
concentric circles. Each circle is made of four
Parameters rollout
vertices.

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.

Example of donut

Procedure
To create a donut:

1. Go to the Create panel and choose

Shapes.
2. Click Donut.
 NGon Spline 277

Parameters rollout
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.

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
Examples of NGons
corners of the NGon
Procedure • Circumscribed—The radius from the center to
the sides of the NGon.
To create an NGon:
Sides—Specifies the number of sides and vertices
1. Go to the Create panel and choose used by the NGon. Range=3 to 100.
Shapes.
Corner Radius—Specifies the degree of rounding to
2. Click NGon. apply to the corners of the NGon. A setting of 0
3. Choose a creation method. specifies a standard unrounded corner.
4. Drag and release the mouse button in a Circular—When on, specifies a circular NGon.
viewport to draw the NGon.

Interface Star Spline

Rendering and Interpolation rollouts Create panel > Shapes > Splines > Object Type rollout
> Star
All spline-based shapes share these parameters.
See Splines (page 1–266) for an explanation of Create menu > Shapes > Star
these parameters.
Use Star to create closed star-shaped splines with
Creation Method rollout any number of points. Star splines use two radiuses
to set the distance between the outer points and
The NGon shape uses the standard creation
inner valleys.
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.
278 Chapter 5: Creating Geometry

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.
Examples of stars
A star has twice as many vertices as the specified
number of points. Half the vertices lie on one
Procedure
radius, forming points, and the remaining vertices
To create a star: lie on the other radius, forming valleys.
Distortion—Rotates the outer vertices (the points)
1. Go to the Create panel and choose
Shapes. about the center of the star. This produces a
sawtooth affect.
2. Click Star.
Fillet Radius 1—Rounds the inner vertices (the
3. Drag and release the mouse button to define
valleys) of the star.
the first star radius.
Fillet Radius 2—Rounds the outer vertices (the
4. Move the mouse and then click to define the
second star radius. points) of the star.

Interface
Text Spline
Rendering and Interpolation rollouts
Create panel > Shapes > Splines > Object Type rollout
All spline-based shapes share these parameters. > Text
See Splines (page 1–266) for explanations of these
Create menu > Shapes > Text
parameters.
Use Text to create splines in the shape of text.
Parameters rollout
The text can use any Windows font installed on
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.

Once you have created a star, you can make

changes using the following parameters:
 Text Spline 279

• 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.
You must use the numeric keypad, not the row
of numbers above the alphabetic keys.
Examples of text
For some characters, you must enter a leading
You can edit the text in the Create panel, or later in zero. For example, 0233 to enter an e with an
the Modify panel. acute accent.
3. Release the Alt key.
Using Text Shapes
Text shapes maintain the text as an editable Interface
parameter. You can change the text at any time. Settings available for text include kerning, leading,
If the font used by your text is deleted from the justification, multiple lines, and a manual update
system, 3ds Max still properly displays the text option.
shape. However, to edit the text string in the edit
box you must choose an available font. Rendering and Interpolation rollouts
The text in your scene is just a shape where each All spline-based shapes share these parameters.
letter and, in some cases, pieces of each letter are See Splines (page 1–266) for an explanation of
individual splines. You can apply modifiers like these parameters.
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:
280 Chapter 5: Creating Geometry

Parameters rollout
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’s only one line of text, it’s the same size as
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
Once you have created text, you can make changes multiple lines of text are included in the shape.
using the following parameters:
Text edit box—Allows for multiple lines of text.
Font list—Choose from a list of all available fonts. Press Enter after each line of text to start the next
Available fonts include: line.
• Fonts installed in Windows. • The initial session default is "MAX Text."
• Type 1 PostScript fonts located in the directory • The edit box does not support word wrap.
pointed to by the Fonts path on the Configure • You can cut and paste single- and multi-line
System Paths dialog (page 3–810). text from the Clipboard.

Italic style button—Toggles italicized text. Update group

These options let you select a manual update
Underline style button—Toggles underlined
option for situations where the complexity of the
text.
text shape is too high for automatic updates.
Align Left—Aligns text to the left side of its Update—Updates the text in the viewport to match
bounding box. the current settings in the edit box. This button is
available only when Manual Update is on.
Center—Aligns text to the center of its Manual Update—When on, the text that you type
bounding box. into the edit box is not shown in the viewport until
you click the Update button.
 Helix Spline 281

Interpolation
Helix Spline
The helix differs from other spline-based shapes
Create panel > Shapes > Splines > Object Type rollout > in that it always uses adaptive interpolation: the
Helix number of vertices in a helix is determined by the
Create menu > Shapes > Helix number of turns.

Use Helix to create open flat or 3D spirals. Creation Method rollout

The Helix 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

Examples of helixes

Procedure
To create a helix:

1. Go to the Create panel and choose

Shapes.
2. Click Helix.
3. Choose a creation method. Once you have created a helix, you can make
changes using the following parameters:
4. Press the mouse button to define the first point
of the Helix start circle. Radius 1—Specifies the radius for the Helix start.

5. Drag and release the mouse button to define Radius 2—Specifies the radius for the Helix end.
the second point of the Helix start circle.
Height—Specifies the height of the Helix.
6. Move the mouse and then click to define the
height of the Helix. Turns—Specifies the number of turns the Helix
makes between its start and end points.
7. Move the mouse and then click to define the
radius of the Helix end. Bias—Forces the turns to accumulate at one end of
the helix. Bias has no visible affect when the height
Interface is 0.0.
Rendering rollout
All spline-based shapes share these parameters.
See Splines (page 1–266) for explanations of these
parameters.
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
Red line shows the section shape based on the structure.
between the ends.
• A bias of 1.0 forces the turns toward the end of Procedure
the helix.
To create and use a section shape:
CW/CCW—The direction buttons set whether the
Helix turns clockwise (CW) or counterclockwise 1. Go to the Create panel and choose
(CCW). Shapes.
2. Click Section.

Section Spline 3. Drag a rectangle in the viewport in which you

want to orient the plane. (For example, create it
Create panel > Shapes > Splines > Object Type rollout in the Top viewport to place the Section object
> Section
parallel with the XY home grid.)
Create menu > Shapes > Section
The Section object appears as a simple rectangle
This is a special type of object that generates other with crossed lines indicating its center. With
shapes based on a cross-sectional slice through the default settings, the rectangle is for display
mesh objects. The Section object appears as a purposes only, because the effect of the Section
bisected rectangle. You simply move and rotate object extends along its plane to the full extents
it to slice through one or more mesh objects, and of the scene.
then click the Create Shape button to generate a 4. Move and rotate the section so that its plane
shape based on the 2D intersection. 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 while you move it. Click the Update Section button
Rendering and Interpolation rollouts to update the intersection.

All spline-based shapes share these parameters. Manually—Updates the intersection line only when
See Splines (page 1–266) for an explanation of you click the Update Section button.
these parameters. Update Section—Updates the intersection to match
the current placement of the Section object when
Section Parameters rollout 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—The section plane is infinite in all
directions, resulting in a cross section at any mesh
geometry in its plane.
Section Boundary—The cross-section is generated
Create Shape—Creates a shape based on the only in objects that are within or touched by the
currently displayed intersection lines. A dialog is boundary of the section shape.
displayed in which you can name the new object. Off—No cross section is displayed or generated.
The resulting shape is an editable spline consisting The Create Shape button is disabled.
of curve segments and corner vertices, based on all
intersected meshes in the scene.
Color swatch—Click this to set the display color of
Update group
the intersection.
Provides options for specifying when the
intersection line is updated. Section Size rollout
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
284 Chapter 5: Creating Geometry

Provides spinners that let you adjust the length 3. Click WRectangle.
and width of the displayed section rectangle. 4. Drag and release the mouse button to define
Length/Width—Adjust the length and width of the the outer rectangle.
displayed section rectangle. 5. Move the mouse and then click to define the
Note: If you convert the section grid to an editable inner rectangle.
spline, it’s converted to a shape based on the
current cross section. Interface
Rendering and Interpolation rollouts
All spline-based shapes share these parameters.
For explanations, see Splines and Extended Splines
(page 1–266).
Extended Splines
Creation Method rollout

WRectangle Spline The WRectangle shape uses the standard

creation methods of Center or Edge. Most
Create panel > Shapes > Extended Splines > Object Type spline-based shapes share the same Creation
rollout > WRectangle
Method parameters. For explanations, see Splines
Create menu > Shapes > WRectangle and Extended Splines (page 1–266).

Use WRectangle to create closed shapes from two Parameters rollout

concentric rectangles. Each rectangle is made of
four vertices. The WRectangle is similar to the
Donut tool except it uses rectangles instead of
circles.
WRectangle stands for “walled rectangle”.

Example of WRectangle Length—Controls the height of the wrectangle

section.
Procedure
Width—Controls the width of the wrectangle
To create a wrectangle:
section.

1. Go to the Create panel and choose Thickness—Controls the thickness of the walls of
Shapes. the wrectangle.

2. Open the Shapes List and choose Extended Sync Corner Fillets—When turned on, Corner
Splines. Radius 1 controls the radius of both the interior
 Channel Spline 285

and exterior corners of the wrectangle. It also Procedure

maintains the thickness of the section. Default=on. To create a channel:
Corner Radius 1—Controls the radius of all four
interior and exterior corners of the section. 1. Go to the Create panel and choose
Shapes.
If Sync Corner Fillets is turned off, Corner Radius
1 controls the radius of the four exterior corners 2. Open the Shapes List and select Extended
of the wrectangle. Splines.
3. Click Channel.
Corner Radius 2—Controls the radius of the four
interior corners of the wrectangle. 4. Drag and release the mouse button to define
the outer perimeter of the channel.
Corner Radius 2 is only available when Sync
Corner Fillets is turned off. 5. Move the mouse and then click to define the
thickness of the walls of the channel.
Note: Take care when adjusting these settings.
There are no constraining relationships between Interface
them. Therefore, it’s possible to set an inside
radius (Corner Radius 2) that is greater than the Rendering and Interpolation rollouts
length and width of the sides. All spline-based shapes share these parameters.
For explanations, see Splines and Extended Splines
(page 1–266).
Channel Spline
Creation Method rollout
Create panel > Shapes > Extended Splines > Object Type
rollout > Channel The Channel shape uses the standard creation
Create menu > Shapes > Channel methods of Center or Edge. Most spline-based
shapes share the same Creation Method
Use Channel to create a closed “C” shaped spline. parameters. For explanations, see Splines and
You have the option to specify the interior and Extended Splines (page 1–266).
exterior corners between the vertical web and
horizontal legs of the section. Parameters rollout

Example of Channel
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.
Example of Angle
Sync Corner Fillets—When turned on, Corner
Radius 1 controls the radius of both the interior Procedure
and exterior corners between the vertical web and
To create an Angle spline:
horizontal legs. It also maintains the thickness of
the channel. Default=on.
1. Go to the Create panel and choose
Corner Radius 1—Controls the exterior radius Shapes.
between the vertical web and horizontal legs of the
2. Open the Shapes List and select Extended
channel.
Splines.
Corner Radius 2—Controls the interior radius
3. Click Angle.
between the vertical web and horizontal legs of the
channel. 4. Drag and release the mouse button to define
the initial size of the angle.
Note: Take care when adjusting these settings.
There are no constraining relationships between 5. Move the mouse and then click to define the
them. Therefore, it’s possible to set an inside thickness of the walls of the angle.
radius (Corner Radius 2) that is greater than the
length of the web or width of the legs. Interface
Rendering and Interpolation rollouts
All spline-based shapes share these parameters.
Angle Spline For explanations, see Splines and Extended Splines
Create panel > Shapes > Extended Splines > Object Type (page 1–266).
rollout > Angle
Creation Method rollout
Create menu > Shapes > Angle
The Angle shape uses the standard creation
Use Angle to create a closed “L” shaped spline. You methods of Center or Edge. Most spline-based
have the option to specify the radii of the corners shapes share the same Creation Method
between the vertical and horizontal legs of the parameters. For explanations, see Splines and
section. Extended Splines (page 1–266).
 Tee Spline 287

Parameters rollout
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.

Length—Controls the height of the vertical leg of

the angle.
Width—Controls the width of the horizontal leg
of the angle. Example of Tee

Thickness—Controls the thickness of both legs of

Procedure
the angle.
To create a Tee spline:
Sync Corner Fillets—When turned on, Corner
Radius 1 controls the radius of both the interior
1. Go to the Create panel and choose
and exterior corners between the vertical and
Shapes.
horizontal legs. It also maintains the thickness of
the section. Default=on. 2. Open the Shapes List and select Extended
Splines.
Corner Radius 1—Controls the exterior radius
3. Click Tee.
between the vertical and horizontal legs of the
angle. 4. Drag and release the mouse button to define
the initial size of the tee.
Corner Radius 2—Controls the interior radius
between the vertical and horizontal legs of the 5. Move the mouse and then click to define the
angle. thickness of the walls of the tee.

Edge Radii—Controls the interior radius at the Interface

outermost edges of the vertical and horizontal legs.
Rendering and Interpolation rollouts
Note: Take care when adjusting these settings.
There are no constraining relationships between All spline-based shapes share these parameters.
them. Therefore, it’s possible to set an inside For explanations, see Splines and Extended Splines
radius (Corner Radius 2) that is greater than the (page 1–266).
length or width of the legs of the angle.
288 Chapter 5: Creating Geometry

Creation Method rollout corners between the vertical web and horizontal
flanges of the section.
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
Example of Wide Flange

Procedure
To create a Wide Flange spline:

1. Go to the Create panel and choose

Shapes.
2. Open the Shapes List and select Extended
Length—Controls the height of the vertical web of
the tee. Splines.
3. Click Wide Flange.
Width—Controls the width of the flange crossing
the tee. 4. Drag and release the mouse button to define
the initial size of the wide flange.
Thickness—Controls the thickness of the web and
5. Move the mouse and then click to define the
flange.
thickness of the walls of the wide flange.
Corner Radius—Controls the radius of the two
interior corners between the vertical web and Interface
horizontal flange of the section.
Rendering and Interpolation rollouts
Note: Take care when adjusting these settings.
All spline-based shapes share these parameters.
There are no constraining relationships between
For explanations, see Splines and Extended Splines
them. Therefore, it’s possible to set a radius
(page 1–266).
(Corner Radius) that is greater than the length of
the web or width of the flange.
Creation Method rollout
The Wide Flange shape uses the standard
Wide Flange Spline creation methods of Center or Edge. Most
spline-based shapes share the same Creation
Create panel > Shapes > Extended Splines > Object Type Method parameters. For explanations, see Splines
rollout > Wide Flange
and Extended Splines (page 1–266).
Create menu > Shapes > Wide Flange

Use Wide Flange to create a closed spline shaped

like a capital letter I. You can specify the interior
 Editable Spline 289

Parameters rollout The functions in Editable Spline are the same as

those in the Edit Spline modifier (page 1–680). The
exception is that when you convert an existing
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
Length—Controls the height of the vertical web
to overlap, you can use the Weld command to
of the wide flange. weld the overlapping vertices together or the Fuse
Width—Controls the width of the horizontal command if you want the two overlapping vertices
flanges crossing the wide flange. to occupy the same point in space but remain
separate vertices.
Thickness—Controls the thickness of the web and
flanges. Note: Welding coincident vertices is controlled by
the End Point Auto-Welding feature.
Corner Radius—Controls the radius of the four
interior corners between the vertical web and Show End Result
horizontal flanges.
Note: Take care when adjusting these settings. If you have several modifiers higher in
There are no constraining relationships between the modifier stack, and want to see the results
them. Therefore, it’s possible to set a radius of edits in an Edit Spline modifier or Editable
(Corner Radius) that is greater than the length of Spline object, then turn on Show End Result on
the web or width of the flanges. the Modify panel. As you edit the spline network,
you’ll be able to see the result of modifiers above
the Editable Spline object. This is useful for
Surface Tools work where you add a Surface
modifier above an Editable Spline object in the
Editable Spline modifier stack.

Create or select a spline > Modify panel > Right-click

spline entry in the stack display > Convert To: Editable
See also
Spline
Edit Modifiers and Editable Objects (page 1–506)
Create a line > Modify panel
Modifying at the Sub-Object Level (page 1–506)
Create or select a spline > Right-click the spline >
Transform (lower-right) quadrant of the quad menu > Modifier Stack Controls (page 3–760)
Convert To: > Convert to Editable Spline
Procedures
Editable Spline provides controls for manipulating
To produce an editable spline object, first select the
an object as a spline object and at three sub-object
shape, and then do one of the following:
levels: vertex, segment, and spline.
• Right-click the shape entry in the stack display
and choose Convert To: Editable Spline.
290 Chapter 5: Creating Geometry

• In a viewport, right-click the object and choose To draw a spline cage:

Convert To: > Convert to Editable Spline from 1. Select a segment sub-object on a spline.
the Transform (lower-right) quadrant of the
2. On the Geometry rollout in the Connect Copy
quad menu.
group, turn on Connect.
• Create a shape with two or more splines by first
3. Hold down the Shift key and transform the
turning off Start New Shape (on the Create
panel). Any shape made up of two or more selected segment. You can move, rotate or
splines is automatically an editable spline. scale using the transform gizmo to control the
direction.
• Apply an Edit Spline modifier to a shape, and
then collapse the stack. If you use the Collapse Notice that with Connect Copy on, new splines
utility (page 1–966) to collapse the stack, be sure are drawn between the locations of the segment
to choose Output Type > Modifier Stack Result. and its clone.
Tip: Use Area Selection or Fuse before selecting
• Import a .shp file.
and moving these vertices. They will not move
To select shape sub-objects: together as they do with the Cross-Section
modifier. Or use Fuse to keep the vertices
1. Expand the object’s hierarchy in the stack
together.
display and choose a sub-object level, or click
one of the sub-object buttons at the top of the
Interface
Selection rollout.
The following controls are available at the object
You can also right-click the object in the
(top) level and at all sub-object levels.
viewports and choose a sub-object level from
the quad menu: Tools 1 (upper-left) quadrant
> Sub-objects > Choose the sub-object level.
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:
• Use Lock Selection (page 3–707).
• Name the sub-object selection (see Named
Selection Sets List (page 1–67)).

To clone sub-object selections:

• Hold down the Shift key while transforming
the sub-objects.
You can clone segment and spline sub-objects,
but not vertices.
 Editable Spline 291

Rendering and Interpolation rollouts 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
displayed in the viewport as a 3D mesh using the
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.
These creation parameters appear in these rollouts
for editable splines. For splines to which the Generate Mapping Coords—Turn this on to apply
Edit Spline modifier has been applied, creation mapping coordinates. Default=off.
parameters are available by selecting the object The U coordinate wraps once around the thickness
type entry (for example, Circle or NGon) at the of the spline; the V coordinate is mapped once
bottom of the modifier stack (page 3–760). along the length of the spline. Tiling is achieved
using the Tiling parameters in the material itself.
Rendering rollout
Real-World Map Size—Controls the scaling method
Controls here let you turn on and off the
used for texture mapped materials that are applied
renderability of the shape, specify its thickness
to the object. The scaling values are controlled
in the rendered scene, and apply mapping
by the Use Real-World Scale settings found in
coordinates. The spline mesh can be viewed
the applied material’s Coordinates rollout (page
in the viewports. You can animate the render
2–1625). Default=off.
parameters, such as the number of sides. Viewport
settings cannot be animated. Viewport—Turn this on to specify Radial or
Rectangular parameters for the shape as it will
You can also convert the displayed mesh into a
display in the viewport when Enable in Viewport
mesh object by applying an Edit Mesh modifier
is turned on.
or converting to an Editable Mesh. The system
292 Chapter 5: Creating Geometry

Renderer—Turn this on to specify Radial or Width—Specifies the size of the cross–section

Rectangular parameters for the shape as it will along the local X axis.
display when rendered or viewed in the viewport
Angle—Adjusts the rotational position of the
when Enable in Viewport is turned on.
cross-section in the viewport or renderer. For
Radial—Displays the 3D mesh as a cylindrical example, if you have a square cross-section you
object. can use Angle to position a "flat" side down.
Thickness—Specifies the diameter of the viewport Auto Smooth—If Auto Smooth is turned on, the
or rendered spline mesh. Default=1.0. Range=0.0 spline is auto-smoothed using the threshold
to 100,000,000.0. specified by the Threshold setting below it. 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 between them is less than the threshold
angle.
Threshold—Specifies the threshold angle in
degrees. Any two adjacent spline segments are put
in the same smoothing group if the angle between
them is less than the threshold angle.
Splines rendered at thickness of 1.0 and 5.0, respectively
Interpolation rollout
Sides—Sets the number of sides (or facets) for
the spline mesh n the viewport or renderer. For The Interpolation controls set how the program
example, a value of 4 results in a square cross generates a spline. All spline curves are divided
section. into small straight lines that approximate the true
curve. The number of divisions between each
Angle—Adjusts the rotational position of the vertex on the spline is called steps. The more steps
cross-section in the viewport or renderer. For used, the smoother the curve appears.
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 Splines used in above lathed objects contained two steps (left)
is locked to Depth that results in a constant ratio and 20 steps (right)
of Width to Depth.
Steps—Use the Steps field to set the number of
Length—Specifies the size of the cross–section divisions, or steps, the program uses between each
along the local Y axis. 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 Selection rollout

specified. The method used is set by the state of
the Adaptive check box. The main use for manual
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.

Provides controls for turning different sub-object

modes on and off, working with named selections
and handles, display settings, and information
Optimize was used to create spline in this lathed object. about selected entities.
Adaptive—When on, automatically sets the When you first access the Modify panel with
number of steps for each spline to produce a an editable spline selected, you’re at the Object
smooth curve. Straight segments always receive level, with access to several functions available as
0 steps. When off, enables manual interpolation described in Editable Spline (Object) (page 1–295).
control using Optimize and Steps. Default=off. 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

vertices and you want to select a vertex on a

Splines—Are a combination of one or more specific segment. The cursor changes to a cross
connected segments. when it is over a segment. By holding down the
Ctrl key you can add to the selection.
Named Selections group
Select By—Selects vertices on the selected spline
Copy—Places a named selection into the copy
or segment. First select a spline or segment in
buffer.
sub-object spline or segment, then turn on vertex
Paste—Pastes a named selection from the copy sub-object and click Select By and choose Spline
buffer. or Segment. All the vertices on the selected spline
or segment are selected. You can then edit the
Lock Handles—Normally you can transform the
vertices.
tangent handles of only one vertex at a time, even
when multiple vertices are selected. Use the Lock
Display group
Handles controls to transform multiple Bezier and
Bezier Corner handles simultaneously. Show Vertex Numbers—When on, the program
displays vertex numbers next to the selected
Alike—As you drag the handle of an incoming spline’s vertices at any sub-object level.
vector, all incoming vectors of the selected vertices
move simultaneously. Likewise, moving the Selected Only—When on, the vertex number or
outgoing tangent handle on one vertex moves the numbers appear only next to selected vertices.
outgoing tangent handle for all selected vertices.
Soft Selection
All—Any handle you move affects all handles in
the selection, regardless of whether they’re broken. For information on the Soft Selection rollout
This option is also useful when working with a settings, see Soft Selection Rollout (page 1–963).
single Bezier Corner vertex when you want to
Selection Info
move both handles.
At the bottom of the Selection rollout is a text
Shift +click a handle to "break" the tangent
display giving information about the current
and move each handle independently. The Alike
selection. If 0 or more than one sub-object is
option must be chosen to break the tangent.
selected, the text gives the number selected.
Area Selection—Lets you select automatically all
At the Vertex and Segment sub-object levels,
vertices within a specific radius of the vertex you
if one sub-object is selected, the text gives the
click. At the Vertex sub-object level, turn on Area
identification numbers of the current spline (with
Selection, and then set the radius with the spinner
respect to the current object) and of the current
to the right of the Area Selection check box. This
selected sub-object. Each spline object contains
is useful when moving vertices that have been
a spline number 1; if it contains more than one
created using Connect Copy or Cross Section
spline, the subsequent splines are numbered
button.
consecutively higher.
Segment End—Select a vertex by clicking a
When a single spline is selected at the Spline
segment. In Vertex sub-object, turn on and select a
sub-object level, the first line displays the
segment close to the vertex that you want selected.
identification number of the selected spline and
Use this when there are a number of coincident
whether it’s open or closed, and the second line
 Editable Spline (Object) 295

displays the number of vertices it contains. When Interface

more than one spline is selected, the number Rendering, Interpolation, and Selection rollouts
of splines selected is displayed on the first line,
and the total number of vertices they contain is See the Editable Spline topic for information on
displayed on the second line. the Rendering and Interpolation rollouts (page
1–291), and Selection rollout (page 1–293) settings.
Geometry rollout
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)) are also available at all
sub-object levels, and work exactly the same at
each level. Other functions are also available,
depending on which sub-object level is active.
Those that apply to other sub-object levels are
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)

New Vertex Type group—The radio buttons in this
Select an editable spline > Modify panel > Editable spline
(not a sub-object level) selected in the modifier stack group let you determine the tangency of the new
vertices created when you Shift +Clone segments
Select an editable spline > Right-click the spline > Tools
1 (upper-left) quadrant of the quad menu > Sub-objects or splines. If you later use Connect Copy, vertices
> Top-level on the splines that connect the original segment or
spline to the new one will have the type specified
The functions available at the editable spline object in this group.
level (that is, when no sub-object level is active)
are also available at all sub-object levels, and work This setting has no effect on the tangency of
exactly the same at each level. 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 • Likewise if the object you’re attaching to doesn’t
overlap are automatically welded. have a material, it inherits the material of the
• Bezier—New vertices will have bezier tangency. object being attached.

• Bezier Corner—New vertices will have bezier • If both objects have materials, the resulting new
corner tangency. material is a multi/sub-object material (page
2–1594) that encompasses the input materials.
Create Line—Adds more splines to the selected A dialog appears offering three methods of
spline. These lines are separate spline sub-objects; combining the objects’ materials and material
create them in the same way as the line spline (page IDs. For more information, see Attach Options
1–270). To exit line creation, right-click or click Dialog (page 1–1018).
to turn off Create Line.
Attached shapes lose their identity as individual
Break—Splits a spline at the selected vertex or shapes, with the following results:
vertices. Select one or more vertices and then • The attached shape loses all access to its
click Break to create the split. There are now two creation parameters. For example, once you
superimposed non-connected vertices for every attach a circle to a square you cannot go back
previous one, allowing the once-joined segment and change the radius parameter of the circle.
ends to be moved away from each other.
• The modifier stack of the attached shape is
Attach—Lets you attach another spline in the scene collapsed.
to the selected spline. Click the object you want to
Any edits, modifiers, and animation applied
attach to the currently selected spline object. The
to the attached shape are frozen at the current
object you’re attaching to must also be a spline.
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
Unattached splines (left) and attached splines (right) cross-sectional shapes. Click Cross Section,
When you attach an object, the materials of the select one shape then a second shape, splines are
two objects are combined in the following way: created joining the first shape with the second.
Continue clicking shapes to add them to the cage.
• If the object being attached does not have a This functionality is similar to the Cross Section
material assigned, it inherits the material of the modifier, but here you can determine the order
object it is being attached to. 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 paste the handles between vertices using tangent
• Automatic Welding—When Automatic Welding copy/paste. You can reset them or switch between
is turned on, an end point vertex that is types using the quad menu. The tangent types are
placed or moved within the threshold distance always available on the quad menu when a vertex
of another end point of the same spline is is selected; your cursor doesn’t have to be directly
automatically welded. This feature is available over them in the viewport.
at the object and all sub-object levels.
Procedures
• Threshold—A proximity setting that controls
To set a vertex type:
how close vertices can be to one another before
they are automatically welded. Default=6.0. 1. Right-click any vertex in a selection.

Insert—Inserts one or more vertices, creating 2. Choose a type from the shortcut menu. Each
additional segments. Click anywhere in a segment vertex in a shape can be one of four types:
to insert a vertex and attach the vertex to the • Smooth: Nonadjustable vertices that create
mouse. Optionally move the mouse and then smooth continuous curves. The curvature
click to place the new vertex. Continue moving at a smooth vertex is determined by the
the mouse and clicking to add vertices. A single spacing of adjacent vertices.
click inserts a corner vertex, while a drag creates a
• Corner: Nonadjustable vertices that create
Bezier (smooth) vertex.
sharp corners.
Right-click to complete the operation and release • Bezier: Adjustable vertex with locked
the mouse. At this point, you’re still in Insert continuous tangent handles that create a
mode, and can begin inserting vertices in a smooth curve. The curvature at the vertex
different segment. Otherwise, right-click again or is set by the direction and magnitude of the
click Insert to exit Insert mode. tangent handles.
• Bezier Corner: Adjustable vertex with
discontinuous tangent handles that create a
Editable Spline (Vertex) sharp corner. The curvature of the segment
as it leaves the corner is set by the direction
Select an editable spline > Modify panel > Expand the
editable spline in the stack display > Vertex sub-object and magnitude of the tangent handles.
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
Smooth vertex (left) and Corner vertex (right)
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
298 Chapter 5: Creating Geometry

Geometry rollout
New Vertex Type group

Bezier vertex (left) and Bezier Corner vertex (right)

The radio buttons in this group let you determine
To copy and paste vertex tangent handles: the tangency of the new vertices created when you
Shift +Clone segments or splines. If you later use
1. Turn on Vertex Selection, then Select the Connect Copy, vertices on the splines that connect
vertex you want to copy from. the original segment or spline to the new one will
2. On the Geometry rollout scroll down to the have the type specified in this group.
Tangent group and click Copy. This setting has no effect on the tangency of
3. Move your cursor over the vertices in the vertices created using tools such as the Create Line
viewport. The cursor changes to a copy cursor. button, Refine, and so on.
Click the handle you wish to copy. • Linear—New vertices will have linear tangency.
4. On the Geometry rollout scroll down to the • Smooth—New vertices will have smooth
Tangent group and click Paste. tangency.
5. Move your cursor over the vertices in the When this option is chosen, new vertices that
viewport. The cursor changes to a paste cursor. overlap are automatically welded.
Click the handle you wish to paste to.
• Bezier—New vertices will have bezier tangency.
The vertex tangency changes in the viewport.
• Bezier Corner—New vertices will have bezier
To reset vertex handle tangency: corner 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.
Any vertex handle editing you have done is
discarded and the handles are reset. Create Line—Adds more splines to the selected
object. These lines are separate spline sub-objects;
Interface create them in the same way as the line spline (page
1–270). To exit line creation, right-click or click
Soft Selection rollout
to turn off Create Line.
For information on the Soft Selection rollout
Break—Splits a spline at the selected vertex or
settings, see Soft Selection Rollout (page 1–963).
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 The Refine group includes a number of functions
previous one, allowing the once-joined segment useful for building spline networks for use with
ends to be moved away from each other. the Surface modifier (page 1–842).
Attach—Attaches another spline in the scene to the Refine—Lets you add vertices without altering the
selected spline. Click the object you want to attach curvature values of the spline. Click Refine, and
to the currently selected spline object. The object then select any number of spline segments to add
you’re attaching must also be a spline. a vertex each time you click (the mouse cursor
changes to a "connect" symbol when over an
For further details, see Attach.
eligible segment). To finish adding vertices, click
Attach Mult.—Click this button to display the Refine again, or right-click in the viewport.
Attach Multiple dialog, which contains a list of all
You can also click existing vertices during a refine
other shapes in the scene. Select the shapes you
operation, in which case 3ds Max displays a dialog
want to attach to the current editable spline, then
asking if you want to Refine or Connect Only to
click OK.
the vertex. If you choose Connect Only, 3ds Max
• Reorient—When on, reorients attached splines will not create a vertex: it simply connects to the
so that each spline’s creation local coordinate existing vertex.
system is aligned with the creation local
coordinate system of the selected spline. The Refine operation creates a different type of
vertex depending on the types of vertices on the
Cross Section—Creates a spline cage out of endpoints of the segment being refined.
cross-sectional shapes. Click Cross Section,
• If the bordering vertices are both Smooth types,
select one shape then a second shape, splines are
the Refine operation creates a Smooth type
created joining the first shape with the second.
vertex.
Continue clicking shapes to add them to the cage.
This functionality is similar to the Cross Section • If the bordering vertices are both Corner types,
modifier, but here you can determine the order the Refine operation creates a Corner type
of the cross sections. Spline cage tangency can be vertex.
defined by choosing Linear, Bezier, Bezier Corner • If either of the bordering vertices is a Corner
or Smooth in New Vertex Type group. or Bezier Corner, the Refine operation creates
Tip: When you edit the spline cage, use Area a Bezier Corner type.
Selection before selecting your vertices. This will • Otherwise, the operation creates a Bezier type
keep their positions together as you transform vertex.
them.
Connect—When on, creates a new spline
Refine group 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).
Weld—Converts two end vertices, or two adjacent
• Closed—When on, connects the first and last
vertices within the same spline, into a single vertex.
vertices in the new spline to create a closed
Move either two end vertices or two adjacent
spline. When Closed is off, Connect always
vertices near each other, select both vertices, and
creates an open spline.
then click Weld. If the vertices are within the unit
• Bind Last—Causes the last vertex created in a distance set by the Weld Threshold spinner (to the
refinement operation to be bound to the center right of the button), they’re converted into a single
of the selected segment. See Bound Vertex (page vertex. You can weld a selection set of vertices, as
3–919). long as each pair of vertices is within the threshold.

End Point Auto-Welding group 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.
Automatic Welding—When Automatic Welding is
Insert—Inserts one or more vertices, creating
turned on, an end point vertex that is placed or
additional segments. Click anywhere in a segment
moved within the threshold distance of another
to insert a vertex and attach the mouse to the
end point of the same spline is automatically
spline. Then optionally move the mouse and
welded. This feature is available at the object and
click to place the new vertex. Continue moving
all sub-object levels.
the mouse and clicking to add vertices. A single
Threshold—The threshold distance spinner is a click inserts a corner vertex, while a drag creates a
proximity setting that controls how close vertices Bezier (smooth) vertex.
can be to one another before they are automatically
Right-click to complete the operation and release
welded. Default=6.0.
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 Cycle—Selects successive coincident vertices.
shape is the first vertex. The first vertex of a spline Select one of two or more vertices that share the
is indicated as a vertex with a small box around exact same location in 3D space, and then click
it. Select one vertex on each spline within the Cycle repeatedly until the vertex you want is
currently edited shape that you want to change and selected.
click the Make First button.
Cycle is useful for selecting a specific vertex from a
On open splines, the first vertex must be the group of coincident vertices at a spline intersection
endpoint that is not already the first vertex. On when building a spline network for use with the
closed splines, it can be any point that isn’t already Surface modifier (page 1–842).
the first vertex. Click the Make First button, and Tip: Watch the info display at the bottom of the
the first vertices will be set. Selection rollout to see which vertex is selected.
The first vertex on a spline has special significance. CrossInsert—Adds vertices at the intersection of
The following table defines how the first vertex is two splines belonging to the same spline object.
used. Click CrossInsert, and then click the point of
Shape Use First Vertex Meaning intersection between the two splines. If the
distance between the splines is within the unit
Loft Path Start of the path. Level 0.
distance set by the CrossInsert Threshold spinner
Loft Shape Initial skin alignment. (to the right of the button), the vertices are added
Path Start of the motion path. 0% location on to both splines.
Constraint the path.
You can continue using CrossInsert by clicking
Trajectory First position key.
different spline intersections. To finish, right-click
in the active viewport or click the CrossInsert
Fuse—Moves all selected vertices to their averaged
button again.
center.
CrossInsert is useful for creating vertices at spline
Fuse is useful for making vertices coincide when
intersections when building a spline network for
building a spline network for use with the Surface
use with the Surface modifier (page 1–842).
modifier (page 1–842).
Note: CrossInsert doesn’t join the two splines, but
Note: Fuse doesn’t join the vertices; it simply moves
simply adds vertices where they cross.
them to the same location.
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.

Three selected vertices (left); fused vertices (right)

302 Chapter 5: Creating Geometry

• 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.
Original rectangle (left), after applying Fillet (top right), and
after applying Chamfer (bottom right) You can continue using Chamfer by dragging on
different vertices. To finish, right-click in an active
If you drag one or more selected vertices, all viewport or click the Chamfer button again.
selected vertices are filleted identically. If you drag
an unselected vertex, any selected vertices are first A chamfer "chops off " the selected vertices,
deselected. creating a new segment connecting new points
on both segments leading to the original vertex.
You can continue using Fillet by dragging on These new points are exactly <chamfer amount>
different vertices. To finish, right-click in an active distance from the original vertex along both
viewport or click the Fillet button again. segments. New chamfer segments are created with
A fillet creates a new segment connecting new the material ID of one of the neighboring segments
points on both segments leading to the original (picked at random).
vertex. These new points are exactly <fillet For example, if you chamfer one corner of a
amount> distance from the original vertex along rectangle, the single corner vertex is replaced by
both segments. New fillet segments are created two vertices moving along the two segments that
with the material ID of one of the neighboring lead to the corner, and a new segment is created
segments (picked at random). at the corner.
For example, if you fillet one corner of a rectangle, Note: Unlike the Fillet/Chamfer modifier, you
the single corner vertex is replaced by two vertices can apply the Chamfer function to any type of
moving along the two segments that lead to the vertex, not just Corner and Bezier Corner vertices.
corner, and a new rounded segment is created at Similarly, adjoining segments need not be linear.
the corner.
• Chamfer Amount—Adjust this spinner (to the
Note: Unlike the Fillet/Chamfer modifier, you can right of the Chamfer button) to apply a chamfer
apply the Fillet function to any type of vertex, not effect to selected vertices.
just Corner and Bezier Corner vertices. Similarly,
adjoining segments need not be linear.
 Editable Spline (Segment) 303

Tangent group 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
Tools in this group let you copy and paste vertex the click the Unbind button.
handles from one vertex to another.
Delete—Deletes the selected vertex or vertices,
Copy— Turn this on, then choose a handle. This along with one attached segment per deleted
action copies the selected handle tangent into a vertex.
buffer.
Paste—Turn this on, then click a handle. This Display group
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. Show selected segs—When on, any selected
segments are highlighted in red at the Vertex
Hide and Bind group sub-object level. When off (the default), selected
segments are highlighted only at the Segment
sub-object level.
This feature is useful for comparing complex
curves against each other.
Hide—Hides selected vertices and any connected
segments. Select one or more vertices, and then
click Hide. Editable Spline (Segment)
Unhide All—Displays any hidden sub-objects. Select an editable spline > Modify panel > Expand the
editable spline in the stack display > Segment sub-object
Bind—Lets you create bound vertices (page 3–919). level
Click Bind, and then drag from any end vertex Select an editable spline > Modify panel > Selection
in the current selection to any segment in the rollout > Segment button

current selection except the one connected to the Select an editable spline > Right-click the spline > Tools
vertex. Before dragging, when the cursor is over 1 (upper-left) quadrant of the quad menu > Sub-objects
> Segment
an eligible vertex, it changes to a + cursor. While
dragging, a dashed line connects the vertex and
A segment is the portion of a spline curve between
the current mouse position, and when the mouse
two of its vertices. While at the Editable Spline
cursor is over an eligible segment, it changes to
(Segment) level, you can select single and multiple
a "connect" symbol. When you release over an
segments and move, rotate, scale or clone them
eligible segment, the vertex jumps to the center of
using standard methods.
the segment and is bound to it.
304 Chapter 5: Creating Geometry

Procedure Geometry rollout

To change segment properties: New Vertex Type group
1. Select an editable spline segment, and then
right-click.
2. On the Tools 1 (upper-left) quadrant of the
quad menu, choose Line or Curve.
The radio buttons in this group let you determine
The effect of changing segment properties
the tangency of the new vertices created when you
varies according to the type of vertices at the
Shift +Clone segments or splines. If you later use
segment end.
Connect Copy, vertices on the splines that connect
• Corner vertices always result in line the original segment or spline to the new one will
segments regardless of the segment property. have the type specified in this group.
• Smooth vertices can support both line or
This setting has no effect on the tangency of
curve segment properties.
vertices created using tools such as the Create Line
• Bezier and Bezier Corner vertices apply their button, Refine, and so on.
tangent handles only to curve segments.
• Linear—New vertices will have linear tangency.
Tangent handles are ignored by line
segments. • Smooth—New vertices will have smooth
tangency.
• A tangent handle associated with a line
segment displays an X at the end of the When this option is chosen, new vertices that
handle. You can still transform the handle, overlap are automatically welded.
but it has no effect until the segment is • Bezier—New vertices will have bezier tangency.
converted to a curve segment. • Bezier Corner—New vertices will have bezier
Tip: If you have problems transforming the corner tangency.
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).
Create Line—Adds more splines to the selected
Soft Selection rollout spline. These lines are separate spline sub-objects;
create them in the same way as the line spline (page
For information on the Soft Selection rollout
1–270). To exit line creation, right-click or click
settings, see Soft Selection Rollout (page 1–963).
to turn off Create Line.
Break—Lets you specify a break point at any
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 The Refine group includes a number of functions
segment. The clicked spot becomes two coincident useful for building spline networks for use with
vertices, and the segment is split into two parts. the Surface modifier (page 1–842).
Attach—Attaches another spline in the scene to the Refine—Lets you add vertices without altering the
selected spline. Click the object you want to attach curvature values of the spline. Click Refine, and
to the currently selected spline object. The object then select any number of spline segments to add
you’re attaching to must also be a spline. a vertex each time you click (the mouse cursor
changes to a "connect" symbol when over an
For further details, see Attach.
eligible segment). To finish adding vertices, click
Reorient—Reorients the attached spline so that its Refine again, or right-click in the viewport.
creation local coordinate system is aligned with
You can also click existing vertices during a refine
the creation local coordinate system of the selected
operation, in which case 3ds Max displays a dialog
spline.
asking if you want to Refine or Connect to the
Attach Mult.—Click this button to display the vertex. If you choose Connect, 3ds Max will not
Attach Multiple dialog, which contains a list of all create a vertex: it simply connects to the existing
other shapes in the scene. Select the shapes you vertex.
want to attach to the current editable spline, then
The Refine operation creates a different type of
click OK.
vertex depending on the types of vertices on the
Cross Section—Creates a spline cage out of endpoints of the segment being refined.
cross–sectional shapes. Click Cross Section, select • If the bordering vertices are both Smooth types,
one segment then another sub-object segment, the Refine operation creates a Smooth type
splines are created joining the first shape with the vertex.
second. Continue clicking segments to add them
to the cage. All segments must be part of the same • If the bordering vertices are both Corner types,
object to build cross sections. This functionality the Refine operation creates a Corner type
is similar to the Cross Section modifier, but here vertex.
you can determine the order of the cross sections. • If either of the bordering vertices is a Corner
Spline cage tangency can be defined by choosing or Bezier Corner, the Refine operation creates
Linear, Bezier, Bezier Corner or Smooth in New a Bezier Corner type.
Vertex Type group. • Otherwise, the operation creates a Bezier type
Tip: When you want to move these vertices, turn vertex.
on Area Selection before you select them. When
Connect—When on, creates a new spline
you transform them, the vertices will stay together.
sub-object by connecting the new vertices. When
you finish adding vertices with Refine, Connect
Refine group
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 End Point Auto-Welding group
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
Automatic Welding—When Automatic Welding is
the new spline are of the Smooth type.
turned on, an end point vertex that is placed or
• Bind First—Causes the first vertex created in a moved within the threshold distance of another
refinement operation to be bound to the center end point of the same spline is automatically
of the selected segment. welded. This feature is available at the object and
For more information, see Bound Vertex (page all sub-object levels.
3–919). Threshold—The threshold distance spinner is a
• Closed—When on, connects the first and last proximity setting that controls how close vertices
vertices in the new spline to create a closed can be to one another before they are automatically
spline. When Closed is off, Connect always welded. Default=6.0.
creates an open spline.
• Bind Last—Causes the last vertex created in a
refinement operation to be bound to the center Insert—Inserts one or more vertices, creating
of the selected segment. additional segments. Click anywhere in a segment
For more information, see Bound Vertex (page to insert a vertex and attach the mouse to the
3–919). spline. Then optionally move the mouse and
click to place the new vertex. Continue moving
Connect Copy group 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
Connect Copy—When on, Shift +Cloning a
different segment. Otherwise, right-click again or
segment creates a new spline sub-object with click Insert to exit Insert mode.
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— Determines the distance soft selection
will use when Connect Copy is on. A higher
threshold results in more splines being created; a
lower threshold results in fewer splines.
 Editable Spline (Segment) 307

Hide—Hides selected segments. Select one or more • Same Shp—(Same Shape) When on, Reorient
segments, and then click Hide. is disabled, and a Detach operation keeps the
detached segment as part of the shape (rather
Unhide All—Displays any hidden sub-objects.
than producing a new shape). If Copy is also
Delete—Deletes any selected segments in the on, you end up with a detached copy of the
current shape. 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.
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 Original and detached splines

receiving more vertices.

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.
Selected and divided segment
This feature is useful for comparing complex
Detach—Lets you select several segments in
curves against each other.
various splines and then detach them (or copy
them) to form a new shape. Three options are
available:
308 Chapter 5: Creating Geometry

Surface Properties rollout Clear Selection—When turned on, selecting a new

ID or material name forces a deselection of any
previously selected segments or splines. When
turned off, selections are cumulative so new ID
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
Material group level

You can apply different material IDs to spline Select an editable spline > Modify panel > Selection
rollout > Spline button
segments (see Material ID (page 3–969)). You
can then assign a multi/sub-object material (page Select an editable spline > Right-click the spline > Tools
1 (upper-left) quadrant of the quad menu > Sub-objects
2–1594) to such splines, which appears when the > Spline
spline is renderable, or when used for lathing or
extrusion. Be sure to turn on Generate Material While at the Editable Spline (Spline) level, you can
IDs and Use Shape IDs when lofting, lathing or select single and multiple splines within a single
extruding. spline object and move, rotate, and scale them
Set ID—Lets you assign a particular material using standard methods.
ID number to selected segments for use with
multi/sub-object materials and other applications. Procedure
Use the spinner or enter the number from the To change spline properties:
keyboard. The total number of available IDs is • You change the properties of a spline from Line
65,535. to Curve by right-clicking and choosing Line or
Select ID—Selects the segments or splines Curve from the Tools 1 (upper-left) quadrant
corresponding to the Material ID specified in of the quad menu.
the adjacent ID field. Type or use the spinner to Changing the spline property also changes the
specify an ID, then click the Select ID button. property of all vertices in the spline:
Select By Name—This drop-down list shows • Choosing Line converts vertices to Corners.
the names of sub-materials if an object has a • Choosing Curve converts vertices to Beziers.
Multi/Sub-object material assigned to it. Click
the drop arrow and select a material from the list. Interface
The segments or splines that are assigned that
material are selected. If a shape does not have a Rendering, Interpolation and Selection rollouts
Multi/Sub-Object material assigned to it, the name For information on the Rendering, Interpolation
list will be unavailable. Likewise, if multiple shapes (page 1–291) and Selection rollout (page 1–293)
are selected that have an Edit Spline modifier settings, see Editable Spline (page 1–289).
applied to them, the name list is inactive.
 Editable Spline (Spline) 309

Soft Selection rollout New Vertex Type group

See Soft Selection Rollout (page 1–963) for The radio buttons in this group let you determine
information on the Soft Selection rollout settings. the tangency of the new vertices created when you
Shift +Clone segments or splines. If you later use
Geometry rollout Connect Copy, vertices on the splines that connect
the original segment or spline to the new one will
have the type specified 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.
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.
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 to must also be a spline.
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.
Insert—Inserts one or more vertices, creating
Cross Section—Creates a spline cage out of additional segments. Click anywhere in a segment
cross–sectional shapes. Click Cross Section, to insert a vertex and attach the mouse to the
select one shape then a second shape, splines are spline. Then optionally move the mouse and
created joining the first shape with the second. click to place the new vertex. Continue moving
Continue clicking shapes to add them to the cage. the mouse and clicking to add vertices. A single
This functionality is similar to the Cross Section click inserts a corner vertex, while a drag creates a
modifier, but here you can determine the order Bezier (smooth) vertex.
of the cross sections. Spline cage tangency can be
Right-click to complete the operation and release
defined in the New Vertex Type group.
the mouse. At this point, you’re still in Insert
Tip: When you edit the spline cage, use Area mode, and can begin inserting vertices in a
Selection before selecting your vertices. This will different segment. Otherwise, right-click again or
keep their positions together as you transform click Insert to exit Insert mode.
them.
Reverse—Reverses the direction of the selected

Connect Copy group spline. If the spline is open, the first vertex will
be switched to the opposite end of the spline.
Connect Copy—When on, Shift +Cloning a spline Reversing the direction of a spline is usually done
creates a new spline sub-object with additional in order to reverse the effect of using the Insert
splines that connect the new spline’s vertices to the tool at vertex selection level.
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
turned on, an endpoint vertex that is placed or
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. Original and reversed splines

Threshold—A proximity setting that controls how Outline—Makes a copy of the spline, offset on
close vertices can be to one another before they are all sides to the distance specified by the Outline
automatically welded. Default=6.0. 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
a single closed spline.

Original and outlined splines

Note: Normally, if using the spinner, you must first select a spline
before using Outline. If, however, the spline object contains only
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 Boolean—Combines two closed polygons by
one side only to the distance specified by Outline performing a 2D Boolean operation that alters
Width. When Center is on, the original spline and the first spline you select, and deletes the second
the outline move away from an invisible center line one. Select the first spline, then click the Boolean
to the distance specified by Outline Width. button and the desired operation, and then select
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
portions of the two splines as a single spline.
312 Chapter 5: Creating Geometry

• Subtraction—Subtracts the overlapping portion Trim—Use Trim to clean up overlapping segments

of the second spline from the first spline, and in a shape so that ends meet at a single point.
deletes the remainder of the second spline.
To trim, you need intersecting splines. Click the
• Intersection—Leaves only the overlapping portion of the spline you want to remove. The
portions of the two splines, deleting the spline is searched in both directions along its
non-overlapping portion of both. length until it hits an intersecting spline, and
deleted up to the intersection. If the section
intersects at two points, 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 up to the intersection and
the open end. If the section is not intersected, or
if the spline is closed and only one intersection is
found, nothing happens.
Extend—Use Extend to clean up open segments in
a shape so that ends meet at a single point.
Original splines (left), Boolean Union, Boolean Subtraction, To extend, you need an open spline. The end of
and Boolean Intersection, respectively
the spline nearest the picked point is extended
Mirror—Mirrors splines along the length, width, or until it reaches an intersecting spline. If there is
diagonally. Click the direction you want to mirror no intersecting spline, nothing happens. Curved
first so it is active, then click Mirror. splines extend in a direction tangent to the end of
the spline. If the end of a spline lies directly on a
• Copy—When selected, copies rather than moves
boundary (an intersecting spline), then it looks for
the spline as it is mirrored.
an intersection further along.
• About Pivot—When on, mirrors the spline
about the spline object’s pivot point (see Pivot Infinite Bounds—For the purposes of calculating
(page 2–487)). When off, mirrors the spline intersections, turn this on to treat open splines as
about its geometric center. 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.

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.
Mirrored splines
 Compound Objects 313

Detach—Copies selected splines to a new spline Use the spinner or enter the number from the
object, and deletes them from the currently keyboard. The total number of available IDs is
selected spline if Copy is clear. 65,535.
• Reorient—The spline being detached is moved Select ID—Selects the segments or splines
and rotated so that its creation local coordinate corresponding to the Material ID specified in
system is aligned with the creation local the adjacent ID field. Type or use the spinner to
coordinate system of the selected spline. specify an ID, then click the Select ID button.
• Copy—When selected, copies rather than moves Select By Name—This drop-down list shows
the spline as it is detached. the names of sub-materials if an object has a
Explode—Breaks up any selected splines by Multi/Sub-object material assigned to it. Click
converting each segment to a separate spline the drop arrow and select a material from the list.
or object. This is a time-saving equivalent of The segments or splines that are assigned that
using Detach on each segment in the spline in material are selected. If a shape does not have a
succession. Multi/Sub-Object material assigned to it, the name
list will be unavailable. Likewise, if multiple shapes
You can choose to explode to splines or objects. If are selected that have an Edit Spline modifier
you choose Object, you’re prompted for a name; applied to them, the name list is inactive.
each successive new spline object uses that name
appended with an incremented two-digit number. Clear Selection—When turned on, selecting a new
ID or material name, forces a deselection of any
Surface Properties rollout 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

Material group Create menu > Compound

You can apply different material IDs (see

Compound objects generally combine two or
material ID (page 3–969)) to splines in shapes
more existing objects into a single object.
containing multiple splines. You can then assign
a multi/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.
314 Chapter 5: Creating Geometry

Morph Compound Object

Select an object. > Create panel > Geometry > Compound
Objects > Object Type rollout > Morph

Select an object. > Create menu > Compound > Morph

Compound objects include the following object

types:
Seed or base object, and the target objects at specific frames
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)
The resulting animation
Mesher Compound Object (page 1–374)
ProBoolean Compound Object (page 1–378) Morphing is an animation technique similar
to tweening in 2D animation. A Morph object
ProCutter Compound Object (page 1–388) 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 with Morph, such as those with Extrude or Lathe
object. The object into which the seed object modifiers.
morphs is known as the target object.
Warning: The selected object is permanently converted
You can morph one seed into multiple targets; the to a morph object as soon as you click Morph, whether or
seed object’s form changes successively to match not you proceed to select a target object. The only way
the forms of the target objects as the animation to restore the original object is to undo the Morph click.
plays.
Morph Object and Morpher Modifier
Before you can create a morph, the seed and target
objects must meet these conditions: There are two ways to set up morphing animations:
the Morph compound object and the Morpher
• Both objects must be mesh, patch, or poly
modifier.
objects.
The Morpher modifier (page 1–729) is more
• Both objects must have an equal number of
flexible because you can add it multiple times at
vertices.
any place in an object’s modifier stack display.
If these conditions don’t apply, the Morph button This flexibility lets you animate the base object or
is unavailable. the morph targets before reaching the Morpher
You can use any kind of object as a morph target, modifier, for example with a noise modifier. The
including an animated object or another morph Morpher modifier works hand in hand with the
object, as long as the target is a mesh that has the Morpher material. The Morpher modifier is the
same number of vertices as the seed object. ideal way to morph characters.

Creating a morph involves the following steps: The Barycentric Morph controller can be simpler
to use in Track View. The Track View display for
• Model the base object and target objects. Compound Morph has only one animation track
• Select the base object. regardless of the number of targets. Each key on
• Click Create panel > Geometry > Compound the track represents a morph result based on a
Objects > Morph. percentage of all the targets. For basic morphing
needs, Compound Morph may be preferable to
• Add the target objects. the Morpher modifier.
• Animate.
Lastly, you can add the Morpher modifier to the
stack of a Compound Morph object.
Setting Up the Morph Geometry
Make sure that the objects you want to use as the Procedures
seed and targets have the same number of vertices.
Example: To create a basic morph:
Tip: When you create Loft objects that you want
1. On the Create panel > Geometry > Patch Grids
to use as morph seeds and targets, make sure that
> Object Type rollout, click Quad Patch.
Morph Capping is on and Adaptive Path Steps and
Optimize are turned off. All shapes in the Loft 2. In the Top viewport, click and drag to create a
object must have the same number of vertices. patch on the left side of the viewport.

You should also turn off Adaptive and Optimize

for other shape-based objects that you want to use
316 Chapter 5: Creating Geometry

3. Right-click the modifier stack display in the 19. On the Key Info dialog, drag the percentage
Modify panel and select Convert To Editable spinner.
Patch from the pop-up menu. The base object changes shape.
4. Right-click the patch, and then click Move in 20. Close the Key Info dialog and drag the time
the Transform quadrant of the quad menu. slider back and forth. The patch morphs its
5. In the Top viewport, hold Shift and drag with shape.
the patch to create a copy on the right side of
the viewport. To select the targets for a morph:

6. On the Modify panel > Selection rollout, go to 1. Select the seed object.
the Vertex sub-object level. 2. On the Create panel > Geometry > Compound
7. In the Front viewport, select and move vertices Objects, click Morph.
on the selected patch to alter its shape. The name of the seed object is displayed at the
8. On the Modify panel, in the stack display, click top of the Morph Targets list on the Current
Editable Patch again to return to the top level. Targets rollout.
9. Select the original patch in the viewports. 3. On the Pick Targets rollout, choose the method
for creating targets: Reference, Move, Copy, or
10. On the Create panel > Geometry > Compound
Instance.
Objects > Objects Type rollout, click Morph.
4. Click Pick Target.
11. On the Pick Targets rollout, click Pick Target.
5. Select one or more target objects in the
12. In the viewports, click the second patch object.
viewports.
Both patch objects are listed in the Morph
As you select each target, its name is added to
Targets list.
the Morph Targets list. If an object can’t be a
13. Click Modify panel. target (for example, if it has a different number
Morph displays above the Editable Patch in the of vertices than the morph seed), you can’t
modifier stack. select it.
14. Move the time slider to frame 10. If you select a target object while you are not at
frame 0, creating the target also creates a morph
15. In the Morph Targets list, click
key. You can create additional morph keys from
M_QuadPatch01.
targets you’ve already selected, as described in
16. On the Current Targets rollout, click Create the following procedure.
Morph Key.
On the track bar, a key is displayed at frame 10. To create morph keys from existing targets:

17. On the track bar, right-click the key at frame 10 1. Drag the time slider to the frame where you
and click QuadPatch01:Morph in the menu. want to place the morph key.
A Key Info dialog displays. Note: The Auto Key button does not need to be
on to set morph keys.
18. On the Key Info dialog, select M_QuadPatch01
from the list. 2. Highlight the name of a target object on the
Morph Targets list.
 Morph Compound Object 317

The Create Morph Key button is available only You can use an animated object or another morph
when a target object name is selected. as the target of a morph.
3. Click Create Morph Key.
Current Targets rollout
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 Morph Targets—Displays a list of the current
want to use the scene geometry after you create morph targets.
the morph.
Morph Target Name—Use this field to change the
Pick Target—Use this button to designate the target name of the selected morph target in the Morph
object or objects. Targets list.
Reference/Copy/Move/Instance—Lets you specify Create Morph Key—Adds a morph key for the
how the target is transferred to the compound selected target at the current frame.
object. It can be transferred either as a reference
Delete Morph Target—Deletes the currently
(page 3–1002), a copy, an instance (page 3–957), or
highlighted morph target. If morph keys reference
it can be moved, in which case the original shape
the deleted target, then those keys are deleted as
is not left behind.
well.
• 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.
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.

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
The plane of the hill is used to scatter the trees and two different Objects rollout > Distribution group.
sets of rocks.
2. Set the Duplicates spinner to specify the desired
total number of duplicates of the source object.
Procedures
3. Adjust the spinners on the Transforms rollout
To create a Scatter object:
to set random transformation offsets of the
1. Create an object to be used as a source object. source object.
2. Optionally, create an object to be used as a
distribution object. To scatter the source object using a distribution
object:
3. Select the source object, and then click Scatter
in the Compound Objects panel. 1. Make sure the source object is selected.

Note: The source object must be either a mesh 2. Choose the method by which you want to clone
object or an object that can be converted to a the distribution object (Reference, Copy, Move,
mesh object. If the currently selected object is or Instance.)
invalid, the Scatter button is unavailable. 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 Interface

number of duplicates. (This is not necessary Pick Distribution Object rollout
if you’re using the All Vertices, All Edge
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.
Contains the options for selecting a distribution
8. If the display is too slow, or the meshes too
object.
complicated, consider choosing Proxy on the
Display rollout or decreasing the percentage of Object—Displays the name of the distribution
displayed duplicates by reducing the Display object selected with the Pick button.
percentage.
Pick Distribution Object—Click this button, then
Most of the spinner values are animatable, so you click an object in the scene to specify it as a
can animate things like the number of duplicates, distribution object.
their transformations, and so on.
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), a copy, an instance (page
3–957), or moved, in which case the original shape
is not left behind.

Scatter objects (the grass) with a high number of duplicates

320 Chapter 5: Creating Geometry

Scatter Objects rollout 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
the selected operand. Choose an operand in the
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.
The options on this rollout let you specify how the
Source Object Parameters group
source object is scattered, and let you access the
objects that make up the compound Scatter object.

Distribution group
These two options let you choose the basic method
of scattering the source object.
Use Distribution Object—Scatters the source object
based on the geometry of the distribution object.
Use Transforms Only—This options doesn’t need
a distribution object. Instead, duplicates of the These options affect the source object locally.
source object are positioned using the offset values Duplicates—Specifies the number of scattered
on the Transforms rollout. If all of the Transform duplicates of the source object.
offsets remain at 0, you won’t see the array because
This number is set to 1 by default, but you can
the duplicates occupy the same space.
set it to 0 if you want to animate the number of
Objects group duplicates, beginning with none. Note that the
Duplicates number is ignored if you’re distributing
Contains a list window showing the objects that the duplicates using either Face Centers or Vertices.
make up the Scatter object. In these cases, one duplicate is placed at each
List Window—Click to select an object in the vertex or face center, depending on your choice.
window so that you can access it in the Stack. For
 Scatter Compound Object 321

Base Scale—Alters the scale of the source object, Stack. Perhaps the easiest way to do this is to use
affecting each duplicate identically. This scale the Instance option when picking the distribution
occurs before any other transforms. object. You can then apply a Mesh Select modifier
to the original object and select only those
Vertex Chaos—Applies a random perturbation to
faces you want to use for the distribution of the
the vertices of the source object.
duplicates.
Animation Offset—Lets you specify the number of
frames by which each source object duplicate’s Distribute Using
animation is offset from the previous duplicate. The following options let you specify how the
You can use this feature to produce wave-type geometry of the distribution object determines the
animation. At the default setting of 0, all duplicates distribution of the source object. These options are
move identically. ignored if you’re not using a distribution object.
Distribution Object Parameters group 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—Divides the number of faces in the

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
These options affect how the duplicates of
duplicates. The editable field specifies how many
the source object are arranged, relative to the
faces to skip before placing the next duplicate.
distribution object. These options have an effect
When set to 0, no faces are skipped. When set to 1,
only when a distribution object is used.
every other face is skipped, and so on.
Perpendicular—When on, orients each duplicate
Random Faces—Applies duplicates randomly over
object perpendicular to its associate face, vertex,
the surface of the distribution object.
or edge in the distribution object. When off, the
duplicates maintain the same orientation as the Along Edges—Assigns duplicates randomly to the
original source object. edges of the distribution object.
Use Selected Faces Only—When on, limits
distribution to the selected faces passed up the
322 Chapter 5: Creating Geometry

All Vertices—Places a duplicate object at each Transforms rollout

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.

Objects fill a spherical volume with Volume turned on

Display group

Result/Operands—Choose whether to display the The settings in the Transforms rollout let you
results of the scatter operation or the operands apply random transform offsets to each duplicate
before the scattering. 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 Scaling group

settings in order to see the duplicates.
Lets you specify the scaling of duplicates along
their local axes.
Rotation group
X, Y, Z %—Specifies the percent of random scaling
Specifies random rotation offsets.
along the X, Y, or Z axis of each duplicate.
X, Y, Z deg—Enter the maximum random rotational
Use Maximum Range—When on, forces all three
offset you want about the local X, Y, or Z axis of
settings to match the maximum value. The
each duplicate.
other two settings become disabled, and the one
Use Maximum Range—When on, forces all three containing the maximum value remains enabled.
settings to match the maximum value. The other
Lock Aspect Ratio—When on, maintains the
two settings become disabled, and the setting
original aspect ratio of the source object. Typically,
containing the maximum value remains enabled.
this provides uniform scaling of duplicates. When
Local Translation group Lock Aspect Ratio is off, and any of the X, Y, and
Z settings contain values greater than 0, the result
Specifies translation of the duplicates along their is non-uniform scaling of duplicates because the
local axes. values represent random scaling offsets in both
X, Y, Z—Enter the maximum random movement positive and negative directions.
you want along the X, Y, or Z axis of each duplicate.
Display rollout
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.
These settings have no effect if you’re not using a
distribution object.
Provides options that affect the display of the
A, B, N—The first two settings specify the Scatter object.
barycentric coordinates on the surface of the face,
while the N setting sets the offset along the normal Display Options group
of the face.
These options affect the display of the source and
Use Maximum Range—When on, forces all three destination objects.
settings to match the maximum value. The other
Proxy—Displays the source duplicates as simple
two settings become disabled, and the setting
wedges and speeds up viewport redraws when
containing the maximum value remains enabled.
manipulating a complex Scatter object. This has
324 Chapter 5: Creating Geometry

no effect on the rendered image, which always select another Scatter object and load the preset
displays the mesh duplicates. values into the new object.
Mesh—Displays the full geometry of the duplicates. Preset Name—Lets you define a name for your
settings. Click the Save button to save the current
Display %—Specifies the percentage of the total
settings under the preset name.
duplicate objects that appear in the viewports.
This has no effect on the rendered scene.
Saved Presets group
Hide Distribution Object—Hides the distribution
A list window containing saved preset names.
object. The hidden object does not appear in the
viewport or in the rendered scene. LOAD—Loads the preset currently highlighted in
the Saved Presets list.
Uniqueness group
SAVE—Saves the current name in the Preset Name
Lets you set a seed number upon which the field and places it in the Saved Presets window.
random values are based. Thus, altering this value
DELETE—Deletes the selected items in the Save
changes the overall effect of the scattering.
Presets window.
New—Generates a new, random seed number. Note: Animated parameter values subsequent to
Seed—Use this spinner to set the seed number. frame 0 are not stored.

Load/Save Presets rollout

Conform Compound Object
Select an object. > Create panel> Geometry > Compound
Objects > Object Type rollout > Conform

Select an object. > Create menu > Compound > Conform

Lets you store preset values to use in other Scatter Conform fits the road to the surface of the hills.
objects. For example, after setting all of your
Conform is a compound object created by
parameters for a specific Scatter object and saving
projecting the vertices of one object, called the
the settings under a specific name, you can then
Wrapper, onto the surface of another object, called
 Conform Compound Object 325

the Wrap-To. There is also a space-warp version 4. Choose Reference, Copy, Move, or Instance
of this function; see Conform space warp (page to specify the type of cloning to perform on
2–103). the Wrap-To object. (Choose Instance for this
example.)
Because the space-warp version is somewhat easier
to use, it’s a good idea to read that topic first, try 5. Click Pick Wrap-To Object, and then click the
the example, and then return here. This topic object onto which to project the vertices. (You
provides additional methods of projecting the can press the H key and use the Select Objects
wrapper vertices. dialog (page 1–78) to select the box.)
Note: This tool gives you the ability to morph The list windows display the two objects,
between any two objects, regardless of the and the compound object is created with the
number of vertices in each object. See Vertex Wrapper object conforming to the Wrap-To
Projection Direction group (page 1–326) for more object. (In the example, the sphere is wrapped
information. into the shape of the box.)
6. Use the various parameters and settings to alter
Procedure the vertex projection direction, or adjust the
Example: To create a Conform object: vertices that are being projected.
1. Position two objects, one of which will be the
To project a road onto terrain:
Wrapper, and the other the Wrap-To. (For this
example, create a box as the Wrap-To object, 1. Create the road and terrain objects.
and then create a larger sphere that completely Tip: You can quickly make a terrain by creating a
surrounds it. The sphere will be the Wrapper.) patch grid (page 1–993) and applying the Noise
2. Select the Wrapper object (the sphere), and modifier (page 1–743) to it. For the road, you
click Create panel> Geometry > Compound can use a Loft compound object (page 1–352)
Objects > Object Type rollout > Conform by lofting a rectangle along a curved line. Both
button. objects must have a sufficient level of detail to
conform smoothly.
Note: Both objects used in Conform must be
either mesh objects or objects that can be 2. Orient both the road and the terrain so you
converted to mesh objects. If the selected are looking straight down at them in the Top
Wrapper object is invalid, the Conform button viewport. Position the road so it’s completely
is unavailable. above the terrain (higher on the world Z axis).

3. Specify the method of vertex projection in the Note: For the conform projection to work
Vertex Projection Direction group. (Use Along correctly, the road should not extend beyond
Vertex Normals for this example.) the boundaries of the terrain when viewed in
the Top viewport.
Note: If you were to choose Use Active
Viewport, you would next activate whichever 3. Select the road object.
viewport looks in the direction that you want 4. Click Conform.
to project the vertices. For example, if the 5. In the Pick Wrap-To Object rollout, make sure
Wrapper hovered over a Wrap-To terrain on the the Instance option is selected.
home plane, you’d activate the Top viewport.
6. Click Pick Wrap-To Object, and click the
terrain.
326 Chapter 5: Creating Geometry

An instance of the terrain object is created, with Parameters rollout

the same object color as the road.
Contains all parameters for the Conform object.
7. Activate the Top viewport. In the Parameters
rollout > Vertex Projection Direction group, Objects group
choose Use Active Viewport, and click
Recalculate Projection.
8. In the Update group, turn on Hide Wrap-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
number of units by which the road sits above
the terrain along the world Z axis. Provides a list window and two edit fields that let
9. If necessary, adjust the Standoff Distance to you navigate the compound object and rename its
raise or lower the road. components.
List Window—Lists the Wrapper and the Wrap-To
Interface objects. Click to select an object in the window so
Pick Wrap-To Object rollout 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

Object—Displays the name of the selected Wrap-To

object.
Pick Wrap-To Object—Click this button, and then
select the object to which you want the current
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), a copy, an instance
(page 3–957), or it can be moved, in which case the
original is not left behind.
 Conform Compound Object 327

Choose one of these seven options to determine Note: Towards Wrapper Pivot and Towards the
the projection of the vertices. Wrap-To Pivot operate on the position of the
original pivot point of the object before the
Use Active Viewport—The vertices are projected
Conform object is created. Once you create the
away (inward) from the active viewport.
Conform object, it’s a new compound object with
Recalculate Projection—Recalculates the projection a single pivot point.
direction for the currently active viewport. Tip: You can animate the conforming effect by
Because the direction is initially assigned when morphing between the compound object and a
you pick the Wrap-To object, if you want to change previously made copy of the original wrapper
viewports after assignment, click this button to object. To do this, however, you must turn on
recalculate the direction based on the new active Hide Wrap-To Object in the Update group so that
viewport. the original object and the compound object have
Use Any Object’s Z Axis—Lets you use the local Z the same number of vertices. Using this technique,
axis of any object in the scene as a direction. Once you can effectively morph between two objects
an object is assigned, you can alter the direction of with a different number of vertices.
vertex projection by rotating the direction object.
Wrapper Parameters group
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—Displays the name of the direction object.
• 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, Provides controls that determine how far the
the Wrapper takes on the form of the Wrap-To vertices are projected.
object. Default Projection Distance—The distance a vertex
• Towards Wrapper Center—Projects the vertices in the Wrapper object will move from its original
toward the bounding center of the Wrapper location if it does not intersect the Wrap-To object.
object.
Standoff Distance—The distance maintained
• Towards Wrapper Pivot—Projects the vertices between the vertex of the Wrapper object and the
toward the original pivot center of the Wrapper surface of the Wrap-To object. For example, if
object. you set Standoff Distance to 5, the vertices can be
• Towards Wrap-To Center—Projects the vertices pushed no closer than 5 units from the surface of
toward the bounding center of the Wrap-To the Wrap-To object.
object. Use Selected Vertices—When turned on, only the
• Towards the Wrap-To Pivot—Projects the vertices selected vertex sub-objects of the Wrapper object
toward the pivot center of the Wrap-To 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 Connect Compound Object
list window, open the Modifier stack, and select
Select an object. > Create panel > Geometry > Compound
the base object name. At this point you can apply a Objects > Object Type rollout > Connect
Mesh Select modifier, for example, and select the
Select an object. > Create menu > Compound > Connect
vertices you want to affect.

Update group 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.

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. Left: Before connect

• Manually—Activates the Update button for Right: After connect

manual recalculation.
Note: Connect is not suited to NURBS objects,
Update—Recalculates the projection. because they convert into many separate meshes
Hide Wrap-To Object—When on, hides the Wrap-To instead of one big mesh. The workaround is
object. simple: apply a Weld modifier to the NURBS
object (thus converting it to a mesh and zipping up
Display group its seams) before using it as part of a connect.
Determines whether the shape operands are Connect generates the best mapping coordinates it
displayed. 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).
• Result—Displays the result of the operation.
• Operands—Displays the operands.
 Connect Compound Object 329

Vertex colors, on the other hand, interpolate (The fewer sides are to demonstrate the mesh
smoothly. interpolation in the connection.)
Notes: 3. Move the first, narrower cylinder straight up
along Z so its bottom cap is about 15 units
• You can use Connect on objects that have
above the top cap of the larger cylinder.
multiple sets of holes. Connect will do its best
to match up the holes between the two objects. 4. Convert both cylinders to editable meshes.

• The mapping coordinates assigned to the 5. Delete the lower cap of the upper cylinder, and
original two objects are maintained to the the upper cap of the bottom cylinder. (Hint: Go
extent possible. You might find irregularities in to Editable Mesh (Polygon) mode, select each
the bridged area, depending on the complexity end in turn, and then press the Delete key.)
and difference between the two original sets 6. Exit sub-object mode, select the lower cylinder,
of mapping coordinates and the types of and click Connect.
geometry.
7. Click the Pick Operand button, and then click
the upper cylinder.
Procedures
New faces are created that span the openings in
To create a Connect object:
the two cylinders.
1. Create two mesh objects.
2. Delete faces on each to create holes where you Example continued: To try out some options and
create animation:
want to bridge the objects.
1. Go to the Modify panel and increase the
Position the objects so that the normals of
Segments spinner to 5 or more.
the deleted faces of one object point toward
the normals of the deleted faces of the other As the segments increase, the connection
object (assuming that deleted faces could have becomes curved.
normals). 2. Set the Tension spinner to 0 to straighten the
3. Select one of the objects. On the Create panel > connecting surface, increase it to 1, and then
Geometry > Compound Object Type rollout, return it to 0.5.
click Connect. 3. Try different combinations of the Bridge and
4. Click the Pick Operand button, and then select Ends options.
the other object. 4. Select the upper cylinder, turn on the Auto
5. Faces are generated connecting the holes in the Key button, and apply various transforms at
two objects. different frames.
6. Adjust the connection with the various options. 5. Play the animation.

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.
330 Chapter 5: Creating Geometry

Interface Parameters rollout

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 Operands group
(page 3–1002), a copy, an instance (page 3–957), Operands list—Displays the current operands.
or moved, in which case the original is not left Select an operand to rename, delete or extract by
behind. clicking it in this list.
Note: Connect works only with objects that are Name—Renames a selected operand. Type in a
capable of being converted into editable surfaces, new name, and then press Tab or Enter .
such as editable meshes (page 1–996).
Delete Operand—Deletes a selected operand from
the list.
Extract Operand—Extracts a copy or an instance of
the selected operand. Choose an operand in the
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 Display group

Segments—Sets the number of segments in the Determines whether the shape operands are
connecting bridge. displayed.
Tension—Controls the curvature in the connecting • Result—Displays the result of the operation.
bridge. A value of 0 provides no curvature, while • Operands—Displays the operands.
higher values create curves that attempt to more
smoothly match the surface normals on either Update group
end of the connecting bridge. This spinner has no
These options determine when the projection for
apparent effect when Segments is set to 0.
the compound object is recalculated. Because
complex compound objects can slow performance,
Smoothing group
you can use these options to avoid constant
Bridge—Applies smoothing between the faces in calculation.
the connecting bridge.
• Always—The object is updated constantly.
Ends—Applies smoothing between the faces that • When Rendering—The object is recalculated
border the old and new surfaces of the connecting only when the scene is rendered.
bridge and the original objects. When turned off,
3ds Max assigns a new material ID number to • Manually—Activates the Update button for
the bridge. The new number is one higher than manual recalculation.
the highest ID number assigned to either of the Update—Recalculates the projection.
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 BlobMesh Compound Object
original objects contain no smoothing groups,
Create panel > Geometry > Compound Objects > Object
then smoothing is assigned to the bridge and to Type rollout > BlobMesh
the faces bordering the bridge.
Create menu > Compound > BlobMesh

Display/Update rollout
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

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: You can apply 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. Create one or more geometry or helper objects.
If the scene requires animation, animate the
objects as desired.
2. Click BlobMesh, and click anywhere on the
screen to create the initial metaball.
In the 3D industry, the general term for spheres 3. Go to the Modify panel.
that operate in this way is metaballs (page 3–972).
4. In the Blob Objects group, click Add. Select the
The BlobMesh compound object generates
objects you wish to use to create metaballs. A
metaballs based on specified objects in the
metaball appears at each vertex of each selected
scene, and the metaballs, in turn, form a mesh
object, or at the centers of helper objects.
result called a blobmesh. A blobmesh is ideal for
simulating thick liquids and soft substances that 5. In the Parameters rollout, set the Size parameter
move and flow when animated. as necessary to cause the metaballs to connect.

When you associate an object or particle To create a blobmesh with soft selection on
system with the BlobMesh compound object, geometry:
the metaballs are placed and sized differently
1. Create a geometry object, and convert it to an
depending on the object used to generate them:
Editable Mesh or Editable Poly.
• For geometry and shapes, a metaball is placed
2. Apply a Mesh Select modifier to the object, and
at each vertex, and the size of each metaball is
select some of the vertices on the object.
determined by the size of the original BlobMesh
object. Soft selection can be used to vary the 3. In the Soft Selection rollout, turn on Use Soft
sizes of the metaballs. Selection. Set the Falloff value as desired.
• For particles, a metaball is placed at each 4. Apply a Turn to Mesh or Turn to Poly modifier
particle, and the size of each metaball is to the object.
 BlobMesh Compound Object 333

This will retain the soft selection and pass it A metaball appears at each vertex of the selected
up the stack regardless of whether you exit the object.
sub-object mode. 9. In the Parameters rollout, turn on Use Soft
5. Click Create panel > Compound Objects > Selection.
BlobMesh, and click anywhere on the screen to Metaballs are limited to those vertices that are
create the initial metaball. affected by the soft selection.
6. Go to the Modify panel. 10. Set the Size and Min. Size parameters to set the
7. In the Blob Objects group, click Add. Select the sizes of the metaballs.
Editable Mesh or Editable Poly object.
To create a blobmesh from a particle system:
A metaball appears at each vertex of the selected
object. When you use BlobMesh with a particle system, a
metaball is created at each particle’s location. The
8. In the Parameters rollout, turn on Use Soft
size of the metaball is determined by the size of
Selection.
the particle.
Metaballs are limited to those vertices that are
1. Create a particle system (page 2–108), and set
affected by the soft selection.
up its parameters to animate the particles.
9. Set the Size and Min. Size parameters to set the
2. Click Create panel > Compound Objects >
sizes of the metaballs.
BlobMesh, and click anywhere on the screen to
To create a blobmesh with soft selection on a spline: create the initial metaball.

1. Create the spline, and convert it to an Editable 3. Go to the Modify panel.

Spline. 4. In the Blob Objects group, click Add. Select
2. In the Rendering rollout, turn on both the particle system. A metaball appears at each
Renderable and Display Render Mesh. particle in the system.

3. Apply a Mesh Select modifier, and select the 5. If you have added a Particle Flow system (page
appropriate vertices for soft selection. 2–109) to the blobmesh and you want to create
metaballs only for particles in specific events,
4. In the Soft Selection rollout, turn on Use Soft
click Add on the Particle Flow Parameters
Selection. Set the Falloff value as desired. rollout to choose the events from a list.
5. Apply a Turn to Mesh or Turn to Poly modifier
Tip: If you need to prevent the particles
to the object. from rendering, do not hide them as this
This will retain the soft selection and pass it can prevent the blobmesh from generating
up the stack regardless of whether you exit the correctly. Instead, turn off the particle system’s
sub-object mode. Renderable option on the Object Properties
6. Click Create panel > Compound Objects > dialog (page 1–117).
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.
334 Chapter 5: Creating Geometry

Interface values will tighten the surface, and make the

Parameters rollout metaballs smaller.
Tension—Determines how relaxed or tight the
surface will be. A smaller value makes a looser
surface. This value can range from 0.01 to 1.0.
Default=1.0.
Evaluation Coarseness—Sets the coarseness, or
density, of the resulting blobmesh. When Relative
Coarseness (see following) is off, the Render
and Viewport values set the absolute height
and width of blobmesh faces, and lower values
create a smoother, denser mesh. When Relative
Coarseness is on, the height and width of blobmesh
faces is determined by the ratio of metaball size
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
Size—The radius of each metaball for objects on the blobmesh will retain a fixed size even if
other than particles. For particles, the size of each the metaballs change size. If this option is turned
metaball is determined by the size of the particle, on, the size of each blobmesh face is based on the
which is set by parameters in the particle system. ratio of the metaball size to the coarseness, which
Default=20. will cause the blobmesh face size to change as the
metaballs become larger or smaller. Default=Off.
Note: The apparent size of the metaballs is affected
by the Tension value. When Tension is set to its Large Data Optimization—This option provides an
lowest possible value, the radius of each metaball alternate method for calculating and displaying
accurately reflects the Size setting. Higher Tension 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 Particle Flow Parameters rollout
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
are placed at selected vertices with the size set by
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 Use this rollout if you have added a Particle Flow
on the geometry’s Soft Selection rollout is turned system to the blobmesh, and want particles to
on. If Use Soft Selection is turned off either for the generate metaballs only during specific events.
blobmesh for the geometry, metaballs are placed at Before you can specify events on this rollout, you
all vertices on the geometry. Default=Off. must add the Particle Flow system to the blobmesh
on the Parameters rollout.
Min Size—Sets the minimum size for metaballs
within the falloff when Use Soft Selection is turned All Particle Flow Events—When turned on, all
on. Default=10.0. Particle Flow Events will generate metaballs. When
turned off, only Particle Flow Events specified in
Pick—Allows you to pick objects or particle
the PFlow Events list will generate metaballs.
systems from the screen to add to the blobmesh.
Add—Displays a list of PFlow events in the scene so
Add—Displays a selection dialog where you can
you can pick events to add to the PFlow Events list.
select objects or particle systems to add to the
blobmesh. Remove—Removes the selected event from the
PFlow Events list.
Remove—Removes objects or particles from the
blobmesh.
336 Chapter 5: Creating Geometry

Interface
ShapeMerge Compound Object Pick Operand rollout
Select an object. > Create panel > Geometry > Compound
Objects > Object Type rollout > ShapeMerge

Select an object. > Create menu > Compound >

ShapeMerge

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
to add shapes, and the shapes can be projected in
different directions. Simply click Pick Shape again,
and then pick another shape.
ShapeMerge combines the lettering, a text shape, with the
mesh that models the cake. Reference/Copy/Move/Instance—Lets you specify
ShapeMerge creates a compound object consisting how the shape is transferred to the compound
of a mesh object and one or more shapes. The object. It can be transferred either as a reference
shapes are either embedded in the mesh, altering (page 3–1002), a copy, an instance (page 3–957),
the edge and face patterns, or subtracted from the or moved, in which case the original shape is not
mesh. left behind.

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.
 ShapeMerge Compound Object 337

Parameters rollout 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. With the Cookie Cutter option, the effect
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
shape and apply a Face Extrude, the circular area is
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
Operands group follow the ShapeMerge with a modifier that acts on
Operands list—Lists all operands in the compound
a specific level, such as Face Extrude, that modifier
object. The first operand is the mesh object, and will work properly.
any number of shape-based operands can follow. If you apply a modifier that can work on any
Delete Shape—Remove selected shapes from the
selection level, such as Volume Select or XForm,
compound object. the options will specify which selection level is
passed to that modifier. Although you can use
Extract Operand—Extracts a copy or an instance of a Mesh Select modifier (page 1–719) to specify a
the selected operand. Choose an operand in the selection level, the Mesh Select modifier considers
list window to enable this button. the selection only at frame 0. If you’ve animated
Instance/Copy—Lets you specify how the operand the shape operand, that animation will be passed
is extracted. It can be extracted either as an up the Stack for all frames only by using the
instance (page 3–957) or a copy. Output Sub-Mesh Selection options.
• None—Outputs the full object.
Operation group • Face—Outputs the faces within the merged
These options determine how the shape is applied shape.
to the mesh. • Edge—Outputs the edge of the merged shape.
338 Chapter 5: Creating Geometry

• Vertex—Outputs the vertices defined by the

spline of the shape. Boolean Compound Object
Display/Update rollout 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.

Display group
Determines whether the shape operands are
displayed.
• Result—Displays the result of the operation.
• Operands—Displays the operands. Operand A (left); Operand B (right)

Update group These are the Boolean operations for geometry:

These options specify when the display is updated. Union—The Boolean object contains the volume
Typically, you use them when you’ve animated the of both original objects. The intersecting or
merged shape operands and the viewport display overlapping portion of the geometry is removed.
is slow. Intersection—The Boolean object contains only
• Always—Updates the display at all times. the volume that was common to both original
• When Rendering—Updates the display only objects (in other words, where they overlapped).
when the scene is rendered. Subtraction (or difference)— The Boolean object
• Manually—Updates the display only when you contains the volume of one original object with the
click the Update button. intersection volume subtracted from it.

Update—Updates the display when any option The two original objects are designated as operand
except Always is chosen. A and B.
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

panel displays the interface for the earlier Boolean
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.

Union (above); Intersection (below)

Booleans with Objects That Have

Materials Assigned to Them
Most primitives use several material IDs (page
3–969) on their surfaces. For example, a box
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
Subtraction: A-B (above); B-A (below)
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
materials in the following way:
340 Chapter 5: Creating Geometry

• If operand A doesn’t have a material, it inherits Again, it might make more sense to correct these
operand B’s material. manually.
• If operand B doesn’t have a material, it inherits Use shaded viewports to look for normal problems,
operand A’s material. watching for objects that appear inside-out or look
• If both operands have materials, the new otherwise incorrect. You can also turn on Show in
material is a multi/sub-object material that the Editable Mesh (Face) (page 1–1009) > Surface
combines the materials from both operands. Properties rollout > Normals group. Fix normals
here, or with a Normal modifier (page 1–746).
For more information, see Material Attach Options
Dialog (page 1–345). Overlapping Elements

Solutions When Working with Booleans Because Boolean operations depend on a clear
understanding of what is inside and what is outside
The Boolean algorithm caused unpredictable a mesh, meshes that overlap themselves can
behavior in earlier releases. The solutions are produce invalid results. For instance, if you use the
discussed here. Collapse utility (page 1–966) with two overlapping
objects without turning on the Boolean feature,
Surface Topology the resulting object will not make a good Boolean
Boolean requires that operands’ surface topology operand. This is also a problem for the Teapot
be intact: This means no missing or overlapping primitive (page 1–183) (with all parts turned on),
faces and no unwelded vertices. The surface which overlaps itself.
should be one continuous closed surface.
If you need to use such an object as a Boolean
The Boolean corrects operands that fail to operand, you might reconstruct it as a single
meet this requirement. However, the automatic non-overlapping mesh by separating the
correction may not be exactly what you want, so in components and combining them with Boolean.
some cases it might be safer to correct the surfaces
manually. Working with Inverted Meshes

To check for holes in the geometry, use the Boolean doesn’t always produce the ideal result on
STL-Check modifier (page 1–834) or the Measure "inverted meshes" (meshes that have been turned
utility (page 2–52). inside-out by having their normals flipped).
The problem is that the area inside the flipped
To fill holes, use the Cap Holes modifier (page mesh is correctly seen as "outside," but the area
1–569). outside it may also be seen as “outside.” To remedy
this, instead of inverting the mesh, make a very
Face Normals
large box or other primitive centered on (but not
Booleans require that the face normals of the touching) the mesh and subtract the mesh from
surface be consistent. Flipped normals can it using Boolean. Then convert it to an editable
produce unexpected results. Surfaces where some mesh, and delete the box faces. This produces a
faces are facing one way and adjacent faces are correctly inverted mesh that works correctly with
flipped are also problematic, and are commonly Boolean.
found in geometry imported from CAD programs.
The Boolean fixes these faces as best it can.
 Boolean Compound Object 341

Alignment 3. On the Pick Boolean rollout, choose the copy

method for operand B: Reference, Move, Copy,
If two Boolean operands are perfectly aligned
or Instance. (These methods are described in
without actually intersecting, the Boolean
the Pick Boolean rollout section, later in this
operation might produce the wrong result.
topic.)
Although this is rare, if it does occur, you can
eliminate it by making the operands overlap 4. On the Parameters rollout, choose the Boolean
slightly. operation to perform: Union, Intersection,
Subtraction (A-B), or Subtraction (B-A). You
Relative Complexity Between Operands can also choose one of the Cut operations,
described later in the Operation group section.
Boolean works best when the two operands are
of similar complexity. If you wish to subtract 5. On the Pick Boolean rollout, click Pick
text (a complex object made of many faces and Operand B.
vertices) from a box without any segments, the 6. Click in a viewport to select operand B. 3ds Max
result is many long, skinny faces that are prone to performs the Boolean operation.
rendering errors. Increasing the number of box
The operand objects remain as sub-objects
segments produces better results. Try to maintain
of the Boolean object. By modifying the
a similar complexity between operands.
creation parameters of the Boolean’s operand
Coplanar Faces/Colinear Edges sub-objects, you can later change operand
geometry in order to change or animate the
Previously, Boolean required that objects overlap. Boolean result.
If two objects did not overlap but merely touched
an edge to an edge, or a face to a face, the Boolean Example: To create and modify a single object that
would fail. contains multiple Booleans:

Boolean allows for non-overlapping objects. Suppose you want to create a box with two holes
Coincident faces/edges and vertices are no longer in it. One hole is to be cut by a sphere, and the
a problem. You can use objects completely encased second by a cylinder. If you want to make changes
within another object, where no edges intersect, to the sphere or the cylinder later, you can do so
to create Booleans. by following these steps:
1. Create a Boolean following the steps in the
See also Collapse Utility (page 1–966) to create
Booleans with multiple objects. previous sections. The original object (the box)
is converted to a Boolean, and is designated
See also operand A. The second object (the sphere) is
converted to operand B.
Fixing Boolean Problems (page 3–885)
2. Deselect the Boolean object. Build the cylinder
if it does not already exist.
Procedures
3. Select the Boolean object; and under
To create a Boolean object:
Compound Objects, click Boolean again.
1. Select an object. This object becomes operand
4. Click Pick Operand B and click the cylinder in
A.
the viewport. It is converted to operand B.
2. Click Boolean. The name of operand A appears
in the Operands list on the Parameters rollout.
342 Chapter 5: Creating Geometry

5. On the Modify panel, choose Operand B from Because you usually create Boolean objects from
the Parameters rollout > Operands list. If you overlapping objects, if the B object isn’t removed
want to see operand B, choose Display/Update (if you don’t use the default Move option), it often
rollout > Display group > Operands or Result obstructs your view of the completed Boolean.
+ Hidden Ops. You can move the Boolean or the B object to better
If you want to animate the Cylinder or the see the result.
Cylinder’s parameters you can now access them Pick Operand B—Use this button to select the
in the modifier stack display. second object to use to complete the Boolean
6. If you want to modify the sphere’s parameters, operation.
choose the box in the Operands list. Reference/Copy/Move/Instance—Lets you specify
7. Now there are two entries labeled Boolean in how operand B is transferred to the Boolean
the stack display. Choose the lower entry. The object. It can be transferred either as a reference
Sphere is displayed in the Operands list. (page 3–1002), a copy, an instance (page 3–957),
8. Choose the Sphere from the Operands list. The or moved.
sphere’s parameters are available by clicking the • Use Reference to synchronize modifier-induced
sphere’s name in the modifier stack display. changes to the original object with operand B,
9. Use this technique to change parameters or but not vice-versa.
animate any of the operands within the multiple • Use Copy when you want to reuse the operand
Boolean. B geometry for other purposes in the scene.
You can also navigate multiple Booleans through • Use Instance to synchronize animation of the
Track View. Clicking the operand in Track View Boolean object with animated changes to the
gives you direct access to its entry in the modifier original B object, and vice-versa.
stack display. In complex objects with many • Use Move (the default) if you’ve created the
Booleans, this is an easier method than the one operand B geometry only to create a Boolean,
outlined above. and have no other use for it.
Object B geometry becomes part of the Boolean
Interface
object regardless of which copy method you
Pick Boolean rollout use.

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
your selection on how you want to use the scene
geometry after you create the Boolean.
 Boolean Compound Object 343

Parameters rollout 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
add anything to the mesh from operand B. 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
Operands group geometry of the Boolean object as volumes rather
Operands list field—Displays the current operands. than closed solids. Cut does not add geometry
from operand B to operand A. Operand B
Name—Edit this field to change the name of the intersections define cut areas for altering geometry
operands. Choose an operand in the Operands list in operand A.
and it will also appear in the Name box.
There are four types of Cut:
Extract Operand—Extracts a copy or an instance of
the selected operand. Choose one of the operands • Refine—Adds new vertices and edges to
in the list window to enable this button. operand A where operand B intersects the faces
of operand A. 3ds Max refines the resulting
Note: This button is available only in the Modify geometry of operand A with additional faces
panel. You can’t extract an operand while the inside the intersected area of operand B. Faces
Create panel is active. cut by the intersection are subdivided into new
Instance/Copy—Lets you specify how the operand faces. You might use this option to refine a
is extracted: as either an instance (page 3–957) or a box with text so that you can assign a separate
copy. 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 • Operands—Displays the operands instead of the
two parts along the bounds of another object. Boolean result.
• Remove Inside—Deletes all operand A faces Tip: When operands are difficult to see in a
inside operand B. This option modifies and viewport, you can use the Operand list to select
deletes faces of operand A inside the area one or the other. Click the name of the A or B
intersected by operand B. It works like the operand to select it.
subtraction options, except that 3ds Max adds • Results + Hidden Ops—Displays the "hidden"
no faces from operand B. Use Remove Inside to operands as wireframe.
delete specific areas from your geometry.
Operand geometry remains part of the
• Remove Outside—Deletes all operand A faces compound Boolean object, although it isn’t
outside operand B. This option modifies and visible or renderable. The operand geometry is
deletes faces of operand A outside the area displayed as wireframes in all viewports.
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

Displaying the operands

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. Displaying the result (A-B)

• Result—Displays the result of the Boolean

operation; that is, the Boolean object itself.
 Material Attach Options Dialog 345

geometry, but you can force an update when

necessary.
• Manually—Updates Booleans only when you
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—Updates the Boolean. The Update button
is not available when Always is selected.

Displaying the hidden operand after A-B 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
Displaying the hidden operand after B-A B has a material assigned, the Boolean dialog lets
you choose to inherit the material from operand B.
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—Updates Booleans immediately when
you change an operand, including the original If operand A has a material assigned and operand
object of an instanced or referenced B operand. B has no material assigned, the Boolean object
This is the default behavior. automatically inherits materials from operand A.
• When Rendering—Updates Booleans only when
you render the scene or click Update. With this
option, viewports don’t always show current
346 Chapter 5: Creating Geometry

Procedure Match Material to Material IDs—Maintains the

To create a Boolean from objects that match material original material ID assignment in the operands
IDs to material: by adjusting the number of sub-materials in
the resultant multi/sub-object material. For
1. Create a Boolean (page 1–341) using at least one
example, if you combine two boxes, both
object that has a multi/sub-object material (page
assigned single materials, but with their default
2–1594) assigned to it.
assignment of six material IDs, the result would
2. On the Pick Boolean rollout, click Pick be a multi/sub-object material with 12 slots (six
Operand B. containing instances of one box’s material, and six
3. Click in a viewport and select the B operand. containing instances of the other box’s material).
3ds Max displays the Match Attach Options Use this option when it’s important to maintain
dialog. the original material ID assignments in your
geometry. Also use this option when material IDs
4. Choose Match Material IDs to Material to
have been assigned, but materials have not been
complete the Boolean operation.
assigned.
Interface 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
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—If the number of
material IDs in an object is greater than the number
of sub-materials in its multi/sub-object material,
Match Material IDs to Material—3ds Max modifies then the resultant face-material assignment might
the number of material IDs in the combined object be different after the Boolean operation.
to be no greater than the number of sub-materials
Discard New Operand Material—Discards the
assigned to the operands. For example, if you
material assignment of operand B. 3ds Max assigns
combine two boxes that have standard materials
operand A’s material to the Boolean object.
and each box is assigned six material IDs (the
default), the resulting combined object has two Discard Original Material—Discards the material
operands with one material ID each, rather assignment of operand A. 3ds Max assigns
than the 12 that would result from using the operand B’s material to the Boolean object.
Match Material to Material ID option. After you Note: A UVW Map modifier (page 1–922) must be
complete the operation, 3ds Max creates a new used with compound objects to apply mapping
multi/sub-object material with two slots. 3ds Max coordinates.
assigns the sub-materials to the operands as they
appeared before the operation. The number of
resulting material IDs matches the number of
materials between the original objects. You might
use this option to reduce the number of material
IDs.
 Terrain Compound Object 347

the contour data. The name of the first selected

Terrain Compound Object spline becomes the name of the terrain object.
Other splines in the selection are treated according
Select spline contours. > Create panel > Geometry >
Compound Objects > Object Type rollout > Terrain to the previously set Reference, Move, Copy, or
Instance selection in the Pick Operand rollout,
Select spline contours. > Create menu > Compound >
Terrain described below.
Keep in mind that the Terrain object can use
The Terrain button lets you produce terrain any spline objects as operands, whether they
objects. 3ds Max generates these objects from are horizontal splines or not. Though the most
contour line data. You select editable splines common scenario is when sets of elevational
representing elevation contours and create a mesh contours are used to create terrain forms, it is
surface over the contours. You can also create a possible to append or refine Terrain objects by
"terraced" representation of the terrain object so using non-horizontal splines.
that each level of contour data is a step, resembling
Note: To ensure that 3ds Max imports polylines as
traditional study models of land forms.
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
Using contours to build a terrain
communities.
Upper left: The contours
Upper right: The terrain object • Viewing corridors and completing ridge
Lower left: Terrain object used as the basis of a landscape analyses from particular locations on a site by
adding cameras to the scene.
If you import an AutoCAD drawing file to use as
contour data, 3ds Max names each object based on Procedure
the AutoCAD object’s layer, color, or object type.
To analyze elevation changes:
A number is appended to each name. For example,
an AutoCAD object on the layer BASE becomes an 1. Import or create contour data.
object named BASE.01. See Importing DWG Files 2. Select the contour data, and click the Terrain
(page 3–536) for more information. button.
After you import or create the contour data, select 3. On the Color By Elevation rollout, enter
the objects, and click the Terrain button, 3ds Max elevation zone values between the maximum
creates a new triangulated mesh object based on
348 Chapter 5: Creating Geometry

and minimum elevations in the Base Elev box. Move is the method, the original contour data
Click Add Zone after entering the value. is moved from the scene and into the operands
3ds Max displays the zones in the list under the of the new terrain object. Copy, Reference, and
Create Defaults button. Instance retain the original contour data in the
scene and create copies, references or instances of
4. Click the Base Color swatch to change the color
the contour data as operands in the terrain object.
of each elevation zone. For example, you could This is similar to the copy method for Boolean
use a deep blue for low elevations, a light blue (page 1–338).
for intermediate elevations, and perhaps greens
for higher elevations. Override—Allows you to select closed curves that
override any other operand data within their
5. Click Solid To Top of Zone to see the elevation
interior. Within the area an Override operand
changes in a striped effect.
encloses (as seen in plan), other curves and points
6. Click Blend To Color Above to see the elevation of the mesh are disregarded and the elevation
changes blended. of the Override operand supersedes them. An
Override operand is indicated in the operands list
Interface by a # after its name. Override is only effective
Name and Color rollout on closed curves. If multiple override operands
overlap, later overrides (higher operand numbers)
Displays the name of the terrain object. 3ds Max
take preference.
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
 Terrain Compound Object 349

Parameters rollout

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.

Operands group
Operand list—Displays the current operands. Each
operand is listed as "Op" followed by a number Terrain created as a "layered solid" surface, with levels
and the name of the object that is being used as
Stitch Border—When on, suppresses the creation of
the operand. The operand name comprises layer,
new triangles around the edges of terrain objects
color, or object type name plus a numeric suffix.
when edge conditions are defined by splines that
Delete Operand—Deletes a selected operand from are not closed. Most terrain forms display more
the Operands list. reasonably when this is turned off.
Retriangulate—The basic Terrain algorithm tends
Form group
to flatten or notch contours when they turn
• Graded Surface—Creates a graded surface of the sharply upon themselves. A typical situation in
mesh over the contours. which this may happen is when a narrow creek
350 Chapter 5: Creating Geometry

bed is described with contours; the resulting Update—Updates the terrain object. This button is
form may look more like a series of cascades at not enabled only when Always is the active option.
each elevational contour, rather than a smoothly
descending ravine. When Retriangulate is Simplification rollout
checked, a somewhat slower algorithm is used
that follows contour lines more closely. This
may be particularly evident in the Layered Solid
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.
You can select the terrain object by clicking
its surface, but not by clicking a contour line. Horizontal group
When Both is selected, contour lines may not • No Simplification—Uses all the operands’
be apparent in Wireframe display modes or vertices to create a complex mesh. This results
when Edged Faces are displayed. in greater detail and a larger file size than the
two fractional options.
Update group
• Use 1/2 of Points—Uses half the set of vertices
The items in this group box determine when in the operands to create a less complex mesh.
3ds Max recalculates the projection for the terrain This results in less detail and a smaller file size
object. Because complex terrain objects can slow than using No Simplification.
performance, you can use these options to avoid • Use 1/4 of Points—Uses a quarter of the of
constant calculation. vertices in the operands to create a less complex
• Always—Updates the terrain object immediately mesh. This results in the least detail and
when you change an operand, including the smallest file size of these options.
original object of an instanced or referenced • Interpolate Points * 2—Doubles the set of
operand. vertices in the operands to create a more refined
• When Rendering—Updates the terrain object but more complex mesh. This is most effective
when you render the scene or when you click in terrain forms that use constructive curves
Update. With this option, viewports won’t such as circles and ellipses. This results in
show current geometry unless you click Update. more detail and a larger file size than using No
• Manually—Updates the terrain object when you Simplification.
click Update. • Interpolate Points * 4—Quadruples the set
of vertices in the operands to create a more
 Terrain Compound Object 351

refined but more complex mesh. This is most Color by Elevation rollout
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
complex mesh. This results in less detail and a
smaller file size than using No Simplification.
• 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
and smallest file size of the three options.

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 Base Color—Click the color swatch to change the
elevation in the object, 3ds Max divides the range color of the zone.
between the reference and minimum elevations • Blend to Color Above—Blends the color of the
into five color zones: dark green, light green, current zone to the color of the zone above it.
yellow, purple, and light gray.
• Solid to Top of Zone—Makes a solid color at the
If you enter a value between the minimum and top of the zone without blending to the color of
maximum elevations, 3ds Max creates six color the zone above it.
zones. Two zones (dark blue and light blue) are
Modify Zone—Modifies selected options of a zone.
used for elevations below the reference elevation.
These are considered to be under water. One zone Add Zone—Adds values and selected options for a
(dark yellow) is used for a narrow range around new zone.
the reference elevation. Three zones (dark green,
Delete Zone—Deletes a selected zone.
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 Loft Compound Object
zones (dark blue, medium blue, light blue).
Select a path or shape. > Create panel > Geometry >
Compound Objects > Object Type rollout > Loft
Zones by Base Elevation group
Create Defaults—Creates elevation zones. 3ds Max Select a path or shape. > Create menu > Compound
Objects > Loft
lists the elevation at the bottom of each zone,
referenced to the datum (the reference elevation).
3ds Max applies the color of the zone at the base
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. Roadway created as a lofted shape

Base Elev—This is the base elevation of a zone to Loft objects are two-dimensional shapes extruded
which you assign color. After entering a value, along a third axis. You create loft objects from
click Add Zone to display the elevation in the list two or more existing spline objects. One of these
under Create Defaults. splines serves the path. The remaining splines
serve as cross-sections, or shapes, of the loft object.
 Loft Compound Object 353

As you arrange shapes along the path, 3ds Max 1. Create a shape to be the loft path.
generates a surface between the shapes. 2. Create one or more shapes to be loft cross
You create shape objects to serve as a path for sections.
any number of cross-section shapes. The path 3. Do one of the following:
becomes the framework that holds the cross
• Select the path shape and use Get Shape to
sections forming your object. If you designate
add the cross sections to the loft.
only one shape on the path, 3ds Max assumes an
identical shape is located at each end of the path. • Select a shape and use Get Path to assign
The surface is then generated between the shapes. a path to the loft. Use Get Shape to add
additional shapes.
3ds Max places few restrictions on how
you create a loft object. You can create You can use the loft display settings to view the
curved, three-dimensional paths and even skin generated by your loft in both wireframe and
three-dimensional cross sections. shaded views.

When using Get Shape, as you move the cursor To create a loft with Get Path:
over an invalid shape, the reason the shape is
1. Select a shape as the first cross-section shape.
invalid is displayed in the prompt line.
2. Click Create panel > Geometry > Compound
Unlike other compound objects, which are created Objects > Loft.
from the selected object as soon as you click the
3. On the Creation Method rollout, click Get Path.
compound-object button, a Loft object is not
created until you click Get Shape or Get Path, and 4. Choose Move, Copy, or Instance.
then select a shape or path. 5. Click a shape for the path.
Loft is enabled when the scene has one or more The cursor changes to the Get Path cursor as you
shapes. To create a loft object, first create one move it over valid path shapes. If the cursor does
or more shapes and then click Loft. Click either not change over a shape, that shape is not a valid
Get Shape or Get Path and select a shape in the path shape and cannot be selected. The first vertex
viewports. of the selected path is placed at the first shape’s
Once you create a loft object, you can add and pivot and the path tangent is aligned with the
replace cross-section shapes or replace the path. shape’s local Z axis.
You can also change or animate the parameters of
To create a loft with Get Shape:
the path and shapes.
1. Select a valid path shape as the path.
You can’t animate the path location of a shape.
2. If the selected shape is not a valid path, the Get
You can convert loft objects to NURBS surfaces Shape button is unavailable.
(page 1–1116).
3. Click Create panel > Geometry > Compound

Procedures Objects > Loft.

To create a loft object: 4. On the Creation Method rollout, click Get

Shape.
Creating loft objects is detailed and offers many
choices, but the basic process is quite simple. 5. Choose Move, Copy, or Instance.
354 Chapter 5: Creating Geometry

6. Click a shape. On the Creation Method rollout, you determine

whether to use a shape or path for creating the loft
The cursor changes to the Get Shape cursor as you
object, and the type of action you want for the
move it over potential shapes. The selected shape
resulting loft object.
is placed at the first vertex of the path.
Tip: You can flip the shape along the path by Get Path—Assigns a path to the selected shape or
holding down Ctrl when using Get Shape. For changes the current assigned path.
example, if you select the lowercase letter "b" with Get Shape—Assigns a shape to the selected path or
a Ctrl +click, the loft will look like the letter "d". changes the current assigned shape.
Tip: Hold down Ctrl while getting the shape to
Interface
flip the direction of the shape’s Z axis.
You use the following rollouts for setting loft object
Move/Copy/Instance—Lets you specify how the
parameters:
path or shape is transferred to the loft object. It can
Creation Method Rollout (page 1–354) be moved, in which case no copy is left behind, or
transferred as a copy or an instance (page 3–957).
Surface Parameters Rollout (page 1–354)
Tip: Use the Instance option if you expect to edit or
Path Parameters Rollout (page 1–356)
modify the path after the loft is created.
Skin Parameters Rollout (page 1–358)
Once you’ve created a loft object, you can also use
Surface Parameters Rollout
the Modify panel’s Deformations rollout to add
complexity. See Deformations (page 1–363) for Select a path or shape. > Create panel > Geometry >
further information. Compound Objects > Object Type rollout > Loft > Surface
Parameters rollout

Select a path or shape. > Create menu > Compounds >

Loft > Surface Parameters rollout
Creation Method Rollout
Select a path or shape. > Create panel > Geometry On the Surface Parameters rollout, you control
> Compound Objects > Object Type rollout > Loft > smoothing of the surface of the loft as well as
Creation Method rollout
designate if texture mapping is applied along the
Select a path or shape. > Create menu > Compounds > loft object.
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
 Surface Parameters Rollout 355

Interface 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

Smoothing group

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
Left: Smoothing the length used for texture mapped materials that are applied
Right: Smoothing the width to the object. The scaling values are controlled
Rear: Smoothing both length and width
by the Use Real-World Scale settings found in
the applied material’s Coordinates rollout (page
Smooth Length—Provides a smooth surface along 2–1625). Default=off.
the length of the path. This type of smoothing is
Length Repeat—Sets the number of times a map
useful when your path curves or when shapes on
the path change size. Default=on. 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
Shape material IDs used to give the roadway two materials:
proportionally according to the path division concrete for supports and railings, asphalt with white lines for
spacing or shape vertex spacing. the traffic lanes

Output Group
Patch—The lofting process produces a patch
object.
Mesh—The lofting process produces a mesh
Before and after applying Normalize to loft object. This is the default, and was the only output
type available with Loft in versions prior to version
Materials group 3 of 3ds Max.
Generate Material IDs—Creates Material IDs during You can also create NURBS objects from lofting by
the loft process. choosing Convert To: NURBS from the modifier
Use Shape IDs—Offers the choice of using the stack right-click menu (page 3–766).
spline material IDs to define the material IDs.
Note: Prior to version 3 of 3ds Max, splines could
Path Parameters Rollout
not hold material IDs.
Note: Shape IDs are inherited from shape cross Select a path or shape. > Create panel > Geometry >
Compound Objects > Object Type rollout > Loft > Path
sections, not from the path spline. 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 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.
On the Path Parameters rollout, you control the • The total number of steps, including vertices,
position of multiple shapes at different intervals appears in parentheses beside the Path spinner.
along the path of the loft object.
• The current path level is indicated by the
Path—Lets you set a path level by entering a value standard yellow X when it’s a step, and by a
or dragging the spinner. If Snap is on, the value small boxed X when it’s a vertex.
will jump to the previous snap increment. The
• Get Shape places a selected shape on the
Path value depends on the selected measuring
specified step or a vertex of the path.
method. Changing the measuring method causes
the Path value to change. • 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
Inserting different shapes at different positions on the path Percentage and Distance options, on the other
hand, provide an almost unlimited number of
Snap—Lets you set a consistent distance between
levels on which to place shapes. Thus, if you
shapes along the path. The Snap value depends
change from Percentage or Distance to Path
on the selected measuring method. Changing the
Steps, the shapes must be moved to existing
measuring method also changes the Snap value to
steps. If there are more shapes than can be
keep snap spacing constant.
moved to nearby steps, you could end up with
On—When On is turned on, Snap is active. more than one shape on a step. Switching from
Default=off. Path Steps to either Percentage or Distance,
Percentage—Expresses the path level as a
however, can always be done without loss of
percentage of the total path length. data.
358 Chapter 5: Creating Geometry

• If you alter the Path Steps spinner while in Path Ctrl held down to create a square about 20
Steps mode, the location of your shapes might x 20 units.
change. An alert message warns you of this. 2. Create another rectangle beside it about 200 x
• If you animate the topology of the path while 100 units.
in Path Steps mode (such as animating the 3. Apply a Skew modifier to the large rectangle,
number of sides of an NGon), your shapes but don’t alter the Skew parameters.
might jump around trying to find a legitimate
4. Create a loft object in which the larger rectangle
position, and you could end up with more than
one shape on the same path level. is the path and the square is the shape.
5. On the Modify panel, open the Skin Parameters
Pick Shape—Sets the current level at any shape
rollout, and turn on Skin in the Display group.
on the path. When you pick a shape on the path,
Snap is turned off and Path is set to the level of You can now see the wireframe structure of
the picked shape, where a yellow X appears. Pick the lofted rectangle, with cross-sectional sides
Shape is available only from the Modify panel. parallel to its corners.

Previous Shape—Jumps the path level from its

Make sure the color assigned the loft object is
current location to the previous shape along the easily visible. Change it if necessary.
path. A yellow X appears at the current level. 6. Turn off Constant Cross-Section, and observe
Clicking this button turns Snap off. the corners.
Next Shape—Jumps the path level from its current When Constant Cross-Section is off, the
location to the next shape along the path. A yellow corners become pinched.
X appears at the current level. Clicking this button 7. Turn on Constant Cross-Section to restore the
turns Snap off. corners.
Acute angles can cause problems when the cross
sections formed by the path steps intersect at
Skin Parameters Rollout the corners. You can mitigate this by avoiding
Select a path or shape. > Create panel > Geometry > acute angles or by reducing the path steps.
Compound Objects > Object Type rollout > Loft > Skin
Parameters rollout 8. Press H on the keyboard to display the
Select Objects dialog (page 1–78), and choose
Select a path or shape. > Create menu > Compounds >
Loft > Skin Parameters rollout Rectangle02 (the second larger rectangle).
9. On the Skew panel, change the Skew Axis to Y,
On the Skin Parameters rollout, you adjust the and then set the Amount spinner to 95.
complexity of the mesh of the loft object. You can
10. Use Zoom Region to zoom in on the upper-left
also optimize the mesh by controlling the face
corner of the rectangle so you can see the mesh
count.
in detail.
Procedure At a skew of less than 100, the acute angle still
Example: To use a constant cross-section:
works because the path cross-sections haven’t
intersected.
1. Enlarge the Front viewport to full screen, and
11. Set the Skew Amount to 300, and examine the
then draw a Rectangle object (page 1–272) with
same corner.
 Skin Parameters Rollout 359

At this angle, the path cross sections intersect, faces that do not render or deform as well as those
causing problems in the mesh. created with grid capping.
12. Select the loft object, and set the Path Steps to 1. Grid—Arranges cap faces in a rectangular grid
The cross sections no longer intersect, and the trimmed at the shape boundaries. This method
corner is clean. produces a surface of evenly sized faces that can be
deformed easily by other modifiers.
When creating straight-edge molding for
architectural modeling, you can avoid mangled
corners by simply reducing the path steps to 0.

Interface

Roadway lofted with capping turned off

Capping group
Roadway lofted with capping turned on
Cap Start—When on, the end of a loft at the first
vertex of the path is covered, or capped. When off, Options group
the end is open, or uncapped. Default=on.
Shape Steps—Sets the number of steps between
Cap End—When on, the end of a loft at the last each vertex of the cross-section shapes. This value
vertex of the path is covered, or capped. When off, affects the number of sides around the perimeter
the end is open, or uncapped. Default=on. of the loft.
Morph—Arranges cap faces in a predictable,
repeatable pattern necessary for creating morph
targets. Morph capping can generate long, thin
360 Chapter 5: Creating Geometry

Left: Shape Steps=0. Frame lofted with Path Steps=5

Right: Shape Steps=4.
Optimize Shapes—When on, the Shape Steps
Path Steps—Sets the number of steps between each setting is ignored for straight segments of
main division of the path. This value affects the cross-section shapes. If multiple shapes are on the
number of segments along the length of the loft. path, only straight segments that have a match on
all shapes are optimized. Default=off.

Frame lofted with Path Steps=1

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. Lofting the roadway with Contour off causes it to twist.

When Optimize Path is on, straight sections of the lofted Roadway lofted with Contour turned on
roadway don’t require additional steps.
Banking—When on, shapes rotate about the path
Adaptive Path Steps—When on, analyzes the whenever the path bends and changes height in the
loft and adapts the number of path divisions path’s local Z axis. The bank amount is controlled
to generate the best skin. Main divisions along by 3ds Max. Banking is ignored if the path is 2D.
the path occur at path vertices, shape locations, When off, shapes do not rotate about their Z axis
and deformation curve vertices. When off, as they traverse a 3D path. Default=on.
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.
362 Chapter 5: Creating Geometry

Roadway lofted with Banking turned on Frame lofted with Constant Cross Section turned on

Constant Cross Section—When on, the cross Linear Interpolation—When on, generates a loft
sections are scaled at angles in the path to maintain skin with straight edges between each shape.
uniform path width. When off, the cross sections When off, generates a loft skin with smooth curves
maintain their original local dimensions, causing between each shape. Default=off.
pinching at path angles.

Left: Object lofted with Linear Interpolation turned off

Frame lofted with Constant Cross Section 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
a loft object have the same number of sides, 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 Deformations are not available in the Create panel.
to disappear during sub-object shape/path You must open the Modify panel after you’ve lofted
transformations. For example, moving a vertex to access the Deformations rollout, which offers
on the path causes the loft to disappear. When the following features:
off, you can see the skin during these Sub-Object • Each deformation button displays its own
transformations. Default=off. deformation dialog.

Display group • You can display any or all of the deformation

dialogs simultaneously.
Skin—When on, displays a loft’s skin in all views
using any shading level and ignores the Skin In • The button to the right of each deformation
Shaded setting. When off, displays only the loft button is a toggle to enable or disable the
sub-objects. Default=on. deformation’s effect.

Skin in Shaded—When on, displays a loft’s skin in Procedures

shaded views regardless of the Skin setting. When
To apply deformations to a loft:
off, skin display is controlled by the Skin setting.
Default=on. 1. Select a loft object.
2. Go to the Modify panel and choose Loft from
The loft object now retains the Skin and Skin In
the modifier stack display if it’s not already
Shaded settings from one loft object to the next
displayed.
one created.
3. Expand the Deformations rollout.
4. Click the deformation that you want to use.
Deformations
The window for the selected deformation
Select a Loft object. > Modify panel > Deformations appears.
rollout
To toggle the deformation effect:
Deformation controls let you scale, twist, teeter,
• Click Enable/Disable to the right of the
bevel or fit shapes along the path. The interface
deformation buttons.
for all deformations is a graph. Lines with control
points on the graph represent the deformations
Interface
along the path. Control points on the graphs can
be moved or animated for modeling purposes or
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.
You gain access to loft deformation curves
through the Modify panel’s Deformations rollout. 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
Scale deformation curve dialog
Select a Loft object. > Modify panel > Deformations
rollout > Scale
Procedure
You can loft objects such as columns and bugles To use Scale deformation:
from a single shape that changes only its scale as it
1. Select a loft object.
travels along a path. Use Scale deformation when
you want to make these types of objects. 2. Click Loft in the modifier stack display.

Tip: By animating scale, a loft object can appear to 3. Click Scale on the Deformations rollout.
travel along a path. Using this technique, you can 4. Edit the deformation curves for the X axis and
create animations in which letters or lines write Y axis.
themselves onto the screen.
These are the properties of Scale deformation
curves: Deform Twist
• The two curves are red for X-axis scaling and Select a Loft object. > Modify panel > Deformations
rollout > Twist
green for Y-axis scaling.
• Default curve values are at 100%. Twist deformation lets you create objects that
• Values greater than 100% make the shape larger. spiral or twist along their length. Twist specifies
the amount of rotation about the path.
• 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.

Twist deformation curve dialog

 Deform Teeter 365

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
Using twist to deform the lofted roadway Parameters rollout. Use Teeter deformation when
you want to manually control contour effects.
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. Teeter deformation curve dialog

• Both twist deformation and banking produce

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.
Roadway lofted with no teeter
2. Click Loft in the modifier stack display.
3. Click Twist on the Deformations rollout.
4. Edit the single deformation curve to specify
rotation about the path.
366 Chapter 5: Creating Geometry

Deform Bevel
Select a Loft object. > Modify panel > Deformations
rollout > Bevel

Roadway lofted with teeter turned on. Teeter affects the X and
Y axis orientation of the shape in relation to the path.

These are the properties of Teeter deformation

curves:
• The two curves are red for X-axis rotation and Roadway with beveled edges
green for Y-axis rotation.
Nearly every object that you encounter in the
• Default curve values are at 0 degrees rotation.
real world is beveled. Because it is difficult and
• Positive values rotate the shape expensive to manufacture a perfectly sharp edge,
counterclockwise about the shape’s most objects are created with chamfered, filleted,
positive axis. or eased edges. Use Bevel deformation to simulate
• Negative values rotate the shape clockwise these effects.
about the shape’s positive axis. Note: Bevel is not available when loft output is set
to Patch.
See Deformation Dialog (page 1–368) for specific
information on the dialog controls. These are the properties of Bevel deformation
curves:
Procedure • The single red curve is for bevel amount.
To use Teeter deformation:
• Bevel values are specified in current units.
1. Select a loft object.
• The default curve value is 0 units.
2. Click Loft in the modifier stack display.
• Positive values reduce the shape, bringing it
3. Click Teeter on the Deformations rollout. closer to the path.
4. Edit the deformation curves for X axis and Y • Negative values add to the shape, moving it
axis rotation. 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

Deform Fit
The Bevel Deformation dialog provides three
types of beveling: Normal, Adaptive Linear, and Select a Loft object. > Modify panel > Deformations
rollout > Fit
Adaptive Cubic. These are available from a flyout
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
shape based on the crotch angle. Adaptive Linear
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
Fit curves define a lofted shape.
nonparallel beveled edges, and both are less likely
to produce invalid bevels due to overshoots at the Fit deformation lets you use two Fit curves to
crotch. define the top and side profiles of your object. Use
Fit deformation when you want to generate loft
To see the differences in the three types of beveling,
objects by drawing their profiles.
loft a star shape along a straight path and apply
a bevel. When you switch among the three types Fit shapes are really scale boundaries. As your
of beveling, you’ll see the difference in the bevel cross-section shape travels along the path, its X
outline. Alter one radius of the star to examine axis is scaled to fit the boundaries of the X-axis fit
the beveling with shallow and with sharp crotch shape and its Y axis is scaled to fit the boundaries
angles. of the Y-axis fit shape.
Note: Fit is not available when loft output is set to
Procedure Patch.
To use Bevel deformation:
1. Select a loft object. Procedure
2. Click Loft in the modifier stack display. To use Fit deformation:

3. Click Bevel on the Deformations rollout. 1. Select a loft object.

4. Adjust the deformation curve. 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 Get Shape—Lets you select the shape to use for Fit
Fit Deformation dialog deformation. Click Get Shape, and then click the
shape to use in a viewport.
Generate Path—Replaces the original path with a
new straight-line path.

Deformation Dialog
Select a Loft object. > Modify panel > Deformations
rollout > Scale, Twist, Teeter, Bevel, or Fit

The Fit Deformation dialog contains different

buttons than the other deformations. For The Deformation dialogs for Scale, Twist, Teeter,
descriptions of the first eight buttons on the Bevel, and Fit use the same basic layout. The
toolbar, see Deformation Dialog (page 1–368). The buttons in the window’s toolbar and prompt area
following descriptions apply to the tools specific to perform the following functions:
Fit deformation, and are listed from left to right in • Change deformation curve display.
the order they appear on the toolbar. • Edit control points (these can be animated).

Fit Deformation toolbar • Navigate the Deformation dialog.

Editing Deformation Curves

A deformation curve starts as a straight line using
Mirror Horizontally—Mirrors the shape across the
a constant value. To produce more elaborate
horizontal axis.
curves, you insert control points and change their
Mirror Vertically—Mirrors the shape across the properties.
vertical axis.
Use the buttons in the center of the Deformation
Rotate 90 CCW—Rotates the shape 90 degrees dialog toolbar to insert and change deformation
counterclockwise. curve control points (see Interface, later in this
Rotate 90 CW—Rotates the shape 90 degrees
topic).
clockwise.
Control Point Types
Delete Control Point—Deletes the selected control
Control points on a deformation curve can
point.
produce curves or sharp corners, depending on
Reset Curve—Replaces the displayed Fit curve with the control point type. To change a control point
a rectangle 100 units wide and centered on the type, right-click the control point and choose one
path. If Make Symmetrical is on, both Fit curves of these from the shortcut menu:
are reset even though only one might be displayed. • Corner—Non-adjustable linear control point
Delete Curve—Deletes the displayed Fit curve. producing a sharp corner.
If Make Symmetrical is on, both Fit curves are • Bezier Corner—Adjustable Bezier control point
deleted even though only one might be displayed. with discontinuous tangent handles set to
 Deformation Dialog 369

produce a sharp corner. This type produces a To change the control point type:
curve that looks like the corner type but has You can change control point types at any time by
control handles like the Bezier Smooth type. right-clicking a selection of one or more control
• Bezier Smooth—Adjustable Bezier control point points.
with locked continuous tangent handles set to 1. Select one or more control points.
produce a smooth curve.
2. Right-click any selected control point.

Selecting Control Points 3. Choose a control point type from the shortcut
menu.
Use the Move Control Point and Scale Control
Point buttons with standard selection techniques The following conditions apply to changing
to select control points. control point types:
• The first and last control points must use the
Procedures Corner or Bezier Corner type.
To drag Bezier tangent handles: • Converting a Bezier Smooth point to a
1. Select one or more Bezier Smooth or Bezier Bezier Corner point unlocks the tangent
Corner control points to display their tangent handles but does not change their position.
handles. The curve appears smooth until you drag
one of the tangent handles.
2. Click one of the Move Control Point buttons.
• Converting a Bezier Corner point or inserted
3. Drag any tangent handle.
Bezier point to Bezier Smooth locks the
• Only the tangent handle you drag is affected. tangent handles and changes their position
Tangent handles on other selected control and magnitude. The handles are rotated to
points do not change. the average between their two angles. The
• If the tangent handle you drag is part of a handle magnitudes are averaged and set
Bezier Smooth control point, both handles equal.
move to maintain the Bezier Smooth type.
• If the tangent handle you drag is part of Interface
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. Toolbar
• Move the control point vertically by entering Buttons for working with a second curve are
a value in the Amount field. disabled for the Twist and Bevel deformations,
which use only one curve. The disabled buttons
370 Chapter 5: Creating Geometry

are Make Symmetrical, Display X Axis, Display Y Move Control Points—This flyout contains three
Axis, Display XY Axes, and Swap Deform Curves. buttons for moving control points and Bezier
handles:
Make Symmetrical—You can apply the same
deformation to both axes of a shape using Make • Move Control Point—Changes the amount
Symmetrical, which is both an action button of deformation (vertical movement) and
and a curve editing mode. Turning on Make the location of the deformation (horizontal
Symmetrical has the following effect: movement).
• When a single curve is displayed, it copies the • Move Vertical—Changes the amount of
displayed deformation curve to the curve for deformation without changing the location.
the hidden axis. • Move Horizontal—Changes the location of the
• When both axes are displayed, the Apply deformation without changing the amount.
Symmetry dialog is also displayed. Click the If one control point is selected, you can move it by
button for the curve you want to apply to both entering values in the control point Position and
axes. Amount fields at the bottom of the Deformation
• Changes you make to the selected curve are dialog.
duplicated on the other curve.
You cannot move end points horizontally.
When Make Symmetrical is not active, curve Intermediate control points are constrained
editing is applied only to the selected curve. horizontally to stay between the points on either
side. The amount of horizontal constraint is
Display X Axis/Y Axis/XY Axes—You can display
determined by the control point type.
one or both deformation curves using the curve
display buttons near the upper-left corner of the • You can move corner control points very close
Deformation dialog. together, until one is directly above the other.

Turn on the following buttons to display • You can move Bezier control points no closer
deformation curves: than the length of their tangent handles.

• Display X Axis—Displays only the X axis Moving Bezier Tangent Handles—You can use the
deformation curve in red. Move Control Point buttons to drag a tangent
handle’s angle and magnitude on Bezier Smooth
• Display Y Axis—Displays only the Y axis
and Bezier Corner vertices.
deformation curve in green.
• Display XY Axes—Displays X axis and Y axis Dragging a tangent handle has the following
deformation curves together, each using its constraints:
own color. • You cannot move tangent angles beyond
vertical. This prevents deformation curves
Swap Deform Curves—Copies curves between the
from doubling back on themselves.
X axis and Y axis. This button has no effect when
Make Symmetrical is on. • You cannot move tangent magnitudes beyond
the preceding or next control point on the path.
Click Swap Deform Curves to copy the X axis
curve to the Y axis, and the Y axis curve to the X Pressing Shift while moving a Bezier Smooth
axis. It doesn’t matter which curve is currently tangent handle converts the control point to a
displayed or selected. Bezier Corner type.
 Deformation Dialog 371

Scale Control Point—Scales the value of one or Deformation grid

more selected control points with respect to 0. Use
The area in the Deformation dialog that displays
this function when you want to change only the
the deformation curves is called the deformation
deformation amounts of selected control points
grid. This grid charts the value of the deformation
while maintaining their relative ratio of values.
along the length of the path.
• Drag downward to reduce values.
These are the main grid components:
• Drag upward to increase values.
Active area—The light-colored area of the grid
Insert Control Point—This flyout contains buttons defines the first and last vertex boundaries of
for inserting two control point types. the path. The ends of the deformation curve lie
Insert Corner Point—Click anywhere on a on each boundary and cannot be moved off the
deformation curve to insert a corner control point boundary.
at that location. Horizontal lines—Mark deformation values on
Insert Bezier Point—Click anywhere on a the vertical scale. The following table lists each
deformation curve to insert a modified Bezier deformation curve type and the meaning of the
control point at that location. The tangent handles deformation values.
of the Bezier control point are set to maintain the Deformation Type Deformation Value
shape of the curve before the point was inserted.
Scale Percentage
If you are not sure which type of control point Twist Rotation Angle
you need, or if you change your mind, you can
Teeter Rotation Angle
convert the point to another type by right-clicking
the point and selecting the type from the shortcut Bevel Current Units
menu.
The thick horizontal line at 0 represents the
Both Insert Control Point buttons put you in deformation value at the loft path.
insertion mode. Right-click or choose another
button to exit the mode. Vertical lines—Mark levels of the path. The levels
displayed vary with the Adaptive Path Steps setting
Delete Control Point—Deletes selected control on the Skin Parameters rollout (page 1–358).
points. You can also delete selected points by
pressing the DELETE key. If Adaptive Path Steps is on, levels are displayed at
all path vertices and shape locations.
Reset Curve—Deletes all but the end control points
and sets the curves back to their default values. If Adaptive Path Steps is off, levels are displayed
only at path vertices.
Bevel Type—This flyout, available only in the Bevel
Deformation dialog, lets you choose Normal, Path ruler—Measures the length of the path. The
Adaptive Linear or Adaptive Cubic as the bevel values on the ruler measure percentage along the
type. For more information, see Deform Bevel path. You can drag the path ruler vertically in the
(page 1–366). Deformation dialog.
Deformation curves—You can see one or two
curves in the Deformation dialog, based on the
372 Chapter 5: Creating Geometry

deformation type and the curve display setting. Zoom Vertical Extents—Changes the view
The curves are color-coded by axis. magnification along the deformation values so the
entire deformation curve is displayed in the dialog.
A red curve displays deformation along the shape’s
local X axis. A green curve displays deformation Zoom Horizontally—Changes magnification along
along the shape’s local Y axis. the path length.
Control Point fields—At the bottom of the • Drag to the right to increase magnification.
Deformation dialog are two edit fields. When a • Drag to the left to decrease magnification.
single control point is selected these fields display
Zoom Vertically—Changes magnification along the
the path location and deformation amount of the
control point. deformation value.
• Drag upward to increase magnification.
Control Point Position—The left field displays the
location of the control point on the loft path as a • Drag downward to decrease magnification.
percentage of the total path length. Zoom—Changes magnification along both the
Control Point Amount—The right field displays the path length and the deformation value, preserving
deformation value of the control point. the curve aspect ratio.
• Drag upward to increase magnification.
Deformation Dialog status bar
• Drag downward to decrease magnification.
The Deformation dialogs have their own view
Zoom Region—Drag a region on the deformation
navigation buttons in the lower-right corner.
grid. The region is then magnified to fill the
These give you controls for zooming and panning
deformation dialog.
the view of the deformation grid as you edit
the curve values. The status bar also displays Pan—Drag in the view to move in any direction.
information about the current tool and the selected
Scroll bars—Drag the horizontal and vertical scroll
control point.
bars to pan the view in a single direction.
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 Path Commands
gives its vertical position, or value. You can edit
Select a Loft object. > Modify panel > Modifier stack
these fields with the keyboard. display > Sub-object level > Path > Path Commands
Lock Aspect—This button is present only in the
Fit Deformation dialog. When active, it restricts The Path Commands rollout appears only when
zooming to vertical and horizontal at the same you are modifying an existing loft object and have
time. selected Path from the Sub-Object list. The Put
command allows you to make a copy or instance
Zoom Extents—Changes the view magnification so of the loft path.
the entire deformation curve is visible.
Zoom Horizontal Extents—Changes the view
magnification along the path length so the entire
path area is visible in the dialog.
 Shape Commands 373

Interface Delete—Deletes the shape from the loft object.

Align group
The six buttons in this group let you align the
selected shape in relation to the path. Looking
down at a shape from the viewport in which it’s
Put group created, the orientation is left to right along the X
Put—Places the path into the scene as a separate axis, and top to bottom along the Y axis.
object (as a Copy or Instance). You can use a combination of these buttons
for placements such as corner alignment. The
operations are additive. In other words, you can
Shape Commands use both Bottom and Left to place the shape in the
lower-left quadrant.
Select a Loft object. > Modify panel > Modifier stack
display > Sub-object level > Shape > Shape Commands
rollout Center—Centers the shape on the path, based on
the bounding box of the shape.
These controls let you align and compare shapes Default—Returns the shape to its position when
along the loft path. first placed on the loft path. When you use Get
Shape, the shape is placed so that the path goes
Interface 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—Aligns the left edge of the shape to the path.

Right—Aligns the right edge of the shape to the

path.
Top—Aligns the top edge of the shape to the path.

Bottom—Aligns the bottom edge of the shape to

the path.

Put group
Put—Puts the shape into the scene as a separate
Path Level—Adjusts the shape’s position on the object.
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
performed with the Select and Rotate or Select
and Scale.
374 Chapter 5: Creating Geometry

added to the dialog window), and a - sign appears

Compare Dialog if the shape is already selected.
Select a Loft object. > Modify panel > Modifier stack With each shape, the Compare dialog displays the
display > Sub-object level > Shape > Shape Commands
rollout > Compare button first vertex as a small square. For correct lofting,
the first vertices of all shapes on the path need to
The Compare dialog lets you compare any number be in the same position.
of cross-section shapes in a loft object for purposes Reset—Removes all shapes from the display.
of making sure their first vertices are properly
aligned. If shapes’ first vertices aren’t aligned, Dialog controls
unexpected lofting results can occur.
You can scroll the Compare dialog with the scroll
bars at the bottom and right sides. You can also use
Interface
the buttons in the lower-right corner to perform
View Extents, Pan, Zoom, and Zoom Region
functions.

Align group
While the Compare dialog is open, you can affect
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

Pick Shape—Lets you select shapes to display from The Mesher compound object converts procedural
the selected loft object. Click the Pick Shape objects to mesh objects on a per-frame basis so
button in the upper-left corner of the dialog. Then, that you can apply modifiers such as Bend or
in the viewport, select the shapes to display. Select UVW Map. It can be used with any type of object,
a shape a second time to remove it from the display. but is designed primarily to work with particle
systems (page 2–237). Mesher is also useful for
When you position the mouse cursor over a shape
low-overhead instancing of objects with complex
in the loft object, the cursor image changes to
modifier stacks.
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
 Mesher Compound Object 375

Procedure 8. Select the Mesher object, and go to the Mesher

To use a Mesher object: stack level.

1. Add and set up a particle system. 9. In the Parameters rollout, turn on Custom
Bounding Box, click the Pick Bounding box
2. Click the Create panel> Geometry >
button, and then select the bounding box
Compound Objects > Object Type rollout >
object.
Mesher button.
The particle stream uses the new, static
3. Drag in a viewport to add the Mesher object.
bounding box.
The size doesn’t matter, but the orientation
should be the same as that of the particle Tip: You can use any object as a bounding box,
system. so it is often fastest to use the particle system
itself. Move to the frame where the particle
4. Go to the Modify panel, click the Pick Object
system is the size you want and pick it.
button, and then select the particle system.
In the following illustration, you can see a Super
The Mesher object becomes a clone of the
Spray particle system (left) and a Mesher object
particle system, and shows the particles as mesh
derived from the Super Spray (right). A Bend
objects in the viewports no matter what the
modifier is applied to the Mesher. In the center
particle system’s Viewport Display setting is.
is a box object being used as a custom bounding
5. Apply a modifier to the Mesher object, and set box. The bounding box applied to the Bend
its parameters. For example, you might apply modifier is visible as an orange wireframe when
a Bend modifier and set its Angle parameter the modifier is highlighted in the stack.
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, as the particles stream away and separate,
the bounding box becomes longer and thicker, Using a custom bounding box with a bent particle system
potentially causing unexpected results. To
resolve this, you can use another object to To modify the particles aspect of the Mesher,
specify a static bounding box. edit the original particle system.
7. To use another object’s bounding box to limit To modify the custom bounding box, move,
the modified Mesher object, first add and set rotate, or scale the bounding box object, and
up the object. Its position, orientation, and size then reapply it using the Mesher object.
are all used in calculating the bounding box.
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 Time Offset—The number of frames ahead of
if you want only the Mesher replica to render, or behind the original particle system that the
hide the original system before rendering. Mesher’s particle system will run. Default=0.
Build Only At Render Time—When on, the Mesher
Interface
results do not appear in the viewports, but only
Parameters rollout when you render the scene. Default=off.
Use this option to reduce the amount of
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
the particle system and modifier with a static
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.
The custom bounding box appears as an orange
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.
Move to the frame where the particle system is the
size you want and pick it.
(coordinate values)—Displays the coordinates of
the opposite corners of the custom bounding box.
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
Pick Object—Click this button and then select the
controls (see following).
object to be instanced by the Mesher object. After
doing so, the name of the instanced object appears
on the button.
 ProBoolean/ProCutter Compound Objects 377

PFlow Events group not on triangles but N-sided polygons. Once the
Boolean operations are completed, the result is
When the Mesher object is applied to a Particle
retriangulated and sent back into 3ds Max with
Flow system, use these controls to create meshes
coplanar edges hidden. The result of this extra
for specific events in the system. Mesher does not
work is twofold: The reliability of the Boolean
create meshes for the remaining events.
object is extremely high, and the resulting output
[list box]—Displays all Particle Flow events is much cleaner in terms of having fewer small
currently affected by Mesher. edges and triangles.
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.
The events now appear in the list.
Remove—Deletes highlighted events from the list.

ProBoolean/ProCutter
Advantages of ProBoolean over the legacy 3ds Max
Compound Objects 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 - coplanar edges
remain hidden.
• Integrated decimation and quad meshing
The ProBoolean and ProCutter compound objects In addition, ProCutter (page 1–388) is an excellent
provide you with modeling tools for combining 2D tool for exploding, breaking apart, assembling,
and 3D shapes in ways that would be difficult or sectioning, or fitting together objects such as a
impossible otherwise. The ProBoolean compound 3D puzzle. See the following illustration for an
object (page 1–378) takes a 3ds Max mesh and adds example of a goblet shattering.
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
378 Chapter 5: Creating Geometry

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.

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 ProBoolean provides two options for applying
Objects > Object Type rollout > ProBoolean materials. You can see these two options in the
Apply Material group on the Parameters panel
A Boolean object combines two or more other (see above illustration). The default choice is
objects by performing a Boolean operation or Apply Operand Material. This option applies the
operations on them. ProBoolean adds a range of operand material to the resulting faces. Choosing
functionality to the traditional 3ds Max Boolean Retain Original Material causes the resulting faces
object, such as the ability to combine multiple to use the material of the first selected object in
objects at once, each using a different Boolean the Boolean operation.
operation. ProBoolean can also automatically
You can see the difference in the following
subdivide the Boolean result into quadrilateral
illustration. The Boolean operation starts with
faces, which lends itself well to smoothing edges
a red box and a blue sphere. The box is used as
with MeshSmooth (page 1–722) and TurboSmooth
the base object and the sphere is the subtracted
(page 1–868).
operand. Using the default Apply Operand
Material option gives the result shown in the center
Materials, Textures, Vertex Colors
of the illustration. Choosing Retain Original
ProBoolean and ProCutter transfer texture Material yields the result shown on the right side
coordinates, vertex colors, optionally materials, of the illustration.
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
 ProBoolean Compound Object 379

Supported Boolean Operations intersect each other and that each letter is closed.
Also, it’s easy to inadvertently create loft objects
ProBoolean supports Union, Intersection,
(page 1–352) and NURBS objects (page 1–1078) in
Subtraction, and Merge. The first three operations
such a way as to have self-intersections. With loft
work similarly to their counterparts in the
objects, check the ends and points where the loft
standard Boolean compound object. The Merge
curve bends.
operation intersects and combines two meshes
without removing any of the original polygons.
This can be useful for cases in which you need to
See also
selectively remove parts of the mesh. ProCutter Compound Object (page 1–388)
Also supported are two variants of the Boolean
Procedures
operations: Cookie Cutter and Imprint. Cookie
Cutter performs the specified Boolean operation To create a ProBoolean compound object:
but does not add the faces from the operands into 1. Set up objects for the Boolean operation. For
the original mesh. It can be used to cut a hole example, to subtract spherical shapes from a
in a mesh or to get the portion of a mesh inside box, create the box and spheres and arrange the
of another object. The Imprint option inserts spheres so that their volumes intersect the box
(imprints) the intersection edges between the where the subtractions should take place.
operands and the original mesh without removing
2. Select the base object. In the example in step 1,
or adding faces. Imprint only splits faces and adds
you would select the box.
new edges to the mesh of the base object (original
selected object). 3. On the Create panel > Geometry section,
choose Compound Objects from the
Editing the Boolean Object drop-down list, and then click ProBoolean.

When you access a ProBoolean or ProCutter object 4. On the Parameters rollout, choose the type of
from the Modify panel, you can add operands Boolean operation you want to use: Union,
to the existing set. You can also remove and Intersection, Subtraction, etc. Also choose
transform (move, rotate, etc.) operands. how the software will transfer the next operand
you pick into the Boolean object: Reference,
Polygon Reduction Copy, Move, or Instance. You can also choose
to retain the original material, or keep the
ProBoolean and ProCutter have a built-in default Apply Material choice: Apply Operand
decimation function. Typically, decimation is of Material.
better quality if it is integrated with the Boolean
5. Click the Start Picking button.
operations. The reason for this is that the Boolean
object contains meta-information about which 6. Pick one or more objects to participate in the
edges are intersection edges. The decimation Boolean operation.
function takes this information into account and 7. As you pick objects, you can also change,
uses it to properly maintain intersection edges. for each newly picked object, the Boolean
operation (Merge, etc.) and options (Cookie
Text, Lofts and NURBS or Imprint), as well as how the next operand is
When performing Boolean operations with text transferred to the Boolean (Reference, Copy,
objects (page 1–278), make sure characters don’t 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
picking the objects to add.

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. Start by adding a box, a sphere, a smaller
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 The cylinder’s intersecting volume is subtracted
the box; that is, a single object that represents from the previous Boolean result.
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 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
Note that Start Picking stays active (yellow). starts the Boolean with Union, Sphere01 is
This means you can continue picking objects to then incorporated with Intersection, Box02
incorporate into the Boolean object, optionally is incorporated with Union, and finally
changing the operation as you go. Cylinder01 is incorporated with Subtraction.
6. Set Operation to Union, and then click the Note: The operation for the first object in the
small box. list has no effect on the Boolean object, but if
The result is the union (adding) of the small you move it to another position in the list it
box with the intersection of the sphere and does. You’ll see an example of this at the end of
larger box. Again, the original object’s color is this exercise.
assigned to the result. 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.

7. Set Operation to Subtraction, and then click

the cylinder.
382 Chapter 5: Creating Geometry

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.

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.

Interface
Modifier stack
With an unmodified ProBoolean object selected,
the modifier stack shows a single, expandable
entry: ProBoolean.

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.

Expanding this entry (by clicking the + 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 If Parameters rollout > Display is set to Result,
hierarchy view (page 1–386) list at the bottom of
selecting an operand displays the operand’s
the Parameters rollout.
axis tripod or transform gizmo in the viewport,
although the operand itself is not visible by default.

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 To view the operand, set Parameters rollout >
parameters on the Modify panel. Display to Operands.
384 Chapter 5: Creating Geometry

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
Whether or not the operands are visible, you can object:
transform and animate them at the Operands • Reference—The Boolean operation uses a
sub-object level, as with any other object in reference (page 3–1002) to the picked operand,
3ds Max. 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.
You can also transform and animate the base • Copy—The Boolean operation uses a copy of
object; that is, the first object in the hierarchy view the picked operand. The selected object is
list. unaffected by the Boolean operation, but a copy
of it participates in the Boolean operation.
Pick Boolean rollout • 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.

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
can slow down the process. To maintain optimum
feedback, set Parameters rollout > Display to
Operands. Then, when you’re finished, set it back
to Result. Alternatively, on the Advanced Options
 ProBoolean Compound Object 385

Parameters rollout 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

Operation group
intersection edges) onto the original mesh object.
These settings determine how the Boolean
operands interact physically.
Union—Combines two or more separate entities
into a single Boolean object.
Left: Original object (box) and operand (text)
Intersection—Creates a "new" object from the
physical intersection between the original objects; Center: Standard Subtraction operation

the non-intersecting volumes are removed. Right: Subtraction with Imprint

Subtraction—Removes the volume of a selected Note: The result of the Imprint operation is always
object from the original object. the same; the main Operation choice has no effect
on it.
386 Chapter 5: Creating Geometry

Display—Choose one of the following display the Boolean object. Each extracted operand
modes: becomes a top-level object again.
• Result—Displays only the result of the Boolean • Copy—Extracts a copy of the operand or
operations, not the individual operands. operands highlighted in the hierarchy view
Choosing Result also activates the ProBoolean list. The original operand remains part of the
level in the modifier stack (page 1–382). Boolean result.

• Operands—Displays the operands that define • Inst—Extracts an instance of the operand or

the Boolean result. Use this mode to edit the operands highlighted in the hierarchy view list.
operands and modify the result. Subsequent modifications to this extracted
operand also modify the original operand, thus
Choosing Operands also activates the Operands affecting the Boolean object.
level in the modifier stack (page 1–382).
Reorder Ops—Changes the ordering of the
Also, when picking many operands, use this
highlighted operand in the hierarchy view list. The
mode to avoid having to recalculate the result
reordered operand is moved to the position listed
each time, and then set Display back to Result
in the text field next to the Reorder Ops button.
at the end.
Change Operation—Changes the type of operation
Apply Material—Choose one of the following
(see Operation group (page 1–385)) for the
material application modes:
highlighted operand. To change the operation
• Apply Operand Material—New faces created by type, highlight the operand in the hierarchy view,
the Boolean operation acquire the material of then choose the operation type radio option, and
the operand. then click Change Operation.
• Retain Original Material—New faces created by
the Boolean operation retain the material of the Hierachy View
original object.

Sub-object Operations group

These functions operate on operands highlighted
in the hierarchy view list (see following).
Note: For these operations, you need not be at the
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 The hierarchy view, found at the bottom of the
highlighted operand in the hierarchy view list. Parameters rollout, displays a list of all of the
Three modes of extraction are available: Boolean operations that define the selected mesh.
Each time you perform a new Boolean operation,
• Remove—Removes the operand or operands
the software adds an entry to the list.
highlighted in the hierarchy view list from
the Boolean result. It essentially undoes the You can highlight operands for modification
addition of the highlighted operand(s) to 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 • When Selected—Updates occur whenever the
highlight multiple non-contiguous entries, use Boolean object is selected.
Ctrl +click. To remove highlighting from a list • When Rendering—Updates are applied to the
entry, Alt +click the highlighted item. Boolean object only at render time, or when
At the ProBoolean level in the modifier stack, you click Update.
you can perform only sub-object operations (page Update—Applies changes to the Boolean object.
1–386) on highlighted items. At the Operands Available with all options except Always.
sub-object level, you can transform highlighted
Note: When you first create a ProBoolean object
operands as well as perform sub-object operations;
see Modifier stack (page 1–382) for details. with Manually or When Rendering active, no
operands, including the base object, are visible
Advanced Options rollout 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
reducing the number of polygons. For example, 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
Update group
for smoothing meshes. It also makes the object
These options determine when updates are suitable for conversion to Editable Poly format.
performed on the Boolean object after you make
For further discussion of this option, see the topic
changes. Choose one of the following:
Quad Meshing and Smoothing (page 1–392).
• Always—Updates occur as soon as you make
changes to the Boolean object. Make Quadrilaterals—When on, changes the
tessellation of the Boolean object from triangles to
• Manually—Updates occur only when you click quadrilaterals.
the Update button.
388 Chapter 5: Creating Geometry

Note: When Make Quadrilaterals is on, the Following is a list of ProCutter features:
Decimation setting has no effect. • Break apart a stock object into elements of an
Quad Size %—Determines the size of the editable mesh or into separate objects using
quadrilaterals as a percentage of the overall cutters that are either solids or surfaces.
Boolean object length. • Use one or more cutters on one or more stock
objects at the same time.
Planar Edge Removal group
• Perform a volume decomposition of a set of
This option determines how the polygons on cutter objects.
planar faces are handled. Choose one of the
• Use a single cutter many times without
following:
maintaining the history.
• Remove All—Removes all extra coplanar edges
on a face such that the face itself will define the See also
polygon.
ProBoolean Compound Object (page 1–378)
• Remove Only Invisible—Removes invisible edges
on each face. Procedure
• No Edge Removal—No edges are removed. To use ProCutter:
1. Select an object to use as a cutter.

ProCutter Compound Object 2. Activate the ProCutter compound object.

3. On the Cutter Picking Parameters rollout, click
Select an object. > Create panel > Geometry > Compound
Objects > Object Type rollout > ProCutter Pick Cutter Objects, and then select additional
cutters.
The ProCutter Compound object lets you perform 4. On the Cutter Picking Parameters rollout, click
specialized Boolean operations, primarily for the Pick Stock Objects, and then select objects to
purpose of breaking apart or subdividing volumes. be cut by the cutter objects.
The results of ProCutter operations are particularly
5. In the Cutter Parameters rollout > Cutter
suitable for use in dynamics simulations where an
Options group, choose the parts of the originals
object explodes or is shattered by impact with a
you wish to keep: Stock Outside Cutters, Stock
force or another object.
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 • Instance—The Boolean operation makes an

Cutter Picking Parameters rollout 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
Pick Cutter Objects—When on, objects you select maintain the stock as a sub-object, but edits it and
are designated as cutters, used to subdivide stock replaces the object with the result of the cut. This
objects. lets you quickly cut, move the cutter, and cut again.
Pick Stock Objects—When on, objects you select Explode By Elements—When Auto Extract is on,
are designated as stock objects; that is, objects that detaches each element into a separate object
are subdivided by cutters. automatically. Has no effect when Auto Extract
Choose a radio button to specify how the next is off.
object you pick is transferred to the ProCutter This convenient option makes it unnecessary to
object: convert the ProCutter object to Editable Mesh
• Reference—The Boolean operation uses a format and then use Explode, as mentioned in
reference (page 3–1002) to the picked operand, this procedure (page 1–388). This is useful when
so the object remains after being incorporated cutting up an object. For example, you could use it
into the Boolean object. Future modifications to slice a loaf of bread. You use the cutter to cut a
to the originally picked object will also modify piece off, move the cutter, and then cut again.
the Boolean operation. Use Reference to
synchronize modifier-induced changes to the Parameters rollout
original operand with the new operand, but not You can choose any combination of the three
vice-versa. cutting options to get the desired result. If you
• Copy—The Boolean operation uses a copy of have non-closed meshes, the orientation of the
the picked operand. The selected object is mesh might determine which part of the stock is
unaffected by the Boolean operation, but a copy considered to be inside or outside the cutter.
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.
390 Chapter 5: Creating Geometry

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

Stock Outside Cutter—The result contains the parts

material application modes:
of the stock outside of all of the cutters. This option • Apply Operand Material—New faces created by
gives you a similar result to a Boolean subtraction the Boolean operation acquire the material of
of the cutters from the stock objects. The gold part the operand.
of the object in the following illustration results • Retain Original Material—New faces created by
from this option. the Boolean operation retain the material of the
Stock Inside Cutter—The result contains the parts original object.
of the stock inside one or more cutters. This option
gives you similar results to a Boolean intersection Sub-object Operations group
of the cutters and the stock objects. There is These functions operate on operands highlighted
some difference because each cutter is treated in the hierarchy view list (see following).
individually. The green, blue and red parts of the
Extract Selected—Based on the chosen radio
object on the left side of the following illustration
button (Remove, Copy, or Inst; see following),
are the results of this option.
Extract Selected applies the operation to the
Cutters Outside Stock—The result contains the highlighted operand in the hierarchy view list.
parts of the cutters that are not inside the stock Three modes of extraction are available:
objects. Note that the cutters will cut each other if
 ProCutter Compound Object 391

• Remove—Removes the operand or operands Update group

highlighted in the hierarchy view list from
These options determine when updates are
the Boolean result. It essentially undoes the
performed on the Boolean object after you make
addition of the highlighted operand(s) to
changes. Choose one of the following:
the Boolean object. Each extracted operand
becomes a top-level object again. • Always—Updates occur as soon as you make
changes to the Boolean object.
• Copy—Extracts a copy of the operand
highlighted in the hierarchy view list. The • Manually—Updates occur only when you click
original operand remains part of the Boolean. the Update button.

• Inst—Extracts an instance of the operand • When Selected—Updates occur whenever the

highlighted in the hierarchy view list. Boolean object is selected.
Subsequent modifications to this extracted • When Rendering—Updates are applied to the
operand also modify the original operand, thus Boolean object only at render time, or when
the Boolean object. you click Update.
Update—Applies changes to the Boolean object.
Hierachy View
Available with all options except Always.
The hierarchy view displays a list of all operands:
Note: When you first create a ProCutter object with
cutters and stock objects. You can select and
Manually or When Rendering active, no operands,
edit objects using the hierarchy view, as with
including the base object, are visible until you
ProBoolean.
update at least once. Thereafter, the base object is
visible, but no subsequently picked operands are
Advanced Options rollout
until you update again.
Decimation %—The percentage of edges to remove
from the polygons in the Boolean object, thus
reducing the number of polygons. For example, 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 Quad Meshing Basics

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.

ProBoolean of an object containing several primitives

Quad Meshing and Smoothing
To make a quadrilateral mesh, select a ProBoolean
ProBoolean and ProCutter can re-mesh
or ProCutter object, go to the Modify panel, and
planar surfaces using a quadrilateral meshing
expand the Advanced Options panel as shown
algorithm. This capability, in combination with
following.
the subdivision surface tools in MeshSmooth,
TurboSmooth, and Editable Poly, can produce
dramatic results.
It does require some level of expertise to
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.

To get a result similar to the following illustration,

turn on Make Quadrilaterals check box:
 Quad Meshing and Smoothing 393

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.

Result of a quad mesh with Quad Size %=3.0

To change the size of the individual quadrilaterals,

adjust the Quad Size % parameter. Typically a
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 MeshSmooth modifier with NURMS and Iterations=1
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:

Rendered image after MeshSmooth modifier applied

Quad Meshing Tips and Tricks

Quad meshing with Quad Size %=2.0
Sometimes the results of quad meshing can
If you know that you have the desired result and produce undesirable results in the smoothed
don’t plan to go back and change the quad size or model.
the original primitives, you can convert the object
to Editable Poly format and apply smoothing with Problem #1: Stripes along cylinders or bumpiness
the Subdivision Surface settings. If this is not on other surface
the case, however, and you plan to make further Solution: Increase the number of subdivisions
adjustments, use the MeshSmooth (page 1–722) or around cylinders or along other surfaces.
TurboSmooth (page 1–868) modifier to retain the
394 Chapter 5: Creating Geometry

Stripes and bumps with Quad Size %=2.0 Coplanar edges not removed from original box

To fix the problem depicted above, the number of

sides on the two cylinders was changed from 18 to
30 and the number of segments on the torus was
changed from 24 to 36. The following illustration
shows the improved result:

When rendered, misshapen geometry results from the presence

of coplanar edges.

Increasing the primitives’ resolution fixes the problem.

Problem #2: Triangles along boundaries caused

by conflicts with visible edges from original mesh
Solution: Make sure Advanced Options rollout
> Planar Edge Removal is set to Remove All or
create the original primitives without subdivisions
on coplanar faces.

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.
The middle sphere was lifted so that there is a
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 Rendered image of smoothed three-sphere example
undesirable results in the rendered image.

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
a dynamics simulation (page 2–686).
The following topics describe the types of
dynamics objects and how to create and use them:
Quads produced by three spheres with different rotations and
Spring Dynamics Object (page 1–400)
translations
Damper Dynamics Object (page 1–396)
396 Chapter 5: Creating Geometry

one of the dummies can be the child of an

Damper Dynamics Object object that’s included in the simulation. In this
case, the dummy itself does not need to be in
Create panel > Geometry > Dynamics Objects > Object
Type rollout > Damper button the simulation.
Create menu > Dynamics > Damper Note: Damper is an "ideal" object with no mass.
While it can be used in dynamics simulations,
The Damper object provides a dynamic object it cannot participate directly in collisions or
that can behave as either a shock-absorber or an effects. As a result, when you assign a damper
actuator. It consists of a base, a main housing, object to a dynamics simulation, and then view
and a piston, with an optional boot. The piston it in the Edit Object dialog, all of the parameter
slides within the main housing, providing different settings are disabled.
heights. The overall height can be affected by
binding objects, in the same way as the Spring Interface
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:

The following must be in place to use the damper
forces in a dynamics simulation:
1. Bind two objects to the ends of the damper, and
choose Bound to Object Pivots in the End Point
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 End Point Method group
the damper object.)
Free Damper/Actuator—Choose this when using
3. Include at least one of the bound objects or
the damper as a simple object that’s not bound to
a parent of one of the bound objects in the
others or used in a dynamics simulation.
simulation. For example, you can bind two
dummy objects to the ends of a damper, and
 Damper Dynamics Object 397

Bound to Object Pivots—Choose this option when Generate Mapping Coords—Sets up the required
binding the damper to two objects, using the coordinates for applying mapped materials to the
buttons described next. object. Default=on.

Binding Objects group Cylinder Parameters 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)—Displays the name of the object
bound to the piston of the damper.
Pick Piston Object—Click this button and then
select the object to be bound to the piston of the
damper.
Base (label)—Displays the name of the object
bound to the base of the damper.
Pick Base Object—Click this button and then select
the object to be bound to the base of the damper.

Free Damper Parameters group

Pin-to-Pin Height—Use this field/spinner to specify
Provides parameters for the base and main
the distance between the bottom center of the base
cylinder of the damper.
and the top center of the piston when the damper
is not bound. Base Dia—The diameter of the base, or "mount"
of the damper.
Common Damper Parameters group
Height—The height of the base.
Renderable—When on, the object appears in the
rendering; when off, the object does not appear. Main Dia—The diameter of the main housing of
the damper.
Material IDs are assigned to the damper object as
follows: Height—The height of the main housing.

1: Base Sides—The number of sides of both the base and

the main housing.
2: Main housing
Fillet 1—The size of the fillet on the lower edge of
3: Piston the main housing.
4: Boot Stop (appears only if you enable Boot Fillet Segs—The number of segments for Fillet
Parameters) 1. The higher this setting, the rounder the fillet
5: Boot (appears only if you enable Boot profile appears.
Parameters)
398 Chapter 5: Creating Geometry

Fillet 2—The size of the fillet on the upper edge of Boot Parameters group
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
a cylinder.
Smooth Cylinder—When on, smoothing is applied
to both the base and the main housing.

Piston Parameters group

The boot is an optional component of the damper

that’s similar to the rubber "accordion" boot
Provides parameters for the piston of the damper. found on various types of dampers, such as shock
Diameter—The diameter of the piston.
absorbers. The boot acts like a bound dynamic
object, in that one of its ends is bound to the main
Height—The height of the piston. housing, while the other is bound to the piston.
Sides—The number of sides in the piston. Thus, as the piston moves within the housing, the
boot expands and contracts to follow.
Smooth Piston—When on, smoothing is applied
to the piston. 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—The number of sides making up the boot.

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. The parameters in this group box, available only
when End Point Method is set to Bound to Object
Setback—The distance of the stop ring from the
Pivots, specify how forces are applied by the
top of the piston.
damper object in a dynamics simulation.
Stop Fillet—The size of the fillet on the upper edge
Damper Parameters—Provides parameters for a
of the stop ring.
damper type of object. Specifically, this simulates
Fillet Segs—The number of segments the stop fillet. a viscous linear damper, which provides linear
The higher this setting, the round the fillet profile resistance to motion (between the two binding
appears. objects) proportional to the rate at which the
damper experiences displacement. The faster it
Smooth Boot—When on, smoothing is applied to
gets hit, the harder it fights back. Push it slowly,
the boot.
and there’s almost no resistance.
Dynamics Parameters group • 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. When used as an actuator, the damper
object exerts force between the two binding
objects. A real-world example might be the
thrusting piston in a log splitter. When used in a
simulation, the force is applied by adjusting the
Unlike the Spring object, the damper can also be value in the Force spinner. You can see the result
used as an actuator. Basically, a damper absorbs only after solving the dynamics simulation.
force (like a shock absorber) while an actuator • Object is Actuator—Choose this when using the
applies force. damper object as an Actuator.
400 Chapter 5: Creating Geometry

Force—Specifies the amount of force exerted so all of the dynamics parameters will be
between the two bound objects. Positive values disabled for the spring object.)
push the objects apart, while negative values pull 3. Include at least one of the bound objects or
them together. a parent of one of the bound objects in the
• Force is measured in— Lets you specify the simulation. For example, you can bind the
measurement of force to use: Pounds per inch ends of a spring to two dummy objects, and
or Newtons per meter. one of the dummies can be the child of an
object that’s included in the simulation. The
dummy without a parent will be stationary and
Spring Dynamics Object the spring will pass its force through the other
dummy to its parent.
Create panel > Geometry > Dynamics Objects > Object
Type rollout > Spring button Note: Spring is an "ideal" object with no mass.
While it can be used in dynamics simulations,
Create menu > Dynamics > Spring
it cannot participate directly in collisions or
The Spring object is a dynamics object in the shape effects. A spring can only exert force on other
of a coiled spring that lets you simulate a flexible objects in simulations. As a result, when you
spring in dynamics simulations. You can specify assign a spring object to a dynamics simulation,
the overall diameter and length of the spring, the and then view it in the Edit Object dialog, all of
number of turns, and the diameter and shape of its the parameter settings are disabled.
“wire.” When used in a dynamics simulation, the
compression and extension pressure of the spring Interface
are calculated as well. Spring Parameters rollout

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:

The following must be in place to use the spring
forces in a dynamics simulation:
1. Bind two objects to the ends of the spring, and
choose Bound to Object Pivots in the End Point
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,
 Spring Dynamics Object 401

End Point Method group Common Spring Parameters group

Free Spring—Choose this when using the spring as
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. This end point is placed at the pivot point
of the object to which it is bound. You can adjust Diameter—The overall diameter of the spring, as
the relative position of the binding object to the measured at the center of the wire. (The diameter
spring by transforming the binding object while of the wire itself has no effect on this setting.)
the Affect Object Only button is turned on in the
Hierarchy > Pivot panel. Turns—The number of full 360-degree turns in
the spring.
Top (label)—Displays the name of the "top" binding
object. CCW/CW—Specifies whether the coils of the spring
are counterclockwise (CCW) or clockwise (CW).
Pick Top Object—Click this button and then select
the "top" object. Automatic Segments—Choose this option to force
each turn of the spring to contains the same
Bottom (label)—Displays the name of the "bottom" number of segments, as specified in the Segs/Turn
binding object. spinner. Thus, if you increase the number of turns,
Pick Bottom Object—Click this button and then the number of segments also increases.
select the "bottom" object. Segs/Turn—This spinner lets you specify the
number of segments in each 360-degree turn of
Free Spring Parameters group the spring.
Height—Use this field/spinner to set the
Manual Segments—When this option is chosen,
straight-line height or length of the spring when it
the length of the spring contains a fixed number of
is not bound. This is not the actual length of the
segments, no matter how many turns in the spring.
spring’s wire.
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 Wire Shape group
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—Smoothing runs along the length of the
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.

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 contributes no force--either compression or

in the fillet. extension. For example, if the placement of the
• Rotation—Rotates the angle of the cross section binding objects stretches the spring to a length of
along the entire length of the spring. 50 units but the Relaxed Len is set to 30, then an
extension force is in effect because the spring is
D-Section Wire—Specifies a D-shaped wire. stretched further than its relaxed length.
• Width—Determines the width of the cross Constant k—The amount of force exerted per unit
section. change in length with respect to the Relaxed Hgt
• Depth—Determines the depth of the cross value. This could also be described as the measure
section. of force-per-units-change in length as compared
• Round Sides—Specifies the number of segments to the Relaxed Length. For example, if your spring
that make up the rounded side of the D-shape. is set to a Spring Constant of k=10 lb per in, and
you stretch it to be ten inches longer than the
• Fillet—When combined with Fillet Segs
Relaxed Hgt value, it will try to close with a force
(below), this lets you fillet (round) the corners
of 100 pounds. If you compress it two inches
of the cross section.
shorter than the Relaxed Hgt value, it will push
• Fillet Segs—Specifies the number of segments back with 20 pounds of force.
in the fillet.
Spring constant is in—Lets you specify the
• Rotation—Rotates the angle of the cross section measurement of force to use: Pounds per inch or
along the entire length of the spring. Newtons per meter.

Dynamics Parameters group Spring works in—Lets you specify the type of force
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, depending on the variation from Relaxed
Hgt.
Enable Nonlinearity—When on, the compression
and extension of the spring are non-linear, based
These parameters specify the forces that the spring on the assumption that a spring has physical
contributes to a dynamic simulation. limits to the amount it can stretch or contract.
Thus, the further the spring gets from the Relaxed
Relaxed Hgt—Specifies the height (or length)
Hgt setting, the less linear the feedback. The
at which the spring is "relaxed" and therefore
404 Chapter 5: Creating Geometry

non-linear compression is calculated using the • Sunlight (page 1–418) creates and animates a
relationship between the coil dimensions, wire directional light that follows the geographically
diameter, and length. Extension compares the correct angle and movement of the sun over the
relationship between the wire diameter and overall earth at a given location.
spring diameter. • 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.
Creating Systems • Biped (page 2–843) creates a two-legged
Create panel > Systems character skeleton designed for animation.
Systems are primarily intended for plug-in (page
A system combines objects, linkages, and 3–995) component software. Additional systems
controllers to produce an object set that has might be available if your configuration includes
behavior as well as geometry. Systems help you plug-in systems.
create animations that would be much more
difficult or time-consuming to produce using You can externally reference system objects in your
features independently. Systems can range from scene. For more information, see XRef Objects
simple object generators to full-scale subsystem (page 3–394).
programs.
Procedure
To create a system:
1. On the Create panel, click Systems.
The Systems panel is displayed.
2. On the Object Type rollout, choose a system
to create.
3. Drag in a viewport to create the system.

Bones System
• Bones (page 1–404) creates a hierarchically
Create panel > Systems > Bones button
linked set of bones and joints.
Animation menu > Bone Tools > Create Bones
You can transform and animate bones using
both forward and inverse kinematics. See
Animating with Forward Kinematics (page A Bones system is a jointed, hierarchical linkage
2–426) and Inverse Kinematics (IK) (page of bone objects that can be used to animate
2–435). other objects or hierarchies. Bones are especially
useful for animating character models that have
• Ring Array (page 1–415) creates a ring of boxes.
 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), or through Interactive (page
2–480) or applied IK (page 2–481).

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
simply turning on Bone On in the Bone Editing
Tools rollout (page 1–411).
Dinosaur character modeled using bones
See also
Bones are renderable objects. They have several
parameters, such as taper and fins, that can be Bone Tools (page 1–411)
used to define the shape the bone represents. The
fins make it easier to see how the bone is rotating. Creating Bones
For animation, it is very important that you You start creating bones by clicking the Create
understand the structure of a bone object. The Bones button on the Bone Editing Tools rollout
bone’s geometry is distinct from its link. Each link (page 1–411), or by clicking the Bones button in
has a pivot point at its base. The bone can rotate the Systems category on the Create panel.
about this pivot point. When you move a child To create bones, do the following.
bone, you are really rotating its parent bone.
1. Your first click in a viewport defines the start
It might be useful to think of bones as joints, joint of the first bone.
because it is their pivot placements that matter, 2. The second click in a viewport defines the start
more than the actual bone geometry. Think of the joint of the next bone. Visually only one bone
geometry as a visual aid that is drawn lengthwise is drawn at this point because bones are visual
from the pivot point to the bone’s child object. aids drawn between two pivot points. It is the
The child object is usually another bone. actual pivot point’s placement that is important.
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 solver from the list in the IK Chain Assignment
chain to the hierarchy, you can delete the small rollout, and then turn on Assign To Children.
nub bone. When you exit bone creation, the chosen IK solver
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

Creating a simple chain of three bones When you first create a bones system, the position
of the bones is the initial state. Before you assign
3ds Max lets you create a branching hierarchy of an IK solver or method, you can change the
bones. To create a branching hierarchy, such as initial state of the bones by moving, rotating, or
legs branching from a pelvis, do the following: stretching the bones individually.
1. Create a chain of bones, and then right-click
to exit bone creation. Bone Color
2. Click Bones (or Create Bones) again, and By default, bones are assigned the color specified
then click the bone where you want to begin for Bones in the Colors panel (page 3–799) of the
branching. The new chain of bones branches Customize User Interface dialog (page 3–792).
from the bone you click. Choose Object as the Element and then choose
Bones in the list. You can change the color of
Warning: The behavior of a branching bone
hierarchy is not always intuitive.
individual bones by selecting the bone, clicking the
active color swatch next to the bone’s name in the
Note: You can also use Select And Link (page 2–422) Create panel or Modify panel, and then selecting a
to connect one bone hierarchy to its branches. color in the Object Color dialog (page 1–159).
However, except for this one special case, using
Select And Link with bones is not recommended. You can also use the Bone Tools (page 1–411) to
To edit an existing bone structure, whether assign bone colors, or to assign a color gradient
branching or not, use the Bone Tools (page 1–411) to a bone hierarchy.
instead.
Bone Fins
Assigning IK Controllers to Bones Fins are visual aids that help you clearly see a
By default, bones are not assigned inverse bone’s orientation. Fins can also be used to
kinematics (IK). Assigning an IK solver can be approximate a character’s shape. Bones have three
done in one of two ways. Typically, you create a sets of fins: side, front, and back. By default, fins
bone hierarchy, then manually assign an IK solver. are turned off.
This allows for very precise control over where IK
chains are defined.
The other way to assign an IK solver is more
automatic. When you create bones, choose IK
 Bones System 407

Bones can have fins. 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

You can apply constraints (page 2–392) to bones as
long as an IK solver or method is not controlling
Bones with various fin configurations the bones. If the bones have an assigned IK
controller, you can constrain only the root of the
Renderable Bones hierarchy or chain. However, applying position
controllers or constraints to a linked bone can
Bones can be renderable, though by default, they
cause undesirable effects, such as breaking of the
are not. To make a bone renderable, turn on
bone chain.
the Renderable check box in the bone’s Object
Properties dialog (page 1–117).
408 Chapter 5: Creating Geometry

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.
The “nub” bone at the end of the chain has a Spring controller 4. Click to set the length of the second bone, and
applied to it. The Spring controller is connected to an animated
sphere.
then drag to create the third bone. Drag and
Right: The sphere’s movement breaks the bone chain.
click to continue creating new bones.
5. Right-click to end creation.
To avoid this problem, don’t apply position
controllers directly to child bones. Instead, create 3ds Max creates a small “nub” bone at the
an IK chain and apply the controller to the IK end of the hierarchy. This bone is used when
chain’s end effector. assigning an IK chain.
The first bone you create is at the top of the
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. In the Create panel, click Systems,

and then click Bones.
2. In the IK Chain Assignment rollout, select an
IK solver from the list.
3. Turn on Assign To Children.
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 4. In a viewport, click and drag to create the
by a Spring controller. bones. Right-click to end bone creation.
Right: Now when the sphere moves, the IK chain prevents the
bones from breaking.
After the bones are created, the chosen IK
solver is applied to them.
Constraints and controllers that affect orientation
only, such as Orientation or Look At, do not To edit the appearance of a bone:
present this problem when applied to child bones. 1. Select a bone.
 Bones System 409

Interface
2. Click the Modify tab on the command IK Chain Assignment rollout (creation time only)
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
Provides the tools to quickly create a bone chain
only one pivot. The bone you see visually is connecting
with an IK solver automatically applied. Also
its pivot point to the next bone’s pivot point.
allows for bone creation with no IK solver.
1. Choose Animation menu > Bone Tools.
IK Solver drop-down list—Specifies the type of IK
2. On the Bone Tools dialog, click Bone Edit solver to be automatically applied if Assign To
Mode. Children is turned on.
3. Move the child of the bone you want to change.
Assign To Children—When on, assigns the IK solver
The length of its immediate parent changes to named in the IK solver list to all the newly created
reach the child bone. bones except the first (root) bone. When off,
4. Turn off Bone Edit Mode when you are finished assigns a standard PRS Transform controller (page
editing the bones. 2–357) to the bones. Default=off.
Note: Choosing the SplineIKSolver and turning
To add fins to bones:
on Assign To Children causes the Spline IK Solver
1. Select the bone. dialog (page 2–477) to appear after bones have
2. Choose Animation menu > Bone Tools. been created.
3. Select the bones to which you want to add fins. Assign To Root—When on, assigns an IK solver
4. In the Fin Adjustment Tools rollout, turn on to all the newly created bones including the first
Side Fins, Front Fin or Back Fin. (root) bone.
5. Adjust the size and appearance of the fins with Turning on Assign To Children also automatically
the appropriate spinners. turns on Assign To Root.
Note: You can also add fins to an individual
bone on the Modify panel.
410 Chapter 5: Creating Geometry

Bone Parameters rollout (creation and • Size—Controls the size of the fin.
modification time)
• 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—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—Lets you add a fin to the back of the bone
you create.
• 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.
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

These controls change the appearance of the
boxes as bones, controlling their animation as if
bones.
they were bones in a bones system (page 1–404).
Bone Object group You can apply an IK solver (page 2–440) to the
boned objects.
Width—Sets the width of the bone to be made.
To use objects as bones, select them and then turn
Height—Sets the height of the bone to be made. on the Bone On toggle on the Object Properties
Taper—Adjusts the taper of the bone shape. A rollout of the Bone Tools dialog (page 1–411).
Taper of 0 produces a box-shaped bone. Warning: Turning on Freeze Length has no visible effect
unless you transform the child of the object to which
Bone Fins group Freeze Length is applied.
Side Fins—Lets you add a set of fins to the sides of
the bones you create.
 Bone Tools 411

Once you’ve set objects to function as bones, Bone Editing Tools Rollout (page 1–411)
applying an IK solution behaves as it does for
Fin Adjustment Tools Rollout (page 1–413)
standard bone objects. The geometry of the boned
objects can stretch or squash during animation. Object Properties Rollout (Bone Tools) (page 1–414)

Procedure
To use objects as bones:

1. Link the objects you want to display as

Bone Tools Rollouts
bones.
Bone Editing Tools Rollout
2. Select all of these objects.
Animation menu > Bone Tools > Bone Tools floater >
Note: You can set a single object to work as a Bone Editing Tools rollout
bone, but this doesn’t have much use.
3. Choose Animation menu > Bone Tools. Controls on the Bone Editing Tools rollout let you
create and modify bone geometry and structure,
The floating Bone Tools dialog is displayed.
and set bone color for one or more bones.
4. On the Object Properties rollout, turn on Bone
On. Interface
3ds Max now treats the selected objects as
bones.

5. Select the object to use as the start of the

IK chain.
6. Choose Animation > IK Solvers > HI Solver.
You can choose a different IK solver, but the HI
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 the Bone Tools floater,

which provides functions for working with bones.
The floater contains three rollouts, described in
these topics:
412 Chapter 5: Creating Geometry

Bone Pivot Position group create a new connecting bone. The first selected
bone will become a parent to the connecting bone,
Bone Edit Mode—Lets you change the lengths of
which is in turn a parent to the second selected
bones and their positions relative to one another.
bone.
When this button is on, you can change the length
Delete Bone—Deletes the currently selected bone,
of a bone by moving its child bone. In effect, you
removing all its parent/child associations. A nub is
can scale or stretch a bone by moving its child
placed at the end of the deleted bone’s parent. Any
bone while in this mode. You can use this tool
IK chains that included this bone become invalid.
both before and after assigning an IK chain to the
bone structure. Reassign Root—Makes the currently selected bone
the root (parent) of the bone structure.
When Bone Edit Mode is on, you cannot animate,
and when Auto Key or Set Key is on, Bone Edit If the current bone is the root, clicking this has no
Mode is unavailable. Turn off Auto/Set Key to edit effect. If the current bone is the end of the chain,
bones. the chain is completely reversed. If the current
Note: Moving a bone in Bone Edit mode affects bone is in the middle of the chain, the chain
the length of both the child and its parent. If the becomes a branching hierarchy.
bones aren’t spatially aligned in the usual way (for Refine—Splits a bone in two. Click Refine, and
example, if you are using other objects as bones), then click a bone where you want it to split.
this might have unexpected results.
Mirror—Opens the Bone Mirror dialog (see
Bone Tools group following), which lets you create mirror copies of
selected bones without changing the sign of the
Create Bones—Begins the bone-creation process.
bones’ scale. Instead, Mirror flips one of the bone
Clicking this button is the same as clicking Create
axes: Y or Z. You can specify the mirroring axis
panel > Systems > Bones (page 1–404).
and the flip axis with the dialog controls.
Create End—Creates a nub bone at the end of the
currently selected bone. If the selected bone is not Bone Mirror Dialog
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.
Opens when you click the Mirror button. Use it
Connect Bones—Creates a connecting bone to specify the mirroring axis, the flip axis, and an
between the currently selected bone and another offset value.
bone. When you click this button, a dotted line
While the dialog is open, you can see a preview of
appears in the active viewport from the first
the mirrored bone(s) in the viewports. Click OK
selected bone. Move the cursor to another bone to
to create the bones, or Cancel to prevent creation.
 Fin Adjustment Tools Rollout 413

Mirror Axis—Choose an axis or plane about which Interface

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
applied to the highest parent bone in the selected
chain, while the End Color is applied to the last
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
Absolute—Sets the fin parameters as absolute
Controls on the Fin Adjustment Tools rollout are values. Use this option to set the same fin values
for adjusting some aspects of bone geometry, for all selected bones.
including fins. Relative—Sets the fin parameters relative to their
current values. Use this option to retain size
relationships between bones with different-sized
fins.
Copy —Copies the bone and fin settings for the
currently selected bone, in preparation for pasting
to another bone.
414 Chapter 5: Creating Geometry

Paste—Pastes the copied bone and fin settings to Interface

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.
Bone On/Off—When turned on, the selected
• End Taper—Controls the end taper of the fin. bone or object behaves as a bone. Turning this
Front Fin—Adds front fins to selected bones.
option off causes the object to stop behaving like
a bone: there is no auto alignment or stretching.
• Size—Controls the size of the fin. Default=on for bone objects, off for other kinds
• Start Taper—Controls the start taper of the fin. of objects.
• End Taper—Controls the end taper of the fin. Note: Turning this option on doesn’t immediately
cause objects to align or stretch. However, future
Back Fin—Adds fins to the backs of selected bones.
transforms of children can cause rotation and
• Size—Controls the size of the fin. stretching.
• Start Taper—Controls the start taper of the fin. Freeze Length—When turned on, the bone
• End Taper—Controls the end taper of the fin. 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.
Object Properties Rollout (Bone Default=on.
Tools) Warning: When you turn on Freeze Length, this has no
Animation menu > Bone Tools > Bone Tools floater > visible effect unless you transform the child of the object
Object Properties rollout to which Freeze Length is applied.

Auto-Align—When turned off, the bone’s pivot

Controls on the Object Properties rollout for bones
point doesn’t align to its child object. The
let you turn other objects into bones. They also
translation of a child bone will not be converted
control bone rigidity and alignment.
into rotation of the parent. Instead, the child is
Note: You can reset the scale of bones with the allowed to move away from the parent’s X axis.
Reset Scale option.
 Ring Array System 415

This option is available only if Bone On is on. Stretch and Axis Options
Default=on.
Stretch—Determines what kind of stretch takes
Note: Changing the Auto-Align state does not place when the child bone is transformed and
have an immediate visual effect on the skeleton. It Freeze Length is off. Default=Scale.
affects future behavior when bones are moved.
• None—No stretch takes place.
Correct Negative Stretch—When turned on, any • Scale—Lets the bone scale. The stretch happens
stretching of the bone that results in a negative along one axis.
scale factor will be corrected to a positive number.
• Squash—Lets the bone squash. The bone gets
This option is available only if Bone On is on.
fatter as it gets shorter, and thinner as it gets
Default=on.
longer.
Realign—Causes the bone’s X axis to realign and
Axis—Determines the axis used for the stretch.
point at the child bone (or the average pivot of
multiple children). Normally this alignment • X/Y/Z—Choose the axis for scaling or squashing.
is maintained, and there is no need to use this • Flip—Flips the stretch along the selected axis.
option. However, it is possible for the bones to
come out of alignment by turning off Auto-Align
and moving a child bone. Use Realign to align the Ring Array System
bone back to its child. This option is available only
if Bone On is on. Create panel > Systems > Ring Array button

Reset Stretch—Stretches the bone to reach its child The Ring Array object consists of a dummy object
object if the child has been moved away from the (page 2–16) surrounded by a ring of boxes. You
bone. This option is available only if Bone On is can arrange the boxes in the ring along a sine
on. curve, vary their number, and animate the ring
Reset Scale—Resets a stretched bone’s internally array’s parameters. You can also replace the boxes
calculated scale to 100% on each axis. Using this with other objects using Track View, as described
option avoids unexpected behavior due to objects in the Procedures section, below.
which are both linked and scaled. This option
has no visual effect on the bone. This option is
available only if Bone On is on.

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
for all three axes. If more than one bone is selected,
the Stretch Factor text displays undefined.
Note: The Stretch Factor text only updates when
you are in Bone Edit Mode (page 1–411).
Example of ring array
416 Chapter 5: Creating Geometry

Procedures
To create the ring array system:

1. On the Create panel, click Systems,

and then click Ring Array.
2. Drag in a viewport to set the center and radius
of the array.
A dummy object appears at the center. By
default, four boxes are evenly spaced in a circle
around it.

To animate the ring array:

1. Turn on Auto Key.

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, 2. Still in the Controller window, right-click and
use the Motion panel, not the Modify panel. choose Copy from the menu.
3. Highlight the object container of one of the ring
To put other kinds of objects in the ring:
array boxes.
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.
The name highlights.
 Ring Array System 417

4. Right-click and choose Paste.

5. In the Paste dialog, choose Copy or Instance.
Optionally, to replace all the boxes with the
copied object, turn on Replace All Instances.
Click OK. Top: Object substituted for boxes in array
The box or boxes are replaced with the copied Bottom: The result
object.
Interface
Tip: To see the replacement objects, you might
need to refresh the viewports.

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 • Daylight combines Sunlight (page 3–1018)
initial Radius value when you drag to create the and Skylight (page 3–1012). The Sunlight
ring array. component can be an IES Sun light (page
2–1309), an mr Sun light (page 2–1319), or
Amplitude—Sets the amplitude of the ring’s sine
a standard light (a target direct light (page
curve, in active units. Amplitude is a height offset
2–1292)). The Skylight component can be an
from the local origin of the center dummy object.
IES Sky light (page 2–1312), an mr Sky light
Cycles—Sets the number of cycles in the ring’s sine (page 2–1318), or a Skylight (page 2–1296).
curve. When Cycles is 0.0, the ring is flat. When • The IES Sun and IES Sky lights are
Cycles is 1.0, the ring is tilted. Greater values photometric lights. It is appropriate to use
increase the number of peaks in the curve. them if you are creating a rendering that uses
Phase—Offsets the phase of the wave. That is, radiosity (page 3–51) with exposure control
it has the effect of moving the wave along the (page 3–293).
circumference of the ring. Whole values have no • The mr Sun and mr Sky lights are also
effect; only fractional values do. photometric, but are intended for use with
Number—Sets the number of boxes in the ring. 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
Sunlight and Daylight with its Directional light works for this, too),
or if you are using light tracing (page 3–44).
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 Large view shows compass and light in a viewport. The
structures. In addition, you can animate Latitude, resulting rendered images are seen above it.
Longitude, North Direction, and Orbital Scale.
Note: When you create a sunlight system or a
Sunlight and Daylight have a similar user interface. daylight system that uses a target direct light for
The difference is that: the sun, the directional light’s hotspot is set to
• Sunlight uses a directional light (page 2–1293). 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 also offer you the options of choosing no
longest diagonal length of the scene extents (page sunlight or no skylight.
3–1007). Controls for the geographic location and time
of day are on the Motion panel. The default
Procedures time is noon, and the default date and time zone
To create a Sunlight or Daylight system: are based on your computer’s local settings.
The default location is San Francisco, CA.
1. On the Create panel, click Systems The directional light created by the system is
and then click Sunlight or Daylight. managed by two special controllers: Solar Date
Alternatively, you can create a Daylight system and Solar Time. After you create your system,
from the Create menu > Lights or Systems you can access its creation parameters (time
submenu. and date, location, orbital scale, and location)
in the Motion panel for the directional light.
2. Choose a viewport in which to create a compass
The parameters are interrelated, so you can
rose (the compass direction of your "world").
adjust them in any order. Generally, it’s easiest
This should be a Top or Perspective/Camera
to choose a location first, and then adjust the
view.
date and time. You can access the parameters
3. Drag to create the radius of a compass rose (the for selected sunlight or skylight objects in the
radius is for display purposes only), and then Modify panel. The radius of the compass rose
release the mouse button and move the mouse is also editable from the Modify panel, after
to set the orbital scale of the sun light over the selecting the compass rose object.
compass rose. This can be any distance you
If Date/Time position is selected the Sun
find convenient, since directional and IES Sun
and Sky multipliers are automatically set and
lights produce parallel illumination regardless
animated according to their position. They can
of where their icon is located. Click to finish.
be edited only by using the Manual Position
Upon creation you have two objects in your override.
scene:
Tip: Use Exposure Control with Daylight if your
• The compass rose (page 2–27), which is scene rendering is too bright or too dark.
a helper object that provides the world
direction for your sun. Example: To create a shadow study:
• The light itself, which is a child of the
compass rose, and is permanently targeted 1. Create a Daylight system.
on the center of the compass rose. 2. On the Modify panel, set the date and Location.
If you created a Daylight system, the Daylight Note: Once the Daylight system has been
Parameters rollout on the Modify panel lets created, you can find these controls on the
you choose the type of sunlight and skylight. Motion panel.
The Sunlight drop-down list lets you choose
IES Sun, mr Sun, or Standard (directional). 3. Turn on the Auto Key button.
The Skylight drop-down list lets you choose
4. In the Control Parameters Time group, adjust
IES Sky, mr Sky, or Skylight. These lists
the Hours spinner to a start time in early
morning.
420 Chapter 5: Creating Geometry

Position group
5. Click the Go To End button.
Manual—When on, you can manually adjust the
6. Animate the end time to late afternoon.
location of the daylight assembly head object in
7. For a complete view of your environment and your scene, as well as the intensity value of the
its shadows, render an animation from a Top sunlight.
viewport or a view above your scene.
Date, Time and Location—When on, uses the
Interface geographically correct angle and movement of the
sun over the earth at a given location.
Daylight Parameters rollout (Daylight system
only) Note: When Date, Time And Location is active,
adjusting the light’s intensity has no effect.
The Daylight Parameters rollout lets you define
the daylight system’s sun object. You can set the Setup—Opens the Motion panel (page 3–774),
sunlight and skylight behaviors. allowing you to adjust the time, location, and site
of your daylight system.
This rollout appears on the Modify panel when the
light component of the Daylight system is selected. 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—Turns skylight on and off in the viewport.

Motion panel, Daylight and Sunlight system

Control Parameters rollout
Sunlight—Select one of three options for sunlight This rollout appears on the Create panel, and on
in your scene: the Motion panel when the light component of the
• IES Sun—Uses an IES Sun object (page 2–1309) Daylight or Sunlight system is selected.
to simulate the sun.
• mr Sun—Uses the mr Sun light (page 2–1319) to
simulate the sun.
• Standard—Uses a Target Direct light (page
2–1292) to simulate the sun.
• No Sunlight—No sunlight is simulated.
Active—Turns sunlight on and off in the viewport.
 Sunlight and Daylight Systems 421

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’re uncertain about a time zone, you can look
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.
Manual Override (Daylight system only)—When on,
[city name text box]—Displays the name of the city
you can manually adjust the location of the sun
you choose from the Geographic Location dialog.
object in your scene, as well as the intensity value
If you adjust the Latitude or Longitude spinners
of the sun object.
after choosing a location, this area becomes blank.
Azimuth/Altitude—Displays the azimuth and
Latitude/Longitude—Specify the location based on
altitude of the sun. Azimuth is the compass
the latitude and longitude.
direction of the sun in degrees (North=0,
East=90). Altitude is the height of the sun above Site group
the horizon in degrees (Sunrise or Sunset=0).
Orbital Scale—Sets the distance of the sun (the
Time group directional light) from the compass rose. Because a
directional light casts parallel beams, this distance
Provides settings for the time, date, and time zone.
has no effect on the accuracy of the sunlight.
If the location you choose uses Daylight Savings However, the light must point toward your model
Time, turn on the Daylight Saving Time checkbox. (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 4. Click OK to set the Latitude and Longitude to
correctly is to change one viewport to the light’s the location of the cross.
view (for example, Sun 01). Then adjust the light’s
location using Dolly (page 3–751), and set the To choose a city by name:
hotspot so it illuminates the whole model, with no 1. Choose a map from the Map list.
falloff.
The City list updates to show cities in the region
North Direction—Sets the rotational direction of the map.
of the compass rose in the scene. This is the 2. Choose the name of a city from the list.
geographical orientation of the compass rose. By
3. Click OK to set the Latitude and Longitude to
default, north is 0 and points along the positive Y
axis of the ground plane. Positive X (East) is 90 the location of the city.
degrees. Adjust the North Direction to correspond
to your site. Accuracy of the system depends on Interface
this correspondence.

Geographic Location Dialog

Select Sunlight or Daylight system > Motion panel >
Location group > Get Location button

The Geographic Location dialog is part of the

Sunlight and Daylight systems’ (page 1–418)
City—Displays a list of cities within the selected
interface. It lets you set the latitude and longitude
Map region. As an alternative to selecting a
values by selecting a location from a map or a list
location by clicking the map, you can select a city
of cities. The dialog displays a list of cities at left,
directly from this list. The cross on the map moves
and a map on the right.
to the location of the selected city.
Procedures Map—Lets you choose a map for a portion of the
To use a map: world, or you can choose the World map, which
includes the entire world.
1. In the Location group on the Control
Parameters rollout, click the Get Location Nearest Big City—When on, clicking the map
button. moves the cross to the nearest listed city, which
becomes highlighted in the list. When off, clicking
2. On the Geographic Location dialog choose a
the map places the cross exactly where you
map from the Map list.
clicked, and its position generates the Latitude and
3. Click in the map to specify a location. Longitude values for that position, regardless of
3ds Max displays a small cross at the location any cities that might be nearby.
you picked. If Nearest Big City is on, it places
the cross at the nearest large city on the list, and
highlights the city’s name in the list.
Transforms: Moving, Rotating, and
Scaling Objects

To change an object’s position, orientation, or Transform Managers (page 1–433)

scale, click one of the three transform buttons
Specifying a Reference Coordinate System (page
on the Main toolbar or choose a transform from
1–435)
a shortcut menu. Apply the transform to a
selected object using the mouse, the status bar Choosing a Transform Center (page 1–435)
Coordinate Display fields, a type-in dialog, or any
Using the Axis Constraints (page 1–437)
combination of the above.
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.
The column can be moved, rotated, and scaled.
You can use the Measure utility (page 2–52) to
These topics describe how to use and animate measure the current dimensions of an object that
transforms, with procedures: has been scaled or changed by a modifier.
Using Transforms (page 1–424) Creating Copies and Arrays (page 1–471)
Using Transform Gizmos (page 1–426) Using Shift +Clone (page 1–478)
Transform Type-In (page 1–431)
Animating Transforms (page 1–432)
424 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

World Axis
Axis Tripod and World Axis
In the lower-left corner of each viewport you
Two visual aids in 3ds Max give you information can find the world axis, which shows the current
about your current orientation in the workspace. orientation of the viewport with respect to world
coordinate system. The world axis colors are red
Axis Tripod for X, green for Y, and blue for Z. You can toggle
If no transform tool is active, an axis tripod the display of the world axis in all viewports by
appears in the viewports whenever you select one turning off Display World Axis, on the Viewports
or more objects, to assist you visually in your panel (page 3–821) of the Preference Settings
transforms. When a transform tool is active, the dialog.
transform gizmo (page 1–426) appears instead,
unless you’ve turned it off.

The world axis shows the current viewport orientation.

See also
Using Transform Gizmos (page 1–426)
Transform Managers (page 1–433)

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: Using Transforms
• 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. Changing a model by changing its position, rotation, or scale
For example, if only the X axis line is red, you
A transform is an adjustment of an object’s
can move objects only along the X axis.
position, orientation, or scale, relative to the 3D
world (or world space) in which you’re working.
You can apply three types of transform to an
object:
 Using Transforms 425

1–439), or Select And Scale (page 1–440). These

• Position (page 1–439) buttons are usually referred to as Move, Rotate,
and Scale.
• Rotation (page 1–439) 2. Position the mouse over the object you want
to transform.
• Scale (page 1–440) • If the object is already selected, the cursor
changes to indicate the transform.
This section presents these brief topics designed to
help you quickly start learning how to transform • If the object is not selected, the cursor
objects, and how to animate your transforms: changes to a small plus sign to show that the
object can be selected.
Using Transform Gizmos (page 1–426)
3. Drag the mouse to apply the transform.
Animating Transforms (page 1–432) If you drag the mouse over an unselected object,
Transform Managers (page 1–433) it becomes selected and is also transformed.

Specifying a Reference Coordinate System (page You can use the Transform gizmo to easily
1–435) restrict transforms to one or two axes. See
Using Transform Gizmos (page 1–426).
Choosing a Transform Center (page 1–435)
To cancel a transform:
Using the Axis Constraints (page 1–437)
• Right-click while you’re dragging the mouse.
Failure to Move or Rotate
To transform an object from the quad menu:
In some cases, an object might fail to move or
1. Right-click a selected object. The quad menu
rotate, even when the proper button is on and the
object is selected. This could be due to one of the (page 3–694) lists the three transforms.
following reasons: 2. Choose one of the transforms. The equivalent

• The object is frozen. See Selecting Objects (page transform button is selected on the main
1–61). toolbar.
3. Drag the object to apply the transform.
• A transform controller has been assigned to the
object. See Animation Controllers (page 2–307).
To use transform type-in:
• Inverse Kinematics mode is on and the
1. Choose Tools menu > Transform Type-In to
preference called Always Transform Children
display the dialog.
of the World is off. See Introduction to Inverse
Kinematics (IK) (page 2–435). 2. Apply a transform to a selected object.
3. You can do any of the following, switching from
Procedures one to the other as required.
To transform an object using the Main toolbar: • Type a value in an axis field and press
Enter to apply the transform change to the
1. On the Main toolbar, click selection.
one of the three transform buttons: Select And • Drag a spinner in an axis field to update the
Move (page 1–439), Select And Rotate (page 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. Using Transform Gizmos
For example, if Move is active, the dialog fields Select an object. > main toolbar > Click any transform
button to display the object’s Transform Gizmo icon.
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
Move gizmo
(in world space) or offset (relative to the
selection’s present position, orientation, and
dimensions).
• Drag a spinner in an axis field to update the
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.

Rotate gizmo
 Using Transform Gizmos 427

position the mouse over one of the plane handles,

and both associated axes turn yellow. You can now
drag the selection along the indicated axis or axes.
Doing so changes the Axis Constraints toolbar
"Restrict to ..." setting (page 1–437).

Move Gizmo
The Move gizmo includes plane handles, and the
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
Scale gizmo
within the square formed by the plane handles.
You can change the size and offset of the handles
The Transform gizmos are viewport icons that and other settings on the Gizmos panel (page
let you quickly choose one or two axes when 3–832) of the Preferences dialog (page 3–815).
transforming a selection with the mouse. You
choose an axis by placing the mouse over any axis
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
areas of the gizmo to perform transforms along
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), or Select And Scale (page
1–440)) is active on the toolbar. Each transform
type uses a different gizmo. By default, each axis is
The Move gizmo with the YZ axes selected.
assigned one of three colors: X is red, Y is green,
and Z is blue. The corners of the Move gizmo are You can constrain translation to the viewport
assigned the two colors of the related axes; for plane by dragging the center box. To use this
example, the corner for the XZ plane is red and optional control, turn on Move In Screen Space.
blue.
When you position the mouse over any axis, it
turns yellow to indicate that it’s active. Similarly,
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, about the X, Y, or Z axis, or about an axis In addition to XYZ rotation, you can also use free
perpendicular to the viewport. 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.
The outermost circle around the Rotate gizmo is
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)

The axis handles are circles around the trackball. Scale Gizmo
Drag anywhere on one of them to rotate the The Scale gizmo includes plane handles and
object about that axis. As you rotate about the X, scaling feedback through the stretching of the
Y, or Z axis a transparent slice provides a visual gizmo itself.
representation of the direction and amount of
rotation. If you rotate more than 360°, the slice The plane handles let you perform uniform and
overlaps and the shading becomes increasingly non-uniform scaling without changing your
opaque. The software also displays numerical data selection on the main toolbar:
to indicate a precise rotational measurement. • 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
its size and shape; in the case of a uniform scale
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 sphere moves along the XY plane.
the Gizmos panel (page 3–832) of the Preferences 7. Press the Spacebar to turn on Selection Lock
dialog (page 3–815) (page 3–707).
8. Drag the mouse anywhere in a viewport away
Notes
from the selection.
Using a Transform gizmo sets the default axis
The sphere moves along the XY plane.
constraint to the last axis or plane you used.
9. Point to the X shaft, and drag.
If Lock Selection Set is on, you can drag anywhere
in the viewport to transform the object. Dragging The sphere moves along only the X axis.
an axis, however, still applies the constraint along Experiment with other transformations, such
that axis. as rotation and scale. Try different reference
coordinate systems. Experiment with sub-object
Procedure transformations.
Example: To explore use of the transform gizmo:
Interface
1. Reset the program, then create a sphere, Change default colors—Customize menu >
and then click the Select and Move button. Customize User Interface dialog > Colors panel
The Transform gizmo appears at the center of (page 3–799) > Gizmos Element > Active
the sphere. Because the default axis constraint Transform Gizmo and Transform Gizmo X/Y/Z.
on the Axis Constraints toolbar is XY Plane, Enable/disable Transform Gizmo—Customize menu
the X and Y shafts of the Transform gizmo are > Preferences > Gizmos panel (page 3–832) > On
yellow (active), while the Z shaft is blue. check box.
Note: When you turn off the Transform gizmo
2. Use Arc Rotate (page 3–744) to adjust
the Perspective view for a better view of in Preferences, the standard axis tripod appears
the Transform gizmo. When you’re done, instead. To toggle display of either the gizmo or
right-click to return to Select and Move . the tripod, press the X key or use Views menu >
Show Transform Gizmo.
3. Point to any part of the sphere away from the
Transform gizmo, and drag to confirm that the There are additional controls for each Gizmo in
sphere is locked to the XY plane. the Gizmos panel (page 3–832) of the Preferences
dialog.
4. Point to the Z-axis shaft, and drag.
The Z shaft turns yellow, the X and Y shafts Gizmos Preferences (page 3–832)
turn red and green, respectively, and the sphere
moves along the Z axis.
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.
 Transform Type-In 431

When you use the Transform Type-In at a

Transform Type-In sub-object level, you transform the transform
gizmo of the sub-object selection. So, for example,
Status bar > Transform Type-In
the absolute position values represent the absolute
Edit menu > Transform Type-In world position of the transform gizmo. If you’ve
selected a single vertex, it’s the absolute world
F12
position of the vertex.
Main toolbar > Right-click Select And Move, Select And
Rotate, or one of the Select And Scale buttons. If multiple vertices are selected, the Transform
gizmo is placed at the center of the selection, so the
Transform Type-In is a dialog that lets you position you specify in the Transform Type-In sets
enter precise values for move, rotate, and scale the absolute position of the center of the selected
transforms (page 3–1026). You can use Transform vertices.
Type-In with anything that can display an axis
tripod or Transform gizmo. When multiple vertices are selected in Local
transform mode, you end up with multiple
You can also use the Transform Type-In boxes on transform gizmos. In this case, only the Offset
the status bar (page 3–698). To use the Transform control is available.
Type-In boxes on the status bar, simply enter the
appropriate values in the boxes and press Enter Because the axis tripods are not scaled, the
to apply the transformation. You can alternate Absolute Scale control is not available at the
between entering absolute transform values or sub-object level. Only Offset is available.
offset values by clicking the Relative/Absolute When you use the Transform Type-In for Absolute
Transform Type-In button to the left of the rotation, the state of the Center flyout is respected.
transform boxes. You can perform absolute rotations about the
If you choose Transform Type-In from the Edit pivot point of the object, the selection center,
menu, press F12 , or right-click one of the or transform coordinate center. See Choosing a
transform toolbar buttons, Transform Type-In Transform Center (page 1–435).
pops up as a dialog. The title of the dialog reflects
the active transform. If Rotate is active, the dialog’s Using Type-In with Sub-Object Selection
title is Rotate Transform Type-In and its controls You can use Transform Type-In with any
affect rotation. If Scale is active, its title is Scale sub-object selection or gizmo. The transform
Transform Type-In, and so on. You can enter affects the axis tripod for the selection.
either absolute transform values or offset values.
Absolute and offset world coordinates are those
In most cases, both absolute and offset transforms of the object’s or selection’s coordinate system,
use the active reference coordinate system (page whose origin is indicated by the axis tripod. If
1–443). The exceptions are View, which uses the multiple vertices are selected, the tripod is at the
World coordinate system, and Screen, which uses center of the selection and its location is given in
World for absolute moves and rotations. Also, world coordinates.
absolute scaling always uses the Local coordinate
Because axis tripods cannot be scaled, Absolute
system. The dialog labels change to show the
Scale fields are unavailable when you are at a
reference coordinate system being used.
sub-object level.
432 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

See Basics of Creating and Modifying Objects (page Absolute group (Dialog)
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). X, Y, and Z—Display and accept entry for absolute
values of position, rotation, and scale along each
3. You can do any of the following, switching from
axis. Position and rotation are always displayed, as
one to another as required:
world scale is always local.
• Type a value in an axis field and press Enter
to apply the transform change to the object Offset group (Dialog)
in the viewport.
X, Y, and Z—Display and accept entry for offsets
• Drag a spinner in an axis field to update the of the position, rotation, and scale values along
object in the viewport. each axis.
• Drag the object to apply the transform and
Displayed offset values revert to 0.0 after each
read the resulting change in the axis fields.
operation. For example, if you enter 45 degrees
For example, if Move is active, the fields in a Rotate Offset field, when you press Enter ,
read out both the absolute positions of the the software rotates the object 45 degrees from
selected object in world space. If no object is its previous position, increases the Absolute field
selected, the fields turn gray. value by 45 degrees, and resets the Offset field to
0.0.
Interface
Offset labels reflect the active reference coordinate
Status bar 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,
Absolute/Offset Mode Transform the Offset will be named with that object.
Type-In—When this is off, the software treats
values you enter into the X, Y, and Z fields as
absolutes. When this is on, the software applies Animating Transforms
transform values you enter as relative to current You can animate changes in position, rotation, and
values; that is, as an offset. Default=off. scale (transforms) by turning on the Auto Key
X, Y, and Z—Display and accept entry for values of button and then performing the transform at any
position, rotation, and scale along each axis. 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. Turn on the Auto Key button (page

2–278).
The Auto Key button and the highlight border
around the active viewport both turn red.
2. Drag the time slider to frame 25.
3. Move the object from its current position (point
A) to another location (point B).
The software creates Move keys at frames 0 and
25. These appear on the track bar (page 3–703). An object animated among three points
The establishing key at frame 0 describes the
object’s original position, at point A. The key
at frame 25 describes the object’s position at Transform Managers
point B.
3ds Max provides three controls, collectively
4. Drag the time slider to frame 50. referred to as the transform managers, for
5. Move the object from point B to a third location modifying the action of the transform tools.
(point C).
The transform manager controls are as follows:
The software creates a Move key at frame 50
• The Reference Coordinate System drop-down list
that describes the object’s position at point C.
(page 1–443), which controls the orientation of
6. Click the Auto Key button to stop recording. the transform axes, is found to the right of the
Move, Rotate, and Scale transform buttons on
7. Click the Play button (page 3–723).
the main toolbar.
The object moves from point A to point B over
• The Transform Center flyout (page 1–445),
frames 0 to 25, and then proceeds to point C
which controls the center about which the
over frames 26 to 50.
software applies the transform, is found to
the right of the Reference Coordinate System
8. The Play button has turned into a Stop
drop-down list.
button; click Stop to stop playback.
• The Axis Constraint setting (page 1–437) lets
You can combine different transforms in a single
you restrict the transform to a single axis or two
animation sequence, so that an object appears to
axes (that is, a plane). The axis constraint tools
move as it rotates and changes in size.
appear on the Axis Constraints toolbar, which
See Animation Concepts and Methods (page 2–275) is off by default. You can open the toolbar
for more information on animation techniques. 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 For example, if only the X axis line is red, you

can move objects only along the X axis.
Certain terms are used in the description of
transforms and the transform managers. Note: The Transform gizmo supplants the axis
tripod for selections when a transform mode
• An axis is a straight line along which an object
is active. Besides providing all of the above
is moved or scaled, or about which an object is
functions, it lets you specify the transform axis
rotated. When you work in 3D, you use three
or axes without explicitly setting constraints;
axes, labeled X, Y, and Z, which are oriented 90
see Using the Axis Constraints (page 1–437).
degrees from each other.
For more on the Transform gizmo, see Using
• A coordinate system specifies the orientation of Transform Gizmos (page 1–426).
the X, Y, and Z axes used by a transform.
You can toggle the display of the axis tripod in
For example, in the World coordinate system,
all viewports by choosing Views menu > Show
as seen from the Front view, the X axis runs
Transform Gizmo, or by pressing the X key.
horizontally from left to right, the Y axis
runs from back to front, and the Z axis runs
Transform Manager Settings
vertically, from bottom to top.
The state of the three transform managers
On the other hand, each object carries its own
(coordinate system, center, and axis constraints)
Local coordinate system. If the object has been
is stored with each type of transform. When you
rotated, its Local coordinate system might be
switch from Move to Rotate to Scale, the transform
different from the world coordinate system.
managers change to whatever combination they
• The transform center, or pivot point, is the spot were in when you last used that transform.
about which a rotation takes place, or to and
from which scaling occurs. For example, if you click Rotate and set the
transform managers to Local, Selection Center,
Using the transform managers, you can specify and Y constraint, when you click Move, the
any combination of axes, transform coordinate controls might shift to View, Pivot Point, and XY
systems, and transform centers. constraint (whichever combination was set the
last time you used Move). When you go back
Axis Tripod Icon to Rotate, the controls revert to Local, Selection
• An axis tripod appears in the viewports when Center, and Y constraint.
you select one or more objects, to assist you Tip: To avoid surprises, always click the transform
visually in your transforms. This tripod button first, and then set the transform managers.
consists of three lines, labeled X, Y, and Z, and If, instead, you first set the transform managers,
shows you three things: their settings are likely to change as soon as you
• The orientation of the tripod reveals the choose a new transform button. One way to
orientation of your coordinate system. remember this is always to set the transform and
managers by working from left to right on the
• The location of the junction of the three axis
toolbar. Alternatively, you can turn on Customize
lines shows you where your transform center is.
menu > Preferences > General tab > Reference
• The highlighted red axis lines show you the axis Coordinate System group > Constant, which keeps
or axes to which the transform is constrained. the transform manager settings the same for all
transforms.
 Specifying a Reference Coordinate System 435

4. From the Use Center flyout (page 1–445) choose

Specifying a Reference Coordinate Use Transform Coordinate Center. For more
System information, see Choosing a Transform Center
(page 1–435).
The reference coordinate system determines the
orientation of the X, Y, and Z axes used by the 5. Proceed with the transform.
transform. The type of transform system you use
affects all transform operations.
Choosing a Transform Center
You specify the transform coordinate system using
the Reference Coordinate System list (page 1–443). The transform center affects scale and rotation
transforms, but has no effect on position
Creating a Local Axis transforms.
While modeling, it’s often helpful to have a The software lets you choose from three types of
temporary, movable local axis so you can rotate or transform center using the Use Center flyout (page
scale about an arbitrary center. 1–445) on the main toolbar. When you change the
Note: This technique does not work for animation.
transform center, the junction of the axis tripod
See Choosing a Transform Center (page 1–435) for icon moves to the location you specify.
animation tips. By default, 3ds Max sets the transform center to
Use Pivot Point center for single objects. When
To create an adjustable local axis: you select multiple objects, the default transform
1. Create a Point helper object. center changes to Use Selection Center, because
You can use the Create panel or the Create selection sets have no pivot point. You can change
menu. On the Create panel, click the Helpers the transform center in either case, and the
button, click Point, and then click in a viewport. program remembers and restores the transform
Or, choose Create menu > Helpers > Point, and center setting separately for selections of single
then click in a viewport. and multiple objects (during the current session).

2. From the Transform Coordinate System list, For example, you might select a single object and
choose Pick, and then click the point object. choose Use Transform Coordinate Center, and
then select multiple objects and choose Use Pivot
The name of the point object appears in the list
Point Center. When you next select a single object,
as the active coordinate system.
the program switches back to Use Transform
Now you can use the point object’s coordinate Coordinate Center. Then, when you select multiple
system as an adjustable axis. objects, the center switches back to Pivot Point.

To use the adjustable axis:

1. Place the point object where you want the rotate
or scale transform to be centered.
2. Select the object you want to transform.
3. Choose the point object’s name in the
Transform Coordinate System drop-down list.
436 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

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.
Using this technique, you can:
• Move relative to two snap points.
• 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
local axis and moves in a straight line from one
end of the arc to the other.

1. User selects single object. To avoid this discrepancy, if the Auto Key button is
2. User clicks Use Transform Coordinate Center from Use Center on and either the Rotate or Scale button is active,
flyout on Main toolbar. the Use Center flyout is unavailable and set to Use
3. User adds second object to selection. Pivot Point. When the Auto Key button is off,
4. Transform center changes to Use Selection Center when all transforms use the center settings previously
selection set contains more than one object. described.
5. User clicks Use Pivot Point Center while multiple objects
still selected. You can override this behavior by turning off
6. User selects single object. Local Center During Animate (page 3–830) in the
7. Transform center returns to Use Transform Coordinate Animation Preferences settings.
Center (see step 2).
Keep in mind that this affects only the center of
8. User selects multiple objects.
the transform. The orientation of the selected
9. Transform center returns to Use Pivot Point Center (see step
transform coordinate system is still in effect.
5).

Animating "Off-Center"
Transforming About Snapped Points
You can animate a rotation or scale about an
While the transform center choices are often useful
off-center point by linking your object as the child
at the object level, they are not usually convenient
 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).
Axis Constraint buttons

Only one axis constraint can be active at a time.

Using the Axis Constraints
When a button is turned on, transforms are
Axis Constraints toolbar > Restrict to X, Y, Z, or a plane constrained to the specified axis (or plane). For
example, if you turn on the Restrict To X button,
Keyboard >
you can rotate an object only about the X axis of
F5 restricts to X the current transform coordinate system.
F6 restricts to Y The axis or axes to which you’re constrained
F7 restricts to Z are highlighted in red on the axis tripod icon in
viewports, or in yellow on the Transform gizmo.
F8 cycles through the three plane restrictions
Note: By default, axis constraints don’t apply when
The Restrict to ... buttons, also called the Axis using Snap. You can override this by turning on
Constraint buttons, are located on the Axis Snaps Use Axis Constraint Toggle on the Axis
Constraints toolbar (page 3–687), which is off by Constraints toolbar (page 3–687), or by turning on
default. You can turn it on by right-clicking an Use Axis Constraints in Snap Options (page 2–46).
empty spot on the main toolbar and choosing Note: Constraints are set on a transform-by-
Axis Constraints from the pop-up menu. These transform basis, so select the transform before you
buttons let you specify one or two axes about or select the axis constraint. If you do not want the
along which the transform takes place. They help constraints to change, turn on Customize menu >
you avoid transforming an object in a direction Preferences > General tab > Reference Coordinate
you didn’t intend. System group > Constant.
Note: It’s generally easier to use the Transform The axis constraints are stored separately at
gizmos than these buttons; see Using Transform object and sub-object levels. If you set these
Gizmos (page 1–426). However, it is helpful to three controls one way while in sub-object mode
understand the concepts explained below. 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 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 Restrict To Plane flyout, available from the rotation and scale values is placed at the
the Axis Constraints toolbar, lets you limit all top of the Modifier Stack display. You can
transformations (move, rotate, scale) to the XY, apply other modifiers above and below the
YZ, or ZX planes (by default, parallel with the Top XForm modifier. You can select the XForm
view). modifier and add other Move, Rotate, and Scale
You can also select planar constraint by using the transforms. You can delete the XForm modifier
Move Transform Gizmo (page 1–426). Instead of to completely remove the transforms from the
dragging one of the axis indicators, drag one of the object. You can collapse the object to absorb the
plane indicators near the center of the gizmo. rotation and scale values into the object mesh.

When you move an object along a plane that is Interface

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 Reset selected—Removes all Rotation and Scale
values from selected objects and places those
Use the Reset Transform utility to push object transforms in an XForm modifier.
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 Transform Commands
in an XForm modifier.
The basic transform commands are the most
To reset the transform of a group, use the straightforward way to change an object’s position,
Transform button in the Reset group box of the rotation, or scale. These commands appear on the
Hierarchy > Pivot command panel. default main toolbar (page 3–686). They are also
available from the default quad menu (page 3–694).
Procedure
To reset an object’s transform:
1. Select an object.
 Select and Move 439

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
the appropriate button on the Axis Constraints
toolbar (page 3–687), use the Transform gizmo
(page 1–426), or right-click the object, and select
the constraint from the Transform submenu.

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 an object
Moving, Rotating, and Scaling Objects (page 1–423)
Move Gizmo (page 1–427)
Using Shift +Clone (page 1–478)
Transform Type-In (page 1–431)
Select and Rotate
Main toolbar > Select and Rotate
Select and Move
Right-click an object. > quad menu > Transform quadrant
Main toolbar > Select and Move > Rotate

Right-click an object. > quad menu > Transform quadrant Edit menu > Select and Rotate
> Move

Edit menu > Select and Move Use the Select and Rotate button or the Rotate
command on the Edit or quad menu to select and
Use the Select And Move button or the Move rotate objects.
command on the Edit or quad menu to select and To rotate a single object, you don’t need to select it
move objects. first. When this button is active, clicking an object
To move a single object, you do not need to select it selects it and dragging the mouse rotates it.
first. When this button is active, clicking an object When you are rotating an object about a single
selects it and dragging the mouse moves it. axis (as is usually the case), don’t rotate the
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 6. Rotate the object on the same axis by an amount
straight down. Up rotates the object one way, greater than 180 degrees.
down rotates it the opposite way. 7. Play back the animation.
The center of rotation is determined by the The rotation plays back exactly as you recorded
Transform Center setting (page 1–442). it.
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 Select and Scale
the Transform gizmo (page 1–426), or right-click Main toolbar > Select and Scale flyout
the object, and select the constraint from the
Transform submenu. Right-click an object. > quad menu > Transform quadrant
> Scale

Edit menu > Select and Scale

The Select And Scale flyout on the main toolbar

provides access to three tools you can use to
change object size. These are, from top to bottom:

Rotating an object
Select and Uniform Scale (page 1–441)

Rotate Gizmo (page 1–428) Select and Non-Uniform Scale (page 1–441)
Select and Squash (page 1–442)
Procedure
In addition, the Scale command is available on
This procedure illustrates the intuitive usage of the the Edit menu and the Transform quadrant of the
default Euler XYZ rotation controller (page 2–318). quad (right-click) menu; this activates whichever
scale tool is currently chosen in the flyout.
To animate object rotation interactively:
Note: The Smart Scale command activates the
1. Add an object.
Select And Scale function and, with repeated
2. Move the time invocations, cycles through the available scaling
slider (page 3–701) to a frame other than 0 and methods. By default, Smart Scale is assigned to
turn on Auto Key (page 3–717). the R key; you can use Customize User Interface
(page 3–792) to assign it to a different keyboard
shortcut, a menu, etc.
3. Choose Select And Rotate.
4. Rotate the object on any axis by any amount.
5. Move the time slider to a later frame.
 Select and Uniform Scale 441

1–440), lets you scale objects in a non-uniform

manner according to the active axis constraint.
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.

Non-uniform scale can change proportions with different

values for different axes.

You can restrict the objects’ scaling about the X, Y,

or Z axis, or to any two axes, by first clicking the
appropriate button on the Axis Constraints toolbar
(page 3–687), or with the Transform 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.
Uniform scale does not change an object’s proportions.
Important: Avoid applying non-uniform scale at
To scale a single object, you don’t need to select it the object level. Non-uniform scaling is applied as
first. When this tool is active, clicking an object a transform and changes the axes of the object, so
selects it and dragging the mouse scales it. it affects other object properties. It also alters the
properties passed hierarchically from parent to child.
Scale Gizmo (page 1–428)
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
Select and Non-Uniform Scale
Hierarchy panel’s Reset Scale button or the Utilities
Main toolbar > Select and Non-Uniform Scale (on Select panel’s Reset XForm utility. Either of these options
And Scale flyout)
will reset the axes to use the non-uniform scale as the
Right-click an object. > Scale (selects current toolbar fundamental scale for the object.
Scale mode)
As an alternative to non-uniform scaling, consider using
The Select And Non-Uniform Scale button, the XForm modifier (page 1–959).
available from the Select And Scale flyout (page Scale Gizmo (page 1–428)
442 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

so it affects other object properties. It also alters the

properties passed hierarchically from parent to child.
Select and Squash When you perform other operations on the object, such
Main toolbar > Select And Squash (on Select And Scale as rotation, inverse kinematics calculations, and other
flyout) positioning operations, you may not get the results
Right-click an object. > Scale (selects current toolbar you expect. To recover from these problems, use the
Scale mode) Hierarchy panel’s Reset Scale button or the Utilities
panel’s Reset XForm utility. Either of these options
The Select And Squash tool is useful for creating will reset the axes to use the non-uniform scale as the
different phases of the “squash and stretch”-style fundamental scale for the object.
animation often found in cartoons. The Select
As an alternative to non-uniform scaling with Select And
And Squash tool, available from the Select And
Squash, consider using the XForm modifier (page 1–959).
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
See also
while simultaneously scaling up uniformly on the Scale Gizmo (page 1–428)
other two (or vice-versa).

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).

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
appropriate button on the Axis Constraints toolbar
(page 3–687). Reference Coordinate System (page 1–443)
When the Select And Squash tool is active, clicking
an object selects it and dragging the mouse scales Use Pivot Point Center (page 1–446)
it.
Important: Avoid using Select And Squash at the object Use Selection Center (page 1–447)
level. The non-uniform scaling that it effects is applied
as a transform and changes the axes of the object,
 Reference Coordinate System 443

View—In the default View coordinate system,

Use Transform Coordinate Center (page X, Y, and Z axes are the same in all orthogonal
1–447) viewports. When you move an object using this
coordinate system, you are moving it relative to
Moving, Rotating, and Scaling Objects (page 1–423)
the space of the viewport.
• X always points right.
Reference Coordinate System • Y always points up.
Main toolbar > Reference Coordinate System list • Z always points straight out of the screen
toward you.
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, and Pick.
In the Screen coordinate system, all views
(including perspective views) use the viewport
screen coordinates.
View is a hybrid of World and Screen coordinate
systems. Using View, all orthographic views use
the Screen coordinate system, while perspective
views use the World coordinate system. Different orientations of the View coordinate system:
Note: The coordinate system is set on a 1. Top viewport.
transform-by-transform basis, so choose the 2. Front viewport.
transform before you specify the coordinate 3. Left viewport.
system. If you do not want the coordinate system 4. Perspective viewport.
to change, turn on Customize menu > Preferences
> General tab > Ref. Coord. System group > Screen—Uses the active viewport screen as the
Constant. coordinate system.
• X is horizontal, running in a positive direction
Interface 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.

Example of a Parent object coordinate system

Local—Uses the coordinate system of the selected

The coordinate system in Screen mode is always relative to the object. An object’s local coordinate system is
point of view. carried by its pivot point (page 3–995). You can
World—Uses the world coordinate system. Seen adjust the position and orientation of the local
from the front: coordinate system, relative to its object, using the
options on the Hierarchy command panel.
• X runs in a positive direction to the right.
When Local is active, the Use Transform Center
• Z runs in a positive direction upward.
button is inactive and all transforms use the local
• Y runs in a positive direction away from you. axis as the center of transformation. In a selection
set of several objects, each uses its own center for
the transform.

The World coordinate system is always fixed.

Parent—Uses the coordinate system of the parent

Local uses an individual coordinate system for each object.
of the selected object. If the object is not linked to
a specific object, it’s a child of the world, and the Gimbal—The Gimbal coordinate system is meant
parent coordinate system is the same as the world to be used with the Euler XYZ Rotation controller
coordinate system. (page 2–318). It is similar to Local, but its three
 Use Center Flyout 445

rotation axes are not necessarily orthogonal to will use. The object’s name appears in the
each other. Transform Coordinate System list.
When you rotate about a single axis with the Local Because the software saves an object’s name in the
and Parent coordinate systems, this can change list, you can pick an object’s coordinate system,
two or three of the Euler XYZ tracks. The Gimbal change the active coordinate system, and then
coordinate system avoids this problem: Euler XYZ use the object’s coordinate system again at a later
rotation about one axis changes only that axis’s time. The list saves the four most recently picked
track. This makes function curve editing easier. object names.
Also, absolute transform type-in with Gimbal
When using Pick to specify an object as a reference
coordinates uses the same Euler angle values as
coordinate system, you can press H to display
the animation tracks (as opposed to Euler angles
the Select Objects dialog (page 1–78) and pick the
relative to the World or Parent coordinate system,
object from there.
as those coordinate systems require).
You can pick objects within an XRef scene as
For move and scale transforms, Gimbal
coordinate reference system.
coordinates are the same as Parent coordinates.
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 another object as the coordinate system

Use Center Flyout

Main toolbar > Use Center flyout

Using an active grid coordinate system.

Pick—Uses the coordinate system of another object

in the scene.
After you choose Pick, click to select the single
object whose coordinate system the transforms
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)
Applying a rotation with the Pivot Point rotates each object
around its own local axis.

Use Pivot Point Center Rotating Multiple Linked Objects

Main toolbar > Use Pivot Point Center (on Use Center When rotating a chain of linked (page 2–421)
flyout)
objects (that is, a hierarchy) with Use Pivot Point
Center active, the rotation is applied equally
The Use Pivot Point Center option, available
to each object in the chain. This results in a
from the Use Center flyout (page 1–445), lets you
accumulated rotations, which makes it easy to
enable rotation or scaling of one or more objects
animate such effects as fingers curling.
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: The transformation center mode is set on
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.

Hierarchy before rotation

Hierarchy rotated
(parent at bottom)
 Use Selection Center 447

Use Transform Coordinate Center

Use Selection Center
Main toolbar > Use Selection Center (on Use Center flyout)
Main toolbar > Use Transform Coordinate Center (on Use
The Use Selection Center button, available from Center flyout)
the Use Center flyout (page 1–445), lets you enable
rotation or scaling of one or more objects around The Use Transform Coordinate Center button,
their collective geometric center. If you transform available from the Use Center flyout (page 1–445),
multiple objects, the software calculates the lets you enable rotation or scaling of an object or
average geometric center of all the objects and uses objects around the center of the current coordinate
that for the transform center. system. When you designate another object as
the coordinate system with the Pick function (see
The axis tripod (page 1–424) shows the center that Specifying a Reference Coordinate System (page
is currently being used. 1–435)), the coordinate center is the location of
Note: The transformation center mode is set on that object’s pivot.
a transform-by-transform basis, so select the
The axis tripod (page 1–424) shows the center that
transform before you select the center mode. If
is currently being used.
you do not want the center setting to change, turn
on Customize menu > Preferences > General tab > Note: The transformation center mode is set on
Reference Coordinate System group > Constant. 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.

An example of the World coordinate center

448 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

Creating Copies and Arrays (page 1–471)

Transform Tools
The transform tools can transform objects Array Flyout
according to certain conditions. Some of them,
such as Array, can also create copies of objects. Extras toolbar > Array flyout

These tools (except for Array, Snapshot, Spacing

Tool, and Clone And Align) are available on the
default main toolbar (page 3–686); the remainder
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)

The Array flyout, available from the Extras toolbar

Array (page 1–450) (page 3–688), provides access to various tools for
creating arrays of objects. These are, from top to
bottom:
Snapshot (page 1–453)
Array (page 1–450)
Spacing Tool (page 1–455) Snapshot (page 1–453)
Spacing Tool (page 1–455)
Clone and Align Tool (page 1–459) Clone and Align Tool (page 1–459)

Align (page 1–462)

Mirror Selected Objects
Quick Align (page 1–465)
Main toolbar > Mirror Selected Objects

Tools menu > Mirror

Normal Align (page 1–465)
Clicking Mirror displays the Mirror dialog, which
Place Highlight (page 1–467) enables you to move one or more objects while
mirroring their orientation. The Mirror dialog
also allows you to mirror the current selection
Align Camera (page 1–468) about the center of the current coordinate system.
You can create a clone with the mirror dialog at the
Align to View (page 1–468) same time. If you mirror a hierarchical linkage,
you have the option to mirror the IK limits.
Moving, Rotating, and Scaling Objects (page 1–423)
Using Shift +Clone (page 1–478)
 Mirror Selected Objects 449

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.
Mirroring an object
Interface
The Mirror dialog uses the current reference
coordinate system (page 1–443), as reflected in
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. Mirror Axis group
3. Set the mirror parameters in the dialog and The mirror axis choices are X, Y, Z, XY, XZ,
click OK. and YZ. Choose one to specify the direction of
mirroring. These are equivalent to the option
The active viewport changes to show the effect
buttons on the Axis Constraints toolbar (page
of each parameter as you set it. When you click
3–687).
OK, the software creates the choice of mirror
that you see previewed.
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.
Array
Extras toolbar > Array
Clone Selection group
Tools menu > Array
Determines the type of copy made by the Mirror
function. Default is No Clone. The Array command displays the Array dialog,
No Clone—Mirrors the selected object without which enables you to create an array of objects
making a copy. based on the current selection.

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.
A one-dimensional array

The items in the Array Dimensions group let

Mirror IK Limits—Causes the IK constraints to be
you create one-, two-, and three-dimensional
mirrored (along with the geometry) when you
arrays. For example, a row of five objects is a
mirror the geometry about a single axis. Turn
single-dimension array, even though it takes up
this off if you don’t want the IK constraints to be
three-dimensional space in the scene. An array
affected by the mirror command.
of objects that’s five rows by three columns is a
The end effectors used by the IK are not affected two-dimensional array, and an array of objects
by the Mirror command. To successfully mirror that’s five rows by three columns by two levels is a
an IK hierarchy, first delete the end effectors: Go three-dimensional array.
to the Motion panel > IK Controller Parameters Tip: You can preview the array by turning on the
rollout > End Effectors group and, under Position, Preview button. With Preview on, changing the
click the Delete button. After the mirror operation, array settings updates the viewports in real time.
create the new end effector using the tools on the
same panel. 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. 2. Choose Tools > Array to display the Array
3. On the Array dialog, select the type of object dialog.
to output: Copy, Instance, (page 3–957) or 3. In the Incremental set of parameters, set Move
Reference (page 3–1002)). X (the upper-left field) to 50. This causes each
4. In the Preview group, click the Preview button object in the array to be positioned 50 units
to turn it on. apart on the X axis.

This lets you see the results of the array 4. In the Array Dimensions group, choose the 3D
operation in the viewports, with changes button to enable all the spinners in that group.
appearing in real time. 5. Set the 1D Count spinner to 5, the 2D Count
5. In the Array Transformation group, click spinner to 4, and the 3D Count spinner to 3.
the arrows to set Incremental or Totals array This creates a row of 5 objects that are 50 units
parameters for Move, Rotate, and Scale. apart, and then 4 rows of those five objects,
6. Enter coordinates for the Array Transformation and then 3 rows of the 5 x 4 matrix of objects,
parameters. resulting in a box array.

7. Indicate whether you want a 1D, 2D, or 3D 6. In the 2D row, set the Y spinner to 80.
array. 7. In the 3D row, set the Z spinner to 100.
8. Set Count to the number of copies on each axis. 8. Click OK.
9. Enter the appropriate values in the numeric A box array of teapots appears. The first
fields for Incremental Row Offsets. dimensional array is five teapots created along
10. Click OK. the X world axis, 50 units apart (as specified
in the Array Transform group). The second
The current selection is duplicated the specified dimensional array is four layers created along
number of times, with each object transformed the Y world axis, 80 units apart (as specified
as indicated. in the Array Dimensions group). The third
dimensional array is three layers created along
To replace an array:
the Z world axis, 100 units apart. The total
1. Undo the array to replace, using Edit > Undo number of objects in the array is 60.
Create Array, or press Ctrl+Z .
2. Change the coordinate system and transform Example: To create a 360-degree array:
center, if needed. 1. Reset 3ds Max.
3. Choose Tools > Array, and adjust any 2. Near the top of the Front viewport (away
parameters on the Array dialog that is from its center), create a long, thin box at the
displayed. twelve-o’clock position (as if the viewport were
4. Click OK to create a new array, which replaces a clock face).
the previous version. Repeat these steps to 3. Choose Use Transform Coordinate Center on
fine-tune the array. the Main toolbar.
4. Choose Tools > Array.
Example: To create an array of objects that numbers
5 x 4 x 3:
1. Create a teapot with a radius of 10 units.
452 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

5. Click the arrow button to the right of the Rotate Rotate—Specifies the degree of rotation about any
label to enable the three Rotate fields in the of the three axes for each object in the array, in
Totals section. degrees.
6. Set the Z parameter to 360.0. Scale—Specifies the percentage of scale along any
7. In the Array Dimensions group, choose 1D and of the three axes for each object in the array, in
set Count to 12. percentages.
8. Click OK.
Totals
The software creates an array of 12 boxes in a
Move—Specifies the overall distance, along each of
full circle.
the three axes, between the pivot points of the two
outer objects in the resulting array. For example, if
Interface
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.
You can use this, for example, to create an array
that totals 360 degrees.
Re-Orient—Rotates the generated objects about
Array Transformation group their local axes while rotating them about the
Specifies which combination of the three world coordinates. When clear, the objects
transforms to use to create the array. You also maintain their original orientation.
specify the extent, along the three axes, for each Scale—Specifies the total scale of the objects along
transform. You can specify the extent of the each of the three axes.
transform in increments between each object,
Uniform—Disables the Y and Z spinners and
or in totals for all objects. In either case, the
applies the X value to all axes, resulting in a
distances are measured between the pivot points
uniform scale.
of the objects. The arrays occur using the current
transform settings, so the group title changes
Type of Object group
depending on the transform settings.
Determine the type of copies made by the Array
Click the left or right arrow button for Move,
function. The default is Copy.
Rotate, or Scale to indicate whether you want to set
Incremental or Total array parameters. Copy—Arrays copies of the selected object to the
specified position.
Incremental
Instance—Arrays instances of the selected object
Move—Specifies the distance between each arrayed to the specified position.
object along the X, Y, and Z axes, in units.
Reference—Arrays references of the selected object
to the specified position.
 Snapshot 453

Array Dimensions group

Lets you add to the Array Transformation Snapshot
dimension. The additional dimensions are
positional only. Rotation and scale are not used. Extras toolbar > Snapshot (on Array flyout)

1D—Creates a one-dimensional array, based on Tools menu > Snapshot

the settings in the Array Transformation group.
Choosing Tools > Snapshot displays the Snapshot
Count—Specifies the total number of objects along dialog. This enables you to clone an animated
this dimension of the array. For 1D arrays, this is object over time.
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 Using an ice-cream cone animated along a path, Snapshot
along each axis of the third dimension of the array. creates a stack of cones.

Snapshot spaces the clones equally in time.

Adjustments in Track View let you space the clones
Total in Array—Displays the total number of entities equally along the path instead (see the second
that the array operation will create, including the procedure, below).
current selection. If you’re arraying a selection set, Like other clone techniques, Snapshot creates
the total number of objects will be the result of copies, instances, or references. You can also
multiplying this value times the number of objects choose a mesh option for use with particle systems.
in the selection set.
Preview—Toggles a viewport preview of the Particle Snapshots
current array settings. Changing a setting updates You can clone particle systems as static mesh
the viewports immediately. If the update slows objects. You can also produce clones of the
down feedback with large arrays of complex particles themselves as meshes, when using the
objects, turn on Display As Box. Snapshot dialog > Clone Method > Mesh option.
Display as Box—Displays the array-preview objects This works with all configurations of particle
as bounding boxes instead of geometry. systems, including those using MetaParticles.
Usage is the same as with other types of objects.
Reset All Parameters—Resets all the parameters to
their default settings.
454 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

Procedures Interface
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.
Snapshot group
3. Click Assign Controller and check that the
Single—Makes a clone of the geometry of the
track is using a Bezier Position controller. Do
one of the following: object at the current frame.

• If the track is already using a Bezier Position Range—Makes clones of the geometry of the
controller, proceed to step 4. object along the trajectory over a range of frames.
Specify the range with the From/To settings and
• If the track is not using a Bezier Position
the number of clones with the Copies setting.
controller, change the controller (page
2–546), then proceed to step 4. From/To—Specifies the range of frames to place the

4. Select all the transform keys and right-click

cloned object along the trajectory.
one of the selected keys to display the Key Info Copies—Specifies the number of clones to place
dialog (page 2–304). along the trajectory. They are evenly distributed
5. Click Advanced to expand the dialog. over the time period, but not necessarily over the
spatial distance along the path.
6. Click Normalize Time.
7. Set Constant Velocity on. Clone Method group
8. Choose Tools menu > Snapshot. With the Copy, Instance, and Reference methods,
The Snapshot dialog appears. the clone retains any animation within the object,
so all the clones will be animated in the same way.
9. Set parameters in the dialog, and click OK.
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 objects. Before creating shapes, turn off Start
the selected object. Not available with particle New Shape on the Create panel. Then create your
systems. shapes. The software adds each spline to the
current shape until you click the Start New Shape
Mesh—Use this to create mesh geometry out of
button so that it’s turned on. When you select the
particle system. Works with all kinds of particles.
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,
Spacing Tool you might find this technique useful in spacing
light standards along a path defined by separated
Extras toolbar > Spacing Tool (on Array flyout) splines.
Tools menu > Spacing Tool You can pick splines within an XRef scene as
path reference.
The Spacing tool lets you distribute objects based
on the current selection along a path defined by a For more information, see Using the Spacing Tool
spline or a pair of points. (page 1–491).

The distributed objects can be copies, instances Procedure

(page 3–957), or references (page 3–1002) of the
To distribute objects along a path:
current selected object. You define a path by
picking a spline or two points and by setting a 1. Select the objects to distribute.
number of parameters. You can also specify how
the spacing between objects is determined and 2. Click Spacing Tool, or choose Tools menu
whether the pivot points of the objects align to the > Spacing Tool.
tangent of the spline. 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
deletes this spline.
4. Choose a spacing option from the Parameters
The Spacing tool distributes the vases along the sides of the list.
curved street. The vases are all the same distance from each The parameters available for Count, Spacing,
other; fewer appear on the shorter side.
Start Offset, and End Offset are dependent on
the spacing option you choose.
Tip: You can use compound shapes containing
multiple splines as the spline path for distributing
456 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

5. Specify the number of objects to distribute by The Spacing tool gives you a choice of two basic
setting the value of Count. methods for setting spacing: using a path, or
6. Depending on the spacing option you choose, specifying endpoints explicitly.
adjust the spacing and offsets. Pick Path—Click this, and then click a spline in the
7. Under Context, choose Edge to specify that viewport to use as the path. The software uses the
spacing be determined from the facing edges of spline as the path along which to distribute objects.
each object’s bounding box, or choose Centers Pick Points—Click this, and then click a start and
to specify that spacing be determined from the an end to define a path on the construction grid.
center of each object’s bounding box. You can also use object snap to specify points in
8. Turn on Follow if you want to align the pivot space. The software uses these points to create a
points of the distributed objects to the tangent spline as the path along which to distribute objects.
of the spline. When you’re finished with the Spacing tool, the
9. Under Type of Object, select the type of object software deletes the spline.
to output (copy, instance (page 3–957), or
Parameters group
reference (page 3–1002)).
10. Click Apply. Count—The number of objects to distribute.

Spacing—Specifies the space in units between the

Interface objects. The software determines this spacing
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
along the path, as follows:
• 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 start at an offset distance that you specify. This
the amount of space between objects. When distance is from the start of the spline to its end
you specify more than one object, there are point, or from the first of a pair of points to the
always objects at the ends of the spline. second. You also specify the spacing between
• Centered, Specify Spacing—Distributes objects objects.
along a path. The group of objects is centered • Start Offset, Divide Evenly—Distributes the
at the middle of the path. The Spacing tool number of objects you specify between the
attempts to evenly fill the path with as many end of a spline or a pair of points, starting at
objects as it can fit along the length of the an offset that you specify from the start. The
path using the amount of space you specify. software always places an object at the start or
Whether there are objects at the ends of the its offset. When you specify more than one
path depends on the length of the path and the object, there is always an object placed at the
spacing you provide. end. The Spacing tool attempts to evenly fill
• End Offset—Distributes the number of objects the space with the objects between the start or
you specify along a straight line. The objects its offset and the end.
begin at an offset distance that you specify. • Start Offset, Specify Spacing—Distributes
This distance is from the end of the spline to its objects toward the end of a spline or a pair of
start point, or from the second pair of points points, starting at the start. The software always
to the first point. You also specify the spacing places an object at the start or its offset. You
between objects. specify the spacing between objects and the
• End Offset, Divide Evenly—Distributes the offset from the start. The Spacing tool attempts
number of objects you specify between the start to evenly fill the space with as many objects
of a spline or a pair of points and an end offset as it can fit between the start or its offset and
that you specify. The software always places an the end. There might not always be an object
object at the end or its offset. When you specify placed at the end.
more than one object, there is always an object • Specify Offsets and Spacing—Distributes as
placed at the start. The Spacing tool attempts many equally spaced objects as possible along a
to evenly fill the space with the objects between spline or between a pair of points. You specify
the end offset and the start. the spacing between objects. When you specify
• End Offset, Specify Spacing—Distributes objects offsets from the start and end, the software
toward the start of a spline or a pair of points, distributes equally spaced objects between the
starting at the end or its offset. The software offsets. There might not always be an object
always places an object at the end or its offset. placed at the start and ends.
You specify the spacing between objects and the • Specify Offsets, Divide Evenly—Distributes the
offset from the end. The Spacing tool attempts number of objects you specify along a spline
to evenly fill the space with as many objects or between a pair of points. If you specify one
as it can fit between the end or its offset and object the software places it at the center of the
the start. There might not always be an object path. If you specify more than one object the
placed at the start. software always places an object at the start
• Start Offset—Distributes the number of objects offset and the end offset. If you specify more
you specify along a straight line. The objects 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 between objects. The software locks the start
number of objects you specify along a straight offset so that it’s the same as the spacing.
line from the end toward the start of a spline • Specify Spacing, Matching Offsets—Distributes
or a pair of points. You specify the spacing as many evenly spaced objects as possible along
between objects. The software locks the end a spline or between a pair of points (and their
offset so that it’s the same as the spacing. offsets). You specify the spacing. The software
• Space from End, Specify Number—Distributes locks the start and end offsets so that they’re
the number of objects you specify toward the the same as the spacing.
start of a spline or a pair of points, starting • Divide Evenly, No Objects at Ends—Distributes
at the end. The Spacing tool determines the the number of objects you specify along a spline
amount of space between objects based on the or between a pair of points (and their offsets).
number of objects and the length of the spline The Spacing tool determines the amount of
or the distance between the pair of points. The space between objects. The software locks the
software locks the end offset so that it’s the start and end offsets so that they’re the same as
same as the spacing. the spacing.
• Space from End, Specify Spacing—Distributes as
many equally spaced objects as possible toward Context group
the start of a spline or a pair of points, starting
at the end. You specify the spacing between
objects. The software locks the end offset so
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
start offset so that it’s the same as the spacing.
• Space from Start, Specify Number—Distributes
the number of objects you specify toward the
end of a spline or a pair of points, starting at
the start. The Spacing tool determines the
amount of space between objects based on the
1. Edge-to-edge spacing
number of objects and the length of the spline
2. Center-to-center spacing
or the distance between the pair of points. The
software locks the start offset so that it’s the Edges—Use this to specify that spacing is
same as the spacing. determined from the facing edges of each object’s
• Space from Start, Specify Spacing—Distributes bounding box.
as many evenly spaced objects as possible Centers—Use this to specify that spacing be
toward the end of a spline or a pair of points, determined from the center of each object’s
starting at the start. You specify the spacing bounding box.
 Clone and Align Tool 459

Follow—Use this to align the pivot points of the Clone And Align to replace the symbols with 3D
distributed objects to the tangent of the spline. chair objects en masse.
The distributed objects can be copies, instances
Type of Object group
(page 3–957), or references (page 3–1002) of the
Determines the type of copies made by the Spacing current selected object. You determine the number
tool. The default is Copy. You can copy, instance of clones or clone sets by specifying any number of
(page 3–957), or reference (page 3–1002) objects. destination objects. You can also specify position
Copy—Distributes copies of the selected object to and orientation alignment of the clones on one,
the specified position. two, or three axes, with optional offsets.

Instance—Distributes instances of the selected You can use any number of source objects and
object to the specified position. destination objects.

Reference—Distributes references of the selected You can pick objects within an XRef scene as
object to the specified position. destination objects.

Tip: You can use compound shapes containing With multiple source objects, Clone And Align
multiple splines as the spline path for distributing maintains the positional relationships among
objects. Before creating shapes, turn off Start New the members of each cloned group, aligning the
Shape under Shapes on the Create panel. Then selection center with the destination’s pivot.
create your shapes. 3ds Max adds each spline to
the current shape until you click the Start New Procedure
Shape button so that it’s checked. When you select To use the Clone And Align tool:
the compound shape so that the Spacing tool can
1. Create or load an object or objects to be cloned,
use it as a path, objects are distributed along all of
as well as one or more destination objects.
the splines of the compound shape. For example,
you might find this technique useful in spacing 2. Select the object or objects to be cloned.
light standards along a path defined by separated 3. Open the Clone And Align dialog.
splines.
Note: The order of steps 2 and 3 can be reversed.
4. Do either of the following:
• Click Pick once and then click each
Clone and Align Tool destination object in turn. Next, click Pick
Extras toolbar > Clone and Align Tool (on Array flyout)
again to turn it off.
• Click Pick List and then use the Pick
Tools menu > Clone and Align
Destination Objects dialog to pick all
destination objects simultaneously.
The Clone And Align tool lets you distribute source
objects based on the current selection to a second 5. On the Clone Parameters rollout, choose the
selection of destination objects. For example, you type of clone, and, if appropriate, how to copy
can populate several rooms simultaneously with the controller. For details, see Clone Options
the same furniture arrangement. Similarly, if you Dialog (page 1–476).
import a CAD file that contains 2D symbols that 6. Use the Clone Parameters rollout settings to
represent chairs in a conference room, you can use 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 Clone and Align tool takes the form of a
the source selection in a viewport. This causes non-modal dialog; it remains open while you
the dialog to lose focus; click it again to regain work in the viewports. While the dialog is active,
focus and refresh the viewport preview of the the results of the current settings appear as a
clone operation. preview in the viewports. Because of the dialog’s
8. To make the clones permanent, click Apply, non-modal nature, you can change the selection of
and then click Cancel or the close button (X, in source and destination objects on the fly and see
upper-right corner) to close the dialog. the results immediately in the viewports.
When the dialog focus is lost by activating another
Interface 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

Designate source objects by selecting them in a
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:
• not have been designated as a source or
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 Align Orientation group
list. Available only when at least one destination
X/Y/Z Orientation—Specifies the axis or axes about
object is designated.
which to align orientation. Turning on all three
Source Objects [label]—This read-only field shows options aligns each set of clones’ orientation fully
the number of source objects. To change this value, with that of the respective destination object.
keep the dialog open, make sure Pick is off, and
X/Y/Z Offset—The angle by which the source
then select source objects in the viewports. When
objects are rotated away from the destination
you click the dialog, the field updates.
object’s orientation about each axis. For an Offset
Link to Destination—Links each clone as a child of value to take effect, the respective Orientation
its destination object. check box must be on.
Match Scale —Use the X Axis, Y Axis, and Z Axis
Clone Parameters rollout
options to match the scale axis values between the
These settings let you determine the type of clone source and destination.
to create, and, if appropriate, how to copy the
This matches only the scale values you’d see in
controller. For details, see Clone Options Dialog
the coordinate display (page 3–708). It does not
(page 1–476).
necessarily cause two objects to be the same size.
Align Parameters rollout Matching scale causes no change in size if none of
the objects has previously been scaled.
The Align Position and Align Orientation group
names are followed by the current reference Reset All Parameters—Returns all settings in the
coordinate system (page 1–443), in parentheses, Align Parameters rollout to their default values.
which they use as the coordinate system for Apply—Generates the clones as permanent objects.
positioning and aligning the clones. When the After clicking Apply, you can use Clone And Align
View coordinate system is active, alignment uses to generate additional clones, using the results of
the World coordinate system. previous clonings as source or destination objects
The Offset parameters always use each destination if you like.
object’s Local coordinate system. Cancel—Aborts the current cloning operation and
closes the dialog.
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—The distance between the destination
object’s pivot and the source object’s pivot (or
source objects’ coordinate center). For an Offset
value to take effect, the respective Position check
box must be on.
462 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

the Align dialog, which lets you align the current

Align Flyout selection to a target selection. The name of the
target object appears in the title bar of the Align
Main toolbar > Align flyout
dialog. When performing sub-object alignment,
the title bar of the Align dialog reads "Align
Sub-Object Selection."

The Align flyout, available from the Main toolbar

(page 3–686), provides access to six different
tools for aligning objects. These are, from top to Aligning objects along an axis
bottom: Left: X position, center
Upper right: Y position, minimum
Align (page 1–462)
Lower right: Y position, maximum
Quick Align (page 1–465)
You can align the position and orientation of the
Normal Align (page 1–465) bounding box (page 3–919) of the source object to
the bounding box of a target object.
Place Highlight (page 1–467)
You can use the Align tool with any selection that
Align Camera (page 1–468)
can be transformed. If an axis tripod is displayed,
Align to View (page 1–468) you can align the tripod (and the geometry it
represents) to any other object in the scene. You
can use this to align an object’s pivot point.

Align You can use objects within an XRef scene as

references with all alignment tools on the Align
Main toolbar > Align (on Align flyout) flyout, except Align to View.
Keyboard > Alt+A When performing sub-object alignment, the
Current Object options and the Match Scale boxes
Interface (page 1–464) are disabled. If you plan to align orientation for
Clicking Align , available from the Align flyout sub-objects, first switch to Local transform mode
(page 1–462), then selecting an object, displays
 Align 463

on the Main toolbar so that the axis tripod is

properly aligned with your sub-object selection. 2. On the Main toolbar, click Align, or
choose Tools > Align.
Other alignment tools on the Align flyout are
Quick Align (page 1–465), Normal Align (page The Align cursor appears. When over an
1–465), Place Highlight (page 1–467), Align to eligible target object, the cursor also shows
Camera (page 1–468), and Align to View (page crosshairs.
1–468). 3. Position the cursor over the target object and
click.
Procedures
The Align Selection dialog appears. By default,
To align an object with a point object: all options in the dialog are turned off.
1. Create a point helper object and position it at 4. In the Current Object and Target Object
a target location in your scene. Rotate it as groups, choose Minimum, Center, Pivot Point,
necessary to adjust final orientation. or Maximum.
2. Select a source object. These settings establish the points on each
object that become the alignment centers.
3. On the Main toolbar, click Align, or 5. Begin alignment by turning on any combination
choose Tools > Align. of X Position, Y Position, and Z Position.
The Align cursor appears attached to a pair of The source object moves in relation to the
cross hairs. target object, along the axes of the reference
4. Move the cursor over the point object and click. coordinate system. Setting all three moves the
objects as close as possible, given the Current
The Align Selection dialog appears. If
Object and Target Object settings.
necessary, move the dialog out of the way so
you can see the active viewport. 6. In the Align Orientation group, turn on any
combination of X Axis, Y Axis, or Z Axis.
5. In the Align Position group, turn on X Position.
The source object realigns accordingly. If the
The selected source object shifts to align with
objects already share an orientation, turning
the X axis of the point object.
on that axis has no effect. Once two axes are
6. Turn on Y Position and Z Position. aligned in orientation, the third is automatic.
The source object moves so its center is at the
point object. To align a gizmo to another object:

7. Turn on X Axis, Y Axis, and Z Axis in the Align 1. Display the gizmo level of the Sub-Object
Orientation group to reorient the object to selection.
match the coordinates of the point.
2. On the Main toolbar, click Align, or
To align objects by position and orientation: choose Tools > Align.
1. Select a source object (the object to move into 3. Click to select a target object in the viewport.
alignment with the target object). (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. Use the available settings in the Align dialog to options moves the current object to the target
adjust the transformation of the gizmo. object’s location.

To align a sub-object selection of geometry to Current Object/Target Object groups

another object:
Specify which points on the objects’ bounding
1. Do one of the following: boxes to use for the alignment. You can choose
• Convert the object to an editable mesh, and different points for the current object and the
then perform the sub-object selection at any target object. For example, you can align the
level. current object’s pivot point (page 3–995) with the
• Apply a Mesh Select modifier, followed by an center of the target object.
XForm modifier. (The Mesh Select modifier Minimum—Aligns the point on the object’s
by itself doesn’t allow transforms.) bounding box with the lowest X, Y, and Z values
with the chosen point on the other object.
2. On the Main toolbar, click Align, or Center—Aligns the center of the object’s bounding
choose Tools > Align, and then select a target box with the chosen point on the other object.
object.
Pivot Point—Aligns the object’s pivot point with
3. Use the settings in the Align dialog to perform
the chosen point on the other object.
the alignment.
Maximum—Aligns the point on the object’s
Interface 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

Align Position group Use the X Axis, Y Axis, and Z Axis options to
X/Y/Z Position—Specifies on which axis or axes match the scale axis values between the two
to perform the alignment. Turning on all three 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.
Normal Align
Main toolbar > Normal Align (on Align flyout)

Tools menu > Normal Align

Quick Align Keyboard > Alt+N
Main toolbar > Quick Align (on Align flyout)
Normal Align uses the Normal Align dialog to
Tools menu > Quick Align align two objects based on the direction of the
Keyboard > Shift+A normal (page 3–980) of a face or selection on each
object. To open the Normal Align dialog, select
Quick Align lets you instantly align the position the object to be aligned, click a face on the object,
of the current selection to that of a target object. and then click a face on a second object. Upon
If the current selection is a single object, Quick releasing the mouse, the Normal Align dialog
Align uses the two objects’ pivots (page 3–995). If appears.
the current selection comprises multiple objects If you use Normal Align while a sub-object
or sub-objects, Quick Align aligns the source’s selection is active, only that selection is aligned.
selection center (page 1–447) with the pivot of the This is useful when aligning sub-object selections
target object. of faces, since otherwise there’s no valid face
normal for the source object.
Procedure
Normal Align respects smoothing groups and uses
To use Quick Align:
the interpolated normal, based on face smoothing.
1. Select one or more objects or sub-objects to As a result, you can orient the source object face to
align. any part of the target surface, rather than having
2. Press Shift+A or choose Quick Align from it snap to face normals.
the Tools menu or Main toolbar > Align flyout. For an object with no faces (such as helper objects,
The mouse cursor turns into a “lightning-bolt” space warps, particle systems, and atmospheric
symbol. When positioned over an acceptable gizmos), Normal Align uses the Z axis and origin
alignment target, a crosshairs symbol also of the object as a normal. Thus, you can use a Point
appears. object (page 2–23) with Normal Align.
3. Click an object to which to align the selection Other alignment tools on the Align flyout are Align
from step 1. (page 1–462), Quick Align (page 1–465),Place
The alignment is performed. Highlight (page 1–467), Align to Camera (page
1–468), and Align to View (page 1–468).

Procedure
To align normals:
1. Select a source object. This is the object that
moves during alignment.
466 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

Interface
2. Click Normal Align on the Main toolbar,
or choose Tools > Normal Align.
3. Drag across the surface of the source object.
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.
The blue arrow remains as reference to the
source normal.
5. Drag across the surface of the target object.
A green arrow at the cursor indicates the
current normal.
The Normal Align dialog lets you adjust or cancel
6. Move the cross hairs and green arrow until you the current alignment, and contains the following
locate the normal you want to use as a target, controls:
then release.
The source object moves into alignment with Position Offset group
the target normal, and the Normal Align dialog Lets you translate the source object perpendicular
appears. to the normal on the X, Y or Z axes.
7. Do one of the following:
X/Y/Z—These three fields let you affect how much
• Click OK to accept the alignment. of an offset will be given to the selected faces.
• Using the dialog, make modifications to the
alignment before clicking OK. Rotation Offset group

• Click Cancel Align to cancel the alignment Lets you rotate the source object about the
procedure. 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
you turn this on or off, the source object flips 180
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 to do with highlights, but is simply being used to
object. position objects.
Note: Highlight rendering depends on the
material’s specular properties and the type of
rendering you use.
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), enables you to align a light or object
to another object so that its highlight or reflection
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
use the viewport that you’re going to be rendering. Place Highlight aligns a camera and a spotlight to the same
As you drag the mouse in the scene, a ray is shot face.
from the mouse cursor into the scene. If it hits a
Other alignment tools on the Align flyout are Align
surface, you see the surface normal (page 3–980) at
(page 1–462), Quick Align (page 1–465), Normal
that point on the surface.
Align (page 1–465), Align to Camera (page 1–468),
When you designate a surface, any selected objects and Align to View (page 1–468).
are positioned along a line that represents the ray
reflected off the surface about the surface normal. Procedure
The objects are positioned along this line based on To position a light to highlight a face:
their original distance from the surface point. For
1. Make sure the viewport you plan to render is
example, if the object is 100 units from the surface
active, and that the object you want to highlight
point before being moved, it will be positioned 100
is visible in it.
units from the surface point along the reflected ray.
The result of Place Highlight depends on what
If the object is a light, the position of the highlight is visible in the viewport.
on the surface of the object will be the surface
point that you’ve chosen. 2. Select a light object.

Tip: Place Highlight works with any kind of

selected object. It can be used to move objects 3. Click Place Highlight, or choose Tools >
based on a combination of face normals and initial Place Highlight.
distance from the face. You can also use Place Choose Tools > Place Highlight.
Highlight with a selection set that contains more
If the button is not visible on the toolbar,
than one object. All objects maintain their initial
choose it from the Align flyout.
distance from the face. In this case it has nothing
468 Chapter 6: Transforms: Moving, Rotating, and Scaling Objects

4. Drag over the object to place the highlight. Procedure

When you place an omni, free spot, or To use Align Camera:
directional light, the software displays a face 1. Select the camera used for the viewport you
normal for the face the mouse indicates. want to align.
When you place a target spotlight, the software
displays the light’s target and the base of its 2. Click Align Camera or choose Tools
cone. menu > Align Camera.
5. Release the mouse when the normal or target
3. In any viewport, drag the mouse over an object
display indicates the face you want to highlight. surface to choose a face.
The light now has a new position and The chosen face normal appears as a blue arrow
orientation. You can see the highlight beneath the cursor.
illumination in shaded viewports that show
the face you chose, and when you render those 4. Release the mouse to perform the alignment.
views. The software moves the camera so it faces
and centers the selected normal in the camera
viewport.

Align Camera
Main toolbar > Align Camera button (on Align flyout)
Align to View
Tools menu > Align Camera
Main toolbar > Align to View (on Align flyout)

Align Camera, available from the Align flyout Tools menu > Align to View
(page 1–462), lets you align a camera to a selected
face normal. Align to View, available from the Align flyout
(page 1–462), displays the Align To View dialog,
Align Camera works similarly to Place Highlight
which lets you align the local axis of an object or
(page 1–467), except that it operates on face
sub-object selection with the current viewport.
normals instead of the angle of incidence, and
occurs when you release the mouse button instead You can use Align to View with any selection that
of dynamically acting during the mouse drag. Its can be transformed.
purpose is to let you align a Camera viewport to
Other alignment tools on the Align flyout are Align
a specified face normal.
(page 1–462), Quick Align (page 1–465), Normal
Other alignment tools on the Align flyout are Align Align (page 1–465), Place Highlight (page 1–467),
(page 1–462), Quick Align (page 1–465), Normal and Align to Camera (page 1–468).
Align (page 1–465), Place Highlight (page 1–467),
and Align to View (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

The Align to View dialog contains the following

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
Creating Copies and Arrays

With 3ds Max, you can quickly create multiple cloning, the result is a "flip" of the geometry,
versions of one or more selected objects during optionally to a new location.
a transform operation. You do this by holding • Snapshot lets you create clones equally spaced
down the Shift key as you move, rotate, or scale over time or distance, based on an animation
the selection. 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)
Portico created from arrays of columns
• Cloning with Shift +Move (page 1–479)
The general term for duplicating objects is cloning.
• Cloning with Shift +Rotate (page 1–480)
This section presents all the methods and choices
available for cloning objects. In addition to the • Cloning with Shift +Scale (page 1–481)
transform method, the tools include the following: Animating Shift +Rotate and Shift +Scale (page
• Array lets you set all three transforms, in all 1–482)
three dimensions, at the same time. The results Cloning Objects Over Time with Snapshot (page
are precise linear and circular arrays in 2D or 1–483)
3D space.
Arraying Objects (page 1–484)
• Mirror produces a "reflected" clone about one
or more axes. If you mirror an object without • Using the Array Dialog (page 1–485)
472 Chapter 7: Creating Copies and Arrays

• Creating Linear Arrays (page 1–487) objects, and it will affect only the object to which it
• Creating Circular and Spiral Arrays (page 1–489) is applied.

Mirroring Objects (page 1–491) Depending on the method used to create them,
cloned objects are called copies, instances, or
Using the Spacing Tool (page 1–491) references.
The following discussion focuses on how you
Overview of Copies, Instances, might use these methods.
and References
Copies
To duplicate an object, you use one of three
Copies are the most familiar kind of clone object.
methods. For all three methods, the original and
When you copy an object, you create a new,
clone (or clones) are identical at the geometry
independent master object and data flow resulting
level. Where the methods vary is in the way they
in a new, named object. The copy duplicates all
handle modifiers (for example, Bend or Twist).
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
then model an individual nose, mouth, and other
features.

Copying Actively Linked Objects

An object can be a copy of another.
When you copy objects that are actively linked
Copy method: Creates a completely separate clone through the File Link Manager (page 3–422), the
from the original. Modifying one has no effect on software automatically converts the copies to
the other. editable mesh objects. If your selection contains
Instance method: Creates a completely several objects that instance another object, the
interchangeable clone of the original. Modifying resulting copies also instance the same object.
an instanced object is the same as modifying the
original. Instances
Instances are alike not only in geometry, but also
Reference method: Creates a clone dependent
in every other way as well. Instancing an object
on the original up to the point when the object is
results in multiple named objects based on a single
cloned. Changing parameters for modifiers that
master object. Each named object instance has its
were applied to the object before the object was
own set of transforms, space warp bindings, and
referenced, will change both objects. However, a
object properties, but it shares the object modifiers
new modifier can be applied to one of the reference
 Overview of Copies, Instances, and References 473

and master object with the other instances. The modifiers added above the line are not passed on
data flow for an instance branches just after to other references. Changes to the original object,
evaluating object modifiers. such as in its creation parameters, are passed on to
its references.
When you change one instance by applying or
adjusting a modifier, for example, all the other This effect is useful for maintaining an original that
instances change with it. will affect all its references, while the references
themselves can take on individual characteristics.
Within 3ds Max, instances derive from the same
master object. What you’re doing "behind the All shared modifiers reside below the
scenes" is applying a single modifier to a single derived-object line and are displayed in bold. All
master object. In the viewport, what you see as modifiers unique to the selected reference reside
multiple objects are multiple instances of the same above the derived-object line and are not bold.
definition. The original object does not have a derived object
line: its creation parameters and modifiers are
Example of Using Instanced Objects all shared, and all changes to this object affect all
If you wanted to create a school of swimming references.
fish, you might begin by making many instanced The results of changing or applying a modifier to a
copies of a single fish. You could then animate the named object reference depends on where in the
swimming motion by applying a Ripple modifier modifier stack it is applied:
to any fish in the school. The whole school would
• Applying a modifier to the top of the modifier
swim with exactly the same motions.
stack affects only the selected named object.
Instances of Actively Linked Objects • Applying a modifier below the gray line affects
all references branching above that line.
Creating instances of actively linked objects is not
recommended. Reliability issues can arise if the • Applying a modifier at the bottom of the
instanced object is deleted in the linked file. modifier stack affects all references derived
from the master object.
References
References of Actively Linked Objects
References are based on the original object, as are
instances, but can also have their own unique Creating references of actively linked objects is not
modifiers. Like instances, references share, at recommended. Reliability issues can arise if the
minimum, the same master object and possibly referenced object is deleted in the linked file.
some object modifiers.
Example of Using Referenced Objects
The data flow for a reference branches just after
In the example of modeling heads, you might want
the object modifiers but then evaluates a second
to keep a family resemblance in your characters.
set of object modifiers unique to each reference.
You could model basic features on the original,
When you create references, 3ds Max displays
then model specifics on each reference.
a gray line, called the derived-object line, at the
top of the modifier stack for all clones. Any At some point, if you wanted to see what your
modification made below the line is passed on to characters would look like as "cone-heads," you
other references, and to the original object. New 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 • When cloning creates new objects, you have
feature. You could give the original character a the choice of making them copies, instances,
very pointed head, then apply a separate Taper to or references.
some referenced characters to reduce the point
Each of the following items is discussed later in
toward normal.
this chapter.
For swimming fish, you might choose to make all
members of the school as referenced objects based Clone
on a single, original fish. You could still control
Using the Clone command on the Edit menu is
the swimming motion from the original fish, and
the easiest method for copying an object in place;
also add modifiers to individual fish in the school
no transformation is involved. See Clone (page
to vary their behavior.
1–476).

Shift +Clone

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
Shift +Clone clones an object when you transform it.
• Mirror
• Spacing Tool You can clone an object as you transform it
interactively in the viewport. The process is
• Clone and Align Tool referred to as S HIFT +Clone (page 1–478): the
technique of holding down the Shift key while
Shared Features transforming a selected object with the mouse.
While each technique has distinct uses and Quick and versatile, this technique is probably
advantages in cloning objects, in most cases the the one you’ll use most often to duplicate objects.
cloning techniques share some similarities in how Snap settings give you precise results.
they work:
How you set the center and axes for the transforms
• You can apply a transform when you clone.
determines the arrangement of the cloned objects.
New objects are moved, rotated, or scaled as
Depending on the settings, you can create both
they are created.
linear and radial arrays.
• The transform is relative to the current
coordinate system, axis constraint, and
transform center.
 Techniques for Cloning Objects 475

You need a working knowledge of transform of a spiral stair, or the battlements along a castle
features to take full advantage of Shift +Clone. wall.
See Using Transforms (page 1–424).
Array gives you precise control over all three
transforms and in all three dimensions, including
Snapshot
the ability to scale along one or more axes. It is
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
and Rotate around a common center. Another
array using Move and Rotate might produce the
interlocked links of a chain.
See Arraying Objects (page 1–484).

Mirror

Using an ice-cream cone animated along a path, Snapshot

creates a stack of cones.

Snapshot (page 1–453) clones an animated object

over time. You can create a single clone on
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

Mirroring an object

Mirror produces a symmetrical copy around any

combination of axes. There is also a "No Clone"
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.
A one-dimensional array
There is also a Mirror modifier that gives you
Array creates repeating design elements: for parametric control of the mirror effect.
example, the gondolas of a Ferris wheel, the treads
See Mirroring Objects (page 1–491).
476 Chapter 7: Creating Copies and Arrays

Spacing Tool
Clone
Make a selection. > Edit menu > Clone

Make a selection. > Hold down Shift key. > Move,

rotate, or scale the selection with the mouse.

The Spacing Tool distributes the vases along the sides of the
curved street.

The Spacing Tool distributes along a path defined

by a spline or pair of points. You define a path by
picking a spline or two points and by setting a
Clone creates a copy, instance, or reference of an object.
number of parameters. You can also specify how
the spacing between objects is determined and With the Clone command you can create copies,
whether the insertion points of the objects align to instances, or references of a selected object or a
the tangent of the spline. set of objects.
See Spacing Tool (page 1–455). The Clone command on the Edit menu creates
a single copy of your selection. Alternatively,
Clone and Align Tool you can clone multiple copies by holding down
the Shift key as you move (page 1–439), rotate
The Clone And Align tool lets you distribute
(page 1–439), or scale (page 1–440) your selection.
source objects based on the current selection to
Either method displays the Clone Options dialog
a second selection of destination objects. For
(page 1–476).
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
Clone Options Dialog
chairs in a conference room, you can use Clone Make a selection. > Edit menu > Clone
And Align to replace the symbols with 3D chair
Make a selection. > Hold down Shift key. > Move,
objects en masse. rotate, or scale the selection with the mouse.

See Clone and Align Tool (page 1–459).

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 Interface

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 Object group
space as the original. Select a clone by name
Copy—Places a copy of the selected object at the
to move or modify it.
specified position.
To clone and transform an object: Instance—Places an instance of the selected object
at the specified position.
1. On the main toolbar, click Reference—Places a reference of the selected object
the Move, Rotate, or Scale button. at the specified position.
2. Select an object, multiple objects, group, or
sub-object. Controller group
3. Hold down the Shift key and drag the Lets you choose to copy or instance the transform
selection. controllers (page 3–909) of the original object’s
As you drag your selection, the clone is created, child objects. This option is available only when
selected, and transformed. The original object the selection you are cloning includes two or more
is deselected and unaffected by the transform. hierarchically linked objects (page 3–951).

When you release the mouse button, the Clone When cloning non-linked objects, transform
Options dialog displays. controllers are simply copied. Also, when cloning
linked objects, the highest-level cloned object’s
4. Change the settings or accept the defaults, and
transform controller is simply copied. This option
then click OK.
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, named building and the second will be named
you can change the transform animation of one building01.
set of linked children, and automatically have the
change affect any cloned sets.
This allows you to animate all clones identically
Using Shift +Clone
with a single animation setup. For example, Shift +Clone is the primary way to duplicate
consider a scene containing three objects named objects in 3ds Max. You hold down the Shift key
Torso, Thigh, and Calf. The objects are linked and drag during any of the standard transform
hierarchically so that Torso is the parent of operations: Move, Rotate, or Scale.
Thigh and Thigh is the parent of Calf. Say you
select all three objects and then clone them, and To Shift +Clone an object:
choose Clone Options > Controller > Instance.
Thereafter, if you transform either Thigh or Calf 1. On the main toolbar, click
object, the corresponding object in the other the Move, Rotate, or Scale button.
hierarchy is transformed identically, along with
2. Select a transform coordinate system and
any child objects. However, if you transform either
constraints. Each transform carries its own
Torso object, the other hierarchy is not affected.
settings. To avoid surprises, always click the
Number of Copies—Specifies the number of copies transform button first, and then set your
of the object you want to create. Available only transform coordinate system and constraints.
when you Shift +Clone an object. Note: You can also use the Transform Gizmo
Using Shift +Clone to generate multiple copies to set axis constraints.
applies the transform successively to each 3. Select the object or set of objects you want to
additional copy. If you Shift +Move an object clone. The selection can be a single object,
and specify two copies, the second copy is offset multiple objects, a group, or a sub-object
from the first copy by the same distance that the selection.
first copy is offset from the original. For Rotate,
4. Hold down the Shift key and drag the
two copies of the rotated object are created, with
selection to apply the transform.
the second copy rotated twice as far as the first. For
Scale, two copies of the scaled object are created, As you drag, a clone is created and selected; it is
with the second copy scaled from the first copy by now the object being transformed. The original
the same percentage that the first copy was scaled object is no longer selected and is unaffected
from the original. by the transform.

Name—Displays the name of the cloned object. When you release the mouse button, the Clone
Options dialog appears. Change settings in this
You can use this field to change the name; dialog or accept the defaults, and then click OK.
additional copies use the same name followed by a
two-digit number, starting at 01 and incrementing Shift +Clone uses the Clone Options dialog (page
by one for each copy. So, for instance, if you 1–476) for any transform you choose.
Shift +Move an object and then specify the name Cloning with Shift +Move (page 1–479)
building and two copies, the first copy will be
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 Shift +Move creates a clone in a different location.
any way. The Edit menu Clone command gives
you this option, which lets you create only one To clone with Shift +Move:
clone at a time.
1. Click the Move button on the main
To clone objects without transforming:
toolbar.
1. Select the object or objects to clone.
2. Choose a coordinate system and axis constraint.
2. Choose Edit menu > Clone. The Clone
3. Make the selection you want to clone.
Options dialog appears. This is the same dialog
used with Shift +Clone except that there’s 4. Hold down Shift and drag to move a clone of
no Number Of Copies setting. The Clone the selection away from the original.
command lets you create only one copy. 5. Choose the number of copies you want to make
3. Change settings in this dialog or accept the on the Clone Options dialog, and whether you
defaults, and click OK. want them to be copies, instances, or references.
Note: The cloned object occupies the exact
About Arrays Created with Shift +Move
same space as the original, and is selected when
cloning is complete. Use Select By Name (page Multiple clones produced by Shift +Move
1–77) to select the original or reselect the clone. form an equally spaced linear array with these
characteristics:
• The line of the array runs from the center of the
Cloning with Shift +Move original through the centers of the clones.
Cloning objects while moving them is quick and • The distance between each neighboring pair
easy. It produces a linear array of two or more of copies is the same the distance between the
objects. 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 5. Choose the number of copies you want to make
pickets, rotate them to a particular angle, and on the Clone Options dialog, and whether you
move them into position. want them to be copies, instances, or references.
You can also make three-dimensional arrays with
Effects of Transform Settings
Shift +Move. The main choice is the combination
of axes to allow movement off the construction Where you locate the transform center determines
plane. For example, to build a stairway, you can how 3ds Max positions clones when using
create a box that forms the top step, then use Shift +Rotate.
Shift +Move to copy it diagonally downward, • For all settings, the direction of rotation is
using an array to create a downward flight. constrained by the active axis or axes of the
viewport’s coordinate system.
• Each clone is rotated from the previous one
Cloning with Shift +Rotate
by the same amount as the first clone from the
Cloning objects while rotating them produces a original.
variety of effects, depending on how you set up
the transformation. Local Pivot at Center
An object’s default pivot point is often located at
its center or its base. When you use Shift +Rotate
around an object’s default pivot point, the clones
overlap evenly as each one is rotated the same
amount. This is true for multiple objects with a
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.
Shift +Rotate creates a clone with a different orientation. With angle snap (page 2–12) set to divide a circle
evenly, you can produce complex symmetrical
To clone with Shift +Rotate: objects from simple ones. For example, you can
clone a tetrahedron around one axis, then clone
1. Click the Rotate button on the main the new set about another axis to produce a faceted
toolbar. star.
2. Choose a coordinate system, transformation
Local Pivot at a Distance
center, and axis constraint.
3. Make the selection you want to clone. When you separate the local pivot from the
original, clones create a wheel-like arrangement.
4. Hold down the Shift key and drag to rotate
Long shapes like petals or blades, cloned with
the selection. 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
For either single or multiple objects, the selection
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. Shift +Scale creates a clone of a different size.

For a single object, this center is usually different To clone with Shift +Scale:
from its local center, but the effects are similar to
those based on a local pivot. 1. Click a Scale button on the main toolbar.

Coordinate Center 2. Choose a coordinate system, axis constraint,

and transform center.
Using the coordinate center, Shift +Rotate can
3. Make the selection you want to clone.
produce circular arrays of any size.
4. Hold down Shift and drag to scale the
The rotation takes place around the center of the
selection.
home grid, the screen, or whichever coordinate
system you choose. While clones can be created 5. Use the Clone Options dialog to choose the
this way, the process cannot be directly animated. number of clones you want to make and
For details on overcoming this limitation, see whether you want them to be copies, instances,
Animating Shift +Rotate and Shift +Scale (page or references.
1–482).
Effects of Transform Settings
Transform settings determine how 3ds Max
Cloning with Shift +Scale distributes clones of a selection during
Cloning objects while scaling them can produce a Shift +Scale. In all scaling operations, the
variety of nested objects and arrays, depending on transform center acts as the center of scaling:
the center you choose. • 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 choosing Axis Constraints from the Customize
with respect to the transform center. Display right-click menu (page 3–787).

Nested Copies
When the selection center is used as the Animating Shift +Rotate and
transform center for a single object, scaling occurs Shift +Scale
symmetrically around that center, producing When the Auto Key button (page 3–717) is on, the
nested copies. transform center defaults to local pivot, and the
• As you scale in toward the center, smaller and Use Center flyout (page 1–445) on the toolbar is
smaller copies are created. unavailable. If you choose one of the other centers
• In the other direction, the original object is and activate Auto Key, the center returns to the
enclosed by increasingly larger copies. local pivot. This means you can’t directly animate
about a non-local pivot center with Shift +Rotate
Variations are possible, depending on the type and Shift +Scale. For example, you can’t use this
of scale and axis limitations. For example, you method to create clones in an arc or circular array
can scale a flat box into a progressively stepped around a common center.
pyramid by using Squash (page 1–442) and cloning
inward on the Z axis. Using Non-Local Centers

Offset Centers To use a center separate from the object you’re

cloning, you can do any of the following:
For Shift +Scale, any center other than the
• Use a dummy object.
local pivot has the effect of creating an array of
progressively scaled objects. Again, objects scale • Offset the local pivot.
down in size toward the center, while increasing in • Change the default animation center.
size further away. However, this effect is limited by
the particular scale option and the axis constraints, Using a Dummy Object as Center
as discussed next.
In this procedure, you use the axis tripod of the
dummy object as the center for rotation or scale.
Axis Constraints
Uniform Scale is unaffected by axis constraints, To use a dummy object as center:
which you can set with the Transform Gizmo. 1. Create a dummy object (page 2–16) at the center
Copies are always arrayed in or out from the center of rotation or scaling.
of the current coordinate system.
For Non-Uniform Scale and Squash, scaling 2. Link the object or objects you want to
occurs only along the axis or axes set with the clone to the dummy object, which becomes the
restricted axes. parent.
Note: The Restrict To ... buttons (also called the 3. Select both the dummy and the objects,
Axis Constraints buttons) are available on the then transform them with Shift +Rotate or
Axis Constraints toolbar (page 3–687), which is off Shift +Scale.
by default. You can toggle display of this toolbar
by right-clicking an empty area of a toolbar and
 Cloning Objects Over Time with Snapshot 483

• For Shift +Rotate, the dummy’s center 2. In the Animate group, turn off Local Center
becomes the pivot. During Animate.
• For Shift +Scale, the dummy and selected This changes the default and makes all the
objects scale together toward the center of transform center options available when
the dummy. animating. You can now animate around either
the selection or transform coordinate center,
For details of dummy object use in hierarchies, see
as well as local pivot.
Using Dummy Objects (page 2–429).
Note: Changing the default setting animates the
Offsetting the Local Pivot rotation you see in viewports as a rotation plus
translation, which might not be the effect you
In this procedure, you move the object’s pivot to
wanted.
the center of rotation or scale. This works much
like using a dummy object.

To offset the local pivot: Cloning Objects Over Time with

Snapshot
1. Select the object whose pivot you wish to move.
The Snapshot tool (page 1–453) lets you clone an
2. On the Hierarchy command panel, object along its animation path. You can make
choose Pivot and then turn on Affect Pivot a single clone at any frame, or multiple clones
Only. spaced over a selected number of frames.

3. Move the local pivot of the original object to

another location in your scene.
4. On the Hierarchy panel, click Affect Pivot Only
again to turn it off.
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.
Using car models animated along paths, Snapshot creates an
To change the default axis while animating: image of a collision.

In this procedure, you set 3ds Max to allow Snapshot can also clone a particle system’s
animation of transforms about any center on the particles.
Use Center flyout.
Snapshot spaces the clones equally in time.
1. Choose Customize menu > Preferences and Adjustments in Track View let you space the clones
click the Animation tab of the Preference equally along the path instead.
dialog.
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
already be animated. You can use Snapshot from
any frame on the path. The Auto Key button has
no effect on Snapshot, since Snapshot creates
static clones, not animation. This is the general
procedure:

To clone an object with Snapshot:

1. Select an object with an animation path, or
A one-dimensional array
a particle system. The animation can result
from applying transforms, controllers, or any Creating an Array
combination of effects.
This is the general procedure. For more details,
see these topics:
2. On the Array flyout (page 1–448) click
Snapshot, or choose Tools menu > Snapshot to Using the Array Dialog (page 1–485)
display the Snapshot dialog.
Creating Linear Arrays (page 1–487)
Note: The Array flyout is on the Extras toolbar,
which is off by default. You can toggle display of Creating Circular and Spiral Arrays (page 1–489)
this toolbar by right-clicking an empty spot on
To create an array:
the main toolbar and choosing Axis Constraints
from the Customize Display right-click menu 1. Select one or more objects to be in the array.
(page 3–787). 2. Choose a coordinate system and transform
3. Set parameters in the dialog, and click OK. center.

3. Click Array on the Array flyout, or

choose Array (page 1–450) from Tools menu.
The Array dialog appears.
Arraying Objects Note: The Array flyout is on the Extras toolbar,
Array is a dedicated tool for cloning and precisely which is off by default. You can toggle display of
transforming and positioning groups of objects in this toolbar by right-clicking an empty spot on
one or more spatial dimensions. For each of the the main toolbar and choosing Axis Constraints
three transforms (move, rotate, and scale), you from the Customize Display right-click menu
can specify parameters for individual objects in (page 3–787).
the array, or for the array as a whole. Many results
4. Set array parameters on this dialog, then click
you can get with Array would be laborious or
OK.
impossible using Shift +Clone techniques.
 Using the Array Dialog 485

Reuse of Array Settings • To make an array of a hierarchically linked

object, select all the objects in the hierarchy
Generally you should approach Array creation as
before you click Array.
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
Using the Array Dialog
meets your needs. The Array dialog provides two main control areas
where you set the important parameters: Array
After creating an array and checking its result,
Transformation and Array Dimensions.
you can undo the array using Edit menu > Undo
Create Array or Ctrl+Z . This leaves the original You can set parameters in any order, but in practice
selection set in place. it’s useful to start with Array Transformation. This
creates the basic building block for the larger array,
Repeating an Array as defined by Array Dimensions.
When you create an array, object selection moves These topics discuss specific strategies for using
to the last copy or set of copies in the array. By these controls:
simply repeating current settings, you create a
seamless continuation of the original array. Creating Linear Arrays (page 1–487)

During a session, 3ds Max maintains all the dialog Creating Circular and Spiral Arrays (page 1–489)
settings for your current array.
Array settings are saved only during the current
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 See also
for coordinate system and transform center.
Array (page 1–450)
• Axis constraints do not apply, because Array
allows you to specify transforms along all axes.
Array Transformation
• You can animate array creation. By changing
This area lists the active coordinate system
the default Animate preferences setting, you
and transform center. It’s where you set the
can activate all the transform center buttons,
transforms that define the first row of the array.
allowing direct animation around either the
You decide here on the distance, rotation, or scale
selection or coordinate center, as well as local
of individual elements, and along what axes.
pivot. For information about changing the
You then repeat this row in other dimensions to
default setting, see the procedure, To change the
produce the finished array.
default axis while animating (page 1–483).
486 Chapter 7: Creating Copies and Arrays

Move, Rotate, and Scale Transforms array, each object is rotated 30 degrees farther
than the one before it.
You set Move, Rotate, and Scale parameters along
any of the three axes of the current coordinate Totals: Parameters set on this side apply to the
system. overall distance, number or degrees, or percentage
• Move is set in current units. Use a negative scale in the array. Here are examples:
value to create the array in the negative • A Totals Move X setting of 25 specifies a total
direction of the axis. distance of 25 units on the X axis between the
• Rotate is set in degrees. Use a negative value to centers of the first and last arrayed objects.
create the array in a clockwise direction around • A Totals Rotate Z setting of 30 specifies a
the axis. combined rotation of 30 degrees on the Z axis
• Scale is set as a percentage. 100 percent is full divided equally among every object in the array.
size. Settings below 100 decrease the size, and
above 100 increase it. Type of Object
Copy—Creates new array members as copies of
Incremental and Totals the originals.
For each transform, you have the choice of whether Instance—Creates new array members as instances
to apply the transforms successively to each newly of the originals.
created element in the array or to the overall array.
For example, if you set Incremental > X > Move to Reference—Creates new array members as
120.0 and Array Dimensions > 1D > Count to 3, references of the originals.
the result is an array of three objects, each of whose For further information, see Overview of Copies,
transform centers is 120.0 units apart. However, Instances, and References (page 1–472).
if you set Totals > X > Move to 120.0 instead, the
three elements are spaced 40.0 units apart for a Array Dimensions
total array length of 120.0 units.
The Array Dimensions controls determine the
• Click arrows on either side of the transform number of dimensions used in the array and the
labels to choose between Incremental or Totals. spacing between the dimensions.
Incremental and Totals settings are toggles for each Count: The number of objects, rows, or layers in
transform. When you set a value on one side, the each dimension.
other side is unavailable. However, the unavailable
value updates to show the equivalent setting. 1D: One-dimensional arrays form a single line
of objects in 3D space, like a line of columns.
Incremental: Parameters set on this side apply to 1D Count is the number of objects in a row.
individual objects in the array. Here are examples: Spacing for these objects is defined in the Array
• An Incremental Move X setting of 25 specifies Transformation area.
a spacing of 25 units on the X axis between
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
 Creating Linear Arrays 487

A one-dimensional array, with 1D Count=6 A three-dimensional array, with 1D Count=10, 2D Count=6,

3D Count=3
2D: Two-dimensional arrays form a layer of
objects along two dimensions, like the rows of Incremental Row Offsets
squares on a chess board. 2D Count is the number
of rows in the array. These parameters become available when you
choose a 2D or 3D array. These are distances along
any of the three axes of the current coordinate
system.
• If you set a Count value for 2D or 3D, but no row
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
A two-dimensional array, with 1D Count=7 and 2D Count=4 listing of objects in your scene. If objects are
on top of one another and you don’t want this
3D: Three-dimensional arrays form multiple layers effect, click Ctrl+Z to undo the array, and
of objects in 3D space, like neatly stacked boxes. try again.
3D Count is the number of layers in the array.

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
objects or shapes is a candidate for a linear array.
488 Chapter 7: Creating Copies and Arrays

• 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
Examples of linear arrays available. Both Count values are 1 by default,
which has the same effect as 1D. Set the 2D and
For an explanation of interface terms used here,
3D Count values greater than 1 to produce a
see Using the Array Dialog (page 1–485). For
more complex array.
the basic steps in making an array, see Arraying
Objects (page 1–484). • Set a nonzero value for at least one Incremental
Row Offsets setting for 2D and 3D. Otherwise,
Creating Simple Linear Arrays there will be no separation between the 1D row
and the new clones.
The simplest 2D linear array is based on moving
a single object along a single axis. These are the A wide variety of linear arrays are possible.
basic choices to make on the Array dialog. Experiment with moving along all three axes and
varying the row offsets in 2D and 3D.
Make these choices in the Array Transformation
group: Using Rotation in Linear Arrays
• Use Incremental Move settings where you know
the spacing you want between objects.
• Use Totals Move 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
value for one axis. Leave the other transforms
at their default values.
Make these choices in the Array Dimensions
group:
• Choose 1D.
• Enter a Count value for the number of objects Linear array with elements rotated about their Y axis

in the array. The Total In Array field updates You can rotate elements in a linear array by
to show you the current total of objects in the applying a Rotate value for a specified axis. When
array you are designing.
 Creating Circular and Spiral Arrays 489

you add rotation to a linear array, the choice of If you turn on Uniform, only the Scale X field is
transform center becomes important. active; the Y and Z fields are unavailable. The X
value is applied as uniform scaling on all axes of
Using Scale in Linear Arrays 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
around a common center. The effects can vary
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
Linear array with progressive scaling
center for the arrayed objects. This can be the
When you apply a Scale factor, 3ds Max scales world center, the center of a custom grid object, or
each copy from the previous copy. Objects in the the center of the object group itself. You can also
array become progressively smaller or larger, as move the pivot point of an individual object and
in the illustration. use that as the common center.

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
them at the same time.

Using Uniform Scaling

By default, all axes are available for scaling.
490 Chapter 7: Creating Copies and Arrays

Circular Arrays This is the total rotation for the array, a

complete circle. To create a partial circle, enter
a smaller value.
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

A circular array

Circular arrays are similar to linear arrays, but

based on rotation around a common center rather
than movement along an axis. The following
procedure makes a circle of objects on the XY
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 A spiral array
to become the center of the array. In this case,
The simplest spiral arrays are rotated circular
choose Use Transform Coordinate Center so
arrays with a movement along the central axis.
the center of the grid becomes the array center.
The same circle is formed, but now the circle rises
2. Select an object and position it at some distance upward.
from the center of the grid.
If Z is the central axis, enter a value for Incremental
This distance is the radius of the finished circle. Move Z. Each clone is then moved upward this
amount as the circle is formed.
3. Choose Array from the Array flyout or
the Tools menu to display the Array dialog. Rotation in Spiral Arrays
Note: The Array flyout is on the Extras toolbar, In spiral arrays, the direction of rotation
which is off by default. You can toggle display determines the direction of the spiral: which way
of this toolbar by right-clicking the main it winds up or down.
toolbar and choosing Axis Constraints from
the Customize Display right-click menu (page Enter a positive rotation for a counterclockwise
3–787). spiral.

4. On the Array dialog, enter 360 in the Totals Enter a negative rotation for a clockwise spiral.
Rotate Z field.
 Mirroring Objects 491

Reorienting an Array Mirrored Arrays

By default, each object, when copied into the You can combine the Mirror and Array tools by
array, rotates around its own center to follow the using them in succession. An entire array can
main rotation around the common center. This is be mirrored, or you can set up mirrored objects
controlled by the Re-Orient option. before creating an array.
To cause objects to maintain their original
Animating Mirror
orientation while being rotated, turn off
Re-Orient. In effect, objects remain "facing the When you use Mirror with Auto Key turned on,
same direction" as the original object. 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
Mirroring Objects reshape itself. The object is, in fact, scaled from
100% to 0% to –100%. This effect is not visible
The Mirror tool uses a dialog that either creates a
unless the mirror operation is animated.
mirrored clone of a selected object, or mirrors the
orientation of the object without creating a clone.
Mirror Modifier
You can preview the effects of settings before
committing to the operation. 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
Mirroring an object selected object. You define a path by picking a
spline or two points and by setting a number of
This is the general procedure for mirroring an parameters. You can also specify how the spacing
object. Begin by selecting the object. between objects is determined and whether the
insertion points of the objects align to the tangent
• Click the Mirror button on the main of the spline.
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).
492 Chapter 7: Creating Copies and Arrays

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
The Spacing Tool distributes the vases along the sides of the bounding box.
curved street. The vases are all at the same distance from each
other; fewer of them appear on the shorter side. • Centers specifies that spacing be determined
from the center of each object’s bounding
For details on the Spacing Tool parameters, see
box.
Spacing Tool (page 1–455).
8. To align the insertion points of the distributed
To distribute objects along a path: objects to the tangent of the spline, turn on
1. Select one or more objects to distribute.
Follow.
9. In the Type Of Object group, choose the type of
object to output (copy, instance, or reference)
2. Choose Spacing tool from the Array
and click Apply.
flyout or the Tools menu.
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 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,
3ds Max deletes this spline.
4. From the drop-down list at the bottom of the
Parameters group, choose a spacing option.
Modifiers

Modifiers provide a way for you to sculpt and • You can move and copy modifiers to other
edit objects. They can change the geometry of an objects using controls in the modifier stack
object, and its properties. display (page 3–760).
• The order or sequence in which you add
modifiers is important. Each modifier affects
those that come after it. For instance, adding a
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)

Example: effects of the Twist modifier on an object How Modifiers Differ from Transforms
The modifiers you apply to an object are stored Modifiers and transforms differ in how they affect
in a stack (page 3–973). By navigating up and an object and the order in which they are applied
down the stack, you can change the effect of the to an object.
modifier, or remove it from the object. Or you
can choose to “collapse” the stack and make your Transforms
changes permanent.
The transform is the most basic of 3D
There are other general things to know about using manipulations. Unlike most modifiers, transforms
modifiers: are independent of an object’s internal structure,
• You can apply an unlimited number of and they always act in world space (page 3–1036).
modifiers to an object or part of an object. An object can carry any number of modifiers, but
it always has only a single set of transforms.
• When you delete a modifier, all its changes to
the object disappear.
494 Chapter 8: Modifiers

The transforms of an object are expressed as Modifiers

a matrix of values that contain the following
Most modifiers allow you to perform operations
information:
on the internal structure of an object in object
• Position of the object center in world space space (page 3–982). For example, when you apply
• Rotation of the object in world space a modifier such as Twist (page 1–876) to a mesh
object, the position of each vertex of the object is
• Scale of the object along its local axes
changed in object space to produce the twisting
The matrix is called the transformation matrix, and effect.
its information relates directly to the transforms
Modifiers can operate at the sub-object level, and
Move, Rotate, and Scale. Applying one of these
are dependent on the internal structure of the
transforms alters the values in the transformation
object when the modifier is applied.
matrix.
Modifiers have the following properties. They are:
Transforms have the following properties. They
are: • Applied to all of an object or part of an object
(using a sub-object selection).
• Applied to the entire object.
• Dependent on the order of application.
• Independent of their order of application. No
Applying a Bend followed by a Twist produces a
matter how many times you transform an
result different from applying a Twist followed
object, the results are stored as one set of values
by a Bend.
in the matrix.
• Displayed as individual entries in the modifier
• Applied after all object-space modifiers have
stack, where you can turn them on or off, and
been evaluated, but before the world-space
change the order in which they’re applied.
modifiers. See Using the Modifier Stack (page
1–502). Some modifiers operate in world space. These
use world-space coordinates, and are applied to
Most transforms produce equal displacement
the object after all object-space modifiers and
along one or more axes of an object, or part
transforms have been applied. Otherwise, they
of an object. For Move (page 1–439), Rotate
have the same overall properties as object-space
(page 1–439), and Uniform Scale (page 1–441)
modifiers.
transforms, the displacement is equal along all
three axes. When you rotate a box, all sides remain
parallel. In general, all vertices keep the same
Transforms, Modifiers, and Object
relative position to one another. The exceptions
are Squash (page 1–442) and Non-Uniform Scale
Data Flow
(page 1–441), which displace axes by different Once you have defined an object, 3ds Max
amounts. evaluates changes affecting the base object and
Tip: Use the XForm modifier (page 1–959) if you displays the result in the scene. What these changes
want to transform an object at a specific location are, and the order in which they are evaluated, is
in the stack (that is, after some object-space called the object data flow.
modifiers but before others), or if you want to
transform a sub-object selection. See Modifying at
the Sub-Object Level (page 1–506).
 Transforms, Modifiers, and Object Data Flow 495

Diagram of data flow Object creation parameters in the Modify panel and Track View

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
always the result of at least the following data flow:
Master Object
-> Object Transforms
-> Object Properties

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

The effect of transforms is independent of the

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).

Object modifiers in the Modify panel and Track View

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 space warp (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.
The effect of modifiers on a master object. Like space warps, world-space modifiers (page
1–512) are evaluated after transforms. A
Object Transforms world-space modifier is like a space warp bound
to a single object.
Once the modified object has been evaluated, it is
transformed within the world coordinate system.
Object Properties
Transforms cover the position, rotation, and scale
changes applied from the transform buttons on Object properties are the last to be evaluated
the toolbar. before the object is displayed. These are values
specific to an object such as its name or settings
The method of evaluating all modifiers first and
you specify on the Object Properties dialog (page
then evaluating the combined transforms has
ramifications for the way you work with 3ds Max.
 List of Available Modifiers 497

1–117), such as shadow-casting properties; and Camera Map Modifier (World Space) (page 1–513)
materials you have applied to the object.
Cap Holes Modifier (page 1–569)
This is the end of the data flow, and the result is the
Cloth Modifier (page 1–578)
named object you see in your scene.
CrossSection Modifier (page 1–623)
Right-click an object and choose Properties to
display its Object Properties dialog. 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)
Object Properties affect the look of an object’s rendered output.
Edit Patch Modifier (page 1–638)
Edit Poly Modifier (page 1–640)
List of Available Modifiers
Edit Spline Modifier (page 1–680)
Following is a list of the modifiers, listed in
alphabetical order. Extrude Modifier (page 1–680)

Note: The availability of certain modifiers depends Face Extrude Modifier (page 1–682)
on the current selection. For example, Bevel FFD (Free-Form Deformation) Modifiers (page
and Bevel Profile appear in the Modifier List 1–683)
drop-down menu only when a shape or spline
object is selected. For the conditions under FFD (Free-Form Deformation) (Box/Cyl) Modifier
which a specific modifier is available, see the path (page 1–685)
annotation at the top of the modifier’s topic in this FFD (Free-Form Deformation) Select Modifier
reference. (page 1–689)
Affect Region Modifier (page 1–557) Fillet/Chamfer Modifier (page 1–689)
Attribute Holder Modifier (page 1–559) Flex Modifier (page 1–691)
Bend Modifier (page 1–560) Garment Maker Modifier (page 1–607)
Bevel Modifier (page 1–562) Hair And Fur Modifier (page 1–516)
Bevel Profile Modifier (page 1–565) HSDS Modifier (page 1–701)
Camera Map Modifier (Object Space) (page 1–567)
498 Chapter 8: Modifiers

Lathe Modifier (page 1–707) Preserve Modifier (page 1–766)

Lattice Modifier (page 1–709) Projection Modifier (page 1–769)
Linked XForm Modifier (page 1–712) Projection Holder Modifier (page 1–778)
LS Colors Modifier (World Space) (page 1–550) Push Modifier (page 1–779)
LS Mesh Modifier (page 1–713) Relax Modifier (page 1–779)
MapScaler Modifier (Object Space) (page 1–713) Renderable Spline Modifier (page 1–781)
MapScaler Modifier (World Space) (page 1–551) Ripple Modifier (page 1–783)
Material Modifier (page 1–714) Select By Channel Modifier (page 1–785)
MaterialByElement Modifier (page 1–716) Shell Modifier (page 1–785)
Melt Modifier (page 1–717) Skew Modifier (page 1–790)
Mesh Select Modifier (page 1–719) Skin Modifier (page 1–791)
MeshSmooth Modifier (page 1–722) Skin Morph Modifier (page 1–812)
Mirror Modifier (page 1–728) Skin Wrap Modifier (page 1–818)
Morpher Modifier (page 1–729) Skin Wrap Patch Modifier (page 1–824)
MultiRes Modifier (page 1–739) Slice Modifier (page 1–825)
Noise Modifier (page 1–743) Smooth Modifier (page 1–828)
Normal Modifier (page 1–746) Spherify Modifier (page 1–829)
NSurf Sel Modifier (page 1–747) Spline IK Control Modifier (page 1–830)
Normalize Spline Modifier (page 1–747) Spline Select Modifier (page 1–831)
Optimize Modifier (page 1–748) Squeeze Modifier (page 1–833)
PatchDeform Modifier (World Space) (page 1–552) STL Check Modifier (page 1–834)
PathDeform Modifier (World Space) (page 1–552) Stretch Modifier (page 1–836)
PatchDeform Modifier (page 1–754) Subdivide Modifier (page 1–839)
Patch Select Modifier (page 1–751) Substitute Modifier (page 1–840)
PathDeform Modifier (page 1–755) Surface Mapper Modifier (World Space) (page
1–556)
Physique Modifier (page 2–1106)
Surface Modifier (page 1–842)
Point Cache Modifier (page 1–758)
SurfDeform Modifier (page 1–848)
Point Cache Modifier (World Space) (page 1–555)
SurfDeform Modifier (World Space) (page 1–557)
Poly Select Modifier (page 1–762)
 Using Modifiers 499

Sweep Modifier (page 1–848) Edit Modifiers and Editable Objects (page 1–506)
Symmetry Modifier (page 1–861) Modifying at the Sub-Object Level (page 1–506)
Taper Modifier (page 1–863) Using the Stack at the Sub-Object Level (page
1–508)
Tessellate Modifier (page 1–865)
Modifying Multiple Objects (page 1–509)
Trim/Extend Modifier (page 1–866)
How Instanced Modifiers Work (page 1–511)
TurboSmooth Modifier (page 1–868)
Turn To Mesh Modifier (page 1–871)
Turn To Patch Modifier (page 1–873)
Using the Modify Panel
After adding objects to your scene from the Create
Turn To Poly Modifier (page 1–874)
panel, you often move to the Modify panel to
Twist Modifier (page 1–876) change an object’s original creation parameters
and to apply modifiers. Modifiers are the basic
Unwrap UVW Modifier (page 1–878)
tools for reshaping and adjusting primitive
UVW Map Modifier (page 1–922) geometry.
UVW Mapping Add Modifier (page 1–933) Note: You can float (page 3–930) or dismiss the
command panel using the Customize Display
UVW Mapping Clear Modifier (page 1–933)
right-click menu (page 3–787). The default setting
UVW XForm Modifier (page 1–934) is to display the command panel docked at the
right of your screen. If it is not displayed or you
VertexPaint Modifier (page 1–936)
want to change its location and docking or floating
Vertex Weld Modifier (page 1–935) status, right-click in a blank area on any toolbar,
and choose from the shortcut menu.
Volume Select Modifier (page 1–952)
The Modify panel stays in view until you click
Wave Modifier (page 1–957)
another command panel tab. The panel updates to
XForm Modifier (page 1–959) show the options and controls that are available for
the currently selected object or modifier.

Procedures
To use the Modify panel:
Using Modifiers 1. Select an object in your scene.
This section contains a number of topics intended
to help you learn how to use modifiers and the 2. Click the Modify tab to display the
Modify panel. These include: Modify panel.
Using the Modify Panel (page 1–499) The name of the selected object appears at the
Using the Modifier Stack (page 1–502) top of the Modify panel, and fields change to
match this object.
Editing the Stack (page 1–504)
500 Chapter 8: Modifiers

The objects creation parameters appear in Not all modifiers appear on the Modifiers
rollouts on the Modify panel, below the menu.
modifier stack display. You can use these • If the modifier buttons are visible on the
rollouts to change the creation parameters for Modify panel and the modifier you want is
an object. As you change them, the object one of them, click the button.
updates in the viewports.
3. Apply a modifier to an object (described in the If the buttons are not visible but
next procedure). you want to use them, click the Configure
Modifier Sets button (page 3–772) (below
After you apply a modifier, it becomes active,
the modifier stack display) and choose
and rollouts below the modifier stack display
Show Buttons. A set of buttons with the
settings specific to the active modifier.
names of modifiers appears between the
To apply a modifier to an object: modifier list and the stack display. Click
Configure Modifier Sets again, choose
1. Select the object.
the set of modifiers you want to use (for
2. Do one of the following: example, Free-Form Deformations), and
• Choose a modifier from the Modifier List. then click the button for the modifier you
This is a drop-down list at the top of the want to apply.
Modify panel. Rollouts are now displayed below the modifier
Tip: You can use the mouse or keyboard to stack display, showing settings for the modifier.
choose a modifier from the Modifier List. As you change these settings, the object updates
To use the keyboard, first open the list with in viewports.
the mouse, and then type the first letter in
To drag a modifier to an object:
the modifier’s name. From there you can
use the arrow keys or the method described 1. Select an object that already has a modifier you
in the following paragraph to highlight the would like to use on another object.
desired modifier, and then press Enter to 2. To copy the modifier without instancing it,
assign the modifier. drag the modifier’s name from the stack display
In many cases, several modifier names to the object in a viewport that you want to
start with the same letter. You can go use the same modifier. To move the modifier,
directly to a particular modifier if you type use Shift +drag; this removes it from the
the first few letters (enough for a unique original object and applying it to the new one.
combination) in the desired modifier’s To instance the modifier, use Ctrl +drag; this
name quickly. For example, say you want creates an instanced modifier applied to both
to assign the Mirror modifier to an object. the original object and the new one.
Pressing M goes to Mesh Select, which isn’t Note: Instancing a modifier causes its name to
anywhere near Mirror in the Modifier list, be displayed in italics in the modifier stack.
but typing MI goes directly to Mirror. This indicates that the modifier is instanced,
• Choose a modifier from the Modifiers meaning that a change to the modifier
menu. This menu is organized into sets by parameters of one object will affect the other.
functionality.
 Using the Modify Panel 501

Using Modifiers move, scale, and rotate the gizmo as you would
any object.
Once you’ve applied modifiers to an object, you
can use the Modifier Stack (page 3–760) to find a Center—The center is the modifier’s pivot point
particular modifier, change its parameters, edit its (page 3–995). You can move a modifier’s center,
sequence in the modifier stack, copy its settings to which alters the effect of the modifier on the object.
another object, or delete it entirely.
Parametric Deformations and Other Modifier
You can find a complete, alphabetical list of
Types
modifiers in List of Available Modifiers (page
1–497). One set of object-space modifiers is known as
parametric deformations (“parametric deforms”
General Guidelines on the Modifiers menu). Twist (page 1–876) and
Bend (page 1–560) are examples. Parametric
You can generally do the following with the Modify
deformations alter the selection passed to them
panel:
without explicitly depending on topology.
• Modify anything you can select. This includes
any object or set of objects, or any part of Many other types of modifiers, however, perform
an object down to the sub-object level. For operations on the explicit topology of sub-object
example, you can use the Mesh Select modifier selections. The Edit modifiers and Select modifiers
to select a single face, then apply a Taper are examples. When a topology-dependent
modifier to it. modifier is present on the stack, you can adversely
affect its results if you visit previous stack
• Apply an unlimited number of modifiers to an operations and change the number or order of
object or part of an object. sub-objects (such as faces or vertices) in the
The order or sequence in which you make selection. If you try to do this, a warning alerts
modifications is important. Each modification you to the situation.
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). You can safely edit the stack beneath the
The most common of these are a gizmo and a topology-dependent modifier, as long as you do
center. not add or remove sub-objects from the selection
on which it operates.
Gizmo—Displays in viewports as a wireframe that
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
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 • At the bottom of the stack, the first entry always
or center. lists the object type (in this case, Capsule). You
click this entry to display the original object
• Delete modifiers.
creation parameters so you can adjust them. If
you haven’t applied any modifiers yet, this is the
See also only entry in the stack.
Editing the Stack (page 1–504) • Object-space modifiers appear above the object
Modifier Stack Controls (page 3–760) type. You click a modifier entry to display the
modifier’s parameters so you can adjust them,
Modifier Stack Right-Click Menu (page 3–766) or to delete the modifier.

Examining the Modifier Stack Modifiers are preceded by a plus or minus

icon if they have sub-object (or sub-modifier)
The modifier stack (or "stack" for short) is a list levels. See Using the Stack at Sub-Object Level
on the Modify panel. It contains the accumulated (page 1–508).
history of a selected object and any modifiers you
have applied to it. • At the top of the stack are world-space modifiers
and space warps bound to the object. (In the
Internally, the software "evaluates" an object illustration, Displace Mesh is a world-space
beginning at the bottom of the stack and applies modifier.) These always appear at the top, and
changes to the object by moving sequentially to are described as "bindings."
the top of the stack. You should therefore "read"
the stack from bottom up to follow the sequence Basics of Using the Stack
used by the software in displaying or rendering
With the stack feature, no modification has to be
the final object.
permanent. By clicking an entry in the stack, you
Here is an example of stack entries for a capsule can go back to the point where you made that
object (an extended primitive): 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

You can apply any number of modifiers to an
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.
Results of reversing stack order of two modifiers
• The program inserts a new modifier in the stack
just above the current selection, but always Using the Buttons
in the proper location. If you try to insert a
world-space modifier between two object-space The Modifier Stack rollout has the following
modifiers, the program automatically places it buttons to help you manage the stack:
at the top of the stack.
Pin Stack—Locks the stack and all Modify
• If you select the object type on the stack and
apply a new object-space modifier, it appears panel controls to the selected object’s stack. You
just above the object type and becomes the first can continue to edit the object even if you select a
modifier evaluated. different object in the viewports.

Effect of Stack Sequence Show End Result—When on, shows the effect
of the entire stack on the selected object. When
The software applies modifiers in their stack
off, shows the effect of the stack only up to the
order (beginning at the bottom and carrying
currently highlighted modifier.
the cumulative change upward), so a modifier’s
location in the stack can be critical.
Make Unique—Makes an instanced object
The following figure shows the difference between unique, or an instanced modifier unique to a
the objects based entirely on a reversal in the stack selected object. See details in Editing the Stack
order of two modifiers. On the left-hand tube, a (page 1–504). This option is also available from
Taper modifier is applied before a Bend modifier, the Modifier Stack right-click menu (page 3–766).
and on the right-hand tube, the Bend is applied
first.
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

for object-space types, the paste occurs at the

Editing the Stack top of the world-space section. The reverse is
You can copy, cut, and paste modifiers within an also true.
object’s stack, or into the stacks of other objects.
Unique and Instanced Modifiers
Among other features, you can give modifiers
explicit names to help you remember the intended By default, pasted modifiers are unique: they lose
effect. all connection with the modifier from which they
were copied. Compare with an instanced modifier,
To edit the stack: which is shared between two or more objects.
1. Choose an item in the stack. Changing a parameter on an instanced modifier
automatically changes the same parameter on the
2. Right-click.
other instanced objects.
This displays the Modifier Stack right-click
menu (page 3–766), which is briefly introduced To create an instance of a modifier:
in this topic. • After copying or cutting the modifier,
right-click and choose Paste Instanced.
Rearranging and Sharing Modifiers
In the stack, the name of an instanced modifier
To rearrange modifiers:
appears in italics.
The easiest way to move a modifier to a different
Any instance of a modifier controls all other
location in the stack is simply to drag it there.
instances. Use this feature when you want a
Alternatively, you can use the following cut/copy
number of objects to take on the same feature.
and paste procedure.
1. Choose one or more modifiers, right-click, and For example, copying an instanced Bend modifier
choose Copy or Cut. (page 1–560) to a number of trees would make
them all bend identically. Changing Bend
2. Choose a new location in the list, right-click,
parameters on any one tree would change the bend
and choose Paste. The paste occurs immediately
on all the others.
above the new location.
To remove the instancing from a modifier:
To share modifiers with other objects:
1. Choose one or more modifiers, right-click, and • Select the instanced modifier and click
choose Copy. Make Unique. This converts the modifier from
2. Select a different object or group of objects. instanced to unique.

3. Choose a location in the new stack, right-click, Using Make Unique with Multiple Items
and choose Paste.
Assume you have a group of trees all sharing the
You can also drag from the modifier stack
same instanced Bend modifier. If you select two
display to an object in a viewport.
of them and click Make Unique (page 3–770), a
Tip: Select world-space and object-space message asks, "Do you want to make the selected
modifiers separately. Cut, Copy, and Paste are objects unique with respect to each other?"
disabled if both types are selected. If you try to
paste a world-space modifier into the section
 Editing the Stack 505

• If you click Yes, the two trees become To collapse the stack:
independent of one another. Each has a unique 1. Right-click the modifier stack display.
copy of the modifier and can be bent separately.
2. If modifiers have been applied to the object,
• If you click No, the two trees continue to share choose Collapse To or Collapse All.
the same instanced modifier, but separately
Collapse To—Collapses the stack, up to and
from the instance in the original group. The
two trees can be bent together. including the chosen modifier, into an editable
object. Modifiers on the stack above the chosen
See How Instanced Modifiers Work (page 1–511). modifier are not affected, and you can still
adjust them individually.
Collapsing the Stack
The resultant object type depends on the
You can use Collapse All or Collapse To to collapse uppermost modifier that outputs a specific
all or part, respectively, of an object’s stack to an geometry type, if any. If the stack contains no
editable object that preserves the cumulative effect such modifier, the result is an editable mesh
of the collapsed modifiers on the base object. You (page 1–996). If the collapsed portion of the
might choose to do this in these cases: stack contains a modifier that outputs a specific
• You’ve finished modifying an object and want geometry type, and no other such modifier is
to keep it as is. above it, the result is that type of object. For
example, if the topmost such collapsed modifier
• You want to discard an object’s animation
is Edit Poly, the resultant object is Editable Poly.
tracks. Alternatively, you can Alt +right-click
a selected object and choose Delete Selected Collapse All—Collapses the entire stack into
Animation. an editable object, other than world-space
bindings. Any world-space bindings on the
• You want to simplify a scene and save some
stack are left intact.
memory.
The resulting stack list shows a single entry:
Note: In most cases, collapsing all or part of the
Editable Mesh, unless any modifiers on the
stack will save memory. However, collapsing some
stack output a different type of geometry. For
modifiers, such as Bevel, increases file size and
example, if the topmost such modifier is Edit
memory use.
Poly, the resultant object is Editable Poly.
After you collapse an object’s stack, you can no If no modifiers are applied to the object, choose
longer parametrically adjust either its creation one of the Convert To options:
parameters or the individual modifiers affected by
• Editable Mesh
the collapse. Animation tracks that were assigned
to such parameters also disappear. • Editable Spline
Collapsing the stack does not affect the object’s • Editable Patch
transforms; it affects world-space bindings only if • Editable Poly
you use Collapse To. Collapsing the stack does not
• NURBS
save memory if the stack contains no modifiers.
Note: Depending on the object type, not all
Tip: Before you use either Collapse option, use File
Convert To options might be available.
menu > Save Selected to preserve a copy of the
original parametric object.
506 Chapter 8: Modifiers

Editable Spline (page 1–289)

Edit Modifiers and Editable
Editable Patch Surface (page 1–968)
Objects
To apply an Edit modifier, see any of the following
To achieve highly detailed modeling effects, you
topics:
can directly transform, modify, and align the
geometry of objects at a sub-object level (page Edit Mesh Modifier (page 1–634)
3–1017), using the Modify panel (page 3–758). The
Edit Spline Modifier (page 1–680)
following table shows the different object types
and their respective sub-objects. Edit Patch Modifier (page 1–638)

Object Type Sub-Object Geometry To apply a Select modifier, see the following topics:
Mesh Vertex, Edge, Face, Polygon, Element Mesh Select Modifier (page 1–719)
Poly Vertex, Edge, Border, Polygon, Element Poly Select Modifier (page 1–762)
Spline Vertex, Segment, Spline
Spline Select Modifier (page 1–831)
Patch Surface Vertex, Edge, Patch, Element, Handle
Volume Select Modifier (page 1–952)
NURBS Curve Curve CV or Point, Curve
NURBS Surface Surface CV or Point, Surface Patch Select Modifier (page 1–751)

With the exception of NURBS, to gain access to an

object’s sub-objects, in most cases you must first Modifying at the Sub-Object Level
either convert the object into an editable object, To achieve highly detailed modeling effects, you
or apply any of various modifiers to the object, can directly transform, modify, and align the
such as Edit Mesh/Spline/Patch or Mesh/Spline geometry of objects at the sub-object level (page
Select. The Select modifiers simply let you specify 3–1017).
sub-objects for modification by subsequently
applied modifiers. The distinctions between Sub-objects are the pieces that make up objects,
transforming an object into an editable object and such as vertices and faces. You can also access
applying an Edit modifier to it are as follows: and transform the sub-object components of
modifiers.
Method Advantage Disadvantage
The particular geometry available at sub-object
Editable object More efficient Lose creation
parameters level depends on the object type. See Edit Modifiers
Can animate
sub-objects and Editable Objects (page 1–506) for details on
each object type.
Edit/Select Keep creation Less efficient
modifier parameters
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)
 Modifying at the Sub-Object Level 507

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:
for example, Vertex, Face, or Edge. 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
selection highlights in red.
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
In a row of column sub-objects, a single column has been Twist, for example) to perform useful modeling
modified at the sub-object level. operations.
• Bind a space warp (page 2–55) to the selection.
Making a Sub-Object Selection The rest of the object is unaffected by the
These are the general steps in setting up an warping.
object for sub-object selection. See Edit Modifiers • Use the toolbar commands Align (page 1–462),
and Editable Objects (page 1–506) for more Normal Align (page 1–465), and Align To View
information. (page 1–468) with face selections.
1. Convert the object into an editable object such
as an editable mesh, editable spline, editable Transforming a Sub-Object Selection
poly, and so on. (Some modifiers you can apply Using an editable mesh, poly, patch, or spline, you
to the object, such as Edit Mesh, Mesh Select or can directly transform any sub-object selection.
Spline Select, also have sub-object levels.) However, “Select” modifiers like Mesh Select (page
Tip: Work in a wireframe viewport so you can 1–719) and Spline Select (page 1–831) enable only
see the geometry. selection.
2. On the modifier stack display, click the
plus icon to the left of the name of the modifier
or editable object. This expands the object’s
508 Chapter 8: Modifiers

To transform a sub-object selection made with a Working at Two Levels

Select modifier:
When you select an object and apply modifiers
1. Add an XForm modifier (page 1–959) to the (for example, Bend and Taper), you’re working
stack, following (or somewhere above) the with the object as a single unit, or "whole object",
Select modifier. at the object level.
2. In the stack, open the Select modifier and make
When you make a sub-object selection, the stack
a sub-object selection. display changes to show you are no longer working
3. Choose XForm in the stack. You then transform with the whole object. Consider the effect of a
the XForm gizmo, which applies the transform Mesh Select applied between Bend and Taper
to the selection. modifiers (Bend is below Taper). To the right of
the Mesh Select and Taper modifiers, a sub-object
Selecting and Transforming Modifier icon (similar to the sub-object button in the
Components Selection rollout) appears to show that sub-object
Most modifiers have sub-object components, selection is now in effect.
such as a gizmo and center. Like sub-object The vertex sub-object selection made at the Mesh
geometry, these components can be accessed Select level is passed up the stack to the Taper
and transformed at sub-object level, directly modifier. This means the Taper modifier is applied
modifying the object’s shape. only to the vertices selected at the Mesh Select
Other modifiers, like those for free-form level.
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 Sub-object icon (in this case, for Vertex) to the right of modifier
names in the stack display
Level
Sub-object selection carries upward through the
With editable objects such as meshes and splines,
stack. If you add more modifiers, each shows the
or modifiers with sub-object levels such as Mesh
sub-object icon to indicate this state.
Select and Spline Select, you can continue to model
a single sub-object selection by applying any By learning to "read the stack," you can move back
number of other modifiers. When you go back and and forth between the object and sub-object levels
change the original selection, the new selection is while you work on an object.
"passed up the stack" to the modifiers that follow.
Returning to Whole-Object Level
Editable meshes and splines have "built-in"
sub-object selection at their base level. But the When you finish modeling a certain sub-object
selections you make with Mesh Select and Spline selection, you can return to work on the whole
Select work exactly the same way on the stack. object.

This topic uses meshes for its examples. You

can apply the same concepts to editable splines,
patches, and poly objects.
 Modifying Multiple Objects 509

To return the stack to object level: 2. In the Selection rollout, click Copy. From the
1. At any point in the stack, apply another Mesh dialog, choose any available named selection
Select modifier. set for that level of geometry.

2. Leave this Mesh Select modifier at the top level 3. Go to another Select modifier or to an editable
(the object level, which highlights in gray). mesh or poly, at the same level of geometry.
Any modifiers already on the stack above this Click Paste to complete the copy.
modifier no longer show the sub-object icon.
Any modifiers you add above the second Mesh
Select now apply to the whole object. Modifying Multiple Objects
3. To continue sending the sub-object selection You can apply modifiers to multiple objects.
up the stack, delete the second Mesh Select. In general, the process is parallel to modifying
a single object. You make a selection set and
Naming Sub-Object Selections apply an available modifier. The modifier then
appears on a special stack that refers only to the
Sub-object selections are often quite complex,
commonality of that selection set.
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.
Top: Original objects
To copy/paste named sub-object selections:
Bottom: Single modifier applied to objects
1. Make a sub-object selection.
510 Chapter 8: Modifiers

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
Original objects 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).
Single modifier applied to all objects
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
Use Pivot Points. This toggle is unavailable unless
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.
Single modifier applied with Use Pivot Points turned on
• 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, Objects sharing a single instanced modifier
each object receives an identical version of the
modifier. These are called instanced modifiers. Identifying Instanced Modifiers
They are interchangeable. A change to any one of
the instances affects all the other instances. How You can quickly lose track of which objects share
Instanced Modifiers Work (page 1–511) covers the same modifier. An option on the Views menu
instanced modifiers in detail. highlights those objects.

Tip: Sometimes you might apply modifiers to a To identify objects sharing instanced modifiers:
selection set, perform some other operations, and
1. Select an object with an instanced modifier.
select the set again, only to find its modifier stack
Choose the instanced modifier in its stack.
is empty. This happens if you applied another
modifier to an individual object in the original 2. Choose Views menu > Show Dependencies.
selection set. When you select the set again, the Other objects with instances of the same
modifier stack is empty because all members of the modifier appear in a distinctive color (purple
set no longer have all modifiers in common. You by default).
can still access the instanced modifiers by selecting
a single object in the set. The individual object’s Adjusting Instanced Modifiers
stacks still contain the modifiers you applied to You can make changes to an entire set of objects
the set as a whole. from a single instance. This is a major advantage
of instanced modifiers.

How Instanced Modifiers Work To adjust instanced modifiers:

When you apply a modifier to a selection set, the 1. Select any object in a set of objects with
same modifier is carried on the stack for each instances of the same modifier.
individual object. These are instanced modifiers: 2. Choose the instanced modifier in its stack.
they are all exactly the same, and a change to the
The single object highlights and the appropriate
instance for any one object will change all the
gizmos appear for the entire selection set.
others.
Adjustments to this modifier now affect the
In the stack, the name of an instanced modifier entire set.
appears in italic.
512 Chapter 8: Modifiers

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.

Changing the parameter of an instanced modifier for one 4. Click Yes to make the two objects become
object affects all the objects sharing the modifier. independent of one another. Click No for
the two objects to continue to share the same
Making Instanced Modifiers Unique instanced modifier, but separate from the
At some point in your work, you might want instance in the original group.
to turn a modifier instance into a local copy The parameters for this modifier disappear,
that affects only a single object. To do so, click because the objects no longer share the
Make Unique (page 3–770) on the Modify panel. modifier. For each object, the modifier is now
This button appears beneath the modifier stack separate from the set of instanced modifiers.
display. (Make Unique is also available as a pop-up
menu choice when you right-click the instanced As with a single object, the parameters and gizmo
modifier’s name in the stack display.) are unchanged in the now unique modifiers.
• To access the unique modifiers, select the
To make an instanced modifier unique: objects individually.
1. Select an object with an instanced modifier. Note: If both the object and the modifier are
2. Choose the instanced modifier in its stack. instances, you can choose either in the stack
before you click Make Unique.
3. Click Make Unique beneath the modifier
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 World-Space Modifiers
instanced modifiers. Adjustments you make World-space modifiers act as object-specific
to this modifier no longer affect other objects. space warps. They are carried with the object,
Its parameters and gizmo remain unchanged but like space warps use world space (page
from their original, instanced settings until you 3–1036) rather than object space for their effects.
adjust them. 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 the background as you apply to the object, the
standard object-space modifier. You can access object is invisible in the rendered scene.
world-space modifiers from the Modifiers
The main difference between the world-space
menu, the Modifier List in the Modify panel,
version of Camera Map and the object-space
and applicable modifier sets (page 3–771). A
version is that, when you move the camera or the
world-space modifier is indicated by either
object using the object-space version, the object
an asterisk or the letters “WSM” next to its
becomes visible, because the UVW coordinates are
name. (The asterisk or “WSM” distinguishes the
fixed to the object’s local coordinates. When you
world-space version from the object-space version
move the camera or object using the world-space
of the same modifier, if one exists.)
version, the object remains invisible because world
When you assign a world-space modifier to an coordinates are used instead.
object, it appears at the top of the modifier stack,
listed as a binding, in the same area as the space Interface
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 1 provided PathDeform and MapScaler
space warps. In subsequent versions, these were
replaced by comparable world-space modifiers.
When you open a v1 MAX file in a later version
of 3ds Max, objects bound to the v1 space warps
are automatically assigned the corresponding Current Camera Object group
world-space modifiers.
Label—Names the current camera used for
mapping. If there is no current camera, reads
Camera Map Modifier (World "None."
Space) Pick Camera—Click this button, and then select the
camera you want used for mapping.
Modify panel > Select an object. > Modifier List >
World-Space Modifiers > * Camera Map
Channel group
Select an object. > Modifiers menu > UV Coordinates > *
Camera Map Map Channel—Specifies use of a map channel (page
3–966). Map channels are specified in the Material
The Camera Map world-space modifier is similar Editor (page 2–1409).
to the Camera Map modifier (page 1–567), in that
Vertex Color Channel—Specifies use of the Vertex
it applies UVW mapping coordinates to the object
based on a specified camera. As a result, if you Color Channel (see UVW Map Modifier (page
assign the same map as a Screen environment to 1–922)).
514 Chapter 8: Modifiers

you can delete the original object, or you can

Displace Mesh Modifier (World keep it in your scene to use for other purposes.
Space) Tip: Use Disp Approx to displace editable
Select an object. > Modify panel > Modifier List > meshes. Use Displace Mesh for previewing,
World-Space Modifiers > * Displace Mesh as in the first item, but avoid using Snapshot.
The mesh created by using Displace Mesh and
The Displace Mesh world-space modifier (World Snapshot can have a high polygon count. This
Space) lets you see the effect of displacement makes it slow to use interactively, and can cause
mapping (page 2–1511) on editable mesh objects smoothing problems, where the underlying
(page 1–996) and objects with a Disp Approx mesh edges are visible.
modifier (page 1–628) applied to them. If a
displacement map is applied to the object, the Interface
mesh shows the effect of the displacement map.
The rollout for Displace Mesh lets you choose
Displace Mesh replaces the mesh with its displaced
which surface approximation settings are used to
version.
produce the mesh.
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
Mesh to see where the ripples meet the waterline
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 use the Displace Mesh this way, you apply
it to the object that has a displacement map,
then apply 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 Update Mesh—Updates the mesh if you have
also leaves the original, displacement-mapped changed the displacement mapping and want
object in the scene. After applying Snapshot, to see the results of the change. The mesh isn’t
 Displace NURBS Modifier (World Space) 515

updated automatically because that can become Custom Settings and Subdivision Displacement
extremely time consuming. are both turned on. They are identical to the
surface approximation controls (page 1–1239) for
Custom Settings—When turned off, Displace Mesh
NURBS surfaces.
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.
Displace NURBS Modifier (World
Space)
Subdivision Displacement—Subdivides mesh faces
to accurately displace the map, using the method Select a NURBS object. > Modify panel > Modifier List >
World-Space Modifiers > * Displace NURBS
and settings you specify in the Subdivision Presets
and Subdivision Method group boxes. When The Displace NURBS world-space modifier
turned off, the modifier applies the map by moving (World Space) converts a NURBS (page 1–1078)
vertices in the mesh, the way the Displace modifier object into a mesh. If a displacement map is
(page 1–629) does. Default=on. applied to the object, the mesh shows the effect of
Split Mesh—Affects the seams of displaced mesh the displacement map in viewports. There are two
objects; also affects texture mapping. When on, main reasons for using Displace NURBS:
the software splits the mesh into individual faces • As a visualization aid to see the effect of a
before displacing them; this helps preserve texture displacement map in viewports
mapping. When off, the software uses an internal
When you use Displace NURBS this way,
method to assign texture mapping. Default=on.
you usually delete the modifier once you’ve
Tip: This parameter is required because of an obtained the effect you want.
architectural limitation in the way displacement
• To obtain an editable mesh created from a
mapping works. Turning Split Mesh on is usually
displacement map on a NURBS object
the better technique, but it can cause problems for
objects with clearly distinct faces, such as boxes, To use Displace NURBS this way, you apply it
or even spheres. A box’s sides might separate as to the object that has a displacement map, then
they displace outward, leaving gaps. And a sphere use the Snapshot command (page 1–453) from
might split along its longitudinal edge (found in the Tools menu, and choose Mesh as the Clone
the rear for spheres created in the Top view) unless Method.
you turn off Split Mesh. However, texture mapping Snapshot creates a permanently displaced mesh.
works unpredictably when Split Mesh is off, so As it does for other kinds of objects, Snapshot
you might need to add a Displace Mesh modifier also leaves the original, displacement-mapped
and make a snapshot (page 1–453) of the mesh. object in the scene. After applying Snapshot,
You would then apply a UVW Map modifier (page you can delete the original object, or you can
1–922) and then reassign mapping coordinates to keep it in your scene to use for other purposes.
the displaced snapshot mesh.
Interface
Subdivision Presets group and Subdivision
Method group The rollout for Displace NURBS lets you choose
which surface approximation settings are used to
The controls in these two group boxes specify how produce the mesh.
the modifier applies the displacement map when
516 Chapter 8: Modifiers

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—These controls are the same as in the surface
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.
Animated Displacement Map—If you use an
animated displacement map on the mesh, turn
on this toggle to have the NURBS Modifier
correctly update the mesh as the displacement
map animates. Hair and Fur Modifier (WSM)
You can apply a displacement map (page 2–1511) Modify panel > Make a selection. > Modifier List >
using the Material Editor (page 2–1409). World-Space Modifiers > Hair And Fur

Update Mesh—Click to update the mesh if you

The Hair And Fur modifier is the heart of the Hair
have changed the displacement mapping and want
And Fur feature. You apply it to any object that
to see the results of the change. The mesh isn’t
 Hair And Fur Modifier 517

you want to grow hair from: either a mesh object (see “Lighting Considerations,” below):
or a spline object. If object is a mesh, the hair Skylight, mr Area Omni, mr Area Spot, IES
grows from the entire surface unless you make a Sun, IES Sky, mr Sky and mr Sun. However, mr
sub-object selection. If the object is a spline, hair Area Omni, mr Area Spot, mr Sky, and mr Sun
grows between the splines. are supported for hair when you use the “mr
prim” method and the mental ray renderer.
When you select an object modified by Hair And
Fur, hair is displayed in viewports. The hair itself Note: For the purposes of rendering shadows in
as displayed in the viewports is not selectable, hair, Direct lights are treated as point (omni)
though hair guides are selectable when you work lights.
at the Guides sub-object level or style hair (see • There is also a Hair And Fur render element
below). (page 3–140), which you can use when you are
Note: Hair And Fur renders only in Perspective doing your own compositing.
and Camera views. If you attempt to render an
orthographic view, 3ds Max displays a warning Growth Objects
that says the hair will not appear. You can grow Hair either from a surface or from
splines.
Components of the Hair And Fur Feature
To grow hair from a surface, select the object and
Hair And Fur in 3ds Max has a few different then apply the Hair And Fur modifier. You can use
components in the interface: either geometric primitives or an editable surface
• The Hair And Fur modifier is the main type such as Polymesh.
component. This is where you style the
To grow hair from splines, you can draw several
hair guides, and set parameters for size and
splines and combine them into a single object
coloration, kinkiness, frizziness, and so on.
(or turn off Start New Shape during creation),
• The Hair And Fur render effect (page 3–220) and then apply the Hair And Fur modifier. You
more directly controls how hair is rendered. will see some preview interpolated hairs appear
Typically you don’t need to change the render in viewports. The order of the spline sub-objects
effect parameters, unless you have special is important because Hair uses this order to
rendering requirements. interpolate hair in between the splines. If the
A Hair And Fur render effect is automatically interpolation seems incoherent, you might need to
added to your scene when you apply the Hair physically rearrange the splines.
And Fur modifier.
• A Hair 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. Using a spline emitter, Hair interpolates hair growth between
Controls on this rollout let you fine-tune how pairs of splines in logical, numerical order.
hair shadows appear under specific lights. Left: Splines in sequential order result in predictable hair
growth.
The following light types are not supported
when rendering hair with the “buffer” method Right: Splines in nonsequential order can produce undesirable
results.
518 Chapter 8: Modifiers

Tip: To check the numerical order of splines, go

to the Editable Spline level of the modifier stack
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
Frizz settings affect the hairs but not the guides.
surfaces to describe solid objects, Hair uses hair
“guides” to describe basic hair shape and behavior. 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).
Guides are also used to calculate dynamics. 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.
Guides (yellow) occur at each polygon corner.
Hairs (red) are interpolated between guides. Styling Hair
When the growth object is a surface, Hair And Fur The Hair And Fur modifier’s growth settings
generates guide hairs at the corners of polygons. have a great effect on the hair’s appearance and
When the growth object is a spline, the spline behavior, but you can also manipulate the guides
sub-objects are themselves the guides. directly (or in other words, style the hair).

For surface-grown hair, you can manipulate For surface-grown hair, use the tools on the Styling
the guides with styling tools (page 1–526) to rollout (page 1–526). First, select the surface whose
form a “control volume” that gets populated by hair you want to edit, and then on the Modify
interpolated hairs. The hairs can then be further panel, either click the Style Hair button on the
manipulated with distorting controls such as Kink Styling rollout or choose the Guides sub-object
(page 1–542) and Frizz (page 1–540), which can be level from the Selection rollout (page 1–521) or the
driven by maps or solid textures. modifier stack display.
 Hair And Fur Modifier 519

Copying and pasting the Hair And Fur modifier

automatically adjusts the hair scaling. Copying
from a large object to a small object, for instance,
results in a smaller default size in the copied
modifier.
If you copy an object that has Hair And Fur in its
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
After guides have been styled, hair is interpolated between parameters with maps. If you apply a map to a
neighboring guide pairs. 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
the right of the parameter. After applying a map,
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
Mesh-based hair guides before and after styling. temporarily, Ctrl +click the button. A disabled
map is indicated by a lower-case “m”.
With spline growth, you style the hair by editing
the growth splines in the viewports. Lighting Considerations
When you render using the default “buffer”
method, Hair And Fur provides its own default
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,
Style spline-based hair by manipulating the splines.
direct lights (which are treated as omni lights for
hair purposes), and photometric lights except
Copying and Pasting Hair
for IES Sun and IES Sky. Supported lights for
You can copy and paste a Hair And Fur modifier the mental ray renderer and “mr prim” method
from one stack to another, but you need to line up include the lights supported by the scanline
the objects as closely as possible, because Hair uses renderer, and these mental ray light types: mr
proximity to determine how to position copied Area Omni Light, mr Area Spotlight, mr Sky, and
guides. If the objects have significantly different mr Sun.
geometry, the transfer of guides can be inaccurate.
520 Chapter 8: Modifiers

If supported lights exist in the scene, by default hair motion, you can use the Frizz Animation
they are used to light the hair, and the internal parameters or use dynamics.
default omni light is not used. This is because
To animate frizz, use the Frizz Anim., Anim.
in the Hair And Fur render effect (page 3–220),
Speed, and Frizz Anim. Dir. parameters. It’s not
the Use All Lights At Render Time option is on
necessary to keyframe these to create animation;
by default. Also, any supported lights set to cast
just set them to values other than the defaults.
shadow-mapped shadows will cast shadows from
rendered hair. To animate with dynamics, use the Dynamics
rollout (page 1–545). See To generate a precomputed
For Hair’s “buffer” render to consider only certain
dynamics simulation with Hair (page 1–545). A
lights, select the lights you’d like Hair to use, go to
gravity force is built in to Hair And Fur. You can
the Hair And Fur render effect, turn off Use All
add space warps to act as external forces (for
Lights At Render Time, and then click Add Hair
example, Wind).
Properties. This causes only the designated lights
to illuminate the hair. It also adds a Hair Light Attr
See also
rollout (page 2–1351) to each of the designated
lights. This lets you fine-tune the light’s shadow Hair and Fur Render Effect (page 3–220)
settings for Hair. Hair and Fur Render Element (page 3–140)
With the “buffer” method, you can also raytrace Hair Light Attr(ibutes) Rollout (page 2–1351)
your scene.
Note: The other rendering methods provided Procedures
are “geometry” and “mr prim.” The “geometry” To use the Hair And Fur modifier:
method creates actual geometry for the rendered
hair at render time. The “mr prim” method uses a This procedure lists the essential steps for growing
mental ray shader to generate hair, and is for use hair on an object. For more information, see other
only with the mental ray renderer. Use the Hair Hair And Fur topics in this reference, and the
And Fur render effect to choose the rendering tutorials in 3ds Max 9 Tutorials.
method. 1. Apply the Hair And Fur modifier to a mesh or
spline object.
Loading and Saving The hairs appear in the viewports as brown
Hair And Fur data in your scene is automatically lines.
saved when you save your MAX scene file. The 2. Set the modifier parameters according to the
state data for the hair can consume quite a bit desired results (see Interface (page 1–521)).
of space, so your scene file will probably be Available settings include the number of hairs,
significantly larger than it was before you applied length, thickness, and coloring.
hair.
3. Activate a Perspective or Camera viewport, and
then render the scene.
Animating Hair
Hair cannot render in an orthogonal viewport.
You cannot keyframe hair styling. You can
keyframe Modify panel parameters to create
special effects such as hair growing. But to animate
 Selection Rollout (Hair and Fur) 521

To apply hair to a limited area of a high-resolution Kink Parameters Rollout (Hair and Fur) (page
object: 1–542)
An efficient working method for applying hair Multi Strand Parameters Rollout (Hair and Fur)
to part of a high-poly-count object is to use a (page 1–544)
low-poly proxy object.
Dynamics Rollout (Hair and Fur) (page 1–545)
1. Create the object to which you wish to apply
hair. Display Rollout (Hair and Fur) (page 1–549)
2. Make a copy of the object in the same location
as the original, remove any geometry where
hair shouldn’t grow, and reduce the polygon
Selection Rollout (Hair and Fur)
count. For example, you could use the MultiRes Select an object with the Hair And Fur modifier applied. >
modifier (page 1–739). Modify panel > Selection rollout

3. If the original object is to move, make the

The Selection rollout provides tools for accessing
low-resolution proxy object a child of the
different sub-object levels and display settings and
original object.
for creating and modifying selections, and displays
4. Apply the Hair And Fur modifier to the information about selected entities.
low-resolution proxy object and adjust as
necessary. When you first apply the Hair And Fur modifier
to an object, the entire object is affected by the
5. Make the low-resolution proxy object modifier. You can specify that the only part of an
non-renderable (see General Panel (Object object should grow hair by accessing a sub-object
Properties Dialog) (page 1–117)). The hair will level and making a selection.
still render.
Clicking a button here is the same as choosing
Interface a sub-object level in the modifier stack display.
Click the button again to turn it off and return to
You control the Hair And Fur modifier from a
the Object selection level.
series of rollouts on the Modify panel. See these
topics:
Interface
Selection Rollout (Hair and Fur) (page 1–521) Note: Controls on this rollout are available only
Tools Rollout (Hair and Fur) (page 1–523) when the growth object is a mesh. If the growth
object is a spline, the Selection controls have no
Styling Rollout (Hair and Fur) (page 1–526) effect, and sub-object levels for the Hair And Fur
General Parameters Rollout (Hair and Fur) (page modifier are not visible in the modifier stack.
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)
522 Chapter 8: Modifiers

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.
Guides—Accesses the Guides sub-object level,
which lets you edit the styling guides using tools Paste—Pastes a named selection from the copy
on the Styling rollout (page 1–526). When you buffer.
click Guides, the Style Hair button on the Styling Tip: You can use this to grow hair from an existing
rollout is automatically turned on, and vice versa. selection lower on the stack. However, because
the Hair And Fur modifier outputs an editable
Face—Accesses the Face sub-object level, mesh, the copied sub-object selection should be
which lets you select a triangular face beneath the from a mesh-based modifier. For example, if
cursor; region selection selects multiple triangular your base object is an editable poly, you can use
faces within the region. tools such as Ring, Loop, and Grow to make a
procedural edge selection, and then Ctrl +click
Polygon—Accesses the Polygon sub-object the Polygon button on the Selection rollout to
level, which lets you select polygons beneath the convert the selection to polygons. Next, apply a
cursor. Region selection selects multiple polygons Mesh Select modifier (not Poly Select), and go
within the region. to the Polygon sub-object level; the Mesh Select
modifier inherits the Editable Poly selection. Use
Element—Accesses the Element sub-object
the Named Selection Sets field on the main toolbar
level, which lets you select all contiguous polygons to name the selection, and then use the Mesh Select
in an object by clicking once. Region selection lets modifier’s Copy function on the named selection.
you select multiple elements. Finally, apply the Hair And Fur modifier, go to the
Poly sub-object level, and paste 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
Update Selection—Recalculates the area from
vertex are selected.
which hair is grown, based on the current
Ignore Backfacing—When on, using the mouse sub-object selection, and refreshes the display.
to select sub-objects affects only those facing
When you access a sub-object level within the
you. When off (the default), you can select any
Hair modifier and make a selection, the area of
sub-objects under the mouse cursor, regardless
hair growth doesn’t automatically update. Click
of their visibility or facing. If there are more
 Tools Rollout (Hair and Fur) 523

Update Selection to view the results of a change Compare this with the previous illustration, in
in sub-object selection. which the pivot rests at the base of the source
object.

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
Frizz causes the instanced hairs to change shape.
for the modifier as well as specific hairdos. Here
you can also specify an object from the current The next illustration shows the effect of the Merge
scene to be used as hair, such as a flower or group Material check box. On the left side, Merge
of flowers for creating a garden. Material was left on, with the result that the flower
model retained its original material and coloring
Using Instanced Hair when used as hair. On the right, Merge material
Besides the built-in hair strands, which are created was turned off, so the flower-hairs took on the
at render time, you can assign any source object as material of the flower pot growth object.
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.

Left: Merge Material on

Right: Merge Material off

Rotating the source object affects the hair orientation. In the next illustration, the Root Thick setting,
The next illustration shows how increasing the from left to right, is 2.0, 10.0, 20.0, and 30.0. With
Frizz Root value creates greater amounts of instanced geometry, the Root Thick value affects
distortion in the resulting instanced hairs. This the thickness of the resulting object uniformly
image also shows how a raised pivot in the source along its height, while the Tip Thick value has no
object causes the root of the hair to go below the effect. (The Root Thick and Tip Thick settings are
surface of the growth object (the red square). on the General Parameters rollout (page 1–534).)
524 Chapter 8: Modifiers

Interface

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
instances as scales, for example.

Recomb From Splines—Lets you use a spline object

to style the hair. Click this button and then select
Top left: The original styled hair an object that is made up of spline curves. Hair
Top right: The instanced hair (arrows) conforms to the styling. will turn the curves into guides and populate each
Bottom: Close-up view of instanced hair 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
a part on the side, without having to manually
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

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.
Several sample presets are included with 3ds Max.

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 Hair And Fur Presets dialog
Recomb From Splines. It’s also advantageous
when you change the size ratios of polygons in the Save—Creates a new preset. You’re prompted for
growth object. For example, if you stretch part of a preset name; after entering one, Hair renders
the mesh by moving some vertices, by default the the swatch, as shown by a message on the status
larger polygons will contain fewer hairs per unit bar. You can abort the creation of the preset by
area. Use Reset Rest to redistribute the number of clicking the Cancel button on the status bar during
hairs on the surface for more even coverage. 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
Left: Even hair distribution before resizing polygons (except Display settings) and styling information.
Center: Uneven hair distribution after moving edges, altering This lets you apply all hair settings from one object
polygon size ratios
to another.
Right: After using Reset Rest, distribution is again evened out.
Copy—Copies all hair settings and styling
Regrow Hair—Discards any styling information,
information into a paste buffer.
resetting the hair to its default state, retaining all
current Modify panel settings. Paste—Pastes all hair settings and styling
information to the current Hair-modified object.
Presets group
Instance Node group
Lets you load and save hair presets. Each preset
contains all current Modify panel settings (except Lets you specify an object to use as custom hair
Display settings), but not any styling information. geometry. The hair geometry is not instanced
526 Chapter 8: Modifiers

from the original object, but all hairs created from Note: The merged material is instanced from
it are instances of each other, to save memory. the instance node, so that changing the original
Note: Hair does not use animation from instance material affects the resulting material applied to
objects. If an object is animated, Hair uses its state the hair.
at the first animation frame.
Convert group
Pick—To specify a hair object, click the Pick button
Use these controls to convert guides or hair
and then pick an object to use. Thereafter, the
generated by the Hair And Fur modifier to
button shows the name of the object you picked.
3ds Max objects that you can operate on directly.
To use a different instance object, or to use a
modified version of the original object, click this Guides -> Splines—Copies all guides to a new, single
button and then pick the new object. spline object. The original guides are left intact.
Tip: In order for the instances to be properly scaled Hair -> Splines—Copies all hairs to a new, single
and fit to the hair, place the model’s pivot at the spline object. The original hairs are left intact.
“root” of the object. Hair will then scale your
Hair -> Mesh—Copies all hair to a new, single mesh
model appropriately so that the height of each
instance matches the length of the hair it has been object. The original hairs are left intact.
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 Render Settings—Opens the Effects panel and
the growth surface, you can raise the pivot in the rollout (page 3–219) and adds a Hair And Fur
original model to make sure the instanced hairs render effect (page 3–220) to the scene, if one
will extend all the way to the growth surface. doesn’t already exist.
Also, bear in mind that the instancing engine will Note: The Hair And Fur render effect settings are
be deforming your model as it fits it to the hairs. global, so even if you click Render Settings to
Make sure that your model has enough divisions open the effect settings from different Hair And
along the Z (vertical) axis for the deformation Fur modifiers, you’ll get the same render-effect
to look as smooth as it needs to; the number of settings.
subdivisions should be approximately equal to
the Hair Segments value. Hair doesn’t perform
automatic subdivision on the geometry. Styling Rollout (Hair and Fur)
X—To stop using the instance node, click the Clear Select an object with the Hair And Fur modifier applied. >
Modify panel > Styling rollout
Instance button (labeled “X”).
Merge Material—When on, combines the The Guides sub-object level of the Hair And
material applied to the growth object and Fur modifier (page 1–516) lets you style hair
the material applied to the hair object into a interactively in viewports. Interactive styling
single Multi/Sub-Object material and applies controls are on the Styling rollout, which has a
it to the growth object. When off, the growth Style Hair button that you can also click to begin
object’s material is applied to the instanced hair. styling.
Default=on.
 Styling Rollout (Hair and Fur) 527

Styling with Hair Guides of the Styling group: Translate, Stand, Puff Roots,
Clump, Rotate, or Scale.
Styling tools aren’t available until you click Style
Hair to turn it on, or choose the Guides sub-object While you style, only selected guides are affected,
level in either the Selection rollout or the modifier and in addition, only guides that fall within the
stack. brush area are affected at any given time. You
can change the brush size using the slider in the
Each guide hair has 15 segments and 14 vertices
Styling group, or by holding down Ctrl+Shift
(there’s an additional, non-selectable vertex at the
and dragging the mouse.
root); for a tool to affect a guide, at least one of its
vertices must be selected. To select vertices, click The Hair Cut tool on the Styling rollout (between
Select (in the Styling group) to turn it on, then Hair Brush and Select) cuts hair guides by scaling
use standard 3ds Max selection tools to select a them based on the brush location.
portion of the guides. For example, you might
drag a selection rectangle to select vertices on Interface
adjacent hair guides. By default, selected guides
Note: Controls on this rollout are available only
are displayed as orange, and unselected guides are
when the growth object is a mesh. If the growth
displayed as yellow.
object is a spline, the Styling controls have no
Selections you make this way are constrained effect. Instead, you can style the hair by editing the
by the buttons at the top of the Selection group: underlying spline object.
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
528 Chapter 8: Modifiers

tool is Translate. Turning on Style Hair turns on

the Guides sub-object level in the Selection rollout
(page 1–521), and vice versa.

Selection group

Select Hair by Ends—You can select only the

vertex at the end of each guide hair.

Select Whole Guide—(The default.)

Selecting any vertex on a guide hair selects all
vertices on the guide hair. When you first turn on
Style Hair, Hair activates this mode and selects all
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.
• X Marker—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

Style Hair / Finish Styling—Click Style Hair to begin
selection.
styling. Click Finish Styling to turn off styling
mode. When you turn this button on, a brush is Keyboard shortcut: Ctrl+I
immediately available and by default the active
 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 In the active viewport, the brush appears to be a circle.
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,
the brush appears as a circle, but as you can see
in the other viewports, the brush is actually a
three-dimensional cylindrical region.

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. Turn on Hair 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 Translate—Moves selected vertices in the
inside the brush circle are shortened so that direction that you drag the mouse.
their endpoints touch the brush circle.
Note: Cutting hair doesn’t actually remove vertices;
Stand—Pushes selected guides toward a
it only scales the guide hairs. You can restore guide
perpendicular orientation to the surface.
hairs to their original length with Scale or one of
the Pop commands.

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.
Left: Hair guides before cutting
The bias for this tool is closer to the root of the hair
Right: Hair guides after cutting than to the endpoint.

Select—Goes into selection mode, where

you can use 3ds Max selection tools to select guide
vertices according to the constraints chosen in the
Selection group (Whole Guide, Ends, and so on).
Left: Hair guides before puffing roots
Distance Fade—Available only for Hair Brush.
Right: Hair guides after puffing roots
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, Clump—Forces selected guides to move
giving a hard-edged effect. Default=on. towards each other (drag mouse leftward) or
farther apart (drag mouse rightward).
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.
Left: Hair guides before clumping
Keyboard shortcut: Ctrl+Shift +drag
Right: Hair guides after clumping (at the right)
The styling buttons below the Brush Size Slider are
available only while Hair Brush is on.
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

Left: Hair guides before using Pop Selected
mouse rightward) or smaller (drag mouse
Right: Hair guides after using Pop Selected
leftward).

Pop Zero-Sized—Works like Pop Selected,

but only operates on zero-length hairs.

Left: Hair guides at original lengths

Right: Hair guides after scaling shorter

Utilities group
Left: Hair guides on top of head were scaled to zero length.
Right: Using Pop Zero affects only the zero-length hair guides.
Attenuate Length—Scales selected guides
according to the surface area of underlying
polygons. This is useful, for example, in applying Recomb—Makes a guide parallel to the
fur to an animal model, which typically has surface, using the guide’s current direction as a
smaller polygons in areas with shorter hair. For hint.
example, the polygons on an animals paws are Here’s a suggested procedure: Turn on Hair Brush,
usually smaller than the ones on the chest, and the select guides using Select Whole Guide, and then
chest fur tends to be longer. move the guides around not worrying about skin
penetration or hair shape. You’re just trying
Pop Selected—Pops selected hairs out along
to indicate the direction of the hair flow. Click
the surface normal. 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
need to use Comb Away. Once you have the flow as
you like it, you can go in and start styling in scale,
cut guides, and move some of the tips around,
“shaping” or “styling” the hair.
532 Chapter 8: Modifiers

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.

Left: Hair guides in their default position Unlock—Unlocks all locked guide hairs.
Right: Hair guides after clicking Recomb

Undo—Reverses the most recent action.

Reset Rest—Performs an averaging of hair
Keyboard shortcut: Ctrl+Z
guides using the growth mesh’s connectivity.
This function is particularly useful after using Hair Groups group
Recomb.
Split Selected Hair Groups—Splits the
Toggle Collisions—When on, styling takes selected guides into a group. This can be useful for
hair collisions into account. When off, styling creating a part or a cowlick, for example.
ignores collisions. Default=off.
For collisions to be used while styling, you need Merge Selected Hair Groups—Recombines
to have already added at least one collision object selected guides.
using the Dynamics rollout (page 1–545). If no
If you don’t use Split Selected Hair Groups,
collisions are specified, this button has no effect.
then when you render hair, the generated hairs
Tip: If you collisions are enabled and styling are interpolated across a styled part. When
interaction seems slow, try turning off Toggle Split Selected Hair Groups is on, there is no
Collisions. interpolation between the split group and other
hairs. To remove this effect and make the part less
Toggle Hair—Toggles viewport display of “clean,” click Merge Selected Hair Groups.
generated (interpolated) hair. This doesn’t affect
display of the hair guides. Default=on (hair is
displayed). Quad Menu for Hair Styling
While you are styling hair at the Guides sub-object
Lock—Locks selected vertices with respect level, right-clicking a viewport displays a quad
to the orientation to and distance from the nearest menu that contains shortcuts to many styling
surface. Locked vertices can be selected, but they controls that are also found on the Styling rollout
can’t be moved. (page 1–526).

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.
 Quad Menu for Hair Styling 533

Interface 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
• Translate
• 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
Utilities quadrant in viewports by holding down Ctrl+Shift and
The first two choices are shortcuts to the buttons dragging the mouse.
in the Hair Groups group:
Selection Utils quadrant
• Merge Hairgroups
These choices are shortcuts to the buttons under
• Split Hairgroups “Selection Utilities” in the Selection group:
The other choices in this quadrant are shortcuts to • Invert Selection
the buttons in the Utilities group:
• Rotate Selection
• Unlock
• Expand Selection
• Lock
• Hide Selected
• Toggle Hairs
• Show Hidden
• Toggle Collisions
• Reset Rest Selection quadrant
• Recomb These choices are shortcuts to the buttons at the
top of the Selection group that constrain how you
• Pop Zerosized
can select hair guides:
• Pop Selected
• Tip
• Attenuate
• Guide
• Verts
534 Chapter 8: Modifiers

• Root

General Parameters Rollout (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,
Top: Hair Count=1000
the length, thickness at the root and tip, and
various other comprehensive parameters. Bottom: Hair Count=9000

By default, Hair normalizes density to surface area;

Interface 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.

Hair Count—The total number of hairs generated

Left: Hair Segments=5
by Hair. In some cases this is an approximate Right: Hair Segments=60
count, but the actual count is usually very close to
the specified quantity. Default=15000. Range=0 Hair Passes—Sets the number of transparency
to 10000000 (ten million). 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: Density=100.0 + map

Bottom: The bitmap used to control density

Tip: For optimal efficiency, use the Hair Count

value to set the actual number of hairs, leave
Top: Hair Passes=1 Density at 100.0, and use mapping to create
Bottom: Hair Passes=4 uneven hair distribution. Simply lowering the
Density value without specifying a map causes
Note: For best results when using the “mr prim” hairs to be created and then discarded, which
hair rendering method (see Hair and Fur Render unnecessarily increases rendering time.
Effect (page 3–220)) with the mental ray renderer,
Scale—Sets the overall scaling for the hairs.
be sure to set the Trace Depth > Max. Depth
value (see Rendering Algorithms Rollout (mental Default=100.0. Range=0.0 to 100.0.
ray Renderer) (page 3–116)) higher than the Hair At the default value of 100.0, the hairs are full size.
Passes value. Reduce this value to make the hairs smaller. To
Density—The numeric value sets the overall hair
make the hairs larger, use the styling tools (page
density; that is, it acts as a percentage multiplier of 1–526). Default=100.0. Range=0.0 to 100.0.
the Hair Count value. Default=100.0. Range=0.0 This attribute is also mappable via the map button
to 100.0. to the right of the spinner. Mapping allows you
This attribute is also mappable via the map button to add a texture map to control the length of the
to the right of the spinner. Mapping lets you add a hair. An area of the map whose gray value is 50%
texture map to control the amount of hair. An area will cut the hair grown in that area to 50% of its
of the map whose gray value is 50% will reduce original length, with no shape change.
the amount of hair grown in that area by 50%. To
change the overall hair count, use the Hair Count
value (see above).

Scale value ramped from 0.0 (left) to 100.0 (right) using a linear
gradient map
536 Chapter 8: Modifiers

Note: The default size of the hairs depends on the Tip Thick—Controls the thickness of the hair at its
size of the object to which the modifier is applied. tip.
The larger the object, the greater the initial size.
This setting affects native hair only, not instanced
Cut Length—The numeric value sets the overall hair. To create tapering in instanced hair, apply the
hair length as a percentage multiplier of the Scale tapering when modeling the object to be instanced
value. Default=100.0. Range=0.0 to 100.0. within Hair.
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.
This parameter is more computationally
expensive than a density map, since each curve
is re-parameterized on the fly, and should not Top: Root Thick=10.0, Tip Thick=0.0
be confused with a density map. It’s really more Bottom: Tip Thick=10.0, Root Thick=0.0
useful as an animated effect for growing hair (for
Hair is translucent if its width is less than one pixel.
example, creating a wolfman character).
Thin hair that rendered as opaque in previous
Rand. Scale—Introduces random scaling into the versions of the software might give unexpected
rendered hairs. Default=40.0. Range=0.0 to 100.0. 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—Displaces the hair roots from
the surface of the growth object. Default=0.0.
Range=–999999.0 to 999999.0.
Random Scale value ramped from 0.0 (left) to 100.0 (right)
using a linear gradient map When you render an object with a high polygon
count, but use a low-polygon proxy object to grow
At the default value of 40.0, 40 percent of the hairs the hair, adjusting Displacement can help make the
are scaled down randomly by varying amounts. At hair seem to grow from the high-polygon object,
0.0, no random scaling is introduced. rather than floating above it.
Root Thick—Controls the thickness of the hair at its
Another use for this setting can be animating the
root. With instanced hair, this controls the overall hair falling onto or moving away from the growth
thickness as a multiplier of the original object’s object.
dimensions on the X and Y axes in object space.
Interpolate—When on, hair growth is interpolated
This setting affects both native hair and instanced among the guide hairs, and the surface is fully
hair. With instanced hair, Root thick controls the populated with hair according to the General
overall thickness of the hair, not just at the root. 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 Interface

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.
You can apply a map to any value by clicking the
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 Occluded Amb.—Controls the bias of the
multiplier, not doing so can lead to unexpected ambient/diffuse contributions of the illumination
results. For example, if Tip Color is set to yellow model. A setting of 100.0 renders the hair with flat
and you apply a blue texture map, the hair will be lighting. A value of 0.0 is lit only by scene light
black: this is because if you multiply those RGB sources, typically resulting in a higher-contrast
values, they zero each other out. solution. Default=40.0. Range=0.0 to 100.0.
538 Chapter 8: Modifiers

base. The UVW mapping used for the texture is

the same as that of the growth object.
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.
Left: Occluded Amb=0.0
Right: Setting Tip Color and Root Color to orange adds an
Right: Occluded Amb=100.0 orange tint to the hair.
Both: Color=white, Self Shadow=50.0
Hue Variation—The amount by which Hair varies
Tip Fade—Applies only to mr prim rendering (with the color of the hairs. The default value results in
the mental ray renderer). When on, the hair fades natural-looking hair. Default=10.0. Range=0.0
to transparent toward its tip. When off, the hair is to 100.0.
equally opaque for its entire length.
Value Variation—The amount by which Hair varies
Tip Color—Hair color at the tips, farthest from the the brightness of the hairs. The default value
growth object surface. To change the color, click results in natural-looking hair. Default=50.0.
the color swatch and use the Color Selector. Range=0.0 to 100.0.
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
Top: Hue/Value Variation=0.0
The Tip Color and Root Color attributes are also Middle: Value Variation=100.0
mappable via the map buttons to the right of Bottom: Hue Variation=100.0
the spinners. These let you add texture maps to
control the hair coloring, separately at the tip and
 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: 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.
Left: Mutant %=30.0
Self Shadow—Controls the amount of
Right: Mutant %=0.0
self-shadowing; that is, hairs casting shadows on
Both: Color=brown, Mutant Color=white
other hairs within the same Hair And Fur modifier.
Specular—The brightness of highlights on the A value of 0.0 disables self shadowing, while a
hairs. value of 100.0 results in maximum self-shadowing.
Glossiness—The relative size of highlights on the
Default=100.0. Range=0.0 to 100.0.
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.

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 Interface

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.
Apply mr Shader—When on, lets you apply a
Geom. Mat. ID—The material ID assigned to
geometry-rendered hair. Default=1. mental ray shader to generate hair.
[shader button]—Enabled only when “Apply mr
Shader” is on. Click to display a Material/Map
mr Parameters Rollout (Hair and Browser (page 2–1412) and assign the shader.
Fur) When no shader is assigned, this button is labeled
Select an object with the Hair And Fur modifier applied. > “None”. When a shader is assigned, the button’s
Modify panel > mr Parameters rollout label shows the shader’s name.

Lets you assign a mental ray shader (page 2–1710)

to generate hair. 3ds Max passes the object’s UV Frizz Parameters Rollout (Hair and
coordinate data, including map channels, to the Fur)
mental ray shader; strictly speaking, the shader
generates hair from this UV and mapping data, Select an object with the Hair And Fur modifier applied. >
Modify panel > Frizz Parameters rollout
not from the object geometry itself. (Multiple map
channels are supported.)
Frizz displacement is accomplished by doing a
When you use a mental ray shader for hair, you Perlin noise lookup at the hair’s rest position
must render your scene using the mental ray root, and then displacing the hair much the way
renderer (page 3–78) and set the Hair And Fur bump mapping displaces a surface normal. The
render effect (page 3–220) method to “mr prim”. frequency of the noise function is set by the Frizz
Important: When you assign a mental ray shader, only
X/Y/Z Frequency parameters. The magnitude of
the shader’s own controls apply to the generated hair.
the displacement is controlled with Frizz Root and
All other Hair And Fur settings are disregarded.
Frizz Tip. If you set dynamics mode (page 1–547)
to Live, the viewports show the effects of changing
Aside from the “mr prim” option that you can these settings in real time.
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.
 Frizz Parameters Rollout (Hair and Fur) 541

All Frizz/Kink settings=0.0; this reference image provided for

comparison with the Frizz and Kink illustrations (below).

Interface

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. 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 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
animation on a given axis. To reduce confusion it’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.
Frizz Root=30.0, Frizz Tip=100.0, Frizz X/Y/Z Freq=14.0
Top: Styled
Kink Parameters Rollout (Hair and
Bottom: Unstyled
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
Left: Differing values for Frizz Root and Frizz Tip result in curved on a larger scale than the Frizz noise. The effect is
hairs. similar to crimped hair.
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
determine the per-frame offset of the animating
noise field. Default=0.0. Range=-9999.0 to 9999.0.
 Kink Parameters Rollout (Hair and Fur) 543

Kink Root=0.5, Kink Tip=0.0, Kink X/Y/Z Freq=4.0

Top: Styled
Bottom: Unstyled

Kink Tip—Controls the amount of kink

1. All settings=0.0 (no kink)
displacement of the hair at its tip. Default=0.0.
2. Kink Root=0.5 (rest=0.0)
Range=0.0 to 100.0
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

Top: Styled, Kink Tip=10.0, Kink Root=0.5, Kink X/Y/Z Freq=50.0

Kink Root—Controls the amount of kink Bottom: Unstyled, Kink Tip=10.0, Kink Root=0.0, Kink X/Y/Z
displacement of the hair at its root. Default=0.0. Freq=50.0
Range=0.0 to 100.0
Kink X/Y/Z Freq(uency)—Controls the frequency
of the kink effect on each of the three axes.
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
1. Multi Strand Count=0, Hair Count=500
spreading or compressing the roots and tips.
2. Multi Strand Count=10, Root Splay=0.1, Tip Splay=0.1, Hair
Tip: For each original hair, Multi Strand creates Count=500
a cluster of hairs around that hair, offset at the 3. Multi Strand Count=10, Root Splay=0.4, Tip Splay=0.1, Hair
bottom by the Root Splay factor. The hair is offset Count=500
in the plane tangent to the root of the hair, which is 4. Multi Strand Count=10, Root Splay=0.0, Tip Splay=1.0, Hair
not necessarily the surface of the object. To make Count=500
sure Multi Strand hairs actually make contact with
the surface, make the growth surface a bit smaller Interface
than the rendered surface.

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—Randomizes the size of each hair in
a clump.
 Dynamics Rollout (Hair and Fur) 545

The hair resumes its default position, growing

Dynamics Rollout (Hair and Fur) straight out of the object.
Select an object with the Hair And Fur modifier applied. > 5. Click the Play Animation button.
Modify panel > Dynamics rollout
6. The hair settles and droops, as if affected by
For hair to seem natural in an animation, it must gravity. Note that, as the animation repeats,
respond to the motion of the body it’s attached the effects of gravity are cumulative; the hair
to and to external influences such as wind and animation doesn’t restart at the first frame.
gravity. Hair’s Dynamics functions let the hair 7. On the Tools rollout, click Regrow Hair again.
behave like real-world hair, in interactive (Live)
8. Add a Wind space warp to the scene.
or Precomputed mode.
9. On the Dynamics rollout, set Dynamics Params
Designating Collision Surfaces > Gravity to 0.0.
Hair dynamics uses guide hairs to calculate 10. In the External Forces group (at the bottom
collision. To reduce computation, you have to of the Dynamics rollout), click Add and then
explicitly designate the objects with which hair will select the Wind space warp.
collide. The object from which the hair grows is a 11. Play the animation again.
special case: to have hair collide with this object
This time, the hair isn’t affected by gravity, but
(for example, a human head), simply turn on Use
simply blown by the wind. Again, the effect is
Growth Object.
cumulative and the animation doesn’t repeat.
If there is a collision object that you want more All of this animation takes place only in real
than one Hair modifier to interact with, you have time; no keyframes are set, so it can’t be
to add that object as a collision object for each rendered. To learn how to set up a renderable
different Hair And Fur modifier. dynamics simulation with Hair, see the
There are two different methods for calculating following procedure.
collision: Sphere and Polygon. Spherical collision
To generate a precomputed dynamics simulation
uses a bounding sphere for collision objects;
with Hair:
polygonal collision uses the collision object’s
actual geometry. The Polygon option is more 1. Apply the Hair And Fur modifier to an object.
accurate, but the Sphere option is quicker to 2. Set up the animation. It could simply be motion
calculate. of the growth object, or you could use the
Dynamics rollout > External Forces group to
Procedures add space warps, such as Wind, that should
Example: To view hair dynamics in real time: affect the hair. Actually, because the hair is
affected by its own gravity by default, you don’t
1. Apply the Hair And Fur modifier to an object.
need to set up any explicit animation at all to
2. On the Dynamics rollout (scroll the command see hair dynamics.
panel down to view it), set Mode to Live.
3. On the Modify panel > Dynamics rollout, use
3. Move the object around. the Collisions group to set objects the hair
The hair moves realistically. should collide with. Also set other simulation
parameters in the Dynamics Params group.
4. On the Tools rollout, click Regrow Hair.
546 Chapter 8: Modifiers

4. In the Stat Files group, click the ellipsis (...) 8. Make sure Precomputed is on, and then render
button. Use the Save As dialog to specify the animation.
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. In the Simulation group, set the frame range for
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. In the Mode group, choose None, and then play
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.
 Dynamics Rollout (Hair and Fur) 547

Interface Mode group

Chooses the method Hair uses to generate
dynamics. Live mode is suitable for
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
keyframes or stat files for the dynamics. For
best results with Live mode, turn off Display
rollout > Display Hairs group > As Geometry.
For some methods of using live dynamics, see
this procedure: Example: To view hair dynamics
in real time: (page 1–545).
If you press ESC while using live dynamics,
3ds Max displays a dialog that asks whether you
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 generate 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 generate
548 Chapter 8: Modifiers

a precomputed dynamics simulation with Hair: software then computes the dynamics and saves
(page 1–545). the stat files.
Text field—Displays the path and file name for the Start—The first frame to consider in calculating
stat files. the simulation.
... (ellipsis) button—Click to choose a name prefix End—The final frame to consider in calculating
and location for stat files using the Save As dialog. the simulation.
Hair adds a four-digit frame number (with Run—Click to run the simulation and generate the
leading zeroes) and the file name extension stat files within the frame range indicated by Start
“.stat” to the name you provide (for example, and End.
hair_test0001.stat).
To abort a simulation while it’s running, click
Delete all files—Deletes stat files from the target Cancel on the status bar.
directory. The files must have the name prefix you
assigned using the ... button. Dynamics Params group
Tip: You can still use stat files even if you move These controls specify the basic parameters for the
them to another location. Follow this procedure: dynamics simulation. The Stiffness, Root Hold,
1. Open the MAX file used to generate the stat and Dampen values can be mapped: click the
files. map button to the right of the spinner to assign
a map. Grayscale values in the map multiply the
2. On the Modify panel > Dynamics rollout, click parameter’s value at that hair location.
the ... [ellipsis] button.
Gravity—Lets you specify a force that moves hair
3. Use the Save As dialog to navigate to the
vertically in world space. Negative values pull hair
directory with the stat files, and then click any
up while positive values pull it down. To cause hair
stat file. Its name appears in the File Name field.
not to be affected by gravity, set the value to 0.0.
4. Edit the File Name field to delete the four-digit Default=1.0. Range=–999.0 to 999.0.
extension after the stat file name. For example,
if the stat file name is test0033.stat, delete the Stiffness—Controls the magnitude of the effect of
“0033” so that it reads test.stat. dynamics. If you set Stiffness to 1.0, the dynamics
will have no effect. Default=0.4. Range=0.0 to 1.0.
5. Click the Save button. The new stat file path
appears in the Stat Files field. Root Hold—Comparable to stiffness, but affects the
hair only at the roots. Default=1.0. Range=0.0 to
Now, when you play or render the animation, Hair 1.0.
uses the stat files as originally generated.
Dampen—Dynamic hair carries velocity forward
Simulation group to the next frame. Increasing dampening
increases the amount by which these velocities are
Determines the extent of the simulation, and lets
diminished. Thus, a higher Dampen value means
you run it. These controls become available only
that hair dynamics will be less active (the hair can
after you choose Precomputed mode and specify
also start to get “floaty”). Default=0.0. Range=0.0
stat files in the Stat Files group. Set Start and
to 1.0.
End to the frames at which to begin and end the
simulation, and then click the Run button. The
 Display Rollout (Hair and Fur) 549

Collisions group Add—To add a space warp to the list, click Add and
then click the warp’s icon in a viewport.
Use these settings to determine which objects hair
collides with during a dynamic simulation and the Replace—To replace a space warp, highlight its
method by which collision is calculated. name in the list, click Replace, then click a different
• None—Collisions are not considered during the warp’s icon in a viewport.
dynamic simulation. This can cause the hair Delete—To remove a space warp, highlight its
to penetrate its growth object as well as other name in the list, then click Delete.
objects it comes into contact with.
• Sphere—Hair uses a spherical bounding box
to calculate collisions. This method is faster Display Rollout (Hair and Fur)
because it requires less computation, but can
Select an object with the Hair And Fur modifier applied. >
cause inaccurate results. It’s most effective Modify panel > Display rollout
when the hair is seen from a distance.
• Polygon—Hair considers each polygon in the These settings let you control how hairs and guides
collision objects. This is the slowest method, display in the viewports. By default, Hair displays a
but the most accurate. small percentage of the hairs as lines. Alternatively,
you can display the hairs as geometry, and you can
Use Growth Object—When on, hair collides with
also choose to display the guides.
the growth (mesh) object.
Objects list—Lists the names of scene objects with Interface
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 Display Guides group
space warp (page 2–75) to cause the hair to be Display Guides toggle—When on, Hair displays
blown by a breeze. guides in the viewports, using the color shown in
Note: Hair dynamics already has a built-in gravity the color swatch. Default=off.
force, so it’s not necessary to add one. Note: At the Guides sub-object level, guides always
Objects list—Lists the names of forces that appear in the viewports.
dynamically affect the hair.
550 Chapter 8: Modifiers

Guide Color—Click to display the Color Selector irradiances; that is, they describe the intensity
and change the color used to display guides. of light falling on a mesh in physical units. This
modifier converts the physical units to RGB colors.
Guides do not reflect some settings made to the
In conjunction with the Lightscape mesh modifier,
hair, such as Frizz. Use the Guides display mainly
this modifier can be used to produce meshes
to see where hair will appear on the growth object.
suitable for game engines.
Hair places one guide at each vertex on the growth
surface.
Interface
Display Hairs group
Display Hairs toggle—When on, Hair displays hairs
in the viewports. Default=on.
Override—When off, 3ds Max displays hairs using
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—The percentage of total hairs
displayed in the viewports. Lower this value to
improve real-time performance in the viewports.
Max. Hairs—The maximum number of hairs
Brightness—Controls the brightness of the
displayed in the viewports, regardless of the
displayed image on your monitor. The setting
Percentage value.
of this control does not affect the actual lighting
As Geometry—When on, displays the hairs in the levels in the model. Default=50.0.
viewports as the actual geometry to be rendered,
Contrast box—Controls the contrast between light
rather than the default lines. Default=off.
and dark regions in the model. Default=50.0.
Daylight—Determines whether you want natural
LS Colors Modifier (World Space) daylight to be used in the calculation. Default=on.

Select a Lightscape mesh object. > Modify panel > Exterior Scene—Turn on for exterior daylight
Modifier List > World-Space Modifiers > * LS Colors simulations. Default=off.
Tip: Use the logarithmic exposure control (page
The LS Colors modifier converts Lightscape
radiosity values to 3ds Max vertex colors. 3–297) to control the brightness and contrast of
the colors when you render.
When a Lightscape model is imported into
3ds Max, the radiosity values are kept as
 MapScaler Modifier (World Space) 551

Use exposure control—When on, disregards the Use self-illumination—When on, the material’s self
settings of Brightness, Contrast, Daylight, and illumination is included in the final vertex colors.
Exterior, and instead uses the settings of the active Default=on.
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
MapScaler Modifier (World Space)
handle irradiance values. Select an object. > Modify panel > Modifier List >
World-Space Modifiers > MapScaler (WSM)
• Convert light falling on the surface—When
chosen, converts the irradiance values directly Select an object. > Modifiers menu > UV Coordinates >
Map Scaler (WSM)
to RGB values. In order to properly render the
mesh, the vertex colors need to be interpolated
MapScaler maintains the scale of a map applied to
and multiplied by the color of the material on
an object. This lets you resize the object without
the mesh.
altering the scale of the map. Typically, you might
• Convert light reflecting from the surface—When use this to maintain the size of a map regardless of
chosen, takes the irradiance values and how the geometry is scaled.
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 MapScaler sets the scale of a map on an object.
vertex color. To properly render the mesh, you
need to interpolate the vertex colors over the This differs from the MapScaler (OSM) modifier
faces, unless the material is textured. If textures (page 1–713), which maintains the scale of the map
are displayed by multiplying them by the vertex with respect to the object size when scaled with a
colors, they will be correctly displayed. Select And Scale tool. See the latter’s definition for
other differences between the two versions.
Add to colors—When on, the result of the color
Note: This world-space modifier is for use
conversion is added to existing vertex color values,
primarily with vertically oriented objects, such
if there are any. Default=off.
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 walls will map smoothly while sharp corners get a
on curved surfaces, especially complex ones, new texture origin. This switch is only available
which can show cracks in the finished texture. when the Wrap Textures switch is turned on.
Default=off.
Interface
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

Scale—Represents the size of one repetition of the Space)
texture pattern. Size is measured in current system Select an object. > Modify panel > Modifier List >
units. Repetitions occur across the object in the U World-Space Modifiers > * PatchDeform
and V directions. Default=1.0.
Note: When the Use Real-World Texture
The PatchDeform world-space modifier lets you
Coordinates switch is active in the General deform an object based on the contours of a patch
Preferences dialog (page 3–815), the scale setting object. It works the same as the PathDeform (World
defaults to 1.0. If Use Real-World Texture Space) (page 1–552), but uses a patch instead of a
Coordinates is turned off, scale defaults to 100.0. curve. With the exception of the Move to Patch
button, its parameters are the same as those in the
U/V Offset—Specify horizontal and vertical offsets object-space PatchDeform modifier (page 1–754).
respectively. Available only when Wrap Texture
is off.
Wrap Texture—When on, Map Scaler attempts PathDeform Modifier (World
to wrap the texture evenly around the object. Space)
This option requires more computing, but
Select an object. > Modify panel > Modifier List >
usually produces the most satisfactory results. Animation Modifiers > * PathDeform
Default=on.
The PathDeform world-space modifier deforms an
Wrap Using Smoothing Groups—When turned
object based on a shape, spline or NURBS curve
on, textures are wrapped around corners when
path. With the exceptions noted in the Interface
they share the same smoothing groups. Curved
 PathDeform Modifier (World Space) 553

section, this world-space modifier works the same 6. In the Path Deform Axis group, choose the Y
as the object-space PathDeform modifier (page option, and then the X option.
1–755). The circle gizmo rotates to run through the
specified axes, deforming the text object
Procedures differently with each change.
The first two examples, below, demonstrate 7. Adjust the Percent spinner to view its effect, and
the basic differences in orientation and the then set it to zero. Try the same with Stretch,
relationship between the object and its path Rotation, and Twist, and then restore them to
when using the PathDeform modifier and the their original values.
PathDeform (WSM) modifier.
Tip: Use the Ctrl key with Twist to amplify
the effect.
8. Turn on Flip to switch the direction of the path,
and then turn it off.
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. Select the original circle shape, and change its
Example: To use the PathDeform modifier to curve radius.
text:
The deformation of the text object alters
1. In the Top viewport, create a circle that’s 100 because its gizmo is an instance of the shape
units in radius. object.
2. In the Front viewport, create a text shape with
six or seven letters, and a size of 25. Example: To use the PathDeform world space
modifier:
3. Apply an Extrude modifier to the text shape,
This procedure continues from the previous one.
and set the Amount to -5.0.
1. Select the text object, and then remove the Path
4. On the Main toolbar, set the Reference
Deform modifier from the stack.
Coordinate System to Local.
2. Apply a Path Deform (WSM) modifier.
Looking at the axis tripod for the extruded text
object, you can see that its Z axis runs from 3. Click Pick Path, and select the circle.
back to front relative to world space. The text object flips around and moves in
5. Apply a PathDeform (page 1–755) object-space world space. Note that its orientation and
modifier to the text object. Click the Pick Path deformation are difficult to analyze because
button, and then select the circle. there’s an offset distance between the path and
the object.
A circular gizmo appears. The circle runs
through the local Z axis of the text object. 4. Click Move to Path.
Because of its orientation, its effect is minimal,
but you can see a slight wedge-shaped
deformation from the top view.
554 Chapter 8: Modifiers

The text object is transformed so that its local Example: To create a growing vine:
Z axis is aligned with the path and its position
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.

1. Use the Line tool and, optionally, Editable

Spline to create a path along which the vine will
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 the Stretch value to stretch the cone
along the path until it reaches the end. There
won’t be enough height segments in the cone,
but you can fix that in step 7.

6. Turn off Auto Key.

 Point Cache Modifier (World Space) 555

7. In the stack, click Cone, and then in the When you first pick a path, the object is deformed
Parameters rollout increase the Height by the path based on the offset distance between
Segments setting until the stretched cone is the first vertex in the path and the object’s location.
smooth on the path. Thus, as you adjust the Percent spinner, for
8. Play the animation. example, the result will be distorted depending on
the offset distance.
The cone grows along the path, like a vine.
Important: Using the Move To Path button applies
Interface a transform to the object that’s not removed if you
later remove the Path Deform binding from the object.
Since this is a world-space rather than an
However, you can undo (page 1–94) the transform
object-space modifier, the object is affected in
immediately after it’s been performed.)
world space coordinates, and also affected by the
relative position of the path to the object. Thus, if Note: If the Auto Key button is on when you
you transform the object relative to the path, or perform Move To Path, transform keys are created.
vice-versa, it has an affect on the deformation.
Generally speaking, the Path Deform world-space Point Cache Modifier (World
modifier leaves the path in place while moving
Space)
the object to the path, while the Path Deform
object-space modifier leaves the object in place Select an object. > Modify panel > Modifiers List >
World–Space Modifiers > * Point Cache
while moving the path to the object.

The world-space version of the Point Cache

modifier works exactly the same as the Point
Cache modifier (page 1–758), except that it uses
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

For all parameters except the following, refer to

The Subdivide (WSM) modifier is similar to the
the PathDeform modifier (page 1–755).
object-space Subdivide modifier (page 1–839),
and has the same parameters. In the world-space
Path Deform group
version of Subdivide, the size limit is on the
Move to Path—Moves the object from its original
position to the start of the path.
556 Chapter 8: Modifiers

mesh after it is transformed into world space The software now uses the NURBS surface’s
coordinates. normals to project the texture onto the
modified objects.
Tip: To fine-tune the map placement on the
Surface Mapper Modifier (World mesh, you can use the NURBS surface’s Edit
Space) Texture Surface dialog (page 1–1230).
Make a selection. > Modify panel > Modifier List >
World-Space Modifiers > * Surface Mapper Interface

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
applying a single map to a group of surface
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. Create the NURBS surface to use for projection,
and transform it so it wraps the objects you
want to map.
Source Texture Surface group
2. Use the Material Editor (page 2–1409) These controls let you choose the NURBS surface
to assign a mapped material to the NURBS to project.
surface.
Pick NURBS Surface—Picks the NURBS surface
3. Select the objects you want to map. to use for projection. Click to turn on this
button, then click the NURBS surface in an active
4. Use the Material Editor to assign the viewport.
same material to the objects you want to map. Surface—Shows "<none>" before you pick a
5. Apply the Surface Mapper world-space NURBS surface; shows the name of the surface
modifier. after you pick one.
6. In the Parameters rollout, turn on Pick NURBS
Surface, and then click the NURBS projection
surface in a viewport.
 SurfDeform Modifier (World Space) 557

Map Channels group When you apply an object-space modifier, it

appears directly above the object with other
These controls let you choose which map channels
object-space modifiers in the modifier stack (page
(page 3–966) to use.
3–760). The order in which the modifiers appear
Input Channel—Selects the NURBS surface map in the stack can affect the resulting geometry.
channel to use before projection.
For a list of object-space modifiers, see List of
Output Channel—Selects the modified object’s Available Modifiers (page 1–497).
map channel to use after projection.

Update Options group Affect Region Modifier

These controls let you choose how to update the
Modify panel > Make a vertex sub-object selection. >
mapping displayed in viewports. They have no Modifier List > Object-Space Modifiers > Affect Region
effect if Show Map In Viewport (page 2–1445) is
Make a vertex sub-object selection. > Modifiers menu >
turned off. Parametric Deformers > Affect Region

Always—Updates viewports whenever the

mapping changes. The Affect Region modifier is a surface modeling
tool, primarily used with vertex sub-object
Manually—Updates viewports only when you click selections while surface modeling. With Affect
Update. Region, transforming a selection of vertices
Update—Updates viewports. This is unavailable can also transform vertices in the region that
unless you’ve chosen Manually. surrounds the selection. This can help you form a
bubble or indentation in the surface of an object.
The easiest way to see this modifier’s effect is with a
SurfDeform Modifier (World shallow, flat box object with plenty of subdivisions.
The Affect Region modifier has a two-part,
Space)
arrow-shaped gizmo plus numeric controls.
Select an object. > Modify panel > Modifier List >
World-Space Modifiers > * Surf Deform When you apply the Affect Region modifier, it
assigns an arrow-like gizmo consisting of two
Select an object. > Modifiers menu > Animation Modifiers
> * Surf Deform points connected by a line. The base of the arrow
is the start point. The length and direction of the
The SurfDeform (WSM) modifier works the same arrow defines the amount of movement of the
as the PathDeform (WSM) modifier (page 1–552), vertices. Any vertices within Falloff distance of the
except that it uses a NURBS Point or CV surface base of the arrow are translated in the direction of
instead of a curve. 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
Object-Space Modifiers effect by using a selection modifier like Mesh Select
Object-space modifiers directly affect an object’s (page 1–719) or Volume Select (page 1–952) to pass
geometry in local object space (page 3–982). a sub-object selection up the stack.
558 Chapter 8: Modifiers

Note: The Affect Region modifier is ideal for simple Modifier Stack
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), the HSDS
modifier (page 1–701), and NURBS (page 1–1089).

Point sub-object level—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

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. Parameters group
5. Adjust the parameters to achieve different Falloff—Sets the radius of affected vertices, in
effects. units, from the base of the gizmo arrow. (Spinner
value range: float, 0.0 to 999,999.0)
Interface
Ignore Back Facing—Affects only those vertices
Note: The parameters of this modifier are similar
whose face normals are in the same general
to those of the Soft Selection function (page 1–963) direction as the gizmo arrow. When turned off, all
of an Editable Mesh. vertices in the Falloff group are affected.
 Attribute Holder Modifier 559

Curve group In the modifier stack, the Attribute Holder

modifier should be highlighted.
Pinch—Affects the tangency of the curve where
it meets the arrow tip. Positive values produce 3. From the Animation menu, choose Parameter
a pointed tip while negative values produce a Editor.
dimple. (Spinner value range: float, -999,999.0 to 4. In Parameter Editor, on the Attribute Rollout,
999,999.0) make or ensure the following settings:
Bubble—Changes the curvature of the affected • Add to Type=Selected Object’s Current
vertices. A value of 1.0 produces a half-dome. As Modifier
you reduce this value, the sides of the dome slope
• Parameter Type=Float
more steeply. Negative values lower the base of the
curve below the base of the arrow gizmo. (Spinner • UI Type=Slider
value range: float, -999,999.0 to 999,999.0) • Name=Box Height
5. On the Float UI Options rollout, keep all the
default settings.
Attribute Holder Modifier
6. On the Attribute Rollout, click Add.
Create or select an object. > Modify panel > Modifier List
> Object–Space Modifiers > Attribute Holder The Custom Attributes rollout appears on the
Modify panel, containing the new Box Height
Create or select an object > Modifiers menu > Animation slider.
> Attribute Holder
7. Add another attribute:
The Attribute Holder modifier is an empty • Add to Type=Selected Object’s Current
modifier that provides a readily accessible user Modifier
interface on the Modify panel to which you can
add custom attributes (page 1–129). It has no user • Parameter Type=Integer
interface of its own; the interface consists solely • UI Type=Spinner
of those attributes you assign to it. In essence, • Name=Box Height Segs
Attribute Holder is a stripped-down version of
Parameter Collector (page 1–138) that can collect • Integer UI Options > Range=From 1 to 50.
only custom attributes and appears on the Modify 8. Add two more Float/Spinner attributes named
panel instead of a floating dialog. Taper Amount and Taper Curve.
The Attribute Holder modifier now has four
Procedure custom attributes, but they don’t do anything
Example: To collect different custom attributes in an because they’re not connected. You’ll use
Attribute Holder modifier: Parameter Wiring to hook them up.
Before undertaking this procedure, you should be 9. Close the Parameter Editor dialog.
familiar with basic usage of the Parameter Wiring
10. In the active viewport, right-click the box and
dialog (page 2–412).
choose Wire Parameters. From the pop-up
1. Add a small box to an empty scene. Make it menu that appears, choose Modified Object >
about 20.0 units on a side. Box (Object) > Height.
2. Apply a Taper modifier and an Attribute Holder
modifier, in that order.
560 Chapter 8: Modifiers

A rubber-band dashed line appears connecting as many different parameters from different
the mouse cursor to the box. levels in an object’s modifier stack, or even
11. You can’t connect this “wire” directly to the from different objects, as you like.
custom attribute, so just left-click in an empty You might notice that you can’t set the taper to
part of the viewport to open the Parameter curve inward. You can resolve this by reopening
Wiring dialog. Parameter Editor, clicking Edit/Delete, and
The hierarchy list on the left side, Box01, is then modifying the Taper Curve attribute to
expanded to the box’s Height parameter, which allow negative values. The change takes effect
is highlighted. immediately, with no rewiring required.

12. On the right side, expand this path: Object >

Box01 > Modified Object > Attribute Holder > Bend Modifier
Custom Attributes, and then click Box Height
to highlight it. Modify panel > Make a selection. > Modifier List >
Object-Space Modifiers > Bend
13. Click the Two-way Connection button
(double-headed arrow), and then click Make a selection. > Modifiers menu > Parametric
Deformers > Bend
Connect.
14. Similarly, connect Height Segments on the left The Bend modifier lets you bend the current
side to Box Height Segments on the right. selection up to 360 degrees about a single axis,
15. Close the Parameter Wiring dialog. producing a uniform bend in an object’s geometry.
You can control the angle and direction of the
16. Right-click the box again, choose Parameter
bend on any of three axes. You can also limit the
Wiring, choose Modified Object > Taper bend to a section of the geometry.
> 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 Bend applied to a streetlight model
Custom Attributes rollout.
The Attribute Holder modifier lets you change Procedures
the box’s creation parameters as well as the To bend an object:
Taper modifier’s settings without switching
1. Select an object and apply the Bend modifier.
back and forth in the modifier stack. In this
way you can access, in one convenient location,
 Bend Modifier 561

2. On the Parameters rollout, set the axis of the Gizmo sub-object—You can transform and animate
bend to X, Y, or Z. This is the axis of the Bend the gizmo like any other object at this sub-object
gizmo, not the axis of the selected object. level, altering the effect of the Bend modifier.
You can switch between axes at any time, but Translating the gizmo translates its center an equal
the modifier carries only one axis setting. distance. Rotating and scaling the gizmo takes
place with respect to its center.
3. Set the angle of the bend along the chosen axis.
Center sub-object—You can translate and animate
The object bends to this angle.
the center at this sub-object level, altering the
4. Set the direction of the bend. Bend gizmo’s shape, and thus the shape of the bent
The object swivels around the axis. object.

You can reverse angle and direction by changing a For more information on the stack display, see
positive value to a negative value. Modifier Stack (page 3–760).

To limit the bend: Parameters rollout

1. Turn on Limit Effect in the Limits group.
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
result is the same as turning off Limit Effect.
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.
Bend group
The Limit settings remain on either side of the
center as you move it. This lets you relocate the Angle—Sets the angle to bend from the vertical
bend area to another part of the object. plane. Range=-999,999.0 to 999,999.0.
Direction—Sets the direction of the bend relative
Interface to the horizontal plane. Range=-999,999.0 to
Modifier Stack 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 Procedure

Limit Effect—Applies limit constraints to the bend Example: To create beveled text:
effect. Default=off. This example produces typical 3D beveled text,
Upper Limit—Sets the upper boundary in world with equal bevels in front and back.
units from the bend center point beyond which 1. Create text (page 1–278) using default settings.
the bend no longer affects geometry. Default=0. Font=Arial, Size=100.0.
Range=0 to 999,999.0.
2. Apply the Bevel modifier.
Lower Limit—Sets the lower boundary in world
3. Type -1.0 in the Start Outline field.
units from the bend center point beyond which
the bend no longer affects geometry. Default=0. 4. For Level 1, do the following:
Range=-999,999.0 to 0. • Type 5.0 for Height.
• Type 2.0 for Outline.
Bevel Modifier 5. Turn on Level 2, and do the following:
• Type 5.0 for Height.
Select a shape. > Modify panel > Modifier List > Bevel
• Type 0.0 for Outline.
The Bevel modifier extrudes shapes into 3D 6. Turn on Level 3 and do the following:
objects and applies a flat or round bevel to the
• Type 5.0 for Height.
edges. A common use for this modifier is to create
3D text and logos, but you can apply it to any • Type -2.0 for Outline.
shape. 7. If needed, turn on Keep Lines From Crossing.
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
 Bevel Modifier 563

Interface Start—Caps the end with the lowest local Z value

Parameters rollout (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—Creates cap faces suitable for morphing.

Grid—Creates cap faces in a grid pattern. This

cap type deforms and renders better than morph
capping.

Surface group
Controls the side curvature, 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-level bevels with 1 and 2 segments

Capping group
You can determine whether or not the beveled
object is capped at either end with the check boxes
in the Capping group.
Bevels with linear and curved sides
564 Chapter 8: Modifiers

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.

Rounding and smoothing the bevel object sides

Smooth Across Levels—Controls whether

smoothing groups are applied to the sides of
a beveled object. Caps always use a different
smoothing group than the sides. Using Keep Lines From Crossing:

• When turned on, smoothing groups are applied Left: Off

to the sides. The sides appear rounded. Right: On

• When turned off, smoothing groups are not Separation—Sets the distance to be maintained
applied. The sides appear as flat bevels. between edges. The minimum value is 0.01.
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
to the object. The scaling values are controlled
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 Changing the Separation value
neighboring edges.
Bevel works best with rounded shapes or shapes Bevel Values rollout
with corners greater than 90 degrees. Acute angles Contains the parameters that set the height and
(less than 90 degrees) produce extreme bevels and bevel amount of up to four levels.
often overlap nearby edges.
 Bevel Profile Modifier 565

A beveled object requires a minimum of two levels: Traditional beveled text uses all levels with these
a start and an end. You add more levels to vary the typical conditions:
amount and direction of bevel from start to end. • Start Outline can be any value, usually 0.0.
You can think of bevel levels as layers on a cake. • Level 1 Outline is a positive value.
The Start Outline is the bottom of the cake and the
• Level 2 Outline is 0.0. No change from Level 1.
Level 1 parameters define the height and size of
the first layer. • Level 3 Outline is the negative of Level 1.
Returns Level 3 to the same size as the Start
Turning on Level 2 or Level 3 adds another layer Outline.
to the beveled object with the height and outline
specifying the amount of change from the previous
level. Bevel Profile Modifier
The last level on is always the top of the object.
Select a shape. > Modify panel > Modifier List > Bevel
Profile
You must always set the Level 1 parameters.
Start Outline—Sets the distance the outline is The Bevel Profile modifier extrudes a shape using
offset from the original shape. A non-zero setting another shape path as the "beveling profile." It’s a
changes the original shape’s size. variation on the Bevel modifier (page 1–562).
• Positive values make the outline larger. Important: Bevel Profile fails if you delete the original
• Negative values make the outline smaller. beveling profile. Unlike a loft object, which incorporates
the shape, Bevel Profile is simply a modifier.
Level 1—Includes two parameters that indicate the
change from the Start level. Note: Although this modifier might seem similar
to a loft object with varying scale settings, it’s
Height—Sets the distance of Level 1 above the Start actually different because it uses different outline
level. values as distances between line segments rather
Outline—Sets the distance to offset the Level 1 than as scale values. This more complex method of
outline from the Start Outline. resizing a shape results in some levels having either
more or less vertices than others, and generally
Levels 2 and Level 3 are optional and allow you to works better with text, for example.
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.
566 Chapter 8: Modifiers

Interface
Modifier Stack

For more information on the stack display, see

Modifier Stack (page 3–760).

Parameters rollout

Bevel Profile creates an object using an open spline.

Bevel Profile creates an object using a closed spline, yielding

a different result.

Procedure Bevel Profile group

To use the Bevel Profile modifier: Pick Profile—Selects a shape or NURBS curve to be
used for the profile path.
1. Create the shape you want to bevel (preferably
in the Top viewport). Generate Mapping Coords—Assigns UV

2. In the Front (XZ) viewport, create a shape to

coordinates.
use as the beveling profile. Real-World Map Size—Controls the scaling method
3. Select the first shape and apply the Bevel Profile used for texture mapped materials that are applied
modifier. to the object. The scaling values are controlled
by the Use Real-World Scale settings found in
4. Click the Pick Profile button in the Bevel Profile
the applied material’s Coordinates rollout (page
modifier, and then click the profile shape.
2–1625). Default=on.
 Camera Map Modifier (Object Space) 567

Capping group
Start—Caps the bottom of the extruded shape.

End—Caps the top of the extruded shape.

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.
Left: The texture of an object with a camera map modifier
Intersections group matches the background when seen by the camera the
modifier uses.
Keep Lines From Crossing—Prevents beveled
Right: When seen by a camera not used by camera map, the
surfaces from self intersecting. This requires more
object’s texture is based on object geometry.
processor calculation and can be time-consuming
in complex geometry.
Blending an Object into the Background
Separation—Sets the distance that sides should be
In the Procedures section (below), you’ll be
kept apart to prevent intersections.
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
Camera Map Modifier (Object object blends with the background at the frame
Space) where the modifier is applied and a camera is
Select one object. > Modify panel > Modifier List >
specified. The object becomes visible if either the
Object-Space Modifiers > Camera Map camera or object moves. In order to make the
illusion work, you must assign the same map to
Select one object. > Modifiers menu > UV Coordinates
> Camera Map the background that you assign to the object.

The Camera Map modifier (object-space version) Mapping Coordinates

assigns planar mapping coordinates based on Because the accuracy of mapped objects depends
the current frame and the camera specified in partly on the complexity of the mesh, the "blend to
the Camera Map modifier. This differs from the background" effect works best when applied to an
Camera Map (WSM) modifier (page 1–513) that object with a relatively high density of triangular
updates the object’s mapping coordinates on every faces. The necessary density also depends on the
frame. 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 The Plate Match/MAX R2.5 antialiasing should be
box object that’s filling a quarter of the screen, a used whenever trying to match foreground objects
tessellation of 4x4x4 works well.) with an unfiltered background or when trying to
Note: When using the Camera Map modifier, apply match the antialiasing qualities of the 3ds Max 2.5
the modifier to a single object at a time. If it’s renderer.
applied to a selection set, only the first item in the
selection will be mapped properly. Procedures
The following steps show how to apply the Camera
Use Camera Map (WSM) (page 1–513) if you want
Map modifier, and how to set up your scene.
to move the camera and maintain the match to the
background.
To apply the Camera Map modifier:

Using the Plate Match/MAX R2.5 1. Create a scene with a camera and one or more
Rendering Filter objects. Make sure the object you want to map
is visible in the Camera viewport.
Prior to 3ds Max 3, the antialiasing affected only
geometric edges, with the filtering of bitmaps 2. Select the object, and apply the Camera Map
being controlled in the Bitmap Map parameters modifier.
(pyramidal, summed area, or no filtering). Use the Object-Space Camera Map modifier,
Antialiasing filters affect every aspect of the object, the one without the asterisk.
filtering textures along with geometric edges. 3. If you have animation in the scene, move to the
While antialiasing provides superior results, it frame where you want the object map to match
produces inconsistencies when rendering objects the background. For example, if the camera is
that are supposed to match the environment animated, the mapping will match only at this
background. This is because the antialiasing filters frame.
do not affect the background by default. You can
turn on background antialiasing in Customize 4. On the Camera Mapping rollout, click Pick
> Preferences > Rendering > Background Camera, and then select the camera used for
Antialiasing > Filter Background. To correctly the rendered view.
match an object’s map to an unfiltered background
To assign a background image to the Camera
image, you need to use the Plate Match/MAX
viewport:
R2.5 filter so the texture is not affected by the
antialiasing. Note: This procedure is not necessary for successful
rendering, but if you want to see the effect in a
There are three ways you can render objects in viewport, follow these steps.
3ds Max to blend seamlessly into a background
1. Activate the Camera viewport and turn off the
environment:
grid.
• By assigning a Matte/Shadow Material
2. Choose Views menu > Viewport Background.
• By assigning a 100% self-illuminated diffuse
3. On the Viewport Background dialog that
texture to an object using Camera Mapping
displays, click the Files button, and choose
• By assigning a 100% self-illuminated diffuse the same bitmap that you plan to apply as a
texture using Environment/Screen projection 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 The mapped object is camouflaged against the
Rendering Output. background in the rendered scene.
5. Turn on Display Background, and click OK.
Interface
The dialog is dismissed and the map is
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. At the Diffuse Map level of the material, turn on
the Show Map In Viewport button.
3. Select the object, and click Assign Material To
Selection. Pick Camera—To apply the UVW coordinates, click
The map on the object in the viewport matches this button, and then select the camera through
the viewport background, but the shading which you’re going to view the scene.
makes the object visible. To make the object
Map Channel—Turn on and choose a map channel
truly invisible, go to the next step.
to use. Map channels are specified in the Material
4. At the top level of the object’s material, set Editor.
Specular Level and Glossiness to 0. Turn off Self
Vertex Color Channel—Uses the Vertex Color
Illumination Color, and set Self Illumination
channel.
to 100.
The object is now camouflaged against the
background. Cap Holes Modifier
To assign the background to the rendered Select a mesh object. > Modify panel > Modifier List >
background: Cap Holes

1. Choose Rendering menu > Environment. Select a mesh object. > Modifiers menu > Mesh Editing
> Cap Holes
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. Cap Holes used to make the cake appear solid
570 Chapter 8: Modifiers

The Cap Holes modifier builds faces in the holes in Interface

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
produce one or more holes. The modifier works
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 Smooth New Faces—Assigns the same smoothing
the hole that’s adjacent to, or within the selected group number to all new faces. If possible, this will
geometry, whether vertex, edge, or face. be a smoothing group number not used elsewhere
in the object.
Tips
Smooth With Old Faces—Smoothes new triangular
• If the Cap Holes modifier doesn’t appear to faces using the smoothing groups from bordering
work, remove it, apply a Mesh Select modifier old faces. This smoothes only one level in from the
(page 1–719) to select the faces surrounding the perimeter of the border of the hole, so you might
hole, then apply Cap Holes to the sub-object need to use both this and the Smooth New Faces
selection. option to properly smooth a large hole.
• The Cap Holes modifier creates faces with Note: When Smooth With Old Faces is turned on,
invisible edges unless you turn on All New the faces in the capped holes inherit a material face
Edges Visible before you apply it. ID from one of the surrounding faces. When this
item is turned off, the faces in the capped holes are
Procedure assigned a new ID.
Example: To cap a hole in a sphere:
Triangulate Cap—Makes all of the edges visible in
1. Create a sphere. the new faces.
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. Turn off the Face selection level.
6. Apply a Cap Holes modifier.
The hole you created should be filled.
Tip: Turning on Smooth With Old Faces makes
the cap less visible.
 Cloth and Garment Maker Modifiers 571

See also
Cloth and Garment Maker Cloth Overview (page 1–571)
Modifiers
Cloth Overview
Cloth is an advanced cloth-simulation engine
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.
Laura by Georges Walser It provides background information on
cloth-simulation technology, so you can begin to
Cloth provides you with advanced tools for grasp exactly the way Cloth works. It will give you
creating realistic fabrics and tailor-made clothing a better overall understanding of how to set up
for characters and creatures. The Cloth system Cloth scenes, the way the cloth behaves, and the
comprises two modifiers: array of advanced controls you will have at your
• The Cloth modifier (page 1–578) is responsible disposal.
for simulating the motion of cloth as it interacts
As an artist and creator, you can use this
with the environment, which may include
knowledge to tailor (no pun intended) how Cloth
collision objects (a character or a table, for
will affect and interact with your scenes, and how
example) and external forces, such as gravity
you can best take advantage of this software.
and wind.
• The Garment Maker modifier (page 1–607) is a Cloth-Simulation Technology
specialized tool for creating 3D garments from
2D splines, similarly to the way real clothes are Cloth simulation is the process of replicating the
made, by stitching together flat pieces of cloth. movement and deformation of a piece of fabric or
clothing to mimic how cloth would react in the real
You can model clothing in two ways: by creating world. To make cloth simulation work, first you
the cloth objects with standard 3ds Max modeling need a cloth object, such as a tablecloth or a pair of
methods and applying the Cloth modifier to pants. Next, you need something for the fabric to
them, or by designing virtual clothing patterns interact with. This can be a collision object such
with splines and stitching together these various as a table top or character’s leg, or a force such as
virtual panels to form a full garment using the wind or gravity.
Garment Maker modifier. With Garment Maker,
you can even import spline patterns from external Limitations
applications and use these as your pattern panels.
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 mesh (rather than through it) so there are no
an approximation of how real fabric would react intersections. This is done with collision detection;
under certain circumstances; this system does with Cloth, you tell the simulation system which
have some limitations. objects will act as cloth, and which ones will act
as collision objects.
One of the most important aspects of working
with Cloth is the amount of time it can take to Basically, virtual feelers are sent out from the
create a simulation. If you’re looking to create a vertices of the cloth objects to see if there are
fully physically correct simulation, you might run any other objects that they might collide with.
into problems. Even with a fast computer, cloth When one of the feelers hits something, the
dynamics at that level of accuracy (and geometric simulation knows that it must deform the fabric. It
detail) could take virtually forever. So you must is important to remember that a cloth mesh with
learn to scale your simulations back to a reasonable more vertices has more feelers and can do a better
level. This doesn’t mean you can’t get believable job of collision detection. This is critical, because
clothing; it simply means that there are tradeoffs if you are working with a high-poly character
you should be willing to make. (collision object), you will need to increase the
density of your cloth, or the high-poly mesh will
Tradeoffs protrude through the lower-poly cloth object. The
In order to create a believable simulation, you reason is that there aren’t enough feelers to detect
need to balance time against quality and accuracy. all of the detail in the collision object.
The more time you have, the more accuracy and The alternative to this is to add one or more
quality your simulation can have. There’s no low-polygon proxy meshes for the character so
reason to make a model with 10,000 polygons if there doesn’t need to be such high density cloth
you can define the form equally well with 3,000. objects that will slow down simulation. We’ll cover
The same rule applies to cloth simulations. the mesh density a bit more in the next section.

Internal and External Forces Lastly, if you are simulating with fast-moving cloth
objects, you might need to increase the Density
When simulating cloth, different forces come value to give you the benefit of more feelers. You
into play. Some internal forces like bend, stretch, also might adjust the Step size to check more often
and shear allow the fabric to deform in a realistic for collision objects in the way.
manner. External forces such as gravity, wind,
and collisions make the cloth interact with Clothing and Pattern Design Overview
its environment. To obtain a good-looking
simulation, most or all of these things need to Traditionally, sewing patterns are cut from flat
come into play. Without these forces, a piece of pieces of cloth and stitched together. The place
cloth will remain a flat, lifeless plane. where one piece of cloth is sewn to another is called
a seam. Patterns are generally symmetrical, where
Collision Detection the left side of the garment matches the right.

When putting a shirt or pair of pants on a Skirt

character, you don’t want any part of the body The simplest is a skirt pattern with two pieces, with
to protrude through the fabric. The desired a similar shape for the front and back. The back
result is to have the garment deform around the
 Cloth Overview 573

shape is a little larger than the front to account for on the back piece is higher than the collar on
the hips and buttocks. the front. You sew seams up the sides and at the
shoulders, leaving the arm hole open.

The shapes are sewn together at the sides to form a simple skirt.

You can also add sleeves to the shirt. A sleeve

pattern is bell-shaped.

The bottom edge of a garment is called a hem. In It might not be immediately obvious how this
the skirt pattern, the waistline and hem are slightly pattern turns into a sleeve. The large hump of the
curved. When a person puts on the skirt, the bell fits over the shoulder, to give room for it to
curve sits flat on the waist, while the skirt falls in move.
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
574 Chapter 8: Modifiers

Each piece is cut twice. The two front pieces are

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.

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.

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.
In the real world, clothes are made by cutting
out shapes from pieces of cloth and sewing them
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

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.

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. Left: Garment Maker Delaunay mesh
Right: Modeled quad mesh
Important: Keep in mind that modeled clothing must
not have any overlapping vertices or interpenetrating
How Cloth Works
faces. This type of geometry can cause the simulation
to fail. Using Garment Maker; you will not run into this Cloth exists within 3ds Max as a pair of modifiers:
problem. If you are careful in creating your mesh, then Garment Maker and Cloth. Between these two,
this is an easy rule to follow. you can turn just about any 3D object into a
cloth object, or you can create clothing in a more
Pros and Cons
traditional method from 2D patterns, and then
When designing clothing, Garment Maker is sew the panels together. However, before getting
usually the best way to go. It lets you define into the specifics of the two modifiers, it’s useful
seams, seam strength, pleats, and other clothing to discuss how to preplan for using Cloth. This
parameters that cannot be defined with clothing includes how geometry affects Cloth behavior as
modeled via other methods. Either methods lets well as the density of the meshes you use as fabric.
you define separate portions of your clothing with
different fabrics, but Garment Maker gives you Effect of Geometry on Cloth
greater control over this. The advantage to using Ideally, the way you model your cloth should
modeled clothing is that it can sometimes be a not affect how it behaves. However, in practice,
faster setup with familiar methods and it’s a great the nature of the cloth geometry impacts the
way to repurpose older clothing models you have simulation. First of all, the density of the mesh
made in the past. Using polygon-modeled clothing defines how fine the folds are that can develop. If
can result in overly regular creases and folds. you create a plane with only nine vertices, when
Garment Maker uses a Delaunay mesh, which you drape it over a sphere, you are obviously not
tends to avoid this problem. However, the irregular going to get much detailed folding.
triangulation can result in rendering artifacts
for low-resolution clothes, so it is advisable to 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
whose triangle hypotenuse edges are aligned will
result in a cloth with folds aligned along those
edges. Garment Maker creates meshes with an
irregular layout (but with fairly equal-sized and Left: A quad mesh
close-to-equilateral triangles) that avoids this Right: A Delaunay mesh
folding bias. However, this can also result in
rendering artifacts with low-resolution cloths, so Cloth Mesh Density
it is advisable to apply the HSDS modifier after It is important to think about how dense your
Cloth on garments created with Garment Maker mesh has to be to achieve the result you want.
and subdivide all the triangles once. Making the mesh too dense will slow down
Note: MeshSmooth does not give good results with the system, while having your mesh at too low
Garment Maker meshes. 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
Left: A low-density shirt. level of detail and performance that is appropriate
Right: The same shirt with HSDS applied, above Cloth in the for your scene.
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
modifiers such as Edit Mesh, MeshSmooth, or
HSDS.
The type of geometry you work with can have a
great impact on how the cloth will react. You’re Low, medium, and high-density meshes and the way they
deform
probably accustomed to using triangular and
quadrilateral polygons for modeling. Garment Notes on the HSDS Modifier
Maker uses a Delaunay mesh subdivision that
Using the HSDS modifier to add detail to your
promotes non-uniform deformation. When using
model can be an effective solution that lets you
quad polygons for cloth simulation be careful of
simulate with a lower resolution mesh, and still get
getting uniform or symmetrical results.
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 See also
at the seams as it is subdivided.
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.
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
Left: Cloth modifier not yet applied
Below is a list of traditional pattern-making Right: Cloth modifier applied and simulated
software that you can use to create patterns for
import into 3ds Max and use with Cloth. After See also
ensuring that your Internet connection is active,
click the software names to display the makers’ Object Properties Dialog (Cloth) (page 1–602)
Web sites. Cloth and Garment Maker Modifiers (page 1–571)
• Fashion CAD Cloth Overview (page 1–571)
• PatternMaker
Garment Maker Modifier (page 1–607)
• Wild Ginger Software
• Autometrix Basic Concepts
• AccuMark Pattern Design In a Cloth simulation, you will let Cloth know
• TUKATECH 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, is determined by the cm/unit parameter on the
collision object. Simulation Parameters rollout. This tells Cloth
how many centimeters (cm) correspond to each
Because Cloth is a modifier, an instance of it is
3ds Max unit. One inch equals 2.54 cm, so the
assigned to each object to be included in the Cloth
default setting of 2.54 means that one 3ds Max unit
simulation. This includes all cloth and collision
corresponds to 1 inch.
objects. Be aware that two cloth objects with two
separate applications of the Cloth modifier will Following is the procedure to follow to determine
not interact with one another. There are a couple what setting to use here.
of ways to include objects in the simulation: 1. Use the measure utility or tape helper to
• Select all of the objects at once and apply the measure some dimension of your cloth (or
Cloth modifier to them. character) in 3ds Max units (call this number
• Apply Cloth to one or more objects and then x).
add objects with the Add Objects button, 2. Decide how big you want this object to be in the
available on both the Object rollout and the real world Convert this number to centimeters.
Object Properties dialog (page 1–602). If you have the dimension in inches, simply
multiply by 2.54 (call this number y).
Units of Measure
3. cm/unit=y/x
Important: The following information is necessary only
Here is a quick example: You import a file,
if you change the system unit after applying the Cloth
man.obj, into 3ds Max, and want to put a shirt on
modifier. If you change the system unit before applying
him.
Cloth, the modifier automatically adjusts the cm/unit
setting. 1. Using the Measure utility, you find that the man
is 170 3ds Max units tall. So y=170.
It is important to think about size in doing clothing
simulations. A very large flag behaves differently 2. You determine that this man is about 6 feet tall.
from a handkerchief. If the scale is off, then 6 feet=72 inches.
the simulation will be off. Because Cloth deals And 72 inches=72x2.54=182.88cm. So
with real-world physics, it works in real-world x=182.88
units. This means that Cloth needs to know the
3. So now you have the values to make
relationship between units in 3ds Max and units in
sure the shirt behaves correctly.
its own world.
Cm/unit=y/x=170/182.88=0.929. Or
For example, suppose you create a plane that is you can round the spinner’s value up to 1.0,
10 x 10 3ds Max units. If you want this plane to since pinpoint accuracy is not needed here.
behave like a 10-inch x 10-inch handkerchief, you
would tell Cloth that 1 3ds Max unit=1 inch. If you Fabric Behavior
want it to behave like a 10-foot x 10-foot bed sheet,
Cloth provides many different ways to set up fabric
you would tell Cloth that 1 3ds Max unit=1 foot.
behaviors. You can make your cloth behave like
Except as noted at the start of this section, Cloth leather, silk, burlap, and anything in between.
ignores the 3ds Max System Units Setup (under
Customize menu > Units Setup > System Units
Setup). Cloth has its own units setup, which
580 Chapter 8: Modifiers

The Simulation can use the Keep Shape option and setting to
preserve this shape, or even reverse it. This simple
Once all of your parameters are set and you’re
procedure provides an example of how to use Keep
ready to go, it’s time to simulate. In many cases,
Shape.
you will first perform a local simulation to fit your
fabric to your character. Once your fabric is in 1. In the Top or Perspective viewport, add a Plane
place, you can simulate over time. primitive object of about 90 x 90 units, with 20
x 20 segments.
Running a simulation in Cloth is very freeform.
You are able to make many changes and edits to a 2. Apply a Bend modifier, set Angle to 250.0, and
simulation, making it more of a work in progress set Bend Axis to X.
than a click and a “hope for the best” scenario. This produces the initial tubular shape.
3. Copy the bent plane twice so you have three
Constraints
planes in a row. Rename the planes as follows:
You can constrain fabric in various ways to create
• don’t keep shape
different fabric effects during simulations. Cloth
can constrain cloth to have extra drag as it flies • keep shape
through the air, or can cause it to be affected by • reverse shape
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 4. Select all three planes and apply the Cloth
Group sub-object level (page 1–589). At this level, modifier.
you can see vertices of all selected objects, both 5. On the Simulation Parameters rollout, turn off
cloth and collision. You can then select these and Gravity and set cm/unit to 0.5.
place them in groups. Once a group is defined, Turning off Gravity keeps the cloth objects
you can then attach or "constrain" the selection from falling during the simulation, so they
set to another object, or have it affected by some stay in view, and lowering the cm/unit setting
external force. compensates for the planes’ relatively large size.
6. On the Object rollout, click Object Properties.
Procedures
Example: To use the Keep Shape option: This opens the Object Properties dialog.

If your cloth object starts out with 3D shape that 7. In the Objects In Simulation list, highlight all
you’d like to retain during the simulation, you three planes (by dragging), and then, above the
 Cloth Modifier 581

Cloth Properties group, choose Cloth. Also set To run a cloth simulation with a networked render
U Bend to 500.0. farm:

This sets V Bend also to 500.0 automatically. A complex cloth simulation can require extensive
computation and take a long time. Cloth includes
Using high Bend values allows the simulation
commands that make it easy to run a simulation
to proceed more quickly.
on a networked machine (part of a render farm),
Next, you’ll set different Keep Shape properties freeing up your machine for working on other
separately for each object. parts of the scene.
8. Highlight the reverse shape object in the list and 1. Set up the simulation.
set the Bend % value to -100.0.
2. For each cloth object in the simulation, select
Note: The default value was 100.0. the object, and then on the Selected Object
9. Click OK to exit the dialog. rollout click Set and specify a path and file
name for the cache.
10. Select the don’t keep shape object and note that
Object rollout > Selected Objects Manip group For best results, specify a mapped drive and
> Use Target State is off. turn on Force UNC Path. This specifies the
path using the Universal Naming Convention
11. Select both the reverse shape and the keep shape
so that it can be found by all computers in the
objects, but not don’t keep shape, and then turn
network. Also, it’s probably a good idea to keep
on Use Target State.
all the cache files in the same directory.
12. On the Object rollout, click Simulate Local.
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.
After a few seconds, the don’t keep shape object
starts to flatten out, the keep shape object As soon as the Server machine starts the
doesn’t change, and the reverse shape object has, render, it begins computing the simulation and
in fact, reversed its shape, effectively creating saving it to disk. At any point you can load the
a negative bend angle. simulation in its current state from the cache
file to check its progress by clicking the Load
Tip: You can also use Use Target State with Grab
button.
State to maintain or reverse a shape created with
a previous cloth simulation or shape-changing
modifier.
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), where you can define which
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 causing problems. Using a damped simulation
the scene) such as wind to the simulation. Click alleviates this problem.
Cloth Forces to open the Forces dialog. To add
Simulate—Creates a simulation over the active
forces to the simulation, in the Forces In Scene
time segment. Unlike Simulate Local, this creates
list on the left side, highlight the forces to add,
animation data in the form of a simulation cache
and then click the > button to move them to the
at every frame.
Forces In Simulation list, thus adding them to the
simulation. Thereafter, the forces affect all cloth The simulator advances by a time step called
objects in the simulation. dT. The initial value is the Step setting on the
Simulation Parameters rollout. When the
To remove forces from the simulation, in the Forces
simulator encounters certain situations, it
In Simulation list on the right side, highlight the
decreases dT in order to overcome the obstacles.
forces to remove, and then click the < button to
Sometime later, the simulator increases dT again
move them to the Forces In Scene list.
up to the maximum Step value you set. The current
value of dT appears on the Cloth Simulation dialog
Simulation group
that shows the progress of the simulation as it takes
place (see following).
When the simulator decreases dT, it shows "dT
decreased" on the Cloth Simulation dialog along
with one of the following messages (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
To run a cloth simulation, click any of the of the solver.
three Simulate buttons in this group. To halt a • cloth-solid collision velocity was too large –
simulation, press Esc or if the Cloth Simulation The speed of the cloth relative to that of the
dialog is open (i.e., Progress is on), click the Cancel collision object is too high.
button. • cloth-cloth collision velocity was too large –
Simulate Local—Starts the simulation process The speed of colliding cloth parts is too high.
without creating animation. Use this to drape Progress—When on, opens the Cloth Simulation
the clothes on a character or sew the panels of a dialog during the simulation. The dialog shows the
garment together. progress of the simulation, including information
Simulate Local (damped)—Same as Simulate Local, about time, and messages about errors or time
but with a large amount of damping added to step size adjustments.
the cloth. When sewing a garment together,
sometimes the panels come together at high speed,
584 Chapter 8: Modifiers

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.
The Cloth Simulation dialog shows information about the This is useful for simulating clothes in layers. For
simulation while it’s running. example, you may simulate a character’s pants,
Simulated Frames—Shows the number of frames
then turn the pants into a collision object for
simulated so far. simulating a coat. By simulating in layers, you
avoid the problems of cloth-to-cloth collision
Erase Simulation—Deletes the current simulation. detection. If you want to remove the cached
This deletes the cache of all cloth objects and sets motion from the selected object(s), click this
the Simulated Frames count back to 1. button.
Truncate Simulation—Deletes animation created by Grab State—Grabs the current state from the top
the simulation after the current frame. of the modifier stack and updates the cache for the
For example, if you’ve simulated an animation to current frame.
frame 50 but want to keep only animation keys Following is an example of how this might be used:
from frames 0 to 30, set the time slider to frame
1. Simulate to frame 100. When you play back the
30, then click this button. The simulation is then
simulation, you see a collision object poking
deleted from frame 31 on.
through the cloth at frame 24.
Selected Object Manip group 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. Remove the Edit Mesh modifier. The vertices
should now be where you want them.
Grab Target State—Lets you specify the target shape

Set Initial State—Updates the first frame of

for Keep Shape. Grabs the current deformation
the selected cloth object’s cache to the current from the top of the modifier stack and uses that
position. mesh to define the target bend angles between
triangles. Also turns on Use Target State.
Reset State—Resets the selected cloth object’s state
Note: Only the bend angles from the Target State
to the state before Cloth in the modifier stack.
mesh are used, not the edge lengths.
 Cloth Modifier 585

Tip: To add some natural creasing to your cloth, Show Current State—Shows the current state of the
drop the cloth on the floor, click Grab Target State, cloth at the end of the last simulation time step.
and then run the simulation. After clicking Grab
If the simulation is cancelled, the last time step
Target State and before running the simulation,
could lie between two frames. If the simulation
click Reset State (unless you want the cloth to stay
is allowed to successfully finish, the last time step
on the floor!).
corresponds to the last frame.
Reset Target State—Resets the default bend angles
Show Target State—Shows the current target state
to the mesh below Cloth in the stack.
of the cloth; that is, the desired bend angles used
Note: For Garment Maker (page 1–607) objects, by the Keep Shape option.
the target bend angles will depend on the output
Show enabled solid collision—When on, highlights
method set in the Garment Maker modifier. To see
what is actually being used, use Show Target State. all groups of vertices for which Solid Coll is on.
This is handy for seeing exactly which vertices will
Use Target State—When on, preserves the shape of be involved in solid-object collisions.
the mesh as stored by Grab Target State. It uses the
Show enabled self collision—When on, highlights
Bend % and Stretch % settings in the Keep Shape
group on the Object Properties dialog for Cloth. all groups of vertices for which Self Coll is on. This
is handy for seeing exactly which vertices will be
If multiple cloth objects with different Use Target involved in cloth-to-cloth collisions.
State settings are selected, this check box appears
unavailable, but you can click it to make the setting Selected Object rollout
for all selected objects.
The Selected Object rollout lets you control
Note: In previous versions, this check box was the simulation caches, control and optionally
labeled Keep Shape and was found on the Object animate the cloth properties with a texture map
Properties dialog for Cloth. or interpolation, and specify a bend map. This
rollout appears only when a single object in the
simulation is selected.

Create Keys—Creates keys for a selected cloth

object. The object is collapsed to an editable mesh,
and any deformation is stored as vertex animation.
Add Objects—Lets you add objects to the
simulation without opening the Object Properties
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.
586 Chapter 8: Modifiers

procedure, see To run a cloth simulation with a

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). This makes the path readily accessible to
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
Cache group file other than the specified one. You can save in
Use these settings for network simulation. When the default CFX format or in PointCache2 format.
you render with Sim On Render on, Cloth can run Extra Cache—To create a second cache in
the simulation on a networked machine, leaving PointCache2 format, turn on Extra Cache and
your local machine free for other work. For a click Set to specify a path and file name. This file is
 Cloth Modifier 587

also created when you render with Sim On Render Bend Map group
on.
The Bend Map option lets you use a texture map,
map channel, or vertex colors to modulate the
Property Assignment group
target bend angles. The value of this is that you can
Interpolate—Interpolates between the two different paint deformations onto your cloth, or use some
property settings in the Object Properties dialog kind of noise map to add irregularity to the cloth.
(page 1–602) (as determined by the Property 1 and
Bend Map—Toggles the use of the Bend Map
Property 2 radio buttons at the top right corner).
option.
You can use this slider to animate between these
two properties to adjust the type of fabric settings Set the strength of the modulation with the
the garment is using. numeric value. In most cases, the value should be
less than 1.0. Range=0.0 to 100.0. Default=0.5.
Texture Map—Set a texture map and apply the
Property 1 and Property 2 settings to the cloth [map type]—Choose the map type for the Bend
object. You can add a grayscale texture map in map:
this slot to blend between the two properties set in • Vertex Color—Uses the Vertex Color channel for
the Object Properties dialog. Black will represent modulation.
property 1 and white property 2. Any grayscale
value will blend between these two properties. You • Map Channel—Uses a map channel other than
can drag a texture map onto this button. 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
Cloth object with a burlap material in Property 1 and silk in gravity, start and end frames, and sewing-spring
Property 2 being controlled by a Checker procedural map options. These settings apply to the simulation
Mapping Channel—Lets you specify the mapping on a global scale, that is, to all objects in the
channel the Texture map will work from, or choose simulation.
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.
588 Chapter 8: Modifiers

[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.
The default value is set to be the same as Earth’s
gravity: -980.0 cm/sec2.
Step—The maximum size of the time step the
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.
cm/unit—Determines how many centimeters there
are per 3ds Max system unit. At the default value, Cloth samples the solid objects
in the simulation once every frame. Increasing
Cloth automatically sets cm/unit to the equivalent this value should help when objects are moving or
of 2.54 centimeters per inch (the default system rotating quickly, but be aware that the higher you
unit in 3ds Max). For example, if you set the set the value, the slower the simulation will be.
system unit to one foot, Cloth automatically sets
cm/unit to 30.48 (12x2.54). Start Frame—The frame at which the simulation
starts. If you change this value after the simulation
Size and scale are important when doing cloth has been performed, the cache will be moved to
simulation because a 10-foot curtain behaves much this frame. Default=0.
differently from a one-foot square handkerchief,
even if they are made from the same fabric. End Frame—When on, determines the frame at
which the simulation will stop. Default=100.
Earth—Click this button to set the Gravity value
to that of planet Earth. Self Collision—When on, detects cloth-to-cloth
collisions. Leaving this off will speed up
Gravity—When on, the Gravity value (see
the simulator, but will allow cloth objects to
following) affects cloth objects in the simulation. interpenetrate.
 Cloth Modifier 589

The numeric setting specifies the extent to which order. For modifiers with the same priority, the
Cloth tends to avoid self-colliding cloth objects, order is undefined.
at the cost of simulation time. Range=0 to 10. Note: Each object has its own cache file, which is
Default=1. temporarily created when the MAX file is opened.
This is a maximum limit. If Cloth needs fewer On saving the file, the cache is incorporated into
calculations to resolve all collisions, it will use the MAX file. When Sim On Render is on, the
fewer. In most cases, a value greater than 1 isn’t cache file specified is created and written to, but is
necessary. not read from as you change the time slider. The
cache file must be loaded into the internal cache
Solid Collision—When on, the simulator takes into
file before you can see it.
account cloth-to-solid object collisions. This is
almost always left on. Advanced Pinching—When on, Cloth tests for cloth
pinched between two parts of the same collision
Use Sewing Springs—When on, uses the sewing
object.
springs created with Garment Maker to pull the
fabric together. This option helps with cloth colliding with
small features of the collision objects, such as
This works only with objects that have been fingers. There is a significant performance hit for
made with Garment Maker (page 1–607). Turn high-resolution collision objects.
this option off once the garment has been pulled
together. When off, Cloth will identify vertices Tension—Lets you visualize the compression/
that are sewn together and will always keep them tension in the fabric by means of vertex coloring.
coincident. When on, there is always a chance for Stretched cloth is indicated by red, compressed
the vertices to come apart if the sewing springs are by blue, neutral by green. The numeric setting
not strong enough (actually, there will always be lets you change the range of tension/compression
some slight gap between the vertices in this case). illustrated by a complete traversal from red to
blue. The higher this value, the more gradual the
Show Sewing Springs—Toggles the visual
shading. This works only for Garment Maker
representation of the sewing springs in the objects.
viewports. These do not render.
Sim on Render—When on, triggers the simulation Group rollout
at render time. Use this for generating a simulation The Group sub-object rollout is for selecting
with a network computer, which lets you continue groups of vertices and constraining them to
to work on other aspects of your scene with your surfaces, collision objects, or other cloth objects.
own computer. See a procedure here (page 1–581). At the Group sub-object level, all selected objects
After the render is completed, Cloth writes a cache that are part of the Cloth simulation are shown
for each cloth object. You can specify this cache file with their vertices visible so that you can select
on the Selected Object rollout (page 1–585) (which them in an efficient fashion.
is available only when a single object is selected). When you create or select a group at this sub-object
If you do not specify a name, the software creates level, the Group Parameters rollout becomes
one. available.
The numeric value indicates the priority of the Important: The concept of a group for Cloth can be
simulation; the simulations are run in ascending applied to both the cloth objects and to the collision
590 Chapter 8: Modifiers

objects in the simulation. And when created, groups can and then click this button. Name the group, and it
then be given unique properties. For example, a group will then show up in the list below for you assign
on a collision object can have a different collision offset to an object.
from the rest of the object. This is a powerful feature
Delete Group—Deletes the group highlighted in
when working with groups.
the list.
Note: You can select groups of vertices explicitly,
Detach—Removes any constraint assigned to the
with the mouse in the viewports, and you can
also specify a soft selection or use a texture map group and sets it back to being unassigned (i.e.,
to select vertices using controls on the Group without any constraint). Any unique properties
Parameters rollout. See Soft Selection group (page assigned to this group will remain in effect.
1–596). In addition, named selection set (page Initialize—Constraints that involve attaching
1–83) tools are available at this level. 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, not to the object
itself. They need not be near each other. When
the cloth and the constraining object should be
in close proximity, such as with clothing on a
character mesh, use the Surface constraint instead
(see following).
Make Group—Makes a group out of selected
vertices. Select the vertices to include in the group,
 Cloth Modifier 591

Surface—Attaches the selected group to the surface choose another group. You could use this option
of a collision object in the scene. To use, click to prevent the simulator from processing collisions
Surface, and then select the node for attaching. between cloth and the body under an arm or
Tip: This constraint is best suited for when the cloth between the legs.
and the constraining object should be in close Forcefield—Allows you to link a group to a space
proximity, such as with clothing on a character warp and have the space warp affect the vertices.
mesh.
Sticky Surf—The group sticks to a surface only
Cloth—Attaches the selected group of cloth vertices after it has collided with that surface. Solid Coll
to another cloth object. must be enabled for this constraint to work.
Preserve—This group type preserves the motion Sticky Cloth—The group sticks to a surface only
from below the Cloth modifier in the modifier after it has collided with that surface. Self Coll must
stack. For example, you might have a dress that be enabled for this constraint to work.
you’ve skinned to a skeleton. You want the upper
[group list]—Shows all current groups. The
portion of the dress to be unaffected by the Cloth
simulation (that is, to retain its deformation number of vertices associated with the highlighted
defined by the skinning), and the lower part to group is shown below the list. To assign, copy,
be simulated. In this case, you’d make a Preserve paste, delete or alter a created group, first highlight
constraint from the upper vertices. the group name in the list.
Copy—Copies a named selection set to the copy
Drag—This group type locks the vertices in place
or adds a damping force to selected group. When buffer.
Group Parameters rollout > Soft is off, you can Paste—Pastes the named selection set from copy
use this constraint for “nailing” vertices in place buffer.
so that they do not move at all. When Soft is on,
the vertices will have a drag force applied where Group Parameters rollout
the amount of drag is controlled by the Strength
The Group Parameters rollout appears after you
and Damping values, also on the Group Properties
use Make Group on a vertex selection to create at
rollout.
least one group. Thereafter, highlight the group
SimNode—This option works the same as the Node in the Group rollout list to display and edit the
option, except the node must be part of the Cloth group’s settings with the Group Parameters rollout.
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
592 Chapter 8: Modifiers

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
those cloth vertices to the same exact point on the
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—The stiffness of the springs used if the
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. Available only with the Surface and Cloth
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
Constraint Parameters group the constraint.

On—When on, enables the constraint specified for

the current group in the group list on the Group
1-to-1—When the mesh density is changed in
rollout, using remaining settings in this group box.
Garment Maker, the group selection is reassigned.
Soft—Sets the constraint type to soft. A soft The 1-to-1 option selects the vertex closest to the
constraint uses springs between vertices. When original vertex.
off, the constraint is hard or rigid. The constraint
Blob—When the mesh density is changed in
types Node, Surface, Preserve, Drag, and SimNode
Garment Maker, the group selection is reassigned.
can be hard or soft. Cloth, Group, and Forcefield
constraints are always soft. The Blob option selects the original vertex and
the ones created within a certain radius of it. The
ID—Uses a Material ID to attach the group to radius can be left at default or auto, or it can be
an object. This option applies only to Surface set manually.
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
 Cloth Modifier 593

Radius—When on, lets you set the radial distance Which side? If layerB > 0, then to the side
used by the Blob option (see preceding). When indicated by the face normals. If layerB<0 then
off, Blob uses an automatic radial value. to the opposite side.
The sign of the Layer value indicates what the
Behavior Settings group
"outside" of that piece of cloth is. A positive sign
Behavior Settings—Toggles the availability of the means "The side that the normals face is the
other settings in this group. When off, the other outside".
settings have no effect.
Keep Shape—When on, preserves the shape of the
Solid Coll—When on, the group vertices are used mesh based on the Bend % and Stretch % settings
in solid-collision detection. (see following). In normal operation, when Cloth
Self Coll—When on, the group vertices are used in creates a simulation, it tries to "flatten out" the
self-collision detection. cloth.

Layer—Indicates the correct "order" of cloth Bend %—Modulates the target bend angles to a
pieces that might come in contact with each other. value between 0.0 and the angles defined by the
Range=-100 to 100. Default=1. target state. A negative value inverts the angles.
Range=-100.0 to 100.0. Default=100.0.
If your garments and/or panels are all correctly
orientated to begin with, then cloth-to-cloth Stretch %—Modulates the target stretch angles to
collision detection should keep items from a value between 0.0 and the angles defined by the
interpenetrating. However, the initial state of a target state. A negative value inverts the angles.
garment/panel might have some interpenetration Range=-100.0 to 100.0. Default=100.0.
that cannot be resolved. For example, suppose you
Presets group
make a jacket with Garment Maker where the front
right panel is supposed to sit on top of the front Sets the Cloth Properties parameters to the preset
left panel. When you sew together the garment selected in the drop-down list. Any presets that
(generally with self-collision off), the front panels are built into the system or that have been loaded
will interpenetrate, so to make sure that the right will show up here.
panel sits outside the left panel, you might have
Load—Loads presets from the hard drive. Click
to use constraints or Live Drag. Using the Layers
this button and then navigate to the directory
option on the panels can help here.
with your presets to load them into your Cloth
Here is the logic of layers: When two pieces of Properties.
cloth (A and B) are in collision-detection range,
Save—Saves your Cloth Properties parameters to a
their layers (layerA and layerB) are compared and
file that you can then load at a later time.
the following rules are applied:
• If either layerA or LayerB is 0, then Cloth uses
the regular cloth-to-cloth collision method.
Use These Properties—Determines the cloth
• If layerA=layerB, then Cloth uses the regular properties from the settings on the rollout below.
cloth-to-cloth collision method.
Get From Object—Sets the cloth properties of the
• If abs(layerA) > abs(layerB) then piece A is group to be the same as the object they are selected
pushed to the appropriate side of piece B. on.
594 Chapter 8: Modifiers

Left: U and V Bend=50, simulating a burlap material

Right: U and V Bend=2.5, simulating silk or other light fabric

U B-Curve/V B-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.
U Stretch/V Stretch—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
U Bend/V Bend—Resistance to bending. The higher a smaller one will be stretchy like rubber.
this value is set, the less the fabric will be able to By default, the U Stretch and V Stretch parameters
bend. A cotton fabric might bend more easily than are locked together so that changing one sets the
leather, so a value of 15.0 for both U and V Bend other to the same value. You can set different
might be good for cotton, while 50.0 would work values for the two only when Anisotropic is off. It is
well for leather. recommended to do this only for Garment Maker
By default, the U Bend and V Bend parameters (page 1–607) objects.
are locked together so that changing one sets the Shear—Resistance to shearing. Higher values
other to the same value. You can set different result in stiffer cloth fabrics. Shear defines how
values for the two only when Anisotropic is off. It is much the individual triangles can deform. If you
recommended to do this only for Garment Maker were to lay the edges of the triangle out in a strait
(page 1–607) objects. 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 with other cloth objects. Increase this value if there
sides at rest. A low value will allow this length to are a lot of collisions between different parts of
be greater then that off all of its sides at rest. This cloth, or if the cloth is tending to interpenetrate.
length of stretched sides is not on a one to one
Damping—The larger this value, is the more
basis. One side of the polygon may stretch more
sluggishly the fabric will react. With a lower value,
then another as long as the total shear value is not
the fabric will behave with more spring. Cloth
exceeded.
with more damping will come to rest sooner then
Density—The weight of the cloth per unit area (in cloth with less damping. High damping results in
gm/cm2). Higher values mean heavier cloth like cloth that behaves as though it is moving through
denim. Use smaller values for lighter cloth like silk. oil. Excessive damping may also cause simulation
instabilities. A good value is the default, 0.01.
Thickness—Defines the virtual thickness of a
fabric for the purpose of detecting cloth-to-cloth Air Res.—Resistance to Air. This value will
collisions. This value is irrelevant if cloth-to-cloth determine how much the air will effect the cloth. A
collisions are disabled. Larger values keep the higher amount of air resistance would be useful for
cloth separated by greater distances. Be careful a tightly woven fabric, while a lower amount would
not to use too large or small values in this field. be suitable for a loose-knit garment.
Very large values will interfere with the natural
Dyn. Fric.—Dynamic friction between the cloth
behavior of the cloth. Very small values will cause
and solid objects. A larger value will add more
the simulator to take too long to calculate. This
friction and cause the fabric to slide less across
distance is measured in cm (centimeters) and
an object. A lower value will allow the fabric to
should be smaller than the size of the triangles that
slip off an object very easily, similarly to how silk
make up the cloth object. A setting of 0.0 will let
would react.
Cloth automatically assign a reasonable value for
thickness. 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.
U Scale—Controls how much to shrink or expand
the cloth along the U direction (as defined by
Left: The top piece of cloth with a Thickness of 0 Garment Maker. For non-Garment Maker meshes,
Right: Thickness of 9 this applies a uniform scaling to the cloth along
Repulsion—The amount of force used to repel both axes, and the V Scale parameter is ignored).
other cloth objects. This value is irrelevant A value of less than 1 will shrink the fabric at
if cloth-to-cloth collisions are disabled. The simulation time, while a value of more than 1 will
simulator will apply a repulsion force scaled by stretch it.
this value to keep the cloth from coming in contact
596 Chapter 8: Modifiers

V Scale—Controls how much to shrink or expand Based on—Displays the preset that the group
the cloth along the V direction (as defined by properties are based on. When you modify
Garment Maker). A value of less than 1 will shrink parameters and save a preset, Cloth uses the name
the fabric at simulation time, while a value of more of the last preset you loaded as the “Based on”
than 1 will stretch it. name.
Seam Force—Not presently used and only kept for Anisotropic—When on, you can set different U
backward compatibility with older versions of the and V values for the Bend, B-Curve, and Stretch
former product called Stitch. This was a global parameters. The U and V directions are defined
seam strength, but seam strength is now defined by Garment Maker (page 1–607) and do not apply
on a seam-by-seam basis in the Seams sub-object to non-Garment Maker meshes, for which setting
Mode. different U/V values might result in unexpected
behavior.
Depth—Collision depth. If a portion of cloth
reaches this depth inside a collision object, then Use Edge Springs—This is an alternative method
the simulation will no longer try to push the cloth for calculating stretch. When this option is on,
out of the mesh. This value is measured in 3ds Max stretch force is based on springs along triangle
units. edges. (Whereas normally the stretch and shear
forces are calculated in a more sophisticated
Offset—The amount of distance kept between the
manner to more accurately reflect the underlying
cloth and the collision object. A very low value
physics).
can cause the collision mesh to protrude out from
under the cloth. A very high value will cause Use Cloth Depth/Offset—Uses the Depth and Offset
the fabric to look as if it is floating on top of the values set for the group. When on, the cloth object
collision object. ignores the collision object Depth and Offset
values.
Plasticity—The tendency of the cloth to keep its
current deformation (that is, the bend angles).
Soft Selection group
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’t want the cloth to "balloon" up, increase the
Plasticity value.
Cling—The extent to which the cloth object adheres
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.
 Cloth Modifier 597

The Soft Selection controls apply on a per-group Note: To be able to select a panel at this sub-object
basis to permit soft selection of vertices level, you must first use Object Properties (page
neighboring the explicitly selected group 1–602) to specify that the object is cloth. Also, to
members. This works the same as soft selection of be able to change settings on this rollout, first turn
vertices in other parts of 3ds Max. For details, see on Object Properties > Use Panel Properties.
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
one vertex must be explicitly selected. However,
when Use Texture Map is on, the group’s explicit
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), is a closed
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.
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

this value is set, the less the fabric will be able to
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
 Cloth Modifier 599

U B-Curve/V B-Curve—Resistance to bending as Thickness—Defines the virtual thickness of a

the fabric folds. The default value of 0 sets the fabric for the purpose of detecting cloth-to-cloth
bend resistance to be constant. A setting of 1 collisions. This value is irrelevant if cloth-to-cloth
makes the fabric very resistant to bending as the collisions are disabled. Larger values keep the
angle between triangles approaches 180 degrees. cloth separated by greater distances. Be careful
You never want two adjacent triangles to pass not to use too large or small values in this field.
through each other, so you can increase this value Very large values will interfere with the natural
to prevent this from happening. behavior of the cloth. Very small values will cause
the simulator to take too long to calculate. This
By default, the U B-Curve and V B-Curve
distance is measured in cm (centimeters) and
parameters are locked together so that changing
should be smaller than the size of the triangles that
one sets the other to the same value. You can set
make up the cloth object. A setting of 0.0 will let
different values for the two only when Anisotropic
Cloth automatically assign a reasonable value for
is off. It is recommended to do this only for
thickness.
Garment Maker (page 1–607) objects.
U Stretch/V Stretch—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
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. Left: The top piece of cloth with a Thickness of 0

Shear—Resistance to shearing. Higher values Right: Thickness of 9

result in stiffer cloth fabrics. Shear defines how Repulsion— The amount of force used to repel
much the individual triangles can deform. If you other cloth objects. This value is irrelevant
were to lay the edges of the triangle out in a strait if cloth-to-cloth collisions are disabled. The
line this value would represent how long this line simulator will apply a repulsion force scaled by
can stretch out to. With a high value this length this value to keep the cloth from coming in contact
will only be the sum of the length of all of the with other cloth objects. Increase this value if there
sides at rest. A low value will allow this length to are a lot of collisions between different parts of
be greater then that off all of its sides at rest. This cloth, or if the cloth is tending to interpenetrate.
length of stretched sides is not on a one to one
basis. One side of the polygon may stretch more Damping— The larger this value, is the more
then another as long as the total shear value is not sluggishly the fabric will react. With a lower value,
exceeded. the fabric will behave with more spring. Cloth
with more damping will come to rest sooner then
Density—The weight of the cloth per unit area (in cloth with less damping. High damping results in
gm/cm2). Higher values mean heavier cloth like cloth that behaves as though it is moving through
denim. Use smaller values for lighter cloth like silk. oil. Excessive damping may also cause simulation
600 Chapter 8: Modifiers

instabilities. A good value is 0.01 (note: the default on a seam-by-seam basis at the Seams sub-object
is 0.1, but in practice, it seems that this value is level.
too high).
Plasticity—The tendency of the cloth to keep its
Air Res.— Resistance to Air. This value will current deformation (that is, the bend angles).
determine how much the air will effect the cloth. A
This is different from Keep Shape, which
higher amount of air resistance would be useful for
determines the extent to which the cloth tends to
a tightly woven fabric, while a lower amount would
keep its original deformation (or the one defined
be suitable for a loose-knit garment.
by the Target State). If you set Plasticity to 100.0,
Dyn. Fric.— Dynamic friction between the cloth the cloth will not attempt to change the angles
and solid objects. A larger value will add more between triangles. If you want stiffer cloth, but you
friction and cause the fabric to slide less across don’t want the cloth to "balloon" up, increase the
an object. A lower value will allow the fabric to Plasticity value.
slip off an object very easily, similarly to how silk
Depth—Collision depth. If a portion of cloth
would react.
reaches this depth inside a collision object, then
Static Fric.— Static friction between the cloth and the simulation will no longer try to push the cloth
solid objects. When the cloth is in stationary out of the mesh. This value is measured in 3ds Max
position, this value will control its ability stay units.
where it is, or slip away.
Offset—The amount of distance kept between the
Self Fric.— Friction between the cloth and itself. cloth and the collision object. A very low value
This is similar to dynamic and static friction, but can cause the collision mesh to protrude out from
applies to cloth-to-cloth or self-collisions. A larger under the cloth. A very high value will cause
value will cause more friction between the cloth the fabric to look as if it is floating on top of the
and itself. collision object.
U Scale—Controls how much to shrink or expand Use Cloth Depth/Offset—Uses the Depth and Offset
the cloth along the U direction (as defined by values set for the panel (see preceding). When on,
Garment Maker. For non-Garment Maker meshes, the cloth object ignores the collision object Depth
this applies a uniform scaling to the cloth along and Offset values.
both axes, and the V Scale parameter is ignored).
Cling—The extent to which the cloth object adheres
A value of less than 1 will shrink the fabric at
to a collision object. Range=0.0 to 99999.0.
simulation time, while a value of more than 1 will
Default=0.0.
stretch it.
You can use this parameter to simulate effects such
V Scale—Controls how much to shrink or expand
as wet cloth. A setting of 1.0 should be just enough
the cloth along the V direction (as defined by
to hold the default material onto a surface against
Garment Maker). A value of less than 1 will shrink
its own weight.
the fabric at simulation time, while a value of more
than 1 will stretch it. Based on—Lists the preset that the panel properties
are based on. When you modify parameters and
Seam Force—Not presently used and only kept for
save a preset, Cloth uses the name of the last preset
backward compatibility with older versions of the
you loaded as the “Based on” name.
former product called Stitch. This was a global
seam strength, but seam strength is now defined
 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.
Use Edge Springs—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
On—Turn the seam on or off to make it active or
manner to more accurately reflect the underlying
inactive.
physics).
Crease angle—Creates a crease at your seam. The
Use Solid Friction—Uses the friction of the collision
angle value will determine the angle of the crease
object to determine friction. Values for collision
that will be between the two panels. (Can be
can be assigned either to the cloth or the collision
positive or negative depending on which way you
objects. This enables you to set different friction
want to crease)
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. A negative value inverts the angles. Left: High crease angle
Range=-100.0 to 100.0. Default=100.0. Right: Low crease angle

Stretch %—Modulates the target stretch angles to Crease Strength—Increase or decrease the strength
a value between 0.0 and the angles defined by the of your seam. This value will effect how much
target state. A negative value inverts the angles. the seam will resist bending in relation to the rest
Range=-100.0 to 100.0. Default=100.0. of the cloth object. A value of 2.0 means that the
cloth will have twice the resistance to bending
Seams rollout that it would otherwise have (as defined by the
object/panel/vertex group properties).
The Seams sub-object rollout is used to define
seam properties. Sewing Stiffness—The amount of force with which
the panels will be pulled together at simulation
time. A larger value will pull the panels together
harder and faster.
602 Chapter 8: Modifiers

Enable All—Sets all seams on selected garment to position and rotate the faces of your cloth within
be active. your scene.
Disable All—Sets all seams on selected garment to Ignore Backfacing—When on, you can select only
be off. This button deactivates the On check box faces facing you. When off (the default), you can
for all seams. select any faces under the mouse cursor, regardless
of visibility or facing.
Faces rollout
The Faces sub-object rollout enables interactive
dragging of cloth objects while they are simulated Object Properties Dialog (Cloth)
locally. This sub-object level is useful for Select an object. > Modify panel > Modifier List >
positioning cloth within your scenes in a more Object-Space Modifiers > Cloth > Object rollout > Object
Properties button
interactive way.
Note: If you position your cloth incorrectly, you Use the Object Properties dialog to specify which
can restore the original position by returning to objects are included in a Cloth (page 1–578)
the Object level and clicking the Reset State button. simulation, whether they are cloth or collision
objects, and define parameters associated with
them.

Interface

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
faces as the local simulation is taking place.
Live Rotate!—When active, you can rotate selected
faces as the local simulation is taking place.
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
 Object Properties Dialog (Cloth) 603

Objects in Simulation—Lists objects currently Cloth Properties group

included in the simulation. To change an object’s
Presets—Sets the Cloth Properties parameters to
properties, first highlight its name in the list.
the preset chosen from the drop-down list. Any
You can highlight multiple object names using
presets that are built into the system or that have
standard methods: Ctrl +click, Shift +click, and
been previously saved and loaded will show up
dragging.
here.
Add Objects—Opens a dialog that lets you select
Load—Loads presets from your hard drive. Click
objects from your scene to be added to the Cloth
this button and then navigate to the directory with
simulation. After adding an object with this
your presets to load them into Cloth Properties.
button, it appears in the Objects In Simulation list,
and an instance of the Cloth modifier is applied Save—Saves Cloth Properties parameters to a file
to the object. to be loaded at a later time. By default, all Cloth
preset files are saved to your \scenes\cloth folder.
Remove—Removes objects highlighted in the
Objects In Simulation list from the simulation. U Bend/V Bend—Resistance to bending. The higher
You cannot remove objects currently selected in this value is set, the less the fabric will be able to
3ds Max. bend. A cotton fabric might bend more easily than
leather, so a value of 15.0 for both U and V Bend
Inactive—Makes an object inactive in the
might be good for cotton, while 50.0 would work
simulation. The object can still be in the
well for leather.
simulation, but it will not react to anything. This
is good for testing how different objects react and By default, the U Bend and V Bend parameters
isolating dynamic effects. are locked together so that changing one sets the
other to the same value. You can set different
Property 1/Property 2—These two radio buttons let
values for the two only when Anisotropic is off. It is
you assign two different sets of cloth properties to
recommended to do this only for Garment Maker
objects highlighted in the Objects In Simulation
(page 1–607) objects.
list. You can then use the Property 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 Left: U and V Bend=50, simulating a burlap material
Cloth Properties section of the dialog. Right: U and V Bend=2.5, simulating silk or other light fabric

Use Panel Properties—When on, tells Cloth Thickness— Defines the virtual thickness of a
to use the Cloth Properties from the Panel fabric for the purpose of detecting cloth-to-cloth
sub-object level of the Cloth modifier. This allows collisions. This value is irrelevant if cloth-to-cloth
you to define different cloth properties on a collisions are disabled. Larger values keep the
panel-by-panel basis. cloth separated by greater distances. Be careful
604 Chapter 8: Modifiers

not to use too large or small values in this field. is off. It is recommended to do this only for
Very large values will interfere with the natural Garment Maker (page 1–607) objects.
behavior of the cloth. Very small values will cause
Air Res.—Resistance to air. This value will
the simulator to take too long to calculate. This
determine how much the air will effect the cloth. A
distance is measured in cm (centimeters) and
higher amount of air resistance would be useful for
should be smaller than the size of the triangles that
a tightly woven fabric, while a lower amount would
make up the cloth object. A setting of 0.0 will let
be suitable for a loose-knit garment.
Cloth automatically assign a reasonable value for
thickness. 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.
U Stretch/V Stretch—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
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
Left: The top piece of cloth with a Thickness of 0 other to the same value. You can set different
Right: Thickness of 9 values for the two only when Anisotropic is off. It is
Repulsion—The amount of force used to repel recommended to do this only for Garment Maker
other cloth objects. This value is irrelevant (page 1–607) objects.
if cloth-to-cloth collisions are disabled. The Static Fric.—Static friction between the cloth and
simulator will apply a repulsion force scaled by solid objects. When the cloth is in stationary
this value to keep the cloth from coming in contact position, this value will control its ability stay
with other cloth objects. Increase this value if there where it is, or slip away.
are a lot of collisions between different parts of
cloth, or if the cloth is tending to interpenetrate. Self Fric.—Friction between the cloth and itself.
This is similar to dynamic and static friction, but
U B-Curve/V B-Curve—Resistance to bending as applies to cloth-to-cloth or self-collisions. A larger
the fabric folds. The default value of 0 sets the value will cause more friction between the cloth
bend resistance to be constant. A setting of 1 and itself.
makes the fabric very resistant to bending as the
angle between triangles approaches 180 degrees. Shear—Resistance to shearing. Higher values
You never want two adjacent triangles to pass result in stiffer cloth fabrics. Shear defines how
through each other, so you can increase this value much the individual triangles can deform. If you
to prevent this from happening. were to lay the edges of the triangle out in a strait
line this value would represent how long this line
By default, the U B-Curve and V B-Curve can stretch out to. With a high value this length will
parameters are locked together so that changing only be the sum of the length of all of the sides at
one sets the other to the same value. You can set rest. A low value will allow this length to be greater
different values for the two only when Anisotropic 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 the cloth will not attempt to change the angles
side of the polygon may stretch more then another between triangles. If you want stiffer cloth, but you
as long as the Seam Force—Not presently used and don’t want the cloth to "balloon" up, increase the
only kept for backward compatibility with older Plasticity value.
versions of the former product, called Stitch. This
Depth—Collision depth for the cloth object. If
was a global seam strength, but seam strength is
a portion of cloth reaches this depth inside a
now defined on a seam-by-seam basis at the Seams
collision object, then the simulation will no longer
sub-object level.total shear value is not exceeded.
try to push the cloth out of the mesh. This value is
Density— The weight of the cloth per unit area (in measured in 3ds Max units.
gm/cm2). Higher values mean heavier cloth like
To specify a Depth value specific to the cloth
denim. Use smaller values for lighter cloth like silk.
object, use this setting and be sure to turn on Use
Damping— The larger this value, is the more Cloth Depth/Offset.
sluggishly the fabric will react. With a lower value,
Offset—The distance maintained between the
the fabric will behave with more spring. Cloth
cloth object and the collision object. A very low
with more damping will come to rest sooner then
value can cause the collision mesh to protrude
cloth with less damping. High damping results in
from under the cloth. A very high value causes the
cloth that behaves as though it is moving through
fabric to appear to be floating above the collision
oil. Excessive damping may also cause simulation
object. This value is measured in 3ds Max units.
instabilities. A good value is 0.01 (note: the default
is 0.1, but in practice, it seems that this value is To specify an Offset value specific to the cloth
too high). object, use this setting and be sure to turn on Use
Cloth Depth/Offset.
U Scale—Controls how much to shrink or expand
the cloth along the U direction (as defined by Cling—The extent to which the cloth object adheres
Garment Maker). For non-Garment Maker to a collision object. Range=0.0 to 99999.0.
meshes, this applies a uniform scaling to the cloth Default=0.0.
along both axes, and the V Scale parameter is
You can use this parameter to simulate effects such
ignored). A value of less than 1 will shrink the
as wet cloth. A setting of 1.0 should be just enough
fabric at simulation time, while a value of more
to hold the default material onto a surface against
than 1 will stretch it.
its own weight.
V Scale—Controls how much to shrink or expand
Use Cloth Depth/Offset—Uses the Depth and Offset
the cloth along the V direction (as defined by
values set in Cloth Properties. When on, the cloth
Garment Maker). A value of less than 1.0 will
object ignores the collision object Depth and
shrink the fabric at simulation time, while a value
Offset values.
of more than 1.0 will stretch it.
Based on—Displays the preset that the Cloth
Plasticity—The tendency of the cloth to keep its
Properties are based on. When you modify some
current deformation (that is, the bend angles).
parameters and save a preset, it will use the name
This is different from Keep Shape, which of the last preset you loaded as the Based on name.
determines the extent to which the cloth tends to
Anisotropic—When on, you can set different U
keep its original deformation (or the one defined
and V values for the Bend, B-Curve, and Stretch
by the Target State). If you set Plasticity to 100.0,
parameters. The U and V directions are defined
606 Chapter 8: Modifiers

by Garment Maker (page 1–607) and do not apply left panel. When you sew together the garment
to non-Garment Maker meshes, for which setting (generally with self-collision off), the front panels
different U/V values might result in unexpected will interpenetrate, so to make sure that the right
behavior. panel sits outside the left panel, you might have
to use constraints or Live Drag. Using the Layers
Use Edge Springs—Enables an alternative method
option on the panels can help here.
for calculating stretch. When on, stretch force
is based on springs along triangle edges. When Here is the logic of layers: When two pieces of
off, the stretch and shear forces are calculated in cloth (A and B) are in collision-detection range,
a more sophisticated manner to more accurately their layers (layerA and layerB) are compared and
reflect the underlying physics. the following rules are applied:
Use Solid Friction—Uses the friction of the collision • If either layerA or LayerB is 0, then Cloth uses
object to determine friction. Values for collision the regular cloth-to-cloth collision method.
can be assigned either to the cloth or the collision • If layerA=layerB, then Cloth uses the regular
objects. This enables you to set different friction cloth-to-cloth collision method.
values for each collision object.
• If abs(layerA) > abs(layerB) then piece A is
Keep Shape—These settings preserves the shape pushed to the appropriate side of piece B.
of the mesh based on the values of Bend % and Which side? If layerB > 0, then to the side
Stretch % (see following). In normal operation, indicated by the face normals. If layerB<0 then
when Cloth creates a simulation, it tries to "flatten to the opposite side.
out" the cloth. To enable these settings, turn on
The sign of the Layer value indicates what the
Use Target State.
"outside" of that piece of cloth is. A positive sign
Bend %—Modulates the target bend angles to a means "The side that the normals face is the
value between 0.0 and the angles defined by the outside".
target state. A negative value inverts the angles.
Range=-100.0 to 100.0. Default=100.0. Collision Properties group
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.
Layer—Indicates the correct "order" of cloth
pieces that might come in contact with each other.
Range=-100 to 100. Default=1.
Collision Object—Sets the object or objects
If your garments and/or panels are all correctly highlighted in the left-hand column to be collision
orientated to begin with, then cloth-to-cloth objects. Cloth objects bounce off or wrap around
collision detection should keep items from collision objects.
interpenetrating. However, the initial state of a
Depth—Collision depth for the collision object.
garment/panel might have some interpenetration
If a portion of cloth reaches this depth inside a
that cannot be resolved. For example, suppose you
collision object, then the simulation will no longer
make a jacket with Garment Maker where the front
right panel is supposed to sit on top of the front
 Garment Maker Modifier 607

try to push the cloth out of the mesh. This value is also specify internal seam lines (page 1–610) for
measured in 3ds Max units. creases and cuts.
Offset—The distance maintained between the
See also
cloth object and the collision object. A very low
value can cause the collision mesh to protrude out Troubleshooting and Error Codes in Garment Maker
from under the cloth. A very high value will look (page 1–622)
like the fabric is floating on top of the collision
Cloth and Garment Maker Modifiers (page 1–571)
object. This value is measured in 3ds Max units.
Cloth Overview (page 1–571)
Dyn. Fric.—Dynamic friction between the cloth
and this particular solid object. A larger value will Cloth Modifier (page 1–578)
add more friction and cause the fabric to slide
across an object less. A lower value will allow the Basic Concepts
fabric to slip of an object very easily, similarly to Splines
how silk would react. This value is only used for
When you start working with Garment Maker, you
interaction with cloth objects that have Use Solid
begin either by importing or drawing traditional
Friction enabled, otherwise the friction value is
2D splines in the 3ds Max Top viewport. To use a
taken from the cloths own properties.
spline with Garment Maker and eventually Cloth,
Static Fric.—Static friction between the cloth and it must be a closed shape. This does not mean
solid objects. When the cloth is in stationary that you cannot have splines inside of splines, but
position, this value will control its ability stay if you have multiple spline shapes inside of one
where it is, or slip away. This value is only used for another, the inner splines are treated as "holes" in
interaction with cloth objects that have Use Solid the fabric, as shown below.
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 Two closed splines - one with a nested spline inside

Garment Maker is a modifier that is designed to

put together 2D patterns that you can then use
with Cloth (page 1–578). With Garment Maker
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
608 Chapter 8: Modifiers

When Garment Maker is assigned, look what

happens:

Resulting geometry after applying Garment Maker

Tip: For best results, when applying Garment

Maker to multiple splines, first combine the splines Garment Maker seems to have "chopped" corners
into a single object. of the rectangular splines off, altering the pattern.
Beyond that, if the user tried to select the edges of
Also, to keep your patterns precise, no rounding
the panels that make up the seam, they will not be
of boundary edges and corners, you must break
able to. This is because Garment Maker currently
the splines at the corner vertices. This is also
has only a single spline to work with for each panel.
important because it directly impacts the segments
of the splines that are to be used to create seams To keep the pattern clean, do the following:
between the individual panels. To understand this 1. Access the Vertex sub-object level of the
better, take a look at the following example. editable spline.
In the image below are two rectangular splines to 2. Select the vertices where seams are to be
which a user might want to apply Garment Maker. created.
After applying Garment Maker, the idea is to then
3. Click Break to create unique segments that
create a seam between the two panels along the
Garment Maker can use to create a seam.
inner edge. First, it should be noted that both
splines are closed shapes and have been attached Shown below are the results when all of the vertices
so they are part of the same editable spline object. are selected and then broken.

All vertices in both panels selected and then "broken"

 Garment Maker Modifier 609

Garment Maker applied to "broken" splines

The corners are now preserved. When the user

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.

Arranged panels with seams defined

Pattern Creation
To make patterns you can use the basic 2D spline
tools in 3ds Max. Cloth comes with several
patterns, but after you learn to use them, you
Seam edges selected at the Seam sub-object level in red
will most likely want to start making your own.
Garment Panels Patterns can take advantage of many features
that real sewing patterns have, such as darts and
Garment Maker’s Panels sub-object level lets multi-segment seams. To learn about other pattern
you arrange the panels of the pattern around the making software, see Pattern-Making Software
character. You can then create seams where the (page 1–578).
panels should connect and be "sewn" together.
This lets you create the seams you need while Tricky Assemblies
seeing how the clothing will look around your
As you begin to move beyond the basic patterns
character. Creating seams like this is in many cases
for your garments, there are a number of rules that
far superior to making them in a flat layout because
you should follow in order to work effectively with
it allows you to visualize what is being done.
Cloth:
610 Chapter 8: Modifiers

• Always create your pattern splines in the Top In this case, you have an arm seam that is open
viewport. Garment Maker assumes that the at the bottom, and a MultiSegment that is open
pattern is laid out this way. at both the top and the bottom. If you closed
• When seaming garments with MultiSegment the side of the garment, you’d end up with
edges, you must take care of the order in which the situation illustrated in the center image
the seams are made. below, where the seam is twisted (it cannot
be “untwisted” by reversing the seam). By
Note: A MultiSegment comprises two or more
closing the top of the armhole MultiSegment
individual segments acting as a single segment; with a seam at the shoulder, you’ll create proper
you create it with Garment Maker. topology to make the MultiSegment seam.
When creating a seam you cannot use: 3. Next, you can seam up the sleeve to the
• A MultiSegment that has multiple gaps in it, armhole. See the leftmost image below.
unless all but one of those gaps are bridged by 4. Finally, you can add the seam down the side of
another seam. the garment and across the underside of the
• A segment or MultiSegment that forms a closed sleeve (the order is irrelevant here).
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
the sleeve and the armhole form closed loops.
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. Left: Seam created for shoulder first and then for the
MultiSegment, producing the desired result.
Now, since you cannot seam closed loops together, Middle: Seam created at the bottom of the body MultiSegment
it therefore follows that both the armhole and first, resulting in an irreversible MultiSegment seam from the
sleeve must be left open when creating the seam arm to the body.
connecting them. So the order is as follows: Right: No seams made on the body to connect its
MultiSegment, resulting in a seam topology error.
1. Because the sleeve is one segment and the
armhole is two segments, you must make a Internal Seam Lines
MultiSegment out of those two segments first.
When drawing panels, you can use extra open
2. When dealing with MultiSegment seams, the
splines to define seam lines within the panels,
order of creation is important. If you attempt
also known as internal seam lines. Triangulation
to create seams in the wrong order, you might
always occurs along these internal seam lines, so
get a “Seamline topology is wrong” error,
you can use them to help define the structure of
and the seams will not be created. When
the cloth panel, and as crease lines. Also, you can
dealing with MultiSegment seams, create the
specify that an internal seam line should be cut,
minimum number of seams necessary to make
so that the cloth separates along the line during
the MultiSegment seam match the topology of
the simulation.
the other piece to that you are going to connect.
 Garment Maker Modifier 611

To create an internal seam line, simply specify the separate pieces within the Garment Maker
a Material ID of 2 for the internal spline, which modifier at the Panels sub-object level.
should not be closed. Also, for best results, keep 3. Apply the Garment Maker modifier. Set
its endpoints away from other splines in the shape. parameters as necessary.
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:
4. On the Main Parameters rollout, click the None
The Garment Maker modifier provides tools button, and then click the character model.
for positioning garment panels on a humanoid
The object’s name appears on the button.
character model. This automatic placement is
approximate; further adjustment is typically 5. Below this button, click the Mark Points On
necessary. Figure button.
1. Load or create your character model. A character outline appears in the corner of
each viewport. Superimposed on the outline
2. Create your panels as splines or NURBS curves
are seven asterisk-shaped points; the one at the
parallel to the world XY plane (that is, create
center-top of the chest is highlighted in red.
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
612 Chapter 8: Modifiers

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
The character outline lets you mark points for positioning panel.
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 front shirt panel is selected.
the center of the pelvic region, is highlighted
in red.
9. At the bottom of the Panels rollout, choose a
Level, and then in the Panel Position group,
click the button corresponding to the desired
position for the panel.
The panel moves to the designated position.

The axis tripod appears on the object surface where you

click.
 Garment Maker Modifier 613

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.

Panel Position=Front Center; Level=Top at shoulder

All panels placed with Panel Position. Note that sleeve

10. Adjust as necessary. For example, in the above
panels need to be rotated 90 degrees, and cuff panels need
illustration, Level should probably be set to Top to be rotated and moved to the wrists.
At Neck. To correct this, you would choose Top
At Neck, and then click Panel Position > Front Interface
Center again.
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
you see on the Modify panel once you apply the
Garment Maker modifier. This rollout comprises
mostly controls to create and adjust the mesh.
The remaining rollouts are available at the
sub-object levels.
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
614 Chapter 8: Modifiers

Auto mesh—When on, Garment Maker updates

the mesh automatically if you change the density
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
you make them. 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.
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: Sometimes in an error condition Mesh It! will
no longer respond. If this happens, go to the spline
level in the modifier stack, and then return to the
Garment Maker level.
Density—Adjusts the relative density of the mesh Mesh It and Preserve—Applies a Density change
(in other words, the number of triangles per unit and also preserves the 3D shape of the object.
area). Possible values range between 0.01 and 10.0. This lets you change the density of the cloth or the
A value of 10.0 creates a very dense mesh, while underlying spline shape after simulating without
0.01 creates a comparatively low-resolution mesh. having to run the simulation again.
For best results, use the lowest possible density The following setting, comprising three radio
to achieve the desired result. This speeds up buttons, determines how the cloth panels are
simulation time and overall performance. 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
Left: Density=0.5 the mesh at the top of the stack (where Cloth
Right: Density=1.5
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 [button]—Click this button, labeled “None” by
will retain its deformation. Once a snapshot default, and then click the object, or figure, to
has been taken, at the Panel sub-object level, which the clothing is to be applied. Typically this
the panels will have the Use Preserved check is a character model. Thereafter, the name of the
box on. This means you can move the panels object appears on the button.
around while maintaining their deformation.
Mark Points on Figure—After specifying a figure
Also note that once a snapshot has been taken,
using the “None” button (see preceding), use
Garment Maker automatically chooses the
this control to specify locations on the figure for
Preserved Surface option.
automatically positioning panels in the garment.
• Flat Panels—Displays all the panels as flat
surfaces. This mode defines the texture When you click Mark Points On Figure, this
coordinates of the garment vertices. With this character outline appears in the corner of each
output mode active, you can adjust texture viewport:
coordinates at the Panel sub-object level by
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.

The character outline lets you mark points for positioning

panels.

As each point highlights in red, click the

Left: Stretch Map Coords on corresponding location on your figure. When you
Right: Stretch Map Coords off do so, an axis tripod appears on the object surface
and the next point on the outline highlights.
Figure group During this process you can manipulate the
Use these controls to specify locations for each viewport as usual, zooming, panning, and rotating
panel on the figure to be clothed 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 Create Seam—Creates a seam between two
pattern panels together. You can also connect segments. Select two segments of the panels
seams in the Seams sub-object mode with a more you would like to sew together, and click Create
three-dimensional representation of the panels. Seam. This will make a seam between these two
The Curves sub-object level provides a flat layout panels that will be sewn together at simulation
to work in that can be useful for more complex time. Seams get a randomly-generated color to
patterns. You can create and delete seams and distinguish them from the panels.
adjust the way your pattern fits together.
 Garment Maker Modifier 617

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.
The angle value determines the target angle of the
crease between the two panels or along an internal
seam line (page 1–610)

Top: Segments selected

Left: High crease angle
Bottom: Seam made between two panels
Right: Low crease angle
Delete Seam—Deletes selected seam. (Selected
Crease Strength—Increase or decrease the strength
seam is colored red).
of the selected seam. This value affects how much
Reverse Seam—Reverses or flips a twisted seam. the seam will resist bending in relation to the rest
of the cloth object. A value of 2.0 means that the
When creating seams, the first vertex on each
cloth will have twice the resistance to bending
segment is used to line up the resulting seam panel.
that it would otherwise have (as defined by the
Sometimes you can end up with a twisted seam
object/panel/vertex group properties).
and will need to use Reverse Seam to untwist it.
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.
A twisted seam that needs to be reversed
Seam Tolerance—The amount of difference in
Make MultiSegment—A MultiSegment is a length between two edges that is permitted in
combination of two or more segments that will be the formation of a seam. The two segments
treated as one segment for the purpose of creating that comprise a seam should be about the same
seams. Select the segments you want to combine length. If they have different lengths, the difference
then click this button. Note that if the segments are must be within this tolerance range. If you seam
not contiguous, the gaps must be bridged by seams together two segments that are significantly
before this MultiSegment can be used in a seam. 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—Shows the seams in the viewport;
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. You can
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.

Using this option enables you to assign different
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 • Right Arm

Most controls in this group are available only when • Left Arm
one or more panels are selected. Note: The terms Front, Back, Right, and Left refer
Reset—Removes the deformation of the selected to the character’s orientation.
panels (restoring the flat state). Level—Sets where the top of the panel should go.
Reset All—Removes the deformation from all Garment Maker derives these locations from the
panels. locations you specify with the Mark Points On
Figure controls. The choices are:
Use Preserved—Turn this on to override the None
• Top at neck
or Curved deformation options. When on, the
panel gets its shape from the preserved mesh • Top at shoulder
instead of the deformation options. • Top at underarm
None—Makes this panel flat. • Top at waist
Curved—Use the value in the Curvature field to If you change the setting here, it affects the
bend the panel. subsequent Panel Position results.
Curvature—Sets the amount of curve or bend of a
Adjusting Texture Coordinates
panel. The higher this value is, the more the panel
will curve. When Garment Maker is in Flat Panels mode (that
is, the Main Parameters rollout > Flat Panels option
X-axis—Sets the axis for the curvature to the
is chosen), the texture coordinates are defined by
panel’s local X axis.
the positions of the panels. Imagine the panels are
Y-axis—Sets the axis for the curvature to the being cut out of a large piece of fabric. The location
panel’s local Y axis. and orientation of a panel in that large piece of
fabric determine how the texture is aligned on it.
Panel Position—Moves the selected panel to the
By moving and rotating a panel, you can change
position specified by the button you click. These
its texture coordinates. Remember, you must be in
locations are determined by the software based
Flat Panels mode to do this.
on the positions you set with the Mark Points On
Figure controls at the Garment Maker object level.
Seams rollout
The positions are:
At the Seams sub-object level, you can define and
• Front Center
edit seams and their properties. Seams have the
• Front Right same functionality as curves, but at this level the
• Front Left mesh is displayed three-dimensionally instead of
in a flat layout. Also, at this level the mesh is always
• Back Center
updated when you add or remove a seam.
• Back Right
• Back Left
• Right Side
• Left Side
 Garment Maker Modifier 621

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—A MultiSegment is a

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
before this MultiSegment can be used in a seam.
Break MultiSegment—Break apart selected
MultiSegments.
On—Turns the selected seam on or off, making it
Create Seam—Creates a seam between two
active or inactive.
segments. Select two segments of the panels you
would like to sew together and then click Create Crease angle—Creates a crease at the selected seam.
Seam. This creates a seam between the two panels The angle value determines the target angle of the
that will be sewn together at simulation time. crease between the two panels or along an internal
seam line (page 1–610).

Left: Segments selected

Right: Seam created between the two segments
Left: High crease angle
Delete Seam—Deletes selected seam. (Selected
Right: Low crease angle
seam is colored red).
Crease Strength—Specifies the strength of the
Reverse Seam—Reverses or flips a seam that has
selected seam. This value affects the extent to
been made with a twist in it. When creating seams,
which the seam resists bending in relation to the
the first vertex on each segment is used to line
rest of the cloth object. A value of 2.0 means that
up the resulting seam panel. Sometimes you can
the cloth will have twice the resistance to bending
622 Chapter 8: Modifiers

that it would otherwise have (as defined by the is to delete the original Garment Maker modifier
object/panel/vertex group properties). and reapply a new one.
Sewing Stiffness—The amount of force with which Number of boundary curves has changed: Users
the panels are pulled together at simulation time. will get this error if they add or remove splines
A larger value will pull the panels together harder from the pattern after the initial application of
and faster. Garment Maker. To correct it, delete the original
Garment Maker modifier and reapply a new one.
Cut—This applies only to an internal seam line
(page 1–610). Makes a cut in the fabric at this Boundary splines do not form a closed loop: In
seam line. this case, the splines that the user has tried to apply
Garment Maker to don’t form closed loops. Often,
Seam Tolerance—The amount of difference in
this is caused by an extra vertex and segment
length between two edges that is permitted in
attached to one of the splines, and usually this
the formation of a seam. The two segments that
segment is so small you cannot see it. It can be
comprise a seam should be about the same length.
difficult to find the offending part. To remedy this
If they have different lengths, the difference must
situation, select all the vertices, weld them, then
be within this tolerance range. If you seam together
re-break them at the corners.
two segments that are significantly different in
length, the cloth will tend to bunch up (which may Splines form overlapping loops: When a user
be a desired effect). In order to allow the creation gets this error, it means that some panel loops
of such a seam, the Seam Tolerance will need to be overlap others (in the XY plane of the local view).
increased. The default is 0.06, which means that If you create the shape in the Top view this should
the two segment lengths must be within 6%. not happen (provided you don’t create overlapping
loops). Most commonly, this occurs when the user
Remove All—Deletes all seams.
create the splines in a viewport other than Top and
Draw Seams—Shows the seams in the viewport; on a plane other than the XY plane.
hides them when turned off.
Unable to create seam: This error happens in
Show Mesh—Show the mesh in the viewport, or when trying to create a seam in two cases:
hide it to work on your pattern. When this option • One (or more) of the segments/MultiSegments
is off, the mesh is represented with a bounding box. in the attempted seam forms a closed loop (for
example, if you make a MultiSegment from the
armhole segments, that MultiSegment forms a
Troubleshooting and Error Codes closed loop if you create seams at the shoulder
in Garment Maker and below the armhole). You will have to delete
When you are working with Garment Maker, you one of the seams so that the MultiSegment is no
may encounter errors if your splines are set up longer closed. For an armhole, you generally
incorrectly. Here is a list of the common error keep the seam below the armhole open when
messages you may see, and how to correct them. you join it with the sleeve. You can then close
the seam. For the same reason, the sleeve
Cannot remesh: the number of panels has cannot be seamed at the underside before
changed: This error occurs when the user has joining to the armhole.
modified the original pattern, and added new
closed splines to it. The only way to correct this
 CrossSection Modifier 623

• A MultiSegment in the attempted seam contains and Cross Section. Using this method, you need
segments that are not contiguous and that are to region-select the created vertices to transform
not linked by any seam. them. Also, this method lets you define the
ordering of the spline more easily than does the
CrossSection modifier.
CrossSection Modifier
Procedures
Select a spline object with spline cross sections. > Modify
panel > Modifier List > CrossSection Example: To explore the CrossSection modifier:

Make a selection. > Modifiers menu > Patch/Spline

Editing > CrossSection 1. On the Create panel, click Shapes,
then click Circle.
The CrossSection modifier creates a "skin" across
2. Drag in the Top viewport to create a circle about
multiple splines. It works by connecting the
100 units in radius.
vertices of 3D splines to form a skin. The resulting
object is another spline object that can be used
3. On the Modify panel, choose Edit Spline
with the Surface modifier (page 1–842) to create
from the Modifier List.
a patch surface. These two modifiers, when used
together, are sometimes referred to collectively as 4. In the modifier stack display, turn on Spline
“Surface Tools.” 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
CrossSection uses splines to create a model of a boat. circles. A basic spline cylinder is displayed.
CrossSection can build a skin across
various-shaped splines with different vertex counts
and open/closed status. The more different the
splines in vertex count and complexity, the more
likely the skin will have discontinuity.
Note: Similar functionality is provided by the
Editable Spline object (page 1–289). At the Editable
Spline > Segment and Spline sub-object levels,
you can create a spline cage using Connect Copy
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. On the Create panel, click Shapes.

2. On the Object Type rollout, turn on Start New
Shape, then click NGon.
3. In the Top viewport, create two five-sided
circular NGons.

4. On the Create panel, with Shapes

still active, click Line. Create two lines,
each with four vertices. Create the vertices
left-to-right.
 CrossSection Modifier 625

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.

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.

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:
6. Select the bottom NGon.
1. On the Modify panel, choose
7. On the Modify panel, choose Edit Spline CrossSection from the Modifier List.
from the Modifier List.
The CrossSection modifier connects the splines
8. In the Geometry rollout, click Attach. at the vertices.
9. Select the remaining NGon and lines in an 2. On the Modifiers List, choose Surface.
ascending order, as numbered in the image.
The Surface modifier generates a patch surface
Note: The order of selection is important. The based on the splines.
CrossSection modifier uses the selection order
3. In the modifier stack display, choose the
to define the skin.
CrossSection modifier.
626 Chapter 8: Modifiers

4. On the CrossSection Parameters rollout, toggle

between Linear and Smooth. Notice how the Delete Mesh Modifier
splines change.
Modify panel > Make a sub-object selection. > Modifier
List > Delete Mesh
5. On the Modify panel, toggle the Show Modify panel > Make a sub-object selection. > Modifiers
End Result On/Off Toggle button to display the menu > Mesh Editing > Delete Mesh
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
turn on the Show End Result toggle if you like.
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 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,
Linear/Smooth/Bezier/Bezier Corner—Determines and then apply a Delete Mesh modifier to delete
what type of curve will be used through the spline those faces. To undo the deletion, you can simply
vertices. 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
3. On the Modify panel, in Editable Patch,
This modifier has no parameters.
choose the Patch sub-object level, and select
a patch.
Delete Patch Modifier 4. In the Modifier List, choose the Delete Patch
modifier.
Modify panel > Make a patch selection. > Modifier List
> Delete Patch This deletes the selected patch.
Make a selection. > Modifiers menu > Patch/Spline
Editing > Delete To undo the deletion, remove the Delete
Patch modifier.
Delete Patch provides parametric deletion based
on the current sub-object level in the stack. The Interface
possible choices are vertices, edges, patches, and
There are no parameters for this modifier.
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, Delete Spline Modifier
select a row of patches in a patch sphere, and
Modify panel > Select a spline sub-object. > Modifier List
then apply a Delete Patch modifier to delete those > Delete Spline
patches. To undo the deletion, remove the Delete
Modify panel > Select a spline sub-object. > Modifiers
Patch modifier. menu > Patch/Spline Editing > Delete Spline

The Delete Spline modifier provides parametric

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 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
> Convert To Editable Patch on the quad menu.
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.

Using an image to displace the surface of a cylinder

Disp Approx Modifier
Displacement mapping (page 2–1511) uses a map
Modify panel > Make a selection. > Modifier List >
Object-Space Modifiers > Disp Approx to change surface geometry. You apply the map
using the Material Editor (page 2–1409).
Make a selection. > Modifiers menu > Surface Deformers
> Disp Approx You don’t need to apply this modifier to NURBS
Make a selection. > Modifiers menu > NURBS Editing >
(page 1–1078) surfaces, patches (page 1–993),
Disp Approx editable meshes (page 1–996), or editable
polymeshes (page 1–1022), because you can apply
The Disp Approx modifier (short for Displacement displacement mapping directly to these kinds of
Approximation) lets you make the displacement objects.
mapping settings on an object in the modifier
stack (page 3–760). It converts its input object Procedure
to an editable mesh (page 1–996), so you can use To apply displacement mapping:
this modifier to add displacement mapping to
1. Select an object other than a NURBS surface,
geometry primitives (page 1–170) and any other
kind of object that can convert to an editable mesh. 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 Tip: This parameter is required because of an
the Displacement button, then use the architectural limitation in the way displacement
Material/Map Browser to apply a displacement mapping works. Turning Split Mesh on is usually
map. the better technique, but it can cause problems for
objects with clearly distinct faces, such as boxes,
Interface 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) and then reassign mapping
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
Subdivision Displacement—Subdivides mesh faces
to accurately displace the map, using the method Modify panel > Make a selection. > Modifier List >
Object-Space Modifiers > Displace
and settings you specify in the Subdivision Presets
and Subdivision Method group boxes. When Make a selection. > Modifiers menu > Parametric
Deformers > Displace
turned off, the modifier applies the map by moving
vertices in the mesh, the way the Displace modifier
The Displace modifier acts as a force field to push
(page 1–629) does. Default=on.
and reshape an object’s geometry. You can apply
Split Mesh—Affects the seams of displaced mesh its variable force directly from the modifier gizmo,
objects; also affects texture mapping. When or from a bitmapped image.
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.
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.
• Apply the grayscale component of a bitmapped
image to generate the displacement. 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
Top: Bitmap displacement on a patch and the bitmap used.
number of objects or a particle system.
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
with a uniform field around them. The Cylinder
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. To apply a bitmap as a displacement map:
However, you can transform any of these shapes 1. In the Parameters rollout > Image group, click
and use it directly as a tool to deform the geometry the Bitmap button (which is labeled "None"
of an object. until a map has been chosen). Use the file
dialog to choose a bitmap.
Modeling Options
2. Adjust the Strength value. Vary the strength
Displace is a versatile modifier with many possible of the field to see the effect of the bitmap
applications. Here are some options: displacing the object’s geometry.
• Produce interior modeling effects by scaling
After you get the image you want from bitmapped
down the gizmo and moving it inside the
displacement, you can apply an Optimize modifier
object. The outward force shapes the geometry
(page 1–748) to reduce the complexity of the
from within.
geometry while retaining the detail.
• Animate the modeling process. One result is
a roving, magnetic-like field that pushes and To model with the displace modifier:
pulls on a surface. 1. Apply Displace to the object you want to model.
• Add additional Displace modifiers to an object, Choose a gizmo from the Map group.
using each one to create a different modeling 2. Increase the Strength setting until you begin to
effect. see a change in the object.
• Collapse a finished model into a plain mesh. 3. Scale, rotate, and move the gizmo to concentrate
This reduces the object’s complexity and the effect. As you do this, adjust the Strength
removes all modifiers, but keeps the modeled and Decay settings to fine-tune the effect.
surface intact.
Interface
Procedures
Displacement group
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 Strength—When set to 0.0, Displace has no effect.
the bitmap, you might need to use dense geometry Values greater than 0.0 displace object geometry
to see the effect clearly. Try a test run and, if or particles away from the position of the gizmo.
necessary, add tessellation in the areas of greatest Values less than 0.0 displace geometry toward the
detail. gizmo. Default=0.0.
Decay—Varies the displacement strength with
distance.
632 Chapter 8: Modifiers

By default, Displace has the same strength This button is labeled "None" until you choose a
throughout world space. Increasing Decay causes map.
the displacement strength to diminish as distance
Remove Bitmap/Map—Removes the bitmap or map
increases from the position of the Displace gizmo.
assignment.
This has the effect of concentrating the force
field near the gizmo, similar to the field around a Blur—Increase this value to blur or soften the effect
magnet repelling its opposite charge. Default=0.0. of the bitmapped displacement.
Luminance Center—Determines which level of gray
Map group
Displace uses as the zero displacement value.
By default, Displace centers the luminance by using
medium (50 percent) gray as the zero displacement
value. Gray values greater than 128 displace in the
outward direction (away from the Displace gizmo)
and gray values less than 128 displace in the inward
direction (toward the Displace gizmo). Use the
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

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
Lets you choose a bitmap (page 3–917) and map gizmo and its location in the scene determine the
(page 3–968) to use for displacement. Both are final effect.
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.
 Displace Modifier 633

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
Displace gizmos: Planar, Cylindrical, Spherical, and Shrink channel, and which channel to use. For more
Wrap
information on these channels, see UVW Map
Planar—Projects the map from a single plane. modifier (page 1–922).
Cylindrical—Projects the map as if it were wrapped Map Channel—Choose this to specify a UVW
around the cylinder. Turn on Cap to project a copy channel to use for the mapping, and use the
of the map from the ends of the cylinder. spinner to its right to set the channel number.
Spherical—Projects the map from a sphere, with Vertex Color Channel—Choose this to use the
singularities at the top and bottom of the sphere vertex color channel for the mapping.
where the bitmap edges meet at the sphere’s poles.
Alignment group
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. Contains controls for adjusting the mapping
Fractional values map a fractional portion of the gizmo’s size, position, and orientation.
bitmap in addition to copies of the whole map. For
example, a value of 2.5 maps the bitmap two and a X, Y, Z—Flips the alignment of the mapping gizmo
half times. along its three axes.

Flip—Reverses the orientation of the map along Fit—Scales the gizmo to fit the object’s bounding
the corresponding U, V, or W axis. box.
Center—Centers the gizmo relative to the object’s
center.
634 Chapter 8: Modifiers

Bitmap Fit—Displays a Select Bitmap dialog. The There are, however, situations where using the Edit
gizmo is scaled to fit the aspect ratio of the bitmap Mesh modifier is the preferred method.
you select. • You want to edit a parametric object as a mesh,
Normal Align—Turns on Pick mode to let you select but want to retain the ability to modify its
a surface. The gizmo is aligned to the normal of creation parameters after the edit.
that surface. • You want to store your edits temporarily within
View Align—Orients the gizmo in the same Edit Mesh until you are satisfied with the
direction as the view. results, before collapsing them permanently to
an editable mesh object.
Region Fit—Turns on Pick mode to let you drag two
• You need to make edits across several objects
points. The gizmo is scaled to fit the specified area.
at once, but do not want to convert them to a
Reset—Returns the gizmo to its defaults. single editable mesh object.
Acquire—Turns on Pick mode to let you choose • You have a modifier in the stack that must
another object and acquire its Displace gizmo remain parametric, and the mesh must be
settings. edited after the modifier is applied.

Edit Mesh Modifier Edit Normals Modifier

Create or select an object > Modify panel > Modifier List Select a mesh, patch, spline or NURBS object. > Modify
> Object–Space Modifiers > Edit Mesh panel > Modifier List > Edit Normals

Create or select an object > Modifiers menu > Mesh Select a mesh, patch, spline, or NURBS object. > Modifiers
Editing > Edit Mesh menu > Mesh Editing > Edit Normals

The Edit Mesh modifier provides explicit editing The Edit Normals modifier gives you explicit and
tools for different sub-object levels of the selected procedural, interactive control over each of an
object: vertex, edge, and face/polygon/element. object’s vertex normals (page 3–980). It is meant to
The Edit Mesh modifier matches all the capabilities be used primarily with mesh objects destined for
of the base Editable Mesh object, except that output to game engines and other 3D rendering
you cannot animate sub-objects in Edit Mesh. engines that support specified normals. The
See Editable Mesh (page 1–996) for a complete results are visible in the viewports and in rendered
parameter reference. images.

When possible, it’s far more efficient and reliable The orientation of a vertex normal affects how
to perform explicit modeling at the Editable Mesh neighboring surfaces reflect light. By default,
level rather than store those edits within the Edit normals are set so that reflection of light in 3ds Max
Mesh modifier. The Edit Mesh modifier must copy follows the rules of real-world physics: The angle
the geometry passed to it, and this storage can lead of reflection equals the angle of incidence. But by
to large file sizes. The Edit Mesh modifier also reorienting vertex normals, you can set the angle
establishes a topological dependency that can be of reflection to be anything you want. The Edit
adversely affected if earlier operations change the Normals modifier lets you specify vertex normals’
topology being sent to it. 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 • Explicit: These are normals that are set to
low-res object used in normal bump projection (page particular values. For instance, if you use the
3–150). Normal bump projection relies on the low-res Move or Rotate command to change a normal
object having standard normals, and altering them from its default value, it has to be made explicit,
causes normal bump maps to have unpredictable so it won’t be recomputed based on the face
results. normals. Explicit normals are green by default.
Note: Explicit normals are also considered to
Types of Normals
be specified.
Three types of normals are available with the Edit
Note: A selected normal is always red. When not
Normals modifier:
selected, its color indicates as type, as noted above.
• Unspecified: These are the normals that the You can find the customizable color entries (page
modifier derives from smoothing groups and 3–799) for these normal types in the Elements >
initially assigns to the modified mesh vertices. Geometry list. The three entry names are:
The software calculates the direction of an
• Normals - Explicit
unspecified normal based on the average facing
of all polygons to which it belongs that are in • Normals - Specified
its smoothing group. • Normals - Unspecified
By default, each vertex has as many normals as
the number of unique smoothing groups used Usage Examples
by surrounding polygons. For example, each Following are two instances in which a 3D artist
side of a box uses a different smoothing group creating content for output to a game engine might
by default, so each vertex at which three sides find practical use for the Edit Normals modifier:
meet (typically a corner) has three different
• An artist is working on a knight with a chrome
normals: one perpendicular to each of the
shield. The chrome shield has a DirectX cube
three sides. On the other hand, a sphere uses a
map shader (page 3–1010) on it so that the
single smoothing group, so each of its vertices
artist can see the reflections in the viewport.
has one normal, perpendicular to the average
The artist would like to make the reflections
facing of the polygons that share it. By default,
in the shield look "dented" by fights in battle.
unspecified normals are displayed as blue.
The artist applies the Edit Normals modifier
• Specified: These are normals that are intended to the shield object. He then adjusts several
for use by particular corners of particular of the normals slightly, viewing the results in
faces, without regard to smoothing groups. real time, thanks to the pixel shader. He then
For instance, you might create a box, apply exports the character with a custom export tool
Edit Normals, select a group of normals at a designed to handle normal information.
particular vertex, and click Unify. Now those
• A game artist is working on an object that will
three faces are told specifically to use that
explode in the game. To do this, the game
one unified normal, and they ignore their
engine requires the object to be split into
smoothing groups at that vertex. But specified
multiple objects: the broken pieces that will
normals are not set to explicit values; they
result from the explosion. When the object
ignore smoothing groups, but they’re still based
is broken apart in 3ds Max (using Slice), the
on the face normals of the faces that use them.
normals are pointing in different directions;
Specified normals are displayed as cyan.
636 Chapter 8: Modifiers

this makes it easy to see the seams between the also means that the Normal modifier (used
broken pieces. To fix this, the artist selects all to flip face orientations) will not support the
the pieces of the breaking object and applies the edited normals. Since Turn To Poly can be used
Edit Normal modifier to all of them at once. to modify face topology, it also strips off the
She then selects the normals across the seam edited normals.
and unifies them so they are pointing in the • All compound objects strip off the edited
same direction. The artist then exports to the normals from their operands.
game engine.
• The good news: All deformation and map
Usage Notes modifiers preserve the normals. For instance, if
you apply a Bend, the normals should be bent
Please observe the following notes and precautions along with the geometry. Map modifiers, such
when using the Edit Normals modifier: as Unwrap UVW, won’t affect the normals at all.
• Edit Normals supports both poly objects • However, a few geometric modifiers do not
(polygon-based) and mesh objects fully support the new normals. They won’t
(triangle-based). If you apply Edit Normals to strip them away, but neither will they correctly
a poly object, the result is a poly object. If you deform any explicit normals. Modifiers in this
apply Edit normals to any other object type, the category include Push and Relax.
result is a mesh object.
• The Smooth modifier correctly modifies any
• Edit Normals also supports embedding of non-specified normals, while leaving the
edited-normal data when collapsing the stack, specified and explicit normals alone.
and when converting from poly object to mesh
• Like Mesh Select and Poly Select, Edit Normals
object, but not when converting from a mesh
“inherits” attributes from below it in the stack.
object to any other object type. If you apply
For example, if you create a box, apply an Edit
Edit Normals to a primitive object, adjust
Normals modifier, change some normals, and
the normals, and then collapse the stack (or
then apply a second Edit Normals modifier, the
convert to Editable Mesh), the software embeds
top Edit Normals "inherit" the user-specified
any changes to the normals in the mesh object,
normals from the pipeline, just as Mesh Select
including selection status. Primitive objects are
adopts the current selection when you apply
mesh-based, so if you convert the same object
it. But the top Edit Normals modifier ignores
to Editable Poly, the edited normals are lost.
any subsequent changes to the original Edit
On the other hand, if you convert a primitive
Normals modifier, just as Mesh Select ignores
object to Editable Poly, apply Edit Normals,
any changes made to the selection below it in
adjust the normals, and then collapse the stack,
the stack after it is applied.
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
 Edit Normals Modifier 637

Interface 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.
• Vertex ( 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
cycles through them. Likewise, with Ignore
Backfacing off, region selection includes all
sub-objects, regardless of the direction they face.
The Edit Normals modifier is useful mainly at the
sub-object level, Normal, so this level is active by Show Handles—Enables the display of handles,
default as soon as you apply the modifier to an which are small squares at the end of each normal.
object. At this point, you can see the normals as Turn this on to make it easier to select normals.
lines emanating from the mesh vertices, select and Display Length—Specifies the length of each
transform them, copy and paste them, and change normal. This is for display purposes only; the
their settings on the Modify panel. length has no effect on the normal’s functionality.
You can transform normals only by moving and Unify (U)—Combines all selected normals at
rotating them, not by scaling them. However, each vertex into a single specified normal. By
moving a normal effectively rotates it, so in most default, with Unify/Break To Average off, Unify
cases you’ll have better control by using the Rotate sets the direction for each unified normal to be
tool. perpendicular to the averaged surface at that point.
The following command reference includes With Unify/Break To Average on, Unify sets the
keyboard shortcuts, which are available when the direction be the average of the combined normals
Keyboard Shortcut Override Toggle (page 3–872) at each location.
(on the toolbar) is on. In addition, you can use
638 Chapter 8: Modifiers

Break (B)—Separates all selected, unified normals The pixels spinner to the right of the Target
into their original components. With Unify/Break button sets the maximum distance in screen pixels
To Average off, Break orients each separated between the mouse cursor and the target normal.
normal perpendicular to its respective face, thus
Copy Value (Ctrl+C)—Copies the selected normal’s
splaying out the normals at each vertex if the
orientation to the copy buffer. Available only when
connected faces are at different angles (as with a
a single normal is selected.
sphere). With Unify/Break To Average on, each
separated normal uses the orientation of the Use Copy Value and Paste Value to apply a
original normal. normal’s orientation to one or more others within
the same Edit Normals modifier. You cannot copy
Break converts any selected normals to specified
normals between modifiers.
normals.
Paste Value (Ctrl+V )—Applies the paste buffer
Unify/Break to Average—Determines normal
contents to the current selection. Available only
orientation as the result of a Unify or Break
after Copy Value has been used to place a normal’s
operation. See the descriptions above for details.
orientation in the copy, and one or more target
Default=off.
normals are selected.
Average group Specify (S)—Converts selected normals to specified

These controls give you different methods of normals.

averaging vertex normals; that is, setting them all Reset (R)—Causes all selected normals to revert to
to the same absolute angle, which is the average of unspecified status, and returns them to their initial,
their combined angles. calculated positions. Also breaks apart unified
Selected—Sets selected normals to the same
normals.
absolute angle: the average angle of all of them. If Make Explicit (E)—Converts selected normals to
Use Threshold is on, averages only normals whose explicit normals.
distance from each other is less than that specified
[Selection Display]—When one normal is selected,
in the Average Threshold spinner (to the button’s
shows its ID number. When 0 or more than one
right).
normal is selected, shows the number of normals
Use Threshold—Activates the Average Threshold selected.
setting, and causes the Selected to average only
normals whose distance from each other is less
than the specified value. Edit Patch Modifier
Target—Enters an interactive mode in which you Create or select an object > Modify panel > Modifier List
specify pairs of normals to average. Click Target, > Object–Space Modifiers > Edit Patch
and then select a normal. When the mouse cursor Create or select an object > Modifiers menu >
is over a normal, it changes to a + cursor. After Patch/Spline Editing > Edit Patch
clicking the first normal, a rubber-band dashed
line connects the normal to the mouse cursor. The Edit Patch modifier provides editing tools for
Click a second normal to average the angles of the different sub-object levels of the selected object:
two normals. vertex, handle, edge, patch, and element. The Edit
Patch modifier matches all the capabilities of the
 Edit Patch Modifier 639

base Editable Patch object, except that you cannot Procedure

animate sub-objects in Edit Patch. See Editable To create a patch object using the Cross Section and
Patch (page 1–968) for a parameter reference. Spline Surface tools:
Other than the inability to animate sub-objects This procedure describes how to simplify the
with Edit Patch, the main difference between workflow of building objects using a spline cage
Edit Patch and Editable Patch is that the modifier to which a patch surface is applied, a method
incorporates the ability of the Surface modifier to described in the Surface modifier (page 1–842)
generate a patch object from a spline cage. For topic as “Surface Tools.”
details, see Spline Surface (page 1–639). 1. Create a spline object.
When possible, it’s far more efficient and reliable Make sure that the spline vertices form valid
to perform explicit editing on an Editable Patch three-sided or four-sided polygons. Vertices
object rather than store those edits within the Edit on splines that cross one another should be
Patch modifier. The Edit Patch modifier must copy coincident.
the geometry passed to it, and this storage can lead
To make spline vertices coincident, drag
to large file sizes. The Edit Patch modifier also
vertices over each other with 3D Snap turned
establishes a topological dependency that can be
on. 3D Snap must have the Vertex or End Point
adversely effected if earlier operations change the
option turned on. With 3D Snap turned on,
topology being sent to it.
you can snap to vertices on existing splines
There are, however, situations where using the Edit as you create new splines. You can also select
Patch modifier is the preferred method. vertices and use the Fuse option in an Editable
• You want to edit a parametric object as a patch, Spline to make vertices coincident.
but want to retain the ability to modify its 2. Convert the spline object to an Editable Spline,
creation parameters after the edit. if necessary, or apply an Edit Spline modifier.
• You want to store your edits temporarily within 3. Use the Cross Section command in Edit/Editable
Edit Patch until you are satisfied with the Spline to add splines connecting different
results, before committing them permanently splines in the spline object, thus creating a
to an editable patch. spline cage.
• You want to streamline your workflow with the This replaces the previous workflow of using
Spline Surface tools, which are unique to Edit the CrossSection modifier.
Patch. 4. Apply the Edit Patch modifier to the spline
• You need to make edits across several patch object.
objects at once, but do not want to convert By default, in Edit Patch the Geometry rollout >
them to a single editable patch object. Spline Surface group > Generate Surface option
• You have a modifier in the stack that must stay is on, causing the modifier to create patches
parametric, and the resulting patch must be over all valid three- and four-sided polygons
edited after the modifier is applied. 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 Remove Interior Patches—Removes interior faces
the object as necessary. If you modify the of an object that you would not normally see.
spline object, for best results, edit at the Vertex These are the faces created within the caps or
sub-object level, and be sure to select all vertices other interior patches of the same type of a closed
at an intersection before moving them. polygon. Default=on.
Use Only Selected Segs—Only segments selected
Interface
in the Edit Spline modifier or the editable spline
Spline Surface group object will be used by the Surface modifier to
The Geometry rollout > Spline Surface group is create patches. Default=off.
found only in the Edit Patch modifier; it’s not Note: Segment Sub-Object does not have to be left
available in the Editable Patch object. The group on in the Edit Spline modifier or editable spline
becomes available when the object to which the object.
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 Edit Poly Modifier
modifier (page 1–623) or the Editable Spline
Create or select an object. > Modify panel > Modifier List
Cross Section command. The latter approach > Object-Space Modifiers > Edit Poly
approximates the Surface Tools workflow
Create or select an object. > Modifiers menu > Mesh
(described in the Surface Modifier topic), but with Editing > Edit Poly
a simpler modifier stack; instead of additional
CrossSection and Surface modifiers, the stack The Edit Poly modifier provides explicit editing
need contain only an Editable Spline object and an tools for different sub-object levels of the selected
Edit Patch modifier. Alternatively, you can use the object: vertex, edge, border, polygon, and element.
Edit Spline modifier’s Cross Section command. The Edit Poly modifier includes most capabilities
Generate Surface—Creates a patch surface of the base Editable Poly object, except for Vertex
using existing splines to define the patch edges. Color information, Subdivision Surface rollout,
Default=on. Weight and Crease settings, and Subdivision
Displacement rollout. Edit Poly lets you animate
Threshold—Determines the overall distance that sub-object transforms and parameter changes. In
is used to weld the vertices of the spline object. addition, because it’s a modifier, you can retain
All vertices/vectors within the threshold distance the object creation parameters and change them
of each other are treated as one. Threshold uses later. For detailed information about animating
units set in the Units Setup dialog (page 3–848). with Edit Poly, see these procedures (page 1–643).
Default=1.0.
Edit Poly gives you these options:
Note: Spline control handles are also treated as
vertices, so setting high Threshold levels can • Transform or Shift +Clone the selection, as
produce unexpected results. with any object.
• Use the options on the Edit rollouts to modify
Flip Normals—Reverses the facing direction of the
the selection or object. Later topics discuss
patch surface. Default=off.
 Edit Poly Modifier 641

these options for each of the polymesh There are no Weight or Crease settings for
components. vertices, edges, or borders. If you need to use
• Pass a sub-object selection to a modifier Weight and Crease settings, apply a Meshsmooth
higher in the stack. You can apply one or more modifier (page 1–722), set Iterations to 0, and
standard modifiers to the selection. then make the settings as desired. Also, there is
no provision for setting vertex properties such
Tip: You can exit most Edit Poly command modes,
as color.
such as Extrude, by right-clicking in the active
viewport. • In Animate mode, you begin a slice operation
by clicking Slice, not Slice Plane. You still need
Differences Between Edit Poly and to click Slice Plane to move the plane around.
Editable Poly You can animate the slice plane.

Functionality in Edit Poly is mostly the same as • In some cases, several Undo commands (page
that of Editable Poly. Please note the following 1–94) might be required to revert from changes
differences: made with certain Edit Poly operations, such
as Extrude.
• Edit Poly is a modifier, with all properties
that modifier status entails. These include the For example, if you extrude a polygon using the
ability to place Edit Poly above a base object Extrude Polygons dialog (page 1–1072), there
and other modifiers on the stack, to move the will be three Undo actions. The first undoes the
modifier to different locations in the stack, Commit, which happens automatically when
and to apply multiple Edit Poly modifiers to you click the dialog OK button at the end; the
the same object, each containing different second undoes the change in height (from 0 to
modeling or animation operations. the height you set); and the third undoes the
entry into the Extrude operation.
• Edit Poly has two distinct modes of operation:
Model and Animate. See Edit Poly Mode rollout Following is a table showing the Edit Poly functions
(page 1–645). that are and are not animatable. Functions that are
not animatable are unavailable in Animate mode.
• Delete Isolated Vertices is now an option on the
Functions marked “Yes” can be animated explicitly
Edit Geometry rollout. Previously, it appeared
in Animate mode.
as a dialog every time you deleted contiguous
polygons. Now you can set it and forget it. Functions marked “Proc” cannot be animated
• Edit Poly eliminates the Full Interactivity explicitly, but can be animated procedurally. This
switch; this feature is on all the time. means they can be applied to different parts of the
Edit Poly object at different points in the animation
• Edit Poly provides two new ways of obtaining by means of an animated sub-object selection
an existing selection from lower in the stack: passed up the stack. For further information, see
Use Stack Selection and Get Stack Selection. To apply an Edit Poly operation to an animated
• In addition to the Settings dialogs from Editable sub-object selection: (page 1–644).
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.
642 Chapter 8: Modifiers

Function Animatable? Function Animatable?

Transform sub-objects Yes Hide Unselected No
Shift +Transform Unhide All No
sub-objects Yes
Remove Proc
Constraints No
Break Proc
Preserve UVs No
Extrude Yes
By Vertex No
Chamfer Yes
Ignore Backfacing No
Bridge Yes
Ring No
Proc (can animate Weld
Loop No Weld (selected) Threshold)
Shrink No Target Weld No
Grow No Connect Yes
Selection conversion No Remove Isolated Vertices Proc
Named Selection Remove Unused Map Verts Proc
copy/paste No
Remove Yes
Soft Selection (most Yes (but not painting soft
settings) selection) Split Yes

Shaded Face toggle No Insert Vertex No

Delete Proc Weld (selected) Yes (Threshold)

Create Vertex No Target Weld No

Create Face No Connect (Vertex) Proc

Create Edge No Connect (Edge) Yes

Collapse Proc Create Shape No

Attach / Attach List No Edit Triangulation No

Detach No Cap Proc

Slice Yes Insert Vertex No

Quickslice No Extrude Yes

Cut No Bevel Yes

MSmooth Proc Outline Yes

Tessellate Proc Inset Yes

Make Planar Proc Retriangulate Proc

View Align Yes Flip Proc

Grid Align Yes Hinge from Edge Yes

Relax Yes Extrude Along Spline Yes

Hide Selected No Set Material ID Yes

 Edit Poly Modifier 643

Function Animatable? • Interactive Manipulation mode is well

Select by Material ID No suited to experimentation. You activate this
Set Smoothing Group Yes mode by clicking the command’s Settings
button. This opens a non-modal settings dialog
Select by Smoothing Group No
and places you in preview mode, where you can
Auto Smooth Proc set parameters and see results immediately in
the viewport. You can then accept the results by
Edit Poly Workflow clicking OK, or reject them by clicking Cancel.
You can also use this mode to apply the same or
Edit Poly differs from other Edit modifiers in
different settings to several different sub-object
3ds Max in that it provides two different modes,
selections in a row. Make the selection,
available on the Edit Poly Mode rollout: one
optionally change the settings, click Apply, and
for modeling, and the other for animating. By
then repeat with a different selection.
default, Edit Poly operates in Model mode, whose
functionality is mostly the same as that of Editable Important: When you click Apply, the settings are
Poly. Alternatively, you can work in Animate “baked into” the selection, and then applied again
mode, where only functions you can animate are to the selection as a preview. If you then click OK to
available. exit, you will have applied the settings twice. If your
intention is to apply them only once, simply click OK
Each Edit Poly modifier can preserve any number
the first time, or click Apply, and then Cancel.
of keyframes animating a single operation type,
such as transforming faces, on the same sub-object
See also
selection. To animate other parts of the object,
or to animate a different operation on the same Poly Select Modifier (page 1–762)
sub-object selection, just use another Edit Poly Turn To Poly Modifier (page 1–874)
modifier.
Editable Poly Surface (page 1–1022)
Sub-object-specific functions in the Edit Poly
user interface can be found in their own rollouts, Procedures
leaving the Edit Geometry rollout with functions
To animate an Edit Poly operation on a sub-object
that can be used at most sub-object levels, as well
selection:
as at the object level.
1. Select an object.
Also, many commands are accompanied by a 2. Apply the Edit Poly modifier.
Settings button, which gives you two ways of using
the command: 3. Go to the first frame at which to set a
• In Direct Manipulation mode, activated by key and turn on Auto Key.
clicking the command button, you apply the 4. On the Modify panel > Edit Poly Mode rollout,
command by manipulating sub-objects directly choose Animate.
in the viewport. An example of this is Extrude.
5. Make a sub-object selection.
Note: Some buttons, such as Tessellate, operate
6. Perform an operation on the selection, such as
on the mesh immediately, with no viewport
a transform or extrusion.
manipulation required.
644 Chapter 8: Modifiers

7. Proceed to the next keyframe and continue to Note: With Use Stack Selection on, you can’t
change settings for the current operation and change the selection.
sub-object selection. Now, when you play the animation, the Edit
If you change the selection, the existing Poly effect moves along with the animation of
animation is applied to the new selection, and the sub-object selection.
lost from the previous one. If you change If you decide to animate a different function
the operation, any changes from the previous procedurally, first click Edit Poly Mode rollout
animation are frozen (that is, “baked” into the > Cancel.
model) at the current frame, and only new
keyframes are recorded in the current Edit Poly Example: To apply an Edit Poly operation
modifier. procedurally to an animated model:
To animate different sub-object selections using Edit Poly lets you layer an animated sub-object
different operations, use multiple applications operation on top of an existing animation. Try this
of the Edit Poly modifier. brief example:
1. Create an animated model, such as a box with
To apply an Edit Poly operation to an animated
sub-object selection:
an animated Bend modifier.
2. Apply an Edit Poly modifier, and on the Edit
This procedure demonstrates procedural
animation with Edit Poly: the ability to change Poly Mode rollout, choose Animate. Also turn
the location of application on an object during an on Auto Key.
animation using an existing, animated sub-object 3. Go to the Polygon sub-object level.
selection. 4. Go to frame 20 and extrude a polygon.
1. Select an object. 5. Play the animation.
2. Create an animated sub-object selection. One The extrusion animation plays “on top” of the
way to do this is to apply a Volume Select existing animation. This isn’t possible with the
modifier (page 1–952) and animate the gizmo’s Edit Mesh modifier.
transform, or animate the modifier effect by
using an animated texture map. Interface
3. Apply the Edit Poly modifier. Stack Display
4. Go to the same sub-object level in Edit Poly, For more information on the stack display, see
and then, on the Selection rollout, turn on Use Modifier Stack (page 3–760).
Stack Selection.
Show End Result—Because Edit Poly is a modifier,
5. Scrub the time slider.
if you apply further modifiers and then return
The animated selection appears on the Edit to the Edit Poly stack entry, Show End Result is
Poly object. on by default, and you can still see the results of
6. On the Modify panel > Edit Poly Mode rollout, any modifiers above Edit Poly on the stack. This
choose Animate. is different from the Editable Poly object, where
if you apply a modifier such as Symmetry (page
7. Perform an operation on the sub-object
1–861) and then return to the Editable Poly stack
selection, such as a chamfer or extrusion. You
entry, you cannot see the effect of the modifier
needn’t turn on Auto Key or use Set Key.
 Edit Poly Modifier 645

on the object’s geometry. While at a sub-object Extrude or Chamfer, to an animated sub-object

level, if you turn on Show Cage on the Edit Poly selection passed up the stack.
Mode rollout, you can see the final object as a Tip: If you use Set Key to animate with Edit Poly, be
white mesh, the original sub-object selection as a sure to turn on Key Filters > Modifiers.
yellow mesh, and the original Edit Poly object as
Note: The Edit Poly modifier can store any number
an orange mesh.
of keyframes animating a single operation, such as
Edit Poly Mode rollout 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
operation on the same sub-object selection;
• animate repeated applications of a different
operation on the same sub-object selection.
For example, say you want to animate a polygon
extruding from an object from frame 1 to 10, and
This rollout provides access to Edit Poly’s two then moving back to the original position over
modes of operation: Model, for modeling, and the next 10 frames. You can accomplish this with
Animate, for animation of modeling effects. For a single Edit Poly modifier using the Extrude
example, you can animate the Taper and Twist function, setting one keyframe at 10 and another
settings for polygons extruded along a spline. at 20. However, say you want to animate a polygon
During and between sessions, the software extruding outward, and then animate movement
remembers the current mode for each object of one of the resultant side polygons. In that case,
separately. The same mode remains active at all you’d need two Edit Poly modifiers: one for the
sub-object levels. extrusion, and another for the poly transform.
Tip: While modeling in Animate mode, you can
Edit Poly Mode also gives you access to the
use Commit to freeze the animation at the current
current operation’s Settings dialog, if any, and
frame.
lets you commit to or cancel out of modeling and
animation changes. [label]—Shows the current command, if any.
Otherwise, it shows <No Current Operation>.
Model—Lets you model using the Edit Poly
functions. Operations in Model mode cannot be When you’re working in Model mode using direct
animated. manipulation (that is, working in the viewports),
the label shows the current operation during drag
Animate—Lets you animate using the Edit Poly
operations, and then returns to the unavailable
functions.
state.
In addition to choosing Animate, you must turn
When you’re working in Model mode using a
on Auto Key (page 3–717) or use Set Key (page
Settings dialog, or in Animate mode using direct
3–718) for animating sub-object transforms and
manipulation or a Settings dialog, the label
parameter changes. Alternatively, in Animate
continually shows the current operation.
mode you can apply a single command, such as
646 Chapter 8: Modifiers

Commit—In Model mode, using a Settings dialog, base object while simultaneously viewing the
accepts any changes and closes the dialog (same as smoothed result, but it works with any modifier.
the OK button on the dialog). In Animate mode, Tip: Show Cage is also particularly helpful when
freezes the animated selection in its state at the used with the Symmetry modifier (page 1–861).
current frame and closes the dialog. Any existing
keyframes are lost. Selection rollout
Tip: Commit lets you use animation as a modeling The Selection rollout provides tools for accessing
aid. For example, you could animate a vertex different sub-object levels and display settings
selection between two positions, scrub between and for creating and modifying selections. See
the two to find a suitable in-between position, and Selection Rollout (Edit Poly Modifier) (page 1–647).
then use Commit to freeze the model at that point.
Settings—Toggles the Settings dialog for the Soft Selection rollout
current command. Soft Selection controls apply a smooth falloff
Cancel—Cancels the most recently used command. between selected sub-objects and unselected
ones. When Use Soft Selection is on, unselected
Show Cage—Toggles the display of a two-color sub-objects near your selection are given partial
wireframe that shows the editable poly object selection values. These values are shown in the
before modification or subdivision. The cage viewports by means of a color gradient on the
colors are shown as swatches to the right of the vertices, and optionally on the faces. They affect
check box. The first color represents unselected most types of sub-object deformations, such as
sub-objects, and the second color represents the Move, Rotate, and Scale functions and any
selected sub-objects. Change a color by clicking its deformation modifiers (such as Bend) applied to
swatch. The Show Cage toggle is available only at the object. This provides a magnet-like effect with
sub-object levels. 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)
The cage displays the original structure of the edited object. Edit Polygons/Elements rollout (page 1–667)
Typically this feature is used in conjunction with
the MeshSmooth modifier (page 1–722) because it
lets you easily toggle visibility of the unsmoothed
 Selection Rollout (Edit Poly Modifier) 647

Edit Geometry rollout Note: You can convert sub-object selections in

three different ways with the use of the Ctrl and
The Edit Geometry rollout (page 1–673) provides
Shift keys:
global functions for editing an Edit Poly object
and its sub-objects. For information specific to a • Clicking a sub-object button in the Selection
sub-object level, click one of the following links: rollout with Ctrl held down converts the
current selection to the new level, selecting
Edit Poly (Object) (page 1–651)
all sub-objects in the new level that touch the
Edit Poly (Vertex) (page 1–652) previous selection. For example, if you select
a vertex, and then Ctrl +click the Polygon
Edit Poly (Edge) (page 1–656)
button, all polygons using that vertex are
Edit Poly (Border) (page 1–663) selected.
Edit Poly (Polygon/Element) (page 1–666) • To convert the selection to only sub-objects
all of whose source components are originally
Paint Deformation rollout selected, hold down both Ctrl and Shift
as you change the level. For example, if you
Paint Deformation lets you stroke elevated and
convert a vertex selection to a polygon selection
indented areas directly onto object surfaces. For
with Ctrl+Shift +click, the resultant selection
more information, see Paint Deformation Rollout
includes only those polygons all of whose
(page 1–1064).
vertices were originally selected.
• To convert the selection to only sub-objects
Selection Rollout (Edit Poly that border the selection, hold down Shift as
Modifier) you change the level. The selection conversion
is inclusive, meaning:
Select an Edit Poly object. > Modify panel > Selection
rollout • When you convert faces, the resulting
selection of edges or vertices all belong to
The Selection rollout provides tools for accessing selected faces that bordered unselected faces.
different sub-object levels and display settings Only the edges or vertices that bordered
and for creating and modifying selections. It also unselected faces are selected.
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
Face selection (left) converted to vertex border (center)
the various sub-object levels and access relevant and edge border (right)
functions by clicking the buttons at the top of the
Selection rollout. • When you convert vertices to faces, the
Clicking a button here is the same as choosing resulting selection of faces had all of their
a sub-object type in the modifier stack display. vertices selected and bordered unselected
Click the button again to turn it off and return to faces. When you convert vertices to edges,
the Object selection level. 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 Interface
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, Vertex—Accesses the Vertex sub-object level,
but only at intersections where not all edges which lets you select a vertex beneath the cursor;
were selected. 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.
Edge selection (left) converted to face border (center)
and vertex border (right) Border—Accesses the Border sub-object level,
which lets you select a sequence of edges that
Conversion commands are also available from the
borders a hole in the mesh. A border is always
quad menu.
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
select edges that aren’t on borders. Clicking a
single edge on a border selects the whole border.
You can cap a border, either in Edit 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).
 Selection Rollout (Edit Poly Modifier) 649

The Edge and Border sub-object levels are check box. This value determines the maximum
compatible, so if you go from one to the other, any angle between neighboring polygons that will be
existing selection is retained. selected. Available only at the Polygon sub-object
level.
Polygon—Accesses the Polygon sub-object
For example, if you click a side of a box and the
level, which lets you select polygons beneath the
angle value is less than 90.0, only that side is
cursor. Region selection selects multiple polygons
selected, because all sides are at 90-degree angles to
within the region.
each other. But if the angle value is 90.0 or greater,
all sides of the box are selected. This function
Element—Turns on Element sub-object level, speeds up selection of contiguous areas made up
which lets you select all contiguous polygons in an of polygons at similar angles to one another. You
object. Region selection lets you select multiple can select coplanar polygons with a single click at
elements. any angle value.
The Polygon and Element sub-object levels are Shrink—Reduces the sub-object selection area
compatible, so if you go from one to the other, any by unselecting the outermost sub-objects. If
existing selection is retained. the selection size can no longer be reduced, the
Use Stack Selection—When on, Edit Poly remaining sub-objects are unselected.
automatically uses any existing sub-object Grow—Expands the selection area outward in all
selection passed up the stack, and prevents you available directions.
from manually changing the selection.
For this function, a border is considered to be an
By Vertex—When on, you can select a sub-object edge selection.
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
With Shrink and Grow, you can add or remove neighboring
sub-objects affects only those facing you. When
elements from the edges of your current selection. This works
off (the default), you can select any sub-object(s) at any sub-object level.
under the mouse cursor, regardless of visibility or
facing. If multiple sub-objects lie under the cursor, Ring—Expands an edge selection by selecting all
repeated clicking cycles through them. Likewise, edges parallel to the selected edges. Ring applies
with Ignore Backfacing off, region selection only to edge and border selections.
includes all sub-objects, regardless of the direction
they face.
Note: The state of the Backface Cull setting in 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.
By Angle—When on, if you select a polygon, Ring selection adds to the selection all the edges parallel to
the software also selects neighboring polygons the ones selected originally.
based on the angle setting to the right of the
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;
Loop selection extends your current edge selection by adding
that is, to neighboring, parallel edges. If you have all edges aligned to the ones selected originally.
a loop selected, you can use this function to select
a neighboring loop. Applies only to Edge and [Loop Shift]—The spinner next to
Border sub-object levels. 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 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, Left: Original ring selection
Ctrl +click the up or down spinner button. To Upper right: Loop Shift up moves selection outward.
shrink the selection in the chosen direction, Lower right: Loop Shift down moves selection inward.
Alt +click the up or down spinner button.
To expand the selection in the chosen direction,
Loop—Expands the selection as far as possible, in Ctrl +click the up or down spinner button. To
alignment with selected edges. shrink the selection in the chosen direction,
Loop applies only to edge and border selections, Alt +click the up or down spinner button.
and propagates only through four-way junctions. 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 Interface

methods. Edit Geometry rollout
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.

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

3. If the vertices are very close together, simply

Edit Poly (Vertex) click Weld. If that doesn’t work, proceed to
the next step.
Select an Edit Poly object. > Modify panel > Selection
rollout > Vertex 4. Click the Settings button to the right of
Select an Edit Poly object. > Modify panel > Modify Stack the Weld button.
display > Expand Edit Poly. > Vertex
This opens the Weld Vertices dialog (page
Select an Edit Poly object. > Quad menu > Tools 1 1–1077).
quadrant > Vertex
5. Increase the Weld Threshold value gradually
Vertices are points in space: They define the using the spinner (click and hold on the
structure of other sub-objects that make up the up-down arrow buttons to the right of the
poly object. When vertices are moved or edited, numeric field and then drag upward). If you
the geometry they form is affected as well. Vertices need the value to change more quickly, hold
can also exist independently; such isolated vertices down the Ctrl key as you drag.
can be used to construct other geometry but are When the threshold equals or exceeds
otherwise invisible when rendering. the distance between two or more of the
At the Edit Poly (Vertex) sub-object level, you can vertices, the weld occurs automatically, and
select single and multiple vertices and move them the resulting vertex moves to their average
using standard methods. This topic covers the location.
Edit Vertices and Edit Geometry rollouts; for other 6. If not all the vertices are welded, continue
controls, see Edit Poly Modifier (page 1–640). increasing the Weld Threshold value until
they are.
Procedure 7. Click OK to exit.
To weld polygon vertices:
2. To use Target Weld:
You can use either of two methods to combine 1. On the Selection rollout, turn on Ignore
several vertices into one, also known as welding. If Backfacing, if necessary. This ensures that
the vertices are very close together, use the Weld you’re welding only vertices you can see.
function. You can also use Weld to combine a
number of vertices to the average position of all 2. Find two vertices you want to weld, and
of them. determine the ultimate location of the
resulting vertex. The two vertices must be
Alternatively, to combine two vertices that are far contiguous; that is, they must be connected
apart, resulting in a single vertex that’s in the same by a single edge.
position as one of them, use Target Weld.
For this example, we’ll call the vertices A and
1. To use Weld: B, and the resulting vertex will be at vertex
1. On the Selection rollout, turn on Ignore B’s location.
Backfacing, if necessary. This ensures that 3. Click the Target Weld button.
you’re welding only vertices you can see.
The button stays highlighted, to indicate that
2. Select the vertices to weld. 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 Edit Vertices rollout

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.

Interface This rollout includes commands specific to vertex

Edit Poly Mode rollout editing.
Note: To delete vertices, select them and press the
See Edit Poly Mode rollout (page 1–645) for
Delete key. This can create one or more holes
information on the Edit Poly Mode rollout
in the mesh. To delete vertices without creating
settings.
holes, use Remove (see following entry).
Selection rollout Remove—Deletes selected vertices and combines
See Selection rollout (page 1–646) for information the polygons that use them. The keyboard shortcut
on the Selection rollout settings. is Backspace .

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-objects near your selection are given partial Removing one or more vertices deletes them and retriangulates
selection values. These values are shown in the the mesh to keep the surface intact. If you use the Delete key
instead, the polygons depending on those vertices are deleted
viewports by means of a color gradient on the as well, creating a hole in the mesh.
vertices, and optionally on the faces. They affect
most types of sub-object deformations, such as the Warning: Use of Remove can result in mesh shape
Move, Rotate, and Scale functions, as well as any changes and non-planar polygons.
deformation modifiers (such as Bend) applied to Break—Creates a new vertex for each polygon
the object. This provides a magnet-like effect with attached to selected vertices. This allows the
a sphere of influence around the selection. polygon corners to move away from each other
For more information, see Soft Selection Rollout where they were once joined at each original
(page 1–963). 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 with Extrusion Height set to the amount of the last
extrude it. manual extrusion.
Extruding a vertex moves it along a normal and Weld—Combines contiguous, selected vertices
creates new polygons that form the sides of the that fall within the tolerance specified in the Weld
extrusion, connecting the vertex to the object. dialog (page 1–1077). All edges become connected
The extrusion has the same number of sides as to the resulting single vertex.
the number of polygons that originally used the
Weld is best suited to automatically simplify
extruded vertex.
geometry that has areas with several vertices in
Important aspects of vertex extrusion are: close proximity.
• The mouse cursor changes to an Extrude cursor
Weld Settings—Opens the Weld dialog (page
when over a selected vertex.
1–1077), which lets you specify the weld threshold.
• Drag vertically to specify the extent of the
Chamfer—Click this button and then drag
extrusion, and horizontally to set the size of the
base. vertices in the active object. To chamfer vertices
numerically, click the Chamfer Settings button and
• With multiple vertices selected, dragging on adjust the Chamfer Amount value.
any one extrudes all selected vertices equally.
If you chamfer multiple selected vertices, all of
• You can drag other vertices in turn to extrude
them are chamfered identically. If you drag an
them while the Extrude button is active. Click
unselected vertex, any selected vertices are first
Extrude again or right-click in the active
unselected.
viewport to end the operation.
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.
For example, if you chamfer one corner of a box,
the single corner vertex is replaced by a triangular
face whose vertices move along the three edges
Chamfer box showing extruded vertex that led to the corner. Outside faces are rearranged
and split to use these three new vertices, and a
Extrude Settings—Opens the Extrude Vertices
triangle is created at the corner.
dialog (page 1–1073), which lets you perform
extrusion via interactive manipulation. Alternatively, you can create open space
around the chamfered vertices; for details, see
If you click this button after performing a manual
Chamfer Vertices dialog (page 1–1070).
extrusion, the same extrusion is performed on the
current selection as a preview and the dialog opens
 Edit Poly (Vertex) 655

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.

Connect will not let the new edges cross. 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
Top: The original vertex selection vertices that show up in the Unwrap UVW editor
Center: Vertices chamfered (page 1–888), but cannot be used for mapping.
Bottom: Vertices chamfered with Open on You can use this button to delete these map vertices
automatically.
Chamfer Settings—Opens the Chamfer Vertices
dialog (page 1–1070), which lets you chamfer
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
656 Chapter 8: Modifiers

Edit Geometry rollout

Edit Poly (Edge)
Select an Edit Poly object. > Modify panel > Selection
rollout > Edge

Select an Edit Poly object. > Modify panel > Modifier

Stack display > Expand Edit Poly. > Edge

Select an Edit Poly object. > Quad menu > Tools 1

quadrant > Edge

An edge is a line connecting two vertices that forms

the side of a polygon. An edge can’t be shared by
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. Select the edges you want to make into shapes.
2. On the Edit Edges rollout, click the Create Shape
button. This creates the shape immediately,
See Edit Geometry Rollout (Edit Poly Modifier) using default settings. Alternatively, click the
(page 1–673) for detailed descriptions of these Settings button next to Create Shape.
controls.
3. Make changes, as needed, on the Create Shape
dialog that appears.
Paint Deformation rollout
• Enter a curve name or keep the default.
Paint Deformation lets you stroke elevated and
indented areas directly onto object surfaces. For • Choose Smooth or Linear as the shape type.
more information, see Paint Deformation Rollout 4. Click OK.
(page 1–1064).
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
more than one spline. When the Create Shape
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: 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

Above: Original object

See Selection rollout (page 1–646) for information
Below: Object with edges selected
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-objects near your selection are given partial
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.
Removing one edge is like making it invisible. The mesh
For more information, see Soft Selection Rollout is affected only when you remove all but one of the edges
(page 1–963). depending on one vertex. At that point, the vertex itself is
deleted and the surface is retriangulated.
Edit Edges rollout 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
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
This rollout includes commands specific to edge vertices.
editing.
Edges with the same polygon on both sides usually
Note: To delete edges, select them and press the
can’t be removed.
Delete key. This deletes all selected edges and
attached polygons, which can create one or more Warning: Use of Remove can result in mesh shape
holes in the mesh. To delete edges without creating changes and non-planar polygons.
holes, use Remove (see following entry). Split—Divides the mesh along the selected edges.
Insert Vertex—Lets you subdivide visible edges
Split does nothing when applied to a single edge in
manually. the middle of a mesh. The vertices at the end of
After turning on Insert Vertex, click an edge to affected edges must be separable for this option
add a vertex at that location. You can continue to work. For example, it would work on a single
subdividing polygons as long as the command is edge that intersects an existing border, since the
active. border vertex can be split in two. Additionally, two
adjacent edges could be split in the middle of a
To stop inserting edges, right-click in the viewport, grid or sphere, since the shared vertex can be split.
or click Insert Vertex again to turn it off.
Extrude—Lets you extrude edges manually via
Remove—Deletes selected edges and combines the
direct manipulation in the viewport. Click this
polygons that use them. The keyboard shortcut is
Backspace .
 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
Chamfer box showing extruded edge
extrusion has either three or four sides; three if the
edge was on a border, or four if it was shared by Extrude Settings—Opens the Extrude Edges
two polygons. As you increase the length of the dialog (page 1–1073), which lets you perform
extrusion, the base increases in size, to the extent extrusion via interactive manipulation.
of the vertices adjacent to the extruded edge’s
endpoints. If you click this button after performing a manual
extrusion, the same extrusion is performed on the
Important aspects of edge extrusion are: current selection as a preview and the dialog opens
• The mouse cursor changes to an Extrude cursor with Extrusion Height set to the amount of the last
when over a selected edge. manual extrusion.
• Drag vertically to specify the extent of the Weld—Combines selected edges that fall within
extrusion, and horizontally to set the size of the the threshold specified in the Weld dialog (page
base. 1–1077).
• With multiple edges selected, dragging on any You can weld only edges that have one polygon
one extrudes all selected edges equally. attached; that is, edges on a border. Also, you
• You can drag other edges in turn to extrude cannot perform a weld operation that results in
them while the Extrude button is active. Click illegal geometry, such as an edge shared by more
Extrude again or right-click in the active than two polygons. For example, you cannot weld
viewport to end the operation. 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 You can weld only edges that have one polygon
selected edges. attached; that is, edges on a border. Also, you
cannot perform a weld operation that results in
An edge chamfer "chops off " the selected edges,
illegal geometry, such as an edge shared by more
creating a new polygon connecting new points on
than two polygons. For example, you cannot weld
all visible edges leading to the original vertex. The
opposite edges on the border of a box that has a
new edges are exactly <chamfer amount> distance
side removed.
from the original edge along each of these edges.
New chamfer faces are created with the material Bridge—Connects border edges on an object with
ID of a neighboring face (picked at random) and a polygon “bridge.” Bridge connects only border
a smoothing group that is an intersection of all edges; that is, edges that have a polygon on only
neighboring smoothing groups. one side. This tool is particularly useful when
creating edge loops or profiles.
For example, if you chamfer one edge of a box,
each corner vertex is replaced by two vertices There are two ways to use Bridge in Direct
moving along the visible edges that lead to the Manipulation mode (that is, without opening the
corner. Outside faces are rearranged and split Bridge Edges settings dialog):
to use these new vertices, and a new polygon is • Select two or more border edges on the object,
created at the corner. and then click Bridge. This immediately creates
Alternatively, you can create open space around the bridge between the pair of selected borders
the chamfered edges; for details, see Chamfer Edges using the current Bridge settings, and then
dialog (page 1–1070). deactivates the Bridge button.
• If no qualifying selection exists (that is, two or
Chamfer Settings—Opens the Chamfer Edges
more selected border edges), clicking Bridge
dialog (page 1–1070), which lets you chamfer edges activates the button and places you in Bridge
via interactive manipulation and toggle the Open mode. First click a border edge and then move
option. the mouse; a rubber-band line connects the
If you click this button after performing a manual mouse cursor to the clicked edge. Click a
chamfer, the same chamfer is performed on the second edge on a different border to bridge the
current selection as a preview and the dialog opens two. This creates the bridge immediately using
with Chamfer Amount set to the amount of the the current Bridge settings; the Bridge button
last manual chamfer. remains active for connecting more edges.
To exit Bridge mode, right-click the active
Target Weld—Allows you to select an edge and
viewport or click the Bridge button.
weld it to a target edge. When positioned over an
edge, the cursor changes to a + cursor. Click and Note: Bridge always creates a straight-line
move the mouse and a dashed line appears from connection between edges. To make the bridge
the vertex with an arrow cursor at the other end connection follow a contour, apply modeling
of the line. Position the cursor over another edge tools as appropriate after creating the bridge. For
and when the + cursor appears again, click the example, bridge two edges, and then use Bend
mouse. The first edge is moved to the position of (page 1–560).
the second, and the two are welded.
Bridge Settings—Opens the Bridge Edges
dialog (page 1–1068), which lets you add
 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), which lets you preview
the Connect results, specify the number of edge
segments created by the operation, and set spacing
and placement for the new edges.
Create Shape—After selecting one or more edges,
click this button to create a spline shape or
shapes from the selected edges, using the current
An edge selection (top); a smooth shape (center); a linear
settings from the Create Shape Settings dialog (see
shape (bottom)
following).
Edit Tri[angulation]—Lets you modify how
The new shape’s pivot is placed at the same
polygons are subdivided into triangles by drawing
location as that of the Edit Poly object.
diagonals.
Create Shape Settings—Lets you preview the
Create Shape function, name the shape, and set
it to Smooth or Linear.
662 Chapter 8: Modifiers

Edit Geometry rollout

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 See Edit Geometry Rollout (Edit Poly Modifier)
diagonal to change its position. To exit Turn mode, (page 1–673) for detailed descriptions of these
right-click in the viewport or click the Turn button controls.
again.
Paint Deformation rollout
Each diagonal has only two available positions
Paint Deformation lets you stroke elevated and
at any given time, so clicking a diagonal twice in
indented areas directly onto object surfaces. For
succession simply returns it to its original position.
more information, see Paint Deformation Rollout
But changing the position of a nearby diagonal
(page 1–1064).
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 Poly (Border) 663

Selection rollout
Edit Poly (Border) See Selection rollout (page 1–646) for information
Select an Edit Poly object. > Modify panel > Selection
on the Selection rollout settings.
rollout > Border

Select an Edit Poly object. > Modify panel > Modifier

Soft Selection rollout
Stack display > Expand Edit Poly. > Border
Soft Selection controls apply a smooth falloff
Select an Edit Poly object. > Quad menu > Tools 1 between selected sub-objects and unselected
quadrant > Border ones. When Use Soft Selection is on, unselected
sub-objects near your selection are given partial
A border is a linear section of a mesh that can selection values. These values are shown in the
generally be described as the edge of a hole. This is viewports by means of a color gradient on the
usually a sequence of edges with polygons on only vertices, and optionally on the faces. They affect
one side. For example, a box doesn’t have a border, most types of sub-object deformations, such as the
but the teapot object has several: on the lid, on the Move, Rotate, and Scale functions, as well as any
body, on the spout, and two on the handle. If you deformation modifiers (such as Bend) applied to
create a cylinder, and then delete an end polygon, the object. This provides a magnet-like effect with
the adjacent row of edges forms a border. a sphere of influence around the selection.
At the Edit Poly Border sub-object level, you can For more information, see Soft Selection Rollout
select single and multiple borders and transform (page 1–963).
them using standard methods. This topic covers
the Edit Geometry and Edit Borders rollouts; for Edit Borders rollout
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.
This rollout includes commands specific to editing
2. Click Edit Borders rollout > Cap.
borders.
Interface Note: To delete a border, select it and press the
Delete key. This deletes the border and all
Edit Poly Mode rollout
attached polygons.
See Edit Poly Mode rollout (page 1–645) for
Extrude—Lets you extrude a border manually via
information on the Edit Poly Mode rollout
direct manipulation in the viewport. Click this
settings.
button, and then drag vertically on any border to
extrude it.
664 Chapter 8: Modifiers

Extruding a border moves it along a normal and Note: In previous versions of the software, this
creates new polygons that form the sides of the command was called Divide.
extrusion, connecting the border to the object.
Chamfer—Click this button and then drag a border
The extrusion can form a varying number of
in the active object. The border need not be
additional sides, depending on the geometry
selected first.
near the border. As you increase the length of the
extrusion, the base increases in size, to the extent If you chamfer multiple selected borders, all of
of the vertices adjacent to the extruded border’s them are chamfered identically. If you drag an
endpoints. unselected border, any selected borders are first
unselected.
Important aspects of border extrusion are:
• The mouse cursor changes to an Extrude cursor A border chamfer essentially “frames” the border
when over a selected border. edges, creating a new set of edges paralleling the
border edges, plus new diagonal edges at any
• Drag vertically to specify the extent of the corners. These new edges are exactly <Chamfer
extrusion, and horizontally to set the size of the Amount> distance from the original edges. New
base. chamfer faces are created with the material ID
• With multiple borders selected, dragging on of a neighboring face (picked at random) and a
any one extrudes all selected borders equally. smoothing group which is an intersection of all
• You can drag other borders in turn to extrude neighboring smoothing groups.
them while the Extrude button is active. Click Alternatively, you can create open space
Extrude again or right-click in the active around the chamfered borders, essentially cutting
viewport to end the operation. away at the open edges; for details, see Chamfer
Edges dialog (page 1–1070).
Extrude Settings—Opens the Extrude Edges
dialog (page 1–1073), which lets you perform Chamfer Settings—Opens the Chamfer Edges
extrusion via interactive manipulation. dialog (page 1–1070), which lets you chamfer
If you click this button after performing a manual borders via interactive manipulation and toggle
extrusion, the same extrusion is performed on the the Open option.
current selection as a preview and the dialog opens If you click this button after performing a manual
with Extrusion Height set to the amount of the last chamfer, the same chamfer is performed on the
manual extrusion. current selection as a preview and the dialog opens
Insert Vertex—Lets you subdivide border edges with Chamfer Amount set to the amount of the
manually. last manual chamfer.

After turning on Insert Vertex, click a border edge Cap—Caps an entire border loop with a single
to add a vertex at that location. You can continue polygon.
subdividing border edges as long as the command Select the border, and then click Cap.
is active.
Bridge—Connects two borders on an object with a
To stop inserting vertices, right-click in the polygon “bridge.” There are two ways to use Bridge
viewport, or click Insert Vertex again to turn it off. in Direct Manipulation mode (that is, without
opening the Bridge Settings dialog):
 Edit Poly (Border) 665

• Select an even number of borders on the object, resolution around the new edge, increase the
and then click Bridge. This immediately creates Connect Edge Segments setting.
the bridge between each pair of selected borders
Create Shape—After selecting one or more
using the current Bridge settings, and then
borders, click this button to create a spline shape or
deactivates the Bridge button.
shapes from the selected edges, using the current
• If no qualifying selection exists (that is, two settings from the Create Shape Settings dialog (see
or more selected borders), clicking Bridge following).
activates the button and places you in Bridge
mode. First click a border edge and then move The new shape’s pivot is placed at the same
the mouse; a rubber-band line connects the location as that of the Edit Poly object.
mouse cursor to the clicked edge. Click a
Create Shape Settings—Lets you preview the
second edge on a different border to bridge the
Create Shape function, name the shape, and set
two. This creates the bridge immediately using
it to Smooth or Linear.
the current Bridge settings; the Bridge button
remains active for connecting more pairs of Edit Tri[angulation]—Lets you modify how selected
borders. To exit Bridge mode, right-click the polygons are subdivided into triangles by drawing
active viewport or click the Bridge button. internal edges.
Note: Bridge always creates a straight-line To manually edit triangulation, turn on this
connection between border pairs. To make button. The hidden edges appear. Click a polygon
the bridge connection follow a contour, apply vertex. A rubber-band line appears, attached to
modeling tools as appropriate after creating the the cursor. Click a non-adjacent vertex to create a
bridge. For example, bridge two borders, and then new triangulation for the polygon.
use Bend (page 1–560). Tip: For easier editing of triangulation, use the
Turn command instead (see following).
Bridge Settings—Opens the Bridge dialog (page
1–1067), which lets you connect pairs of borders Turn—Lets you modify how polygons are
via interactive manipulation. subdivided into triangles by clicking diagonals.
When you activate Turn, the diagonals (page
Connect—Creates new edges between pairs of
3–928) become visible as dashed lines in wireframe
selected border edges. The edges are connected
and edged-faces views. In Turn mode, click a
from their midpoints.
diagonal to change its position. To exit Turn mode,
You can connect only edges on the same polygon. right-click in the viewport or click the Turn button
Connect will not let the new edges cross. Thus, for again.
example, if you select all four edges of a four-sided Each diagonal has only two available positions
polygon and then click Connect, only neighboring at any given time, so clicking a diagonal twice in
edges are connected, resulting in a diamond succession simply returns it to its original position.
pattern. But changing the position of a nearby diagonal
can make a different alternate position available
Connect Settings—Lets you preview the
to a diagonal.
Connect and specify the number of edge segments
created by the operation. To increase the mesh
666 Chapter 8: Modifiers

For more information on how to use Turn with

the enhanced Cut tool, see this procedure (page Edit Poly (Polygon/Element)
1–1035).

Edit Geometry rollout

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

A polygon 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
user interface give you a choice of editing methods.
See Edit Poly Workflow (page 1–643) for more
information.

Interface
See Edit Geometry Rollout (Edit Poly Modifier)
Edit Poly Mode rollout
(page 1–673) for detailed descriptions of these
controls. See Edit Poly Mode rollout (page 1–645) for
information on the Edit Poly Mode rollout
Paint Deformation rollout settings.
Paint Deformation lets you stroke elevated and
Selection rollout
indented areas directly onto object surfaces. For
more information, see Paint Deformation Rollout See Selection rollout (page 1–646) for information
(page 1–1064). on the Selection rollout settings.
 Edit Poly (Polygon/Element) 667

Soft Selection rollout available at both levels are Insert Vertex, Flip, Edit
Triangulation, Retriangulate, and Turn.
Soft Selection controls apply a smooth falloff
between selected sub-objects and unselected Note: To delete polygons or elements, select them
ones. When Use Soft Selection is on, unselected and press the Delete key. If Delete Isolated
sub-objects near your selection are given partial Vertices is off, this can result in isolated vertices;
selection values. These values are shown in the that is, vertices with no associated face geometry.
viewports by means of a color gradient on the
Insert Vertex—Lets you subdivide polygons
vertices, and optionally on the faces. They affect
manually. Applies to polygons, even if at the
most types of sub-object deformations, such as the
element sub-object level.
Move, Rotate, and Scale functions, as well as any
deformation modifiers (such as Bend) applied to After turning on Insert Vertex, click a polygon to
the object. This provides a magnet-like effect with add a vertex at that location. You can continue
a sphere of influence around the selection. subdividing polygons as long as the command is
active.
For more information, see Soft Selection Rollout
(page 1–963). To stop inserting vertices, right-click in the
viewport, or click Insert Vertex again to turn it off.
Edit Polygons/Elements rollout 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.
Extruding polygons moves them along a normal
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
At the Element sub-object level, this rollout
Extrude again or right-click in the active
includes commands common to both polygons
viewport to end the operation.
and elements, plus, at the Polygon level, some
that are unique to polygons. The commands
668 Chapter 8: Modifiers

Click the Outline Settings button to open the

Outline Selected Faces dialog, which lets you
perform outlining with a numeric setting.

Chamfer box showing extruded polygon

Extrude Settings—Opens the Extrude Faces

dialog (page 1–1072), which lets you perform
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.

Extruded polygons (top), outline expanded (middle), outline

reduced (bottom)
Outline is often used after an extrusion or bevel to Note that the size of inner polygons doesn’t change.
adjust the size of the extruded faces. It doesn’t scale
Bevel—Lets you perform manual beveling via
the polygons; only changes the size of the outer
direct manipulation in the viewport. Click this
edge. For example, in the following illustration,
button, and then drag vertically on any polygon
note that the sizes of the inner polygons remain
to extrude it. Release the mouse button and then
constant.
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.

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
Polygon beveled outward (left) and inward (right) Inset Amount set to the amount of the last manual
inset.
Bevel Settings—Opens the Bevel Polygons dialog
(page 1–1066), which lets you perform beveling Bridge—Connects two polygons or polygon
via interactive manipulation. groups on an object with a polygon “bridge.” There
are two ways to use Bridge in Direct Manipulation
If you click this button after performing a bevel, mode (that is, without opening the Bridge Settings
the same bevel is performed on the current dialog):
selection as a preview and the dialog opens with
the same settings used for the previous bevel. • Make two separate polygon selections on the
object, and then click Bridge. This creates the
Inset—Performs a bevel with no height; that is, bridge immediately using the current Bridge
within the plane of the polygon selection. Click settings, and then deactivates the Bridge button.
this button, and then drag vertically on any
• If no qualifying selection exists (that is, two
polygon to inset it.
or more discrete polygon selections), clicking
• The mouse cursor changes to an Inset cursor Bridge activates the button and places you in
when over a selected polygon. Bridge mode. First click a polygon and move
• With multiple polygons selected, dragging on the mouse; a rubber-band line connects the
any one insets all selected polygons equally. mouse cursor to the clicked polygon. Click a
second polygon to bridge the two. This creates
• You can drag other polygons in turn to inset
the bridge immediately using the current Bridge
them while the Inset button is active. Click
settings; the Bridge button remains active for
Inset again or right-click to end the operation.
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 Hinge Settings—Opens the Hinge From Edge
connection between polygon pairs. To make dialog (page 1–1073), which lets you hinge
the bridge connection follow a contour, apply polygons via interactive manipulation.
modeling tools as appropriate after creating the
bridge. For example, bridge two polygons, and If you click this button after performing a manual
then use Bend (page 1–560). hinge, the dialog opens with Angle set to the extent
of the last manual hinge.
Bridge Settings—Opens the Bridge dialog (page
Extrude Along Spline—Extrudes the current
1–1067), which lets you connect pairs of polygon
selection along a spline.
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.
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
The hinge edge needn’t be part of the selection. It can be any group.
edge of the mesh. Also, the selection needn’t be contiguous.
Extrude Along Spline Settings—Opens the
Hinging polygons rotates them around an edge Extrude Polygons Along Spline dialog (page
and creates new polygons that form the sides of the 1–1071), which lets you extrude along splines via
hinge, connecting the selection to the object. It’s interactive manipulation.
essentially an extrusion with rotation, with one
exception: If the hinge edge belongs to a selected Edit Triangulation—Lets you modify how polygons
polygon, that side is not extruded. The manual are subdivided into triangles by drawing internal
version of Hinge From Edge works only with an edges.
existing polygon selection.
Tip: Turn on Ignore Backfacing to avoid
inadvertently hinging around a backfacing edge.
 Edit Poly (Polygon/Element) 671

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.

In Edit Triangulation mode, you can see the current Edit Geometry rollout
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
perform optimal triangulation on the polygon or
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).
See Edit Geometry Rollout (Edit Poly Modifier)
Turn—Lets you modify how polygons are (page 1–673) for detailed descriptions of these
subdivided into triangles by clicking diagonals. controls.
When you activate Turn, the diagonals (page
672 Chapter 8: Modifiers

Polygon Properties rollout Patch, Edit Spline, 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. 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), and to
These controls let you work with material IDs and select polygons by smoothing group.
smoothing groups.
To assign polygons to one or more smoothing
Material group groups, select the polygons, and then click the
number(s) of the smoothing group(s) to assign
Set ID—Lets you assign a particular material ID
them to.
(page 3–969) number to selected sub-objects for
use with multi/sub-object materials (page 2–1594) Select By SG (Smoothing Group)—Displays a dialog
and other applications. Use the spinner or enter that shows the current smoothing groups. Select
the number from the keyboard. The total number a group by clicking the corresponding numbered
of available IDs is 65,535. button and clicking OK. If Clear Selection is
on, any previously selected polygons are first
Select ID—Selects sub-objects corresponding to
unselected. If Clear Selection is off, the new
the Material ID specified in the adjacent ID field.
selection is added to any previous selection set.
Type or use the spinner to specify an ID, then click
the Select ID button. Clear All—Removes any smoothing group
assignments from selected polygons.
[Select By Name]—This drop-down list shows
the names of sub-materials if an object has a Auto Smooth—Sets smoothing groups based on
multi/sub-object material assigned to it. Click the the angle between polygons. Any two adjacent
drop arrow and choose a sub-material from the list. polygons are put in the same smoothing group if
This selects any sub-objects assigned that material. the angle between their normals is less than the
If an object does not have a multi/sub-object threshold angle, set by the spinner to the right of
material assigned, the name list is unavailable. this button.
Likewise, if multiple selected objects have an Edit
 Edit Geometry Rollout (Edit Poly Modifier) 673

[threshold]—This numeric setting (to the right of Interface

Auto Smooth) lets you specify the maximum angle
between the normals of adjacent polygons that
determines whether those polygons will be put in
the same smoothing group.

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.

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. perform minor editing tasks without changing
For example, it does not repeat transforms. To the mapping.
determine which command will be repeated when Tip: For best results with Preserve UVs at the
you click the button, check the button’s tooltip. If vertex level, use it for limited vertex editing. For
no tooltip appears, nothing will happen when it is example, you’ll usually have no trouble moving
clicked. a vertex within edge or face constraints. Also,
Constraints—Lets you use existing geometry to it’s better to perform one big move than several
constrain sub-object transformation. Use the smaller moves, as multiple small moves can begin
drop-down list to choose the constraint type: to distort the mapping. If, however, you need
to perform extensive geometry editing while
• None: No constraints.
preserving mapping, use the Channel Info utility
• Edge: Constrains vertex transformations to (page 2–1738) instead.
edge boundaries.
• Face: Constrains vertex transformations to face
surfaces.

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), which lets you
specify which vertex color channels and/or texture
When set to Edge, moving a vertex will slide it along one channels (map channels) to preserve. By default,
of the existing edges, depending on the direction of the all vertex color channels are off (not preserved),
transformation. If set to Face, the vertex moves only on the and all texture channels are on (preserved).
polygon’s surface.
Create—Lets you create new geometry. How this
Note: You can set constraints at the Object level, but button behaves depends on which level is active.
their use pertains primarily to sub-object levels. • Object, Polygon, and Element levels—Lets you
The Constraints setting persists at all sub-object create polygons from isolated vertices and
levels. border vertices. All vertices in the object are
Preserve UVs—When on, you can edit sub-objects highlighted. Click three or more existing
without affecting the object’s UV mapping. You vertices in succession to define the shape of the
can choose any of an object’s mapping channels new polygon. (The cursor changes to a cross
to preserve or not; see Preserve UVs Settings, when it is over a vertex that can legally be part
following. Default=off. of the polygon.) To finish polygon creation,
double-click the last vertex. You can also finish
Without Preserve UVs, there is always a direct creating the polygon by clicking any vertex
correspondence between an object’s geometry of the new polygon a second time. You can
and its UV mapping. For example, if you map an also create new polygons at the Polygon and
object and then move vertices, the texture moves Element sub-object levels.
along with the sub-objects, whether you want it
to or not. If you turn on Preserve UVs, you can You can add vertices in this mode by
Shift +clicking in an empty space; these
 Edit Geometry Rollout (Edit Poly Modifier) 675

vertices are incorporated into the polygon When you attach an object, the materials of the
you’re creating. two objects are combined in the following way:
You can start creating polygons in any viewport, • If the object being attached does not have a
but all subsequent clicks must take place in the material assigned, it inherits the material of the
same viewport. object it is being attached to.
Tip: For best results, click vertices in • Likewise, if the object you’re attaching to
counterclockwise (preferred) or clockwise doesn’t have a material, it inherits the material
order. If you use clockwise order, the new of the object being attached.
polygon will face away from you. • If both objects have materials, the resulting
• Vertex level—Lets you add vertices to a single new material is a multi/sub-object material
selected poly object. After selecting the object (page 2–1594) that includes the input materials.
and clicking Create, click anywhere in space A dialog appears offering three methods of
to add free-floating (isolated) vertices to the combining the objects’ materials and material
object. The new vertices are placed on the active IDs. For more information, see Attach Options
construction plane unless object snapping is Dialog (page 1–1018).
on. For example, with face snapping on, you Attach remains active in all sub-object levels,
can create vertices on object faces. but always applies to objects.
• Edge and Border levels—Creates an edge from
vertex to vertex. Click Create, click a vertex, Attach List—Lets you attach other objects in
and then move the mouse. A rubber-band line the scene to the selected mesh. Click to display a
extends from the vertex to the mouse cursor. Select Objects dialog (page 1–78) where you choose
Click a second, non-adjacent vertex on the multiple objects to attach.
same polygon to connect them with an edge.
Repeat, or, to exit, right-click in the viewport
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.
Collapse (Vertex, Edge, Border, and Polygon levels
only)—Collapses groups of contiguous selected
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
Shaded view of model (upper left); wireframe view of model
the object you want to attach to the currently (upper right); model with objects attached (lower left); and
selected poly object. subsequent multi/sub-object material (lower right)
676 Chapter 8: Modifiers

Detach (sub-object levels only)—Detaches the You can continue slicing the selection while the
selected sub–objects and the polygons attached to command is active.
them as a separate object or element. The Detach
To stop slicing, right-click in the viewport, or click
As Clone option copies the sub-objects rather than
QuickSlice again to turn it off.
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

These knife-like tools let you subdivide the poly
mesh along a plane (Slice) or in a specific area
(Cut). Also see Full Interactivity.
Slice Plane (sub-object levels only)—Creates a
gizmo for a slice plane that you can position and
rotate to specify where to slice. Also enables the With Quickslice on, you can draw a line across your mesh in
Slice and Reset Plane buttons. any viewport, including Perspective and Camera views. The
mesh is sliced interactively as you move the line endpoint.
If snapping is turned off, you see a preview of the
slice as you transform the slice plane. To perform Note: At the Object level, QuickSlice affects the
the slice, click the Slice button. entire object. To slice only specific polygons, use
Split—When on, the QuickSlice and Cut QuickSlice on a polygon selection at the Poly
operations create double sets of vertices at the sub-object level.
points where the edges are divided. This lets you Note: At the Polygon or Element sub-object level,
easily delete the new polygons to create holes, or QuickSlice affects only selected polygons. To
animate the new polygons as separate elements. slice the entire object, use QuickSlice at any other
sub-object level, or at the object level.
Slice (sub-object levels only)—Performs the slice
operation at the location of the slice plane. Cut—Lets you create edges from one polygon to
Available only when Slice Plane is on. This tool another or within polygons. Click at the start
slices the poly just like the “Operate On: Polygons” point, move the mouse and click again, and
mode of the Slice modifier (page 1–825). continue moving and clicking to create new
connected edges. Right-click once to exit the
Reset Plane (sub-object levels only)—Returns the
current cut, whereupon you can start a new one,
Slice plane to its default position and orientation.
or right-click again to exit Cut mode.
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.
 Edit Geometry Rollout (Edit Poly Modifier) 677

selection of polygons. Two tessellation methods

are available: Edge and Face.

Tessellate Settings—Opens the Tessellate

Selection dialog (page 1–1077), which lets you
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
Cutting to a vertex (top); cutting an edge (center); cutting a aligns the plane with the corresponding plane
polygon (bottom). Cut is available at the object level and all
sub-object levels.
in the object’s local coordinate system. The
plane used is the one to which the button axis is
Note: You can use Cut with Turn for enhanced perpendicular; so, for example, clicking the X
productivity. For more information, see this button aligns the object with the local YZ axis.
procedure (page 1–1035). At the Object level, makes all vertices in the object
MSmooth—Smoothes the object using the current planar.
settings. This command uses subdivision View Align—Aligns all vertices in the object to the
functionality similar to that of the MeshSmooth plane of the active viewport. If a sub-object mode
modifier (page 1–722) with NURMS Subdivision, is active, this function affects only selected vertices
but unlike NURMS Subdivision, it applies the or those belonging to selected sub-objects. In the
smoothing instantly to the selected area of the case of orthographic viewports, using View Align
control mesh. has the same effect as aligning to the construction
grid when the home grid is active. When aligning
MSmooth Settings—Opens the MeshSmooth
to a perspective viewport (including camera and
Selection dialog (page 1–1074), which lets you
light views), the vertices are reoriented to be
specify how smoothing is applied.
aligned to a plane that is parallel to the camera’s
Tessellate—Subdivides all polygons in the object viewing plane. This plane is perpendicular to
based on the Tessellation settings (page 1–1077). the view direction that is closest to the vertices’
Tessellation is useful for increasing local mesh average position.
density while modeling. You can subdivide any
678 Chapter 8: Modifiers

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
Above: Selected polygons in Perspective view target object’s geometry differs from that of the
Below: Same polygons aligned to Front view source object, the pasted selection will probably
Grid Align—Aligns all vertices in the selected object
comprise a different set of sub-objects.
to the plane of the current view. If a sub-object For more information, see Named Selection Sets
mode is active, function aligns only selected (page 1–67).
sub-objects. This function aligns the selected
Copy—Opens a dialog that lets you specify a
vertices to the current construction plane. The
named selection set to place into the copy buffer.
current plane is specified by the active viewport
in the case of the home grid. When using a grid Paste—Pastes the named selection from the copy
object, the current plane is the active grid object. buffer.
Relax—Applies the Relax function to the current
selection, using the Relax dialog settings (see
following). Relax normalizes mesh spacing by Delete Isolated Vertices (Edge, Border, Polygon, and
moving each vertex toward the average location of Element levels only)—When on, deletes isolated
its neighbors. It works the same way as the Relax vertices when you delete a selection of contiguous
modifier (page 1–779). sub-objects. When off, deleting sub-objects leaves
all vertices intact. Default=on.
 Align Geometry Dialog 679

By default, both Detach To Element and Detach As

Align Geometry Dialog Clone are off. Thus, when you detach a sub-object
selection, it’s removed from the original object
Select an Edit Poly object. > Modify panel > object level
or any sub-object level > Animate mode > Edit Geometry and becomes a new object. The dialog options let
rollout > Click View Align or Grid Align > Edit Poly Mode you keep the detached item as an element of the
rollout > Settings button
original object and/or detach it as a copy of the
This Edit Poly-specific dialog lets you change the original selection.
alignment method after using the View Align or Note: When you detach a vertex or an edge, any
Grid Align function. Available only in Animate adjacent polygons are detached as well. Also, a
mode after using the View Align or Grid Align detached item remains in its original location.
command. Note: Any Detach dialog settings you change are
saved as program defaults automatically.
Interface
Interface

Align to—Lets you choose what to align the

selection with: Detach as—Lets you assign a name to the new
• View—Aligns the selection with the view plane. object. By default, the name is "Object" followed
by a sequence number.
• Construction Plane—Aligns the selection with
the active grid. This option is unavailable when Detach To
Element is on.
Update—Click this button to realign the selection
with the designated entity after changing it. Detach To Element —The detached sub-object
Typically you’d use this with the View option after selection remains as part of the original object,
rotating the view. but becomes a new element. It can then be
manipulated independently at the Element
sub-object level. Default=off.
Detach Dialog Detach As Clone—Detaches the selection as a copy
Select an Edit Poly object. > Modify panel > any of the original selection; the latter remains intact.
sub-object level > Edit Geometry rollout > Detach Default=off.
Settings button

This dialog lets you specify how a sub-object

selection is detached from an Edit Poly object.
680 Chapter 8: Modifiers

• You want to edit a parametric shape as a spline,

Edit Spline Modifier but want to retain the ability to modify its
creation parameters after the edit.
Create or select a spline > Modify panel > Object–Space
Modifiers > Edit Spline • You want to store your edits temporarily within
Create or select a spline > Modifiers menu > Patch/Spline Edit Spline until you are satisfied with the
Editing > Edit Spline results, before committing them permanently
to an editable spline object.

The Edit Spline modifier provides explicit editing • You need to make edits across several shapes
tools for different levels of the selected shape: at once, but do not want to convert them to a
vertex, segment, or spline. The Edit Spline single editable spline object.
modifier matches all the capabilities of the base • You have a modifier in the stack that must stay
Editable Spline object, with the exceptions noted parametric, and the resulting spline must be
below. See Editable Spline (page 1–289) for a edited after the modifier is applied.
complete parameter reference.
The Edit Spline modifier provides explicit editing
tools for different levels of the selected shape:
Extrude Modifier
vertex, segment, or spline. The Edit Spline Select a shape. > Modify panel > Modifier List >
modifier matches all the capabilities of the base Object-Space Modifiers > Extrude
Editable Spline object, with the exceptions noted Select a shape. > Modifiers menu > Mesh Editing >
below. For a complete parameter reference, see Extrude
Editable Spline (page 1–289).
The Extrude modifier adds depth to a shape and
The Rendering and Interpolation rollouts found in makes it a parametric object.
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 Above: Spline before extrusion
also establishes a topological dependency that can
Below left: Extruded spline with Cap End off
be adversely effected if earlier operations change
Below right: Extruded spline with Cap End on
the topology being sent to it.
There are, however, situations where Edit Spline
is the preferred method.
 Extrude Modifier 681

Interface 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
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 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,
placing a single 1 x 1 tile on each cap.
Amount—Sets the depth of the extrusion.
Real-World Map Size—Controls the scaling method
Segments—Specifies the number of segments that used for texture mapped materials that are applied
will be created in the extruded object. to the object. The scaling values are controlled
by the Use Real-World Scale settings found in
Capping group the applied material’s Coordinates rollout (page
Cap Start—Generates a flat surface over the start 2–1625). Default=on.
of the extruded object. Generate Material IDs—Assigns different material
Cap End—Generates a flat surface over the end of IDs to the sides and the caps of the extruded
the extruded object. object. Specifically, the sides receive ID 3, and the
caps receive IDs 1 and 2.
Morph—Arranges cap faces in a predictable,
repeatable pattern, which is necessary for creating This check box is turned on as a default when
Morph targets (page 1–314). Morph capping you create an extruded object, but if you load an
can generate long, thin faces that don’t render extruded object from a MAX file, the check box
or deform as well as grid capping. Use morph is turned off, maintaining the same material ID
capping primarily if you’re extruding multiple assignment for that object as it had in R1.x.
morph targets. Use Shape IDs—Uses the material ID values
Grid—Arranges cap faces in a square grid trimmed assigned to segments in the spline (page 1–266)
at the shape boundaries. This method produces a you extruded, or curve sub-objects in the NURBS
surface of evenly sized faces that can be deformed (page 1–1078) curve you extruded.
easily by other modifiers. When you choose the
682 Chapter 8: Modifiers

Smooth—Applies smoothing to the extruded Interface

shape. Modifier Stack

Face Extrude Modifier

Modify panel > Select one or more faces of a mesh object.
> Modifier List > Face Extrude

Modify panel > Select one or more faces of a mesh object.

> Modifiers menu > Mesh Editing > Face Extrude

The Face Extrude modifier extrudes faces along

their normals, creating new faces along the sides
Extrude Center—At this sub-object level, you can
of the extrusion that connect the extruded faces to
select and move (or animate) the center point.
their object. As with most modifiers, this affects
This affects the geometry only if you turn on
the current face selection passed up the stack.
Extrude From Center.
There are various differences between the Face
Extrude modifier and the Face Extrude function in For more information on the stack display, see
an editable mesh (page 1–996), especially the fact Modifier Stack (page 3–760).
that all parameters in the Face Extrude modifier
are animatable. 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.
Faces extruded on the top and along the edge of the object
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 3x3 modifier, for example, provides a lattice with
the average surface normal of selected faces that three control points across each of its dimensions
share that vertex. So each vertex may move in a or nine on each side of the lattice.
slightly different direction. Put another way, each
There are also two FFD-related modifiers that
vertex is extruded in the direction of the surface
provide supersets of the original modifiers; see
normal at the point on the surface where that
FFD (Box/Cyl) modifier (page 1–685). With the
vertex lies.
FFD (Box/Cyl) modifiers, you can set any number
of points in the lattice, which makes them more
powerful than the basic FFD modifier.
FFD (Free-Form Deformation)
Modifiers Animating FFD Control Points and the
Modify panel > Make a selection. > Modifier List > Master Point Controller
Object-Space Modifiers > FFD 2x2x2, FFD 3x3x3, or FFD
4x4x4 Turn on the Auto Key button and move the lattice
points to animate an FFD and any underlying
Make a selection. > Modifiers menu > Free Form
Deformers > FFD 2x2x2, FFD 3x3x3, or FFD 4x4x4 geometry. When you animate FFD control points,
a Master Point Controller is created automatically.
FFD stands for Free-Form Deformation. Its effect In Track View the master controller allows you to
is used in computer animation for things like move multiple animated control points in time
dancing cars and gas tanks. You can use it as well by simply moving one master key (master keys
for modeling rounded shapes such as chairs and display green in Track View).
sculptures.
Procedure
The FFD modifier surrounds the selected
geometry with a lattice. By adjusting the control To use an FFD modifier:
points of the lattice, you deform the enclosed 1. Select the geometry. This can be the whole
geometry. 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.)
FFD deformation creates a bulge in the snake. The lattice volume defaults to the bounding box
of the selected geometry. However, you can
There are three FFD modifiers, each providing a
position, rotate, and/or scale the lattice box so that
different lattice resolution: 2x2, 3x3, and 4x4. The
it modifies only a subset of vertices. Choose the
684 Chapter 8: Modifiers

Lattice sub-object level, and then use any of the Points sub-object level, deforming the object as
transform tools to adjust the lattice volume relative you manipulate points.
to the geometry.
For more information on the stack display, see
Modifier Stack (page 3–760).
Interface
Modifier Stack FFD Parameters rollout

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
the volume makes it possible to apply a localized
deformation.
Set Volume—At this sub-object level, the Display group
deformation lattice control points turn green, Affects the display of the FFD in the viewports.
and you can select and manipulate control points
without affecting the modified object. This lets you Lattice—Draws lines connecting the control points
fit the lattice more precisely to irregular-shaped to make a grid.
objects, giving you finer control when deforming. Although the viewports can sometimes become
Set Volume essentially lets you set the initial state cluttered when these lines are drawn, it helps to
of the lattice. If you use it after you have animated visualize the lattice.
a control point or when the Auto Key button is
turned on, then it works the same as at the Control
 FFD (Box/Cylinder) Modifiers 685

Source Volume—Displays the control points and Note: Conform to Shape works best with regular
lattice in their unmodified state. shapes, such as primitives. It’s less effective if
the object has degenerate (long, narrow) faces or
When you’re in the Lattice selection level, this
sharp corners. All the controls are unavailable with
helps to position the source volume.
shapes, because there are no faces to intersect with.
Tip: To see which points lie in the source volume
(and therefore will be deformed), temporarily Inside Points—Only control points inside the object
deactivate the modifier by clicking to turn off the are affected by Conform to Shape.
light bulb icon in the modifier stack display. Outside Points—Only control points outside the
object are affected by Conform to Shape.
Deform group
Offset—The distance by which control points
Only in Volume—Deforms vertices that lie inside affected by Conform to Shape are offset from the
the source volume. Default=on. object surface.
All Vertices—Deforms all vertices, regardless of About—Displays a dialog with copyright and
whether they lie inside or outside the source licensing information.
volume.
The deformation outside the volume is a
continuous extrapolation of the deformation FFD (Box/Cylinder) Modifiers
inside the volume. The deformation can be
Modify panel > Make a selection. > Modifier List >
extreme for points far away from the source lattice. Object-Space Modifiers > FFD(box) or FFD(cyl)

Make a selection. > Modifiers menu > Free Form

Control Points group Deformers > FFD Box or FFD Cylinder
Reset—Returns all control points to their original
positions. FFD stands for Free-Form Deformation. Its effect
is used in computer animation for things like
Animate All—Assigns Point3 controllers to all
dancing cars and gas tanks. You can use it as well
control points so that they’re immediately visible for modeling rounded shapes such as chairs and
in Track View. sculptures.
By default the control points of an FFD lattice The FFD modifier surrounds the selected
don’t appear in Track View because they don’t have geometry with a lattice box. By adjusting the
controllers assigned to them. But when a control control points of the lattice, you deform the
point is animated, a controller is assigned to it and enclosed geometry. With the Auto Key button
becomes visible in Track View. With Animate All, turned on, you can animate the lattice points, and
you can add and delete keys and perform other thus the deformation of the geometry.
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.
686 Chapter 8: Modifiers

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
the volume makes it possible to apply a localized
deformation.
Set Volume—At this sub-object level, the
deformation lattice control points turn green,
and you can select and manipulate control points
FFD deformation creates a bulge in the snake.
without affecting the modified object. This lets you
With the FFD(box) and FFD(cyl) modifiers you fit the lattice more precisely to irregular-shaped
can create box-shaped and cylinder-shaped lattice objects, giving you finer control when deforming.
free-form deformation objects. Both are available
Set Volume essentially lets you set the initial state
as object modifiers and as space warps.
of the lattice. If a control point is already animated
The source lattice of an FFD modifier is fitted to or the Animate button is turned on, then Set
the geometry it’s assigned in the stack. This can be Volume works the same as at the Control Points
a whole object, or a sub-object selection of faces sub-object level, deforming the object as you
or vertices. manipulate points.
For more information on the stack display, see
Interface
Modifier Stack (page 3–760).
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.
 FFD (Box/Cylinder) Modifiers 687

FFD Parameters rollout 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: To see which points lie in the source volume
(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.
Dimensions group Only In Volume—Deforms vertices that lie inside
Adjusts the unit dimensions of the source volume the source volume. Vertices outside the source
and specifies the number of control points in the volume are not affected.
688 Chapter 8: Modifiers

All Vertices—Deforms all vertices regardless of Control Points group

whether they lie inside or outside the source
Reset—Returns all control points to their original
volume depending on the value in the Falloff
positions.
spinner. The deformation outside the volume is
a continuous extrapolation of the deformation Animate All—By default, the control points of an
inside the volume. Note that the deformation can FFD lattice don’t appear in Track View because
be extreme for points far away from the source they don’t have controllers assigned to them. But
lattice. when you animate a control point, a controller is
assigned and it becomes visible in Track View. You
Falloff—Determines the distance from the lattice
can also add and delete keys and perform other key
that the FFD effect will decrease to zero. Available
operations. Animate All assigns Point3 controllers
only when you choose All Vertices. When set to 0,
to all control points so that they’re immediately
it’s effectively turned off, and there is no falloff. All
visible in Track View.
vertices are affected regardless of how far they are
from the lattice. The units of the Falloff parameter Conform to Shape—Moves each FFD control point
are actually specified relative to the size of the to the intersection of the modified object with a
lattice. A falloff of 1 means that the effect will go to straight line extending between the object’s center
0 for points that are a lattice width/length/height to the control point’s original location, plus an
away from the lattice (depending on which side offset distance specified by the Offset spinner.
they are). Note: Conform to Shape works best with regular
Tension/Continuity—Adjusts the tension and shapes, such as primitives. It’s less effective if
continuity of the deformation splines. Although the object has degenerate (long, narrow) faces or
you can’t actually see the splines in an FFD, the sharp corners. All the controls are unavailable
lattice and control points represent the structure with shapes, because there are no faces for the
that controls the splines. As you adjust the control lattice to intersect with.
points, you alter the splines (which move through Inside Points—Only control points inside the object
each of the points). The splines, in turn, deform are affected by Conform to Shape.
the geometry of the object. By altering the tension
and continuity of the splines, you alter their effect Outside Points—Only control points outside the
on the object. object are affected by Conform to Shape.
Offset—The distance by which control points
Selection group affected by Conform to Shape are offset from the
Provides additional methods of selecting the object surface.
control points. You can toggle the state of any About—Displays a dialog with copyright and
combination of the three buttons to select in one, licensing information.
two, or three dimensions at once.
All X, All Y, All Z—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.
 FFD (Free-Form Deformation) Select Modifier 689

5. Apply a Linked XForm modifier, and then pick

FFD (Free-Form Deformation) one of the dummies as a control object.
Select Modifier 6. Apply another FFD Select modifier, and select a
Select an FFD space warp. > Modify panel > Modifier List different collection of control points.
> FFD Select
7. Apply another Linked XForm modifier and
Select an FFD space warp. > Modifiers menu > Selection assign the other dummy as a control object.
Modifiers > FFD Select
8. You can now move either of the dummy objects
The FFD Select modifier works on an FFD (Box) to both translate the linked control points in
Space Warp (page 2–91) or FFD (Cyl) Space Warp the FFD space warp, and to deform the target
(page 2–95) to change the selection of its control object.
points, and pass the selection up the stack.
Interface
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
the object to which the space warp is bound.
All X/All Y/ All Z—Select the control points
Using the FFD Select modifier, you can select a
corresponding to the specified axis plane.
sub-object pattern of control points, and then use
the subsequent modifier(s) to deform the selected First click a selection button, and then select FFD
points. control points in the viewports.
The FFD Select modifier is especially useful for
assigning Linked XForm modifiers (page 1–712) to
portions of an FFD space warp.
Fillet/Chamfer Modifier
Select a shape. > Modify panel > Modifier List >
Procedure Object-Space Modifiers > Fillet/Chamfer

Example: To use the Linked XForm modifier with an Select a shape. > Modifiers menu > Patch/Spline editing
FFD space warp: > Fillet/Chamfer

1. Create an object, an FFD space warp (such

The Fillet/Chamfer modifier lets you fillet or
as FFD (Box) (page 2–91)), and a couple of chamfer the corners between linear segments of
dummies (page 2–16). Shape objects (page 3–1011). Fillet rounds corners
2. Bind the FFD space warp to the object you want where segments meet, adding new control vertices.
to deform. Chamfer bevels corners, adding another vertex
3. Select the FFD space warp and apply an FFD and line segment. Note that this modifier works on
Select modifier. the splines at the sub-object level of the shape. It
does not work between two or more independent
4. In the Control Points sub-object mode, select
shape objects.
the control points you want to use to affect the
object. 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:
Fillet applied to above star with radius of 20 (left) and 40
• Select one or more valid corner vertices, and
(right)
then adjust either the Radius spinner to fillet
the selected corners, or the Distance spinner to
chamfer the corners.
• You can preset the Radius or Distance values,
and then select one or more valid corner
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.

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. Select one or more of the star’s vertices.
4. Adjust the parameters to achieve different
Star with selected vertices
effects.
 Flex Modifier 691

Interface
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

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
Flex causes the tongue to wag as the head rotates.
fillet the selection with the specified radius.
The Flex modifier simulates soft-body dynamics
Chamfer group using virtual springs between an object’s vertices.
Distance—Specifies the distance of the new vertices You can set the springs’ stiffness, or how actively
from the original corner vertex. they keep vertices from coming close to each other,
as well as stretch, or how far apart they can move.
Apply—Applies the value specified in the Distance
At a more advanced level, you can also control the
spinner to selected vertices. For example, before sway, or how much the spring angle can change.
selecting any vertices, set Distance to the desired At its simplest, this system causes vertices to lag
value, then select your vertices and click Apply to behind an object as it moves.
chamfer the corners.
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 Morpher modifier (page
692 Chapter 8: Modifiers

1–729). Use this to simulate soft body motion on a • On a NURBS surface, the Flex modifier
morphed or otherwise deform-animated object. influences control vertices (CVs) or points.
Tip: After applying the Flex modifier to an object • On a Spline (shape), the Flex modifier
or sub-object selection, choose the Flex modifier’s influences both control points and tangent
Center sub-object and use Move to change where handles.
the flex effect is centered. • On an FFD Space Warp, the Flex modifier
Tip: Using Flex’s advanced capabilities can influences control points.
significantly impede real-time playback. In such
cases, use the Point Cache modifier (page 1–758) to Effects
record the vertex animation to disk, and then play
You can apply space warps to the Flex modifier.
it back using the cache.
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
with Bones. If you are using the 3ds Max product,
use Flex above the Physique modifier to add
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

move the time slider to frame 50.
The antennae, with the Flex modifier applied, move around like 3. In the Top viewport, move the sphere to the
springs reacting to the motion of the character’s head. right side of the viewport.
4. Turn off Auto Key.
Surfaces Influenced by the Flex Modifier
• On a mesh surface, the Flex modifier influences 5. On the Modify panel, click Modifier
every vertex. List, and then choose Flex.
• On a patch surface, the Flex modifier influences The Flex modifier is applied to the sphere.
both control points and tangent handles.
Tangent handles are unlocked and moved 6. Click Play.
independently by the Flex modifier. The sphere flexes around the Transform gizmo
evenly.
 Flex Modifier 693

7. Open the Flex modifier hierarchy in the stack 8. On Forces and Deflectors rollout > Forces
display, and click Weights & Springs. group, click the Add button, and then select the
This enables modification of the Weights & Wind gizmo in the viewports.
Springs sub-object settings. 9. Click Play.
8. In the Paint Weights group, turn on Paint.
The sphere undulates in the wind. The
9. In the Left viewport, paint on the lower part Advanced Parameters rollout > Reference
of the sphere. Frame setting determines the frame where the
The vertex color changes as the vertex weight force(s) in the list take effect.
changes. Yellow vertices are more rigid, blue You can also use this example to see how the
vertices are less rigid. Chase Springs option works.
Note: You can change Flex vertex colors
10. Turn off Chase Springs and click Play
through Customize menu > Customize User again.
Interface > Colors > Geometry > Subselection
Hard/Medium/Soft. The sphere keeps moving in the direction the
wind is blowing without "bouncing" back.
10. Click Play. That’s because the chase springs, which attempt
The sphere wobbles on one side more than the to return the object to its original shape, are no
other. longer in effect.
If the Strength setting in the Paint Vertex group
To add custom springs:
is a positive value, you paint rigidity. If the
values are negative, you paint flexibility. 1. Apply Flex to an object and go to the Weights &
Springs sub-object level.
Paint with negative numbers for Strength to
reverse the effect. The Flex vertices appear at object vertices in
the viewports.
Example: To use wind as a force: 2. In the Advanced Springs rollout, turn on Show
1. In the Top viewport, create a sphere. Springs.
3. Click the Options button and in the Spring
2. On the Create panel, click Space Option dialog (page 1–700), choose how you
Warps, and then, if necessary, choose Forces want to add springs. Exit the Spring Option
from the drop-down list. dialog.
3. Click Wind, and then click and drag in the 4. Select vertices according to the options.
Front viewport to create a wind gizmo. For instance, if you want to add one Hold
4. On the Wind Parameters rollout, set Strength Shape spring between two vertices, select both
and Turbulence to 4. vertices.
5. Select the Sphere. 5. Click Add Spring.
The new spring or springs appear. Edge springs
6. Apply the Flex modifier. are blue and Hold Shape springs are red.
7. On the Modify panel > Parameters rollout, set
Samples to 1.
694 Chapter 8: Modifiers

Example: To create a swinging rope: 4. Apply a Mesh Select modifier to the plane.
1. Use Create menu > Space Warps to add a Drag 5. In the Top viewport, select all the vertices
and a Gravity space warp in the Top viewport. except for the leftmost column.
2. Use Create menu > Shapes > Line to create a 6. Apply the Flex modifier to the plane.
line with ten vertices spaced evenly in the top 7. Turn off Use Chase Springs and Use Weights.
viewport.
8. Set Samples to 3.
3. In the Modify panel, turn on Vertex sub-object
9. Click Create Simple Soft Body.
and select all the vertices except the first vertex.
10. In the Forces and Deflectors rollout, add the
4. Add the Flex modifier.
Gravity and Drag forces.
5. In the modifier stack view, open Weights and
11. In the Forces and Deflectors rollout, add the
Springs sub-objects.
spherical deflector.
6. Turn off Use Chase Springs.
12. Click Play.
7. Turn off Use Weights.
The plane drapes over the spherical deflector
8. Set the solver to Runge-Kutta4. like cloth.
9. Set Samples to 5.
10. In a viewport, select all the points on the spline. Interface
11. In the Advance Springs rollout, click the Option
Modifier Stack
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. Use Create menu > Space Warps to add a Drag
and a Gravity space warp in the Top viewport.
2. Use Create menu > Space Warps > Deflectors
> SDeflector to create a spherical deflector. These modifier sub-object levels are available in
Set Bounce to 0 and Friction to 100. Place the the stack display by opening the modifier hierarchy
deflector below Z=0. (click the + icon to the left of the modifier name).
3. Use Create menu > Geometry > Standard Center—Move the Transform gizmo in the
Primitives > Plane to create a 20 x 20 plane viewports to set the center of the effect.
in the Top viewport. It should be above the
spherical deflector.
 Flex Modifier 695

The flex effect increases as the distance between Strength—Sets the overall spring strength of the
the center and a vertex increases. chase springs.
Edge Vertices—Select vertices in the viewports to A value of 100 is rigid. Range=0 to 100; Default=3.
control the falloff and direction of the flex effect.
Sway—Sets the time for the object to come to rest
Selected vertices flex less than unselected vertices. for chase springs.
Weights & Springs—Use the Weights And Painting Lower values increase the time for the object to
rollout controls to select and deselect vertices come to rest. Range=0 to 100; Default=7.
for subsequent operations in the Weights And
Use Chase Springs—When on, enables chase
Painting rollout and the Advanced Springs rollout.
springs, which force the object to return to its
You can paint weights at any sub-object level, and original shape. When off, no chase springs are
add and remove springs at any sub-object level (or used, and the amount by which vertices move
even at the Flex modifier object level), but while depends only on their weights. Default=on.
a Weights & Springs selection is active, only the
Typically, for soft-body simulations when you
selected vertices are affected.
want objects to be influenced by forces and
deflectors, you would turn off Use Chase Springs.
Parameters rollout
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
want objects to be influenced by forces and
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
computation than Euler, but are more stable and
Flex—Sets the amount of flex and bend. Range=0 accurate. Default=Euler.
to 1000; Default=1. Tip: In most cases, you can use Euler successfully,
but if unexpected object deformations occur
This value represents the amount of the flexed
during a simulation, try using one of the more
animation that is used; the flexed animation
accurate solver types. Specifically, you might need
is determined by other factors such as motion
to use Midpoint or Runge-Kutta4 with higher
and vertex weighting. The default setting of 1
Stretch and Stiffness settings.
causes the flexed animation to occur unmodified;
higher settings cause unnaturally high amounts of Samples—The number of times per frame the Flex
stretching, and lower settings cause diminished simulation is run at equal time intervals. The
stretching. more samples you take, the more accurate and
696 Chapter 8: Modifiers

stable the simulation. When using the Midpoint or linked to the Advanced Springs rollout > Shape
Runge-Kutta4 solver, you might not need as many Str. and Shape Sway settings.
samples as with Euler. Default=5.
The differences between Stretch and Stiffness
Tip: If your simulation produces unexpected are subtle, and understanding them is further
results, such as object vertices moving to seemingly complicated by the fact the two affect each other.
random locations, try increasing the Samples In addition, how they work depends on object
setting. topology. For example, say you create a box, add a
Flex modifier, apply Create Simple Soft Body, and
Simple Soft Bodies rollout 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
Lets the software determine spring settings for
expected, increasing rigidity with higher Stiffness
the entire object automatically. Alternatively, you
settings.
can use the Advanced Springs (page 1–699) rollout
settings to specify spring settings between each In soft-body simulations, such as the above-cited
pair of vertices. example of dropping an object onto a surface,
particularly with dense meshes, you might get
Create Simple Soft Body—Generates spring settings
better results by applying the mesh to an FFD
for the object based on the Stretch and Stiffness
space warp that’s bound to the object. If the
settings.
object’s shape isn’t suitable for use with the space
Note: After you use Create Simple Soft Body, warp, you might have to instead use the Advanced
you can change the Stretch and Stiffness settings Springs (page 1–699) rollout settings to apply
without having to click the button again; the springs manually. In such cases, you should create
changes take effect immediately. shape springs between opposite vertices rather
Stretch—Determines how much object edges than adjacent ones.
can elongate. When Advanced Springs rollout > Cloth-like animation usually works best with a
Enable Advanced Springs is off, the Stretch setting high Stretch setting and a low Stiffness setting. For
is linked to the Advanced Springs rollout > Stretch soft bodies, you would usually use high settings
Str. and Stretch Sway settings. for both Stretch and Stiffness, depending on how
Stiffness—Determines how rigid the object
"squishy" you want the object to be.
is. When Advanced Springs rollout > Enable
Advanced Springs is off, the Stretch setting is
 Flex Modifier 697

Weights and Painting rollout Painting changes vertex weights relative to their
current values; it does not apply an absolute
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.
The vertex coloring shown at any Flex sub-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
When you first apply Flex to an object, the
Subselection Soft, used to display vertices with low
modifier automatically sets vertex weights based
Weight values.
on distance from the modifier’s center. The
higher a vertex weight, the less prone it is to being Strength—Sets the amount by which painting
affected by Flex effects. The modifier applies the changes weight values. Higher values change
highest weights to vertices closest to its center, weighting more quickly. At Strength=0, painting
and the lowest weights to vertices farthest from does not change weight values. Range=-1 to 1;
the center. So, for example, with a cylinder whose Default=0.1.
pivot point is at the base, you’ll get the greatest
Negative values allow you to remove weight.
amount of flexing at the top. But with a sphere, all
of whose vertices are equidistant from the pivot Tip: When painting, you can use the Alt key to
point (center), all vertices have, by default, equal invert the strength.
weight values. Radius—Sets the size of the brush in world units.
The Paint Weights controls let you use a spherical Range=.001 to 99999; Default=36.
brush with adjustable radius and falloff to change Note: If you position the mouse cursor over the
vertex weights in the viewports, thus controlling object before painting, you can see a wireframe
the amount of lag. The Vertex Weights controls let representation of the spherical "brush" that depicts
you apply absolute or relative weighting to single the Radius setting.
vertices or groups of vertices.
Feather—Sets the falloff in strength from the center

Paint Weights group of the brush to its edge. Default=.7. Range=.001

to 1.
Paint—At any sub-object level, click Paint,
and then drag the cursor over the mesh in the Vertices at the center of the brush are always
viewports to "paint" vertex weights using the changed by the full amount of the Strength setting,
current Strength and Feather settings. Vertex but the higher the Feather setting, the less vertices
colors changes to reflect the new vertex weight.
698 Chapter 8: Modifiers

closer to the edge change. At the lowest setting, all Forces and Deflectors rollout
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
Forces group
current weights of selected vertices, and then the
setting is reset to 0. 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 Reference Frame—Sets the first frame at which Flex
warp in the viewports to add the effect to Flex. The begins its simulation.
added space warp displays in the list window.
End Frame—When on, sets the last frame at which
Remove—Select a space warp in the list and click Flex is to take effect. After this frame, the object
Remove to remove the effect from Flex. snaps back to its shape as currently defined by the
stack. For instance, if you animate a Bend modifier
Deflectors group in the stack under Flex, then when Flex stops, the
Using deflectors with Flex lets object movement object’s shape is altered only by the Bend modifier
be impeded by surfaces. This lets you simulate settings as of that frame.
collisions with soft-body objects. For best results Affect All Points—Forces Flex to ignore any
with collisions, in the deflector settings use a low sub-object selection in the stack and apply itself
value for Bounce and a high value for Friction. to the entire object.
Supported deflectors are: Set Reference—Updates the viewports.
• POmniFlect (page 2–78) After moving the effect center, click Set Reference
• SOmniFlect (page 2–84) to update the viewports.
• UOmniFlect (page 2–85) Reset—Resets vertex weighting to the defaults.
• UDeflector (page 2–89)
Advanced Springs rollout
• SDeflector (page 2–87)
Use these settings when you need a more precise
• Deflector (page 2–90)
springs setup than is provided by the Simple
List Window—Displays deflectors applied to the Soft Body feature. Flex uses two types of spring:
Flex modifier. edge springs, which create springs only along
existing edges, and shape springs, which can exist
Add—Click this, and then select a deflector in the
between any two vertices in the object that are not
viewports to add the effect to Flex. The added
connected by an edge. In general, add edge springs
deflector displays in the list window.
along existing edges and shape springs between
Remove—Select a deflector in the list and click vertices that don’t share an edge.
Remove to remove the effect from Flex.
Note: Before using these controls, go to the Weights
& Springs sub-object level.
Advanced Parameters rollout
Note: Additional spring types are available using
MAXScript. See the MAXScript reference for
details.
700 Chapter 8: Modifiers

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.
Enable Advanced Springs—Makes the numeric
Note: This setting, which is applied after the Flex
controls available for editing, and disconnects the
simulation, can affect the object shape, and thus
Strength and Sway settings from the Simple Soft
cause collision detection to fail.
Bodies controls. Default=off.
Show Springs—Displays edge springs as blue lines
The four numeric Stretch and Sway settings in this
and shape springs as red lines. Springs are visible
rollout are available only when Enable Advanced
only when a Flex sub-object mode is active.
Springs is on.
You can change the spring colors using MAXScript.
Add Spring—Adds one or more springs to the
object based on the vertex selection at the Weights
& Springs sub-object level and the Spring Option
Spring Option Dialog
dialog (page 1–700) settings.
Note: You cannot undo this action. To delete Select a Mesh, Patch, or NURBS object. > Modify panel >
Modifier List > Animation Modifiers > Flex > Advanced
existing springs, select the endpoints and click Springs rollout > Options button
Remove Spring.
Use the Spring Option dialog to determine how
Options—Opens the Spring Option dialog (page
springs are added in the Flex modifier when you
1–700) for determining how springs are added
click the Advanced Springs rollout > Add Spring
with the Add Spring function.
button.
Remove Spring—Deletes any springs that have
both vertices selected at the Weights & Springs
sub-object level.
 HSDS Modifier 701

Interface
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
Single Edge Spring—Creates one edge spring
making the HSDS modifier faster.
between two selected vertices. If any number of
vertices is selected other than two, no springs are The modifier’s primary features are:
created. • Local refinement
Hold Edge Length Springs—Creates edge springs • Hierarchical modeling
along the edges of the objects between any vertex
• Adaptive tessellation
selection and neighboring vertices.
With local refinement, you subdivide part of a
Hold Edge Length Springs Apply Only To
polygon mesh and edit the mesh in the subdivided
Selected—Creates edge springs along the edges of
area. This is done indirectly by manipulating
the objects between all selected vertices.
sub-objects in a control grid. Use this feature when
Hold Shape Springs—Creates shape springs from you need to increase mesh resolution in specific
the selected vertex or vertices to all other vertices areas of a model rather than uniformly over the
within the Hold Shape Radius. entire object, as with the Tessellate modifier (page
1–865). An example of usage would be a human
Hold Shape Springs Apply Only To Selected—Creates
hand. Once you’ve modeled the basic shape, you
shape springs between all selected vertices within
might use the HSDS modifier to add bumps for
the Hold Shape Radius.
the knuckles.
Hold Shape Radius—The radius within which shape
The HSDS modifier supports multiple levels
springs are created. No shape springs are created
of detail, hence its hierarchical nature. The
between vertices farther apart than this distance.
Subdivision Stack lets you visually navigate
At the bottom of the dialog is an informational the levels of detail at any time while using the
display showing the object’s average edge length, modifier. Thus, you can edit the same part of a
maximum edge length, and minimum edge length. mesh at different mesh resolutions. If you work at
This information can help in determining an a level of detail lower than the highest available,
appropriate Hold Shape Radius setting.
702 Chapter 8: Modifiers

the higher-detail areas are still in effect, but you it’s applied. Thus, for best results, use it with
control them indirectly by means of the more relatively low-polygon objects. For example, if
widespread sub-objects at the lower level. you usually work with the Sphere object at the
default 32 segments, use a 16-segment sphere
Sub-object animation is supported only at
with HSDS.
the lowest level of detail: Base Level. This is
accomplished by animating the mesh below the If the object is made up of quads only, Force
HSDS modifier. To apply deformation animation Quads isn’t available because no conversion is
after HSDS modeling, first convert the object to an necessary.
editable mesh by right-clicking the modifier stack 3. Choose a sub-object mode at which to
and choosing Collapse All. subdivide.
The adaptive tessellation automatically subdivides The object is covered with a gold control
polygons as needed to maintain a smoothly curved grid (or, in Vertex sub-object mode, a white
surface when transforming mesh sub-objects. You grid with blue vertices), indicating that the
can use a preset or provide custom settings. entire mesh is available for subdivision and/or
Important: HSDS models are not passed up the modifier sub-object transformation at base level.
stack. The HSDS modifier takes a polygon mesh as input, 4. Select one or more sub-objects.
and outputs a triangle-based mesh. 5. Click the Subdivide button.
Also, The HSDS modifier does not handle changes The modifier again subdivides and smoothes
to the modified object’s topology, such as altering the selected sub-objects as well as all
a sphere’s Segments setting. Topology changes to surrounding polygons. The resultant
the input mesh results in the loss of all edits made sub-objects reside at a higher level of detail,
in the HSDS modifier. as indicated by the addition of a level in the
Subdivision Stack. Now the control grid
Procedure shows only polygons at the new level. With
To use the HSDS modifier: sub-objects other than Element, this typically
covers only part of the object’s surface.
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
 HSDS Modifier 703

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. This is particularly true in cases where you
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.
If you then move the vertex in the base level, 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
A control grid on a sphere at level 2. Subdivisions at lower grid conforms much more closely to the shape of
levels are visible as gold lines. the mesh object.

In wireframe views, you can still see polygons With vertices, you can control the degree to which
at lower levels of detail, but you can select only the mesh follows the control-grid vertex with the
sub-objects resulting from the subdivision, as settings on the Vertex Interpolation group.
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: If you transform a sub-object at a level
lower than the highest level in which the subject
exists, the mesh uses the resolution imparted by
the detail in the higher levels.
704 Chapter 8: Modifiers

beneath the cursor; region selection selects

multiple edges within the region.

Polygon—Turns on Polygon sub-object mode,

which lets you select a single face or polygon. 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.

Vertex—Turns on Vertex sub-object mode,

which lets you select a vertex beneath the cursor; • Visibility is controlled by the box icon to the
region selection selects vertices within the region. right of the level label. Turning on the visibility
at one level activates the visibility from that
Edge—Turns on Edge sub-object mode, level down to the base level. Visibility above
which lets you select a face or polygon edge that level will be turned off.
 HSDS Modifier 705

Subdivide—Performs subdivision and smoothing the edge should be offset from the surrounding
on the current selection, and adds a level to the surface by a significant amount.
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—

Left: Crease=1.0
Center: The eyebrow edges selected at LOD 0
Right: Crease=0.0
Determines how selected vertices are treated Crease—Specifies how much creasing is performed
during subdivision. Available only in Vertex on the selected edge or edges. At low settings, the
sub-object mode. edge is relatively smooth. At higher settings, the
For best results, use when moving control grid crease becomes increasingly visible. At 1.0, the
vertices at a level of detail lower than the highest in highest setting, the edge is not smoothed at all.
which the vertex resides. Default=0.0. Range=0.0 to 1.0.

Standard/Conic/Cusp/Corner—Determines how Advanced Options rollout

closely mesh vertices follow the movement of
Force Quads—When on, the modifier converts all
control grid vertices. Standard provides the
non-quadrilateral faces or polygons to four-sided
least amount of relative movement, while Cusp
polygons. When off, converts all polygons
and Corner provide the most. Corner also
to triangles. Available only when the object
keeps edges adjacent to subdivided vertices
contains any non-quadrilateral faces or polygons.
from being rounded off during subdivision.
Default=off.
Default=Standard.
Note: Corner is available only when the selected When you change the status of Force Quads, any
vertex or vertices aren’t surrounded by polygons, edits made in the HSDS modifier are lost. A
such as the vertices on the edge of a plane object. message appears warning you of this, and asking
you to confirm the change.
Edge Crease group—
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
Determines the extent to which selected edges are example of such an object; the uppermost and
treated as creases during subdivision. Available lowermost faces are three-sided.
only in Edge sub-object mode. Smooth Result—When turned on, all faces on
For best results, use with control grid edges at the object will be in smoothing group 1, but if
a level of detail lower than the highest in which Smooth Result is turned off, each face will inherit
the edge resides. Also, for creasing to be visible, smoothing groups from the input MNMesh.
706 Chapter 8: Modifiers

Material ID—Displays the material ID assigned to

the current selection. Available only in Polygon Adaptive Subdivision Dialog
and Element sub-object modes. If multiple
Select an object. > Modify panel > Modifier List >
sub-objects are selected and they don’t share an Object-Space Modifiers > HSDS Modifier > HSDS
ID, this field is blank. Parameters rollout > Adaptive Subdivision button

You can change the material ID assigned to Select an object. > Modifiers menu > Subdivision Surfaces
> HSDS Modifier > HSDS Parameters rollout > Adaptive
selected sub-objects at the current and higher Subdivision button
levels of detail by changing this setting.
Use adaptive subdivision for smoothing
Material IDs are used primarily with
subdivided and edited portions of the mesh
Multi/Sub-Object material (page 2–1594).
when you’re finished using the HSDS modifier
Hide—Hides the current polygon selection. (page 1–701). Alternatively, you can use adaptive
Available only at the Polygon and Element subdivision to remove a level of detail from the
sub-object levels. Use Unhide All to reveal hidden object.
polygons.
Tip: Use Hide to isolate part of an object you want Procedure
to work on. The Select Invert command on the To use adaptive subdivision:
Edit menu is useful in this case. Select the faces 1. Edit an object with the HSDS modifier.
you want to focus on, choose Edit > Select Invert,
2. Choose Add Detail or Remove Detail,
then click the Hide button.
depending which operation you want to
Unhide All—Reveals hidden polygons. perform.
Delete Polygon—Deletes the current polygon 3. Set the desired amount of detail with one of the
selection, creating a hole or holes in the surface. presets or by specifying custom Length and
Available only in Polygon sub-object mode. Angle settings.
Note: When the current level of detail does not 4. Click OK to perform the specified operation.
encompass the entire object surface, you cannot The detail addition or removal is performed,
delete polygons at the border of the control grid; and you’re returned to the HSDS modifier.
that is, polygons that do not share all edges with Depending on whether you removed or added
other polygons in the grid. detail, the highest level of detail is decremented
Adaptive Subdivision—Opens the Adaptive or incremented by 1.
Subdivision dialog (page 1–706). This option is
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).
 Lathe Modifier 707

Interface 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.
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 Object resulting from 360-degree lathe
presets, or choose Custom to set your own Length
and Angle values. Interface
Modifier Stack
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 Axis—At this sub-object level, you can transform
the length, the higher the amount of tessellation and animate the axis of revolution.
that is allowed.
For more information on the stack display, see
Angle—The maximum permissible angle between Modifier Stack (page 3–760).
two opposite edges emanating from a vertex.
The smaller the angle, the higher the amount of
tessellation that is allowed.
708 Chapter 8: Modifiers

Parameters rollout

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—Depending on the direction of
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—Determines how many interpolated
segments are created in the surface between
the start and endpoint. This parameter is also
animatable. Default=16
Note: You can create up to 10,000 segments using
the segments spinner. Try not to create geometry
that is more complex than you need. Often you can
Degrees—Determines the number of degrees that get satisfactory results by using smoothing groups
the object is spun around the axis of revolution (0 or smoothing modifiers, rather than increasing
to 360, default=360). You can set keyframes for segmentation.
Degrees to animate the circular growth of a lathed
object. The Lathe axis auto-sizes itself to the height Capping group
of the shape being lathed. 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, by the Use Real-World Scale settings found in
repeatable pattern necessary for creating morph the applied material’s Coordinates rollout (page
targets. Morph capping can generate long, thin 2–1625). Default=on.
faces that don’t render or deform as well as grid
Generate Material IDs—Assigns different material
capping. Use morph capping primarily if you are
IDs to the sides and the caps of the lathed object.
lathing multiple morph targets.
Specifically, the sides receive ID 3, and the caps
Grid—Arranges cap faces in a square grid trimmed (when Degrees is less than 360 and the lathed
at the shape boundaries. This method produces shape is closed) receive IDs 1 and 2. Default=on.
a surface of evenly sized faces that can easily be
Use Shape IDs—Uses the material ID values
deformed by other modifiers.
assigned to segments in the spline (page 1–266)
you lathed, or curve sub-objects in the NURBS
Direction group
(page 1–1078) curve you lathed. Use Shape IDs
Sets up the direction of the axis of revolution, is available only when Generate Material IDs is
relative to the pivot point of the object. turned on.
X/Y/Z—Set the direction of the axis of revolution Smooth—Applies smoothing to the lathed shape.
relative to the pivot point of the object.

Align group Lattice Modifier

Min/Center/Max—Align the axis of revolution to
Select an object or a shape. > Modify panel > Modifier
the minimum, center, or maximum extents of the List > Object-Space Modifiers > Lattice
shape.
Select an object or a shape. > Modifiers menu >
Parametric Deformers > Lattice
Output group
Patch—Produces an object that you can collapse to The Lattice modifier converts the segments or
a patch object (see Editing the Stack (page 1–504)). edges of a shape or object into cylindrical struts
with optional joint polyhedra at the vertices. Use
Mesh—Produces an object that you can collapse to this either to create renderable structural geometry
a mesh object (see Editing the Stack (page 1–504)). based on the mesh topology, or as an alternate
NURBS—Produces an object that can be collapsed method to achieve a rendered wireframe effect.
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
applied to the end caps, placing a 1 x 1 tile on each
cap.
Real-World Map Size—Controls the scaling method
used for texture mapped materials that are applied
to the object. The scaling values are controlled
710 Chapter 8: Modifiers

Interface

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.
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 them different materials. The struts default to ID
or segments in the object. When turned off, #1.
applies Lattice only to selected sub-objects passed
Ignore Hidden Edges—Generates struts only
up the stack. Default=on.
for visible edges. When turned off, generates
Note: When Apply To Entire Object is turned struts for all edges, including the invisible edges.
off, unselected sub-objects render normally. For Default=on.
example, if you convert a box to an editable mesh,
End Caps—Applies end caps to the struts.
select one polygon, and then apply Lattice with
Apply To Entire Object turned off, the face does Smooth—Applies smoothing to the struts.
not render, while the edges and vertices that form
that face are converted to struts and joints, and Joints group
the remaining faces render normally. However, if
Provides controls that affect the geometry of the
you select the four edges surrounding the polygon
joints.
and turn off Ignore Hidden Edges, the struts and
joints are added to the object while all faces render Geodesic Base Type—Specifies the type of
as normal. If you turn on Struts group > Ignore polyhedron used for the joints.
Hidden Edges, one of the polygon’s faces renders,
Tetra—Uses a tetrahedron.
while the other doesn’t.
Octa—Uses an octahedron.
Joints Only From Vertices—Displays only the joints
(polyhedra) generated by the vertices of the Icosa—Uses an icosahedron.
original mesh. Radius—Specifies the radius of the joints.
Struts Only From Edges—Displays only the struts
Segments—Specifies the number of segments in
(cylinders) generated by the segments of the the joints. The more segments, the more spherical
original mesh. the joints’ shape.
Both—Displays both struts and joints.
Material ID—Specifies the material ID to be used
for the joints. Defaults to ID #2.
Struts group
Smooth—Applies smoothing to the joints.
Provides controls that affect the geometry of the
struts.
Mapping Coordinates group
Radius—Specifies the radius of the struts.
Determines the type of mapping assigned to the
Segments—Specifies the number of segments object.
along the struts. Increase this value when you need None—Assigns no mapping.
to deform or distort the struts with subsequent
modifiers. Reuse Existing—Uses the mapping currently
assigned to the object. This might be the mapping
Sides—Specifies the number of sides around the
assigned by Generate Mapping Coords., in the
perimeter of the struts. creation parameters, or by a previously assigned
Material ID—Specifies the material ID to be used mapping modifier. When using this option,
for the struts. The struts and the joints can have each joint inherits the mapping of the vertex it
different material IDs, making it easy to assign surrounds.
712 Chapter 8: Modifiers

New—Uses mapping designed for the Lattice To apply a Linked XForm modifier at a Sub-Object
modifier. Applies cylindrical mapping to each level:
strut, and spherical mapping to each joint. 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
Linked XForm Modifier some vertices on the object.
Modify panel > Select objects or sub-objects. > Modifier 3. Apply a Linked XForm modifier.
List > Object-Space Modifiers > Linked XForm
4. On the Parameter’s rollout, click Pick Control
Select an object or sub-objects. > Modifiers menu >
Animation Modifiers > Linked XForm Object. When animating, do this at frame 0.
5. Select another object that you want to control
The Linked XForm modifier links the transforms the sub-object selection.
for any object or sub-object selection to another
This completes the link. The name of the
object, called the control object. The control
control object appears on the Parameters
object’s motion, rotation, and/or scale transforms
rollout.
are passed onto the object or sub-object selection.
6. Move the control object and see how the
Using Linked XForm vertices are affected.
Linked XForm connects any geometry it receives
Interface
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:
Control Object—Object that the vertices are linked
1. Choose a location in an object’s stack and apply to. When transformed, the vertices follow.
a Linked XForm from the Modifier List.
Pick Control Object—Click this button, and then
2. On the Parameter’s rollout, click Pick Control
select the object that you want to be the control
Object. When animating, do this at frame 0. object.
3. Select the object you want to be the control
Back Transform—Allows an object with a Linked
object.
XForm modifier to be linked to a Control Object.
This completes the link. The name of the Normally, moving the Control Object causes the
control object appears on the Parameters linked object to move twice as much as it should,
rollout. 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 Interface

’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 Limit subdivision depth—When the toggle is on,
object. the value sets the maximum depth of refinement.
When a Lightscape scene is imported into 3ds Max, When the toggle is off, then the mesh modifier
the mesh produced by Lightscape doesn’t contain will descend to the bottom of the refinement.
the refinements that Lightscape introduced Default=on, 0.
to improve the lighting. This information is Limit subdivision size—When the toggle is on, the
kept and used by the Lightscape material (page value limits the size of polygons that are refined.
2–1604) while rendering. This modifier will add When the toggle is off, then the mesh modifier will
these refinements to the Lightscape mesh. In refine polygons to any size. The size is a length in
conjunction with the LS Colors modifier (page the current view units. Polygons smaller than that
1–550), this modifier can be used to produce size squared will not be refined by the modifier.
meshes suitable for game engines. Default=off, 19.685 units or 0.5 meters.
The refinement stored in a Lightscape mesh is
hierarchical. When a polygon is refined, it is
broken into four smaller polygons. These polygons MapScaler Modifier (Object Space)
can then be refined further. A polygon in the Select an object. > Modify panel > Modifier List >
refinement has a depth from the original polygon, Object-Space Modifiers > MapScaler
which is the number of refinements needed to
get from the original polygon to the polygon in The MapScaler (OSM) modifier works in object
question. space to maintain the scale of a map applied to
an object. This lets you resize the object via its
The modifier allows you to reduce the number creation parameters without altering the scale of
of polygons in the result by limiting the depth to the map. Typically, you might use this to maintain
which the modifier will descend, or by limiting the the size of a map regardless of how the geometry is
size of polygons that will be refined. scaled, if you change the object size by adjusting its
You can apply the LS Mesh modifier to a Face creation parameters. However, if you use a Select
sub-object selection of a Lightscape mesh object. And Scale tool to change the object size, the map
In this case, only the selected faces will be refined. 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 Scale—Represents the size of one repetition of the
MapScaler (WSM) modifier applied, the bricks texture pattern. Size is measured in current scene
will all remain the same size as you increase the units. Repetitions occur across the object in the U
size of the wall. However, if you scale the same and V directions. Default=1.0.
wall with the MapScaler (OSM) modifier applied, Note: When the Use Real-World Texture
the size of the bricks will grow in proportion with Coordinates switch is active in the General
the scale of the wall. Preferences dialog (page 3–815), the scale setting
The MapScaler (OSM) modifier has two primary defaults to 1.0. If Use Real-World Texture
benefits compared to the WSM version: Coordinates is turned off, scale defaults to 100.0.
• As an object-space modifier, it can reside U/V Offset—Specify horizontal and vertical offsets
anywhere in the stack and be collapsed with the respectively. Available only when Wrap Texture
stack, rather than being restricted to the top of is off.
the stack, as with world-space modifiers. This
Wrap Texture—When on, Map Scaler attempts
lets other object-space modifiers take effect
to wrap the texture evenly around the object.
after the map-scaling operation.
This option requires more computing, but
• When instanced among multiple objects, the usually produces the most satisfactory results.
object-space version appears in the modifier Default=on.
stack display when any number of objects is
Wrap Using Smoothing Groups—When turned
selected. This differs from the world-space
version, which, when instanced among multiple on, textures are wrapped around corners when
objects, appears in the stack display only when they share the same smoothing groups. Curved
a single object is selected. walls will map smoothly while sharp corners get a
new texture origin. This switch is only available
Tip: MapScaler also works at the sub-object level. when the Wrap Textures switch is turned on.
If the object you’re working on requires different Default=off.
scaling of the texture map on each surface, you can
do so by creating a modifier stack with multiple Channel—Specifies the map channel (page 3–966).
occurrences of the MapScaler modifier. Default=1.

Interface
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

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.
Object mapped using a multi/sub-object material:
Material ID 1 for the housing of the monitor 4. On the Modify panel, choose Mesh
Material ID 2 for the image on the screen Select from the Modifier List.

Tip: If you want a gradual blend from one material 5. On the Mesh Select Parameters rollout,
to another, try animating the Mix parameter on a click Polygon.
Blend (page 2–1588) material. 6. In the Front viewport, region-select the lower
Use this modifier in conjunction with the half of the sphere.
multi/sub-object (page 2–1594) material type, to The selected polygons turn red.
assign different materials to objects or faces at
7. While Polygon is still the active sub-object level
different frames of an animation, or to quickly
(in the stack display, a square polygon icon
change the material ID of an object.
appears to the right of Mesh Select), choose
Material from the Modifier List.
See also
8. On the Material modifier Parameters rollout,
Editable Mesh Surface (page 1–996) set the value of the Material ID to 1 and 2 to
toggle the color on and off.
Patches
In the shaded viewport, the lower half of the
As of 3ds Max 4, patch objects coming up the sphere changes to the color of the selected
modifier stack are not converted to a mesh by this material ID.
modifier. A patch object input to the Material
modifier retains its patch definition. Files that Interface
contain patch objects with the Material modifier
from previous versions of the software will be
converted to meshes to maintain backward
compatibility.

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 2. Combine the spheres into a single editable
to selected faces; otherwise, it is applied to the mesh object.
entire object. The ID number refers to one of the Right-click a selected sphere and from the
materials in a multi/sub-object material. Transform (lower-right) quadrant of the quad
menu, choose Convert To: > Convert to
Editable Mesh. Then click Modify panel > Edit
MaterialByElement Modifier Geometry rollout > Attach List. In the Attach
Modify panel > Make a selection. > Modifier List >
List dialog, click All, and then Attach.
Object-Space Modifiers > MaterialByElement
3. Create a multi/sub-object material (page
Make a selection. > Modifiers menu > Surface > Material 2–1594) with six materials, and specify a
By Element different color for each material. Assign the
material to the object with multiple spheres.
The MaterialByElement modifier lets you apply
different material IDs to objects containing Because sphere primitives are assigned material
multiple elements, at random or according to a ID 2 by default, all the spheres now have the
formula. When animated, this effect is useful for color assigned to material number 2 in the
such applications as an office building at night multi/sub-object material.
with window illumination turning on and off at 4. Assign the MaterialByElement modifier to the
random. object.
5. From the Parameters rollout, turn on Random
Distribution.
Because the default ID Count setting is 2, 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.
Various materials randomly applied to the leaves of the plant 7. Keep increasing the ID Count setting until
you see all six colors in the multi/sub-object
Procedure material. As the assignments are random, it
Example: To assign colors randomly in a group of may take awhile.
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 5 in the
Number Of Copies field.
 Melt Modifier 717

Interface 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

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—Assigns the materials at
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. Increasing the Melt amount progressively melts the cake

List Frequency—Determines an approximate The Melt modifier lets you apply a realistic
relative weight (percentage) for each of up to eight melting effect to all types of objects, including
material IDs, as set by the Mat’l ID #1-8 spinners. 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, Parameters rollout

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. In the Top viewport, create a Sphere primitive
with a radius of about 50 units.
2. Apply the Melt modifier.
3. Turn on the Auto Key button and go to frame
100.
4. In the Melt group box, set Amount to 70.
5. In the Solidity group box, choose Jelly.
6. Turn off the Auto Key button.
7. Drag the time slider to see the sphere melt.

Interface
Modifier Stack

Melt group
Amount—Specifies the extent of the "decay," or
melting effect applied to the gizmo, thus affecting
Gizmo—At this sub-object level, you can transform the object. Range=0.0 to 1000.0.
and animate the gizmo like any other object,
altering the effect of the Melt modifier. Translating Spread group
the gizmo translates its center an equal distance.
% of Melt—Specifies how much the object and melt
Rotating and scaling the gizmo takes place with
will spread as the Amount value increases. It’s
respect to its center.
basically a "bulge" along a flat plane.
Center—At this sub-object level, you can translate
and animate the center, altering the Melt gizmo’s Solidity group
shape, and thus the shape of the melted object. Determines the relative height of the center of
For more information on the stack display, see the melted object. Less-solid substances like jelly
Modifier Stack (page 3–760). 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. are unavailable, and the Select Object button is
automatically activated.
Glass—Uses a high Solidity setting to simulate
glass. • The Mesh Select modifier automatically turns
off the Show End Result button, which becomes
Jelly—Causes a significant drooping effect in the
"spring loaded" while you’re in the modifier.
center.
For more information on the stack display, see
Plastic—Relatively solid, but droops slightly in the
Modifier Stack (page 3–760).
center as it melts.
Custom—Sets any solidity between 0.2 and 30.0. Using XForm Modifiers to Animate a
Mesh Selection
Axis to Melt group When you apply a Mesh Select modifier, there
X/Y/Z—Choose the axis (local to the object) on are no animation controllers assigned to the
which the melt will occur. Note that this axis is sub-object selection. This means that the selection
local to the Melt gizmo and not related to the has no way to "carry" the transform information
selected entity. By default, the Melt gizmo’s axes needed for animation.
are lined up with the object’s local coordinates, but
To animate a sub-object selection using Mesh
you can change this by rotating the gizmo.
Select, apply either an XForm or Linked XForm
Flip Axis—Normally, the melt occurs from the modifier to the selection. These modifiers provide
positive direction toward the negative along a the necessary controllers for animating the effects
given axis. Turn on Flip Axis to reverse this of transforms. In a sense, they give "whole-object
direction. status" to the sub-object selection.
• XForm (page 1–959)
Animates transforms directly on a sub-object
Mesh Select Modifier
selection. Creates a gizmo and center for the
Create or select and object > Modify panel > Modifier sub-object selection. You can animate both,
List > Mesh Select
with the center acting as a pivot point for the
Make a selection. > Modifiers menu > Selection Modifiers selection.
> Mesh Select
• Linked XForm (page 1–712)
The Mesh Select modifier lets you pass a sub-object Lets you choose another object to control the
selection up the stack to subsequent modifiers. animation. The sub-object selection is linked to
It provides a superset of the selection functions the "control object." When you transform the
available in the Edit Mesh modifier (page 1–634). control object, the sub-object selection follows
You can select vertices, edges, faces, polygons or accordingly.
elements, and you can change the selection from
sub-object level to object level. Procedure
Note the following: To use the Mesh Select modifier:

• When you apply the Mesh Select modifier 1. Create a mesh object.
and then go to any sub-object level, the 2. Apply a Mesh Select modifier.
select-and-transform buttons in the toolbar
720 Chapter 8: Modifiers

3. Select vertices, edges, faces, polygons or Mesh Select Parameters rollout

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
and then return to the Editable Mesh stack entry,
you cannot see the effect of the modifier on the
object’s geometry. But if you turn on Show End
Result, you can see the final object as a white mesh,
and the original editable mesh as an orange mesh.
Note: With modifiers such as MeshSmooth, 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
to the entire object, you should place a Volume
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 Provides buttons for turning different sub-object
the top (the default: no sub-object level chosen). modes on and off, working with named selections
and handles, display settings, and information
about selected entities.
The icons at the top of the Selection rollout let you
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

a curved surface, increase the value depending on

Face—Selects a triangular face beneath the the amount of curvature.
cursor; region selection selects multiple triangular
faces within the region. Planar Thresh (Planar Threshold)—Specifies the
threshold value that determines which faces are
Polygon—Selects all coplanar faces (defined coplanar for Polygon face selection.
by the value in the Planar Threshold spinner)
beneath the cursor. Usually, a polygon is the area Get from Other Levels group
you see within the visible wire edges. Region Applies selections from one sub-object level to
selection selects multiple polygons within the another.
region.
Get Vertex Selection—Selects faces based on the
last vertex selection. Selects all faces shared by
Element—Selects all contiguous faces in an
any selected vertex. The selection is added to the
object. Region selection selects the same.
current selection. Available only when Vertex is
By Vertex—Selects any sub-objects at the current not the current sub-object level.
level that use a vertex you click. Applies to all
Get Face Selection—Selects vertices based on the
sub-object levels except Vertex. Also works with
last face/polygon/element selection. This selection
Region Select.
is added to the current selection. Available only
Ignore Backfaces—Selects only those sub-objects when Face/Polygon/Element is not the current
whose normals make them visible in the viewport. sub-object level.
When turned off (the default), selection includes
Get Edge Selection—Selects faces based on the last
all sub-objects, regardless of the direction of their
edge selection. Selects those faces that contain the
normals.
edge. Available only when Edge is not the current
Note: The state of the Backface Cull setting in the sub-object level.
Display panel doesn’t affect sub-object selection.
Thus, if Ignore Backfacing is turned off, you can Select by Material ID group
select sub-objects even if you can’t see them.
Selects faces based on their material ID.
Note: The state of the Ignore Backfaces check box
ID—Set the spinner to the ID number you want to
also affects edge selection at the Edge sub-object
select, and then click the Select button. Press Ctrl
selection level.
while clicking to add to the current selection, or
Ignore Visible Edges—When turned off (the press Alt to remove from the current selection.
default), and you click a face, the selection won’t
go beyond the visible edges no matter what the Named Selection Sets group
setting of the Planar Thresh spinner. When turned
These functions are primarily for copying
on, face selection ignores the visible edges, using
named selection sets (page 1–67) of sub-objects
the Planar Thresh setting as a guide. Enabled when
between similar objects, and between comparable
the Polygon face selection method is chosen.
modifiers and editable objects. For example, you
Generally, if you want to select a "facet" (a coplanar can apply a mesh select modifier to a sphere,
collection of faces), you set the Planar Threshold create a named selection set of edges, and then
to 1.0. On the other hand, if you’re trying to select 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 MeshSmooth Modifier
entities’ ID numbers.
Modify panel > Make a selection. > Modifier List >
Object-Space Modifiers > MeshSmooth
The standard procedure is to create a selection set,
name it, and then use Copy to duplicate it into the Make a selection. > Modifiers menu > Subdivision
copy buffer. Next, select a different object and/or Surfaces > MeshSmooth

modifier, go to the same sub-object level as you

were in when you copied the set, and click Paste. The MeshSmooth modifier smoothes geometry
in your scene by means of several different
Note: Because sub-object ID numbers vary from methods. It lets you subdivide the geometry while
object to object, the results of copying named interpolating the angles of new faces at corners
selection sets between different objects can be and edges, and apply a single smoothing group to
unexpected. For example, if the buffered set all faces in the object. The effect of MeshSmooth
contains only entities numbered higher than any is to round over corners and edges as if they had
that exist in the target object, no entities will be been filed or planed smooth. Use MeshSmooth
selected when the set is pasted. parameters to control the size and number of new
Copy—Places a named selection into the copy faces, and how they affect the surface of the object.
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 Angular model (shown on the right) changed to a smooth
sub-object is selected, the text gives the number model with MeshSmooth
and type selected. If one sub-object is selected, the You can use MeshSmooth to produce a
text gives the ID number and type of the selected Non-Uniform Rational MeshSmooth object
item. (NURMS for short). A NURMS object is similar
Note: When the current sub-object type is Polygon to a NURBS object in that you can set different
or Element, selection information is given in faces. weights for each control vertex. You can further
control the object’s shape by changing edge
Soft Selection rollout weights.
These controls let you set a gradual falloff of MeshSmooth’s effect is most dramatic on sharp
influence between selected and unselected vertices. corners and least visible on rounded surfaces.
See Soft Selection Rollout (Edit/Editable Mesh) Use MeshSmooth on boxes and geometry with
(page 1–963).
 MeshSmooth Modifier 723

crisp angles. Avoid using it on spheres and similar Interface

objects. Modifier Stack
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
Vertex—At this sub-object level you can transform
a meshsmoothed object that has had control
or edit vertices in the smoothed mesh.
level editing can result in the meshsmoothed
object becoming distorted. It’s recommended Edge—At this sub-object level you can transform
that deforming modifiers be placed after the or edit face edges in the smoothed mesh.
MeshSmooth modifier in the stack if you’re using
See Local Control rollout (page 1–725).
the deformers for animation.
For more information on the stack display, see
Procedures Modifier Stack (page 3–760).
To apply MeshSmooth to an object:
Subdivision Method rollout
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. Subdivision Method list—Choose one of the
following to determine the output of the
4. Apply MeshSmooth.
MeshSmooth operation:
5. In the Subdivision Method rollout, turn off
• NURMS—Produces Non-Uniform Rational
Apply To Whole Mesh.
MeshSmooth object (NURMS for short). The
This lets MeshSmooth work only on the Strength and Relax smoothing parameters are
sub-object selection. unavailable with the NURMS type.
6. Set MeshSmooth parameters. 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. See
Display/Weighting group, following, for further
information on changing weights.
724 Chapter 8: Modifiers

• Classic—Produces three- and four-sided facets.

(This is the same as applying MeshSmooth in
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 Effect of MeshSmooth with two iterations on a cube and
different iteration method:
into the mesh.
A. NURMS
Apply To Whole Mesh—When turned on, any B. Quad
sub-object selection passed up the stack is ignored C. Classic
and MeshSmooth is applied to the entire object. D. Original object with no MeshSmooth
Note that the sub-object selection is still passed up
the stack to any subsequent modifiers. Subdivision Amount rollout
Old Style Mapping—Uses the 3ds Max version 3 Sets how many times to apply MeshSmooth.
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.

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.
You can press 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.
From right to left, effect of increasing the number of iterations
Smoothness is calculated as the average angle of
all edges connected to a vertex. A value of 0.0
Local Control rollout
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
and a lower Smoothness 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.
Sub-object Level—Turns Edge or Vertex level on or
Iterations—Lets you choose a different number of off. When both levels are off, you’re working at the
smoothing iterations to be applied to the object at object level. Information about the selected edges
render time. Turn on Iterations, and then use the or vertices is displayed in the message area under
spinner to its right to set the number of iterations. the Ignore Backfacing check box.
Smoothness—Lets you choose a different Ignore Backfacing—When on, selection of
Smoothness value to be applied to the object at sub-objects selects only those sub-objects whose
render time. Turn on Smoothness, then use the normals make them visible in the viewport. When
spinner to its right to set the smoothness value. 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 deformation to unselected vertices surrounding
and the Weight setting are available for all the transformed selected sub-object. This provides
sub-objects at all levels. The Crease setting is a magnet-like effect with a sphere of influence
available only at the Edge sub-object level. around the transformation.
Crease—Creates a discontinuity on a surface so For more information, see Soft Selection Rollout
you get a hard edge, such as a wrinkle or lip. You (page 1–963).
select one or more edge sub-objects and adjust the
Crease setting; the crease appears in the surfaces Parameters rollout
associated with the selected edges. Available only
at the Edge sub-object level.
Weight—Sets the weight of selected vertices or
edges. Increasing a vertex weight "pulls" the
smoothed result toward that vertex. Edge weights
are more complex and behave in an opposite
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 Parameters rollout > Smoothing Parameters
smoothing. The benefit of using this option is group
a less cluttered display. When off, the software These settings are available only when
displays all faces added by MeshSmooth; thus, MeshSmooth Type is set to Classic or Quad
higher Iterations settings (see Subdivision Amount Output. Also, Project To Limit Surface is available
Rollout (page 1–724)) result in a greater number of only in Classic mode.
lines. Default=on.
Strength—Sets the size of the added faces using
Show Cage—Toggles the display of a two-color a range from 0.0 to 1.0.
wireframe that shows the modified object before • Values near 0.0 create small faces that are very
subdivision. The cage colors are shown as thin and close to the original vertices and edges.
swatches to the right of the check box. The first
color represents unselected edges at the Vertex • Values near 0.5 size faces evenly between edges.
sub-object level, and the second color represents • Values near 1.0 create large new faces and make
unselected edges at the Edge sub-object level. the original faces very small.
Change a color by clicking its swatch.
Relax—Applies a positive relax effect to smooth
all vertices.
Soft Selection rollout
Project to Limit Surface—Places all points on the
Soft Selection controls affect the action of
sub-object Move, Rotate, and Scale functions. "limit surface" of the MeshSmooth result, which
When these are on, 3ds Max applies a spline curve is the surface that would be produced after an
 MeshSmooth Modifier 727

infinite number of iterations. The topology is still polygons to be handled as a minimum number of
controlled by the number of iterations. separate faces, each of which is convex. (Turn on
Display/Weighting group > Display Control Mesh
Parameters rollout > Surface Parameters group to see what’s happening here.)
Applies smoothing groups to the object and "Convex" means that you can connect any two
restrict the MeshSmooth effect by surface points in the polygon with a line that doesn’t go
properties. outside the polygon. Most letters aren’t convex.
Smooth Result—Applies the same smoothing In the capital letter "T," for example, you can’t
group to all faces. connect the upper-left corner to the bottom with
a straight line without going outside the shape.
Separate by Materials—Prevents the creation of Circles, rectangles, and regular polygons are all
new faces for edges between faces that do not share convex.
Material IDs.
Problems that can occur with non-convex faces
Separate by Smoothing Groups—Prevents the include the fact that changes in the geometry of the
creation of new faces at edges between faces that input object can result in a different topology for
don’t share at least one smoothing group. the MeshSmooth result. For instance, in a box, if
you drag one of the top corners across the middle
Settings rollout of the top face, the box becomes non-convex.
MeshSmooth would then see this as two triangles
instead of one quad, and the number of points in
the result would change.
If you need to make sure your output topology is
stable, turn this off. If you have a lot of letters or
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
Settings rollout > Input Conversion group you can also set a greater degree of smoothing to
be applied only at render time, on the Subdivision
Operate On Faces/Polygons—Operate On Faces
Amount rollout.
treats every triangle as a face and smoothes
across all edges, even invisible edges. Operate On Always—Updates the object automatically
Polygons ignores invisible edges, treating polygons whenever you change any MeshSmooth settings.
(like the quads making up a box or the cap on a When Rendering—Updates the viewport display of
cylinder) as a single face. the object only at render time.
Keep Faces Convex—(Available only with Operate
Manually—Turns on manual updating. When
On Polygons mode.) Keeps all input polygons manual updating is selected, any settings you
convex. Selecting this option causes non-convex
728 Chapter 8: Modifiers

change don’t take effect until you click the Update Reset Edge Creases—Returns to the default or
button. initial setting for edge creases.
Update—Updates the object in the viewport to Reset Vertex Weights—Returns to the default or
match the current MeshSmooth settings. Works initial setting for vertex weights.
only when you choose When Rendering or
Reset Edge Weights—Returns to the default or
Manually.
initial setting for edge weights.
Resets rollout Reset Everything—Returns to the default or initial

This rollout allows you to go back to default or setting for everything.

initial settings on any changes you made such
as sub-object transforms (geometric edits), and
changes to edge creases, vertex weights, and edge Mirror Modifier
weights. Modify panel > Make a selection. > Modifier List >
Object-Space Modifiers > Mirror
You can reset changes for all control levels or to
the current control level. Turn on the reset option Make a selection. > Modifiers menu > Parametric
Deformers > Mirror
for the sub-object level you want, and then click
the appropriate button.
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.

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 Mirroring a bench
settings for geometric edits, creases, and weights
for the current sub-object level. Procedure
Reset Geometric Edits—Returns to the default or To apply the Mirror modifier:
initial settings for any transforms made to vertices 1. Apply the Mirror modifier to a selection.
or edges. 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 Copy—Copies the geometry rather than simply
amount and turn on Copy. mirroring it.
Note: The Copy option affects only geometry with
Interface triangular meshes.
Modifier Stack

Morpher Modifier
Select a mesh, patch, or NURBS object. > Modify panel
> Modifier List > Morpher

Mirror Center—Represents the axis of the mirror Select a mesh, patch, or NURBS object. > Modifiers menu
> Animation Modifiers > Morpher
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
see the effect in the viewport as you select the
option.
On this patch model, morph targets are created by moving
control vertices and tangent handles in an Editable Patch.
Options group
Use the Morpher modifier to change the shape of
Offset—Specifies the offset, in units, from the
a mesh, patch, or NURBS model. You can also
mirror axis. This is an animatable parameter.
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 Teeth can either be a part of the model or animated
morphing. separately. If the teeth and head are two different
objects, model the teeth in an open position, and
Morphing is commonly used for lip sync and facial
then apply the Morpher modifier, and create one
expression on a 3D character, but can be used to
target with the teeth closed. Eyes and head motion
change the shape of any 3D model. There are 100
can be animated after the morph keys are created.
channels available for morph targets and materials.
Channel percentages can be mixed, and the result
Morph Targets for Speech
of the mix can be used to create a new target.
Nine mouth shape targets are commonly used for
On a mesh object, vertex count on the base object
speech. If your character speaks an alien dialect,
and targets must be the same. On a patch or
don’t hesitate to create extra morph targets to
NURBS object, the Morpher modifier works on
cover these mouth shapes.
control points only. This means that the resolution
of patches or NURBS surfaces can be increased on Include cheek, nostril, and chin-jaw movement
the base object to increase detail at render time. when creating mouth position targets. Examine
your own face in a mirror or put a finger on your
A Flex modifier above the Morpher modifier
face while mouthing the phonemes, if necessary, to
is aware of vertex/control point motion in the
establish the direction and extent of cheek motion.
Morpher modifier. If, for example, a jaw is
morphed to slam shut, then the Flex modifier Set lip-sync keys by viewing the audio waveform as
placed above the Morpher modifier in the modifier well as listening to the sound as you scrub the time
stack can be used to make the lips quiver to slider. Many mouth-position keys benefit from
simulate soft tissue. being set a frame early. Often the mouth must
assume a shape before the appropriate sound is
See also uttered. For the word "kilo", the "K" mouth shape
precedes the actual sound, for example.
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
modify the original head to create the lip-sync
and facial-expression targets. Select the original
A, I
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. E
 Morpher Modifier 731

F,V W,Q

C, D, G, J, K, N, S, T, Y, Z 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
L,T 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
as well: as you morph the brows up, a bump map
can crease the forehead, for example.
Save time and create targets as the need arises; if
the audio file or scene you are working on requires
O 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.

U
732 Chapter 8: Modifiers

The base object is now an Editable Patch.

6. In the Top viewport, use Shift +Move

to create a copy of the patch object.

7. On the Modify panel, on the

Blink Selection rollout, click Vertex.

8. In the Front viewport, move patch

vertices to deform the patch surface.

9. In the stack display, choose Editable

Patch to go to the object (top) level. (The
highlight should change from yellow to gray,
Brows up and the Vertex sub-object icon is no longer
displayed at the right of the stack.)

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
A blend of the Pain, Blink, and Brows targets
stack.
Procedures 12. On the Morpher modifier, on the Channel List

Example: To add the morpher modifier to an object

rollout, right-click the first channel (over the
and assign a morph target to a channel: word "empty").
A right-click menu displays.
1. On the Create panel, click 13. Choose Pick from Scene on the right-click
Geometry. menu, and click the deformed patch grid in the
2. On the drop-down list, choose Patch Grids. viewports.
3. On the Object Type rollout, click Quad Patch. QuadPatch02 is listed in the channel as a morph
target.
4. In the Top viewport, click and drag to create
a patch grid. 14. Drag the Channel spinner, to the right of
QuadPatch02, up and down.
5. On the Modify panel, on the modifier The flat patch grid "morphs" to the shape of
stack display, right-click Quad Patch and the target.
choose Convert To: Editable Patch from the
right-click menu.
 Morpher Modifier 733

To use progressive morphing:

1. Create starting and ending morph targets, and
one or more intermediate targets.
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 Gray—The channel is empty, and has not been
the Target % to determine the degree to which edited.
each target affects the channel. Orange—The channel has been changed in some
6. Use the down arrow button to move the original way but contains no morph data.
channel target to the bottom of the Target List.
An artist may wish to name a channel and set up
its parameters before actually assigning a morph
Interface target.
Whatever is assigned as the default float controller
Green—The channel is live. The channel contains
in the software will be assigned as the float
morph data and the target object still exists in
controller on the morph channels as well. Float
scene (the target is available for refresh).
controllers handle the interpolation between keys;
Bezier is the default float controller. You can assign Blue—The channel contains morph data but the
the TCB float controller to the morph channels in target has been deleted from the scene.
Track View, if you prefer.
Dark Gray—The channel is disabled.
For morphing, the Bezier controller allows you • There is a problem with the morph, the
to use function curves with vector handles on topology of the base object, or targets, have
the keys for smoothing and easing control of changed and are no longer valid; for example,
interpolation in Track View. Default parameters the vertex count might have changed. The
of the TCB controller, however, handles morph channel cannot be used.
interpolation with less overshoot. Try using both
controllers, to decide which one you prefer. • 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 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
material to the base object (the object to which the
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
1 contains a brows up target and the Morpher
material has a material assigned to map 1, then, as
the brows are morphed so is the material.
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
Global Settings group in the Morpher modifier can be used to simply
Use Limits—Use the minimum and maximum
morph the material on a static object. See Morpher
limits for all channels. Material (page 2–1592).

You can turn off limits to double purpose a target.

The target for a smile can be used to turn the
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.
 Morpher Modifier 735

Channel List rollout display these tracks, you can choose a marker from
the list to display these channels in the list.
Save Marker—Move the scroll bar to frame a
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

The upper section of the Channel List rollout an object in the viewports to assign a morph target
contains controls for managing markers, which to the channel.
designate different locations in the list of morph Delete Channel—Deletes the morph data, name
targets. For example, channels 15 through 24 and parameters from the channel. Displays only
might contain all the emotion targets. Rather than if the channel has data.
scrolling to display these tracks, you can choose a
Reload Target—Retrieves morph data from the
marker from the list to display those channels.
target. Use this after editing a target.
[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
736 Chapter 8: Modifiers

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.

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 allow
animated targets to be updated dynamically by the
Morpher modifier. There is a performance penalty
when using this option. [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

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,
Move To—Displays the Channel Operations dialog. pick it as the channel’s target, and then start
To move the current channel to the selected editing.
channel, choose a channel from the list, and click
Move To. Channel Settings group
Swap With—Displays the Channel Operations Use Limits—Turn on to use limits on the current
dialog. To swap the current channel with the channel if Use Limits is turned off in the Global
selected channel, choose a channel from the list, Parameters rollout.
and click Swap With.
Minimum—Sets the lower limit.
Used Channels—Displays a list of active channels.
Maximum—Sets the upper limit.
Choose a channel to place it at the top of the
channel list display in the Channel List rollout. Use Vertex Selection—Morphs only selected

Channel Name—Displays the name of the current

vertices on the current channel.
target. Change the name of the target in the
Progressive Morph group
text field if necessary. Parameter changes in the
Channel Parameters rollout affect the current Progressive morphing performs a tension-based
target. interpolation, similar to the TCB animation
controller, that creates smooth interpolation
Channel is Active—Toggles a channel on and off.
through each intermediary targets. This provides
Inactive channels do not affect the morph result.
the artist with an unprecedented amount of control
Use this control to turn off certain channels to
over the morph transformation.
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. Morphed object using multiple, intermediary targets

Delete—Deletes the target assignment for the

current channel.
738 Chapter 8: Modifiers

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

Morphed object using a single target

morph target from the target list.
Reload Morph Target—Reloads data from the
When morphing from one target to another, the
object can sometimes pass through intermediary current target into the channel. Reload a target if it
stages that are not desirable. For example, has been adjusted or edited.
morphing a straight cylinder directly to a If the active morph target entry in the channel list
bent cylinder causes the cylinder to squash at is empty, this button is unavailable, and displays
intermediate stages. the text “No Target to Reload.”
You could get a better result by creating several
Advanced Parameters rollout
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
morph target down in the list.
Tip: For best results, move the original morph Spinner Increments—Specify fine or coarse
target (the one in the channel) to the bottom of spinner increments. 5.0 is coarse and 0.1 is fine.
the list. 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 Modeling Tips for MultiRes
channels were moved.
The MultiRes multi-resolution mesh algorithms
Approximate Memory Usage—Displays an are designed to be general-purpose, and yield
approximation of the current memory usage. high-quality meshes on a wide variety of model
types. However, careful modeling can improve
the results of the algorithm. The following are
MultiRes Modifier suggestions to yield high-quality multi-resolution
meshes:
Select an object. > Modify panel > Modifiers List >
Object–Space Modifiers > MultiRes • Avoid using complex model hierarchies with
MultiRes. For such models you should generate
Make a selection. > Modifiers menu > Mesh Editing >
MultiRes an individual multi-resolution mesh for each
model component, or collapse the entire model
The MultiRes modifier reduces the memory into a single mesh. In general, single-skin
overhead needed to render models by decreasing meshes work best with animation engines like
the number of vertices and polygons. This is useful Physique in character studio. MultiRes works
not only within 3ds Max but for game and Web especially well with single-skin meshes.
content creators who export models for use outside • Avoid duplicating vertices. The presence of
of the program. MultiRes offers several advantages extra vertices is an often-overlooked artifact
over the Optimize modifier, including faster of some modeling techniques. The Weld
operation and the ability to specify reduction as an function in the Edit Mesh modifier (page 1–634)
exact percentage or vertex count. and Editable Poly (page 1–1022) is useful for
The MultiRes modifier now supports the cleaning these up.
preservation of map channels when face count is • Be conservative with texture and normal
increased or reduced. 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.
Left: Original model
Center and right: Model progressively simplified by the Procedures
MultiRes modifier
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 You can estimate the gap length by activating
MultiRes Parameters rollout, click the Generate the Select Object tool (page 1–61), moving the
button to initialize the mesh. mouse cursor over the extents of the gap in the
3. In the Resolution group, use the keyboard or active viewport (it might help to access the Vertex
spinner controls to decrease the Vert Percent or sub-object level), and comparing the values
Vert Count value. displayed in the X/Y/Z readouts in the status bar,
or use the Tape helper (page 2–24) object to get
As the vertex and polygon counts decrease, the an exact measurement. Enter the estimated gap
mesh updates in real time in the viewports. length value in the Threshold field.
To maintain part of a mesh at full resolution while 1. Select a model and apply the MultiRes modifier.
reducing the rest: 2. Turn on Vertex Merging. This makes the Merge
1. Select a model and apply the MultiRes modifier. Threshold and Within Mesh controls available.
2. In the modifier stack display, click the + icon 3. Set the appropriate parameters:
next to the MultiRes modifier to open the • To define the maximum distance over which
sub-object hierarchy. vertices are merged, enter a value in Merge
3. Click the Vertex label to access the Vertex Threshold.
sub-object level. • To merge boundaries of adjacent elements
4. Select the vertices in areas whose resolution you and vertices within elements, turn on Within
want to maintain. Mesh.
5. In the Generation Parameters group, turn on 4. Click the Generate button.
Maintain Base Vertices. The effect of the change is displayed in the
6. Click the Generate button to initialize or object.
re-initialize the mesh. After the Generate button is clicked, a busy
Notice that the selected vertices look like cursor will display. If the merge threshold is too
asterisks instead of standard ticks. large relative to the dimensions of the model,
7. Reduce the resolution as in the first procedure.
the busy cursor may display for a long time. To
cancel the generation process at any time, press
The selected vertices are the last to be removed the Esc key.
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.
 MultiRes Modifier 741

Interface Adjusting this setting alters the Vert Percent value

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 Vert Percent/Vert Count settings, the
value for the face count will update on the fly.
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.

Resolution group To control Vertex Merging, you can set a Merge

Threshold. This value determines the unit distance
Use these controls to change the vertex count and within which vertices will merge at a higher rate.
overall topology of the modified object.
Threshold—Sets the maximum distance in
Vert Percent—The modified object’s vertex count 3ds Max units between vertices in order for those
as a percentage of the overall number of vertices in vertices to be considered for merging. Within this
the original mesh. Adjusting this setting alters the distance, the vertices between elements are welded
Vert Count value as well. together at a higher rate as the mesh is reduced in
Note: After you enter a specific percentage, such as complexity. Available only when Vertex Merging
30, you might find that the software changes the is on.
value to a slightly lower one, such as 29.971. This is Note: To eliminate only coincident vertices, set
due to the relationship between the overall number Threshold to 0.0. This is similar to the Weld Vertex
of vertices in the model and the percentage function.
calculation. It is not a bug, but simply the closest
solution to your request. Within Mesh—When on, MultiRes merges the
boundaries of adjacent elements and vertices
Vert Count—The total number of vertices in within elements. Many objects can contain
the modified object. Use this control to set the multiple groups of vertices that don’t share
maximum number of vertices in the output mesh. connectivity. A simple example of this is the Teapot
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 Clown model with left half reduced, right half at original
that might become unrecognizable if reduced too resolution
severely.
Multiple Vertex Normals—When on, lets MultiRes
To select vertices for use with this option, use assign multiple normals for each vertex. By default,
the MultiRes Vertex sub-object level. To access MultiRes generates a single normal per vertex.
this level, first go to the modifier stack display
and click the plus-sign icon next to the MultiRes If multiple normals are generated, they are applied
modifier. This opens its hierarchy, which consists as the vertex resolution is decreased and increased.
of the single Vertex sub-object level. Next, click When the Multiple Vertex Normals option is on,
the Vertex entry. The MultiRes vertices appear on the MultiRes modifier generates normal updates
the mesh as blue dots. You can select these using when the geometry surrounding a vertex changes.
any standard interactive method, but you cannot You must specify a crease angle in degrees (0.0 -
transform them. 180.0). The crease angle is the angle between the
Important: After selecting MultiRes sub-object vertices face normals. It is used to decide when a normal
with Maintain Base Vertices turned on, regenerate the should be shared across an edge between two faces.
mesh before changing the vertex resolution. For example, in a plane defined as a mesh grid of
In the following illustration, the clown started out 10 x 10 faces, any two adjacent faces have a crease
as a high-resolution mesh. All of the MultiRes angle of zero. In a cube, adjacent faces have a
vertices in the right half were selected, Maintain crease angle of 90 degrees. In general, crease angles
Base Vertices was turned on, and then the vertices approaching 0 yield smoother shading. Crease
were reduced. angles approaching 180 yield more visible corners.
 Noise Modifier 743

Crease Angle—The value of the crease necessary in noticeable on objects that have greater numbers
order to generate multiple normals. Available only of faces.
when Multiple Normals Per Vertex is on.
Most of the Noise parameters have an animation
The optimal crease angle depends on the model; controller. The only keys set by default are for
set it interactively and check the viewport and Phase.
rendered images for shading effects. While use of
Multiple Vertex Normals enables more accurate
shading, it can require more internal data.
Generate—Applies the current MultiRes settings
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. Plane with no noise applied
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 Adding texture to the plane creates a calm sea.
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.
You can apply the Noise modifier to any kind of
object. The Noise gizmo changes shape to help
you visualize the effects of changing parameter
settings. The results of the Noise modifier are most
744 Chapter 8: Modifiers

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
Plane with fractal noise applied
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.
Textured plane with noise creates a stormy sea. Once you have a base terrain, you can select
sub-objects with Edit Mesh and apply Noise to
Procedures grow mountains in a smaller region. You can
To apply noise to an object: also apply a second Noise modifier to amplify
the first one.
1. Select an object and apply the Noise modifier.
To animate, move to a nonzero frame and turn
Interface
on the Auto Key button.
Modifier Stack
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
Gizmo/Center—You can move, rotate, or scale the
increase the dynamics of the Strength settings,
gizmo and center sub-objects to affect the noise.
making the effect more obvious. See Noise
You can also animate the sub-object transforms.
group, below, for other options.
 Noise Modifier 745

For more information on the stack display, see Fractal—Produces a fractal effect based on current
Modifier Stack (page 3–760). settings. Default=off.
If you turn on Fractal, the following options are
Parameters rollout
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
one of these axes to produce a noise effect.
Default=0.0,0.0,0.0.

Animation group
Controls the shape of the noise effect by overlaying
a sine wave for the noise pattern to follow. This
Noise group keeps the noise within bounds, dampening
random extremes. When Animate Noise is turned
Controls the appearance of the noise, and thus its on, these parameters influence the overall noise
effect on the physical deformations of the object. effect. However, you can animate Noise and
By default, the controls are inactive until you Strength parameters independently; these do not
change the settings. require Animate Noise to be on during animation
Seed—Generates a random start point from the or playback.
number you set. Especially useful in creating Animate Noise—Regulates the combined effect of
terrain, because each setting can produce a Noise and Strength parameters. The following
different configuration. parameters adjust the underlying wave.
Scale—Sets the size of the noise effect (not Frequency—Sets the periodicity of the sine wave.
strength). Larger values produce smoother noise, Regulates the speed of the noise effect. Higher
lower values more jagged noise. Default=100. frequencies make the noise quiver faster. Lower
746 Chapter 8: Modifiers

frequencies produce a smoother and more gentle Tip: If you are animating the creation of a complex
noise. object such as a nested Boolean or a loft, and you
think the operation might result in inconsistent
Phase—Shifts the start and end points of the
faces, apply Normal to the result and turn on Unify.
underlying wave. By default, animation keys are
set at either end of the active frame range. You can Tip: The Lathe modifier sometimes creates an
see the effect of Phase more clearly by editing these object with normals pointing inward. Use the
positions in Track View. Select Animate Noise to Normal modifier with both Unify and Flip turned
enable animation playback. on to fix "inside-out" lathe objects. The Normal
modifier allows whole-object manipulations of
normals to be performed quickly without using
Normal Modifier an Edit Mesh modifier.

Select an object. > Modify panel > Modifier List > Normal Patches
Select an object. > Modifiers menu > Mesh Editing > As of 3ds Max 4, patch objects coming up the
Normal Modifier
modifier stack are not converted to a mesh by this
modifier. A patch object input to the Material
The Normal modifier allows you to unify or flip
modifier retains its patch definition. Files that
the normals of an object without applying an Edit
contain patch objects with the Material modifier
Mesh modifier.
from previous versions of the software will be
For example, if you wanted to fly inside of a converted to meshes to maintain backward
procedural object, such as a sphere or a cylinder, compatibility.
and wanted to retain control over the radius and
number of segments, you couldn’t collapse the Procedure
object to an Editable Mesh and maintain the To use the normal modifier:
procedural nature of the primitive.
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
Flip Normals is on by default.
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.

Flipping the normals of a sphere creates a sky dome over a city.

 Normalize Spline Modifier 747

Interface Normalize Spline to produce splines for motion

paths that require constant velocity.
Note: This feature is not animatable.

Interface

Unify Normals—Unifies the normals of an object by

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 Seg Length—Sets the length of the spline’s
have come into 3ds Max as part of a DWG or DXF segments, in 3ds Max units. The positions of the
file are irregular, depending on the methods used original vertices are discarded, and vertices are set
to create the scene. Use this option of the modifier to regular intervals. Segment length determines
to correct them. how many control points are added: shorter
Flip Normals—Reverses the direction of all the segments result in more control points, longer
surface normals of the faces of the selected object segments result in fewer. Default=20.0 units.
or objects. Default=on.

NSurf Sel Modifier

Normalize Spline Modifier Select a NURBS curve or surface object. > Modify panel
> Modifier List > NSurf Sel
Select a spline object. > Modify panel > Modifier List
> Normalize Spl. Select a NURBS curve or surface object. > Modifiers menu
> Selection Modifiers > NURBS Surface Select
Select a spline object. > Modifiers menu > Patch/Spline
Editing > Normalize Spline 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
lets you modify only the selected sub-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), NSurf Sel can’t select the sub-object levels
Curve, Curve CV, or Point. NURBS surfaces are
nonrelational by default. You can make the surface
relational by turning on Relational Stack on the
The spline on the left has been normalized. object’s General rollout.
The Normalize Spline modifier adds new control
points in the spline at regular intervals. Use
748 Chapter 8: Modifiers

NSurf Sel can select any kind of NURBS NSurf Sel has the same selection controls you
sub-objects except imports. Each sub-object see for NURBS surfaces, except that selecting
selection is of one particular sub-object level only. connected curves or surfaces is not available.
Note: The NSurf Sel modifier doesn’t support For more information on the stack display, see
copying and pasting selections as Mesh Select (page Modifier Stack (page 3–760).
1–719) does. Copying and pasting mesh selections While applying the modifier, you can also select
is based on vertex indexes. NURBS selections are NURBS sub-objects by name. Turn on the
based on object IDs, which are unique to each Keyboard Shortcut Override toggle (page 3–872)
model. and then press the H key. This displays a
version of the Select Objects dialog (page 1–78)
Procedure that lists only sub-objects at the current level.
To use the NSurf Sel (NURBS Surface Selection) Choose one or more objects in the list, and
modifier: then click Select.
3. Use the selection controls to create a selection
1. With a NURBS object selected in the
set of the chosen sub-object type.
Modify command panel, apply NSurf Sel.
With NSurf Sel, the selection can be of surface
This modifier has no controls at the top level.
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
Selection controls as you wish. These controls
are the same as those in the Soft Selection rollout
(page 1–1147) for NURBS curves and surfaces,
except that the Same Type Only toggle is absent.
Once you’ve used the modifier to create the
selection, you can apply other modifiers to it.

2. In the stack display, choose a sub-object level

Optimize Modifier
from the list.
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 Procedures

as you make each change. 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
Optimize simplifies a smooth model with a high number of
Manual Update check box turned on and
faces without greatly changing the model’s appearance.
clicking the Update button every time you wish
to view a result.
Tip: Because Optimize makes decisions based on
angles between faces, it’s sometimes best to apply 4. In the Parameters rollout > Last Optimize
it to selected face sub-objects rather than to an Status group, notice the Before/After count for
entire object. Avoid applying Optimize to areas vertices and faces.
where you want to preserve geometric detail. 5. In the Optimize group, vary parameters to
continue reducing geometry.
Applying Optimize
Compare the result in the two viewports against
When you first apply Optimize, you might not the Before/After count.
see any change in the viewports. Adjust the Face
Threshold setting to obtain the best optimization. To set the level of detail:
In the Last Optimize Status group, you can see how 1. In the Parameters rollout > Level of Detail
the object or faces were optimized. Watch these group, choose Viewports L1.
values while you adjust the Optimize parameters,
2. Adjust parameters in the Optimize and
until you have the best possible result.
Preserve groups.
Setting Level of Detail This sets the L1 level of optimization for both
the viewport and the renderer.
Optimize lets you maintain two levels of
optimization detail. You might set a lower 3. Repeat steps 1 and 2 for Viewports L2, adjusting
optimization level, with fewer faces, to speed up parameters for a different optimization.
your viewport work, and a higher level for final
output in the renderer. However, you can render at To use level of detail:
either level. You can also switch to the higher level • Switch between L1 and L2 for either Viewports
in a viewport to get an idea of what the rendered or Renderer.
image will look like.
750 Chapter 8: Modifiers

You see the effect immediately in a smooth and L2 to change the stored optimization level.
shaded viewport. Do a test rendering to see the Default=L1.
effect on the renderer.
Viewports L1, L2—Set the optimization level for
The following parameters are stored for each both viewport and renderer. Also toggles the level
level: Face Threshold, Edge Threshold, Bias, Max of display for the viewport. Default=L1.
Edge Len, Material Boundaries, and Smooth
Boundaries. Optimize group
Adjusts the degree of optimization.
Interface
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=0.0 to 1.0 (a 0 value turns Bias off).
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—Turns edges on and off following
optimization. Turns on any open edges. Turns
off any edges between faces whose normals are
Level of Detail group within the face threshold; such edges beyond the
threshold are not turned on. Default=off.
Renderer L1, L2—Set the level of display for the
default scanline renderer. Use Viewports L1
 Patch Select Modifier 751

Preserve group modifiers. It provides a superset of the selection

functions available in the Edit Patch modifier (page
Maintains clean separation at the face level
1–638). You can select vertices, edges, patches,
between material and smoothness boundaries.
and elements. You can also change the selection
Material Boundaries—Prevents face collapse across from sub-object level to object level.
material boundaries. Default=off.
Note: When you apply the Patch Select modifier
Smooth Boundaries—Optimizes an object and and then go to any sub-object level, the
maintain its smoothing. When turned on, allows select-and-transform buttons in the toolbar
only faces that share at least one smoothing group are unavailable, and the Select Object button is
to collapse. Default=off. automatically activated.

Update group Using XForm Modifiers to Animate a

Update—Updates the viewports with the current
Patch Selection
optimization settings. Available only when Manual When you apply a Patch Select modifier, there
Update is turned on. are no animation controllers assigned to the
sub-object selection. This means that the selection
Manual Update—Enables the Update button. When
has no way to "carry" the transform information
turned off, Optimize works as it does by default,
needed for animation.
updating the viewport display dynamically.
Note: When using Manual Update, if you make any To animate a sub-object selection using Patch
changes that cause the reevaluation of the stack, Select, apply either an XForm or Linked XForm
the existing optimization display disappears. Click modifier to the selection. These modifiers provide
the Update button again to restore it. the necessary controllers for animating the effects
of transforms. In a sense, they give "whole-object
The Renderer ignores the optimization display status" to the sub-object selection.
in the viewport, using the Optimize settings,
• XForm (page 1–959)
regardless of the state of the Manual Update.
Animates transforms directly on a sub-object
Last Optimize Status group selection. Creates a gizmo and center for the
sub-object selection. You can animate both,
Displays numerical results of optimization with
with the center acting as a pivot point for the
exact before-and-after counts for vertices and
selection.
faces.
• Linked XForm (page 1–712)
Lets you choose another object to control the
Patch Select Modifier animation. The sub-object selection is linked to
the "control object." When you transform the
Make a selection. > Modify panel > Modifier List > Patch
Select control object, the sub-object selection follows
accordingly.
Make a selection. > Modifiers menu > Selection Modifiers
> Patch Select
Procedure
The Patch Select modifier lets you pass a To use the patch select modifier:
sub-object selection up the stack to subsequent
1. Create or select a patch object.
752 Chapter 8: Modifiers

Parameters rollout
2. Go to the Modify panel and choose
Patch Select from the modifier list.
3. Select vertices, 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.
Provides buttons for turning different sub-object
Patch—Selects patches.
modes on and off, working with named selections
Element—Selects elements. and handles, display settings, and information
about selected entities.
For more information on the stack display, see
Modifier Stack (page 3–760). The icons at the top of the Selection rollout let you
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

the edge. Available only when Edge is not the

Edge—Selects an edge beneath the cursor;
current sub-object level.
region selection selects multiple edges within the
region. Get Patch Selection—Selects vertices, edges,
or elements based on the last patch selection.
Patch—Selects a patch beneath the cursor; This selection is added to the current selection.
region selection selects multiple patches within Available only when Patch is not the current
the region. sub-object level.

Element—Selects all contiguous faces in an Select by Material ID group

object; region selection selects the same. Selects faces based on their material ID.
Select By Vertex—Selects any sub-objects at the ID—Set the spinner to the ID number you want to
current level that use a vertex you click. Applies select, and then click the Select button. Press Ctrl
to all sub-object levels except Vertex. Also works while clicking to add to the current selection, or
with Region Select. press Alt to remove from the current selection.
Ignore Backfaces—Selects only those edges,
Named Selection Sets group
patches, or elements whose normals make them
visible in the viewport. When turned off (the These functions are primarily for copying
default), selection includes all sub-objects, named selection sets (page 1–83) of sub-objects
regardless of the direction of their normals. between similar objects, and between comparable
modifiers and editable objects. For example, you
Note: The state of the Backface Cull setting in the
can apply a patch select modifier to a sphere,
Display panel doesn’t affect sub-object selection.
create a named selection set of edges, and then
Thus, if Ignore Backfacing is turned off, you can
copy the selection to a different sphere that’s been
select sub-objects even if you can’t see them.
converted to an editable patch object. You can
Note: The state of the Ignore Backfaces check box even copy the selection set to a different type of
also affects edge selection at the Edge sub-object object, because the selection is identified by the
selection level. entities’ ID numbers.

Get from Other Levels group The standard procedure is to create a selection set,
name it, and then use Copy to duplicate it into the
Applies selections from one sub-object level to
copy buffer. Next, select a different object and/or
another.
modifier, go to the same sub-object level as you
Get Vertex Selection—Selects edges, patches, were in when you copied the set, and click Paste.
or elements based on the last vertex selection. Note: Because sub-object ID numbers vary from
The selection is added to the current selection. object to object, the results of copying named
Available only when Vertex is not the current selection sets between different objects can be
sub-object level. unexpected. For example, if the buffered set
Get Edge Selection—Selects vertices, patches, or contains only entities numbered higher than any
elements based on the last edge selection. Selects that exist in the target object, no entities will be
those vertices, patches, or elements that contain selected when the set is pasted.
754 Chapter 8: Modifiers

Copy—Places a named selection into the copy the object by manipulating the patch object or
buffer. adjusting the various controls in the Patch Deform
panel.
Paste—Pastes a named selection from the copy
buffer. Not all objects can be used with PatchDeform.
Objects that are valid PatchDeform targets include:
Select Open Edges—Selects all edges with only one
Plane, Cylinder, Cone and Torus.
face. In most objects, this will show you where
missing patches exist. Available only at the Edge This modifier is also similar to the SurfDeform
sub-object level. modifier (page 1–848), except that it uses a patch
surface instead of a NURBS Point or CV surface.
Selection Info
There’s also a world-space version of the
At the bottom of the Patch Select Parameters PatchDeform modifier. See PatchDeform (WSM)
rollout is a text display giving you information (page 1–552). Generally, the PatchDeform
about the current selection. If 0 or more than one object-space modifier leaves the object in place
sub-object is selected, the text gives the number while moving the patch to the object, while the
and type selected. If one sub-object is selected, the PatchDeform world-space modifier leaves the
text gives the ID number and type of the selected patch in place while moving the object to the
item. patch. Also, the WSM version has a Move to Patch
Note: When the current sub-object type is Patch or button, while the object-space version does not.
Element, selection information is given in Patches.
Procedure
Soft Selection rollout To use the PatchDeform modifier:
See Soft Selection Rollout (page 1–963) for 1. Select an object.
information on the Soft Selection rollout settings.
2. Apply PatchDeform.
3. On the Parameters rollout, click Pick Patch.
PatchDeform Modifier 4. Select a patch object.

Select an object. > Modify panel > Modifiers List > Deform the object by adjusting the controls in
Object-Space Modifiers > PatchDeform the Patch Deform panel and by manipulating
Select an object. > Modifiers menu > Animation Modifiers the patch object.
> Patch Deform
Interface
The PatchDeform modifier deforms an object Modifier Stack
based on the contours of a patch object. This
modifier works similarly to the PathDeform Gizmo—At this sub-object level, you can
modifier (page 1–755), but uses a quad-based patch transform and animate the gizmo like any other
object instead of a spline shape or NURBS curve object, altering the effect of the modifier. The
path. PatchDeform gizmo is a representation of the
deforming patch object, so transforming it
To use the PatchDeform modifier, apply it to the determines which part of the patch affects the
object you want to deform, click the Pick Patch modified object.
button, and then select a patch object. Deform
 PathDeform Modifier 755

Parameters rollout U Percent—Moves the object along the U

(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
at the center of the gizmo patch. A setting of 0
percent places the object at the left edge of the
gizmo patch, as seen from the viewport where the
patch was created.
U Stretch—Scales the object along the U
(horizontal) axis of the gizmo patch.
V Percent—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.
V Stretch—Scales the object along the V (vertical)
axis of the gizmo patch.
Rotation—Rotates the modified object with respect
Patch Deform group to the gizmo patch.
Provides controls that let you pick the patch and Move To Patch—Clicking this button moves the
adjust the object’s position and deformation along object from its original position to the patch object
the gizmo copy of the patch. you are using for deformation. This button is only
available with the PatchDeform (WSM).
Patch—Displays the name of the selected patch
object.
Patch Deform Plane group
Pick Patch—Click this button, and then select the
XY/YZ/ZX—Choose a two-axis plane of the object
patch object you want to use for the deformation.
to make parallel with the XY plane of the gizmo
A gizmo is created for the object that matches
patch.
the patch. Once you assign the patch gizmo, you
can adjust the deformation using the remaining Flip—Reverses the gizmo direction.
controls in this rollout.
Note: Patch Deform can be used only with a
rectangular quad patch form. The software makes
PathDeform Modifier
no distinction between quad-style patches and Select an object. > Modify panel > Modifier List >
certain primitive meshes. Examples of suitable Object–Space Modifiers > PathDeform
patches are the primitive quad patch object (page Select an object. > Modifiers menu > Animation Modifiers
1–994), the primitive cylinder (page 1–177), and > Path Deform
the primitive torus (page 1–180). (The cylinder
actually has tri-patches at each end, but since they The PathDeform modifier deforms an object
are at the end of the list of patches, PatchDeform using a spline or NURBS curve as a path. You can
just ignores these extra faces.) move and stretch the object along the path, and
756 Chapter 8: Modifiers

rotate and twist it about the path. There’s also a 2. Apply PathDeform.
world-space modifier version. See PathDeform 3. On the Parameters rollout, click Pick Path.
(WSM) (page 1–552).
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:

PathDeform creates a wiggle for the snake.

Using a Path to Deform an Object 1. In the Top viewport, create a circle with a radius
Generally, you use the PathDeform modifier of 100 units.
when you want to keep an object in place while 2. In the Front viewport, create a text shape with
deforming to a path. Use the PathDeform six or seven letters, and a size of 25. (You can
world-space modifier when you want to move an use the default "MAX Text".)
object to a path while keeping the path in the same 3. Apply an Extrude modifier (page 1–680) to the
world space. text shape and set Amount to -5.0.
The PathDeform (WSM) modifier replaces the 4. On the main toolbar, set the Reference
space-warp version that shipped with previous Coordinate System to Local.
versions of 3ds Max, and is incompatible with
Looking at the axis tripod for the extruded text
previous versions. See PathDeform (WSM) (page
object, you can see that its Z axis runs from
1–552) for details on how to fix incompatibilities
back to front, relative to world space.
from the previous version.
5. Apply a PathDeform object-space modifier to
To use the PathDeform modifier, you apply it, then the text object, click the Pick Path button, and
click the Pick Path button and select a shape or then select the circle.
curve consisting of a single open or closed spline.
Once the object is assigned to the path, you can A circular gizmo is displayed. The circle
adjust the parameters to deform or animate the runs through the local Z axis of the text
object along a gizmo copy of the path. object. Because of its orientation, its effect is
minimal, but you can see a slight wedge-shaped
Procedures deformation from the top view.

To use the PathDeform modifier: 6. In the Path Deform Axis group, choose the Y
option, and then the X option.
1. Select an object.
 PathDeform Modifier 757

The circle gizmo rotates to run through the Parameters rollout

specified axes, deforming the text object
differently with each change.
7. Adjust the Percent spinner to view its effect,
and then set it to 0. 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 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.
Path Deform group
10. In the stack display, turn off sub-object
selection by selecting the original circle shape. Provides controls that let you pick a path and
adjust an object’s position and deformation along
11. Adjust the circle’s radius.
the path.
The deformation of the text object changes
Path—Displays the name of the selected path
because its gizmo is an instance of the shape
object. object.
Pick Path—Click this button and then select a spline
Interface or NURBS curve to use as the path. The gizmo
Modifier Stack that appears is shaped like the path and is aligned
with the local Z axis of the object. Once you assign
Gizmo—At this sub-object level, you can transform
the path, you can adjust the deformation of the
and animate the gizmo like any other object,
object using the remaining controls in this rollout.
altering the effect of the modifier. The PathDeform
The path you pick should contain a single, open or
gizmo is a representation of the deforming path
closed curve. If you use a path object consisting of
object, so transforming it determines which part
multiple curves, only the first one is used.
of the path affects the modified object.
Percent—Moves the object along the gizmo path
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 • Nth-frame sampling, so you can sample every
effect can be subtle. few frames to save disk space if sampling
every frame is unnecessary, or record multiple
Path Deform Axis group samples per frame for improved motion
X/Y/Z—Choose one to rotate the gizmo path to blurring.
align with a specified local axis of the object. • The "strength" is adjustable in Absolute mode,
so you can easily blend the cache with what is
Flip—Reverses the gizmo path 180 degrees about
below in the stack.
the specified axis.
• Improved cache file management.
• Pre-loaded caches to speed up playback.
Point Cache Modifier
Select an object. > Modify panel > Modifier List >
Procedure
Object–Space Modifiers > Point Cache To use the Point Cache modifier:
Select an object. > Modifiers menu > Cache Tools > Point 1. Use one or more modifiers to animate an
Cache
object. For example, you might apply a Bend
modifier (page 1–560), and then set keyframes
The Point Cache modifier lets you store modifier
for the Angle parameter to make the object
and sub-object animation to a disk file that records
bend back and forth.
only changes in vertex positions, and then play
back the animation using the information in the 2. Click Play Animation.
disk file instead of the modifier keyframes. This is If the animation is a good candidate for caching,
useful when the computation required for vertex the playback will drop many frames with Real
animation becomes so excessive that it causes Time Playback turned on, and will run slowly
animation playback to run slowly or drop frames. with Real Time Playback turned off.
Another use for this modifier is to apply the same
animation to a number of objects, varying the 3. From the Modify panel > Modifier List,
Start Time and Strength settings for each so they choose Object-Space Modifiers > Point Cache.
don’t all move identically. 4. On the Parameters rollout > Record group, set
The Point Cache modifier is also available in a frame numbers for Start Time and End Time.
world-space version, for which usage is the same. 5. If you plan to render the cached animation
using motion blur, decrease the Sample Rate
Special Features in Point Cache setting.
Both versions of the Point Cache modifier provide 6. Click the Record button, and use the Save
enhanced animation capabilities, including: Cache dialog to specify a cache file.
• Adjustable playback ranges and a playback The software records the animation to the
graph, to animate which cache frame is played cache file. When finished, the cache file name
back. This lets you load a cache and then appears in the Cache File group.
animate it, slowing down, stopping, reversing, 7. In the Record group, click Disable Modifiers
etc. Below.
 Point Cache Modifier 759

This turns off all the object’s modifiers below Interface

Point Cache so that only the cached vertex Parameters rollout
animation will appear when you play back the
animation.
8. Click Play Animation again.
This time the animation plays back quickly and
smoothly.

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 example, a value of 10.0 records every tenth frame.
a new file, use Record to create the cache data. Decreasing the value causes multiple samples to
be recorded for each frame. For example, if you
Load—Loads a vertex animation from a cache
set Sample Rate to 0.1, Point Cache records 10
file on disk into the Point Cache modifier. If the
samples per frame at evenly spaced intervals.
number of vertices in the cache file does not match
the number of vertices in the object, a warning Record—Stores the vertex animation to a disk
appears, but no error occurs. file. If no cache file is specified, or the specified
file doesn’t exist, activates the Save Points dialog,
Unload—Temporarily frees the current cache file,
which lets you specify a path and file name for
so it can be edited or deleted externally.
the cache file. Click Save to record the file, and
Reload—Reopens the current cache file, if then load it into the Point Cache modifier, ready
previously unloaded. for playback.
Tip: To change the path or file name, use Cache File
Cache Info group
group > New and specify a different cache file.
Displays cache statistics in read-only format,
Enable Modifiers Below—Turns on all stack
including the point count, sample rate, sample
modifiers below the Point Cache modifier. Use this
count, start/end frames, and errors, if any.
when you want to change modifier settings.
Record group Disable Modifiers Below—Turns off all the object’s
Contains settings for recording cached animation. stack modifiers below Point Cache so that only the
cached vertex animation appears when you play
Start Frame—Sets the first frame for recording the back the animation.
vertex animation. Default=first frame of the active
time segment. Load Type group
Using decimal fractions lets you start at a Local—The method the modifier uses to load the
sub-frame setting when using a Frame:Ticks time cache file. The options are:
display. Default=0.0. • Stream—Keeps the cache file open for fast
End Frame—Sets the last frame for recording the access, but loads only a single frame at a time to
vertex animation. Default=last frame of the active conserve memory. This is the default mode.
time segment. • Per-Sample—Opens the cache file, reads a single
Using decimal fractions lets you start at a frame, and then immediately closes the file.
sub-frame setting when using a Frame:Ticks time This is slower than the Stream method, but is
display. Default=0.0. useful if many users are reading/writing the
same set of cache files since the cache files won’t
Sample Rate—Sets the number of frames between be locked open as you read from them.
each recorded sample. When rendering with
• Pre-Load—Loads the entire cache file into
motion blur, which uses sub-frame sampling,
memory for fast access, and then closes the
decrease this value. Default=1.0.
file. This is particularly useful in networked
At the default value of 1.0, Point Cache records situations, or when a few cache files are used by
one sample per frame. Increasing the value causes many objects in one scene. In the latter case,
a sample to be recorded every Nth frame. For
 Point Cache Modifier 761

using this option prevents each object from include at least some of the originally animated
thrashing the disk on playback. vertices.
Be conservative in using this, as it can consume
Playback Type group
a great deal of memory. However, if one cache
file is used by several objects, the cache is Playback Type—Specifies how playback occurs:
loaded into memory only once. • Original Range—Plays back the cache over
Slave—These options apply if 3ds Max is running the range it was originally recorded, so the
as a network-rendering client; see the preceding animation will always be the same as the
for details. In this situation, only Per-Sample and original.
Pre-Load are available, and the default option is • Custom Start—Plays back the cache from a
Per-Sample, so the clients don’t lock files. custom start time, set by Start Frame, but the
[label]—This read-only field displays the size of the animation length and playback speed will be
pre-loaded data when Local is set to Pre-Load. the same as the original animation.
• Custom Range—Lets you set start and end
Playback Options group frames within which the current cache plays
Strength—Affects the motion relative to the back. Using a range that is smaller than the
original animation. Applies only when Relative original record range plays the cache back
Offset is on. Default=1.0. Range=-10.0 to 10.0. faster, while specifying a larger range plays the
cache back slower.
At 1.0, the animation plays back the same as
• Playback Graph—Lets you animate which cache
recorded. With strengths between 0.0 and 1.0, the
frame is played at any given time.
animation is relatively restrained. At strengths
greater than 1, the animation is exaggerated. With For example, if you record a cache from frames
negative Strength settings, the motion is reversed. 0 to 100 and then want it to play back twice
as fast forward and then in reverse, choose
Relative Offset—Enables offsetting the animated
this option, turn on Auto Key, set the Frame
vertex positions relative to their positions parameter to 0.0 at frame 0, 100.0 at frame 50,
as recorded, based on the Strength setting. and then back to 0.0 at frame 100. The function
Default=off. curve of this parameter in Track View shows
Note: When you turn on Relative Offset and play how the cache is played back. Animating the
back a cached animation with the modifiers turned Frame value lets you achieve unusual effects
on, the cached vertex positions are calculated such as slowing a cache down over time,
relative to their positions as calculated by the creating a ping-pong effect during playback,
modifiers. For example, if you record a Bend etc.
animation to a cache file, and then play it back
Start Frame—The frame number at which the
with both Relative Offset and the Bend modifier
cached animation starts playing back. Using
on and Strength=1.0, all vertex positions are
decimal fractions lets you start at a sub-frame
doubled, resulting in exaggerated motion.
setting when using a Frame:Ticks time display.
Apply To Whole Object—When off, only the active Available only when Playback Type is set to
vertex selection is animated. In this case, for the Custom Start or Custom Range. Default=0.0.
cache animation to be visible, the selection must
762 Chapter 8: Modifiers

End Frame—The frame number at which the When you apply the Poly Select modifier
cached animation starts playing back. Using and then go to any sub-object level, the
decimal fractions lets you start at a sub-frame select-and-transform buttons in the toolbar
setting when using a Frame:Ticks time display. are unavailable, and the Select Object button is
Available only when Playback Type is set to automatically activated.
Custom Range. Default=0.0.
Using XForm Modifiers to Animate a Poly
Frame—Lets you animate playback of the cache;
Selection
for details, see Playback Graph, above.
When you apply a Poly Select modifier, there
Clamp Graph—Controls what gets loaded when
are no animation controllers assigned to the
the Playback Graph frame is out of the original
sub-object selection. This means that the selection
recorded range.
has no way to "carry" the transform information
Take an example in which the playback frame is set needed for animation.
to 105, but the original cache was recorded over
To animate a sub-object selection using Poly
frames 0-100. With Clamp Graph on, the loaded
Select, apply either an XForm or Linked XForm
frame will be 100. If it’s off (the default), the cache
modifier to the selection. These modifiers provide
will "wrap around" and load frame 5.
the necessary controllers for animating the effects
This lets you loop caches more easily. In the of transforms. In a sense, they give "whole-object
above example, you could simply have a two-key status" to the sub-object selection.
playback graph. The first key would be at frame • XForm (page 1–959)
0 with a value of 0.0, and the second would be
Animates transforms directly on a sub-object
at frame 100 with a value of 100.0. You would
selection. Creates a gizmo and center for the
then set the out-of-range type (page 2–551) for the
sub-object selection. You can animate both,
Frame parameter (Playback Frame in Track View)
with the center acting as a pivot point for the
to Linear, and the cache would loop back smoothly
selection.
to the beginning at frame 101.
• Linked XForm (page 1–712)
Lets you choose another object to control the
Poly Select Modifier animation. The sub-object selection is linked to
the "control object." When you transform the
Make a selection. > Modify panel > Modifier List > Poly
Select control object, the sub-object selection follows
accordingly.
Make a selection. > Modifiers menu > Selection Modifiers
> Poly Select
Procedure
The Poly Select modifier lets you pass a sub-object To use the Poly Select modifier:
selection up the stack to subsequent modifiers.
1. Create or select an object.
It provides a superset of the selection functions
available in Editable Poly (page 1–1022). You can Note: Applying a Poly Select modifier to an
select vertices, edges, borders, polygons, and object other than a polymesh type will convert
elements. You can change the selection from the object to a polymesh object. If you want
sub-object level to object level. more control over the conversion, add a Turn
To Poly modifier (page 1–874) before applying
 Poly Select Modifier 763

the Poly Select modifier. The Turn To Poly Parameters rollout

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.
Provides buttons for accessing different sub-object
Edge—Selects edges. levels, working with named selections and handles,
display settings, and information about selected
Border—Selects borders.
entities.
Polygon—Selects polygons.
The icons at the top of the Selection rollout let you
Element—Selects elements. specify the method of face selection.
For more information on the stack display, see Clicking a button here is the same as choosing a
Modifier Stack (page 3–760). 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 selection selects multiple polygons within the
previous selection. For example, if you select region.
a vertex, and then Ctrl +click the Polygon
button, all polygons that use that vertex are Element—Selects all contiguous polygons in
selected. an object; region selection selects the same.
• To convert the selection to only sub-objects By Vertex—Selects any sub-objects at the current
all of whose source components are originally level that use a vertex you click. Applies to all
selected, hold down both Ctrl and Shift sub-object levels except Vertex. Also works with
as you change the level. For example, if you Region Select.
convert a vertex selection to a polygon selection
with Ctrl+Shift +click, the resultant selection Ignore Backfaces—Selecting sub-objects selects
includes only those polygons all of whose only those whose normals make them visible in the
vertices were originally selected. viewport. When turned off (the default), selection
includes all sub-objects, regardless of the direction
Vertex—Selects a vertex beneath the cursor;
of their normals.
region selection selects vertices within the region. Note: The state of the Display properties (page 1–55)
> Backface Cull setting doesn’t affect sub-object
Edge—Selects a polygon edge beneath the selection. Thus, if Ignore Backfacing is turned off,
cursor; region selection selects multiple edges you can select sub-objects even if you can’t see
within the region. them.
Note: The state of the Ignore Backfaces check box
Border—Turns on Border sub-object mode, also affects edge selection at the Edge sub-object
which lets you select an area on a mesh that can selection level.
generally be described as a hole. Areas like this are
Shrink—Reduces the sub-object selection area
usually sequences of edges with faces on only one
side. For example, a box doesn’t have a border, but by deselecting the outermost sub-objects. If
the Teapot object has several of them: on the lid, the selection size can no longer be reduced, the
on the body, on the spout, and two on the handle. remaining sub-objects are deselected.
If you create a cylinder, then delete the top face, Grow—Expands the selection area outward in all
the top row of edges forms a border. available directions.
When the Border sub-object level is active, you For this function, a border is considered to be an
can’t select edges that aren’t on borders. Clicking a edge selection.
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
With Shrink and Grow, you can add or remove neighboring
connect). elements from the edges of your current selection. This works
at any sub-object level.
Polygon—Selects all coplanar polygons
Ring—Expands an edge selection by selecting all
beneath the cursor. Usually, a polygon is the area
edges parallel to the selected edges. Ring applies
you see within the visible wire edges. Region
only to edge and border selections.
 Poly Select Modifier 765

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
while clicking to add to the current selection, or
press Alt to remove from the current selection.
Ring selection adds to the selection all the edges that are
parallel to the ones selected originally.
Named Selection Sets group
Loop—Expands the selection as far as possible, in
These functions are primarily for copying
alignment with selected edges. named selection sets (page 1–83) of sub-objects
Loop applies only to edge and border selections, between similar objects, and between comparable
and propagates only through four-way junctions. 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.
Loop selection extends your current edge selection by adding
The standard procedure is to create a selection set,
all the edges aligned to the ones selected originally.
name it, and then use Copy to duplicate it into the
Get from Other Levels group copy buffer. Next, select a different object and/or
modifier, go to the same sub-object level as you
Applies selections from one sub-object level to were in when you copied the set, and click Paste.
another.
Note: Because sub-object ID numbers vary from
Get Vertex Selection—Selects faces based on the object to object, the results of copying named
last vertex selection. Selects all faces shared by selection sets between different objects can be
any selected vertex. The selection is added to the unexpected. For example, if the buffered set
current selection. Available only when the current contains only entities numbered higher than any
sub-object level is not Vertex. that exist in the target object, no entities will be
Get Poly Selection—Selects vertices based on the
selected when the set is pasted.
last polygon/element selection. This selection Copy—Places a named selection into the copy
is added to the current selection. Available only buffer.
when the current sub-object level is not Polygon
Paste—Pastes a named selection from the copy
or Element.
buffer.
Get Edge Selection—Selects faces based on the last
Select Open Edges—Selects all edges with only one
edge selection. Selects those faces that contain the
face. In most objects, this will show you where
edge. Available only when the current sub-object
missing faces exist. Available only at the Edge or
level is not Edge or Border.
Border sub-object level.
766 Chapter 8: Modifiers

Selection Info Procedures

At the bottom of the Parameters rollout for Mesh Using the Preserve modifier:
Select is a text display giving you information 1. Create an object. Before you edit it, create a
about the current selection. If 0 or more than one copy.
sub-object is selected, the text gives the number
2. Edit the copy at the sub-object level, pushing
and type selected. If one sub-object is selected, the
and pulling vertices, faces, and so on.
text gives the ID number and type of the selected
item. 3. Apply the Preserve modifier to the copy, click
the Pick Original button, and then select the
Note: When the current sub-object type is Element,
original, unmodified object.
selection information is given in polygons When
the current sub-object type is Border, selection 4. Adjust controls in the Preserve modifier to
information is given in edges. fine-tune the mesh.

Soft Selection rollout Example: Use the Preserve modifier on a geosphere:

Soft Selection controls affect the action of 1. Create a GeoSphere (page 1–176) and use
sub-object Move, Rotate, and Scale functions. Shift +Move to make a copy of it.
When these are on, 3ds Max applies a spline curve Tip: If you want to see the effect of Preserve on
deformation to unselected vertices surrounding mapping, apply a checker-mapped material to
the transformed selected sub-object. This provides the sphere and display it in the viewports before
a magnet-like effect with a sphere of influence making the copy.
around the transformation. 2. Convert the copy to an editable mesh (page
For more information, see Soft Selection Rollout 1–996).
(page 1–963). 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
Preserve Modifier one radius in distance.
Modify panel > Make a selection. > Modifier List > Notice the stretched edges between the moved
Object-Space Modifiers > Preserve vertices and the remaining vertices.
Make a selection. > Modifiers menu > Parametric 4. While still at the Vertex sub-object level, apply
Deformers > Preserve
the Preserve modifier.
The Preserve modifier lets you retain, as much as 5. Click the Pick Original button, and then select
possible, the edge lengths, face angles, and volume the original (unedited) sphere.
of an edited and deformed mesh object using The selected vertices move back toward the
an unmodified copy of the object before it was sphere in an attempt to maintain the original
deformed. When you push and pull vertices at the volume and edge lengths.
sub-object level, the process typically stretches the
6. Turn on Invert Selection.
edges and often alters the face angles, resulting
in irregular topology. You can use the Preserve The selected vertices return to their moved
modifier to generate more regular edge lengths, position, and the unselected vertices (the
and a "cleaner" mesh.
 Preserve Modifier 767

inverted selection) move up toward the selected Example: Animating a preserved object:
vertices. You can animate the Preserve parameters, but the
7. Turn off Invert Selection and slowly reduce the following procedure shows you how to use Morph
Iterations to 0. and Preserve together.
The object now looks as it did before you 1. Remove the Preserve modifier from the copied
applied Preserve. sphere, and go to object level (instead of
8. Increase Iterations to the default 25, and then sub-object level).
increase it to approximately 75.
The object is now almost completely spherical 2. With the copied (and deformed) sphere
again. still selected, choose Create panel > Compound
Objects > Morph to make it into a Morph
9. Set Iterations back to 25, and then try different object.
Edge Lengths, Face Angles, and Volume
3. Make sure Instance is chosen in the Pick Targets
settings. (You can restore the defaults by
settings Edge Lengths to 1.0, and Face Angles rollout.
and Volume to 0.3. 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.
The object now morphs from a sphere to a
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
a preserved and deformed sphere. Note that
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:

Steps in applying the Preserve modifier to a geosphere 1. Reset the program, create a box, and convert
it to an editable mesh.
2. Use Shift +Move to make a copy.
768 Chapter 8: Modifiers

3. Apply Preserve to the third patch, using the

3. Use the Modify panel to select the top first as the original.
four vertices in the second box. Move them 4. Select Selected Verts Only and Invert Selection.
upward in Z, making the copied box taller than
the original. 5. Set Iterations to 100.

4. Apply Preserve, and pick the first box as the 6. Select the second patch and go to the
original. Sub-Object > Vertex level.

The selected vertices move down to match the 7. Select a single vertex in the middle of the patch
original edge lengths. and move it upward in Z.

5. Set Iterations to 0 to move the vertices back up, The third patch becomes a floating
then turn on Invert Selection, and set iterations handkerchief.
back up to 25. 8. Undo the vertex move.
The selected vertices stay in their original 9. Select the far two corner vertices of the second
locations, but the unselected vertices move patch, and drag them upward in Z.
upward to restore the original edge lengths. Now, you’ve got the beginnings of a sheet
6. Turn Iterations back down to 0. Turn on Apply hanging on the line.
To Whole Mesh (Invert Selection becomes
unavailable), and then turn Iterations back up Interface
to 25.
Preserve is now applied to the whole mesh.
Since all vertices are affected, the top and
bottom of the box approach each other.
7. Turn 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
Verts Only.
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. Make a copy, and then make a reference of the
Original—Displays the name of the selected
copy. original object. (Note that the so-called "original"
You should have a total of three objects in the object doesn’t actually have to be the original.
scene. It’s simply a copy of the object that represents its
unmodified topology.)
 Projection Modifier 769

Pick Original—Click this, and then select an Note: If all of the check boxes are turned off,
unmodified copy of the current object. You Preserve uses whatever active selection is passed
should pick an object with the same topology as up the stack. Thus, if a Mesh Select modifier is
the current object, which has the same number set to the Vertex level, then that vertex selection is
of vertices. While you can select a completely used. If the same Mesh Select modifier is set to the
different object with equal vertices, the results are top (object) level, then the entire object is affected.
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 Projection Modifier
to zero, the original object has no effect, as if the Select an object. > Modify panel > Modifier List >
Preserve modifier were never applied. Object-Space Modifiers > Projection

Preservation Weights group The Projection modifier is used primarily to

manage objects for producing normal bump maps
Edge Lengths, Face Angles, Volumes—Adjusts the
(page 3–150). You apply it to the low-resolution
relative importance of the three components you’re
attempting to preserve: edge lengths, face angles, object, and then pick a high-resolution object as
the source for the projected normals. When you
and volume. In most cases, you’d leave these at
use the Render To Texture dialog (page 3–156) to
their default settings, but you can achieve some
interesting effects by altering them. Higher face set up projection, Render To Texture applies the
Projection modifier to the low-resolution object
angles, for example, produce stiffer meshes.
automatically. You can also explicitly apply the
Selection group Projection modifier to set up the projection before
you use Render To Texture.
Provides options that let you specify which
Note: The low-resolution object requires UV
selection level to take from previous selection
coordinates, but the high-resolution source object
modifiers in the stack. The Preserve modifier acts
on the specified selection. does not need to have them. When the normals
map is rendered, you can choose to have Render
Apply to Whole Mesh—Applies Preserve to the To Texture apply an “Automatic Flatten UVs”
entire object, regardless of the selection passed (Unwrap UVW) modifier (page 1–878) to the top of
from previous levels of the stack. Disables the the low-res object’s stack; or you can use existing
other two check boxes. mapping, if such exists.
Selected Verts Only—Uses previous sub-object You can apply more than one instance of the
vertex selections. Note that it doesn’t matter if Projection modifier to the same object, and you
the Vertex sub-object level is active in a previous can instance it across multiple objects.
stack item. As long as vertices have been selected,
Preserve will use that selection. The Projection modifier is a topology-dependent
modifier (page 3–1023), so when you select an
Invert Selection—Inverts the selection passed up item in the stack that is lower than the Projection
the stack. modifier, you see a warning dialog that asks if
770 Chapter 8: Modifiers

you want to proceed. (The same is true of the 1. In the Projection modifier, go to the Face or
Automatic Flatten UVs modifier.) Element sub-object level.
See Selection Rollout (Projection Modifier) (page
Projection and Sub-Object Selections 1–771).
You can match geometry to sub-object selections. 2. Make a sub-object selection, then on the
There are two ways to do so: matching material Reference Geometry rollout (page 1–772), enter
IDs, or matching named selections of sub-object a descriptive name in the Name field.
geometry.
3. Click the Add button or press Enter .
Matching Material IDs
The name of the sub-object selection set is
Here is a sample workflow for using material IDs added to the list.
to match portions of the low-res object to different
4. Click in the list to highlight the selection-set
high-res objects:
name, click Pick or Pick List, and then select
1. At the level of the low-res object itself, the high-res source object to associate with the
assign differing material IDs to different face sub-object selection.
selections.
5. Repeat steps 2 through 4 to associate different
To do so, the low-res object must be a surface sub-object selections with different source
model; that is, an editable mesh, editable objects.
poly, editable patch, or NURBS surface. Use
6. Choose Rendering > Render To Texture.
the Surface Properties rollout to change the
material ID of sub-object selections. The Render To Texture dialog appears.
2. For the high-res target objects, assign 7. In the Projection group of the Objects To Bake
corresponding material IDs. rollout (page 3–158), turn off Object Level and
turn on Sub-Object Levels.
An easy way to do this is to apply the Material
modifier (page 1–714). 8. Click Render.

3. In the Resolve Hit group of the Projection Render To Texture renders a separate texture
Options dialog (page 3–165), turn on Hit Only for each of the named sub-object selections
Matching Material ID. contained in the Projection modifier.
4. Render to texture.
Interface
The texture for faces of the low-res object
receive texture element information only from The interface to the Projection modifier includes
the source object that had the corresponding these rollouts:
material ID. Selection Rollout (Projection Modifier) (page
1–771)
Matching Selected Geometry
Soft Selection Rollout (page 1–963)
Here is a sample workflow for using sub-object
selections to match portions of the low-res object Reference Geometry Rollout (Projection Modifier)
to different high-res objects. (page 1–772)
Cage Rollout (Projection Modifier) (page 1–773)
 Selection Rollout (Projection Modifier) 771

Selection Check Rollout (Projection Modifier) (page The Face sub-object level lets you assign different
1–775) source geometry to different portions of a surface.
Projection Rollout (Projection Modifier) (page
Element—Click to turn on the Element
1–776)
sub-object level.
The element sub-object level lets you assign
Selection Rollout (Projection different source geometry to individual elements.
Modifier) (An element is a group of contiguous faces.)

Select an object. > Modify panel > Modifier List > Shrink—Reduces the sub-object selection area
Object-Space Modifiers > Projection > Selection rollout by deselecting the outermost sub-objects. If
the selection size can no longer be reduced, the
The Projection modifier’s Selection rollout is for remaining sub-objects are deselected.
managing sub-object selections.
Grow—Expands the selection area outward in all
Interface 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.
Cage—Click to turn on the Cage sub-object
Get Stack Selections—Click to collect sub-object
level. selections from modifiers that are below the
The Cage is the surface from which normals Projection modifier on the stack.
are projected. At the Cage sub-object level, you Select SG—To select by smoothing group value,
can adjust the cage manually by transforming use the spinner to set the number of the smoothing
sub-object selections of cage vertices. group, and then click Select SG.

Face—Click to turn on the Face sub-object Select MatID—To select by material ID, use the
level. spinner to set the ID number, and then click Select
MatID.
772 Chapter 8: Modifiers

• Sub-material drop-down list—When a Interface

multi/sub-object material is applied to the
low-res object, this list shows the names and
numbers of sub-materials that are assigned
to faces or elements of the object. When you
have selected by material ID, the corresponding
sub-material appears in the field above the list.
Clear Selection—When on, each stack, 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.
Name—Lets you enter a name for the current set
of selected sub-objects.

Delete—Click to delete the sub-object

selection set whose name is highlighted in the list.

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

selection set whose name is highlighted in the list.

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’re associated. If you have picked a high-res List. Click Off to hide a geometry. Click Hide
object at the object level, it also shows “Object to show a geometry.
Level” followed by the name of the source object.
Proportion Multiplier—When Proportional is
chosen for sub-object normal bump mapping in
Cage Rollout (Projection Modifier)
the Projection Mapping group of the Objects To Select an object. > Modify panel > Modifier List >
Bake rollout (page 3–158) for Render To Texture, Object-Space Modifiers > Projection > Cage rollout
this value multiplies the default size of the normal
bump map. Range=0.0 to 2.0. Default=1.0. These settings adjust the cage and its display.
The cage is the nonrenderable geometry that the
For example, if Proportional rendering of a Projection modifier uses as the surface from which
sub-object were to render a sub-object selection it ray-traces normals.
at 16 x 16 pixels, changing Proportion Multiplier
to 2.0 would change the size of the normal bump Note: Special export/import functionality
map to 32 x 32 pixels. available on this rollout lets you convert the cage
into standard geometry of the same type and
This control is unavailable unless a sub-object topology as the cage and modified object, which
selection is active. you can edit using standard methods and then use
Pick—To associate high-res geometry with the to define a new shape for the cage. This provides
current selection, click Pick to turn it on, then access to the full range of mesh-editing tools
click a source object in a viewport. available in 3ds Max for shaping the cage to your
precise requirements. For example, with editable
Pick List—To associate high-res geometry with poly, you can take advantage of tools such as
the current selection, click Pick List, then use Loop, Ring, Grow, and Shrink, and quickly switch
the Select Objects dialog (page 1–78) to choose a among sub-object levels such as Face and Vertex.
source object.
Procedure
Display Toggle group
To use Export and Import with a cage:
The Display Toggle group is useful when you
1. Create a cage:
want to compare the hi—res to your low-res
geometry. You can quickly toggle between your 1. Create low-resolution and high-resolution
low-res geometry and your hi-res geometry to objects. In most cases, for best results they
compare versions. You can show selected or all should be arranged concentrically.
hi-res geometry. 2. Apply the Projection modifier to the
Enable—When on, makes it possible to show or
low-resolution object.
hide reference geometries. Default=off. This creates the cage with the same shape
and position as the low-resolution object.
Hide Reference Geometry/Hide Working
Geometry—When Enabled is on, click Hide 3. Use the Reference Geometry rollout controls
Reference Geometry to hide your hi-res geometry. to specify one or more high-resolution
Conversely, click Hide Working Geometry to hide objects.
your low-res geometry. You can also selectively 4. On the Cage rollout, click Update.
show and hide high-res geometries in your Pick
774 Chapter 8: Modifiers

This reshapes the cage, roughly enveloping Interface

the high-resolution object(s).
2. On the Cage rollout, click Export.
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. On the Cage rollout, click Import and then
select the cage object.
Display group
If the cage object type and topology are
the same as the low-resolution object, the Cage—When on, the cage is displayed. When off,
software reshapes the cage to match the cage the cage is hidden except at the Cage sub-object
object’s shape. Alternatively, if the cage object level. Default=on.
can be converted to the same type as the The cage is always displayed at the Cage sub-object
low-resolution object without a change in level, regardless of this toggle’s setting. See
topology, it is also accepted. If not, a warning Selection Rollout (Projection Modifier) (page
appears and no reshaping takes place. 1–771).
Important: The resultant cage matches the • Shaded—When on, the cage is shaded with
imported cage object’s shape, position, orientation, a transparent gray. When off, the cage is
and size exactly. displayed as a blue lattice. Default=off.
If the import is successful, the cage object can The Shaded option can be useful when you
be deleted, or retained for possible future cage need to tell whether or not high-resolution
modification. 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 and then modified using standard mesh-editing
be done. Default=off. methods. After clicking Import, select the object
to import. After importing the object, the cage
Push group conforms to its shape. You can then delete the
These controls let you adjust the size of the cage imported object if you wish.
as a whole, or on a sub-object selection if one is Important: The imported object should be of the same
currently chosen (see Reference Geometry Rollout type (for example, editable mesh) as the projection
(Projection Modifier) (page 1–772)). object (that is, the object with the Projection modifier),
Amount—Change to adjust the size of the cage or be convertible to that type without topology change,
in 3ds Max units. Positive values increase the and must have the identical topology. If it doesn’t
size of the cage; negative values decrease the size. meet either or both of those criteria, an alert appears
Default=0.0. requesting that you select an object of the same type
and identical topology.
Percent—Change to adjust the size of the cage
as a percentage. Positive values increase the size Export—Creates a geometry object from
of the cage; negative values decrease the size. the cage, with the same type and topology as
Default=0.0. the modified object. Clicking Export causes the
Export Cage dialog to open. Accept the default
Auto-Wrap group “Export as” object name or enter a new one, and
then click OK.
By default, the Projection modifier does not
automatically create a cage that wraps around the For a detailed description of the export/import
geometry. To change the cage, use the settings process, see To use Export and Import with a cage:
in this group or the Push group, or adjust cage (page 1–773).
vertices manually at the Cage sub-object level. Reset—Click to reset the cage to a wrapping
Tolerance—The distance in 3ds Max units, that is the same size as the low-resolution target
between the cage and the target geometry. Positive geometry.
values are outside the high-res source geometry;
negative values are inside the source geometry.
Default=varies, depending on the geometry. Selection Check Rollout
(Projection Modifier)
Always Update—When on, the cage automatically
expands around high-res geometry as it is added to Select an object. > Modify panel > Modifier List >
the list (see Reference Geometry Rollout (Projection Object-Space Modifiers > Projection > Selection Check
rollout
Modifier) (page 1–772)). When off, the initial cage
is not updated automatically. Default=off. This rollout lets you check selections to see if any
Update—Click to update the cage. Use this when are overlapping; that is, if a material ID or a face or
Always Update is off. element is assigned to more than one selection.

Import—Lets you specify a mesh object to

define the cage shape. This is typically an object
that was created with Export (see following)
776 Chapter 8: Modifiers

Interface 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 a different object. This data flow is the reverse
of what it is when you project normals from a
high-resolution object to a low-resolution object.

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
Projector list—Shows the active projector plug-ins.
automatically. Default=on.
Projector plug-in drop-down list—Lets you choose
Results group a projector plug-in. Only one projector, Project
After you click Check, the fields in this group Mapping, is provided with 3ds Max. See Project
display the results. The first field is for material Mapping Rollout (Projection Modifier) (page
IDs, and the second is for sub-object selections. 1–777). Additional projectors might be available
If there is no conflict, the first field says “No from third-party sources.
conflicting Mat IDs detected,” and the second says Note: Multiple instances of the Project Mapping
“No conflicting face selections detected.” If there plug-in can be active.
 Project Mapping Rollout (Projection Modifier) 777

Add—Adds a projector of the type chosen in the rollout is visible when a Project Mapping instance
drop-down list. is highlighted in the Projector list on the Projection
rollout (page 1–776). Use Project Mapping to
Remove—Removes the projector that is currently
project a map channel value, material IDs, or
highlighted in the projector list.
vertex attributes from the object that has the
Project to—Shows the name of the geometry to Projection modifier applied, onto other geometry.
which you’re projecting. To choose this geometry,
use the Reference Geometry rollout (page 1–772). Interface
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 Projector name field—Shows the name of the
> Highlight a Project Mapping projector in the Projector
list. > Project Mapping rollout. Project Mapping projector. If you edit this field,
the change is reflected on the Projection rollout
The Project Mapping rollout contains controls (page 1–776).
for the Project Mapping projector plug-in. This
778 Chapter 8: Modifiers

Projection Holder group • Vertex Illum—Projects vertex illumination

(grayscale) values.
Projection Holder name field—Shows the name
of the Projection Holder modifier. If you edit • Vertex Alpha—Projects vertex alpha values.
this field, the change is reflected in the target • Vertex Position—Projects vertex positions.
object’s stack, but not until you click Project on
the Projection rollout. Target Channel group
Create New Holder—When you click the Project Same as Source—When on, the radio buttons in
button in the Project rollout, a Projection Holder this group are disabled, and the Project Mapping
modifier is added to the geometry selection. When projector projects to the same channel that is
Create New Holder is on, 3ds Max creates and adds chosen in the Source Channel group. When
a new modifier each time you click Project. When off, the radio buttons in this group are enabled.
Create New Holder is off, clicking Project simply Default=on.
updates the data in the existing Projection Holder;
The radio buttons are the same as the ones in the
it creates a new Projection Holder modifier only if
Source Channel group. When Same As Source is
none was present, before. Default=off.
off, the chosen map channel or vertex data of the
Same Topology—When on, the source object’s target geometry derives its value from the channel
topology is transferred to the target object. or vertex data chosen in the Source Channel group.
Default=off.
The projection does not take place until you click
Important: You need to turn on Same Topology when Project or Project All on the Projection rollout.
you project to the target object’s Vertex Position.

Always Update—When on, changing the object

with the Projection modifier automatically Project Material IDs—When on, projects material
re-projects and updates the Projection Holder ID values. Default=off.
modifiers on the geometry selections. When off,
The projection does not take place until you click
projection is recalculated only when you click
Project or Project All on the Projection rollout.
Project. Default=off.
This toggle is available only when Create New
Holder is off and Same Topology is on. Projection Holder Modifier
When Always Update is on, changes to the Select an object. > Modify panel > Modifier List >
geometry with the Projection modifier can Object-Space Modifiers > Projection modifier > Geometry
rollout > Choose target geometry > Projection rollout >
manipulate UVW channels or animate vertex Click Add. > Click Project. > Projection Holder is applied
to the target geometry.
colors of the objects with the Projection Holder
modifiers.
The Projection Holder modifier appears for objects
Source Channel group being used by the Projection modifier’s Project
Mapping feature (page 1–776). It contains the
• Map Channel—(The default.) Projects a map data generated by the Project Mapping operation,
channel (page 3–966) value. much as UVW Mapping Add or UVW Mapping
Use the spinner to set the channel value. Clear do for Channel Info manipulations.
• Vertex Color—Projects vertex color values.
 Push Modifier 779

Interface
Relax Modifier
The Projection Holder modifier has no parameters.
Modify panel > Make a selection. > Modifier List >
Object-Space Modifiers > Relax

Push Modifier Make a selection. > Modifiers menu > Parametric

Deformers > Relax
Modify panel > Make a selection. > Modifier List >
Object-Space Modifiers > Push
The Relax modifier changes the apparent surface
Make a selection. > Modifiers menu > Parametric tension in a mesh by moving vertices closer to, or
Deformers > Push
away from, their neighbors. The typical result is
that the object gets smoother and a little smaller
The Push modifier lets you "push" object vertices
as the vertices move toward an averaged center
outward or inward along the average vertex
point. You can see the most pronounced effects on
normals. This produces an "inflation" effect that
objects with sharp corners and edges.
you can’t otherwise obtain.

Relax moves the bowl away from its original contours.

Positive and negative amounts of push applied to an object.
When you apply Relax, each vertex is moved
Interface toward the average position of its neighboring
vertices. A neighboring vertex is one that shares a
visible edge with the current vertex.

Push Value—Sets the distance in world units by

which vertices are moved with respect to the
object center. Use a positive value to move vertices
outward, or a negative value to move vertices
inward.
780 Chapter 8: Modifiers

• Positive Relax values move each vertex in closer

to its neighbors. The object becomes smoother
and smaller.
• When the Relax value=0.0, vertices do not
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.

Original objects compared to relaxed objects Relax Values=1.0, 0.0, -1.0

Iterations=1 (default)
Patches
Iterations—Sets how many times to repeat the
As of version 4, a patch object coming up the Relax process. For each iteration, average locations
modifier stack is not converted to a mesh by are recalculated and the Relax Value is reapplied to
this modifier. A patch object input to the Relax every vertex. Default=1.
modifier retains its patch definition. If a file
• For 0 iterations, no relaxation is applied.
created by a previous version of 3ds Max contains
a patch object applied with the Relax modifier, it • Increasing iterations for positive Relax Value
will be converted to a mesh to maintain backward settings smooths and shrinks an object. With
compatibility. very large iteration values, the object shrinks
to a point.
Interface • Increasing iterations for negative Relax Value
settings exaggerates and expands an object.
With relatively few iterations, the object
becomes jumbled and almost unusable.

Relax Value—Controls how far a vertex moves for

Iterations=0, 10, 50
each iteration. The value specifies a percentage
of the distance from the original location of a Relax Value=0.5 (default)

vertex to the average location of its neighbors.

Range=-1.0 to 1.0. Default=0.5.
 Renderable Spline Modifier 781

Renderable Spline Modifier

Select a shape. > Modify panel > Modifier List >
Renderable Spline

The Renderable Spline modifier lets you set the

renderable properties of a spline object, without
Iterations=0,1, 5
collapsing the spline to an editable spline. This is
Relax Value=-0.5
particularly useful with splines you have linked
Keep Boundary Pts Fixed—Controls whether to from AutoCAD. It also lets you apply the same
vertices at the edges of open meshes are moved. rendering properties to multiple splines at once.
Default=on. Note: This modifier cannot be applied to NURBS
When Keep Boundary Pts Fixed is on, boundary curves.
vertices do not move while the rest of the object
is relaxed. This option is particularly useful Interface
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. 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 • Sides—Sets the number of sides for the spline
displayed in the viewport as a 3D mesh using the mesh in the viewports or renderer. For example,
Radial or Rectangular parameters set for Renderer. a value of 4 produces a square cross-section.
In previous versions of the program, the Display • Angle—Adjust the rotational position of the
Render Mesh performed the same operation. cross section in the viewports or renderer. For
Use Viewport Settings—Lets you set different example, if you have a square cross section you
parameters for viewport display and rendering, can use Angle to position a “flat” side down.
and displays the mesh generated by the Viewport Rectangular—Displays the spline as a 3D object
settings in the viewports. Available only when with a rectangular cross-section.
Enable in Viewport is turned on.
• Length—Specifies the size of the cross–section
Generate Mapping Coords—Turn this on to apply along the local Y axis.
mapping coordinates. Default=off.
• Width—Specifies the size of the cross–section
3ds Max generates the mapping coordinates in along the local X axis.
the U and V dimensions. The U coordinate • Angle—Adjusts the rotational position of the
wraps once around the spline; the V coordinate is cross-section in the viewport or renderer. For
mapped once along its length. Tiling is achieved example, if you have a square cross-section you
using the Tiling parameters in the applied material. can use Angle to position a "flat" side down.
For more information, see Mapping Coordinates
(page 2–1405). • Aspect—Sets the aspect ratio for rectangular
cross-sections. The Lock check box lets you
Real-World Map Size—Controls the scaling method lock the aspect ratio. When Lock is turned
used for texture mapped materials that are applied on, Width is locked to Depth that results in a
to the object. The scaling values are controlled constant ratio of Width to Depth.
by the Use Real-World Scale settings found in
Auto Smooth—When on, the spline is
the applied material’s Coordinates rollout (page
2–1625). Default=on. auto-smoothed using the smoothing angle
specified by the Threshold setting. Auto Smooth
Viewport—Choose this to specify Radial or sets the smoothing based on the angle between
Rectangular parameters for the shape as it will spline segments. Any two adjacent segments are
display in the viewport when Enable In Viewport put in the same smoothing group if the angle
is on. Available only when Use Viewport Settings between them is less than the threshold angle.
is on
Note: Turning Auto Smooth on for every situation
Renderer—Choose this to specify Radial or does not always give you the best smoothing
Rectangular parameters for the shape as it will quality. Altering the Threshold angle may be
display when rendered or displayed in the viewport necessary or turning Auto Smooth off may
when Enable in Viewport is turned on. produce the best results.
Radial—Displays the spline as a 3D object with a Threshold—Specifies the threshold angle in
circular cross-section. degrees. Any two adjacent spline segments are
• Thickness—Specifies the cross-section diameter. placed in the same smoothing group if the angle
Default=1.0. Range=0.0 to 100,000,000.0. between them is less than the threshold angle.
 Ripple Modifier 783

Set Length and Width both to 100.0, and set

Ripple Modifier Length Segs and Width Segs both to 10.
Modify panel > Make a selection. > Modifier List > The Plane object is useful as the basis for the
Object-Space Modifiers > Ripple surface of a body of water in which ripples form.
Make a selection. > Modifiers menu > Parametric
Deformers > Ripple
2. Go to the Modify panel, click Modifier
List, and, from the Object-Space Modifiers list,
The Ripple modifier lets you produce a concentric
choose Ripple.
rippling effect in an object’s geometry. You can
set either of two ripples or a combination of both. This applies the modifier to the Plane object.
Ripple uses a standard gizmo and center, which 3. On the Parameters rollout, set Amplitude 1 to
you can transform to increase the possible ripple 10.0.
effects.
A large ripple forms in the Plane object.
The Ripple (page 2–102) space warp has similar You can change the horizontal scale by adjusting
features. It is useful for applying effects to a large the wave length.
number of objects.
4. Set Wave Length to 20.0. The waves become
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.
You can use the Amplitude 2 parameter to add
complexity to the wave forms created by Ripple.
An object with the Ripple modifier applied.
6. Return to the Ripple level of the modifier stack,
Top (from left to right): Amplitude 1 only, Amplitude 2 only and and then click and hold on the Amplitude 2 and
both amplitudes.
drag downward.
Bottom: Both amplitudes with the Decay effect.
As you drag, a new set of wave forms are
See also combined with the existing ones. The farther
you drag, the more dominant the second set
Wave Modifier (page 1–957) becomes. Using a negative value for Amplitude
2 (or a positive one if Amplitude 1 is negative)
Procedure produces more of an interference effect between
Example: To use the Ripple modifier: the two sets of waves.
1. Start with an empty scene, and add a Plane You can animate the waves with the Phase
object (page 1–185) in the Perspective viewport. control.
784 Chapter 8: Modifiers

7. Drag slowly upward or downward on the Phase Parameters rollout

spinner.
Increasing the Phase value moves the waves
inward, and decreasing it moves the outward.
To animate the waves, create 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.
The farther you drag, the more the wave sizes
decrease with the distance from the center of
the effect. This is the effect you get when an Amplitude 1/ Amplitude 2—Amplitude 1 produces
object perturbs the water surface, and the waves a ripple across the object in one direction, while
lose energy as they move away from the point Amplitude 2 creates a similar ripple at right angles
of impact. to the first (that is, rotated 90 degrees about the
vertical axis).
Interface
Wave Length—Specifies the distance between the
Modifier Stack
peaks of the wave. The greater the length, the
smoother and more shallow the ripple for a given
amplitude. Default=50.0.
Phase—Shifts the ripple pattern over the object.
Positive numbers move the pattern inward, while
negative numbers move it outward. This effect
Gizmo—At this sub-object level, you can transform becomes especially clear when animated.
and animate the gizmo like any other object,
Decay—Limits the effect of the wave generated
altering the effect of the Ripple modifier.
from its center.
Translating the gizmo translates its center an equal
distance. Rotating and scaling the gizmo takes The default value of 0.0 means that the wave will
place with respect to its center. generate infinitely from its center. Increasing
the Decay value causes the wave amplitudes to
Center—At this sub-object level, you can translate
decrease with distance from the center, thus
and animate the center of the ripple effect, and
limiting the distance over which the waves are
thus the shape and positions of the ripples.
generated.
For more information on the stack display, see
Modifier Stack (page 3–760).
 Select By Channel Modifier 785

Selection Channel—Lets you choose which stored,

Select By Channel Modifier named vertex-selection channel to apply to the
modified object. Click the arrow to the right of the
Select an object. > Modify panel > Modifier List > Select
By Channel name field to open the drop-down list, and then
click a channel in the list.
The Select By Channel modifier works in
conjunction with the Channel Info utility (page
2–1738). After you store a vertex selection into a Shell Modifier
subcomponent with Channel Info, use Select By
Modify panel > Make a selection. > Modifier List >
Channel to quickly access the selection. Object-Space Modifiers > Shell

You can find an advanced example of using Select Make a selection. > Modifiers menu > Parametric
By Channel in a lesson about allowing objects to Deformers > Shell
survive topology changes, in the Using the Channel
Info Utility tutorial. The Shell modifier “solidifies” or gives thickness
to an object by adding an extra set of faces facing
Procedure the opposite direction of existing faces, plus edges
connecting the inner and outer surfaces wherever
To use Select By Channel:
faces are missing in the original object. You can
1. Use Channel Info to store one or more vertex specify offset distances for the inner and outer
selections in a map channel subcomponent. surfaces, characteristics for edges, material IDs,
2. Apply the Select By Channel modifier to the and mapping types for the edges.
object with the stored vertex selection(s). Also, because the Shell modifier doesn’t have
3. Choose the selection type. sub-objects, you can use the Select options to
4. Choose the selection channel.
specify a face selection for passing up the stack to
other modifiers. Please note that the Shell modifier
5. To “bake” the new selection into the object, doesn’t recognize existing sub-object selections,
collapse the stack. nor does it pass such selections up 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.
Left: Sphere with part of surface removed; Right: Sphere with
• Subtract—Subtracts the stored selection from Shell applied
the existing selection. Has no effect if there’s no
You’d typically use Shell on an object with part of
overlap between the stored selection and the
its surface removed, such as a sphere with several
existing selection.
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 applies a MeshSmooth modifier on top. The
free edge, Shell will not create any edges. extra segment helps control the curve of the
edges where the outer surface curves down to
Examples of Shell Usage the keypad holes. The modeler then goes back
to the cage portion of the stack and refines the
Following are some examples of modeling tasks
base mesh details to her liking.
for which the Shell modifier would be appropriate:
• A modeler is creating a suit of futuristic armor
• An artist is modeling a vehicle such as a car, a
for a character. The modeler copies a selection
tank, or, in this case, a helicopter. The artist
of polygons from the character mesh to a new
builds a solid external shell as the body of the
object; for example, the polygons that make up
copter. When done, the modeler breaks up his
the arm. The modeler deletes some faces from
model: he selects window areas and detaches
the copied arm, and perhaps cuts some holes
them as new objects, followed by the area for
from it. He then applies the Shell modifier,
the doors (also detached as new objects). The
followed by a MeshSmooth modifier, resulting
modeler now has open objects representing
in form-fitting armor.
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,
Procedure
setting the inward extrusion to be greater than To solidify an object:
the outward. Shell is applied to the windows 1. Create an object to solidify. The object should
next; these are set to extrude inward only. The have some holes in its surface. For example,
modeler then copies the Shell modifier from start with a primitive sphere, convert it to
the body to the doors, and reduces the doors’ Editable Poly, and delete some vertices or
outward extrusion somewhat. The result is polygons.
a solid body with an interior that can accept
2. Optionally create an open spline to serve as
additional modeling, inset windows, and doors
the profile for the edges connecting the inner
that are slightly less thick than the shell of the
and outer surfaces. For example, go to Create
helicopter.
panel > Shapes and click Line. Then, in the
• A designer is modeling a manufactured object Top viewport, draw the spline in the Top
that will need to be shown in an exploded viewport from top to bottom. Where the spline
view. It might be a cell phone, an engine, a protrudes to the right, the edge surface will be
mouse, shaped glass, or something similar; convex, and where it protrudes to the left, the
this example will use part of a cell phone. surface will be concave.
When working on the phone keypad area, if the
3. Apply the Shell modifier to the object from step
modeler builds with detail in mind, she might
1.
accurately model the shell with a moderately
dense mesh, using ShapeMerge (page 1–336) 4. To use custom edges, turn on Bevel Edges, click
to create the shapes for the holes where the the Bevel Spline button, and then select the
keys will poke through, and then deleting those spline from step 2.
faces. When satisfied, the modeler applies the 5. By default, Shell keeps the material IDs of
Shell modifier, sets Segments to 2, and then the new surfaces consistent with those of the
turns on the Bevel Edges option to use a curve original object. To change these, turn on the
for the profile of the holes’ edges. She then different Override options, specify appropriate
 Shell Modifier 787

material IDs, and apply a Multi/Sub-Object Interface

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.

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

the thickness of the object’s shell, as well as the
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
on the edge for use by subsequent modeling or
modifiers.
A bevel spline as viewed from the top (inset) and the resulting
Note: When you use a Bevel Spline, the spline’s bevel
properties override this setting.
Tip: For best results, create the spline in the Top
Bevel Edges—When on, and you specify a Bevel
viewport, and draw it from top to bottom. The
Spline, the software uses the spline to define the top point on the spline is applied to the outside
edges’ profile and resolution. Default=off. edge, and the bottom point to the inside edge.
After you define a Bevel Spline, use Bevel Edges Displacements to the right will create outward
to switch between a flat edge whose resolution protrusions on the edge profile, and displacements
is defined by the Segments setting and a custom to the left create inward protrusions.
profile defined by the Bevel Spline. Override Inner Mat ID—Turn on to specify a
Bevel Spline—Click this button and then select material ID for all of the inner surface polygons
an open spline to define the edge shape and using the Inner Mat ID parameter. Default=off.
resolution. Closed shapes such as Circle or Star If you don’t specify a material ID, the surface uses
will not work. the same material ID or IDs as the original faces.
The original spline is instanced to the Bevel Spline, Inner Mat ID—Specifies the material ID for inner
so changing the spline’s shape and properties are faces. Available only when Override Inner MatID
reflected in the Bevel Spline. With non-corner is on.
vertices, you can change the edge resolution with
the spline’s Interpolation rollout settings. Override Outer Mat ID—Turn on to specify 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
the same material ID or IDs as the original faces.
Outer Mat ID—Specifies the material ID for outer
faces. Available only when Override Outer MatID
is on.
Override Edge Mat ID—Turn on to specify a
material ID for all of the new edge polygons using
the Edge Mat ID parameter. Default=off.
 Shell Modifier 789

If you don’t specify a material ID, the surface uses • Copy—Each edge face uses the same UVW
the same material ID or IDs as the original faces coordinates as the original face from which it’s
from which the edges are derived. derived.
Edge Mat ID—Specifies the material ID for edge • None—Each edge face is assigned a U value of 0
faces. Available only when Override Edge MatID and a V value of 1. Thus, if a map is assigned,
is on. the edges will take the color of the upper-left
pixel.
Auto Smooth Edge—Applies automatic,
angle-based smoothing across the edge faces using • Strip—The edges are mapped in a continuous
the Angle parameter. When off, no smoothing is strip.
applied. Default=on. • Interpolate—The edge mapping is interpolated
from the mapping of the adjacent inner and
This doesn’t apply smoothing across the junction
outer surface polygons.
between the edge faces and the outer/inner surface
faces. TV Offset—Determines the spacing of the texture
vertices across the edges. Available only with
Angle—Specifies the maximum angle between
the Edge Mapping choices Strip and Interpolate.
edge faces that will be smoothed by Auto Smooth
Default=0.05.
Edge. Available only when Auto Smooth Edge is
on. Default=45.0. Increasing this value increases the repetition of the
texture map across the edge polygons.
Faces that meet at an angle greater than this value
will not be smoothed. Select Edges—Selects the edge faces. This
selection is passed up the stack to other modifiers.
Override Smooth Group—Lets you specify a
Default=off.
smoothing group (page 3–1013) for the new edge
polygons using the Smooth Grp setting. Available Select Inner Faces—Selects the inner faces. This
only when Auto Smooth Edge is off. Default=off. selection is passed up the stack to other modifiers.
Default=off.
Smooth Grp—Sets the smoothing group for the
edge polygons. Available only when Override Select Outer Faces—Selects the outer faces. This
Smooth Group is on. Default=0. selection is passed up the stack to other modifiers.
Default=off.
When Smooth Grp is set to the default value of
0, no smoothing group is assigned to the edge Straighten Corners—Adjusts corner vertices to
polygons. To specify a smoothing group, change maintain straight-line edges.
the value to a number between 1 and 32.
If you apply Shell to a subdivided object with
Note: When Auto Smooth Edge and Override straight edges, such as a box set to 3x3x3 segments,
Smooth Group are both off, the software assigns you might find that the corner vertices don’t stay
smoothing group 31 to the edge polygons. in a straight line with the other edge vertices. This
Edge Mapping—Specifies the type of texture gives the edges a bulging look. To resolve this, turn
mapping that is applied to the new edges. Choose on Straighten Corners.
a mapping type from the drop-down list:
790 Chapter 8: Modifiers

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.
Box with Straighten Corners off (left) and on (right) 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
Skew Modifier offset in current units parallel with the axis.
Modify panel > Make a selection. > Modifier List > The object skews to this amount beginning at
Object-Space Modifiers > Skew
the lower limit, by default the location of the
Make a selection. > Modifiers menu > Parametric modifier’s center.
Deformers > Skew
4. Set the direction of the skew.
The Skew modifier lets you produce a uniform The object swivels around the axis.
offset in an object’s geometry. You can control the You can reverse the amount and direction by
amount and direction of the skew on any of three changing a positive value to a negative value.
axes. You can also limit the skew to a section of
the geometry. 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.
Skew modifier applied 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.
Effect of moving modifier center with limits set
 Skin Modifier 791

Interface Direction—Sets the direction of the skew relative

Modifier Stack 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.

Gizmo—At this sub-object level, you can transform Limits group

and animate the gizmo like any other object, Limit Effect—Applies limit constraints to the Skew
altering the effect of the Skew modifier. Translating modifier.
the gizmo translates its center an equal distance.
Rotating and scaling the gizmo take place with Upper Limit—Sets the upper limit boundaries in
respect to its center. world units from the skew center point, beyond
which the skew no longer affects the geometry.
Center—At this sub-object level, you can translate Default=0.
and animate the center of the Skew effect.
Lower Limit—Sets the lower limit boundaries in
For more information on the stack display, see world units from the skew center point, beyond
Modifier Stack (page 3–760). which the skew no longer affects the geometry.
Default=0.
Parameters rollout

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

> Animation Modifiers > 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
Skew group "envelope." Vertices of the modified object within
these envelopes move with the bones. Where
Amount—Sets the angle to skew from the vertical
envelopes overlap, vertex motion is a blend
plane.
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
to any number of bones. The ratio of a vertex’s
weight values, which always total 1.0, determine
the relative extent to which each bone’s motion
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 Jacket object deformed using the Skin modifier
will have four times greater influence on the vertex
In 3ds Max you can mirror envelope and vertex
than will the motion of bone 2.
assignments from one side of the mesh to the other
The initial envelope shape and position depends with commands on the Mirror Parameters rollout.
on the type of bone object. Bones create a linear
envelope that extends along the longest axis of the Procedures
bone geometry. Spline objects create envelopes To use the Skin modifier:
that follow the curve of the spline. Primitive
1. Prepare the skin (mesh or patch object) and
objects create an envelope that follows the longest
axis of the object. skeleton (bones or other objects). Carefully
place the skeleton inside the mesh or patch
You can also deform the mesh based on the angle object so that its elements are able to influence
of the bones. Three deformers let you shape the polygons or patches in their immediate vicinity.
mesh based on bone angles:
2. Select the mesh or patch object and apply the
• The Joint and Bulge Angle deformers use a Skin modifier.
lattice similar to an FFD lattice (page 1–683) to
3. In the Parameters rollout, click Add and choose
shape the mesh at a specific angle.
the skeleton objects.
• The Morph Angle Deformer morphs the mesh
4. Click Edit Envelopes and select an envelope
at specified angles. Morph targets are created
to modify the volume in which each bone can
by using modifiers above the Skin modifier
influence the surrounding geometry.
in the stack, or by using the Snapshot tool
(page 1–453) to create a copy of the mesh and To weight vertices manually:
deforming the mesh using standard tools.
1. On the Parameters rollout, turn on Vertices.
You can apply the Skin modifier to several objects
2. On the mesh, select the vertices you would like
at the same time.
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. Example: To apply the Skin modifier to a cylinder
Effect parameter to the new vertex weight. with a bones skeleton:

To mirror envelope or vertex weight settings: 1. On the Create panel, under

1. Adjust envelopes and vertex weights on one Standard Primitives, click Cylinder.
side of the mesh. 2. In the middle of the Top viewport, click and
2. On the Mirror Parameters rollout, click Mirror drag 20 units to create the base of the cylinder.
Mode. 3. Release the mouse button and drag up 130 units
The mirror plane appears at the position and to establish the height of the cylinder.
orientation of the mesh’s pivot point. 4. On the parameters rollout, set Height Segments
3. If the mirror plane is not at the center of the to 20.
mesh, change the Mirror Offset parameter to This provides mesh detail for a smooth surface
move the plane to the center. deformation.
4. If some vertices in the left or right side of the
mesh are red rather than blue or green, increase 5. On the Create panel, under
the Mirror Thresh value until all vertices are Systems, click Bones.
blue or green. Make sure an IK Solver is chosen in the IK
5. On the Mirror Parameters rollout, click the Solver list. Turn on Assign To Children. (This
appropriate Paste button to paste green or blue should turn on Assign To Root as well.)
envelopes or vertex weights to the other side 6. In the Front viewport, click successively three
of the mesh. times: below the cylinder, in the middle of the
cylinder, and above the top of the cylinder.
To adjust the skin and/or bones without affecting
the envelopes: 7. Right-click to end Bones creation.

1. Save the scene. Three bones display. Two of them are within
the middle of the cylinder.
This is a potentially destructive operation, so
it’s best not to take any chances with your data.
8. Select the cylinder.
2. Select the object to which the Skin modifier is
applied.
9. On the Modify panel, choose Skin from
3. In the Advanced Parameters rollout, turn off
the Modifier List.
Always Deform.
10. On the Skin modifier’s Parameters rollout, click
4. Apply any necessary transforms to the
Add, and use the Select Bones dialog to select
mesh/patch object or bones objects.
the three bones.
5. Turn Always Deform back on.
The names of the bones are now displayed in
To adjust the bones only, you can also use skin the list.
pose (page 1–116).
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. 12. Edit the mesh to the shape you want.
To adjust envelopes to refine the surface 13. Go back down in the stack to the Skin modifier.
deformation, choose the Skin modifier’s If the topology warning dialog appears, click
Envelope sub-object level, and use the Edit Yes.
Envelopes controls to resize envelopes and
14. In the Deformer Parameters rollout, click Add
change vertex weights.
From Stack.
Example: To use a morph angle deformer: A new morph target is added at about 90
Create the cylinder and bones from the preceding degrees.
procedure before you continue with this 15. Delete the Edit Mesh modifier from the stack.
procedure.
There is a doubling effect of the morph if
1. At frame 50, animate bone 2 so that bones 1 you don’t delete or deactivate the Edit Mesh
and 2 represent a 90-degree angle. modifier.
2. At frame 0, the bones should be straight at 16. Scrub the time slider. The mesh morphs as the
about a 180-degree angle. bone angle changes.
3. Move to frame 0.
Interface
4. Turn on Edit Envelopes in the Parameters
rollout. The Skin Modifier interface includes the following
rollouts:
5. Select the child bone (bone 2) in the modifier’s
list of bones. • Parameters rollout (page 1–795)
6. In the Select group, turn on Vertices. • Mirror Parameters rollout (page 1–799)
This allows you to select vertices. • Display rollout (page 1–800)
7. In the viewports, region-window select a good • Advanced Parameters rollout (page 1–801)
portion of the vertices that are controlled by • Gizmos rollout (page 1–802)
both bones.
• Deformer Parameters rollout (page 1–804)
8. In the Gizmos rollout, select the Morph Angle
• Joint Angle and Bulge Angle parameters (page
Deformer in the drop-down list, and then click
1–804)
Add Gizmo.
The Deformer Parameters rollout displays. A Some of the Skin modifier commands are also
base morph target is the first and only target available from the quad menu (page 3–694).
in the list.
Modifier Stack
Tip: if the Deformer doesn’t assign, make sure
that bone 2 and not bone 1 is selected in the list. Envelope—Turn on this sub-object level to work
on envelopes and vertex weights.
9. Scrub the Time Slider to frame 50.
Tip: You can use the quad menu to choose this
10. Add an Edit Mesh modifier above the Skin
sub-object level.
modifier in the modifier stack.
11. Turn on Vertex and Soft Selection in the Edit
Mesh modifier.
 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). You can also rotate
around a selected envelope as long as no vertices
are selected, as they have precedence.
Note: You must choose 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
one vertex to be able to grow your selection.
• Ring—Expands the current vertex selection to
include all vertices part of 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 part of continuing edges.
796 Chapter 8: Modifiers

Note: You must select at least two vertices to use Example:

the Ring selection. $’Sphere01’.modifiers[#Skin].shortenBoneNames
• Select Element—When on, selects all vertices of = false
the element you select, as long as you select at For detailed information about the MAXScript
least one vertex from that element. utility, open the MAXScript Reference, available
Tip: You can edit your selection by holding from Help menu > MAXScript Reference.
Ctrl or Alt , and then select vertices. This [bone name type-in field]—Enter a bone name to
adds or removes, respectively, vertices to or highlight it in the bone list above. The highlighting
from your selection. goes to the first matching bone.
• Backface Cull Vertices—When on, you cannot
Use these methods for finding bone names faster:
select vertices pointing away from the current
view (on the other side of the geometry). • Narrow the list by typing the first few characters
in the name of the bone you want to highlight.
Envelopes—Turn on for envelope selection.
• Use the wildcard (*) key. For example, you can
Cross Sections—Turn on for cross-section find Robot R Index Finger by typing * R In
selection.
Cross Sections group
The first step, after applying the Skin modifier to
an object, is to determine which bones participate By default, each envelope has two round, lateral
in the object’s weighting. Every bone you choose cross sections, one at each end of the envelope.
influences the weighted object with its envelope, These options add and remove cross sections from
which you can configure in the Envelope Properties envelopes.
group (page 1–796).
Add—Choose a bone in the list, click Add, and
Add—Click to add one or more bones from the click a position on the bone in a viewport to add a
Select Bones dialog. cross section.
Remove—Choose a bone in the list, and then click Remove—Select an envelope cross section and
Remove to remove it. click Remove to delete it.
[list window]—Lists all bones in the system. Before you can select a cross section, the Cross
Highlighting a bone in the list displays that Sections option in the Select group must be on.
bone’s envelope and the vertices influenced by the
You can delete only extra cross sections that you
envelope.
have added; not the default cross sections.
An horizontal scroll bar appears if a bone’s name
is longer than the window’s width. Envelope Properties group
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.
 Skin Modifier 797

Radius—Select an envelope cross section, and Falloff Flyouts—Choose a falloff curve for the
use Radius to resize it. In order to select a cross displayed envelopes.
section, the Cross Sections option in the Select
Weight falls off in the area between the inner and
group must be checked.
outer envelope boundaries if envelopes overlap
You can also click and drag a cross section control and Absolute is turned on. This setting lets you
point in a viewport to resize it. specify how the falloff is handled:
Squash—A squash multiplier for bones that stretch.
• Falloff Fast Out—Weight falls off quickly.
This is a single value that reduces or increases the
amount of squash applied to a bone when it is
• Falloff Slow Out—Weight falls off slowly.
stretched with Freeze Length off, and Squash on.
Note: You can set Freeze Length and Squash in the • Falloff Linear—Weight falls off in a linear
Bone Tools dialog (page 1–414). way.
Absolute/Relative—This toggle determines how
vertex weights are calculated for vertices between • Falloff Sinual—Weight falls off in a
inner and outer envelopes. sinusoidal way.

• Absolute—A vertex must merely fall Copy—Copies the currently selected envelope
inside the brown outer envelope to have 100% size and shape to memory. Turn on sub-object
assignment weight to that particular bone. Envelopes, choose one bone in the list, click Copy,
A vertex falling inside more than one outer then choose another bone in the list and click Paste
envelope will be assigned multiple weights to copy an envelope from one bone to another.
summing to 100% based on where it falls in the
Paste commands are on a flyout with the following
gradients of each envelope.
options:
• Relative—A vertex falling only within an
• Paste—Pastes the copy buffer to the
outer envelope will not receive 100% weighting.
current selected bone.
A vertex must either fall inside two or more
outer envelopes whose gradients sum to 100% • Paste to All Bones—Pastes the copy buffer
or greater or the vertex must fall within a red to all bones in the modifier.
inner envelope to have 100% weight. Any
points within a red inner envelope will be 100% • Paste to Multiple Bones—Pastes the copy
locked to that bone. Vertices falling within buffer to selected bones. A dialog allows you to
multiple inner envelopes will receive weighting choose the bones to paste to.
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.
798 Chapter 8: Modifiers

Weight Properties group

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 Weight 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
Abs. Effect—Enter an absolute weight for the changing weights for all bones in the skeletal
selected bone to selected vertices. structure. See Weight Table (page 1–810).
Choose the Envelope sub-object level, turn on Paint Weights—Click and drag the cursor over
Vertices in the Parameters rollout > Select group, vertices in the viewports to brush on weights for
select a vertex or vertices, and then use the Abs. the selected bone.
Effect spinner to assign weight. Selected vertices Tip: Streamline the painting process by using the
move in the viewports as their weight changes. Brush Presets tools (page 3–690).
Rigid—Causes selected vertices to be influenced
only by one bone, the one with the most influence. Painter Options [ellipsis]—Opens the
Painter Options dialog (page 1–960), where you
Rigid Handles—Causes the handles of selected
can set parameters for weight painting.
patch vertices to be influenced by only one bone,
the one with the most influence. Paint Blend Weights—When on, blends painted
values by averaging the weights of neighboring
Normalize—Forces the total weights of each
vertices and then applying the average weight
selected vertex to add up to 1.0.
based on the brush strength. Default=on.

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—Takes the selected

vertices out of the exclusion list for the selected
bone. The bone can then affect these vertices.
 Skin Modifier 799

Mirror Parameters rollout

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
Mirror Mode—Activates Mirror mode, which lets selected mesh’s local axes are used as the basis
you mirror the envelopes and vertex assignments for the plane. If several objects are selected, one
from one side of the mesh to the other. This mode object’s local axes are used. Default=X.
is available only at the Envelope sub-object level. Tip: For the easiest workflow with mirroring tools
for the Skin modifier, set the pivot points for
Mirror mode uses the Mirror Plane setting to
character meshes to align with the World before
determine the “left side” and “right side” of the
applying Skin.
mesh. When you turn on Mirror Mode, the
vertices on the left side of the mirror plane turn Mirror Offset—Shifts the mirror plane along the
blue, while the vertices on the right turn green. Mirror Plane axis.
Vertices that are neither left nor right turn red,
Mirror Thresh—Sets the relative distance the
including vertices at the mirror plane. If vertices
mirroring tools will look when setting vertices as
don’t change color appropriately, you might have
left or right. If some vertices in the mesh (other
to increase the Mirror Thresh value to expand the
than those at the mirror plane) are not colored
range used to determine the left and right sides.
blue or green when you turn on Mirror mode,
If you select vertices or bones, the selected vertices increase the Mirror Thresh value to include a
or bones turn yellow, and the corresponding match larger area of the character. You can also increase
on the other side of the mesh turns a brighter blue this value to compensate for lack of symmetry in
or green. This can help you check for matches. asymmetrical models.
Display Projection—When Display Projection is
Mirror Paste—Pastes selected envelope and set to Default Display, selecting vertices on one
vertex assignments to the opposite side of the body. 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 Color All Weights—Assigns a color to every bone
one side of the character only. The None option in the envelope. The vertex weighting blends the
does not project selected vertices to either side. colors together.
Default=Default Display. Tip: You can toggle this feature to get a global view
Tip: You can use the Positive and Negative options of all weight regions across your model at once.
to temporarily project the display of one side’s Tip: You can also assign a color to unweighted
vertices to the other side so you can see how vertices: Open the Customize User Interface dialog
the vertices align. This can be helpful when and, on the Colors panel, choose Skin Colors from
determining the correct Mirror Plane settings for the Elements drop-down list.
an asymmetrical mesh.
Show All Envelopes—Displays all envelopes at the
Manual Update—When on, you can update the same time.
display manually rather than automatically after
each mouse-up. Show All Vertices—Draws a small tick at every
vertex. On a patch surface, it will also draw all the
Update—When Manual Update is on, use this handles.
button to update the display with your new
settings. Show All Gizmos—Displays all the gizmos in
addition to the currently selected gizmo.
Display rollout Show No Envelopes—Causes no envelopes to be
displayed even when an envelope is selected.
Show Hidden Vertices—When on, hidden vertices
are visible. Otherwise, they remain hidden until
you enable the option or go into the object’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

These options determine which elements will be
drawn on top of all other objects in viewports.
Cross Sections—Forces cross sections to be drawn
on top.
Envelopes—Forces envelopes to be drawn on top.

Show Colored Vertices—Colors vertices in

viewports according to their weights.
Show Colored Faces—Colors faces in viewports
according to their weights.
 Skin Modifier 801

Advanced Parameters rollout move the time slider to frame 0; turn off Always
Deform, move the bones into the correct position
and turn on Always Deform.
Back Transform Vertices—Allows you to link the
mesh to the bone structure. Ordinarily, when you
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. Checking this option prevents the mesh from
moving twice under these circumstances.
Rigid Vertices (All)—Causes vertices to have
assignments to only one bone as if weighted 100%
to the bone whose envelope has the most influence.
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

Always Deform—A toggle useful for editing the

transformation relationship between bones Reset Selected Verts—Resets the weight of
and the controlled points. This relationship is selected vertices to the envelope defaults. After
initially set when Skin is applied. To change manually changing vertex weight, use this to reset
the relationship the user can deactivate Always weights if necessary.
Deform, move the object or the bones and
reactivate. The new transformation relationship is
Reset Selected Bone—Resets associated vertex
now used.
weights back to the original weights calculated for
Ref. Frame—Sets the frame where the bones and the selected bone’s envelope.
the mesh are in a reference position.
Normally this is frame 0. Start your animation at Reset All Bones—Resets all vertex weights
frame 1 or later if frame 0 is the reference frame. back to the original weights calculated for all
If bones need to be adjusted relative to the mesh, bone’s envelopes.
802 Chapter 8: Modifiers

Save/Load—Allows you to save and load the unnecessary data is stored in the geometry. Also
envelope position and shape, as well as the vertex accessible from the Weight Table.
weights. If you load a saved file onto a different
Remove Zero Limit—Sets the weight threshold that
system of bones, you can use the Load Envelopes
determines if a vertex is stripped of its weight when
dialog (page 1–805) to match the incoming bones
you click Remove Zero Weights. Default=0.0.
to the current bones.
Update on mouse up—When on and the mouse Gizmos rollout
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—Turns off viewport display of
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).
Controls in the Gizmos rollout allow you to deform
Animatable Envelopes—Toggles the possibility the mesh according to the angle of the joint, and
of creating keys on all animatable envelope to add gizmos to selected points on the object.
parameters while Auto Key is active. Default=off. The rollout consists of a list box containing all the
Note: This does not affect keyable track settings. gizmos for this modifier, a drop-down list of the
current types of gizmos, and four buttons (Add,
Weight All Vertices—When on, forces all vertices
Remove, Copy and Paste).
that are not under the control of an envelope to
be weighted to the bone closest to them. Has The workflow for adding a gizmo is to select the
no effect on vertices that are manually weighted. vertices that you want to affect, select the bones
Default=on. that will drive the deformation, and then click the
Add button.
Tip: If you want to revert vertices to their original
weight value, click Reset Selected Verts (in the There are three deformers available:
Reset group) or open the Weight Table (page • The Joint Angle deformer has a lattice that can
1–810), and change the Modified weight status deform vertices on the parent and child bones.
(M) of your selected vertices.
• The Bulge Angle deformer has a lattice that
Remove Zero Weights—Strips a vertex from its only works on vertices on the parent bone.
weight if it is less than the Remove Zero Limit
• The Morph Angle deformer works on vertices
value. This helps making your skinned model
of the parent and child bones.
lighter (in games for instance) because less
 Skin Modifier 803

Keep these distinctions in mind when you Deformer drop-down list—Lists the available
select vertices to deform. For example, if you deformers.
want to use the Joint Angle deformer, then
select vertices close to the joint that will drive Add Gizmo—Adds the current Gizmo to the
the deformation. If you want the parent bone selected vertices.
vertices to deform like a biceps muscle, then
To add a gizmo, you must first select the child
select vertices that are only assigned to the
bone for the joint you want to deform. Then you
parent bone before adding the Bulge Angle
must select the vertices that you want to deform.
deformer. If all the vertices of the parent and
You can then add a gizmo.
child bone must deform, then select all of the
vertices and add the Morph Angle deformer. After a gizmo is added, a Deformer Parameters
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
Bending the arm without the Morph Angle deformer causes paste to like gizmos. For instance, you can’t paste
the sleeve to crumple.
from a bulge gizmo to a joint gizmo.

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.
804 Chapter 8: Modifiers

Deformer Parameters rollout List Window—Contains the current morph targets

and associated bone angles.
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

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.
You can then delete the Edit Mesh modifier. Add
From Stack looks at the last modifier in the stack
to get the morph target. Note that when you go
back down to the Skin modifier, the morph effect
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. The following parameters are for the Joint Angle
and Bulge Angle deformers. These two deformers
 Load Envelopes Dialog (Skin Modifier) 805

are almost identical in the way they operate. The

difference is that the Bulge Angle deformer only
works on vertices of the parent bone, while the
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 Load Envelopes Dialog (Skin
angles. Modifier)
Name Field—Allows you to change the name of Select a mesh, patch, or NURBS object. > Apply Skin
modifier. > Advance Parameters rollout > Load button
the deformer.
Twist—Allows you to spin the gizmo around the The Load Envelopes dialog associated with the
mesh to place control points appropriately. Skin modifier (page 1–791) allows you to load
saved envelopes to specific bones. This resizable
Use Bounding Volume—Turn this on if you plan to
dialog shows the current envelopes in your scene
change the geometry, like increasing segments on
and the incoming envelopes. Use the controls to
a cylinder. If the geometry changes, the mesh will
manipulate the incoming envelopes so they align
still deform inside the lattice if this is turned on.
with the current envelopes.
Enable Gizmo—Toggles the effect of the gizmo on
and off.
Edit Lattice—Allows you to move the lattice control
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.
806 Chapter 8: Modifiers

Interface 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
OK—Accepts any changes and closes the dialog.
have not undergone any type of topology change.
Cancel—Discards any changes and closes the This should be off if you’ve changed the topology,
dialog. by, for instance, deleting or adding vertices or
changing their order.
Move Up/Down—Move the current selection in the
incoming list up or down.
Current Incoming Vertex Set
Create Blank—Creates space in the Incoming list.
When Load Vertex Data is on, use these controls to
Use this when loading data onto a skeleton that is match vertex sets in cases where the Skin modifier
not identical as the one from which the data was is instanced. In such cases you might need to set
saved. For example, if your original skeleton had up several vertex sets.
three fingers and the new one has only two fingers,
The Move Up/Create Blank/Move Down buttons
you might need to add spaces in the list to line up
have the same functions as in the Envelopes lists.
the fingers correctly.
Delete—Removes the current selected incoming
envelopes.
 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
you select displays the objects contributing to its
weighting in the dialog list.
To use these tools, Parameters rollout > Edit
Envelopes must be on, Parameters rollout > 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 2. On Parameters rollout of the Modify panel,
its weighting, if the active bone does not already turn on Edit Envelopes.
influence the vertex, the bone is added to the list of 3. Turn on Vertices in the Select group.
bones influencing the vertex. You can ensure that bone
assignments don’t change by highlighting the bone in
4. In the Weight Properties group, click
the Weight Tool dialog list after selecting the vertex and
Weight Tool.
before changing weighting.
The Weight Tool dialog opens.
Also, the total weighting for all bones influencing a
vertex is always 1.0, so if multiple bones influence
5. Select a few vertices and then click the
a vertex and you change the weight value for one
.25 weight button.
bone, the weight values for the others change as
well. The selected vertices are weighted at 0.250 for
the active bone (highlighted in the Parameters
Procedures rollout list), coloring them yellow.
Example: To Set and Blend Weights on Selected Note: The active bone is added to the list of
Vertices: bones influencing each of the selected vertices,
1. Prepare a cylinder skinned to a bone chain. 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

The left vertices are weighted 1.0 and the right vertices are
weighted 0.25.
6. Click the + button directly under the .9
weight button repeatedly until the vertices are 8. Select all weighted vertices and repeatedly click
red (that is, the weight is 1.0). Blend.
As you increase the vertices’ weight, they Every time you click Blend, each vertex’s
gradually change color. weight is adjusted to blend with other selected
neighborhood weights. This creates a smooth
7. Select a few other vertices, and assign weighting transition among all selected vertices.
them a weight of 0.250.
 Weight Tool Dialog 809

Interface

The two separate colors blend into a smooth gradient.

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

Vertex information
[specific weight
Below the Paste-Pos Tolerance field is a text display
values]—Assigns an absolute weight value between
displaying information on the amount of copied
0 and 1 for the active bone to the selected vertices.
and selected vertices.
Note: When you click one of these buttons, the
active bone is added to the list of bones influencing [First Vertex Weight list]—Displays the selected
each of the selected vertices, if necessary. vertex weight along with the bone envelopes
contributing to its weighting. You can select
Set Weight—Sets an absolute weight based on the individual envelopes in the current viewport by
field value. Default=0.5. highlighting the respective bone in the list.
Note: The spinner increments the field value by Note: If you select multiple vertices, the list only
steps of 0.05. displays the weighting of the first selected vertex.
+/-—Increases/decreases each selected vertex’s
weight by 0.05.
Weight Table (Skin Modifier)
Scale Weight—Multiplies each selected vertex’s
weight value by the field value, resulting in a Select an object that has the Skin modifier applied to it. >
Modify panel > Skin modifier > Weight Properties group
relative weight change. Default=0.95. > Weight Table
Note: The spinner increments the field value in
steps of 0.05. The weight table for the Skin modifier is used
to change vertex weights for several vertices and
+/-—Increases/decreases each selected vertex’s bones at a time. This table appears when you click
weight by five percent. the Weight Table button.
Copy—Stores the current weight value(s) in the
copy buffer. Interface
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 Vertex numbers appear down the left column,
the a common bone. while bone names appear across the top. Vertex
Blend—Modifies the selected weight values to weights for each bone are displayed in the chart.
smooth out the transition between them and their You can change vertex weights in a number of
surrounding vertices. ways:
• Click and drag a vertex weight to the left or
Paste-Pos Tolerance—Determines the radius
right.
influence of the Paste-Pos. Default=0.1.
 Weight Table (Skin Modifier) 811

• Highlight a weight and type in a new weight. • Show Affected Bones: Displays only bones
• Select vertices by dragging over vertex IDs, that affect the displayed vertices.
then click and drag one weight to change all • Show Attributes: Toggles display of the
selected weights for the bone. S/M/N/R/H attributes.
• Right-click to enter a value of 0. • Show Exclusions: Toggles display of small
• Ctrl +right-click to enter a value of 1.0. check box areas in each vertex weight field.
Clicking the check box toggles exclusion of the
Menu options: vertex from the bone (a red X appears in the
check box when the exclusion is in effect).
Edit menu—Copy/paste vertex weights, and choose
vertices to edit. • Show Global: Shows values for all displayed
vertices.
• Copy: Copies weights for highlighted vertices.
• Show Set Sets UI: Displays info about vertex
• Paste: Pastes the copied weights. sets.
• Remove Zero Weights: All vertices with a
weight less than the Remove Zero Limit field Dialog options
value are stripped from their weight. Also Vertex ID—Vertices are displayed by number down
available on the Advanced Parameters rollout the left column of the weight table. Double-click
(page 1–801). 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.
• Select All/None/Invert: Changes the selection
of vertices. M—Indicates vertex weight has been modified.

Vertex Sets menu—Select vertices in the left N—Indicates vertex weights are normalized (total
column by holding down Ctrl while clicking of all vertex weights is always 1.0).
vertices. Create a named selection set, which can
R—Indicates vertex is rigid (affected only by one
then be picked from the drop-down menu at the
bone, the one with the most influence).
lower left of the dialog.
H—Indicates patch handles are rigid (affected only
Options menu—Customizes the weight table
by one bone, the one with the most influence).
display.
Vertex selection drop-down—Choose to display all
• Flip UI: Flips the UI to show vertex IDs across
the top and bone names down the left side. vertices, selected vertices or only vertices affected
by the selected bone.
• Update On Mouse Up: When the mouse button
is pressed down, no updates will take place. Copy—Copies weights for highlighted vertices.
When the mouse button is released, updates Paste—Pastes copied weights.
will occur. This option helps keep workflow
moving quickly by avoiding unnecessary
updates.
812 Chapter 8: Modifiers

2. Go to the “pose frame” and apply the Skin

Skin Morph Modifier Morph modifier.
The Skin Morph modifier lets you use a bone’s The pose frame contains the initial pose;
rotation to drive a morph; that is, a deformation typically a standing character with arms
of the object mesh. Skin Morph is intended for outstretched and legs apart. This is often
use with a Skin or comparable modifier (e.g., frame 0, but it can be any frame, even a
Physique); add the Skin Morph modifier after negative-numbered one. This is the frame from
the skin-type modifier. You create the morph at which the modifier measures delta: the change
the frame in which the effect should be greatest, in the vertex position between this pose and
and then Skin Morph automatically animates the the morph.
affected vertices into and out of the morph, based 3. Determine which bones are driving
on the rotation of the bone that drives the morph. deformations that you want to modify with
This lets you fine-tune mesh deformation at any Skin Morph.
frame, using a bone to drive the morph that is For example, bending an arm might cause the
fixing a problem area. Typically, when animating a inside of the elbow to indent too far, or you
character with bones, an artist has to create extra might want to add a bulging bicep. In this case,
bones to handle problem areas such as armpits and the forearm bone is driving the deformation.
groin areas. With Skin Morph, instead of using
4. Use Add to bind the deformation-driving bones
extra bones, you can simply create a morph, and
to the modifier.
then transform vertices into the exact shape you
want. Skin Morph lets you easily create muscle The modifier overlays an orange line along the
bulges and many other effects. length of each bone you add.
Note: When working with Skin Morph, it’s 5. Go to the frame where you wish to create the
important to be familiar with the concept of morph. Using the arm-bending example, this
delta. The frame at which you apply the modifier might be the frame where the forearm is at a
determines the base position for each vertex that’s 90-degree angle to the upper arm.
used in a morphing animation controlled by Skin 6. In the list box, click one of the bones.
Morph. After applying the modifier, go to a frame
In the viewport, the orange line representing
at which the bone driving the morph is rotated an
the bone becomes a thicker yellow line to
amount that will cause the greatest deformation,
indicate that this bone will drive the morph.
and then transform vertices to produce the morph.
The amount by which you transform the vertices 7. On the Local Properties rollout, click Create
is called the delta: the difference between the base Morph.
pose and the morphed position. The modifier adds a morph to the highlighted
bone and sets the morph to 100% at this frame,
Procedure as reflected by the number next to the morph’s
To use Skin Morph (basic usage): name in the list.
1. Create an animated character with bones and 8. On the Local Properties rollout, click Edit.
a skinned body mesh, using a modifier such as This temporarily freezes the skin deformation
Skin (page 1–791) or Physique (page 2–834). at the current frame.
 Skin Morph Modifier 813

9. Move vertices to where they should be at the Parameters rollout

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
to select points when not in Edit mode lets you
make the selection when the points are more easily
accessible, and then go to the pose to transform
them in Edit mode.

[list window]—Lists all attached bones and their

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 Selection rollout
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
resembles a cross with the words ADD BONE
attached. To exit Pick Bone mode, right-click the
active viewport or click Pick Bone again.
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
Use Soft Selection—Enables soft selection for
Remove, its bone is removed. To remove the
editing vertices.
morph only, highlight it and then click Local
Properties rollout > Delete Morph. 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
the soft-selection area in terms of the number of
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 Local Properties rollout

much like other such graphs in 3ds Max, such as
Curve Editor (page 2–507). The toolbar above the
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—Reduces the vertex selection area by
deselecting the outermost vertices. If the selection
size can no longer be reduced, the remaining
vertices are deselected. This rollout contains functions for creating and
editing individual morphs. The settings, such as
Grow—Expands the vertex selection area outward
Morph Name and Influence Angle, are specific to
in all available directions. 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 the muscle should be largest at frame 150 instead,
bone in the list window. go to frame 150, choose the morph in the list box,
Tip: By default, the Show Edges switch is on, and then click Reset Orientation.
which might make it difficult to see the vertices Remove Verts—Removes selected vertices from
themselves. To see only the vertices, turn off the current morph, which deletes any animation
Options rollout > Show Edges. applied as part of the morph.
Tip: To help keep track of morphs, use the Local Use this command to save memory by removing
Properties rollout to rename each morph as you vertices not part of the morph animation.
create it.
Enabled—When on, the morph is active; when off,
Delete Morph—Deletes the highlighted morph, the morph doesn’t appear in the animation, and is
removing it from its parent bone in the list window. indicated in the list box with the text “Disabled.”
Available only when a morph is highlighted. Default=on.
Edit—Lets you shape the current morph by The ability to enable and disable each morph
transforming vertices. To exit Edit mode, click the individually lets you isolate the effect of each or
Edit button again. test them in combination.
Transforming a vertex in Edit mode creates a Morph Name—Displays and lets you change the
morph target. Each transformed vertex moves name of the current morph.
into the morph target position (or orientation or
scale) as the morph value increases to 100.0, and Influence Angle—The angle around the bone’s
then out of it as the morph value decreases, based current orientation within which the morph takes
on the angle of the bone driving the morph. place. Default=90.0.

Transforming a vertex in Edit mode also changes This is an important parameter. Think of the
its color from orange to yellow. This lets you easily influence angle as a cone around the bone at
see which vertices are part of the current morph. its orientation when you create the morph.
Consider an example in which Influence Angle
Choosing Edit places the skinned object at the is set to the default value of 90.0 degrees. If the
100% “pose” orientation for this morph (see bone starts its rotation beyond 45 degrees away
Create Morph, above). It also activates the Points from the orientation at which the morph was
sub-object level so you can transform vertices created, the morph has no effect at that time.
using the standard 3ds Max transform tools. As the bone moves from 45 degrees away to the
Clear Verts—Keeps selected vertices in the morph, morph orientation, the morph increases to its full
but resets their deltas (changes from the initial value. As the bone then rotates away, the morph
pose) to 0. gradually decreases until, at 45 degrees or more
away from the morph orientation, the morph no
Reset Orient(ation)—Sets the morph orientation to
longer appears.
current orientation of the bone that controls the
morph. Tip: Influence Angle is useful for isolating morphs;
that is, to prevent overlapping of different morphs
This lets you change the angle at which the morph on the same bone. Reduce the value until one
has its greatest effect. For example, if you create a morph’s contribution percent value (shown in the
bulging bicep at frame 120, and later decide that list box) falls off to 0.0 before the next one begins.
 Skin Morph Modifier 817

Falloff—Determines the rate of change of the Reload only selected verts—When on, Reload
morph as the bone moves within the influence Target copies only the positions of vertices selected
angle. Use the drop-down list to choose one of in the Skin Morph mesh from the target mesh.
four different falloff types: Linear, Sinual, Fast, or When off, Reload Target copies the positions of
Slow. If you choose Custom Falloff, you can then all vertices. Default=off.
click the G (for Graph) button and edit the falloff
using standard curve-graph controls. Copy and Paste rollout
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—Tracks 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
as a morph target. Click the button (default
label=-none-) and then select the target object.
The target object should have the same mesh These functions let you copy all morph targets for
structure as the Skin Morph object. After a specific bone from one side of the object to the
specifying an external mesh, its name appears on other. Indicate the morphs to copy by highlighting
the button. the bone or any of its morphs in the Parameters
Using an external mesh makes it easier to set rollout > list box.
up morph targets in a target mesh that uses a Paste Mirror—Copies the morphs from the
reference pose, rather than the skinned, animated highlighted bone to the target on the other side of
mesh of which sections might be interpenetrating, the mirror gizmo. A qualified target bone must
making it difficult to select the specific vertices to exist and be present in the list box.
be morphed. In this situation, it’s probably best to
Note: This copies the morph data only; the rotation
turn Reload Only Selected Verts.
of the target bone must be comparable to that of
Note: The external-mesh connection is not live; if the source bone for the morphing to appear in the
you edit vertices in the external mesh, Skin Morph animation.
doesn’t automatically recognize the changes.
Show Mirror Plane—Displays the mirror plane as
To update the vertex positions after editing the
a red, rectangular gizmo in the viewports. The
external mesh, use Reload Target (see following).
target bone must be on the opposite side of the
Reload Target—Updates the Skin Morph object mirror plane from the highlighted bone, and must
with edited vertex positions from the external be present in the Parameters rollout > list box.
mesh.
818 Chapter 8: Modifiers

Preview Bone— Highlights the target bone in red morph. Otherwise, the software creates a new
in the viewports. morph automatically and applies the edits to that
morph.
Preview Vertices—Displays the morphing-qualified
vertices in red in the viewports, as well as any Show Driver Bone Matrix—Shows the matrix tripod
animation present in the source vertices. of the current bone.
Mirror Plane—The axis for the mirror plane. The Show Morph Bone Matrix—Shows the tripod of the
plane is perpendicular to the indicated axis. orientation of the active morph.
Default=X.
Show Current Angle—Shows pie wedges depicting
Mirror Offset—The position for the mirror plane the angles between the driver bone matrix and the
on the Mirror Plane axis. Default=0.0. morph bone matrix. These are color coded: red for
the angle about the X axis; blue for the angle about
Mirror Threshold—The radius, in system units,
the Y axis; and green for the angle about the Z axis.
within which Skin Morph looks for a qualifying
target bone on the other side of the mirror plane. Show Edges—Highlights the edges connected to
Default=1.0. morphable vertices in orange.
This is useful when a tessellating modifier such as
Options rollout
MeshSmooth is applied to the skinned mesh above
the Skin Morph modifier, to see the actual mesh
being affected by Skin Morph.
Matrix Size—The size of each tripod.

Bone Size—The size of the bone display.

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
Beginner Mode—When on, you must use the one.
Create Morph button to create a morph and the
Edit button to edit a morph. The low-resolution object doing the deforming
is called a control object, and the high-resolution
When off, you can create and edit morphs on object it’s affecting (that is, the one with the Skin
the fly. In this mode, when you select and move Wrap modifier) is the base object. A base object
vertices at the Points sub-object level, the software can be any type of deformable object. Also, in
first determines whether a morph exists for the this topic, control vertex refers to a vertex on the
selected bone at 100%; if so, all edits will go to that
 Skin Wrap Modifier 819

control object, and point refers to a vertex on the Procedure

base object. To use Skin Wrap (basic method):
With Skin Wrap, you can modify the structure and 1. Create a high-resolution base object and one or
topology of the high-resolution object after setting more low-resolution control objects, which will
up the animation. The animation remains intact deform the base object. In general, each control
because it is actually contained in the control object should have an overall shape similar to
object. the part of the base object that it will deform,
In most cases, when using Skin Wrap, the control and be positioned near that part of the base
object is positioned near the modified base object, object.
and then bound to the latter using the modifier’s 2. Apply Skin Wrap to the high-resolution base
Add function. By default, moving a vertex in object. The modifier transfers animation or
the control object affects nearby vertices in the modeling from the control object to the base
base object. Additional options allow faces in object.
the control object to affect the nearest points in 3. On the Skin Wrap > Parameters rollout, use
the base object instead (Blend To Base Object). Add to assign the control object(s).
Conversely, points in the control object can affect
4. Choose a deformation engine: Vertex or Face.
faces in the base object (Face Deformation).
5. Set global parameters as desired. These
Skin Wrap offers a great deal of control in that
parameters affect all control vertices, and
you can set a different strength value for each
include Deformation Engine, Falloff, Distance
control vertex, as well as the shape of its volume
Influence, and Face Limit.
of influence. You can also convert the Skin Wrap
effect to a Skin modifier applied to the high-res 6. To set local parameters, including strength and
model, suitable for use with game engines. And influence distances, access the Control Vertices
the ability to animate with multiple control objects sub-object level of the Skin Wrap. Select one
lets a technical director assign animation of or more control vertices, and then change the
different parts of a complex character mesh to settings as necessary.
various artists. 7. Edit or animate the control object with
Tip: If you use a control object to which modifiers and/or sub-object transforms;
non-uniform scaling has been applied, its vertices the high-resolution (base) object deforms
will have non-spherical volumes of influence, accordingly.
which can lead to unexpected results. In such 8. Repeat steps 5, 6, and 7 as necessary.
a case, before adding the control object to the Occasionally you might need to reset the
modifier, apply Reset XForm (page 1–438) and modifier as well, by clicking the Reset
then collapse the stack. button. Before doing so, always return to a
non-deformed point (or “skin pose”) in the
See also animation; typically, frame 0.
Skin Wrap Patch Modifier (page 1–824)
820 Chapter 8: Modifiers

Interface Parameters rollout

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
Vertices.

[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 Distance Influence is a multiplier. It looks at the
again. length of each edge that touches each control
vertex. For each vertex, it averages all the lengths
You can use as a control object anything that can
and then multiplies the average by the Distance
be converted to a triangle mesh, such as a mesh,
Influence value. This lets vertices that are touching
patch, or a NURBS object. However, avoid using
only small faces to affect a small area, and
objects that change topology, such as a deforming
vice-versa. The higher the influence value, the
NURBS object with adaptive tessellation.
smoother the deformation, but the less individual
Remove—Removes control objects from the list. control each vertex has. For best results, keep this
Click an object in the list, and then click Remove. value between 1.0 and 2.0.
Deformation Engine—Determines which engine Face Limit—Determines the extent of influence,
drives the deformation. Default=Vertex in control-object faces, of control vertices in
Deformation. the control object. This is a global setting, and
• The Vertex Deformation engine is a weighted is available only in Vertex Deformation mode.
engine; it uses vertex proximity to drive the Default=3. Range=0 to 10.
deformation. That is, each vertex in the Beyond this limit, no base-object points can be
control object affects nearby points in the influenced by the control vertex, even if they’re
high-resolution (base) mesh. within the Distance Influence radius.
• With the Face Deformation engine, each Face Limit is useful for preventing the
control vertex is tied to the closest face in the control-object influence from bridging gaps in the
base object. Face deformation can use falloff, mesh; for example, between fingers in a character
or be a rigid deformation by setting Falloff to mesh.
0.001, the lowest possible value.
Blend To Base Mesh—Causes the modifier to base
Falloff—Determines the extent to which the control
deformation on the distance from each affected
vertices affect nearby points in the base object. point to the closest face in the control object.
This is a global setting. Default=1.0. Range=0.001 Turning on this option makes the Blend Distance
to 10.0. setting available.
Higher values pull nearby points closer to the Blend Distance—Determines the relative distance
control vertex. In Face Deformation mode, setting between control-object faces and vertices in
Falloff to the lowest value, 0.001, causes rigid the base object for deformation to take effect.
deformation so that there’s no falloff; the control Available only when Blend To Base Mesh is on.
vertex either affects the base-object face or it Default=5.0.
doesn’t. For best results, use Falloff values between
1.0 and 2.0, or with Face Deformation, 0.001 for Increasing this setting effectively causes a stronger
rigid mode. deformation effect and broadens the area on the
control that affects the base object.
Distance Infl(uence)—Determines the distance of
influence, in system units, of control vertices in [local parameters]
the control object. This is a global setting, and
is available only in Vertex Deformation mode. The Local parameters are available only at the
Default=1.2. Range=0.001 to 10.0. 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 Threshold—Determines the distance in system
numeric fields reflect its current parameter values. units that the software uses to find the closest
If you select multiple points, 3ds Max displays face to a control vertex. The greater the distances
only those values common to all selected points; by which the control object’s and base object’s
parameters with differing values are blank. With surfaces deviate, the higher the Threshold value
multiple points selected, changing a value sets all needs to be. Default=5.0.
selected points to that value. Note: Threshold is recomputed only when you add
Local Str(ength)—Determines the power and a base mesh or click Reset.
direction by which the control-object vertex affect Warning: Be careful about increasing this setting.
points under its influence in the base object. A High values can result in excessive computation times,
positive value pulls the points toward the vertex; a especially with complex base objects.
negative value pushes them away. Default=1.0.
Weight All Points—Forces all base-object points
Local Scale Mult(iplier)—Scales each selected to have weights. Each weight is calculated from a
control-object vertex’s volume of influence combination of three factors: control vertex scale,
uniformly. Default=1.0. control vertex strength, and base-object point
Use the scale settings to increase or decrease the position.
area of the base object that the selected control By default, not all base-object points are
vertex affects. necessarily influenced by the control object.
Local X/Y/Z—Scales each selected control-object Turning on Weight All Vertices causes all points to
vertex’s volume of influence along the indicated be influenced by one or more control vertices. If a
axis. Default=1.0. large number of base-object points are unassigned,
this can take a long time to calculate.
Change these parameters to produce a
non-spherical volume of influence. Convert To Skin—Applies a new Skin modifier
(page 1–791) to the base object that replicates the
Reset—Resets all control-object vertices’ local animation in the Skin Wrap modifier. Using this
values to 1.0 and resamples the mesh. It function requires that a Skin modifier already be
recalculates the control vertices’ influence on the applied to each control object.
base object using the current modifier settings.
Basically, Convert To Skin intelligently “bakes” the
Use Reset if you alter a parameter but don’t see any animation from skinned low-res control objects to
change in the deformation. For example, always the high-res base object. The Skin modifier that it
use Reset after changing the Threshold value. Or, creates contains all the bone assignments from the
if you want the control object to affect a different original Skin modifier, but with completely rebuilt
part of the base object, move the former, and weight settings based on the base-object weights
then use Reset so the modifier accounts for the created by the Skin Wrap modifier.
change in positional relationship between the two.
You might also need to reset after changing the This function is useful in game-development
topology of the base object or a control object. settings where the game engine recognizes the Skin
modifier settings but not the Skin Wrap modifier.
Important: Use Reset at a point in the animation where
no deformation is in effect; typically, frame 0.
 Skin Wrap Modifier 823

Advanced Parameters rollout Note: For mirror data to be visible, the Skin Wrap
> Control Vertices sub-object level must be active.
Mirror Plane—Choose the X, Y, or Z axis for
mirroring.
Mirror Offset—Moves the mirror plane as well as all
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
The Mirror tools in Skin Wrap let you apply
and the global Falloff, Distance Infl., and Face
local settings (Strength and Scale) from control
Limit settings on the control objects for later
vertices on one side of a control object to the other,
retrieval with Retrieve Control Vertices.
mirroring them across a plane aligned with the X,
Y, or Z axis. This is useful for setting up character Note: This data is static; any changes to the
meshes. base-object topology invalidates it.
Note: Mirror copies only Skin Wrap settings from Retrieve Control Verts—Takes any control-vertex
control vertices; it doesn’t copy animation data. data stored on the control objects with Bake
Thus, when using Skin Wrap with a character Control Vertices and copies them into the modifier.
model, first make local settings for control vertices
on one side of the control object, select the vertices Display Parameters rollout
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—Turns on display of the mirror
plane gizmo as well as a small circle showing the
projected location for each selected control vertex.
Move the gizmo and the projected locations with
the Mirror Offset control (see following).
824 Chapter 8: Modifiers

These settings determine whether or not the

software displays different elements in the Skin Skin Wrap Patch Modifier
Wrap modifier.
Make a selection. > Modify panel > Modifier List >
Object-Space Modifiers > Skin Wrap Patch
Display Loops—Displays volumes of influence for
selected control vertices as red loops. Default=on.
Skin Wrap Patch is a simple modifier that allows
Display Axis—Displays the axis tripods for selected a patch object to deform a mesh object. It’s very
control vertices. Default=on. easy to use: just assign the modifier to a mesh
Display Face Limit—Shows all base-object points
object, and then use the modifier to specify a
that the selected control vertex or vertices can deforming patch object. Each point on the patch
affect. This is a visualization of the Face Limit object influences a surrounding volume of points
setting. Default=on. on the mesh object.

Display Unassigned Points—Draws a red circle See also

around each base-object point that the system
Skin Wrap Modifier (page 1–818)
did not find a closest face for and draws a red box
around each point that has a closest face but is not
Interface
weighted by any control vertex. Default=off.

Pick Patch—Click this button, labeled “None” by

default, and then select a patch object to deform
Unassigned points: The circled points (bottom) have no closest the mesh object. After picking the patch object, its
face, while the points with red boxes (center) have a closest name appears on the button.
face but aren’t weighted by control vertices.
Sample Rate—Determines the accuracy with which
This is an important debugging tool because any the modifier samples the patch object. The higher
vertex that is not assigned a closest face will never the rate, the more accurate the resulting animation
be weighted. To do so, you need to increase the will be, but the longer it will take to calculate.
Threshold value and click Reset, or turn on Weight
Resample—Forces the system to resample the date.
All Points. Any points that are not weighted to a
This should be done at a point in the animation at
control vertex can be fixed by increasing the Local
which no deformation takes place; typically, frame
Scale of a control vertex near that point.
0.
Display Control Verts—Toggles display of all control
vertices. Default=on.
 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,
edges and faces based on the location of the slice
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.

Slice cuts through the cake.

You can animate the cutting plane, changing its Top: Original object
position and rotation over time. You can also use Middle: Object without top
the Remove Top and Remove Bottom options Bottom: Object without bottom, respectively
to create the appearance and disappearance of
objects by animating the Slice Plane gizmo. 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" in the mesh on the edge where the slice
occurs. These holes can be problematic, creating
discontinuities in smoothing and rendering. Holes
are created only when Operate On Faces is on.
Example: To slice vertically through an object:
Procedure
1. Create a teapot (page 1–183) primitive.
Example: To animate the appearance of a teapot
using the Slice modifier: 2. Apply a Slice modifier.

1. Create a teapot (page 1–183) primitive. Set the The Slice Plane gizmo appears at the base of the
viewport to wireframe. teapot.
2. Apply a Slice modifier. 3. On the stack display, open the Slice modifier
and choose the Slice Plane gizmo.
The Slice Plane gizmo appears at the base of the
teapot. 4. Move the Slice Plane gizmo so it intersects the
middle of the teapot.
3. On the stack display, choose the Slice Plane
gizmo. 5. Rotate the Slice Plane gizmo so it is vertical.

4. Turn on the Auto Key button, and move the 6. Turn on Remove Top.
time slider to frame 100. The back of the teapot is sliced away.
5. Move the Slice Plane gizmo above the top of the 7. Turn on Remove Bottom.
teapot. Play the animation to verify that the
The front half of the teapot is sliced away.
slice plane is animated.
6. Change the Slice type from Refine Mesh (the Interface
default) to Remove Top. Play the animation
Modifier Stack
again.
7. Make a copy of the teapot in the same position
(choose Edit menu > Clone and click OK to
accept the default settings).
8. Put a Wireframe material on the clone and
change the Slice type on the clone to Remove Slice Plane—At this sub-object level, you can
Bottom. transform and animate the gizmo like any other
object to determine where the slice occurs. Scaling
9. Play the animation.
the gizmo has no effect, because its extents are
The wireframe teapot magically becomes a fully effectively infinite. If you need to limit the extent
shaded one. 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 eliminating hidden edges. Outputs a
Modifier Stack (page 3–760). polymesh-type object (page 1–1022).

Slice Parameters rollout

Slice Type—Defines how the slice plane will affect

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
above the Slice Plane.
• Remove Bottom—Deletes all the faces and
vertices below the Slice Plane.
Operate On—Choose one of these buttons to Operate On Face vs. Operate On Polygon
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,
828 Chapter 8: Modifiers

Procedures
Smooth Modifier To smooth an object:
Select an object. > Modify panel > Modifier List > 1. Select the object to be smoothed.
Object-Space Modifiers > Smooth

Select an object. > Modifiers menu > Mesh Editing >

Smooth 2. On the Modifiers menu, choose Mesh
Editing > Smooth.
The Smooth modifier provides auto-smoothing 3. Turn on Auto Smooth and adjust the Threshold
based on the angle of adjacent faces. You can apply for the desired smoothing effect.
new smoothing groups to objects.
To apply smoothing groups manually:
Smoothing eliminates the facets on geometry by
grouping faces into smoothing groups. At render 1. Select an object.
time, faces in the same smoothing group appear as
a smooth surface. 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

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 Auto Smooth—If Auto Smooth is selected, the
modifier retains its patch definition. Files that object is auto-smoothed using the (animatable)
contain patch objects with the Material modifier threshold specified by the Threshold setting below
from previous versions of the software will be it. Auto Smooth sets the smoothing groups based
converted to meshes to maintain backward on the angle between faces. Any two adjacent faces
compatibility. are put in the same smoothing group if the angle
 Spherify Modifier 829

between their normals is less than the threshold

angle.
Prevent Indirect Smoothing—Turn 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
become smoothed, then turn on Prevent Indirect
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 Spherify shapes the dog inside the snake.
unless you see something wrong with your existing
smoothing. The success of the operation depends on the
topology of the geometry to which it’s applied. For
Threshold—Specifies the threshold angle in example, a cylinder with no height segments will
degrees. Any two adjacent faces are put in the result in little change. Adding height segments
same smoothing group if the angle between their will result in a barrel at 100 percent. Adding cap
normals is less than the threshold angle. segments will produce a sphere.

Smoothing Groups group Try this on a teapot (page 1–183).

The grid of 32 buttons shows which smoothing Procedures

groups are used by the selected faces, and are used
to assign smoothing groups manually to selected Example: To use the spherify modifier to distort a
teapot:
faces.

1. Click Create > Geometry > Standard

Spherify Modifier Primitives > Teapot.
2. Create a teapot in the viewports.
Select an object. > Modify panel > Modifier List >
Object–Space Modifiers > Spherify
3. On the Modify panel, choose Spherify
Select an object. > Modifiers menu > Parametric
Deformers > Spherify from the Modifier List.
The teapot should now look like a sphere.
The Spherify modifier distorts an object into
4. Adjust the Percent setting to less than 100%.
a spherical shape. This modifier has only one
parameter: a Percent spinner that deforms the
Example: To animate spherifying a teapot:
object, as much as possible, into a spherical shape.

1. Click Create >Geometry > Standard

Primitives > Teapot.
2. Create a teapot in the viewports.
830 Chapter 8: Modifiers

Use the Spline IK Control modifier to prepare a

3. On the Modify panel, choose Spherify spline or NURBS curve for use with the Spline IK
from the Modifier List. Solver.

4. Turn the Auto Key button on.

See also
5. Set the Spherify Percent to 0.
Spline IK (page 2–473)
6. Move the time slider ahead to frame 30.
7. Set the Spherify Percent to 100. Interface

8. Turn the Auto Key button off.

9. Drag the time slider to play the animation, or
click Play.

Interface

Percent—Sets the percentage of spherical

distortion to apply to an object.

Spline IK Control Modifier

Select a spline or NURBS curve > Modify panel > Modifier
List > Spline IK Control Control Objects—When helpers are created, knot
numbers and their corresponding names appear
here. Knot #1 is placed at the first vertex (page
When the Spline IK Control modifier is applied to
3–941) on the spline, and additional knots are
a spline, you can select and transform its vertices
numbered in sequence.
without having to access the vertex sub-object
level. It can also place helpers at each vertex Create Helpers—Places a helper at each knot, and
location to aid in moving vertices. displays knot numbers and helper names in the
Control Objects area. Helper display is based on
The Spline IK Control modifier works by placing
selections in the Helper Display group. Helpers are
knots (control points) at each vertex. The knots
linked upon creation if a linking option is selected
can then be used to control vertices, which in turn
in the Link Types group.
reshape the spline.
Note: Click Create Helpers only once. Clicking this
This modifier also works on NURBS curves, option more than once will create extra helpers at
placing a knot at each control point or control each knot, making it difficult to control the spline.
vertex (CV).
 Spline Select Modifier 831

Link Types group Box—Places a small box-shaped Point helper at

each knot.
Size—Sets the size for helpers.

Constant Screen Size—Keeps the sizes of helpers

constant regardless of the zoom extent of the
viewports.
These options cause helpers to be linked upon Draw On Top—Displays the helpers on top of all
creation. other objects in the scene for improved visibility
Link All in Hierarchy—Links each helper to its in busy scenes.
immediately previous helper. For example, the Tip: To change the display of helpers after creation,
helper at knot #3 is linked to the helper at knot #2, select each helper and change selections on the
while the helper at knot #2 is linked to the helper Modify panel.
at knot #1.
Link All to Root—Links each helper to the helper
at knot #1. Spline Select Modifier
No Linking—Helpers are not linked. Select a shape. > Modify panel > Modifier List >
Object–Space Modifiers > Spline Select

Helper Display Select a shape. > Modifiers menu > Selection Modifiers
> Spline Select

The Spline Select modifier passes a sub-object

selection of shapes up the stack to subsequent
modifiers. It provides much of the same set of
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
When you click Create Helpers, the software can 1–719) and Poly Select modifiers (page 1–762),
place one or more Point helper objects at each except for the type of sub-object components.
knot, making it easier to move and animate the
knots. You can enable more than one type of Procedure
helper. To use the Spline Select modifier:
Center Marker—Places a small X-shaped Point 1. Create a multi-spline shape.
helper at each knot. 2. Apply a Spline Select modifier.
Axis Tripod—Places a small tripod-axis-shaped By default, the Vertex sub-object level is active.
Point helper at each knot.
3. If you wish to work at a different sub-object
Cross—Places a small cross-shaped Point helper at level, use the modifier stack display to choose it.
each knot.
832 Chapter 8: Modifiers

4. In the viewports, select vertices, segments, or Select Segment rollout

splines.
Tip: You can transform the selection using an
XForm modifier (page 1–959) or Linked XForm
modifier (page 1–712).

Interface
Modifier Stack

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
The sub-object level you choose for the spline
current sub-object level.
select modifier determines which rollout appears.
(There are no parameters at the top, object level.)
Select Spline rollout
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 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
current sub-object level.

Copy/Paste Selection controls (all rollouts)

Copy—Places a named selection into the copy
buffer.
Get Segment Selection, Get Spline Selection—Select
vertices based on the last Segment or Spline Paste—Pastes a named selection from the copy
selection. This selection is added to the current buffer.
selection. Available only when Vertex is not the
current sub-object level.
 Squeeze Modifier 833

You can copy a named selection from one object Gizmo—At this sub-object level, you can transform
to another or one modifier to another. You must and animate the gizmo like any other object,
copy and paste in the same sub-object level. altering the effect of the Squeeze modifier.
Translating the gizmo translates its center an equal
distance. Rotating and scaling the gizmo takes
Squeeze Modifier place with respect to its center.

Modify panel > Make a selection. > Modifier List > Center—At this sub-object level, you can translate
Object-Space Modifiers > Squeeze and animate the center, altering the Squeeze
Make a selection. > Modifiers menu > Parametric gizmo’s shape, and thus the shape of the squeezed
Deformers > Squeeze object.

The Squeeze modifier lets you apply a squeezing For more information on the stack display, see
effect to objects, in which the vertices closest to Modifier Stack (page 3–760).
the object’s pivot point (page 3–995) move inward.
Parameters rollout
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

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 STL Check Modifier
and cause the ends to curve outward.
Select an object. > Modify panel > Modifier List > STL
Check
Curve—Sets the degree of curvature on the bulging
ends. You can use this to control whether the bulge Select an object. > Modifiers menu > Mesh Editing > STL
check
is smooth or pointy.

Radial Squeeze group The STL Check modifier checks an object

to see if it’s correct for exporting to an STL
These controls let you apply a squeeze effect (stereolithography) file format (page 3–588).
around the Squeeze gizmo’s local Z axis, which is Stereolithography files are used by specialized
aligned by default with the object’s local Z axis. machines to produce prototype physical models
Amount—Controls the magnitude of the squeezing based on the data in the STL file.
action. Values larger than zero tend to constrict To create a physical model, an STL file must have
the "waist" of the object, and values less than zero a complete and closed surface. Using STL Check
tend to bulge the waistline out, as if the object had to test your geometry before you export it can save
been stepped on. time and money when the file is used to create the
Curve—Sets the degree of curvature into the physical model.
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.
STL Check errors.
Upper Limit—Sets the limit in the negative
1. Open edges
direction along the Z axis.
2. Double face

Effect Balance group 3. Spikes

4. Multiple edges
Bias—Changes the relative amounts of bulge and
squeeze while retaining a constant object volume.
Volume—Increases or decreases the effects of both
Squeeze and Bulge in parallel.
 STL Check Modifier 835

Procedure Errors group

To check an object for STL compatibility: Choosing one of these options selects incorrect
geometry specific to the choice, and selects it
1. Select the object, then on the Modify depending on the option chosen in the Selections
panel, choose Mesh Editing > STL Check from group.
the Modifier List. Open Edge—Checks for open edges (holes).
2. Turn on Check.
Double Faces—Checks for faces that share the same
The message in the Status group shows if errors 3D space.
are found. STL Check indicates errors by
selecting the problem geometry, assigning it a Spike—Checks for spikes, which are isolated faces
special material ID, or both. that share only one edge with the object.
Multiple Edges—Checks for faces that share more
Interface 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
use the STL file for generating a physical model.

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
selection of erroneous faces is visible in viewports.
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
the value of the material ID that STL Check uses.
Check—Turn on to perform the STL check. For
complex models, expect a pause between the time
you turn this on, and the time you see the reported
errors in the Status group. Default=off.
836 Chapter 8: Modifiers

Status—Displays the number of errors when Check Procedures

is on. To stretch an object:
Tip: If Select Edges is turned off, you can see 1. Select an object.
faces in error by applying an Edit Mesh modifier
2. Apply Stretch.
(page 1–634) and selecting by material ID at
the Face sub-object level. You can also assign a 3. On the Parameters rollout > Stretch Axis group,
Multi/Sub-Object material (page 2–1594) to the choose X, Y, or Z.
object to help you see where the errors are. 4. On the Parameters rollout > Stretch group,
enter a value in the Stretch field.
5. Adjust the Parameters rollout > Stretch group >
Stretch Modifier
Amplify setting to change the amount of scaling
Select an object. > Modify panel > Modifiers List > along the minor axes.
Object–Space Modifiers > Stretch

Select an object. > Modifiers menu > Parametric To limit a stretch:

Deformers > Stretch
1. Apply a Stretch modifier to an object and
specify the stretch amounts and stretch axis.
The Stretch modifier simulates the traditional
animation effect of "squash-and-stretch." Stretch 2. On the Parameters rollout > Limits group, turn
applies a scale effect along a specified stretch axis on Limit Effect.
and an opposite scale along the two remaining 3. Set values for the Upper and Lower Limits to
minor axes. define the Stretch boundaries on either side of
the Stretch center.
The amount of opposite scaling on the minor axes
varies, based on distance from the center of the 4. In the stack display, choose the Center
scale effect. The maximum amount of scaling sub-object level, and move the center to locate
occurs at the center and falls off toward the ends. 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
Applying a Stretch modifier to the object on the left creates shape, and thus the shape of the stretched object.
the object on the right.
 Stretch Modifier 837

Parameters rollout 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
the same technique as stretch. The multiplier is
Use options in the Parameters rollout to set the then applied to the Stretch value before the scale
following: factor for the minor axes is calculated.
• Amount of stretch
Amplify values affect scaling along the minor axes
• Major stretch axis in the following way:
• Area affected by the stretch • A value of 0 has no effect. It uses the default
scale factor calculated from the Stretch amount.
Stretch group
• Positive values exaggerate the effect.
The Stretch group of the Parameters rollout has
• Negative values reduce the effect.
two fields that control the amount of stretch
scaling applied.
Stretch—Sets the base scale factor for all three axes.
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
Stretched objects with Amplify values of 0.0, 1.0, and -1.0.
equal to -1/(Stretch-1). For example, a
stretch value of -1.5 yields a scale factor of
Stretch Axis group
-1/(-1.5-1)=0.4, or 40 percent.
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.

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
Effects of changing the Stretch axis distances.

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
Effects of moving the Stretch center
effect along the positive Stretch Axis. The Upper
Limit can be 0 or any positive number. Note: You can also limit the stretch effect by using
Lower Limit—Sets the boundary of the stretch an Edit or Select modifier, defining a sub-object
effect along the negative Stretch Axis. The Lower selection, and then applying Stretch. If the
Limit can be 0 or any negative number. modifier’s Sub-Object button is active, only the
selected sub-objects will be stretched.
 Subdivide Modifier 839

space coordinates. The object space modifier

Subdivide Modifier limits the size in object space coordinates.
Make a selection. > Modify panel > Modifier List > Note: Typically, the Subdivide modifier is applied
Subdivide automatically to objects in the scene when
Make a selection. > Modifiers menu > Radiosity Modifiers a radiosity solution is processed. Meshing
> Subdivide parameters can be set on a global basis in the
radiosity control panel (page 3–61) or for individual
The Subdivide modifier provides an algorithm objects in the Object Properties dialog (page
for creating meshes used for radiosity (page 3–51) 1–117).
processing. Processing radiosity requires meshes
Tip: When you are satisfied with the subdivision
that have elements shaped as close as possible to
equilateral triangles. The density of the mesh settings on one object, you can drag the modifier
also needs to be considered in determining the to other objects to propagate it.
resolution of the lighting details that need to be
captured. The denser the mesh is, the finer the Interface
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
faces in a mesh.

Size—Controls the size of triangles in the

subdivided mesh. The length of the longest edge
of any triangle will not exceed the square root of
2 times the size in the Subdivide modifier. The
Subdivide modifier breaks flat surfaces into meshes. square root of 2 factor is used, so that a square
Although it is primarily developed for increasing whose edges are the size will not be subdivided.
the quality of radiosity solutions, the Subdivide
Update group
modifier can also be used by any application
that requires well-formed meshes. For example, The radio buttons in the Update group control
irregular mesh elements generated for Terrain when the meshing is done.
(page 1–347) compound objects can be improved.
Automatic—Updates immediately when changes
The modifier has world space and object space are made to the controls or the mesh.
variants. In the world space modifier the size limit
Render—Updates only for rendering.
is on the mesh after it is transformed into world
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
visible triangles in the scene if it appears cluttered.

The Substitute modifier replaces the 2D objects with their 3D

Substitute Modifier counterparts.

Make a selection. > Modify panel > Modifier List > To get rid of the substitute object, simply remove
Object-Space Modifiers > Substitute the modifier from the stack. This frees up the
memory required to store it.
Typically, designers use two-dimensional shapes
Tip: When you file link to a DWG file, the file
to represent objects, such as furniture, in their
is imported to 3ds Max as groups of VIZBlocks
AutoCAD designs. However, when they link
(page 3–1031). If the pivot points of the VIZBlock
their DWG files (page 3–931) into 3ds Max for
and the substituted geometry do not match, you
visualization, they want to see how the objects will
may not obtain the desired results. Adjust the
look in their design.
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
Top view of 2D symbols used to represent 3D objects
To use an object from the current scene as a
The Substitute modifier lets you quickly replace substitute:
one or more objects with another in the viewports
1. Select an object, and then apply the Substitute
or at render time. The substitute object can
modifier.
be instanced from the current scene or can be
referenced from an external file. 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 Parameters rollout

Pick Scene Object and select an object from the
dialog that is displayed.
The original object is replaced by an instance of
the substitute object.
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
that contains the substitute object you want to
use.
4. Use the XRef Merge dialog (page 3–406) to
designate the object to use as a substitute.
Display group
The original object is replaced by an instance of
In Viewport—Replaces the original object with the
the substitute object.
substitute in the viewports.
To see the original object in the viewport, turn
off Display group > In Viewport. To see the In Render—Replaces the original object with the
original object in the final rendering, turn off substitute when you render the scene.
Display group > In Render. To permanently Object—This editable text field displays the name
disable the substitution, delete the modifier. of the substitute object and lets you rename it.
Note: The name, if changed, appears only on the
Interface
Modify panel at the current stack level. That is,
Modifier Stack the name is local to the current application of the
Substitute Object—At this sub-object level, you can Substitute modifier.
transform the substitute object without affecting Type (label)—Displays the type of object used as
the original, changing the offset distance between a substitute. If you use a scene object, the type is
them. Otherwise, transforming the substitute shown as Instance. If you use an XRef object, the
object affects both equally. type is shown as XRef Object. Appears only after
you designate a substitute object.
842 Chapter 8: Modifiers

Substitute Assignment group instanced substitute object in the same place as the
object containing the Substitute modifier.
Pick Scene Object—Lets you choose an object from
the current scene to be instanced as a substitute for You must specify the Retain Local Rotation/Scale
the selected object. Click Pick Scene Object, and setting before designating the substitute object.
then select the object from a viewport to use as a Changing this setting afterward has no effect.
substitute. If In Viewport is on and Retain Current
Position is off (the default settings), an instance
(page 3–957) of the substitute object appears in the Surface Modifier
place of the original object.
Select a spline object. > Modify panel > Modifier List >
The mouse cursor changes to a plus sign (+) when Object-Space Modifiers > Surface
over an object that can be used as a substitute. Select a spline object. > Modifiers menu > Patch/Spline
You cannot use an object to which the Substitute Editing > Surface
modifier is applied as a substitute object.
Procedures (page 1–846) Interface (page 1–847)
Use the button labeled "..." to the right of Pick
Scene Object to select a substitute object using the The Surface modifier generates a patch surface
Select Objects dialog (page 1–78), which in this case based on the contours of a spline network. A patch
is titled Select Substitute Object. From the dialog’s is created wherever the segments of the interwoven
list window, click the object to use as a substitute, splines form a three- or four-sided polygon.
and then click Select. The Surface modifier and the CrossSection
modifier, taken together, are referred to as Surface
Select XRef Object—Lets you specify an object to
Tools. They allow you to create complex or
be instanced from an external scene file as the
organic surfaces, like the fuselage of a plane, or a
substitute. Click Select XRef Object, and then, in
three-dimensional character.
the Open File dialog, open the file containing the
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
to the object in that file apply to the substitute
after reloading. For example, if you apply a Bend
modifier to the substitute object in the external
file, then the next time you load the file containing
the object with the Substitute modifier, it appears
bent.
Applying the Surface modifier to create a patch surface.
Retain Local Rotation/Scale—When on, rotates or
The CrossSection modifier (page 1–623) can be
scales the new object instance in the same place as
applied before the Surface modifier to connect
the substitute object you select. In this case, the
splines representing cross-sections. Once the basic
two objects coincide in space, and you must move
spline network is created and the Surface modifier
one to see both. When off, 3ds Max positions the
is applied, the model can be adjusted by editing
 Surface Modifier 843

the splines using an Edit Spline modifier below the 4. Apply the Surface modifier, then adjust the weld
Surface modifier in the modifier stack. Since the threshold to generate a patch object. Ideally all
Surface modifier creates a Patch surface, further spline vertices that will form a patch surface
refinements can be made to the patch model by are coincident; the Threshold parameter allows
adding an Edit Patch modifier above the Surface patch creation even if vertices are not quite
modifier. coincident.
The bulk of the work in using Surface tools to 5. Optionally, add an Edit Patch modifier to edit
model lies in creating and editing splines in an the patch surface.
Editable Spline or Edit Spline modifier. One of Tip: Make a reference copy of the spline object,
the benefits to modeling using splines and Surface then add the Surface modifier to the copy and
Tools is the ease of editing the model. At almost edit the original. As you edit the original spline
any stage of modeling, you can add a nostril, ear, object, patches appear on the reference copy
limb or body by simply adding splines. This lends as splines form three-or four-sided shapes.
itself to a free-form approach to organic modeling: This allows you to view a shaded surface as you
you have a mental image of what you want, then model.
you create and edit the spline network until you
are satisfied. You can take this a step further and add a
Mirror modifier to the reference copy. As you
Note: 3ds Max offers a simplified workflow for this create splines for one side of a head or body, the
modeling technique, using Edit/Editable Spline reference copy displays an entire model.
and the Edit Patch modifier. For details, see To
create a patch object using the Cross Section and Modeling with Surface Tools
Spline Surface tools: (page 1–639).
There are two primary methods of using the
Surface Modifier Basics Surface modifier to create patch models.

1. Create a spline object. • Create splines that represent a model’s cross

sections, add the CrossSection modifier to
2. Make sure that the Spline vertices form valid connect the cross sections, and apply the
three-sided or four-sided, closed regions. Surface modifier to create the patch surface.
Vertices on splines that cross one another This approach works for models like the body
should be coincident. of an airplane.
To make spline vertices coincident, drag Alternatively, use the editable spline Cross
vertices over each other with 3D Snap turned Section function to connect the cross sections,
on. 3D Snap must have the Vertex or End Point and then use the editable patch Spline Surface
option turned on. With 3D Snap turned on, tools to create the surface.
you can snap to vertices on existing splines
as you create new splines. You can also select • Create a network of splines manually, and then
vertices and use the Fuse option in an Editable apply the Surface modifier or editable patch
Spline to make vertices co-incident. Spline Surface tools to create the patch surface.
This approach works for modeling a face or
3. Use the CrossSection modifier to connect body of a character.
spline cross-sections, unless you plan on
manually creating the splines that connect the
model’s cross-sections.
844 Chapter 8: Modifiers

Modeling Examples

Face: Spline network based on front and profile reference

images

Two intersecting texture-mapped polygons are

Scooter: Splines form cross sections of the body used as a reference to create a network of splines
manually. Drawing lines on the physical sculpture
One method of using Surface Tools is to create is used as an added visual aid to position the
splines that represent a model’s cross sections, splines in this case. The CrossSection modifier
then the CrossSection and Surface modifiers are is not necessary if you create the spline network
applied to create the patch surface. 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 Sequence of images showing the spline network, the patches
anomalies can be spotted and corrected. 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 3. Choose Modifiers menu > Patch/Spline Editing
1–273), Arc (page 1–274), and Section (page > Surface from the Modifier List.
1–282). Splines can also be created using the Notice that the three- and four-sided splines
Create Line command in an Editable Spline or formed patches but the five-sided NGon did
and Edit Spline modifier. not. The five-sided spline does not form a
• Splines are edited by applying an Edit Spline three- or four-sided closed region. To make it
modifier to the selected spline object or editing a valid spline, a line must bisect the NGon to
parameters in an Editable Spline. Editing form a three- and four-sided region.
splines changes the patch surface created by the 4. In the stack display, choose the Edit Spline
Surface modifier. modifier again. Turn on Create Line on the
• To add splines to a spline object, use the Attach Geometry rollout, and create a line that bisects
command in the Edit Spline modifier. the five-sided NGon.
• Within a spline object, splines need not be The start and end points of the line should
continuous. A spline object may consist of overlap the vertices on the NGon. Being exact
ten splines, for example. As long as the spline is not critical; the Threshold parameter fuses
vertices are coincident, or close enough for the spline vertices based on their proximity.
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. Do this by applying an Edit Spline
modifier to one of the NGons and using Attach
to add the remaining NGon objects.
 Surface Modifier 847

5. In the stack display, choose the Surface modifier Interface

again. Now the five-sided NGon is a patch
object, consisting of a quad patch and a tri
patch.
Note: If the spline object did not turn into
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 Spline Options group
handles can be moved on any axis.
Threshold—Determines the overall distance that is
used to weld the vertices of the spline object. All
3. Turn on Select and Move on the toolbar, vertices/vectors within the threshold of each other
then drag the handles around in the Top are treated as one. Threshold uses units set in the
viewport. Units Setup dialog (page 3–848).
The shape of the spline changes. Note: Spline control handles are also treated as
vertices, so setting high Threshold levels can
4. Below the stack display, turn on the Show produce unexpected results.
End Result On/Off Toggle button.
Flip Normals—Flips the normal direction of the
The patch changes shape to fit the spline.
patch surface.
Remove Interior Patches—Removes interior faces
of an object that you would not normally see.
These are the faces created within the caps or
other interior patches of the same type of a closed
polygon.
Use only selected segs—Only segments selected in
the Edit Spline modifier will be used by the Surface
modifier to create patches.
Note: Segment Sub-Object does not have to be left
on in the Edit Spline modifier.
848 Chapter 8: Modifiers

Patch Topology group 3. On the Parameters rollout, click Pick Surface.

Steps—The steps field spinner determines how 4. Select a NURBS Point or CV surface.
many steps are used between each vertex. The 5. Deform the object by adjusting the controls in
higher the step count, the smoother the curve you the Surface Deform group.
will get between vertices.
Interface

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.
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

SurfDeform shapes how the snake rests. The Sweep modifier is used to extrude a
cross-section along an underlying spline or
Procedure NURBS curve path. It is similar to the Loft
compound object but is a more efficient method.
To use the SurfDeform modifier:
The Sweep modifier allows you to work with a
1. Select an object. series of pre-made cross-sections such as angles,
channels and wide flanges. You can also use your
2. From the Modify panel > Modifier List, own splines or NURBS curves as custom sections
choose Object–Space Modifiers > SurfDeform.
 Sweep Modifier 849

that you create in 3ds Max or import from other The line takes on the shape of an angled
MAX files. extrusion.
Note: This modifier is similar to the Extrude 3. Click the Use Custom Section radio button.
modifier in that once the Sweep is applied to a The line displays as a line again.
spline, the end result is a 3D mesh object. Both
4. Click the Pick button in the Custom Section
sections and paths can contain multiple splines or
multiple NURBS curves. Types group and choose the NGon in the
viewport.
This modifier is very useful for creating structural
The hexagonal shape is swept along the line’s
steel details, molding details, or in any situation
length.
where you need to extrude a section along a spline.
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

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.
The line takes on the shape of an angled
extrusion.
3. Open the Built-In Section list and choose a
different section.
The line now has the new section swept along
its length.

To use a custom section with the Sweep modifier:

1. Create a line and a six sided NGon in the Use Built-In Section—Choose this to use one of the
perspective viewport. included stock sections.
2. Apply the Sweep modifier to the line.
850 Chapter 8: Modifiers

Built-In Section group • Wide Flange section—Sweeps a

Built-In Section list—Clicking the arrow button for structural wide flange section along the spline.
this list displays common structural sections.

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,
for the most predictable results the base object
should be a straight line or smooth path like a
circle or an arc. The same applies to custom
sections made up of multiple splines. You’ll get the
best results attained by insuring that all vertices in
• Angle section—Sweeps a
all the shapes are coplanar.
structural angle section along the spline.
Default section=Angle. Custom Section Types group
• Bar section—Sweeps a 2D Section—Displays the name of the custom shape
rectangular section along the spline. you’ve selected. This area is blank until you select
• Channel section—Sweeps a a custom shape.
structural channel section along the spline. Note: You can switch from a custom section to
• Cylinder section—Sweeps a
a built-in section and back without having to
solid 2D circle section along the spline. pick the custom-section shape again from the
viewports.
• Half Round section—This
section produces a half round extrusion along Pick—If the custom shape you want to use is visible
the spline. in the viewport, click the Pick button and then
pick the shape directly from the scene.
• Pipe section—Sweeps a
circular hollow tube section along the spline. Pick Shape—Click the Pick Shape button to open
the Pick Shape dialog (page 1–857). This dialog
• Quarter Round section—Useful shows only valid shapes that are currently in the
for molding details; this section produces a scene.
quarter round extrusion along the spline.
Extract—Lets you create a new shape in the scene
• Tee section—Sweeps a
that is either a copy, instance, or reference of the
structural tee section along the spline. current custom section. Opens the Extract Shape
• Tube section—Based on a dialog (page 1–858).
square, this sweeps a hollow tube section along
Merge From File—Lets you choose a section that is
the spline. Similar to the Pipe section.
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
Reference switches, the selected section is moved
to the spline. Editing the original shape in the
viewports has no effect on the Sweep mesh.
Left: The quarter-round section is set to zero steps.
Copy—Sweeps a copy of the selected section along
Right: The same section on the right is set to four steps.
the specified spline.
Steps—Sets the number of divisions, or steps,
Instance—Sweeps an instance (page 3–957) of the
selected section to the specified spline. the program uses between each built-in section’s
vertices. Splines with tight curves require many
Reference—Sweeps a reference (page 3–1002) of the steps to look smooth while gentle curves require
selected section along the specified spline. fewer steps. Range=0 to 100.
Note: When using Instance or Reference, adding Spline steps can be either adaptive or manually
modifiers to or editing the original section in the specified. The method used is set by the state of
viewports will change the Sweep mesh. the Adaptive switch. The main use for manual
interpolation is to create splines for morphing
Interpolation rollout (Sweep modifier) 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.
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. Left: Optimize is on for the left-hand sweep.
In general, all spline curves are divided into small Right: Optimize is off for the right-hand sweep.
straight lines that approximate a true curve. The
Adaptive—When on, automatically sets the
number of divisions between each vertex on the
number of steps for each spline to produce a
spline are called steps. The more steps used, the
smooth curve. Straight segments always receive
smoother the curve appears.
0 steps. When off, enables manual interpolation
Note: The Interpolation rollout is only active when control using Optimize and Steps. Default=off.
built-in sections are used.
852 Chapter 8: Modifiers

Parameters rollout Edge Radii—Controls the interior radius at the

outermost edges of the vertical and horizontal
The Parameters rollout is context-sensitive and
legs. Default=0.0.
displays different settings depending upon the
built-in section you’ve chosen to sweep along a Note: Be cautious when adjusting these settings.
spline. For example, more complex sections such There are no constraining relationships between
as the Angle have seven settings that you can them. Therefore, it’s possible to set an inside
change whereas the Quarter-Round has only one radius (Corner Radius 2) that is greater than the
setting. length or width of the legs of the angle.

Parameters rollout – 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.
Length—Controls the height of the vertical leg of
the angle section. Default=6.0. Parameters rollout – Channel
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 Length—Controls the height of the vertical web of
angle section. Default=0.0. the channel section. Default=12.0.
Corner Radius 2—Controls the interior radius Width—Controls the width of the top and bottom
between the vertical and horizontal legs of the horizontal legs of the channel section. Default=4.0.
angle section. Default=0.5.
 Sweep Modifier 853

Thickness—Controls the thickness of both legs of Radius—Controls the exterior radius of the pipe
the channel. Default=0.5. section. Default=3.0.
Sync Corner Fillets—When on, Corner Radius 1 Thickness—Controls the thickness of the wall of
controls the radius of both the interior and exterior the pipe. Default=0.5.
corners between the vertical web and horizontal
legs. It also maintains the thickness of the section. Parameters rollout – Quarter-Round
Default=off.
Corner Radius 1—Controls the exterior radius
between the vertical web and horizontal legs of the
channel. Default=0.0.
Radius—Controls the radius of the quarter round
Corner Radius 2—Controls the interior radius section. Default=3.0.
between the vertical web and horizontal legs of the
channel. Default=0.5. Parameters rollout – Tee
Note: Be cautious when adjusting these settings.
There are no constraining relationships between
them. Therefore, it’s possible to set an inside
radius (Corner Radius 2) that is greater than the
length of the web or width of the legs.

Parameters rollout – Cylinder

Length—Controls the height of the vertical web of

the tee section. Default=12.0.
Width—Controls the width of the flange crossing
Radius—Controls the radius of the cylinder the tee section. Default=6.0.
section. Default=3.0.
Thickness—Controls the thickness of the web and

Parameters rollout – Half-Round 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.
Radius—Controls the radius of the half round
There are no constraining relationships between
section. Default=3.0. them. Therefore, it’s possible to set a radius
(Corner Radius) that is greater than the length of
Parameters rollout – Pipe
the web or width of the flange.
854 Chapter 8: Modifiers

Parameters rollout – Tube Parameters rollout – Wide Flange

Length—Controls the height of the vertical web of

the wide flange section. Default=14.0.
Width—Controls the width of the horizontal
Length—Controls the height of the tube section. flanges crossing the section. Default=8.0.
Default=6.0. Thickness—Controls the thickness of the web and
Width—Controls the width of the tube section. flanges. Default=0.5.
Default=6.0. Corner Radius—Controls the radius of the four
Thickness—Controls the thickness of the walls of interior corners between the vertical web and
the tube. Default=0.5. horizontal flanges. Default=0.5.
Note: Be cautious when adjusting these settings.
Sync Corner Fillets—When turned on, Corner
Radius 1 controls the radius of both the interior There are no constraining relationships between
and exterior corners of the tube. It also maintains them. Therefore, it’s possible to set a radius
the thickness of the section. Default=on. (Corner Radius) that is greater than the length of
the web or width of the flanges.
Corner Radius 1—Controls the radius of all four
interior and exterior corners of the section.
Default=0.8.
If Sync Corner Fillets is turned off, Corner Radius
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 (Corner Radius 2) that is greater than the
length and width of the sides.
 Sweep Modifier 855

Sweep Parameters rollout

Left: The object shows the default state.

Right: The object has Mirror On XY Plane turned on.

X Offset—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).

Y Offset—Lets you shift the vertical position of the

section relative to the underlying spline.
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 section is in the default position.

Right: The section is offset –10 relative to the underlying spline
path (red).
Left: The object shows the default state.
Right: The object has Mirror On XZ Plane turned on. Note: The X and Y Offsets let you fine tune the
section position while the Pivot Alignment settings
Mirror On XY Plane—When turned on, the section allow for a quick initial adjustment.
is flipped horizontally in relation to the spline to
which the Sweep modifier is applied. Default=off.
856 Chapter 8: Modifiers

Angle—Allows you to rotate the section relative Note: When none of the Pivot Alignment buttons
to the plane on which the underlying spline is is depressed the pivot point of the section is used
located. 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.

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.

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
if the spline path is 2D. When off, shapes do not
rotate about their Z axis as they traverse a 3D path.
Left: Smoothing the path Default=on.
Right: Smoothing the section
Union Intersections—If working with multiple
Rear: Smoothing both path and section
intersecting splines, like a grid, turn this switch
Pivot Alignment—This is 2D grid that helps on to produce cleaner intersections with fewer
you align the section to the underlying spline artifacts.
path. Selecting one of the nine buttons shifts the
Note: Union Intersections takes additional time to
section’s pivot around the spline path.
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
to the object. The scaling values are controlled Left: Materials set by path IDs
by the Use Real-World Scale settings found in Right: Materials set by section IDs
the applied material’s Coordinates rollout (page Rear: Section and Path IDs turned off
2–1625). Default=on.
Generate Mapping IDs—Assigns different material
IDs to the sides and the caps of the sweep. Pick Shape Dialog
Specifically, if both Use Section IDs and Use Path Select a shape that already has a Sweep modifier applied.
IDs are both turned off the sides receive ID 3, the > Modify Panel > Section Type rollout > Turn on Use
Custom Section > Click Pick Shape.
front cap receives ID 1, and the rear cap receives
ID 2. Default=on.
The Pick Shape dialog is displayed when you select
Use Section IDs—Uses the material ID values a custom shape in the scene. This shape can be any
assigned to segments of the section that is swept of the splines, extended splines or NURBS curves.
along the underlying spline (page 1–266) or
NURBS (page 1–1078) curve. Default=on. Procedure
By applying an Edit Spline modifier (page 1–680) To pick a custom section using the Pick Shape dialog:
to a Custom Section, different material IDs can 1. In the viewport, pick a shape you want to use as
be assigned to each segment that makes up the the underlying path of the sweep.
section.
2. From the Modifiers menu, open the
Note: Built-in sections do not benefit from the Use Patch/Spline Editing menu and choose Sweep.
Section IDs switch.
3. On the Modify panel, turn on Use Custom
Use Path IDs—Uses the material ID values assigned Section in the Section Types rollout.
to segments of the underlying spline or curve
sub-objects in the underlying curve. 4. Click the Pick Shape button.
By applying an Edit Spline modifier to the The Pick Shape dialog is displayed.
underlying spline, each segment can be assigned 5. Select a shape in the list and click the Pick
its own material ID. button.
Note: Use Section IDs and Use Path IDs does not
control the material IDs of the front and rear caps
of the sweep.
858 Chapter 8: Modifiers

Interface 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
If the scene contains multiple shapes, you can Shape dialog.
choose only one shape to be swept along the
underlying spline in your scene.
All/None/Invert—These buttons are unavailable in
Extract Shape Dialog
the Pick Shape dialog. Select a shape that already has a Sweep modifier using a
Custom Section applied. > Modify Panel > Section Type
Display Subtree—Displays the shapes in the list in rollout > Click Extract.
an indented format. Turn this switch off to activate
the Sort group options. The Extract functionality allows you to recover
custom cross-sections that may have been deleted
Select Subtree—Unavailable in the Pick Shape
from the scene. As long as you have a sweep in
dialog.
the scene that uses the deleted shape as a custom
Case Sensitive—When on, distinguishes between cross-section, Extract can be used to restore it to
upper case and lower case for item names. the scene.
In a large scene that has many objects and shapes,
Sort group
you can also use Extract if you want to quickly
Options allow you to sort the list on the left. duplicate a section used by the sweep instead of
When Display Subtree is on, these options are not searching for the original shape you used as the
available. section.
Alphabetical—Sorts from A at the top to Z at the
bottom. Procedures
To extract a section from a sweep:
By Type—While this switch is available, it has no
effect because only shapes are listed in the Pick 1. In the viewport, pick a swept shape.
Shape dialog.
 Merge File (Sweep Modifier) 859

2. Open the Modify panel and click the Extract shapes or section profiles from other scene files
button from the Custom Section Types group into the current scene.
of the Section Types rollout.
The Extract Shapes dialog is displayed. Automatic Unit Conversion
3. Enter a new name for the extracted section if When Respect System Units in Files is turned on in
you want. the Units Setup dialog (page 3–848) in the System
Unit Scale group, merged objects from a file with
4. Specify the type of cloned shape you want
a different scene-unit scale are scaled to maintain
extracted; a copy, an instance or a reference.
their correct size in the new scene.
5. Click OK.
Note: If Respect System Units is off (which is
not recommended), a 10–foot square tube that
Interface
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
Name—This field shows the default name that When an incoming shape has the same name as a
will be given to the extracted section. By shape in the scene, an alert gives you the following
default, it always has the naming convention of options:
Sweep_ShapeName01, Sweep_ShapeName02, etc.
Merge—Merges the incoming shape using the
For example, if your missing section was named name in the field at the right. To avoid having
Roman-Ogee, the extracted shape will be named two shapes with the same name, type a new name
Sweep_Roman-Ogee01. before proceeding.
Copy—Places a copy of the extracted section at the Skip—This button is unavailable when Merge
global origin (0,0,0). From File is used in the Sweep modifier.
Instance—Places an instance of the extracted Delete Old—This button is unavailable when Merge
section at the global origin. From File is used in the Sweep modifier.
Reference—Places a reference of the extracted Auto Rename—The merged shape’s name is left
section at the global origin. intact except it is given a numeric suffix that is one
number higher than any duplicates found in the
scene.
Merge File (Sweep Modifier)
Cancel—Cancels the merge operation.
Select a shape that already has a Sweep modifier using a
Custom Section applied. > Modify Panel > Section Type Interface
rollout > Click Merge From File.
In the standard file selector dialog, select the scene
The Merge File dialog for the Sweep modifier file to merge. You can only merge MAX files.
appears when you click the Merge From File
button. Merge From File allows you to bring
860 Chapter 8: Modifiers

This dialog has the same functionality as the

Merge File dialog (page 3–463) that appears when
you choose File menu > Merge with one minor
exception.
If you choose a MAX file that does not include
a valid 2D shape that can be used as a custom
section, you will receive a warning.

If the scene file you selected contains multiple

shapes, keep in mind that you can only choose one
shape to be swept along the spline in your current
scene.
All/None/Invert—These buttons are unavailable

Once the scene file is selected, you can choose the when Merge From File is used in the Sweep
shape or section profile that you want the Sweep modifier.
modifier to use. 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
the Display Subtree switch is on, these options are
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. Examples of using Symmetry with different mirror axes or by
moving the mirror gizmo
• Slice a mesh, removing parts if necessary.
• Automatically weld vertices along a common You can apply the Symmetry modifier to any
seam. 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.

If you no longer see the Symmetry copy of
The teapot appears to have two spouts. the box, turn on Show End Result.
3. In the modifier stack, click the + button to see
With Show End Result on, you might see an
the Mirror gizmo, and then select Mirror. orange wireframe “cage” that shows the edges
The mirror gizmo acts as a slice plane when it is of original object. This is on by default for
within the boundaries of the object editable poly objects, but off by default for
4. With Mirror Axis set to X, click and drag the the Edit Poly modifier. The Show Cage toggle
mirror gizmo along the X axis. for editable poly objects is on the Subdivision
Surface rollout, and for Edit Poly it’s on the Edit
Dragging right slices more of the teapot until
Poly Mode rollout.
there is nothing visible. Dragging left causes
a second teapot to appear. When the mirror You can also see that only the vertices of the
gizmo is moved beyond the boundaries of the original object are visible; the vertices of the
original mesh, it acts as a mirror plane showing symmetry object can’t be transformed directly.
you two complete teapots. 8. Move one of the visible vertices on the right
side of the box.
Example: To perform box modeling with the
Symmetry modifier: As you do so, its counterpart on the symmetry
object moves symmetrically in real time.
1. Create a box primitive in the Perspective
viewport, and then convert it to Editable Poly As you can see, the Symmetry modifier not
or apply the Edit Poly modifier. only creates a mirror image of an object for
you, but also lets you manipulate both sides in
2. If necessary, press F4 to activate Edged Faces
tandem in an intuitive way.
display mode in the Perspective viewport.
9. Now move one of the vertices on the left side of
3. Apply the Symmetry modifier.
the box, where it overlaps the symmetry box.
Other than the new edge loop created by the Because you’re also moving its counterpart
modifier, the box’s appearance doesn’t change, vertex, which is invisible, the apparent result
because it’s already symmetrical. is motion of the corresponding point on the
4. In the modifier stack, click the + button to see plane of symmetry. This isn’t as intuitive as
the Mirror gizmo, and then click Mirror. moving a non-overlapping point, so for best
5. In the Front viewport, with Mirror Axis set to results, position the Mirror gizmo so as to cause
X, drag the Mirror gizmo in either direction as little overlap as possible; that way you can
on the X axis. edit the center vertices directly on the plane of
symmetry.
Only the left-hand box moves; this is the copy
created by the Symmetry modifier. Interface
6. Position the Mirror near the left side of the
Modifier Stack
original box, so the two copies are merged.
7. In the modifier stack, go to the Edit/Editable
Poly level and access the Vertex sub-object level.
 Taper Modifier 863

Mirror—The placement of the mirror gizmo Threshold—The value of the Threshold setting
delegates how the object will be affected by delegates how close vertices can be before being
symmetry. You can move or rotate, as well as automatically welded together. Default=0.1.
animate the gizmo. Note: Setting the Threshold value too high may
For more information on the stack display, see result in some distortion of the mesh, especially
Modifier Stack (page 3–760). when the mirror gizmo is outside the boundaries
of the originating mesh.
Parameters rollout

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
end is scaled up, and the other is scaled down. You
can control the amount and curve of the taper on
Mirror Axis group two sets of axes. You can also limit the taper to a
X, Y, Z—Specify the axis about which the symmetry section of the geometry.
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—Turning on Slice Along Mirror
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.
Examples of default tapers
Default=on.
Weld Seam—Turning on Weld Seam assures
that the vertices along the mirror axis will be
automatically welded if they are within the
Threshold. Default=on.
864 Chapter 8: Modifiers

Interface Parameters rollout

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.
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 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). 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—The extent to which the ends are scaled.
Amount is a relative value with a maximum of 10.
Moving the modifier’s center changes the gizmo shape. 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. At 0, the sides are unchanged. Default=0.

Taper Axis group

Primary—The central axis or spine of the taper: X,
Y, or Z. Default=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

primary axis is X, the effect axis can be Y, Z, or YZ. Tessellate Modifier
Default=XY.
Modify panel > Make a selection. > Modifier List >
Object-Space Modifiers > Tessellate
Symmetry—Produces a symmetrical taper around
the primary axis. A taper is always symmetrical Make a selection. > Modifiers menu > Mesh Editing >
around the effect axis. Default=off. 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
Changing the effect axis changes the effects of the modifier. editable mesh (page 1–1009) does not (it works on
faces, even at the Polygon selection level).
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
which the taper no longer affects the geometry.
Lower Limit—Sets the lower limit boundaries in
world units from the taper center point, beyond Top: Original mesh object
which the taper no longer affects the geometry. 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.

Left: Limiting the effect of the taper.

Right: Using symmetry.
866 Chapter 8: Modifiers

Interface outward. A negative value creates concave faces

Parameters rollout by pulling vertices inward. A setting of 0 keeps
the faces flat. Also works with the Edge/Polygon
method. Default=25.

Iterations group
Iterations—Specifies how many times the
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.
Operate On—Specifies whether to perform the
tessellation on the triangular faces or on the Manually—Tessellation is updated only when the
polygonal facets (the areas bound by visible edges). user clicks Update.
Update—Click to update tessellation. Has no effect
Faces—Treats the selection as a set of unless Manually is the active update option.
triangular faces.

Trim/Extend Modifier
Polygons—Divides the polygonal facets.
For example, using the polygonal method on the Select a shape. > Modify panel > Modifier List >
Object-Space Modifiers > Trim/Extend
side of a box results in cross-shaped edges using
the Edge method, and X-shaped edges using the Select a shape. > Modifiers menu > Patch/Spline Editing
> Trim/Extend
Face-Center method.
Edge—Divides the face or polygon from its center The Trim/Extend modifier is used primarily
to the middle of each edge. When applied to a to clean up overlapping or open splines in a
triangular face, it also divides unselected faces that multi-spline shape so that lines meet at a single
share edges with the selected faces. point. As with the Fillet/Chamfer modifier, this
modifier operates on the splines at the sub-object
Face-Center—Select this to divide the face from the
level in the shape. When applied to a selection of
center to the vertex corners.
multiple splines, Trim/Extend works as it does on
Tension—Determines if the new faces are flat, a single spline.
concave, or convex after Edge tessellation. A
positive value rounds faces by pushing vertices
 Trim/Extend Modifier 867

To trim, you need intersecting splines. Click

the portion of the spline you want to remove.
The spline is searched along its length until it
hits an intersecting spline, and deleted up to
the intersection. If the section intersects at both
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 Before and after using Extend
up to the intersection and the open end. If the
section is not intersected, nothing happens. Procedure
To trim a shape using the Trim/Extend modifier:
To extend, you need an open spline. The end of
the spline nearest the picked point is extended 1. Create an open Line shape (page 1–270) in the
until it reaches an intersecting spline. If there is form of roughly concentric overlapping circles.
no intersecting spline, nothing happens. Curved 2. Apply the Trim/Extend modifier.
splines extend in a direction tangent to the end of
3. Click Pick Locations.
the spline. If the end of a spline lies directly on a
boundary (an intersecting spline), then it looks for 4. Click the inner spline sections of the concentric
an intersection further along. shape to trim them away, or click the open
spline segment to extend the spline.
Note: As of version 3 of 3ds Max, Edit/Editable
Spline (page 1–289) includes interactive
Interface
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

Pick Locations—Click to turn on Pick mode.

While in this mode, the mouse cursor changes in
Before and after second use of Trim on above spline
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 None (3D)— Considers only true intersections as

the splines exist in 3D space. They must physically
Specifies the type of operation that’s performed on
intersect to be considered.
the selected spline.
Auto—When this is chosen, a Trim is first looked
for and, if not found, an Extend is attempted. In TurboSmooth Modifier
most cases, a Trim will occur when Auto is chosen.
An Extend can occur, however, in cases where Make a selection. > Modify panel > Modifier List >
Object-Space Modifiers > TurboSmooth
an open spline exists without intersecting other
splines. The TurboSmooth modifier, like MeshSmooth
Trim Only—Performs only trims. Turn on Pick (page 1–722), smoothes geometry in your scene.
Locations, and then click the spline section you The differences between the two are as follows:
want to trim. • TurboSmooth is considerably faster and
Extend Only—Performs only extends. Click Pick more memory-efficient than MeshSmooth.
Locations, and then select the open spline section TurboSmooth also has an option for Explicit
you want to extend. Normals, unavailable in MeshSmooth. See
Explicit Normals.
Infinite Boundaries—For the purposes of
• TurboSmooth provides a limited subset of
calculating intersections, turn this on to treat open
MeshSmooth functionality. In particular,
splines as infinite in length. For example, this lets
TurboSmooth uses a single smoothing method
you trim one linear spline against the extended
(NURMS), can be applied only to an entire
length of another line that it doesn’t actually
object, has no sub-object levels, and outputs a
intersect.
triangle-mesh object.
Note: As the number of open splines in the shape
increases, the chance of finding an intersection, TurboSmooth lets you subdivide the geometry
when using Infinite Boundaries, increases as well. while interpolating the angles of new faces at
This can produce results you might not have corners and edges, and apply a single smoothing
expected because of projected spline intersections group to all faces in the object. The effect of
you hadn’t considered, particularly if you’re in TurboSmooth is to round over corners and edges
Auto mode. For predictable results, avoid using as if they had been filed or planed smooth. Use
Auto mode when using Infinite Boundaries. TurboSmooth parameters to control the size and
number of new faces, and how they affect the
Intersection Projection group surface of the object.

These options specify how the Trim and Extend

functions determine a valid intersection.
View—Projects the lines onto the active viewport,
and judges the intersections accordingly. These
are the intersections as you see them in the active
viewport.
Construction Plane—Projects the lines onto the
current construction plane.
 TurboSmooth Modifier 869

Example: To compare the speeds of TurboSmooth

and MeshSmooth:
1. Create a Box primitive with Length/Width/
Height Segs=3. Convert the box to editable
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, and turn on Show End Result.
Angular model (shown on the right) changed to a smooth 5. Move one of the corner vertices outward.
model with TurboSmooth There is a significant delay before you see the
You use TurboSmooth to produce a Non-Uniform result of the Move operation.
Rational MeshSmooth object (NURMS for short). 6. Perform a few more Move operations on
A NURMS object is similar to a NURBS object in vertices, observe the delays, and then undo
that you can set different weights for each control ( Ctrl+Z ) repeatedly until the MeshSmooth
vertex. modifier goes away.
TurboSmooth’s effect is most dramatic on sharp 7. Apply TurboSmooth.
corners and least visible on rounded surfaces. 8. Set Iterations=5.
Use TurboSmooth on boxes and geometry with
crisp angles. Avoid using it on spheres and similar This creates a heavily subdivided mesh.
objects. 9. Go to the Editable Poly > Vertex sub-object

Tip: To better understand TurboSmooth, create

level, and turn on Show End Result.
a sphere and a cube and apply TurboSmooth to 10. Move one of the corner vertices outward.
both. The cube’s sharp corners become rounded, The response is much faster.
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.
870 Chapter 8: Modifiers

Interface

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
Main group
then use the field to its right to set the number of
Lets you set the basic parameters for TurboSmooth. render iterations.
Iterations—Sets the number of times the mesh is Isoline Display—When on, the software displays
subdivided. When you increase this value, each only isolines: the object’s original edges, before
new iteration subdivides the mesh by creating smoothing. The benefit of using this option is
smoothly interpolated vertices for every vertex, a less cluttered display. When off, the software
edge, and face from the iteration before. The displays all faces added by TurboSmooth; thus,
modifier then subdivides the faces to use these higher Iterations values result in a greater number
new vertices. Default=1. Range=0 to 10. 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 Manually—Turns on manual updating. When

compute normals for its output, which is manual updating is selected, any settings you
faster than the standard method 3ds Max uses change don’t take effect until you click the Update
to compute normals from the mesh object’s button.
smoothing groups. Default=off.
Update—Updates the object in the viewport
Consequently, if the TurboSmooth result is used to match the current TurboSmooth settings.
directly for display or rendering, it will generally be Works only when you choose When Rendering
faster with this option turned on. Also, the quality or Manually.
of the normals will be slightly higher. However, if
you apply any topology-affecting modifiers, such
as Edit Mesh, above the TurboSmooth modifier, Turn To Mesh Modifier
these normals will be lost and new ones computed,
Make a selection. > Modify panel > Modifier list >
potentially affecting performance adversely. So Object-Space Modifiers > Turn to Mesh
it’s important to remember to turn on Explicit
Normals only if no modifiers change the object Make a selection. > Modifiers menu > Conversion > Turn
to Mesh
topology after TurboSmooth takes effect.
The Turn To Mesh modifier lets you apply object
Surface Parameters group conversions in the modifier stack. As another
Lets you apply smoothing groups to the object and example, you could use this modifier on a
restrict the smoothing effect by surface properties. sophisticated patch model to which you might
want to apply a tool that applies only to meshes,
Smooth Result—Applies the same smoothing
or convert the object to a mesh. Also, when you
group to all faces.
apply general-purpose modifiers such as Normal,
Separate by Materials—Prevents the creation of Material, or UVW Map, it can be helpful to
new faces for edges between faces that do not share explicitly control the type of object beforehand.
Material IDs. Note: Converting from one object type to another
Separate by Smoothing Groups—Prevents the causes a complete caching in the modifier stack.
creation of new faces at edges between faces that When you have large objects in your scene, this
don’t share at least one smoothing group. can take up a lot of space. For example, an object
that starts as a mesh, converts to a patch, and then
Update Options group back to a mesh takes three times as much space as
a mesh that just has ordinary modifiers like Bend
Sets manual or render-time update options, for
or UVW Map applied.
situations where the complexity of the smoothed
object is too high for automatic updates. Note that Tip: Turn To Mesh can be useful on meshes,
you can also set a greater degree of smoothing to allowing you to invert a selection or change the
be applied only at render time, in the Main group. selection level in a modifier that doesn’t depend
on topology.
Always—Updates the object automatically
whenever you change any TurboSmooth settings.
When Rendering—Updates the viewport display of
the object only at render time.
872 Chapter 8: Modifiers

Procedure Sub-object Selections group

Example: To translate a patch sub-object selection These options control the selection of sub-objects.
to a polygon sub-object selection:
Preserve—Passes the sub-object selection up the
1. Select a patch model and turn on wireframe
stack. For example, if you have an object that you
mode.
have converted to an editable mesh, and you’ve
2. In the stack display, choose the Patch sub-object selected a polygon, then when you apply a Turn
level. To Mesh modifier, the polygon remains selected.
3. Select a patch on the model. Default=on.
4. Apply the Turn To Mesh modifier from the Clear—Clears the sub-object selection so that
Modifier list. nothing is selected. Default=off.
5. In the stack display, right-click the Turn To Invert—Inverts the sub-object selection. All
Mesh modifier and choose Collapse All. sub-objects not currently selected are selected, and
6. Click Yes in the dialog that warns you about the all sub-objects currently selected are deselected.
possibility of undesirable topological effects. Default=off.
7. In the stack display (or in the selection rollout), Include Soft Selection—Affects the action of
choose the Polygon sub-object mode. The sub-object Move, Rotate, and Scale functions.
original patch selection has been preserved. When these are on, 3ds Max applies a spline curve
deformation to unselected vertices surrounding
Interface the transformed selected sub-object. This provides
Parameters rollout a magnet-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 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.
Use Invisible Edges—When on, uses invisible From Pipeline—Uses the equivalent of whatever
edges to represent polygons. When off, produces the input object uses (patch level becomes face
a completely triangulated mesh with all visible level, and so on). For example, if you create a box,
edges. Default=on. 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 Procedure

sub-object patch selection into account and selects Example: To collapse to quad patches:
the mesh faces that derive from the patch selection.
1. Create a chamfer box in wireframe: Create
Object—Uses Object as the selection level for panel > Geometry > Extended Primitives >
passing up the rest of the stack. Object Type rollout > ChamferBox button.
Edge—Uses Edge as the sub-object selection level 2. Apply a Turn To Patch modifier: Modify panel
for passing up the rest of the stack. > Modifier List > Turn To Patch.
Vertex—Uses Vertex as the sub-object selection 3. Right-click the stack display and choose
level for passing up the rest of the stack. Collapse All.

Face—Uses Face as the sub-object selection level Interface

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.
Quads to Quad Patches—Turns quad faces in
Note: Converting from one object type to another
meshes or polymeshes into quad patches.
causes a complete caching in the modifier stack.
When you have large objects in your scene, this Note: When you turn this option off, 3ds Max
can take up a lot of space. For example, an object triangulates quads when the Turn To Patch
that starts as a mesh, converts to a patch, and then modifier is applied to a mesh or poly object.
back to a mesh takes 3 times as much space as a
mesh which just has ordinary modifiers like Bend Sub-object Selections group
or UVW Map applied. These options control the selection of sub-objects.
Tip: Turn To Patch can be useful on patches,
Preserve—Passes the sub-object selection up the
allowing you to invert a selection or change the stack. For example, if you have an object that you
selection level in a modifier that doesn’t depend have converted from an editable mesh, and you’ve
on topology. selected a polygon, then when you apply a Turn
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 Patch—Uses patch as the sub-object selection level
nothing is selected. Default=off. for passing up the rest of the stack.
Invert—Inverts the sub-object selection. All
sub-objects not currently selected are selected, and
all sub-objects currently selected are deselected.
Turn To Poly Modifier
Default=off. Make a selection. > Modify panel > Modifier List >
Object-Space Modifiers > Turn to Poly
Include Soft Selection—When these are on,
3ds Max applies a spline curve deformation to Make a selection. > Modifiers menu > Conversion > Turn
to Poly
unselected vertices surrounding the transformed
selected sub-object. This provides a magnet-like The Turn To Poly modifier lets you apply object
effect, with a sphere of influence around the conversions in the modifier stack. Also, when
transformation. Use this when you want to you apply the general-purpose modifiers, such as
preserve the soft selection from beneath. For Normal, Material, or UVW Map, it can be helpful
example, if Use Soft Selection is on when you select to explicitly control the type of object beforehand.
vertices on an editable mesh, and you apply Turn
To Patch with Include Soft Selection on, then the When you use Turn To Poly, you’re joining
same soft selection will apply to the patch vertices. triangles into polygons, so you might need to
Default=on. have restrictions on polygon convexity, size, and
planarity. All conversions from patches produce
For more information, see Soft Selection Rollout quads and triangles. Conversions from meshes can
(page 1–963). produce arbitrarily large polygons. Mesh polygons
are controlled as usual by joining together faces
Selection Level group
that are separated by invisible edges.
These options set the sub-object selection level for Note: Converting from one object type to another
passing up the rest of the stack. causes a complete caching in the modifier stack.
From Pipeline—Uses the equivalent of whatever When you have large objects in your scene, this
the input object uses (patch level becomes face can take up a lot of space. For example, an object
level, and so on.). For example, if you create a that starts as a mesh, converts to a patch, and then
box, convert it to an editable mesh in face mode, back to a mesh takes three times as much space as
and apply a Turn To Patch modifier to it, 3ds Max a mesh that has only ordinary modifiers like Bend
passes a sub-object selection in patch mode up or UVW Map applied.
the stack. The Turn To Patch modifier takes the Tip: Turn To Poly can be useful on polymeshes,
sub-object face selection into account and selects allowing you to invert a selection or change the
the patches that derive from the face selection. selection level in a modifier that doesn’t depend
Object—Uses object as the selection level for on topology.
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.
 Turn To Poly Modifier 875

Procedure Interface
Example: To prevent interior vertices from being Parameters rollout
passed up the stack:
1. Create an NGon in wireframe mode: Create
panel > Shapes > Splines > Object Type rollout
> 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
make a cut from one side of the NGon to the
other. Notice that an interior vertex now exists.
Note: Doing this on an NGon doesn’t always Keep Polygons Convex—Does not join across edges
generate an interior vertex. if the resulting polygon would not be convex.
"Convex" means that you can connect any two
7. Apply the Turn To Poly modifier: Modify panel
points in the polygon with a line that doesn’t go
> Modifier List > Turn To Poly. Notice the
outside the polygon. A polygon is not convex if
interior vertex clears.
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
corners across the middle of the top face, the box
becomes non-convex. Turn To Poly would then
see this as two triangles instead of one quad, 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 the same soft selection will apply to the polymesh
two triangles into pentagons, hexagons, and so on. vertices. Default=on.
Max Size—The maximum number of sides to a For more information, see Soft Selection Rollout
polygon. (page 1–963).
Require Planar Polygons—Creates polygons
Selection Level group
composed of flat planes. Does not join faces
together across an edge if the edge has a sharper These options set the sub-object selection level for
angle than the threshold listed. passing up the rest of the stack.

Threshold—Controls the threshold of the angle From Pipeline—Uses the equivalent of whatever
between polygonal planes. the input object uses (patch level becomes face
level, and so on). For example, if you create a box,
Remove Mid-Edge Vertices—Eliminates divisions
convert it to an editable mesh in face mode, and
that result from intersections with invisible edges. apply a Turn To Poly modifier to it, 3ds Max passes
a sub-object selection in face mode up the stack.
Sub-object Selections group
The Turn To Poly modifier takes the sub-object
These options control the selection of sub-objects. face selection into account and selects the polygons
that derive from the face selection.
Preserve—Passes the sub-object selection up the
stack. For example, if you have an object that you Object—Uses object as the selection level for
have converted to an editable mesh, and you’ve passing up the rest of the stack.
selected a polygon, then when you apply a Turn
Edge—Uses edge as the sub-object selection level
To Poly modifier, the polygon remains selected.
for passing up the rest of the stack.
Default=on.
Vertex—Uses vertex as the sub-object selection
Clear—Clears the sub-object selection so that
level for passing up the rest of the stack.
nothing is selected. Default=off.
Face—Uses face as the sub-object selection level
Invert—Inverts the sub-object selection. All
for passing up the rest of the stack.
sub-objects not currently selected are selected, and
all sub-objects currently selected are deselected.
Default=off.
Twist Modifier
Include Soft Selection—Affects the action of
Modify panel > Make a selection. > Modifier List >
sub-object Move, Rotate, and Scale functions. Object-Space Modifiers > Twist
When these are on, 3ds Max applies a spline curve
deformation to unselected vertices surrounding Make a selection. > Modifiers menu > Parametric
Deformers > Twist
the transformed selected sub-object. This provides
a magnet-like effect, with a sphere of influence The Twist modifier produces a twirling effect (like
around the transformation. Use this when you wringing out a wet rag) in an object’s geometry.
want to preserve the soft selection from beneath. You can control the angle of the twist on any of
For example, if Use Soft Selection is on when you three axes, and set a bias that compresses the twist
select vertices on an editable mesh, and you apply effect relative to the pivot point. You can also limit
Turn To Poly with Include Soft Selection on, then the twist to a section of the geometry.
 Twist Modifier 877

Note: When you apply the Twist modifier, the Twist To limit the twist:
gizmo’s center is placed at the object’s pivot point, 1. Turn on Limits group > Limit Effect.
and the gizmo lines up with the object’s local axis.
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
Left: Original model the modifier’s center.
Middle: A moderate twist The limit settings remain on either side of the
Right: An extreme twist center as you move it. This lets you relocate the
twist area to another part of the object.
Procedures
To twist an object: Interface
1. Select an object and apply Twist. Modifier Stack

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. Gizmo—You can transform and animate the
gizmo like any other object at this sub-object
3. Set the angle of the twist. Positive values
level, altering the effect of the Twist modifier.
produce a clockwise twist, negative values
Translating the gizmo translates its center an equal
a counterclockwise twist. An angle of 360
distance. Rotating and scaling the gizmo takes
produces a complete revolution.
place with respect to its center.
The object twists to this amount beginning at
the lower limit (by default, the location of the Center—You can translate and animate the center
modifier’s center). at this sub-object level, altering the Twist gizmo’s
shape, and thus the shape of the twisted object.
4. Set the bias of the twist.
For more information on the stack display, see
A positive value compresses the twist at the
Modifier Stack (page 3–760).
end away from the pivot point, a negative value
toward the pivot point.
878 Chapter 8: Modifiers

Twist Parameters rollout 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
Twist group the UVW coordinates of those selections. Existing
UVW coordinates on an object can be unwrapped
Angle—Determines the amount of twist around
and edited as well. Maps can be adjusted to the
the vertical axis. Default=0.0. proper fit on a Mesh, Patch, Polygon, HSDS, or
Bias—Causes the twist rotation to bunch up at NURBS model.
either end of the object. When the parameter is The Unwrap UVW modifier can be used as
negative, the object twists closer to the gizmo a self-contained UVW mapper and UVW
center. When the value is positive, the object twists coordinate editor, or in conjunction with the
more away from the gizmo center. When the UVW Map modifier (page 1–922). If you use
parameter is 0, the twisting is uniform. Range=100 Unwrap UVW in conjunction with the UVW
to -100. Default=0.0. Map modifier, it is usually so you can use a
mapping method unavailable in Unwrap UVW,
Twist Axis group
such as Shrink Wrap. You can animate UVW
X/Y/Z—Specify the axis along which the twist will coordinates by turning on the Auto Key button and
occur. This is the local axis of the Twist gizmo. transforming the coordinates at different frames.
Default=Z. Note: After applying the Unwrap UVW modifier,
open mapping edges, or seams, appear on the
Limits group
modified object in the viewports. This helps you
Applies the twist effect only to vertices that lie visualize the locations of mapping clusters on the
between the lower and upper limits. The two object surface. You can toggle this feature and set
spinners represent distance along the gizmo’s Z the line thickness with the Display setting (page
axis (Z=0 is at the gizmo’s center). When they are 1–885).
equal, it is the same as disabling the twist effect.
Limit Effect—Applies limit constraints to the Twist
modifier.
 Unwrap UVW Modifier 879

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’t make it past the Unwrap UVW modifier. If
the Unwrap modifier is operating on a selection of
faces, then upstream changes to unselected faces
will still be able to flow past the Unwrap modifier.
Open UVW mapping edges (seams) shown on head model in
viewport
Native Support for HSDS, Polygon
Self-Contained Mapper and UVW Object, and Patch mapping
Coordinate Editor Unwrap UVW supports polygon faces and Bezier
Rather than creating a large modifier stack by quad and tri patch faces in addition to triangles
first making a sub-object selection of faces and and quads.
then adding a UVW Map modifier to specify the Below is a sample of what the various face types
type of mapping, you can use the Unwrap UVW look like based on the incoming type. For HSDS
modifier to do both. You can select sub-object and Poly surfaces, the basic interface remains the
vertices, edges, or faces/patches, store sub-object same, except that the maximum number of sides
selections as named selections, map them using per polygon increases from 4 to over two billion.
planar and other methods, and then edit the UVW HSDS supports only one level of detail: the level at
coordinates for each sub-object selection, all from which the mapping was. Patches have handles on
within the Unwrap UVW modifier. For example, nonlinear vertices. These handles work just like
to map a character’s face using three planar maps, regular patch handles.
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.
880 Chapter 8: Modifiers

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.
Pinning Textures
Important: Be sure to press Enter after typing the
Although not its primary purpose, you can use the
selection set name.
Unwrap UVW modifier to freeze UVWs. You can
apply mapping after an animated deformation and 4. On the Map Parameters rollout, click the
have the mapping stick to the object. For example, appropriate mapping type button (Planar, Box,
you can apply Unwrap UVW above a Morpher etc.) and then adjust the gizmo using any
modifier in the modifier stack, apply planar maps combination of the transform tools (Move,
and edit the UVW coordinates. The mapping will Rotate, Scale) in the viewports and the Align
follow the morphing geometry. buttons (Align X, etc.) on the Map Parameters
rollout.
Procedures Tip: You can often save time by starting with
To use Unwrap UVW with the non-Pelt mapping the Best Align command and then adjusting
methods: manually from there.
This is a general overview of using the basic After each adjustment of the mapping gizmo,
Unwrap UVW tools available on the Modify panel the texture display in the viewports updates to
and the Edit UVWs dialog (page 1–888). Unwrap reflect the mapping changes, as do the green
UVW provides many additional tools, particularly seam lines on the object that show where the
in the editor. open edges lie (depending on the object shape
1. Apply the modifier and a texture-mapped
and mapping type; the seam lines don’t change
material to an object. Set the material to display with Planar mapping). To cause the viewports
in the viewports, set at least one viewport to to update in real time, turn on Edit UVWs
be shaded (e.g., press F3 to toggle between dialog > Constant Update.
Wireframe and Smooth+Highlights), and, if You can also open the editor (Parameters
necessary, turn off Shade Selected Faces (press rollout > Edit) to view the changes in the
F2 ) for that viewport so the texture mapping generated texture coordinates as you adjust the
is visible. gizmo.
2. Go to the Face sub-object level of the Unwrap 5. Click the mapping type button again to turn it
modifier and make a selection of contiguous off and exit mapping for this face selection.
faces. You’ll use a single mapping type on this 6. Continue making and naming selections and
selection. 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 13. In a viewport, drag to select a group of faces
Parameters rollout > Display Group > Thin by region.
Seam Display or Thick Seam Display is active. The faces’ UVW coordinates display in the
7. Open the Edit UVWs dialog (page 1–888) Edit UVWs window. This is another way of
(Parameters rollout > Edit). choosing what you want to work on.
By default, the editor displays a checkered As you can see, from within the Unwrap UVW
background. To view the map in the material modifier you can assign multiple mapping
on the object, you need to change a setting. types to different, named face selections, and
8. At the right end of the editor upper toolbar, then edit the UVW coordinates to fine-tune
click the drop-down list that currently reads map placement on the geometry.
CheckerPattern (Checker) and choose the map
To perform quick planar mapping:
that’s applied to the material.
You’ll find the Quick Planar Map controls on the
The map appears as the background.
Map Parameters rollout of the Unwrap UVW
By default, all the UVW clusters display. To modifier.
work on one cluster at a time, you need to filter
1. Apply Unwrap UVW to an object.
the UVWs.
2. Go to the Face sub-object level.
9. On the Edit UVWs dialog > lower toolbar, 3. Select the faces to map.
click Filter Selected Faces.
The Quick Map gizmo appears juxtaposed over
At this point, only faces you select in the the face selection, showing the default Averaged
viewport will appear in the editor. You can Normals mapping.
select them directly, or choose a named
selection set. In the next step, you’ll use the 4. If you prefer a different orientation for the
latter method. mapping, choose X, Y, or Z.

10. On the main toolbar, open the Named Selection 5. Click Quick Planar Map to apply the mapping.
Sets drop-down list, and choose one of your To map additional faces, proceed from step 3.
named selection sets.
To use Pelt mapping:
The viewports show the selection as active, and
Pelt mapping is useful for mapping organic models
the UVW coordinates for the selection appear
such as characters and creatures. This feature gives
in Edit UVWs window.
you a special editor with a virtual stretcher and
11. In the Edit UVWs window, select and springs that let you easily “pull” a complex UVW
move a UVW face. map flat. The result more closely approximates
the actual shape of the object than other mapping
In the viewports, the texture slides around the methods, making it easier to create convincing
selected portion of the object mesh. texture maps.
12. Choose a different selection set and edit its
1. Apply Unwrap UVW to the object.
UVW coordinates.
2. Make an edge selection that you can later
Again, the viewport display reflects the editing convert to pelt seams. It’s not absolutely
changes. necessary to do this at this point, but the
882 Chapter 8: Modifiers

Edge sub-object level of the modifier gives seam runs down the back side of a leg, orient
you handy Ring and Loop tools as well as the plane along a line running from the right
buttons to expand and shrink the edge selection side to the left side of the leg.
automatically. 7. On the Map Parameters rollout, click Edit Pelt
Tip: Creating the pelt seams is more art than Map.
exact science. Visualize the way the mesh This opens the Edit UVWs dialog, if necessary,
should lie flat, and then select edges so the UVs and displays the pelt UVWs and the stretcher
can split in a natural way. in the editor window. By default, the stretcher
3. Go to the Face sub-object level of the modifier appears as a circle of points centered on the
and select the faces to pelt map. To select pelt UVWs, with only the stretcher vertices
all faces, press Ctrl+A . If you’re not selected. Also, springs, represented as dashed
pelt-mapping the entire mesh, you can skip this lines, connect the stretcher points and the
step. pelt-seam vertices.
4. If you made an edge selection in step 2, click 8. If necessary, rotate the Pelt UVs so that the
Map Parameters rollout > Edge Sel To Pelt mapping coordinates are oriented correctly,
Seams. This copies the edge selection to pelt and rotate the stretcher so that the springs form
seams. If you didn’t specify the pelt seams at a symmetrical pattern. Typically you’re looking
the Edge sub-object level of the modifier, turn for left-right symmetry.
on Edit Seams or Point To Point Seam and then Tip: Using Ctrl +click adds to the existing
specify seams in the viewports. selection, as in the viewports.
The pelt seams appear on the mesh as blue lines. 9. On the Pelt Map Parameters dialog, click
5. If you’re not pelt-mapping the entire mesh, you Simulate Pelt Pulling.
probably want to map a region enclosed by a The springs contract, pulling the pelt seam
pelt seam. Click a face within the region to map vertices toward the stretcher points. The
and then click Exp. Face Sel to Pelt Seams. internal UV vertices are also affected by this
This expands the face selection to the full size action. You can adjust the extent to which
of the region defined by the pelt seam. they’re affected with the Decay setting.
Note: You can pelt map only one such region 10. Continue adjusting the stretcher points,
at a time. mapping vertices, dialog settings, etc., and
6. Turn on Pelt, and then adjust the planar re-running the solution until you get the
map gizmo the way you want. You can do so desired results. If things get out of hand, simply
manually or automatically with one of the Align undo, or click Reset Stretcher and start over.
buttons on the Map Parameters rollout. For a
To export texture coordinates to a paint program:
vertical humanoid character facing the Y axis,
try using the Align X button. The ideal result in 1. Apply the Unwrap UVW modifier to your
the Edit UVWs dialog (see step 7) is an outline object and use the modifier tools to set up the
of the object as viewed from the front or back. mapping. Texture-coordinate clusters that will
use the same texture area should overlap.
Tip: For best results with cylindrical areas such
as limbs, align the plane at right angles to the 2. From the Edit UVWs dialog menu bar, choose
seam of the area to pelt map. For example, if the Tools > Render UVW Template.
 Unwrap UVW Modifier 883

This opens the Render UVs dialog: 5. At the bottom of the dialog, click Render UV
Template.
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, and then use the file dialog to specify
the file type and name. Click Save to export
the file.
If you want to use the rendered transparency
information in the paint program, be sure
to save in a format that supports the alpha
channel, such as TIF or Targa.
7. Open the exported image in a paint program
and use the rendered edges as a guide for
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. Back in 3ds Max, create a material, set the
Diffuse map to Bitmap, and open the file from
3. Set the Width and Height values to the output
the previous step.
resolution you want in the rendered template.
You’ll usually get good results by setting the 9. Apply the material to your mesh object.
desired width and then clicking Guess Aspect The painted texture map follows the outlines
Ratio. set up by the exported UVs.
Tip: When creating texture maps for gaming and
other real-time 3D engines, be sure to set both Interface
dimensions to powers of 2: 256, 512, 1024, etc. After applying the modifier, its panel appears,
4. Change the remaining values as needed. By consisting of the modifier stack plus two rollouts:
default, the template is rendered with the
edges as white and opaque (alpha=1.0),
and background is empty and transparent
(background alpha=0.0), but you have a variety
of choices here, as detailed in Render UVs
Dialog (page 1–914).
884 Chapter 8: Modifiers

Modifier Stack display Selection Parameters rollout

Use these settings to make or modify a sub-object
selection for use by the modifier. If you’ve passed
a face selection up the stack, for example from
the Poly Select modifier, Unwrap UVW uses that
instead, and makes these controls unavailable.

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
surface is more readily visible, and the Edge level is + button—Expands the selection by selecting all
also useful for setting up edge selections that you faces adjacent to selected faces.
can later convert to pelt seams.
- button—Reduces the selection by deselecting all
If you apply Unwrap UVW to an active face faces adjacent to non-selected faces.
selection of an Editable/Edit Mesh/Poly object,
or to an active patch selection of an Editable/Edit Ring—Expands an edge selection by selecting all
Patch object, no sub-object levels are available in edges parallel to the selected edges. Ring applies
the Unwrap UVW modifier. You can use Unwrap only to edge selections.
UVW to edit only the selection that was active Loop—Expands the selection as far as possible, in
when you applied the modifier. Changing the alignment with selected edges. Loop applies only
sub-object selection in the object doesn’t affect the to edge selections, and propagates only through
Unwrap modifier contents, because the modifier junctions of even numbers of edges.
obtains the face selection when you first apply it.
Ignore Backfacing—When region selecting,
All three sub-object levels are synchronized prevents the selection of faces not visible in the
between the modifier stack and the Selection viewport.
Modes group (page 1–893) on the Edit UVWs
dialog. When you activate a sub-object level in Select By Element—Lets you select elements (page
one, it’s also activated in the other. Similarly, 3–933).
selecting sub-objects in a viewport selects them in Planar Angle—Lets you select contiguous coplanar
the editor and vice-versa. 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 Clicking this is almost the same as removing
threshold value. and reapplying the modifier, except that a map
assigned in the Edit UVWs dialog is not deleted.
Planar Angle is available only at the Face
For example, if you forgot to turn on the Generate
sub-object level.
Mapping Coordinates check box for an object,
Select MatID—Enables face selection by material and then applied the Unwrap UVW modifier, the
ID (page 3–969). Specify the material ID to select, modifier would have no UVW coordinates to use
and then click Select MatID. and its settings would be wrong. If you then go
back in the Stack and turn on Generate Mapping
Select MatID is available only at the Face
Coordinates, you’d need to click the Reset UVWs
sub-object level.
button. When you click this button, an alert warns
Select SG—Enables face selection by smoothing you that you’re losing any edits you’ve made.
group (page 3–1013). Specify the smoothing group
Save—Saves the UVW coordinates to a UVW
to select, and then click Select SG.
(.uvw) file.
Select SG is available only at the Face sub-object
Load—Loads a previously saved UVW file.
level.
Channel group
Parameters rollout
This option lets you choose a specific map channel
by number, or the vertex color channel. For more
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
This setting determines whether and how pelt
seams and mapping cluster boundaries, 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.
Edit—Displays the Edit UVWs dialog (page 1–888). The display thickness setting applies to both pelt
seams and map seams:
Reset UVWs—Resets the UVW coordinates in the
Edit UVWs dialog.
886 Chapter 8: Modifiers

• Thin Seam Display—Displays map seams and

pelt seams on object surfaces in the viewports
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
pelt seams 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. 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
Texture and the modifier are using the same map
channel.

Map Parameters rollout

Preview Quick Map Gizmo—When on, a rectangular
You can apply any map type to selected faces, planar mapping gizmo, applicable to the Quick
patches, or surfaces, and align the mapping gizmo Planar Map tool only, appears juxtaposed over the
in any of a variety of ways. face selection in the viewports. This gizmo is not
The mapping controls on the upper part of the manually adjustable, but you can use the following
rollout are available only at the Face sub-object control to reorient it.
level.Also, the Quick Map controls are available X/Y/Z/Averaged Normals—Choose the alignment
only when no mapping mode button (Planar, Pelt, for the quick map gizmo: perpendicular to the
etc.) is active. However, the Pelt controls (page object’s local X, Y, or Z axis, or based on the faces’
1–888) are available at all sub-object levels. average normals.
Note: When a mapping type button is active, you
Quick Planar Map—Applies planar mapping to
cannot change the selection without first exiting
the face selection based on the orientation of the
the mapping operation.
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. Best Align—Adjusts the mapping gizmo’s position,
Clicking this button activates Pelt mode, in which orientation, and scale to fit that of the face
you can adjust the mapping and edit the pelt map. selection, based on the selection’s extents and
Note: Pelt mapping always uses a single planar average normals.
mapping for the entire pelt. If you’ve applied a Fit—Scales the gizmo to the extents of the selection
different type of mapping, such as Box, and then and centers it on the selection. Does not change
switch to Pelt, the previous mapping is lost. the orientation.
Cylindrical—Applies cylindrical mapping to the Align To View—Reorients the mapping gizmo to
currently selected faces. face the active viewport and adjusts its size and
Make the selection, click Cylindrical, adjust the position as necessary to fit the extents of the
cylinder gizmo using the transform tools and selection.
Align buttons on the Map Parameters panel, and Center—Moves the mapping gizmo so that its pivot
then click Cylindrical again to exit. coincides with the center of the selection.
Note: When you apply Cylindrical mapping to a Reset—Scales the gizmo to fit the selection and
selection, the software maps each face to the side aligns it with the object’s local space.
of the cylinder gizmo that most closely matches
its orientation. For best results, use Cylindrical Normalize Map—When on, scales the mapping
mapping with cylinder-shaped objects or object coordinates to fit into the standard coordinate
parts. mapping space: 0 to 1. When off, the mapping
coordinates are the same size as the object. The
Spherical—Applies spherical mapping to the map is always tiled once in the 0-1 coordinate
currently selected faces. space; the part of the map based on its Offset and
Make the selection, click Spherical, adjust the Tiling values on
sphere gizmo using the transform tools and Align For example, if you take a sphere of 25 units that’s
buttons on the Map Parameters panel, and then planar mapped from the top, and then apply
click Spherical again to exit. Unwrap UVW and turn off Normalize Map, then
Box—Applies box mapping to the currently when you open the editor, the radius of the sphere’s
selected faces. mapping coordinates is 25 units. As a result, the
texture map is tiled onto the sphere surface many
Make the selection, click Box, adjust the box gizmo times. With Normalize Map on, both the sphere
using the transform tools and Align buttons on the and the map fit into the 0-1 coordinate space, so
Map Parameters panel, and then click Box again they’re the same size.
to exit.
In general, for best results, leave Normalize Map
Note: When you apply Box mapping to a selection,
on. One reason to turn it off would be to turn it off
the software maps each face to the side of the box
is if you want to map several elements of different
gizmo that most closely matches its orientation.
proportions with a texture of a specific aspect
For best results, use Box mapping with box-shaped
ratio, such as brick, keeping the texture the same
objects or object parts.
size on each object.
Align X/Y/Z—Aligns the gizmo to the X, Y, or Z axis
of the object’s local coordinate system.
888 Chapter 8: Modifiers

[Pelt controls] 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
These tools, which give you different ways of calculate a path might create a different seam than
specifying pelt seams, are available at all sub-object what you have in mind. If this happens, undo
levels of the modifier. ( Ctrl+Z ) and specify the desired path by plotting
Edit Seams—Lets you specify a pelt seam by points closer together.
selecting edges with the mouse in the viewports. Edge Sel To Pelt Seams—Converts the current edge
This process is similar but not identical to standard selection to pelt seams. These seams are added to
edge selection: any existing seams.
• Click an edge to add it to the current selection. Exp(and) Face Sel to Pelt Seams—Expands the
• Alt +click an edge to remove it from the current face selection to meet the pelt seam
current selection. border(s). If multiple seam outlines contain
selected faces, the expansion takes place only for
• Drag to select a region. the last-selected face; all others are deselected.
Point To Point Seam—Lets you specify pelt seams by
Edit Pelt Map—Opens the Edit UVWs dialog in a
selecting vertices with the mouse in the viewports. special Pelt mode, with the Pelt Map Parameters
Pelt seams specified with this tool are always added dialog (page 1–909) active. This command also
to the current seam selection. initializes the mapping coordinates according to
In this mode, after you click a vertex, a the pelt seams. Available only when Pelt mapping
rubber-band line extends from the vertex you mode is active.
clicked to the mouse cursor. Click a different When the editor is open in Pelt mode you can use
vertex to create a pelt seam, and then continue the editor and dialog controls to “stretch” out the
clicking vertices to create a seam from each vertex mapping coordinates, resulting in coordinates that
to the previous one. To start at a different point in are easier to texture map.
this mode, right-click, and then click a different
vertex. To stop drawing seams, click the button
again to turn it off. Edit UVWs Dialog
Note: While Point To Point Seam is active, you
can pan, rotate, and zoom the viewport at any Select an object. > Modify panel > Modifier List >
Object-Space Modifiers > Unwrap UVW > Edit button (on
time using contextual controls (middle-button Parameters rollout)
drag, Alt +middle-button drag, turn mouse
wheel, respectively) to access a different part of The heart of the Edit UVWs dialog is a window
the mesh surface. After doing so, the software that displays a lattice made up of UVW faces and
 Edit UVWs Dialog 889

UVW vertices. Each UVW face, which has three or Interface

more vertices, corresponds to a face in the mesh.
Besides the window, the editor interface consists
The view window displays the UVWs in the of a menu bar, a toolbar, a lower toolbar, and,
2D-image space of the map, superimposed over docked below the main dialog, the Options panel
a grid. Thicker grid lines show the boundaries (page 1–893).
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.
The state of the Edit UVWs dialog, including
buttons and selected options, is stored and recalled
the next time you open the Edit dialog.
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 Menu bar
quad menu > tools 1 quadrant, choose Manual
The menu bar provides access to a wide range
Interior. The manual interior handles appear in
of Edit UVWs functions. See Edit UVWs Dialog
the editor window as isolated vertices.
Menu Bar (page 1–895).
Note: Certain modeling operations can leave
unused (isolated) map vertices that show up in the Toolbar
editor window, but cannot be used for mapping. If
Contains all the controls for manipulating the
the model is an Editable Poly or Edit Poly object,
texture sub-objects in the view window, navigating
you can use the Remove Unused Map Verts button
within the window, and setting other options.
at the Vertex sub-object level to automatically
When transforming with Rotate and Scale,
delete these vertices.
pressing Ctrl+Alt will allow you to transform
Tip: The editor can display the number of selected the selection from the point of the mouse click,
sub-objects. This option is available as an Unwrap instead of the selection center. The initial click
UVW shortcut (page 1–900) as Show Subobject specifies the center of the transform.
Counter.
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 Press and hold Shift before dragging to
movement to a single axis. constrain scaling to the vertical or horizontal
axis, depending on how you begin dragging.
Rotate—Lets you select and rotate sub-objects. By default, scaling takes place about the gizmo
center. If you’ve moved the pivot (see following
Scale—Lets you select and scale sub-objects. item), you can scale about the transform center
Flyout options are Scale, Scale Horizontal, and instead by pressing and holding Alt before
Scale Vertical. dragging.
Pressing Shift as you scale constrains the
transform to a single axis. • Move pivot—Position the cursor over the
pivot, a wireframe cross that appears by default
Freeform Mode—Lets you select and move,
at the center of the gizmo. When this cursor
rotate, or scale vertices, depending on where you appears, drag to move the pivot. Rotation
drag. After you make a selection, the Freeform always occurs about the pivot; scaling takes
gizmo appears as a rectangular bounding box place about the pivot if you press and hold Alt
around the selected vertices. As you move the before dragging.
cursor over the gizmo’s various elements and Tip: By default, the pivot always resets to the
inside the gizmo, the cursor’s appearance, and the center of the gizmo when you make a new
result of starting to drag in this location, change: selection. If you prefer to retain the offset from
selection to selection, you can toggle this feature
• Move—Position the cursor anywhere with the Reset Pivot On Selection command.
inside the gizmo and then drag to move the This command is not available in the editor
selection. To constrain movement to the interface by default; you must use the Customize
vertical or horizontal axis, depending on how User Interface dialog (page 3–792) to add it.
you begin dragging, press and hold Shift
If you Ctrl +select one or more vertices outside
before dragging.
the gizmo, the gizmo expands to encompass the
• Rotate—Position the cursor over a gizmo
entire selection.
edge center point, and then drag to rotate the
Mirror—Mirrors selected vertices and flips
selection about the pivot. As you drag, the
UVs. Flyout options are Mirror Vertical, Mirror
amount of rotation is shown in the center of the
Horizontal, Flip Horizontal, and Flip Vertical.
gizmo.
Flip first detaches the selection along its boundary
Ctrl +drag to rotate in five-degree increments;
edges and then applies a Mirror Horizontal or
Alt +drag to rotate in one-degree increments.
Vertical depending on the mode.
Freeform rotation respects the angle snap (page
2–37) status. Turn on Target Weld, and then drag one vertex
to another vertex, or one edge to another edge.
• Scale—Position the cursor over a gizmo As you drag, the cursor changes in appearance to
corner and then drag to scale the selection. By cross hairs when it’s over a valid sub-object. While
default, scaling is non-uniform; if you press this command is active, you can continue welding
and hold Ctrl before dragging, scaling is sub-objects, and change the sub-object level. To
uniform on the horizontal and vertical axes.
 Edit UVWs Dialog 891

exit Target Weld mode, right-click in the editor A checker texture named CheckerPattern
window. (Checker), useful for checking for distorted areas
of the texture mapping, is built in to the Edit
Show Map—Toggles the display of the map in UVWs dialog. By default, this texture appears as
the editor window. the background texture when you first open the
editor after applying Unwrap UVW to an object.
UV/VW/UW—By default, the UV portion of To cause the pattern to appear on the object in
the UVW coordinates is displayed in the view viewports set to display textures, choose it from
window. However, you can switch the display to the drop-down list, even if it’s already active in
edit the UWs or the VWs. the editor.
[texture list drop-down]—Contains all the maps of
the material assigned to the object. Edit UVWs window
The Edit UVWs window allows you to edit UVW
sub-objects to adjust the mapping on a model. 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.
The names of the maps assigned in the Material
Editor and in the Edit UVWs dialog (via Pick To edit the UVW vertices, first choose a transform
Texture) appear in the list. tool and sub-object mode, make a selection, and
then click and drag in the window to transform
Below the map names are several commands: the selection.
• Pick Texture—Lets you use the Material/Map Quad menu—Right-click in the window to display
Browser to add and display textures that are not the quad menu, which provides access to all the
in the object’s material. transform tools, as well as a number of editor
• Remove Texture—Eliminates the currently commands.
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
editor to the current state of the material.
Choose a map you want to use in the view window.
For example, you might use a bump or texture
map as a reference to move UVW vertices.
892 Chapter 8: Modifiers

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: With a three-button mouse, you can also pan
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
Commands to freeze and hide selected sub-objects turning the wheel.
and unfreeze/unhide all sub-objects are found
only in the quad menu. Zoom Region—Click Zoom Region, and then
region-select part of the window to zoom in.
Lower Toolbar

Absolute/Offset Mode—When this is off,

the software treats values you enter into the U, V,
and W fields (see following) as absolutes. When Zoom Extents—Zooms in or out to fit the
this is on, the software applies transform values texture coordinates in the window. The flyout
you enter as relative to current values; that is, as buttons, from top to bottom, let you zoom to all
offsets. Default=off. texture coordinates, to the current selection, and
to all clusters/elements containing any selected
U, V, and W—These fields display the UVW
sub-objects.
coordinates for the current selection. Use the
keyboard or the spinners to edit them. Grid Snap—When on, moving sub-objects
These fields are active at all sub-object levels, but tends to snap the vertex closest to the mouse
they always apply to vertices. With a single vertex cursor, which is highlighted by a square outline, to
selected, they display the current coordinates. the nearest grid line or intersection.
With multiple vertices (or one or more edges This is the default tool on this flyout; Pixel Snap is
or faces) selected, they display any coordinates also available.
the vertices belonging to the selection have in
common; otherwise, they’re blank. You can set the snap strength in the Unwrap
Options dialog.
Lock Selection—Locks selection. You can
move selected sub-objects without touching them. Pixel Snap—Snaps to the nearest pixel corner
when you have a bitmap in the background.
Filter Selected Faces—Displays UVW vertices Available from the Grid Snap flyout.
of the object’s selected faces in the viewport, and
hides the rest.
 Edit UVWs Dialog 893

Combine this with Center Pixel Snap to snap to the Edge Distance—Turn on to limit the falloff region
center of pixels rather than the corner. by the specified number of edges between the
Note: With multiple vertices selected, all vertices selection and the affected vertices. The affected
snap to the nearest pixel, relatively; this can slightly region is measured in terms of "edge-distance"
alter the spatial relationships among them. space rather than absolute distance.
Falloff Type—Transforming with soft selection
Options panel 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
By default, the Options panel, docked to the
bottom of the Edit UVWs dialog, provides • Linear
controls for using soft selection, specifying
selection modes, and rotating the selection. The • Slow Out
Options button lets you toggle the display of
additional settings for bitmaps, viewports, and • Fast Out
the editor.
Selection Modes group
Soft Selection group [sub-object mode]—Specifies the type of sub-object

The Soft Selection controls make a sub-object that you can select by clicking or dragging in the
selection behave as if surrounded by a "magnetic window. Default=Vertex.
field." Unselected sub-objects within the field One of the three sub-object modes can be active
are drawn along smoothly while you transform at a time:
the sub-object selection, the effect diminishing
with distance. You can adjust this distance, or • Vertex
“falloff,” whether it applies to object space, texture
space, or edge space, and the formula by which it • Edge
diminishes.
First, set a value that encompasses sub-objects • Face
to be moved or scaled, and then transform Note: Selected sub-objects are colored red by
sub-objects with a falloff effect. default. Also, in Edge and Face sub-object modes,
any shared edges are blue by default. A shared
On—Activates or deactivates soft selection.
edge is one both of whose endpoints are shared
XY/UV—Specifies object or texture space for the by a selected edge or face; thus, it is, in effect,
falloff distance. XY selects object space, UV selects also selected. You can change these colors using
texture space. Customize User Interface > Colors panel (page
3–799).
Falloff—Sets the falloff distance. As values increase,
unselected vertex colors change gradually from the The three sub-object levels are synchronized
selected vertex to reflect the area of influence. between the modifier stack (page 1–884) of the
894 Chapter 8: Modifiers

Unwrap UVW modifier and the Selection Modes the middle connected edge, and then continues
group. When you choose a sub-object level in one, selecting as long as it can using each newly selected
it’s also activated in the other. Similarly, selecting edge. When it encounters an edge connected to
sub-objects in a viewport selects them in the editor an even number of edges, or to which the middle
and vice-versa. edge is already selected, it stops.
Select Element—Selecting a sub-object in a cluster
Expand Selection—Adds sub-objects to the
causes the entire cluster to become selected. Works
selection.
in all sub-object modes.
Vertex and face expansion proceeds outwards in
Rot(ate) +90—Rotates the selection 90 degrees
all available directions. Edge expansion proceeds
about its center.
along available UV paths. For example, to select
a cluster outline, select one outer edge, and then Rot(ate) -90—Rotates the selection -90 degrees
click Expand Selection repeatedly. about its center.

Contract Selection—Shrinks the selection by Bitmap Options group

deselecting the outermost sub-objects. Click the Options Button to make this group
available.
Paint Select Mode—Lets you “paint” a Use Custom Bitmap Size—When turned on, scales
sub-object selection by dragging in the editor the bitmap texture to the values specified by Width
window. After activating this mode, move the and Height. You can adjust these settings to scale
cursor into the editor window, and then drag to and reproportion the bitmap texture in relation to
select sub-objects. To exit Paint Select mode, the texture coordinates. This scaling doesn’t affect
right-click or choose a transform tool. the bitmap in the material, but only as viewed in
Paint mode selects only sub-objects that are fully the editor.
inside the selection brush. The dotted circle Tip: When working with large textures, reduce
attached to the mouse shows the size of the brush. the bitmap size for faster feedback. And when
Use the +/- buttons next to the paintbrush button working with disproportionate textures, setting
to change its size. the dimensions closer to each other in the editor
+/-—Increases and decreases the size of the Paint can make it easier to work.
Select mode “brush”: the circle attached to the Width—Scales the bitmap along the horizontal
mouse cursor. axis.
Edge Loop—Expands an existing edge selection to Height—Scales the bitmap along the vertical axis.
select all edges in the loop attached to the selected
Tile Bitmap—When turned on, you can repeat the
edges. Select one or more edges, and then click
Edge Loop. bitmap in the editor, displaying tiling set in the
material. You can use any part of the tiled image
Edge Loop uses a “center-path” method to for setting texture coordinates. This is helpful
calculate loop selection. To be able to expand when the sections of the texture image are packed
a selection, there must be an odd number of tightly together and the mesh contains many
edges attached to either end of a selected edge different areas to map.
in the editor window. The software then selects
 Edit UVWs Dialog Menu Bar 895

Tiles—The number of times the texture image is

repeated, counting outward in eight directions Edit UVWs Dialog Menu Bar
(the four corners and the four sides).
Select an object. > Modify panel > Modifier List >
Object-Space Modifiers > Unwrap UVW > Edit button (on
With Tiles=1, the result is a 3 x 3 grid. With Parameters rollout) > Menu bar
Tiles=2, the result is a 5 x 5 grid, and so on.
Brightness—Sets the brightness of the tiled bitmap. The Edit UVWs dialog (page 1–888) menu
At 1.0, the brightness equals that of the original bar provides access to a number of important
image; at 0.5 it’s half the brightness; and at 0, it’s editing commands. Some of these commands
black. are replicated on the dialog toolbar and the
Unwrap UVW command panel; others, such as
Tip: Turning off Affect Center Tile, available in the
the Mapping, Stitch, and Sketch tools, are available
Unwrap Options dialog (page 1–920) > Display
only from the menus.
Preferences group, prevents the Brightness setting
from affecting the center tile, so it’s easier to find if Tip: Several commands are not available in the
you’ve turned down the brightness. editor interface by default; you can use the
Customize User Interface dialog (page 3–792) to
Viewport Options group add them.
Constant Update—When on, the viewports
Interface
update in real-time, reflecting any changes to the
texture coordinates as you make them. When File menu
off, the viewports update only after you finish Load UVs—Loads a previously saved UVW (texture
transforming texture coordinates (that is, when coordinates) file.
you release the mouse button).
Save UVs—Saves the UVW coordinates to a UVW
Unwrap Editor Options group file.

Show Hidden Edges—Toggles the display of face Reset All—Restores the UVW coordinates to their
edges. When turned off, only faces appear. When original status.
turned on, all mesh geometry appears. Reset All has almost the same effect as removing
Center Pixel Snap—When Pixel Snap is turned on, and reapplying the modifier, except that a map
snaps to the center of pixels of the background assigned in the Edit UVWs dialog is not deleted.
images instead of pixel edges. For example, if you forgot to turn on the Generate
Mapping Coordinates check box for an object,
Weld Threshold—Sets the radius within which and then applied the Unwrap UVW modifier, the
welding using Weld Selected takes effect. The modifier would have no UVW coordinates to use
setting is in UV-space distance. Default=0.01. and its settings would be wrong. If you then go
Range=0 to 10. 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 Move Mode—Lets you select and move sub-objects.

These commands provide access to the different Rotate Mode—Lets you select and rotate
transform functions, and copy and paste sub-objects.
selections.
Scale Mode—Lets you select and scale sub-objects.
Copy—Copies the current selection (i.e., texture
Freeform Gizmo—Lets you select and transform
coordinates) into the paste buffer.
vertices. See Freeform Mode.
Paste—Applies the texture mapping coordinates
in the paste buffer to the current selection. Using Select menu
Paste repeatedly with the same target coordinates
These commands let you copy a viewport selection
causes the coordinates to rotate by 90 degrees each
to the editor, and transfer selections among the
time.
three different sub-object modes.
Use Copy and Paste to apply the same mapping
Convert Vertex to Edge—Converts the current
coordinates (i.e., image) to a number of different
vertex selection to an edge selection and places
geometry faces. A typical example of usage would
you in Edge sub-object mode. For an edge to be
be in designing a game level, where you’re working
selected, both of its vertices must be selected.
with a multi-image texture map, part of which is
a door image. You might want to apply the same Convert Vertex to Face—Converts the current
door image to several different door polygons. vertex selection to a face selection and places you
First, you would select one of the door polys and in Face sub-object mode. For a face to be selected,
position it over the door image. Next, use Copy all of its vertices must be selected.
to place its texture coordinates in the paste buffer. Convert Edge to Vertex—Converts the current edge
Then select another door poly and choose Paste or selection to a vertex selection and places you in
Paste Weld. The door’s texture coordinates move Vertex sub-object mode.
to the same location as the original poly. Continue
selecting other door polys and pasting until all the Convert Edge to Face—Converts the current edge
doors are mapped. selection to a face selection and places you in
Face sub-object mode. For a face to be selected,
Tip: For best results, use comparable sets of texture
the current edge selection must include all of its
coordinates for the source and destination. For
vertices. For example, if two opposite edges of a
example, copy a single four-sided face, and then
four-sided face are selected, the edge selection
paste another four-sided face.
includes all four of the face’s vertices, so this
Paste Weld—Applies the contents of the paste command will select the face.
buffer to the current selection and then welds
Convert Face to Vertex—Converts the current face
coincident vertices, effectively fusing the source
selection to a vertex selection and places you in
and destination selections together.
Vertex sub-object mode.
Use this function to end up with a single set of
Convert Face to Edge—Converts the current face
texture coordinates that’s applied to multiple
selection to an edge selection and places you in
geometry elements. Adjusting these texture
Edge sub-object mode.
coordinates changes the mapping for all geometry
to which they’re applied.
 Edit UVWs Dialog Menu Bar 897

Select Inverted Faces—Selects any faces facing away Mirror Horizontal/Vertical—Reverses the direction
from the current mapping. Available only in Face of selected sub-objects along the indicated axis
selection mode. and flips UVs accordingly.
This is useful in complex models for finding faces Weld Selected—Welds selected sub-objects to a
on a surface that folds in under itself, thus causing single vertex, based on the Weld Threshold setting.
potential problems with bump mapping. You can set the threshold on the Options panel
> Unwrap Editor Options group, as well as on
For example, add a sphere, turn off Generate
the Unwrap Options dialog (page 1–920) > Misc.
Mapping Coords, and them apply Unwrap UVW.
Preferences group.
This causes the modifier to apply planar mapping
from the top down, so that all faces on the bottom Target Weld—Welds pairs of vertices or edges. Not
half of the sphere are “inverted”; that is, they face available at the Face sub-object level.
away from the mapping. In the modifier stack
Turn on Target Weld, and then drag one vertex
display, highlight the Select Face sub-object level,
to another vertex, or one edge to another edge.
and then click the Edit button to open the UVW
As you drag, the cursor changes in appearance to
editor. Choose the Face selection mode, and then
cross hairs when it’s over a valid sub-object. While
choose Select > Select Inverted Faces. In the
this command is active, you can continue welding
viewports, the bottom half of the sphere turns red
sub-objects, and change the sub-object level. To
to indicate that the inverted faces are now selected.
exit Target Weld mode, right-click in the editor
Select Overlapped Faces—Selects any faces that window.
overlap other faces. If no face is selected, this
Break—Applies to the current selection; works
selects all overlapping faces. If a face selection
differently in the three sub-object modes. At
exists, this selects only overlapping faces within the
the Vertex sub-object level, Break replaces each
selection. Available only in Face selection mode.
shared vertex with two vertices. With edges,
When working with complex meshes, it’s common Break requires at least two contiguous edges to be
for texture-coordinate faces to overlap one selected, and separates each edge into two. With
another, with the result that they use the same faces, Break splits the selection off from the rest
portion of the texture map. Use this command to of the mesh into a new element, exactly as does
find overlapping faces in order to separate them Detach Edge Verts.
as needed.
Detach Edge Verts—Tries to split off the current
selection into a new element. Any invalid vertices
Tools menu
or edges are removed from the selection set before
Tools on this menu let you flip and mirror texture the detach.
coordinates, weld vertices, combine and separate
Stitch Selected—For the current selection, finds all
sets of texture coordinates, and sketch outlines for
multiple selected vertices. the texture vertices that are assigned to the same
geometric vertex, brings them all to the same spot,
Flip Horizontal/Vertical—Detaches the selected and welds them together. With this tool you can
sub-objects along their boundary edges and then automatically connect faces that are contiguous in
applies Mirror Horizontal or Vertical, depending the object mesh but not in the editor.
on the mode.
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 model. Each method provides settings so you can
choose the command. In the Stitch Tool dialog adjust the mapping to the geometry you’re using.
(page 1–918), adjust the settings, and then click
With each method, the mapping is applied to the
OK to accept or Cancel to abort.
current face selection; if there is no face selection it
Pack UVs—Distributes all texture-coordinate is applied to the entire mesh.
clusters through the texture space using one of two
Here’s a quick overview of the three methods:
methods and spacing you specify. This is useful
if you have several overlapping clusters and wish • Flatten mapping prevents overlap of mapping
to separate them. clusters, but can still cause texture distortion.

Choosing Pack UVs opens the Pack dialog (page • Normal mapping is the most straightforward
1–909). method, but can result in even greater texture
distortion than with Flatten mapping.
Sketch Vertices—Lets you draw outlines for vertex
• Unfold mapping eliminates texture distortion,
selections with the mouse. This is useful for
but can result in overlapping coordinate
matching coordinate cluster outlines to sections of
clusters.
the texture map en masse, without having to move
vertices one at a time. Tip: In many cases, one of the automatic mapping
functions will provide useful results. But with
Choosing Sketch Vertices opens the Sketch Tool certain custom or complex objects, you might
dialog (page 1–916). Sketch Vertices is available get the best results with manual mapping; use a
only in the Vertex sub-object mode. variation of the basic procedure (page 1–880), or
Relax Dialog—Opens the non-modal Relax Tool use a procedural method as a starting point for
dialog (page 1–912), which lets you change the custom mapping.
apparent surface tension in a selection of texture Flatten Mapping—Applies planar maps to groups
vertices by moving vertices closer to, or away from, of contiguous faces that fall within a specified
their neighbors. Relaxing texture vertices can angle threshold.
make them more evenly spaced, resulting in easier
texture mapping. Available at all sub-object levels. Choosing Flatten Mapping opens the Flatten
Mapping dialog (page 1–907).
Note: This command, as well as a Relax command
that lets you apply the default settings to the Normal Mapping—Applies planar maps based on
current selection without opening the dialog, are different vector-projection methods.
available as assignable keyboard shortcuts (page
Choosing Normal Mapping opens the Normal
1–900).
Mapping dialog (page 1–908).
Render UVW Template—Opens the Render UVs
Unfold Mapping—Unfolds the mesh so you get no
dialog (page 1–914), which lets you export texture
face distortion, but does not guarantee that faces
mapping data as an image file that you can then
will not overlap.
import into 2D paint software.
Choosing Unfold Mapping opens the Unfold
Mapping menu Mapping dialog (page 1–919).
Lets you apply one of three different types of
automatic, procedural mapping methods to a
 Edit UVWs Dialog Menu Bar 899

Options menu the editor window updates to the new selection

automatically.
Load Defaults—Loads the editor settings from the
file unwrapuvw.ini in the plugcfg directory. Show Hidden Edges—Toggles the display of hidden
face edges.
Save Current Settings as Default—Saves the editor
settings to the file unwrapuvw.ini in the plugcfg Show Edge Distortion—Uses a green-to-red color
directory. Settings saved in this way persist range to depict distortion: how far in length
between sessions. texture edges are from their corresponding
geometry edges. The greater the disparity in
Always Bring Up The Edit Window—When on,
lengths (that is, the greater the distortion), the
selecting an object with the Unwrap UVW
redder the edge appears in the Edit UVW dialog
modifier active automatically opens the Edit
window. Also draws end segments of edges that
UVWs dialog. By default, this is off, so you must
are too long as white, showing the difference in
click the Parameters rollout > Edit button to open
length from that of the geometry edge.
the dialog.
Preferences—Opens the Unwrap Options dialog
(page 1–920).

Display menu
Hide Selected—Hides all selected sub-objects and
Left: Texture edges the same as or very close to geometry edges
associated faces.
in length are green.
Unhide All—Reveals any hidden sub-objects. Center: Texture edges slightly different from geometry edges in
length are brown.
Unfreeze All—Unfreezes any frozen sub-objects.
Right: Texture edges very different from geometry edges in
Note: You can freeze a sub-object selection with length are red.
Freeze Selected, available from the right-click When texture edges are longer than geometry edges, white
menu > Display quadrant. end segments depict length disparity.

Filter Selected Faces—When on, the editor displays Use this display as a way to view where the areas of
UVW vertices of the viewport selection at the Face greatest distortion are in your texture mesh. If an
sub-object level of the modifier, and hides the rest. edge is brown or red but doesn’t have white end
segments, it’s too short. If it’s brown or red and
This is a quick way to work on a limited selection has white end segments, it’s too long, by the total
of the texture coordinates of a complex mesh length of the white segments.
while ignoring the rest. You can turn this on, go
to the Face sub-object level of the Unwrap UVW Show Vertex Connections—In Vertex sub-object
modifier, and select the portion of the object mode, toggles the display of numeric labels for all
whose texture coordinates you want to edit; only selected vertices. Shared vertices are indicated by
those coordinates appear in the editor, and remain the appearance of multiple same-numbered labels.
visible even when you change the sub-object level. Show Shared Sub-objects—When turned on, for the
To work on a different portion, return to the Face current selection, highlights any shared vertices
level and change the selection in the viewport; and/or edges. You can change the highlight color
on the Unwrap Options dialog (page 1–920).
900 Chapter 8: Modifiers

View menu
Unwrap UVW Shortcuts
Pan—Activates the Pan tool, which lets you move
horizontally and vertically in the window by To use keyboard shortcuts for the Unwrap UVW
dragging the mouse. modifier, the Keyboard Shortcut Override Toggle
(page 3–872) must be on.
As with the viewports, if you use a three-button
mouse, you can also pan by middle-button
See also
dragging.
Unwrap UVW Modifier (page 1–878)
Zoom—Choose Zoom, and then drag downward
in the editor window to zoom out and upward to Keyboard Shortcuts (page 3–871)
zoom in. Zooming is centered about the point you Keyboard Panel (page 3–793)
click before dragging.
Customize User Interface Dialog (page 3–792)
If you have a wheel mouse, you can also turn the
wheel to zoom. Zooming is centered about the In general, this table includes only functions that
mouse cursor location. have default keyboard shortcuts and functions
with descriptions that are not documented in the
Zoom Region—To zoom to a specific area, choose Unwrap UVW reference topics.
Zoom Region, and then drag a rectangle in the
editor window. Unwrap UVW Keyboard Description
Function Shortcut
Zoom Extents—Zooms in or out to fit all UVW
Allow Selections Lets you select
vertices in the editor window. Inside Transform vertices inside
Gizmo the gizmo by
Zoom Extents Selected—Zooms in or out to fit all CTRL+clicking
selected UVW vertices in the editor window. or ALT+clicking
a vertex. When
Zoom To Gizmo—Zooms the active viewport to the turned on, you
can move only
current selection. by dragging over
empty space.
Zoom Extents Selected—Zooms in or out to fit all
selected UVW vertices in the window. Always Bring Up When on, the
The Edit Window Edit UVWs dialog
automatically
Show Grid—Displays a grid in the background of
opens when you
the editor window. Default=on. access the Unwrap
UVW modifier.
Show Map—Displays a texture map in the
Blend Tiles To Lets you blend the
background of the editor window. Set the image Background image in the Edit
via the drop-down list at the right end of the editor UVWs dialog with
toolbar. the background
color. At 0 the
Update Map—Causes the displayed texture map to image will be
hidden while at
reflect any changes to the texture, such as tiling 1 it will be at full
settings or a different bitmap. Box Map intensity.
 Unwrap UVW Shortcuts 901

Unwrap UVW Keyboard Description Unwrap UVW Keyboard Description

Function Shortcut Function Shortcut
Break Selected Ctrl+B Breaks selected Edit UVWs Ctrl+E Opens the Edit
Vertices vertices so no face UVWs dialog.
shares them; the
same as breaking Expand Geom. Grows the face
a vertex in Edit Faces selection in the
Mesh. viewport.

Brightness Affects The brightness Face to Edge Converts a face

Center Tile control for the tile Select selection into an
of image at 0,0 edge selection.
of the Edit UVWs
Face to Vertex Converts a face
dialog.
Select selection into a
Contract Geom. Shrinks the face vertex selection.
Faces selection in the
viewport. Filter Selected Alt+F When on, only
Copy Copies the current Faces faces that are
face selection selected in the
texture data into viewport will be
the paste buffer. displayed in the
Edit UVWs dialog.
Cylindrical Map
Flatten Map Lays out the UV
Detach Edge D , CTRL+D Detaches the space so that
Vertices selected vertices no texture faces
into a separate overlap.
element.
Flatten Map Opens the
Display Seams Highlights edges Dialog dialog for Flatten
that are seams Mapping settings.
in texture space
in the Edit UVWs Flip Horizontal Detaches the
dialog. A seam current selection
is an edge that and then mirrors it
has only one face in the U direction.
attached to it. Flip Vertical Detaches the
Edge Sel to Pelt Converts the edge current selection
Seam (Add) selection to pelt and then mirrors it
seams, adding to in the V direction.
the current pelt Freeform Mode Toggles freeform
seams. editing tool in the
Edge Sel to Pelt Converts the edge Edit UVWs dialog.
Seam (Replace) selection to pelt Freeze Selected Ctrl+F Locks the current
seams, replacing selection so you
the current pelt cannot select it
seams. anymore.
Edge Snap Geom. Edge Loop
Edge to Face Converts an edge Selection
Select selection into a Geom. Edge Ring
face selection. Selection
Edge to Vertex Converts an edge
Select selection into a
vertex selection.
902 Chapter 8: Modifiers

Unwrap UVW Keyboard Description Unwrap UVW Keyboard Description

Function Shortcut Function Shortcut
Geom. Element Puts you in an Mapping Align X Aligns the
Select Mode element-select mapping gizmo
mode for selecting to the X axis of
faces in the the object’s local
viewport. coordinate system.
Get Face Selection Alt+Shift+Ctrl+F Copies the face Mapping Align Y Aligns the
From Stack selection from the mapping gizmo
modifier stack into to the Y axis of
the face selection the object’s local
that Unwrap UVW coordinate system.
uses.
Mapping Align Z Aligns the
Get Selection Alt+Shift+Ctrl+P Transfers the face mapping gizmo
From Faces selection in the to the Z axis of
viewport to the the object’s local
selection in the coordinate system.
Edit UVWs dialog.
Mapping Center Moves the
Grid Snap Turns on grid mapping gizmo
snapping. so that its pivot
coincides with
Grid Visible Toggles grid the center of the
visibility. selection.
Hide Selected Ctrl+H Hides the current Mapping Fit Scales the gizmo
selection in the to the extents of
Edit UVWs dialog. the selection and
centers it on the
Ignore Back Faces When on you can
selection. Does
select only faces in
not change the
the viewport that
orientation.
are facing you.
Load Defaults Loads the UI Mapping Reset Scales the gizmo
defaults from an to fit the selection
.ini file. and aligns it with
the object’s local
Load UVW Alt+Shift+Ctrl+L Lets you load a space.
.uvw file onto a
mesh. The mesh Mirror Horizontal Alt+Shift+Ctrl+N Mirrors the current
must have similar selection along the
topology as the U axis.
source. Mirror Vertical Alt+Shift+Ctrl+M Mirrors the current
Lock Selected Spacebar Locks the selection selection along the
Vertices so you cannot add V axis.
to or remove from Move Horizontal Alt+Shift+Ctrl+J
it.
Move Vertical Alt+Shift+Ctrl+K
Mapping Align
Normals
Mapping Align To Normal Map This creates a
View mapping based on
the face normals.
 Unwrap UVW Shortcuts 903

Unwrap UVW Keyboard Description Unwrap UVW Keyboard Description

Function Shortcut Function Shortcut
Normal Map Opens a dialog for Pelt Always Show Toggles display of
Dialog making Normal Seams the pelt seams in
Mapping settings. the viewports.
Open Edge Mode When turned on,
selecting an open
edge selects all
attached open
edges.
Pelt Dialog Opens the Pelt
Open Edge Select Selects all open Map Parameters
edges connected dialog
to the current
selection.
Pack Lays out all
selected elements
so they don’t Pelt Dialog Mirror Mirrors the
overlap. Stretcher stretcher points
Pack Dialog Opens the Pack from one side of
dialog. the mirror axis to
the other.
Paint Select Applies to the
Decrement Cursor Sketch tool.
Size
Pelt Dialog Relax Causes a
Paint Select Applies to the Simulation Heavy relatively strong
Increment Cursor Sketch tool. normalization
Size of the distances
Paint Select Mode Applies to the between mapping
Sketch tool. vertices.

Pan Ctrl+P
Pelt Dialog Relax Causes a
Paste Pastes the contents Simulation Light relatively weak
of the paste buffer normalization
onto the selection. of the distances
For best results the between mapping
source and target vertices.
should have similar
topology.
Pelt Dialog Reset Returns the
Paste Instance The pasted and Stretcher stretcher and the
source UVs will pelt UVs to their
share the same default shape and
vertices. orientation.
904 Chapter 8: Modifiers

Unwrap UVW Keyboard Description Unwrap UVW Keyboard Description

Function Shortcut Function Shortcut
Pelt Dialog Run Runs the Pelt Expand Expands the
Simulation simulation, pulling Selection To current face
the pelt seam Seams selection to meet
vertices towards the pelt seam
the stretcher border(s).
points.

Pelt Dialog Select Selects all pelt UVs. Pelt Map Activates
Pelt UVs pelt-mapping
mode.

Pelt Dialog Select Selects all stretcher Pelt Seam to Edge Converts the pelt
Stretcher UVs. Sel (Add) seam to an edge
selection, adding
to the current edge
selection.

Pelt Dialog Snap Aligns all the Pelt Seam to Edge Converts the
Seams stretcher points Sel (Replace) pelt seam to an
to the edge seams edge selection,
on the pelt UVs. replacing the
current edge
selection.

Pelt Dialog Lets you specify a Pivot Snap ... (nine Snaps the
Straighten polygonal outline shortcuts) Freeform gizmo
Stretcher for the stretcher by pivot to the
moving points. specified gizmo
edge.

Pelt Edit Seams Lets you specify Planar Map Enter Applies a planar
a pelt seam by Faces/Patches map to the current
selecting edges selection.
with the mouse in
the viewports. Planar Threshold Turns on the
Modify panel >
Planar Angle check
box.
Point to Point Lets you specify
Edge Selection pelt seams by
selecting vertices
with the mouse in
the viewports.
 Unwrap UVW Shortcuts 905

Unwrap UVW Keyboard Description Unwrap UVW Keyboard Description

Function Shortcut Function Shortcut
Polygon Mode Applies only to Save UVW Lets you save the
triangle meshes. UVW data to disk
When turned on as a .uvw file, which
(the default), if you can be read in later
select a triangular or onto another
face, the software mesh if they have
will select all faces similar topology.
that belong to the
poly that owns that Scale Horizontal Scales the
face. selection along
the U axis.
Polygon Select Expands the
current face Scale Vertical Scales the
selection to the selection along
poly. the V axis.

Prevent When on, keeps Select Inverted Selects any faces

Reflattening Render To Texture Faces in the Edit UVWs
from reflattening dialog that are not
the mapping. facing you.

Relax Applies the default Select Selects

Relax Tool settings Overlapped Faces overlapping faces
to the current in the Edit UVWs
texture vertex dialog.
selection.
Show Edge Uses a green-to-
Relax Dialog Opens the Relax Distortion red color range to
Tool dialog. depict distortion.

Render UVW Renders the UVW Show Hidden Toggles display of

Template coordinates to a Edges all edges.
bitmap.
Show Map Toggles display of
Reset Pivot On When turned on the image map.
Selection (the default), the
Show Seams in Alt+E Toggles display
Freeform gizmo
Viewport of cluster seams
pivot is reset
in the viewport.
to the center
Works only when
every time the
Edit UVWs dialog
selection changes,
has focus.
otherwise the
pivot maintains Show Shared Shows sub-objects
its offset. Sub-objects that share
edges/vertices.
Reset UVWs Sets texture
coordinates to Show Subobject Displays the
the original values Counter number of
before Unwrap selected objects in
was applied. the editor window.
Save Current Saves current Show Vertex Tags all texture
Settings As UI values to the Connections vertices that
Default default .ini file. share the same
geometry vertex
with a unique ID.
906 Chapter 8: Modifiers

Unwrap UVW Keyboard Description Unwrap UVW Keyboard Description

Function Shortcut Function Shortcut
Sketch Activates Sketch Stitch Dialog Opens the
Vertices. properties for the
Stitch command.
Sketch Dialog
Sync Selection Same as Sync to
Sketch Reverse Reverses the order Mode Viewport
Vertex Order of the selected
vertices for Sketch Sync Texture Synchronizes the
mode. Applies to Selection to selection in the
the Use Current Viewport Edit UVWs dialog
Selection option to the selection in
for Sketch. the viewport.
Snap Ctrl+S Toggles snapping. Sync Viewport Synchronizes the
Selection to selection in the
Snap to Grid/ Sets the snap type. Texture viewport to the
Vertex/Edge selection in the
Edit UVWs dialog.
Soft Selection Equivalent to
Edge Distance turning on Edge Texture Vertex - (minus sign), Shrinks the
Distance. Contract - (on numeric selection in the
Selection keypad) Edit UVWs dialog.
Soft Selection Set Edge Distance
Edge Distance to the specified Texture Vertex = (equal sign), Grows the
Range 1 value. Expand Selection + (on numeric selection in the
keypad) Edit UVWs dialog.
Soft Selection Set Edge Distance
Edge Distance to the specified Texture Vertex Q Lets you move
Range 2 value. Move Mode vertices in editor.
Soft Selection Set Edge Distance Texture Vertex Ctrl+R Lets you rotate
Edge Distance to the specified Rotate Mode vertices in editor.
Range 3 value.
Texture Vertex Lets you scale
Soft Selection Set Edge Distance Scale Mode vertices in editor.
Edge Distance to the specified
Range 4 value. Texture Vertex Ctrl+W Welds selected
Weld Selected vertices in editor.
Soft Selection Set Edge Distance
Edge Distance to the specified Texture Vertex Ctrl+T Lets you target-
Soft
RangeSelection
5 Set Edge Distance
value. Target Weld weld selected
Edge Distance to the specified vertices in editor.
Range 6 value.
TV Edge TV=Texture Vertex
Soft Selection Set Edge Distance Sub-object Mode
Edge Distance to the specified
Range 7 value. TV Element Mode TV=Texture Vertex

Soft Selection Set Edge Distance TV Face Sub- TV=Texture Vertex

Edge Distance to the specified object Mode
Range 8 value.
TV Vertex TV=Texture Vertex
Spherical Map Applies spherical Sub-object Mode
mapping.
Unfold Map
Stitch Stitches together
shared edges of a Unfold Map
polygon. Dialog
 Flatten Mapping Dialog 907

Unwrap UVW Keyboard Description

Function Shortcut
UVW Editor Dialogs
Unfreeze All Unfreezes all
frozen elements.
Unhide All Unhides all hidden
elements.
Flatten Mapping Dialog
Unwrap Options Ctrl+O (letter Select an object. > Modify panel > Modifier List >
"o") Object-Space Modifiers > Unwrap UVW > Edit button (on
Parameters rollout) > Mapping menu > Flatten Mapping
Update Map Ctrl+U Updates map in
editor.
The Flatten Mapping method of procedural
UV Edge Mode When on, selecting mapping applies planar maps to groups of
an edge expands
the selection to contiguous faces that fall within a specified angle
include all edges in threshold. It prevents overlap of mapping clusters,
its loop. See Edge
Loop. but can still cause texture distortion. The Flatten
Mapping dialog lets you control how clusters are
UV Edge Select Expands an
existing edge defined and mapped.
selection to
include all edges in See also
its loop. See Edge
Loop. Normal Mapping Dialog (page 1–908)
Vertex Snap
Unfold Mapping Dialog (page 1–919)
Vertex To Edge Converts vertex
Select selection to an
edge selection and Interface
puts you in Edge
mode.
Vertex To Face Converts vertex
Select selection to a face
selection and puts
you in Face mode.
Zoom Z
Zoom Extents X
Zoom Extents Alt+Ctrl+Z
Selected
Zoom Region Face Angle Threshold—The angle used to determine
Ctrl+X
the clusters to be mapped.
Zoom Selected
Element As the Flatten Map gathers faces to be mapped, it
Zoom to Gizmo Shift+Spacebar 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.
The higher this number, the larger the clusters
will be, with consequently greater distortion
908 Chapter 8: Modifiers

introduced as a result of texture faces’ proportions vector-projection methods. It is the most

deviating from their geometry-equivalent faces. straightforward method, but can result in even
greater texture distortion than with Flatten
Spacing —Controls the amount of space between
mapping (page 1–907). The Normal Mapping
clusters.
dialog lets you control how clusters are defined
The higher this setting, the larger the gap that and mapped.
appears between clusters.
See also
Normalize Clusters— Controls whether the final
layout will be scaled down to 1.0 unit to fit within Flatten Mapping Dialog (page 1–907)
the standard editor mapping area. If this is turned
Unfold Mapping Dialog (page 1–919)
off, the final size of the clusters will be in object
space, and they’ll probably be much larger than
Interface
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
(drop-down)—Sets the mapping method:
be placed in empty spaces within larger clusters to
take the most advantage of the available mapping • Back/Front
space. • Left/Right
By Material IDs—When on, ensures that no • Top/Bottom
cluster contains more than one material ID after • Box No Top
flattening.
• Box
OK—Accepts the settings, closes the dialog, and
• Diamond
performs the mapping as specified.
Spacing—Controls the amount of space between
Cancel—Undoes any changes and closes the dialog.
clusters.
Set As Default—Makes the current settings the
The higher this setting, the larger the gap that
defaults for the current session. appears between clusters.
Normalize Clusters— Controls whether the final
Normal Mapping Dialog layout will be scaled down to 1.0 unit to fit within
the standard editor mapping area. If this is turned
Select an object. > Modify panel > Modifier List > off, the final size of the clusters will be in object
Object-Space Modifiers > Unwrap UVW > Edit button (on
Parameters rollout) > Mapping menu > Normal Mapping space, and they’ll probably be much larger than
the editor mapping area. For best results, leave this
The Normal Mapping method of procedural turned on.
mapping applies planar maps based on different
 Pack UVs Dialog 909

Rotate Clusters—Controls whether clusters are The higher this setting, the larger the gap that
rotated to minimize the size of their bounding appears between clusters.
box. For instance, the bounding box of a rectangle
Normalize Clusters— Controls whether the final
rotated 45 degrees occupies more area than one
layout will be scaled down to 1.0 unit to fit within
rotated 90 degrees.
the standard editor mapping area. If this is turned
Align By Width—Controls whether the width or the off, the final size of the clusters will be in object
height of the clusters is used to control the layout space, and they’ll probably be much larger than
of the clusters. the editor mapping area. For best results, leave this
turned on.
OK—Accepts the settings, closes the dialog, and
performs the mapping as specified. Rotate Clusters—Controls whether clusters are
rotated to minimize the size of their bounding
Cancel—Undoes any changes and closes the dialog.
box. For instance, the bounding box of a rectangle
Set As Default—Makes the current settings the rotated 45 degrees occupies more area than one
defaults for the current session. rotated 90 degrees.
Fill Holes—When turned on, smaller clusters will
be placed in empty spaces within larger clusters to
Pack UVs Dialog take the most advantage of the available mapping
Select an object. > Modify panel > Modifier List > space.
Object-Space Modifiers > Unwrap UVW > Edit button (on
Parameters rollout) > Tools menu > Pack UVs OK—Accepts the settings, closes the dialog, and
performs the packing as specified.
The Pack UVs dialog contains controls for clusters.
Cancel—Undoes any changes and closes the dialog.

Interface 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

(drop-down)—Sets the packing method:
dialog is to let you stretch out the UVW
• Linear Packing—Uses a linear method to lay coordinates into a flat, unified map that you can
out the faces. This method is fast but not very then use for texturing. When the dialog is open,
efficient, and tends to leave a lot of unused UV the stretcher appears in the Edit UVWs dialog
space. window as a circle of points, each of which is
• Recursive Packing—Slower than the Linear attached to a vertex on a pelt seam. You can
method, but packs the faces more efficiently. manipulate these vertices exactly as any other
vertex in the editor, selecting, rotating, moving,
Spacing —Controls the amount of space between etc. Other special functions available on the dialog
clusters.
910 Chapter 8: Modifiers

let you straighten out stretcher vertices, snap them functions on this dialog let you adjust various
to the pelt seams, and so on. stretching parameters.

The stretcher points surround the pelt UVs in the Edit UVWs
dialog window.

The lines connecting the stretcher vertices to the Stretcher group

pelt-seam vertices function as springs that pull the
pelt seams outward in an animated simulation. These tools help adjust the stretcher shape.
After you set up the pelt UVs and the stretcher Reset Stretcher—Returns the stretcher and the
shape, you run the simulation by clicking the pelt UVs to their default shape and orientation,
Simulate Pelt Pulling button. Depending on the losing any stretching or editing of the stretcher or
results, further adjustment and simulation might mapping coordinates.
be required.
Snap To Seams—Aligns all the stretcher points to
While Pelt mode is active and the Edit UVWs the edge seams on the pelt UVs. This causes the
dialog is open, most standard UVWs editing stretcher to take on the pelt outline.
functions are also available. So, for example,
instead of stretching the entire pelt, you could For best results, use this command only after
select a subset of UVs to stretch. To access any stretching.
commands that are unavailable in Pelt mode, such Straighten Stretcher—Lets you specify a polygonal
as Mapping menu commands, simply close the outline for the stretcher by moving points. When
Pelt Map Parameters dialog. this mode is active, move one stretcher vertex,
and then move a second, non-adjacent point to
Interface line up all intervening vertices in a straight line
The primary Pelt Map commands are activated between the two. This process is fully interactive;
via the buttons in the Simulation group. Other 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 Select Pelt UVs—Selects all pelt UVs.
create a polygonal outline; to quit, click Straighten
Stretcher again. Springs group
Note: While Straighten Stretcher is active, you These parameters control the springs that are used
can pan and zoom the editor window at any time to stretch the pelt. In most cases you won’t need
using contextual controls (middle-button drag to change these values, except possibly for Pull
or turn mouse wheel, respectively) to access a Strength.
different part of the window. After doing so,
Pull Strength—The magnitude of the stretching
the software still remembers the last vertex you
action when you click Simulate Pelt Pulling.
dragged and draws a straight line between it and
Default=0.1. Range=0.0 to 0.5.
the next one you drag. Similarly, you can adjust
the window using the control buttons and then If the stretching is too gradual, increase Pull
return to straightening the stretcher. If the control Strength for a more forceful stretching action.
requires more than a single click, such as Pan, exit
Stiffness—Sets the rate at which the springs pull.
the control by right-clicking in the window and
The higher the Stiffness value, the more abrupt the
then return to straightening the stretcher.
pulling action. Default=0.16. Range=0.0 to 0.5.
Tip: To create a symmetrical outline for the
Dampening—Applies a dampening or inhibiting
stretcher, create the outline on one side and then
factor to the pulling action. The higher the
use Mirror Stretcher (following).
Dampening value, the greater the inhibition of the
Mirror Stretcher—Mirrors the stretcher points stretcher. Default=0.16. Range=0.0 to 0.5.
from one side of the mirror axis (see following) to
Decay—The rate of falloff of the influence of
the other. By default, Mirror Stretcher mirrors the
each pelt-seam vertex on the other mapping
points from the right side to the left.
vertices. Higher Decay values typically result in
Mirror Axis—Lets you specify the orientation of significantly greater stretching, or undesirable
the mirror axis. The axis takes the form of three results. For best results, keep the Decay value low.
yellow lines forming a T. The leg of the T indicates Default=0.25. Range=0.0 to 0.5.
the side that will be mirrored when you use
Lock Open Edges—Locks the open edges in place.
Mirror Stretcher (see preceding), and the crossbar
This typically applies to using the stretcher on a
indicates the axis across which the mirroring will
partial selection of mapping vertices in the pelt
occur. Default=0.0. Range=0.0 to 360.0.
region. When Lock Open Edges is on, selected
Select group vertices next to unselected vertices tend to stay in
place during stretching. When Lock Open Edges
These commands let you select all the stretcher is off, the selected vertices tend to pull away from
points or the pelt UVs. As with other selection the unselected vertices.
methods, you can press and hold Ctrl when you
use either of these to add to the current selection. Simulation group
That is, to select all stretcher points and pelt UVs,
These are the main controls for the simulation, in
click one button, press and hold Ctrl , and then
which the springs attached to the stretcher pull the
click the other button.
pelt seam vertices out, flattening the UVs. For best
Select Stretcher—Selects all stretcher points.
912 Chapter 8: Modifiers

results, alternate between running the simulation the dialog open. You can make a selection of
(click Simulate Pelt Pulling) and relaxing the mesh. texture vertices, apply relaxation, make a different
selection, apply relaxation, and so on, without
Iterations—The number of times the simulation
having to close the Relax Tool dialog.
will run through when you click Simulate Pelt
Pullings. Default=20. Range=1 to 100. Tip: When using Relax with complex objects, you
might find that vertices in interior sections of the
Often, you’ll need to run repeated simulations to texture mesh don’t relax properly because they
get the desired result. have nowhere to go. In such cases, try making
Samples—The number of samples around each a seam: Select an edge loop or part of a loop,
pelt-seam point used in the simulation. A higher and then use the Break function to separate the
value results in a greater pulling effect. Default=5. mesh at the seam. Alternatively, you could make
Range=1 to 50. a face selection and then use Detach Edge Verts.
For example, Select Overlapped Faces > Expand
Relax (Light)—Causes a relatively weak
Selection > Detach Edge Verts will break the
normalization of the distances between mapping
selection away from the mesh into a new UV
vertices.
element.
Relax (Heavy)—Causes a relatively strong
Tip: Effective use of the Relax tools requires
normalization of the distances between mapping
that the geometry and texture vertices be in the
vertices.
same order. If you get unexpected results using
Simulate Pelt Pulling—Runs the simulation, pulling Relax, try mirroring the texture vertices to reverse
the pelt seam vertices towards the stretcher points. their order.
To abort the simulation process, press Esc .
Procedures
To relax texture coordinates:
Relax Tool Dialog
1. Use the Edit UVWs dialog to select the
Select an object. > Modify panel > Modifier List > texture-coordinate vertices to relax.
Object-Space Modifiers > Unwrap UVW > Edit button
(on Parameters rollout) > Edit UVWs dialog > Make a You can make this selection at any sub-object
selection. > Tools menu > Relax Dialog
level (Vertex, Edge, or Face), but Relax always
works on vertices.
The Relax Tool dialog offers an advanced toolset
for modifying the spacing of selected texture 2. On the Tools menu, choose Relax Dialog.
coordinates parametrically, for the purpose of
eliminating or minimizing distortion in texture
maps. The dialog provides three different
methods for relaxing vertices, plus several numeric
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.
The dialog is non-modal, which means that you
can work directly in the editor while keeping
 Relax Tool Dialog 913

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

surrounding the overlapping faces.
This gives the overlapping faces a larger area
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
This opens the Relax Tool dialog. considerable, use 0.5 or higher. If it’s relatively
3. Choose the relax method. Three are available small, try 0.1 to 0.3.
from the drop-down list: 6. Click Apply.
• Relax By Face Angles If this seems to be helping, continue clicking
• Relax By Edge Angles Apply until the overlapping is resolved. If
• Relax By Centers not, undo ( Ctrl+Z ) and try using Relax By
Face Angles instead, or increase the Amount
The default method is Relax By Edge Angles; value, or change the Stretch value, or use
this most often gives the best results. combinations of the above.
4. Set the other options and then click Apply.
As the relaxing progresses, a message appears Interface
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
[relax method]—The method used to relax the
work in every case, but it should give you a starting
point for correcting most situations. texture vertices. Choose from the drop-down list:
• Relax By Face Angles—Relaxes the vertices based
1. Open the Edit UVWs dialog and in the on the shape of the faces. It tries to align the
Selection Modes group, click Face Sub-object geometric shape of the face to the UV face. This
Mode. algorithm is mainly used to remove distortion
914 Chapter 8: Modifiers

and not so much to remove overlap, and is best vertices. For Relax By Edge and Face Angles, turn
suited for simpler shapes. this off until you get a good solution for the outer
• Relax By Edge Angles—This default method is boundaries of the mesh and then turn it on to
similar to Relax By Face Angles except that it resolve the interior sections.
uses the edges that are attached to the vertices Save Outer Corners—Preserves the original
as the shape to match. It typically works better positions of texture vertices farthest away from the
than Relax By Face Angles but tends to take center. Available only with the Relax By Centers
longer to reach a solution. This method is method.
bested suited for more complex shapes.
Apply—Begins the relaxation process using the
• Relax By Centers—The original Relax method current settings. As relaxation takes place, a
from previous versions of 3ds Max. It relaxes textual progress indicator appears at the bottom of
vertices based off the centroids (centers of the dialog, showing the current iteration (Process
mass) of their faces. It does not take into frame) and the total number of iterations being
account the face or edge shapes/angles so it is processed.
mainly useful for removing overlap or for faces
that are mostly rectangular. To abort the relaxation process, press Esc . You
can then use Undo ( Ctrl+Z ) to return to the
Iterations—The number of times the Relax settings prior state, if necessary.
are applied when you click Apply. Each iteration is
applied successively, to the results of the previous Set As Default—Saves all current settings as the
iteration. Range=0 to 100000. Default=100. Relax defaults, so they are recalled from session
to session.
Amount—The strength of the relaxation applied
per iteration. Range=0.0 to 1.0. Default=0.1.
Stretch—The amount of stretching that can occur. Render UVs Dialog
Stretching is useful mainly to resolve overlapping
Unwrap UVW modifier > Edit button (on Parameters
texture vertices, at the cost of reintroducing rollout) > Tools menu > Render UVW Template
distortion into the texture mesh. Range=0.0 to
1.0. Default=0.0. The Render UVs dialog, part of the Unwrap UVW
editor (page 1–888), lets you export a model’s
Keep Boundary Points Fixed—Controls whether
texture mapping data as a template; a bitmapped
vertices at the outer edges of the texture
image file. you can then import this template into
coordinates are moved. Default=off.
a 2D paint program, apply color as needed, and
When off, the outer edge of the texture mesh then bring it back into 3ds Max as a texture map to
can float, allowing a wider range of the available apply to the model. The exported file looks like a
texture-mapping space to be used. Typically screen shot of the editor window, but without any
you would keep this off when relaxing an entire background texture, and has the added options of
element or cluster, so the software can minimize setting color and alpha options for both the edges
distortion by moving the edges. and the area they cover.
When relaxing an interior subset of vertices, it For a procedure that covers usage of this dialog, see
is recommended you turn this on to prevent the To export texture coordinates to a paint program:
selected vertices from overlapping unselected (page 1–882).
 Render UVs Dialog 915

Interface 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
Width/Height—The horizontal and vertical when Mode is set to Solid. To change the color,
dimensions of the output (rendered) template click the swatch.
image in pixels.
Alpha—Sets the alpha-channel value for the fill
Guess Aspect Ratio—Adjusts the Height value to areas when Mode=Solid, Normal, or Shaded.
produce an output aspect ratio based on the Width When Mode=None, the fill alpha is always 0.0
value and the dimensions of the UV grid. (transparent). Range=0.0 (transparent) to 1.0
For instance, if a rectangular UV grid measures (opaque). Default=1.0.
20 x 100 units and you click Guess Aspect Ratio, The alpha channel is included with the rendered
it would try to keep the bitmap at the 1:5 aspect image only when you save in a format that supports
ratio. This makes painting on the bitmap easier transparency, such as TIF or Targa.
because the bitmap is at the correct aspect ratio
for the mesh. 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: Renders faces using the fill color Render UV Template—Renders the template bitmap
specified by the swatch at the top of the Fill in a new rendered frame window (page 3–5).
group.
• Normal: Renders each vertex’s normals into To save the rendered frame, click the Save
the bitmap. The result looks similar to a normal Bitmap button.
map. Note: This command renders the normalized UV
• Shaded: Uses a simple lighting setup to render space, from (0,0) to (1,1), as depicted in the editor
shading across the UV surface. by a dark blue outline. For best results, make sure
the texture UVs fill this space but don’t exceed its
Show Overlap—When on, fills faces that overlap bounds.
other faces with the overlap color, shown in the
color swatch to the right. Default=on. Tip: To turn off the background texture,
which tends to obscure the UV space outline, click
To change the overlap color, click the color swatch.
the Show Map button on the upper toolbar.
Edges group
[color swatch]—Shows the color used for rendered Sketch Tool Dialog
edges. To change the color, click the swatch.
Select an object. > Modify panel > Modifier List >
Alpha—Sets the alpha-channel value for edges. Object-Space Modifiers > Unwrap UVW > Edit button (on
Parameters rollout) > Tools menu > Sketch Vertices
Range=0.0 (transparent) to 1.0 (opaque).
Default=1.0.
If you need to match a contiguous selection of
The alpha channel is included with the rendered texture vertices to an outline in a bitmap, whether
image only when you save in a format that supports an irregular shape, a straight line, or a geometric
transparency, such as TIF or Targa. shape, you can use the Sketch tool to perform
Visible Edges—When on, edges are rendered using the operation quickly, rather than dragging the
the specified edge color. Default=on. vertices one at a time.

Invisible Edges—When on, hidden edges Procedure

are rendered using the specified edge color.
Example: To sketch texture vertices free form:
Default=off.
You can start with the vertices already selected, or
Hidden edges are most often found dividing mesh use the Sketch tool to select them. In this example,
polygons into triangles. They aren’t present in we’ll assume the latter.
polygon objects.
1. Choose Sketch Vertices.
Seam Edges—When on, seam (outside) edges
2. In the Sketch Tool dialog, next to Select By,
are rendered using the specified seam color.
choose Drag Selection, if necessary.
Default=on.
3. Next to Align To, choose Free Form, if
To change the seam color, click the color swatch. necessary.
The default color (green) is the same as that used
4. Make sure Show Vertex Order and Interactive
for seam edges in the Edit UVWs dialog, but the
two can be changed separately. Mode are turned on. Leave Drag Cursor Size
at the default setting.
 Sketch Tool Dialog 917

5. Click OK to close the dialog. Interface

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.
Select by—Lets you choose how to select the
Note: Before you start sketching, each successive
vertices to sketch:
mouse click alternates between drag and sketch
modes. • Pick Selection—Lets you pick the vertices one by
one. When you click OK, a Pick cursor appears
7. In the editor window, drag a wavy line.
comprising a + sign and the letter P; when the
The selected vertices follow the line in numeric cursor is over a vertex, the + sign becomes
order, spreading out evenly over its length. To larger. To finish picking, right-click, and then
start the sketch over, release the mouse button, drag to sketch. After sketching, you return to
and then drag again. Pick mode, and so on. To exit, right-click.
Alternatively, if you press and hold Alt , and • Drag Selection—Lets you pick multiple vertices
then press and release the mouse button, you’ll by dragging. When you click OK, the mouse
draw a straight line by moving the mouse. Click cursor appears as a circle. After you drag to
and move again to draw connected straight-line select vertices, release the mouse button, and
segments. then drag (or Alt +click) to sketch. As with
You can combine free-form and straight-line Pick Selection, the mouse cursor continues
sketching freely: to alternate between Select and Sketch modes
until you right-click to exit.
• To append a free-form line to a straight-line
segment, release the Alt key and then begin • Use Current Selection—Uses the current
dragging. selection; you cannot change the selection
while using the tool. If the current selection is
• To append a straight-line segment to a
edges or faces, Sketch uses all vertices attached
free-form line, press and hold Alt as you
to selected sub-objects.
drag, and then release the mouse button and
move the mouse. Align To—Lets you choose how to sketch:

8. To exit the Sketch tool, right-click in the editor • Free Form—Drag to sketch free form (like
window. 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 Procedure

then move the mouse in a circle to rotate the To stitch two clusters together:
circle.
1. In the “source” cluster, select sub-objects along
Show Vertex Order—Displays numbered labels that an edge you want to connect.
indicate the order in which vertices were selected
By default, this causes the shared edges to
and will spread out during sketching.
highlight in the “target” object(s).
Interactive Mode—Shows vertex positioning as you 2. Choose Stitch Selected.
sketch. Turn off for faster feedback.
The clusters are connected.
Drag Cursor Size—Sets the size of the mouse
3. Adjust the settings on the Stitch Tool dialog.
cursor used while dragging a selection. Default=8.
Range=1 to 15. Feedback takes place in real time.
4. Click OK to accept or Cancel to abort.
OK—Accepts the changes and closes the dialog.

Cancel—Undoes any changes and closes the dialog. Interface

Set As Default—Makes the current settings the
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
Align Clusters—Moves the target cluster to the
After you’ve separated your object’s UVW source cluster, and rotates the target cluster into
coordinates into clusters, either manually or place if necessary. When off, the target cluster
using one of the automatic tools on the Mapping remains in its original position and orientation.
menu (page 1–898), you can use the Stitch Default=on.
tool to recombine specific clusters by merging Tip: If your clusters overlap after stitching with
corresponding edges. Align Clusters turned on, cancel the stitching, and
Note: You can stitch together only two clusters at a then position and align them as you want them
time. If the current sub-object selection is shared after stitching. Then use the Stitch tool with Align
by more than one cluster, then “majority rules”: Clusters turned off.
Stitch attaches the cluster that shares the most
Scale Clusters—Resizes the target cluster to a size
sub-objects. If the number of sub-objects shared
comparable to that of the source cluster. Takes
by multiple other clusters is the same, the software
effect only when Align Clusters is on. Default=on.
attaches the cluster whose shared sub-objects were
chosen first.
 Unfold Mapping Dialog 919

See also
Flatten Mapping Dialog (page 1–907)
Normal Mapping Dialog (page 1–908)

Interface
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-objects remain in their original positions in
the source cluster. At Bias=1, sub-objects remain
in their original positions in the target cluster. At
in-between settings, their positions are averaged (drop-down)—Sets the unfold method by
between the two. specifying whether the software will start
unfolding with the closest or farthest face angle,
When Scale Clusters is on, Bias sets where the
with respect to distance. In almost all cases, you’ll
software derives the scaling of the target cluster(s).
get better results with Walk To Closest Face.
At Bias=0, the scale is fully derived from the
stitched edges on the source. At Bias=1, the scale is • Walk To Closest Face
fully derived from the stitched edges on the target. • Walk to Farthest Face
At in-between settings, the scaling is averaged
Normalize Clusters— Controls whether the final
between the two.
layout will be scaled down to 1.0 unit to fit within
OK—Accepts the changes and closes the dialog. the standard editor mapping area. If this is turned
off, the final size of the clusters will be in object
Cancel—Undoes any changes and closes the dialog.
space, and they’ll probably be much larger than
Set As Default—Makes the current settings the the editor mapping area. For best results, leave this
defaults for the current session. turned on.
OK—Accepts the settings, closes the dialog, and
performs the mapping as specified.
Unfold Mapping Dialog
Cancel—Undoes any changes and closes the dialog.
Select an object. > Modify panel > Modifier List >
Object-Space Modifiers > Unwrap UVW > Edit button (on Set As Default—Makes the current settings the
Parameters rollout) > Mapping menu > Unfold Mapping
defaults for the current session.
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.
920 Chapter 8: Modifiers

swatches to choose colors that work better for your

Unwrap Options Dialog specific map.
Select an object. > Modify panel > Modifier List > To change a color, click its swatch, and then use the
Object-Space Modifiers > Unwrap UVW > Edit button (on
Parameters rollout) > Edit UVWs dialog > Options menu Color Selector (page 1–161) to choose a new one.
> Advanced Options
Line Color—Specifies the color of the UVW lattice

Set preferences for the Unwrap UVW editor using lines. Default=white.
controls in the Unwrap Options dialog. Handle Color—The color assigned to patch handles.
Default=yellow.
Interface
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.
You can also set the grid size.
Background Color—The color assigned to the
background where the texture map isn’t displayed.
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
Colors group view window.
Contains color swatches to customize the display Render Width—Specifies the width resolution of
of the UVW lattice. With certain maps, the default the image displayed in the view window. This
colors may become difficult to see. Use these does not change the size of the image, but only the
resolution.
 Unwrap Options Dialog 921

Render Height—Specifies the height resolution. so you can easily distinguish the home tile from
the copies.
Use Custom Bitmap Size—When turned on, scales
the bitmap texture to the values specified by Width Constant Update in Viewports—Affects the
and Height. You can adjust these settings to scale adjusting of UVW vertices in the viewport while
and reproportion the bitmap texture in relation to you move the mouse. Default=off (the effect of
the texture coordinates. This scaling doesn’t affect adjusting the UVW vertices does not appear in the
the bitmap in the material, but only as viewed in viewport until you release the mouse).
the editor.
Show Image Alpha—Displays the alpha channel of
Tip: When working with large textures, reduce the background image in the editor, if it exists.
the bitmap size for faster feedback. And when
Show Hidden Edges—Toggles the display of face
working with disproportionate textures, setting
the dimensions closer to each other in the editor edges. When turned off, only faces appear. When
can make it easier to work. turned on, all mesh geometry appears.
Blend Tile to Background—Affects the color to
Tiles—The number of times the texture image is
repeated, counting outward in eight directions which tiles set to Brightness less than 1.0 blend.
(the four corners and the four sides). When turned off, tiles blend to black. When
turned on, tiles blend to the background color.
With Tiles=1, the result is a 3 x 3 grid. With
Tiles=2, the result is a 5 x 5 grid, and so on. Misc. Preferences
You can toggle the tiling feature with the Tile Center Pixel Snap—When turned on, snaps to the
Bitmap check box, described below. center of pixels of the background images instead
of pixel edges.
Tile Brightness—Sets the brightness of the tiled
bitmap. At 1.0, the brightness equals that of the Grid Snap—When on, snaps to grid edges and
original image; at 0.5 it’s half the brightness; and intersections.
at 0, it’s black.
Vertex Snap—When on, snaps to
This is the same setting as Brightness in the UVWs texture-coordinate vertices.
editor > Bitmap Options group (available with
Edge Snap—When on, snaps to texture-coordinate
Show Options).
edges.
Tile Bitmap—When turned on, you can repeat the
Weld Threshold—Sets the radius within which
bitmap in the editor, displaying tiling set in the
welding using Weld Selected takes effect. The
material.
setting is in UV-space distance. Default=0.01.
You can use any part of the tiled image for setting Range=0 to 10.
texture coordinates. This is helpful when the
Grid Size—Sets the spacing of horizontal and
sections of the texture image are packed tightly
vertical grid lines. Default=0.1.
together and the mesh contains many different
areas to map. Setting Grid Size to 0 effectively turns off the grid.
At the highest value, 1.0, the grid is the same size
Affect Center Tile—When turned on, the Brightness
as the texture.
setting affects all tiles equally. When off, the center,
or “home,” tile always remains at full brightness,
922 Chapter 8: Modifiers

Snap Str(ength)—Sets the grid snap strength.

Default=0.2. Range=0 to 0.5. UVW Map Modifier
Setting the strength to 0 effectively turns off Select an object. > Modify panel > Modifier List > UVW
Map
snapping. At values less than 0.3, grid snapping
tends to go to grid edges. At the highest value, 0.5, Select an object. > Modifiers menu > UVW Map
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.

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
Z axis, is generally only used for procedural maps.
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 assigning explicit map channels to the bitmaps. In
perpendicular to the surface. the Material Editor you assign each map a different
channel number, then you add multiple UVW
Primitive objects, like spheres and boxes, can
Map modifiers to the object’s modifier stack,
generate their own mapping coordinates, as
each UVW Map modifier is set to a different map
can loft objects and NURBS surfaces. Scanned,
channel. To change the type of mapping or gizmo
imported, or hand-constructed polygonal or patch
placement for a particular bitmap, you select
models do not have mapping coordinates until a
one of the UVW Map modifiers in the modifier
UVW Map modifier is applied.
stack and change the parameters. You can change
Note: Drawings that are imported or linked from the name of a UVW Map modifier in the Edit
Autodesk Architectural Desktop and Autodesk Modifier Stack dialog to correlate the modifier to
Revit do retain the mapping coordinates that were the bitmap.
assigned to objects by those products.
If you apply a UVW Map modifier to an object Transforming UVW Map Gizmos
with built-in mapping coordinates, the applied
coordinates take precedence if map 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 Changing a map’s location by moving the gizmo.
separately by using two UVW Map modifiers
in the modifier stack The UVW Map gizmo projects mapping
coordinates onto an object. You can position,
• Transform the mapping gizmo to adjust map
rotate, or scale a gizmo to adjust map coordinates
placement. Objects with built-in mapping
on an object; you can also animate the gizmo.
coordinates lack a gizmo.
Gizmo transformations remain in effect if you
• Apply mapping coordinates to an object with select a new map type. For example, if you scale
no mapping coordinates, an imported mesh, a spherical mapping gizmo and then switch to
for example. planar mapping, then the planar mapping gizmo
• Apply mapping at the sub-object level. is also scaled.

Map Channels Gizmo Display for Different Map Types

You can control the type of mapping coordinates For planar, spherical, cylindrical and shrink wrap
and the placement of the mapping gizmo for each maps, a short yellow line indicates the top of the
bitmap in a material that uses multiple bitmaps by map. The green edge of the gizmo indicates the
right side of the map. On a spherical or cylindrical
924 Chapter 8: Modifiers

map the green edge is the seam where the left and Manipulators for UVW Map
right edge meet. Gizmo must be selected in the
The UVW Map modifier has graphic manipulators
modifier display hierarchy to display the gizmo.
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)
is active. This button is on the default toolbar
Gizmos for different projection types (page 3–685). When you move the mouse over a
Left to right: planar, cylindrical, box, and spherical manipulator, the manipulator turns red to show
that dragging or clicking it will have an effect.
Effects of Transforming the UVW Map Gizmo Also, a tooltip appears, showing the object name,
Moving the gizmo changes the center of projection the parameter, and its value.
and affects all types of mapping. Rotating the For more information on using the UVW Map
gizmo changes the orientation of the map, which manipulators, see the Procedures section (page
affects all types of mapping. Uniform scaling does 1–925).
not affect spherical or shrink-wrap mapping.
Non-uniform scaling affects all types of mapping. UV width/length manipulators—In a viewport, drag
the edges of the UVW Map gizmo to change the
If you scale a gizmo smaller than the geometry, width or height.
then a tiling effect is created, unless scaling has
no effect on the map type in use. Tiling based on UV tiling manipulators—In a viewport, drag the
gizmo size is in addition to tiling values set in the small circle next to the U edge or V edge to adjust
Material Editor Coordinates rollout for the map or the tiling in that dimension.
the UVW Map modifier tile controls.
Tile Controls
Use the UVW Tile controls if you want a map to
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
The size of the gizmo affects how the mapping is applied to
an object. 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 texture map appears in the scene with the correct
value of 3 on the same axis, then the result is a scaling.
tiling value of 6.
There are two parts to the equation in order for
real-world mapping to work. First, the correct
Objects with No Mapping Coordinates
style of UV texture coordinates must be assigned
If you render an object that doesn’t have mapping to the geometry. Basically, the size of the UV space
coordinates or a UVW Map modifier, and the needs to correspond to the size of the geometry.
object uses a material with 2D bitmaps or 3D Therefore, a new switch, called Real-World Map
procedural maps that use explicit map channels, Size, has been added to many of the dialogs
then a Missing Map Coordinates (page 2–1623) and rollouts where you can generate texture
alert is displayed. The alert lists both the name of coordinates. Any dialog or rollout in which you
the object and the UVW channels or Vertex Color have the option to turn on Generate Mapping
channels that are missing the coordinates. For Coords, also has a switch where you can turn on
example: (UVW 2): Torus01. Real-World Map Size.
Note: There are a few primitive objects that do not
Mapping Selection Sets or Grouped have a Real-World Map Size switch. These are
Objects
Torus Knot, Hedra, Prism and RingWave.
You can apply one UVW Map modifier to a
The other part of the equation is in the material
selection of objects. One large mapping gizmo will
editor. When you create a material and use a 2D
encompass the entire selection unless the Use Pivot
texture map, you now see a new switch in the
Points option is turned on in the modifiers rollout
Coordinates rollout called Use Real-World Scale.
before applying the UVW Map modifier. If the
When this switch is turned on, the default, the
Use Pivot Points option is used then each object is
Width and Height spinners are enabled that let
encompassed with its own mapping gizmo.
you specify the horizontal/vertical offsets and size
If any of the objects in the selection has had its of the texture map in current display units (page
pivot point shifted in the Hierarchy > Pivot panel, 3–848).
and you use the Use Pivot Points option with the Note: Autodesk VIZ scenes with objects using
UVW Map modifier, then the mapping gizmos are real-world mapping coordinates will display
centered to the pivot points rather than the object differently when opened in 3ds Max. This is
center and the mapping may be tricky to position because real-world mapping coordinates is not the
the way you want. default method of generating mapping coordinates
in 3ds Max.
Real-World Mapping
The idea behind real-world mapping is to simplify Procedures
the use of texture mapped materials which are To apply the UVW Map modifier:
scaled correctly with the geometry in the scene.
1. Assign a mapped material to an object.
This feature gives you the ability to create a
material and specify the actual width and height of
a 2D texture map in the material editor. When you 2. On the Modify panel, choose UVW
assign that material to an object in the scene, the Map from the Modifier List.
3. Adjust the mapping parameters.
926 Chapter 8: Modifiers

By default, the UVW Map modifier uses planar control in the Material Editor. You can adjust
mapping on map channel 1. You can change the the mapping of channel 2 without altering the
type of mapping and the map channel to suit mapping of channel 1 if you’ve assigned two
your needs. There are seven types of mapping UVW Map modifiers. Render the scene to see
coordinates, ninety-nine map channels, tiling the effect.
controls, and controls to size and orient the
mapping gizmo in the UVW Map modifier. To use the XYZ to UVW option:

Note: If a UVW Map modifier is applied to The XYZ to UVW option is used to make a
multiple objects, the UVW Map gizmo is 3D procedural texture, like Cellular, follow the
defined by the selection, and the mapping that animated surface of an object. If the object
results is applied to all the objects. stretches, so does the 3D procedural texture.
Currently, it cannot be used with NURBS objects
To use multiple UVW channels in the same object: and is unavailable if a NURBS object is selected.
1. Assign Map channel 1 to an object. You can do 1. In the Top viewport, create a box.
this by either turning on Generate Mapping
Coordinates in the Parameters rollout of 2. Create a material with a Cellular diffuse
any primitive, or by assigning a UVW Map map.
modifier with channel 1 chosen.
3. In the Material Editor, on the Coordinates
Generate Mapping Coordinates uses map rollout of the Cellular map, open the Source
channel 1 by default. drop-down list, and choose Explicit Map
2. Assign a UVW Map modifier (or a second one, Channel.
if you’re using the first to assign channel 1). On the Coordinates rollout, the Map Channel
Choose channel 2 for this modifier. parameter activates, leave the value at 1.
Both coordinate channels are now assigned 4. Assign the material to the box.
to the geometry. The next step is to assign a
mapped material that uses both channels.
5. On the Modify panel, choose UVW
3. Create a material with two maps. You can do
Map from the Modifier List.
this using a Composite map, or a Blend material
with two maps, or you can have one map 6. On the UVW Map modifier, turn on XYZ to
assigned to Diffuse and another assigned to UVW.
Bump. Perhaps the easiest way to see the effect By default, the Map Channel value is 1.
is to composite two maps, with the second map 7. Render the Front viewport.
containing an alpha channel.
The cellular pattern renders normally on the
4. Go to the level of one of the maps and, in the surface of the box.
Mapping list, choose Explicit Map Channel 2.
8. Right-click over the object and choose Convert
The other map is already assigned channel 1 To: > Convert to Editable Mesh from the
by default. Transform (lower-right) quadrant of the quad
5. Assign the mapped material to the object. menu.
You can switch between viewing the maps in The box is converted to an editable mesh.
the viewport using the Show Map In Viewport
 UVW Map Modifier 927

To use manipulators to control the width and length:

9. On the Modify panel, click to turn
on Vertex on the Selection rollout. 1. On the Modify panel, choose the UVW
10. In the Front viewport, select the top vertices of Map modifier in the stack display.
the box, and move them up. You can also be at the Gizmo level of the
11. Render the Front viewport again. modifier.
The cellular pattern stretches with the box.
This effect is enabled by the XYZ to UVW 2. On the default main toolbar, click to
option. To see the difference, we will change turn on Select And Manipulate.
the Source option in the Coordinates rollout The UVW Map modifier’s gizmo turns green,
in the Material Editor. showing it is now a manipulator. Also, two
small circles appear next to two of the gizmo’s
12. In the Material Editor, locate the diffuse edges.
Cellular material. 3. Drag an edge of the gizmo to adjust the width
13. On the Coordinates rollout of the Cellular or length.
diffuse map, open the Source drop-down list A tooltip shows the new width or length value.
and choose Object XYZ.
14. Render the Front viewport. To use manipulators to control tiling:

The cellular pattern is no longer stretched.

1. On the Modify panel, choose the UVW
To transform the UVW Map gizmo: Map modifier in the stack display.
You can also be at the Gizmo level of the
1. On the Modify panel, choose the UVW modifier.
Map modifier in the stack display.
2. In the stack display, choose the Gizmo 2. On the default main toolbar, click to
sub-object level. turn on Select And Manipulate.
The gizmo changes to a yellow color, with one The UVW Map modifier’s gizmo turns green,
green edge. showing it is now a manipulator. Also, two
small circles appear next to two of the gizmo’s
The green edge indicates the right edge of the
edges.
texture.
3. Drag one of the circles to adjust tiling in the U
3. Move, scale, or rotate the gizmo in the
or V dimension.
viewports, or use the Length and Width
controls in the UVW Map modifier. A tooltip shows which dimension you are
adjusting, and the new tiling value in that
Transforming the map gizmo shifts the bitmap,
dimension.
allowing you to orient and move the map on
the object’s surface.
928 Chapter 8: Modifiers

Interface
Modifier Stack
Gizmo sub-object level—Enables gizmo
transformations. At this sub-object level you can
move, scale, and rotate the gizmo in the viewports
to position the mapping. In the Material Editor,
you turn on the Show Map in Viewport option to
make the map visible in a shaded viewport, the
map moves on the surface of the object as you
transform the gizmo.
 UVW Map Modifier 929

Mapping group
Determines the type of mapping coordinates used.
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
Cylindrical map projection
mapping two sides of a symmetrical object.
Cap—Applies planar mapping coordinates to the
caps of the cylinder.
Note: If the ends of the object geometry are not at
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.
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.

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.

Face projection

XYZ to UVW—Maps 3D procedural coordinates to

Shrink-wrap projection UVW coordinates. This "sticks" the procedural
texture to the surface. If the surface stretches, so
Box—Projects the map from the six sides of a box.
does the 3D procedural map. Use this option with
Each side projects as a planar map, and the effect
procedural textures, like Cellular (page 2–1664)
on the surface depends on the surface normal.
Currently, XYZ to UVW cannot be used with
Each face is mapped from the closest box surface
NURBS objects and is disabled if a NURBS object
whose normal most closely parallels its own
is selected.
normal.
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.

Box projection (shown on a box and on a sphere)

Face—Applies a copy of the map to every face of

an object. Pairs of faces sharing a hidden edge are
mapped with the full rectangular map. Single faces
A sphere with a 3D procedural texture is copied, and the copies
with no hidden edge are mapped with a triangular are stretched.
portion of the map. 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 When on, the Length, Width, Height and Tiling
the UVW Map gizmo. The default scale of the spinners are unavailable.
mapping icon is defined by the largest dimension
of the object when you apply the modifier. You can Channel group
animate the projection at the gizmo level. Note the Each object can have up to 99 UVW mapping
following facts about these spinners: coordinate channels. The default mapping (from
• The dimensions are based on a bounding box the Generate Mapping Coordinates toggle) is
of the gizmo. always channel 1. The UVW Map modifier can
The Height dimension is unavailable for the send coordinates to any channel. This lets you
Planar gizmo: It does not have depth. Likewise, have many different sets of coordinates on the
the dimensions for Cylindrical, Spherical, same face simultaneously.
and Shrink Wrap mapping all display the Map Channel—Sets the map channel. The UVW
dimensions of their bounding box and not their Map modifier defaults to channel 1, so mapping
radiuses. No dimensions are available for the behaves in the default fashion (and in the fashion
Face map: Each face on the geometry contains of earlier software releases) unless you explicitly
the entire map. change to another channel. Default=1. Range=1
• The three dimensions are set to 1 or 2, to 99
depending on map type and dimensions, when To use the additional channels, you must not only
you load files created in Autodesk VIZ or choose a channel in the UVW Map modifier, but
earlier versions of 3ds Max. (This maintains also assign an explicit map channel at the map level
compatibility with files from previous releases, of the material assigned to the object. You can use
in which gizmos were scaled non-uniformly to many UVW Map modifiers in the modifier stack,
adjust their dimensions.). each one controlling the mapping coordinates of
The dimensions essentially become scale different maps in a material.
factors rather than measurements. You can
Vertex Color Channel—Define the channel as a
reset the values to dimensions by clicking the
vertex color channel by choosing this option.
Fit or Reset buttons, which will lose the original
Be sure to match any material mapping in the
non-uniform scaling.
coordinates rollout to be Vertex Color as well,
U Tile, V Tile, W Tile—Let you specify the or by using the Assign Vertex Colors utility (page
dimensions of the UVW map, for tiling the image. 2–1734).
These are floating-point values, which you can
The Map channels are accessed in various places
animate to displace the map’s tiling over time.
in the software, as follows:
Flip—Reverses the image about the given axis. • Generate Mapping Coords—This check box, in
Real-World Map Size—Controls the scaling method the creation parameters of most objects, assigns
used for texture mapped materials that are applied Map channel 1 when turned on.
to the object. The scaling values are controlled • UVW Map Modifier—Contains options for
by the Use Real-World Scale settings found on channels 1 through 99. This lets you specify
the applied material’s Coordinates rollout (page which UVW coordinates are used by this UVW
2–1625). Default=on. Map modifier. The modifier stack can pass
these channels simultaneously for any face.
932 Chapter 8: Modifiers

• UVW XForm and Unwrap UVWs—These two Fit—Fits the gizmo to the extents of the object and
modifiers also contain Channel option buttons. centers it so that it’s locked to the object’s extents.
• Material Editor Channel Assignment—You Unavailable when Real-World Map Size is on.
assign the channel to be used by a map in the Center—Moves the gizmo so that its center
Coordinates rollout at the map level in the coincides with the center of the object.
Material Editor.
Bitmap Fit—Displays the standard bitmap file
• The assignment varies depending on the type browser so that you can pick an image. Unavailable
of map: when Real-World Map Size is on.
2D Maps—In the Mapping list for the Texture
For planar mappings, the map icon is set to the
option, you can choose Explicit Map channel,
aspect ratio of the image. For cylindrical mapping,
Vertex Color Channel, Planar from Object
the height (rather than the radius of the gizmo) is
XYZ, or Planar from World XYZ.
scaled to match the bitmap. For best results, first
3D Maps—At the top of the Coordinates rollout, use the Fit button to match the radius of the object
there is a Source list where you can choose an and gizmo, and then use Bitmap Fit.
Explicit Map Channel, Vertex Color Channel,
Normal Align—Click and drag on the surface of the
Object XYZ, or World XYZ. Use the Map
Channel spinner to define the channel number. object to which the modifier is applied. The origin
of the gizmo is placed at the point on the surface
• NURBS Surface Objects and Sub-Objects—Let where the mouse is pointing; the XY plane of the
you specify which Map channel the surface gizmo is aligned to the face. The X axis of the
uses. gizmo lies in the object’s XY plane.

Alignment group Normal Align respects smoothing groups and uses

the interpolated normal based on face smoothing.
X/Y/Z—Select one of these to flip the alignment of
As a result, you can orient the mapping icon to any
the mapping gizmo. Each specifies which axis of
part of the surface, rather than having it "snap" to
the gizmo is aligned with the local Z axis of the
face normals.
object.
View Align—Reorients the mapping gizmo to
Note: These options aren’t the same as the Flip
check boxes beside the U/V/W Tile spinners. The face the active viewport. The size of the icon is
Alignment option buttons actually flip the gizmo unchanged.
orientation, while the Flip check boxes flip an Region Fit—Activates a mode in which you can
assigned map’s orientation. drag in the viewports to define the region of the
Manipulate—When on, a gizmo appears on the
mapping gizmo. The orientation of the gizmo is
object that lets you change parameters in the not affected. Unavailable when Real-World Map
viewport. When Real-World Map Size is on, Size is on.
Manipulate is available only with the Planar and Reset—Deletes the current controller controlling
Box mapping types. For more information, see the gizmo and plugs in a new one initialized using
Manipulators for UVW Map (page 1–924). the Fit function. Any animation to the gizmo is
Tip: Turn on snapping to adjust the mapping lost. As with all the alignment options, you can
precisely. 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 UVW Mapping Add Modifier
from which you want to acquire UVWs, a dialog
Select an object. > Modify panel > Modifier List > UVW
prompts you whether the acquire should be done Mapping Add
in an absolute or relative fashion.
Select an object. > Channel Info (page 2–1738) > Add a
If you choose Absolute, the acquired mapping channel.

gizmo is positioned exactly on top of the mapping

gizmo you pick. If you choose Relative, the The UVW Mapping Add modifier is added to an
acquired mapping gizmo is positioned over the object’s modifier stack when you add a channel
selected object. in the Channel Info utility (page 2–1738). You can
also add the modifier explicitly by choosing it from
Display group 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

This setting determines whether and how mapping
Select an object. > Modify panel > Modifier List > UVW
discontinuities, also known as seams, appear in Mapping Clear
the viewports. The seams appear only when the
Select an object. > Channel Info (page 2–1738) > Clear a
Gizmo sub-object level is active. The default seam channel.
color is green; to change it, go to Customize menu
> Customize User Interface > Colors tab, and then The UVW Mapping Clear modifier is added to an
from the Elements drop-down list, choose UVW object’s modifier stack when you clear a channel
Map. with the Channel Info utility (page 2–1738). You
The options are: can also add the modifier explicitly by choosing it
from the Modifier List.
• Show No Seams—Mapping boundaries don’t
appear in the viewports. This is the default To merge the results of the deletion into the
choice. object’s geometry, collapse the modifier stack after
deleting.
• Thin Seam Display—Displays mapping
boundaries on object surfaces in the viewports
Interface
with relatively thin lines. The line thickness
remains constant as you zoom the view in and Map Channel—Specifies the map channel to clear.
out. This is equivalent to clearing a specific channel
in the Channel Info utility. If the specified map
• Thick Seam Display—Displays mapping
channel doesn’t exist, the modifier has no effect.
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.
934 Chapter 8: Modifiers

Interface
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). It isn’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
Mapping group
3–1028). If you have an object with complex
UVW coordinates already applied (such as a Loft U Tile, V Tile, W Tile—Alter the tiling along any of
object, or a parametric object with generated the three coordinate axes.
coordinates), you can apply this modifier to adjust Flip—Reverses the direction of the map along the
those coordinates further. specified axis.
For example, if you create a torus and turn U Offset, V Offset, W Offset—Move the map in the
on Generate Mapping Coordinates, the UVW direction of the specified axis coordinate.
coordinates work perfectly with the torus, but
if you want to tile or move the coordinates, you Rotation—Rotates the map.
would previously have needed to do it at the Rotate About Center—When active, the map rotates
material/map level. Now you can apply a UVW about the center of the object. If this is applied to
XForm modifier to alter the built-in coordinates. a sub-object selection, it uses the center of that
You can use a Mesh Select or Edit Mesh modifier selection.
to apply a UVW Adjust to sub-object selections,
as well. This is handy if you want to rotate the When this is turned off, the map rotates about the
mapping on a particular portion of an object. corner of the U and V coordinate gizmo.
 Vertex Weld Modifier 935

Channel group Procedure

Specifies whether to apply the transform to a Example: To apply the Vertex Weld modifier to a
mapping channel or a vertex color channel, and mesh:
which channel to use. For more information on 1. Create a box with Length, Width, and Height
these channels, see UVW Map Modifier (page set to 40.
1–922).
2. Right-click the box and choose Convert to >
Map Channel—Specifies a UVW channel to use for Convert to Editable Poly.
the mapping, and use the spinner to its right to set 3. Set the sub-object mode to polygon, and select
the channel number. Polygon 6.
Vertex Color Channel—Uses the vertex color Tip: Watch the listing at the bottom of the
channel for the mapping. Selection rollout to see which polygon is
selected.
Apply To Entire Object—If the UVW Xform
modifier is applied to an active sub-object 4. Delete polygon 6.
selection, such as face or patch, this switch controls By deleting the polygon, you create an open
whether the settings of the UVW Xform modifier mesh.
affect only the original sub-object selection or
5. Apply a Turn To Poly modifier, and set the
affect the entire object.
Selection Level to Object.
6. Apply a Mirror modifier, and set Mirror Axis
Vertex Weld Modifier to X.
7. Turn on Copy, and set Offset to –40.
Select a mesh, patch, or PolyMesh object. > Modify panel
> Modifier List > Vertex Weld The reflection of the box shares a common
Select a mesh, patch, or PolyMesh object. > Modifiers seam but the vertices along the seam are not
menu > Mesh Editing > Vertex Weld welded.

The Vertex Weld modifier behaves like the Weld 8. Apply a Vertex Weld modifier to cement the
feature in Editable Mesh or Editable Patch and two boxes into one element.
welds all vertices that fall within the threshold Note: This combination of steps can be streamlined
setting. Vertex Weld is very useful for cleaning by using the Symmetry modifier (page 1–861),
up meshes that have vertices that are close or which will mirror the mesh and weld it in a single
overlapping, but not welded. operation.

Interface

The results of three Vertex Weld threshold settings 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 for one face, for example, you’ll see a gradient on
welding more vertices, thus removing smaller that face.
faces and details. If the threshold is set too high,
VertexPaint modifier also lets you paint values for
the mesh will begin to deform.
the vertex alpha and illumination channels. These
channels affect the transparency and shading of
vertex colors, respectively.
Tip:
Tip:

Notes and Tips

For best results with VertexPaint, keep the
following in mind:
A threshold setting of 5.5 removes all detail, making the model • To render vertex colors, assign a Vertex Color
unrecognizable. map (page 2–1693), as described in To render
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.
VertexPaint Modifier This allows you to sharply define the edges of
Select an object. > Modify panel > Modifier List > your painted selection.
VertexPaint
• You can streamline the painting process by
Select an object. > Modifiers menu > Mesh Editing > using the Brush Presets tools (page 3–690).
Vertex Paint
• Each VertexPaint modifier works internally
Select an object. > Utilities panel > More > Assign Vertex
Colors > Click Assign To Selected. > Modify panel to itself, and cannot modify existing vertex
coloring. To paint over existing coloring, use
The VertexPaint modifier lets you paint vertex the Condense to single layer function.
colors onto an object. You’re not restricted to only
vertex-level painting. Using sub-object selection, About Map Channels and Vertex Color,
you can also control which vertices get painted, Vertex Alpha, and Vertex Illum
face-by-face. All faces sharing a vertex have the When using vertex paint, it is helpful to
adjacent corner shaded as well. The resulting understand how 3ds Max manages vertex color,
painted object receives a coarse gradient across alpha, illumination, and map channels. The
each face. software stores and manages all of these different
The amount of color that 3ds Max applies to a pieces of information using the same underlying
vertex depends on the distance of the vertex from system.
the position of the paint cursor on the face. The The map channels are defined as triple-value
more you select a face, the more it changes to the channels (tuples) with a unique integer ID number
new color. The Opacity button also controls the ranging from -2 to 99. The first five map channels
strength of the color. 3ds Max shades the color, so have specific and familiar usages:
if you have one green vertex and two white vertices
 VertexPaint Modifier 937

• Channel (2): UVW “second pass” texture Every layer has a blending mode that it uses to
mapping coordinates determine how it combines with the other layers.
• Channel (1): UVW standard texture mapping You can assign vertex colors using the Assign
coordinates Vertex Colors utility (page 2–1734), then add
another layer, change the layer mode operator
• Channel (0): RGB vertex color to Lighten, and paint with a white paintbrush
• Channel (-1): FLOAT vertex alpha (really only to lighten up areas. Fifteen different modes are
1 value needed) available, and many tasks can be accomplished
• Channel (-2): RGB vertex illumination using paint layers.

Every geometric vertex of a mesh or poly object One of the primary advantages of VertexPaint
can be assigned up to 102 channel values (99 + 3). is its use of the modifier stack as a kind of
image-composite stack. Each VertexPaint modifier
The negative numbering scheme for vertex alpha, serves as a single layer in the composite. You can
and illumination is actually historic: it was done move layers up and down the stack, enable and
to preserve the meaning of existing map-channel disable them, and flatten the stack using Condense
data in older scene files before vertex alpha and to single layer.
illumination were added.
You can paint on any arbitrary channel, and to use Backward Compatibility
one or more channels for any arbitrary meaning If you load an older file that uses a previous version
for a given vertex. It is useful in development of the VertexPaint modifier, then the legacy
of content for games to paint on arbitrary map modifier will be loaded when the file is opened.
channels numbered higher than those used for
texture mapping (such as channels 3, 4, 5). These The legacy modifier has not been changed, and
can be used to store logical information about a the two modifiers are not inherently compatible
vertex, whether it is “slippery” or “explosive”, for in terms of their data format during loading and
example. saving.

A single vertex can be assigned a stack of map If you have vertex color data in a legacy VertexPaint
channels that carry different meanings. When the modifier, you can use the Condense to single layer
modifier stack is collapsed, these map channels tool of the new modifier to migrate the vertex
are preserved. colors into the new modifier.

The new VertexPaint modifier takes this into Procedures

consideration through its simple exposure of map
To add scene lighting into an object’s vertex color:
channel IDs for display and painting.
1. Select the objects in the scene that you want to
About Painting in Layers color.

The layer system allows you to paint changes on a 2. On the Modify panel, choose VertexPaint from
single layer, then make another layer on top of that, the modifier list.
and paint additional changes. This can be used to The floating Paintbox (page 1–941) appears,
store different versions or variations of your vertex docked to the left edge of the viewports.
color painting. 3. Open the Assign Vertex Colors rollout.
938 Chapter 8: Modifiers

Note: This rollout provides the same tools as Tip: The cursor displays the size of the brush.
found in the Assign Vertex Colors utility. Use the Size spinner to change to a larger or
4. In the Light Model group, turn on Lighting. smaller brush.

5. In the Shadows group, turn on Calculate To see vertex colors in a viewport:

Shadows, if you want shadows added.
1. Right-click the object with painted vertices,
Tip: Turn on Shaded and choose Use Maps if and choose Properties from the quad menu.
you want to mix the texture map information
2. In the Display Properties group, turn on the
with the lighting and shades.
toggle for Vertex Color.
6. Click Assign To Selected
Vertex Color is one item on a drop-down list.
The other items are Vertex Illumination, Vertex
7. On the Vertex Paintbox, turn on Vertex Alpha, Map Channel Color (which uses the
Color Display Shaded to see the vertex lighting spinner immediately below the list), and Soft
in the vertex color map. Selection Color. Viewports can display only
one of these vertex channels at a time.
To paint vertex colors on an object:
3. Click OK.
1. Select the scene objects to paint.
To render vertex colors:
2. On the Modify panel, choose
VertexPaint from the Modifier List. 1. Open the Material Editor, and apply a
The Vertex Paintbox appears. Standard material to the object.
3. Choose the color you want to paint with 2. Click the map button for the Diffuse
by clicking the large color swatch below the component.
Paintbrush button. This opens the Color 3. In the Material/Map Browser, choose Vertex
Selector. Color as the map, and then click OK.
4. Change the color using controls on the Color Now, when you render the scene, the rendering
Selector. shows the painted vertices.
5. Adjust the strength of the color by entering a
To animate the opacity of a vertex color layer
percentage value in the Opacity field.
1. Choose the layer you wish to animate, by
highlighting the Vertex Paint modifier in the
6. Click Vertex Color Display Unshaded to stack that corresponds to that layer.
see the vertex colors without shading.
2. Turn on the Auto Key button.
7. Click the Paint button and move the cursor over
3. On the floating vertex paintbox, in the Layer
the selected object in the viewport.
group move the Opacity slider.
8. When the cursor displays over the object, press
and hold down the left mouse button and drag This sets a key for the opacity.
to paint the object. 4. Move the time slider 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 Interface

viewport. Parameter rollout
To animate vertex color using UVW XForm modifier:
You can use the UVW XForm modifier in
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
above the UVW XForm modifier in the stack
for the selected object(s) will be unaffected
Tip: You can add multiple UVW XForm
modifiers in your stack in this way, giving some
progressive control over modulated vertex Selection group
colors. The effect is always additive, however, The controls in this group are identical to the
and cannot be weight-blended. selection controls found in the Selection group
(page 1–945) of the Paintbox rollout.
To paint under an existing layer and view the result:
1. Select an object that has several VertexPaint Channel group
modifiers displayed in the stack. These controls specify which channel type the
2. In the modifier stack, activate the VertexPaint vertex paint layer will affect, and which map
modifier that is the layer you want to paint on. channel number you’ll paint on.
• Vertex Color—Choose this to paint on a vertex
3. Turn on the Show End Result toggle. color layer.
Now, when you paint on the layer, you will see • Vertex Illum—Choose this to paint on a vertex
the painting taking place under the top layer. 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 as transparent and the layer colors are displayed in
specifically named or numbered map channel. the raw (not blended with anything).
Map channel spinner—Specifies the channel Note: Per-vertex layer opacity is not passed up
number. Available only when Map Channel is the stack. A paint layer modifier makes a yes/no
chosen. decision about whether an object below it has
Note: If you have painted on a layer and then change vertex colors or not, and will subsequently treat
the channel setting, the painted information will all base colors as transparent or all as opaque.
be moved to the new channel. For example if you So if you paint even a single vertex using Edit
select Vertex Color and paint, then turn on Vertex Mesh, for example, the object is considered to have
Illum, the painted information will be removed vertex colors, and a paint layer will blend its colors
from the Vertex Color channel and applied to the with the (predominantly white) mesh instead of
Vertex Illum channel instead. treating the mesh as transparent.

Name—If a channel has a name defined it will Preserve Layer—When on, the modifier will not
appear here. Channels can be named using the be deleted by any Condense To Single Layer
Channel Info Utility (page 2–1738). operation. Since Condense To Single Layer
performs two independent actions (creating a new
baked-color modifier and then deleting existing
modifiers), this option allows access to only the
Ignore underlying color—When turned on,
first part of the functionality when necessary.
VertexPaint ignores whatever vertex colors it That is, you can bake colors into a new paint layer,
receives from below it on the stack. As a result, without being forced to have the old modifiers
you will see the layer’s raw colors on an otherwise deleted.
white object. The blend mode has no effect (it
behaves like Normal mode) because the base Edit—Displays the Vertex Paintbox floater (page
color is considered transparent, so the layer is not 1–941) if it has been closed.
blended with anything.
The purpose of this toggle is to isolate a layer
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
 VertexPaint Paintbox 941

Assign Vertex Color rollout

VertexPaint Paintbox
Select an object. > Modify panel > Modifier List >
VertexPaint > Paintbox dialog (Click Edit in the Parameters
rollout if it isn’t displayed.)

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.

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.
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
off the display of vertex color and or texture maps.
Note: The first three of these buttons stay
highlighted when you click them, to indicate which
shading mode is active. Toggle Texture Display
simply performs the action without becoming
highlighted.
Note: These controls have no effect on wireframe
viewports, but work for all shaded viewports,
including Lit Wireframe.

Vertex color display – unshaded —Displays

the currently selected object in vertex color display
mode. This mode is identical to the one offered
by the Object Properties menu (right click on
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 > Turn On Vertex Color in the Display
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

the 3 conventional ones listed above, for display

Toggle texture display —Displays or hides only. If the channel you select is currently used for
texture maps on the currently selected object. mapping coordinates, you’ll see red/yellow/green
colors corresponding to the UVW values.
Viewport Channel Display selector
You might choose map channels above the
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
This menu allows you to select which one of the allocated for each object.
map channels to paint on: The Map Channel Display Spinner is only available
when the Map Channel display button. If you
• Vertex colors—Choosing this lets you assign a new vertex paint modifier or create a
display the vertex color channel in the viewport. new layer and choose a particular numeric map
channel, then select Map Channel display, the
spinner will become available.
• Vertex alpha—Choosing this lets you
display and paint the vertex transparency Lock button—The Lock button makes
channel in the viewport. the Display Channel setting unavailable, and
automatically sets Display Channel to whatever
• Vertex Illum—Choosing this lets you channel you choose on the Modify panel >
display and paint the vertex lighting channel Channel rollout. Keep this turned on, to ensure
in the viewport. that you’re always displaying what you’re painting.
If you want to glance at another channel without
• Map Channel—Choosing this lets you stopping your current paint session, turn off the
define a numbered map channel to paint on. lock and then switch the display channel. When
Define the channel ID number with the Map you are finished, switch back and turn the lock
Channel Display spinner. back on.

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
944 Chapter 8: Modifiers

Vertex Paintbrush group 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.
Vertex paint controls
See Painter Options Dialog (page 1–960) for more
Here are the controls that let you access the painting options.
paintbrush and the paint. You can choose color
to paint with, from a color selector or from the Erase all—Erases all painting applied to
scene. Choose to adjust the brush size or envelope, the currently selected objects via the current
or launch advanced paintbrush options such as VertexPaint modifier. This allows you to see
pressure sensitivity. through the underlying color of the object’s
vertices. This underlying color might come from
Paint All—Performs a traditional paint fill the object’s original vertex color, or from another
operation on the current object or sub-object vertex paint layer directly below it in the modifier
selection. In the case of sub-object selections stack. This supports soft selection as well.
(vertices, faces, elements) the fill will honor those
selections. In the case of soft-selections Paint
Erase—Turns the brush into an
all will do a “faded” fill, slowly tapering off the
eraser that will remove paint from the currently
opacity based on the soft selection settings.
selected objects. Erase mode will actually erase
As with the Paint button, this will either paint any painting applied to the currently selected
on the current layer, if one is open in the Modify objects for the current layer of paint (allowing the
panel, or else it will create a new vertex paint layer true color of the original objects vertices to be
instanced across the selected objects. seen, or the vertex paint layer immediately below
the current one).
Paint—Starts the painting
process. Once it is turned on, you can start Pick color from object—Allows you to choose
painting on the current selection, by moving the a color from the currently selected objects. The
cursor into the viewport and over the object. color is taken from a single vertex; region selection
is not supported. The choice must occur near a
If there is a Vertex Paint modifier highlighted in
vertex, or no color will be chosen. You can drag
the Modify panel, you will be painting into that
across a vertex of interest to pick up its color.
 VertexPaint Paintbox 945

Because this button enters a mode, it must be same options can be seen, for example in the Skin
clicked to leave the mode, or you can choose modifier, for painting weights.
another mode to turn it off.
Here you will find a rich selection of brush
configuration tools that change the way your
Color swatch—The color swatch brush strokes apply color to the selection. Includes
indicates the current color that will be used when tools for mirror painting mode and using pressure
painting begins. Clicking the swatch launches sensitivity.
the standard color selector. Here you can change
the color that will be used on the next brush
Palette—Click to display the Color Palette
stroke. It provides standard Hue, Saturation, and
Brightness selection, along with Red, Green, and (page 1–950), which lets you create, edit, and
Blue selection and numerical entry. manage custom palettes for use with VertexPaint.

Opacity—Controls the opacity of paint being Selection group

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 Tools in this group let you choose sub-object
50 percent will blend equally with the underlying selection levels. You can select vertices, faces or
vertex color in a single stroke (before mouse up). elements. Includes the option to ignore backfacing
so you can limit your selection to sub-objects
The brush opacity serves to clamp the effect of that face toward you, and also provides access to
each brush stroke, taken as a whole. If you pick standard soft selection options.
a low opacity amount, then a single brush stroke
will have only a small effect, no matter how much This creates a mask that will lets you determine
you scrub. This allows improved control over the what is being affected by your paint strokes, and
density of a glaze of color, with an even glazing any other operations you might apply, such as
across all the painted vertices. blurring or color adjustment. Erase functionality
will also honor this mode selection.
Size—Controls the diameter of the brush, as seen
Note: Soft Selection is supported on the various
in the viewport. Size values range from zero to
sub-object selection modes.
9,999,999 and must be chosen appropriately for the
size and resolution of geometry you are painting.
Select vertex—Allows you to select vertices
Brush Options —Opens the Painter Options from the currently selected objects. Once selected,
dialog (page 1–960), where you can access only these vertices will be available for painting.
advanced paintbrush controls. These are the
standard set of Painter Interface options. The
946 Chapter 8: Modifiers

elements. With soft selections, the final blurred

Select face —Allows you to select faces in value is computed, and then combined with the
the currently selected objects. Once selected, only original color according the selection; a 50 percent
these faces will be available for painting. 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
Select element —Allows you to select button will succesively blur the previous results,
elements in the currently selected objects. Once eventually washing out painting effects entirely.
selected, only these elements will be available for
painting. Blur is useful for softening vertex color lighting
information that is automatically generated by
Ignore Backfacing—When this is on, prevents you the Assign Vertex Color utility or rollout. Assign
from mistakenly selecting sub-objects facing away Vertex Color computes intensities per vertex. This
from the user. is especially useful for low-resolution geometry
Soft Selection—The same soft-selection options and high-frequency lighting changes.
(page 1–963) found in Editable Mesh and Editable
Poly are available by clicking this button. Blur Brush—Lets you apply
blurring by using the same brush techniques and
Image Adjustment group settings that you use to apply color. The Blur Brush
respects sub-object selection and the Blur Strength
setting.

Layers group

Tools in this group allow you to perform overall

color adjustment or image blurring without using
the paint brush in the viewport.

Adjust Color—Displays the Adjust Color

dialog (page 1–949), where you can find sliders
for adjusting HLS or RGB values, preview the
adjustment effect, and apply it. Mode—The layer mode drop-down list allows you
to select a specific operator for this paint layer.
Blur —Smoothes the pixels in the image so The operator selected affects base color, alpha,
there is less contrast and color difference. Use this illumination, and other information coming up
to get rid of harsh edges such as shadows created from layers below it, or from the base object itself.
by the Assign Vertex Colors utility. The chosen operator controls how the incoming
color is combined with any newly painted colors
Blur Amount spinner—Blurs currently selected for the current level.
channel values (for example, vertex color, alpha)
for the currently selected objects. Also supports This mode is changeable at any time, without
sub-object selection of vertices, faces, and destroying previously painted information in
 VertexPaint Paintbox 947

layers above, below, or in the current paint layer. least as dark (never brighter) than the original.
The following modes are supported per paint layer: For each RGB channel, if the layer is zero in
• Normal—The layer color completely overwrites that channel, the output channel will be zero.
the base color. Even if the layer value is above zero, the output
is still be strongly darkened in that channel.
• Overlay—The color cast is shifted towards the For example, a medium red layer color will
layer color and contrast might be increased. significantly reduce blue and green brightness
It’s useful when you want to make an object in the output.
appear a different color but in the same lighting
The next four Light modes essentially offer
conditions. A fully bright or dark channel is
compromises between the destructive effect of
never affected however, so if Red=100% and
Normal Mode and the toning effect of Overlay
Green=0% in the base color, then neither the
mode. Try using medium-value desaturated layer
red nor green channels can be affected by the
colors, since the light modes can be too destructive
layer color.
with bright, vivid layer colors. A neutral grey layer
• Screen—Each RGB channel is moved towards color is transparent in any of the light modes.
full brightness, depending on the layer color.
• Soft light—Very similar to Overlay, but even
The result is at least as bright (never darker)
more gentle, and it does not tend to increase
than the original. Black is transparent in this
contrast as much.
mode.
• Hard light—More like Normal mode than
• Multiply—Each RGB channel is moved towards
Overlay, it will change color cast somewhat. It is
zero, depending on the layer color. The result
fairly destructive like Normal mode, especially
is at least as dark (never brighter) than the
with bright layer colors.
original. White is transparent in this mode.
• Vivid light—Brighter layer colors produce a
• Lighten—Whichever color is brighter, the layer
Color Dodge effect, while darker layer colors
or the base, is used as the output. It operates on
produce a Color Burn effect, although the effect
the whole color, and not channel-by-channel.
is generally weaker than Dodge or Burn.
• Darken—Whichever color is darker, the layer or
• Linear light—For each RGB channel, if the layer
the base, is used as the output. It operates on
color is more than 50 percent bright in that
the whole color, and not channel-by-channel.
channel, the output will be brightened, and
• Color dodge—Emulates the effect of "dodging" if the layer is less then 50 percent bright, the
a color print in a darkroom; the result is at least output will be darkened. As an example, if
as bright (never darker) than the original. you want the top of your image to be twice as
For each RGB channel, if the layer is at full value bright, and the bottom to be half as bright, use
in that channel, the output channel will be at a gradient from 75 percent gray to 25 percent
full value. Even if the layer value is less then full gray, top to bottom.
value, the output is still strongly brightened in The next four modes are used to control the HSV
that channel. For example, a medium-red layer channel values of the image instead of using RGB
color will add a significant red brightness to the channel value.
output.
• Color burn—Emulates the effect of "burning"
a color print in a darkroom; the result is at
948 Chapter 8: Modifiers

• Hue—The output color has the saturation and paint layers beneath it, or the base object’s original
value of the base color, with the hue of the layer information. Opacity values can be changed for
color. the current layer at any time. Since vertex paint
• Saturation—The output has the hue and value layers are preserved in the modifier stack you can
of the base color, and the saturation of the layer return to a particular layer at any time and adjust
color. its opacity to tune an object’s final appearance.

• Color —The output has the value of the base Note: The opacity for a specific paint layer should
color, and the hue and saturation of the layer not be confused with “alpha” information for
color. a given vertex. Opacity controls the mixing of
painted information in the modifier stack for the
• Luminosity —The output has the hue and currently active map channel (whether it be color
saturation of the base color, and the brightness information, alpha, illumination, or any arbitrary
value of the layer color. map channel from 1 to 99). Alpha Channel
Note: Using the show end result button in the information (by convention) is intended to be
modifier stack for the current paint layer will allow used specifically to indicate the transparency of all
you to interactively paint under any over laying combined color information for a given vertex.
paint layers (vertex paint modifiers that are above
Another way to think about the opacity slider
the current one in the object’s modifier stack).
is that it is identical to the amount spinner. The
This allows you to see the final results of your paint
difference between them is that opacity is for the
strokes for any paint layer in the stack.
entire layer, where as amount is for the current
Opacity Slider—Allows you to set the opacity of the brush stroke (between a mouse down and mouse
current vertex paint layer, from 0 to 100 percent. up period when painting). Changing the amount
100 percent Opacity means that the current layer is spinner after painting does not affect what is
entirely opaque: you cannot see through it to the already displayed on the screen; where changing
layer directly under it or to the base vertex colors the opacity layer does. In the end, the current
of the objects being painted. vertex paint layer being applied generates a final
color that is the combine result of amount and
The opacity of a layer is animatable. Simply turn
opacity. The whole concept should be quite
on Auto Key, move the time slider and adjust the
natural to any Adobe Photoshop user. However,
spinner value. This will set a keyframe.
Photoshop is able to display a light grey and dark
Note: If you painted on the layer with a brush grey quilt as a background to give a visual cue
opacity less than 100 percent, then colors stored about layer opacity, whereas 3ds Max does not
in the layer can already be less than full opacity, support this same display cue. So in 3ds Max, more
and the final opacity at any vertex is a product of attention is required of the artist to understand the
the two values. If you vertex had only 50 percent opacity of each vertex on each layer.
opacity worth of paint applied to it, and the layer is
50 percent opaque, then the vertex will appear 25 Opacity numeric entry field—Allows you to
percent opaque overall. enter an opacity amount. Range=0 (completely
transparent) to 100 (totally opaque).
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
 Adjust Color Dialog (VertexPaint Modifier) 949

vertex sub-object selection, it affects all vertices

New Layer—Click to create a new VertexPaint equally.
layer. Clicking new layer displays a New Layer
dialog. Interface

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. • HSV—(The default.) When chosen, the first
If Preserve Layer has been turned on for a three sliders are labeled HSV, and adjust the
particular VertexPaint layer, then its colors are colors’ hue, saturation, and value.
“baked” into the new VertexPaint modifier, but the • RGB—When chosen, the first three sliders are
preserved layer isn’t deleted from the stack. labeled RGB, and adjust the colors’ red, blue,
and green components.

Adjust Color Dialog (VertexPaint See Red, Green, Blue / Hue, Saturation, Value (page
3–1001).
Modifier)
Preview—When on, vertex color adjustments
Select an object. > Modify panel > Modifier List >
VertexPaint > VertexPaint Paintbox > Click the Adjust are previewed interactively in shaded viewports
Color button. (provided that on the Paintbox, Vertex Color
Select an object. > Modifiers menu > Mesh Editing > Display - Unshaded or Vertex Color Display -
Vertex Paint > VertexPaint Paintbox > Click the Adjust Shaded is active). Default=on.
Color button.

Select an object. > Utilities panel > More > Assign Vertex Contrast slider—Lets you adjust the contrast of the
Colors > Click Assign to Selected > Modify panel > vertex colors.
Modifier List > VertexPaint > VertexPaint Paintbox > Click
the Adjust Color button.
Histogram and Input-Level Spinners
The Adjust Color dialog lets you adjust the color Histogram—Graphically shows the distribution of
of currently selected vertices. If there is no active 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 the active palette is saved in the file 3dsmax.ini
can help you adjust 3ds Max viewport color to (page 1–18) so deleting the INI file causes the
better match your target hardware display (such palette to revert to the default grayscale palette.
as a game engine).
Procedures
Shadow level—Adjusts the level of shadow display.
To use the palette to choose a color:
Gamma level—Adjusts the gamma display. This
value is a gamma correction (page 3–948) value. • On the List or Swatch panel, click the color.
The color appears as the active color on the
Highlight level—Adjusts the level of highlight
VertexPaint Paintbox, in the swatch just below
display.
the Erase button.
When you adjust a level, the corresponding arrow
moves on the histogram, to indicate the current To change the color of a color swatch:
setting. (However, you can’t graphically drag the 1. Double-click the swatch.
arrows.)
A Color Selector (page 1–161) appears.
2. Use the Color Selector to change the swatch’s
color.
Apply—Click to apply the current settings to vertex
colors, without closing the dialog. This version of the Color Selector is modeless
(page 3–973), so after choosing a color you
Reset—Click to restore dialog settings to their can either close it, or leave it open to change
defaults. another swatch.

To use the color picker:

Color Palette (VertexPaint 1. In the Palette’s List panel, highlight the name
Modifier) of a color.
Select an object. > Modify panel > Modifier List >
VertexPaint > VertexPaint Paintbox > Click the Palette 2. Click the Color Picker button to turn it on.
button.
The cursor changes to an eyedropper icon.
Select an object. > Modifiers menu > Mesh Editing >
Vertex Paint > VertexPaint Paintbox > Click the Palette 3. Without depressing the mouse button, drag to
button. an area where you want to pick a color.
Select an object. > Utilities panel > More > Assign Vertex You can obtain colors from viewports, the
Colors > Click Assign to Selected > Modify panel >
Modifier List > VertexPaint > VertexPaint Paintbox > Click 3ds Max user interface, or anywhere on the
the Palette button.
Windows desktop.

The VertexPaint modifier’s Color Palette lets you 4. When you depress the mouse button, the picker
create and maintain color palettes for use with obtains the color below the cursor. You can
vertex paints. You can save or load palettes as drag while the mouse button is depressed.
Color Clipboard (CCB) files, which are also used While you do, the color swatch in the palette
by the Color Clipboard utility (page 1–165). and the larger swatch on the Paintbox update.

Note: The Palette remembers the last palette you 5. Release the mouse to pick the color you want.
used. This is not affected by File > Reset. However,
 Color Palette (VertexPaint Modifier) 951

The color in the Palette and the active color in Interface

the Paintbox are both updated.

To change a color’s name:

1. In the List panel, click the name twice (more
slowly than a double-click).
The name changes to an editable field.
2. Enter a new name or edit the existing one, and
then press Enter .
Press Esc to cancel the name change.

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.
A Save Color Clipboard File dialog appears.
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.
New—Click to add a new color to the palette.
The Palette’s pop-up menu (page 1–952)
appears. The only limit to the number of colors a palette
can have is a file size or memory limitation.
2. Choose Load from the menu.
A Load Color Clipboard File dialog appears. Delete—Click to delete the active color.
3. Choose the CCB palette file you want to load,
and then click OK. 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. (See the
procedure “To use the color picker,” above.)
952 Chapter 8: Modifiers

List panel—Displays the colors in the palette, along By default, Color Clipboard files are saved in
with their names. the \images directory below the 3ds Max root
directory.
Swatch panel—Displays the colors in the active
palette. The swatch panel doesn’t list the names of Load—Displays a file open dialog that lets you
colors, but each color’s name appear as a tooltip choose a CCB palette file to load.
when the mouse is over the swatch.
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

Swatch panel showing default grayscale palette Make a selection. > Modifiers menu > Selection Modifiers
> Volume Select

List and Swatch Panel Right-Click Menu

When you right-click the List panel or the Swatch
panel, a pop-up menu appears.
Copy—Copies the active color.

This is the same as clicking Copy.

Paste—Pastes a color to the active swatch.

This is the same as clicking Paste.

New—Adds a color to the palette.
Faces and vertices selected using box volumes.
This is the same as clicking New.
The Volume Select modifier lets you make a
Delete—Deletes the active color. sub-object selection of vertices or faces for passing
up the stack to another modifier or modifiers. The
This is the same as clicking Delete.
sub-object selection is completely separate from
Save As—Displays a Save As dialog (page 3–391) the underlying parametric geometry of the object.
that lets you enter a name for the CCB file, then Like other selection methods, Volume Select works
save it. with single or multiple objects.
 Volume Select Modifier 953

Volume Select lets you use one of three gizmos will be converted to meshes to maintain backward
or another object to define a volume of space as compatibility.
the selection area, to which you can then apply
modifiers. You can move the selection over an Scaling Compatibility
object and animate it.
The Volume Select gizmo scales along with
When applied, Volume Select begins with the its object. Thus, if you apply a Volume Select
current geometry in the object’s stack, whether modifier, and then change the scale of your object
it’s a whole object or a sub-object selection (for (with the toolbar Scale function (page 1–441)) the
example, from an Edit Mesh (page 1–634) or selection doesn’t change. In other words, all three
another Volume Select modifier). transforms affect the Volume Select gizmo and its
object identically.

Volume Select Center

The Volume Select modifier has a center as
well as a gizmo. This lets you alter the center
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
Top: Original mesh with select gizmo showing Object.
Bottom: Modification made after applying Volume Select If you choose Mesh Object, you should then
modifier click the None button and select an object to
use as the selection volume.
Patches
4. Choose a selection method and type (defined
As of version 4, patch objects coming up the in the following Interface section). You can
modifier stack are not converted to a mesh by change these choices as you work, depending
this modifier. A patch object input to the Volume on the particular selection you’re trying to
Select modifier retains its patch definition. Files make.
that contain patch objects with the Volume Select
5. Once the selection is complete, you can do the
modifier from previous versions of the software
following:
954 Chapter 8: Modifiers

• Apply modifiers to the selection. Center sub-object—You can translate and animate
• Transform the Volume Select gizmo at the the center, which affects rotation or scaling of the
sub-object level, changing the selection in Volume Select modifier’s gizmo.
the process. For more information on the Stack Display, see
• Combine these options. See the following Modifier Stack (page 3–760).
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.
 Volume Select Modifier 955

Parameters rollout Stack Selection Level group

Object/Vertex/Face—Volume Select provides three
selection levels. Vertex and Face levels put the
modifier stack in sub-object selection. You can
make one sub-object selection for each Volume
Select modifier. You can then toggle the one
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—Reverses the entire selection set. 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 define the
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 Material ID—Specifies a material ID. All faces or
object. vertices using the ID indicated by the spinner
value are selected.
Volume: Mesh Object—Choose this option to use
another object to define the selection space. After Sm Group—Specifies a smoothing group. All faces
choosing Mesh Object, click the button below it or vertices using the ID indicated by the spinner
(labeled "None" by default), and then select an value are selected.
object to use as the volume.
Texture Map—Specifies a texture map from the
Besides mesh objects, you can use patch objects scene. Click the map button (labeled "None"
and NURBS objects. In addition, if you turn on by default) to choose a texture map to use for
Soft Selection rollout > Use Soft Selection, you can selection. All faces or vertices using that texture
use spline objects and particle systems to define map will be selected. When using the Texture Map
the selection. This latter option is quite powerful option, you can also specify a mapping channel
because the selection changes as the particles or the vertex color channel using the Map/Vertex
move. Color radio buttons and spinner.
Mesh object button—Click this button, then select Note: You must apply mapping to the object
an object to define the selection space. You don’t below Vol. Select in its stack for the Texture Map
need to choose Mesh Object first, but you do selection to work. That is, the Vol. Select modifier
need to choose Mesh Object to use the object as must have mapping coordinates passed up the
a volume. After you select an object, its name stack so it can use a texture map for selection.
appears on the button. Note: If you set Selection Type to Window, vertices
This button is labeled "None" if no object has been will be selected if all the faces they touch use the
chosen. specified material or smoothing group. If you
set Selection Type to Crossing, vertices will be
Note: The selection depends on a volume
selected if they touch any face using the specified
intersecting the object. If a gizmo or object is material or smoothing group.
scaled down and moved inside an object, no
selection occurs because no geometry is within Alignment group
the volume of the gizmo.
These controls are generally used when the
Surface Features—Defines the selection by surface gizmo has been transformed out of its original
characteristics instead of a geometric volume. orientation to the object.
While this doesn’t have much to do with volume, it
was added because Volume Select is a procedural Fit—Resizes the gizmo to fit around the object
modifier, whereas Mesh Select (page 1–719) is or previous selection in the stack. Maintains any
explicit. Now, even if your topology changes, previous rotation.
Volume Select will consistently select the faces or Center—Recenters the gizmo on the object or
vertices using a particular material or smoothing previous selection in the stack. Maintains any
group. previous scale or rotation.
Indicate which type of surface characteristic to Reset—Returns the gizmo to its default size and
base selection on by choosing one of the following: orientation. Cancels the effect of all previous
transforms.
 Wave Modifier 957

Auto Fit—When on, automatically adjusts the

gizmo size and shape to fit the object as you
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
An object with the Wave modifier applied. Amplitude 1 and 2
smoothing groups. However, if there was already a can be changed, creating different profiles.
weighted selection passed up the stack, a Volume
Select set to Material or Smoothing Group mode See also
and not set to Replace will preserve the selection.
Ripple Modifier (page 1–783)

Wave Modifier Procedures

To make an object wavey:
Modify panel > Make a selection. > Modifier List >
Object-Space Modifiers > Wave 1. Select an object and apply the Wave modifier.

Make a selection. > Modifiers menu > Parametric Tip: To see the effect clearly, apply Wave to a
Deformers > Wave broad, flat object that has many segments.
2. Set one or both values for amplitude, or the
The Wave modifier produces a wave effect in an
vertical height of the wave in current units.
object’s geometry. You can use either of two waves,
or combine them. Wave uses a standard gizmo Amplitude 1 produces a sine wave from one
and center, which you can transform to increase edge to the other, while Amplitude 2 creates a
the possible wave effects. wave between the opposite edges. Switching
a value from positive to negative reverses the
The Wave (page 2–100) space warp has similar position of peaks and troughs.
features, and is useful for applying effects to a large
number of objects. 3. Set the length of the wave and the distance in
current units between crests of both waves.
The greater the length, the smoother and more
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 For more information on the stack display, see
when animated. Modifier Stack (page 3–760).

Parameters rollout

Phase effect on a wave

To add a decay effect: Amplitude 1/Amplitude 2—Amplitude 1 produces

• Set a decay value to increase or decrease the a sine wave along the gizmo’s Y axis, while
amplitude. Amplitude 2 creates a wave along the X axis
(although peaks and troughs appear in the same
A decay value decreases the amplitude as the direction with both). Switching a value from
distance from the center increases. As the positive to negative reverses the positions of peaks
Decay value increases, the wave is concentrated and troughs.
at the center and flattens until it disappears
(completely decays). Wave Length—Specifies the distance in current
units between the crests of both waves.
Interface Phase—Shifts the wave pattern over the object.
Modifier Stack 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
Gizmo—At this sub-object level, you can transform at the center and flattened until it disappears
and animate the gizmo like any other object, (completely decays).
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.
 XForm Modifier 959

Scaling with XForm

XForm Modifier
When you scale an object with a toolbar Scale tool,
Modify panel > Make a selection. > Modifier List > the software applies the effect to the object after
Object-Space Modifiers > XForm
all the modifiers in the stack. In some cases you
Make a selection. > Modifiers menu > Parametric might want to squash or stretch an object before
Deformers > XForm applying geometric or edit modifiers. XForm
makes this possible.
Use the XForm (short for Transform) modifier to
apply transformations (Move, Rotate, Scale) to By applying XForm and scaling its gizmo, you can
objects. The XForm has two main functions: place the scaling operation anywhere in the stack.
• To animate transformations of a sub-object
Using XForm with Volume Select
selection. You can also animate the position of
the modifier’s center. You can combine the XForm and Volume Select
modifiers (page 1–952) to animate sub-object
• To transform an object at any point in the stack.
selections. This combination makes it possible
Note: The Linked XForm modifier (page 1–712) to animate both the effect of a modifier on the
is a variant of XForm. Linked XForm has no selection (Volume Select) and a transformation of
gizmo or center of its own. Instead, a given that selection (XForm).
selection is "linked" to another object, which
supplies its gizmo and center. Using Linked Procedures
XForm, you can link a sub-object selection
To use the XForm modifier:
directly to the coordinate system of another
object. 1. Choose a location in an object’s stack and apply
the XForm modifier.
Using XForm The Gizmo sub-object level is automatically
XForm provides a gizmo and center for any activated. All transform buttons are available
geometry it receives from the stack whether it’s a on the toolbar.
sub-object selection or the whole object. XForm 2. Move to a nonzero frame and turn on
has no parameters. When you move the XForm Auto Key to animate the next step.
modifier gizmo, the center moves with it, along
with the geometry. 3. Transform the gizmo.
As you transform the gizmo, the selected
You can reposition the XForm center separately
geometry is transformed with it.
from the gizmo.
To use XForm as a scaling modifier:
Offsetting XForm Center
1. Apply XForm to an object or a sub-object
At the XForm Center sub-object selection level, selection.
only the Move transform is available. This lets
2. Scale the gizmo.
you reposition the center. When you return to the
Gizmo level, you can rotate or scale the selection The rescaled geometry becomes "part of the
around the offset center. The center position and stack" because the scale transform is carried
gizmo transformations are all animatable. with XForm, instead of being applied after the
modifiers.
960 Chapter 8: Modifiers

Interface 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.

Brush Properties group

Painter Options Dialog
Min. Strength—Sets the minimum vertex weight
Modify panel > Skin modifier > Parameters rollout > to paint.
Weight Properties group > Painter Options button
Max. Strength—Sets the maximum vertex weight
VertexPaint modifier > Floating Vertex Paintbox > Brush
Options button to paint.

Edit/Editable Poly object or Poly Select modifier > Soft Min. Size—Sets the minimum size for the paint
Selection rollout > Paint Soft Selection group > Brush gizmo.
Options button
Max. Size—Sets the maximum size for the paint
Edit/Editable Poly object > Paint Deformation rollout >
Brush Options button gizmo.
Brush strength falloff curve—This graph
The Painter Options dialog for the Skin determines how the brush weight falls off as the
modifier appears when you click the Painter distance increases from the center of the brush.
Options button. The controls on this graph are similar to those on a
loft deformation dialog (page 1–368).
This same dialog is used by the VertexPaint Additive—When on, brush strokes add to existing
modifier to control the brush envelope, use vertex weights.
pressure sensitivity, or enter mirror painting
Quick Brush Falloff Types—Set the brush falloff to
mode. The dialog is accessed through the Brush linear, smooth, slow, fast, or flat.
Options button on the floating Vertex Paintbox.
The dialog is also used by the Paint Soft Selection Display Options group
and Paint Deformation tools available for poly The options in this group determine the
objects. 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 amount of memory set aside for weight painting.
the paint gizmo. Larger values mean faster interaction but more
memory use.
Draw Trace—Draws a trace (temporary mark) that
shows the path of the brush stroke on the surface. Update On Mouse Up—Prevents the system from
updating viewports when the mouse button is
Normal Scale—Sets the scale of the normal arrow
pressed. This can save time in your workflow.
in the paint gizmo.
Lag Rate—Determines how often the stroke
Marker—Displays a circular marker at the end of
updates the painted surface. Higher values update
the normal arrow. The value next to Marker sets
the surface less often.
the height of the marker.

Pressure Options group

Enable Pressure Sensitivity—Turns on pressure
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 option on to use
a predefined strength pressure. Click the button to
view and edit the falloff curve for the strength.
Predefined Size Pressure—Turn this option 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—Offsets the mirror plane by the value you
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
962 Chapter 8: Modifiers
Surface Modeling

Surface modeling is more free form than geometric general shape. You perform subdivision to add
(parametric) modeling. Although you can create more detail to an object, or to smooth it out.
Patch and NURBS primitives from the Create
You can create a subdivision surface by applying a
panel, more often a surface model begins when you
modifier to an object. 3ds Max supports two kinds
use the quad menu (page 3–694) or the modifier
of subdivision surfaces:
stack (page 3–760) to “collapse” a parametric
model to some form of editable surface. Once you • The HSDS modifier (page 1–701) provides
have done so, a variety of tools let you shape the hierarchical subdivision surfaces.
surface. A lot of surface modeling work is done by • The MeshSmooth modifier (page 1–722) and
editing sub-objects (page 3–1017) of the surface TurboSmooth modifier (page 1–868) provide
object. smoothing.
Both these modifiers work best as finishing tools
See also
for models.
Patch Grids (page 1–993)
The Interface (page 1–1061) for an Editable
Editable Patch Surface (page 1–968) Poly object (page 1–1022) allows you to add a
Editable Mesh Surface (page 1–996) subdivision surface to this type of object without
the use of a modifier.
Editable Poly Surface (page 1–1022)
NURBS Modeling (page 1–1078)
Soft Selection Rollout
Subdivision Surfaces (page 1–963)
Select an editable patch, editable mesh, editable poly,
Tools for Low-Polygon Modeling (page 1–1252) 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
Subdivision Surfaces
A subdivision surface is a surface that has been The Soft Selection controls allow you to partially
divided into more faces while retaining the object’s select sub-objects in the vicinity of an explicit
selection. This causes the explicit selection to
964 Chapter 9: Surface Modeling

behave as if surrounded by a "magnetic field." Selection is available for NURBS, mesh, poly,
Partially selected sub-objects within the field patch, and spline objects.
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 Soft selection colors and effect on the surrounding area
value as red sub-objects, and respond the same
way to manipulation. Orange sub-objects have Interface
a slightly lower selection value, and respond
to manipulation a bit less strongly than do red
and reddish-orange vertices. Yellow-orange
sub-objects have an even lower selection value,
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
selection explicitly on poly objects. See Paint 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 Use Soft Selection—Affects the action of Move,
stack, and Use Soft Selection is on, the results of Rotate, and Scale functions at sub-object levels
modifiers that deform the object, such as Bend of the editable object or Edit modifier, as well as
and XForm, are affected by the Soft Selection the action of deformation modifiers applied to
parameter values. the object if they are operating on a sub-object
The controls in this dialog let you modify Soft selection (the latter also applies to the Select
Selection parameters. All sub-object levels share modifiers). When on, the software applies a spline
the same Soft Selection parameter values. Soft 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 color (normally blue). In addition, this gradient
transforming or modifying the selection. is updated in real time as you change the Falloff
setting.
Edge Distance—When on, limits the soft-selection
region to the specified number of edges between Note: If Edge Distance is on, the Edge Distance
where you select and the maximum extent of the setting limits the maximum falloff amount.
soft selection. The affected region is measured in Pinch—Raises and lowers the top point of the
terms of "edge-distance" space, along the surface, curve along the vertical axis. Sets the relative
rather than real space. "pointedness" of the region. When negative, a
This option is useful in cases where you want to crater is produced instead of a point. At a setting
select only contiguous sections of geometry. For of 0, Pinch produces a smooth transition across
example, if a bird’s wing is folded back against its this axis. Default=0.
body, selecting the wing tip with Soft Selection Bubble—Expands and contracts the curve along
would affect body vertices as well. But if you turn the vertical axis. Sets the relative "fullness" of
on Edge Distance, set the numeric value to the the region. Limited by Pinch, which sets a fixed
distance (in edges) along the wing that you wish to starting point for Bubble. A setting of 0 for Pinch
affect, and then set Falloff to an appropriate value, and 1.0 for Bubble produces the smoothest bulge.
selecting and then moving the wing tip would Negative values for Bubble move the bottom of the
move only the wing geometry. curve below the surface, creating a "valley" around
Affect Backfacing—When on, deselected faces the base of the region. Default=0.
whose normals face in the opposite direction to (soft selection curve)—Graphically displays how
the average normal of the selected sub-objects are Soft Selection will work. You can experiment with
affected by the soft-selection influence. In the case a curve setting, undo it, and try another setting
of vertices and edges, this applies to the normals with the same selection.
of faces to which they’re attached. Turn off Affect
Backfacing when you want to manipulate faces of Shaded Face Toggle—Displays a color gradient
a thin object, such as a thin box, but don’t want to corresponding to the soft selection weights on
affect faces on the other side of the object. faces within the soft selection range. Available
only when editing patch and poly objects.
Note: Affect Backfacing is not available when
editing splines. If the Vertex Color display property of an editable
poly or editable patch object is off, clicking the
Falloff—Distance in current units from the center
Shaded Face Toggle button will turn on Soft
to the edge of a sphere defining the affected region.
Selection Color shading. If the object already has
Use higher falloff settings to achieve more gradual
an active Vertex Color setting, clicking the Shaded
slopes, depending on the scale of your geometry.
Face Toggle overrides the previous setting and
Default=20.
changes it to Soft Selection Color.
Note: The region specified by the Falloff setting
Note: Use the Undo command if you do not want
is depicted graphically in the viewports as a
to change your vertex color shading properties.
color gradient in vertices and/or edges (or, with
editable polys and patches, optionally in faces). Lock Soft Selection—Locks the soft selection
The gradient ranges from the selection color in order to prevent changes to the procedural
(normally red) to the non-selected sub-object selection.
966 Chapter 9: Surface Modeling

Using Paint Soft Selection (see following) turns on Selection Value—The maximum relative selection
Lock Soft Selection automatically. If you turn it off of the painted or reverted soft selection. The
after using Paint Soft Selection, the painted soft values of surrounding vertices within the brush
selection is lost. You can restore it with Undo. radius fall off towards a value of 0. Default=1.0.
Brush Size—The radius of the circular brush used
Paint Soft Selection group
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), with settings for brush-related
properties.

Paint Soft Selection lets you specify a soft selection Collapse Utility
explicitly by dragging the mouse over the selection. Utilities panel > Utilities rollout > Collapse button
The Paint Soft Selection functionality is available
at sub-object levels with Editable Poly objects, Menu bar > Modify > Collapse
as well as with objects with the Edit Poly or Poly
Select modifier applied. You can work in one of The Collapse utility lets you combine the stack
three painting modes: Paint, Revert, and Blur. operations of one or more selected objects into
an Editable Mesh (page 1–996) or the stack result,
Tip: You can streamline the painting process by
and, optionally, perform a Boolean (page 1–338)
using the Brush Presets tools (page 3–690).
operation on them at the same time.
Paint—Lets you paint a soft selection on the
Important: You can’t undo the results of using the
active object using the current settings. Drag the
Collapse utility. Before you use it, save a copy of your
mouse cursor over the object surface to paint the
work file, or use Hold (page 1–95).
selection.
Note: You can also collapse an object’s stack from
Blur—Lets you paint to soften the outlines of an the modifier stack right-click menu (page 3–766),
existing painted soft selection. and convert a selection to editable surfaces (page
Revert—Lets you paint to reverse a soft selection 1–963) with the transform quadrant of the quad
on the active object using the current settings. menu (page 3–694). These changes are undoable.
Drag the mouse cursor over the object surface to
reverse the selection. Procedures
Note: Revert affects only a painted soft selection, To collapse the stack of an object into an editable
mesh:
not a soft selection made by normal means. Also,
Revert uses only the Brush Size and Brush Strength 1. On the Utilities panel, click the Collapse button.
settings, not the Selection Value setting.
 Collapse Utility 967

2. Select the object or objects that you want to 4. On the Collapse rollout, set Output Type to
collapse. Mesh, if necessary.
3. Click the Collapse Selected button. 5. In the Collapse To group, choose Single Object.
All modifiers are removed from the modifier 6. Turn on Boolean, and then choose Subtraction.
stack and the object becomes an editable mesh. 7. Click the Collapse Selected button.

To collapse the stack of an object into an editable All objects you selected after Main, the first
surface other than mesh: object, are subtracted from Main.
1. On the Utilities panel, click the Collapse button.
Interface
2. On the Collapse rollout, set Output Type to
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 Turn 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 Selected Object group
different places; subtracting them will produce
box-shaped cutouts in the sphere’s surface. Displays the name of the current selection. If more
than one object is selected, "[Number] Objects
2. Select Main, and then select the objects to be Selected.” displays.
subtracted from it.
Collapse Selected—Collapses the selected objects.
The first object you select before collapsing is
The method of collapse depends on the settings of
the one from which the others are subtracted.
the options below this button.
3. On the Utilities panel, click the Collapse button.
968 Chapter 9: Surface Modeling

Output Type group Subtraction—Maintains the first object selected

while subtracting the subsequently selected
Specifies the type of object that results from the
objects. For example, to subtract several cylinders
collapse.
from a box, click to select the box, hold down
Modifier Stack Result—The resultant object will be Ctrl , and region-select the cylinders.
the same as if you had collapsed its stack. In most
Close—Exits the Collapse utility.
cases, this results in a mesh object, as when using
the Mesh option. However, if the object has an Edit
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 Editable Patches
used, the Collapse To options are unavailable, and Create or select an object > Modify panel > Right-click
all selected objects remain independent objects. object’s entry in the stack display > Convert To: Editable
Patch
Mesh—All selected objects become editable
Create or select an object > Right-click the object >
meshes regardless of their type before they were Transform (lower-right) quadrant of the quad menu >
collapsed. Convert To: > Convert to Editable Patch

Collapse To group Editable Patch provides controls for manipulating

an object as a patch object and at five sub-object
Specifies how the selected objects are combined. levels: vertex, handle, edge, patch, and element.
These options are available only when you choose
the Mesh option. Editable Patch objects provide the same basic
functionality as the Edit Patch modifier (page
Multiple Objects—Collapses each object in the
1–638). Because working with them requires less
selection but maintains each as an independent processing and memory, we recommend you use
object. When this option is selected, the Boolean Editable Patch objects rather than the Edit Patch
options are disabled. modifier whenever possible.
Single Object—Collapses all selected objects into a
When you convert an object to Editable Patch
single, editable mesh object. format or apply an Edit Patch modifier, 3ds Max
Boolean—Performs Boolean operations on the converts the object’s geometry into a collection of
selected objects. During the Boolean calculation, a separate Bezier patches (page 3–991), each patch
progress bar appears along with a Cancel button. made up of a framework of vertices and edges,
If any objects in the Boolean operation fail, that plus a surface.
object is skipped, but the Collapse proceeds. The • The framework of control points and connecting
result is not a Boolean compound object, but tangents defines the surface. Transforming the
a single editable mesh. The type of Boolean is components of this framework is the primary
specified by the following option. technique in patch modeling. The framework
Union—Combines the several objects, removing does not appear in scanline renderings.
intersecting geometry. • The surface is the Bezier patch surface, whose
shape is controlled by the vertices and edges.
Intersection—Removes all but the intersecting
geometry.
 Editable Patch Surface 969

The surface is the renderable geometry of the 4. Select an object to attach.

object. The object takes on a patch structure and stays
Prior to version 3 of the software, some patch in its original location.
objects contained a lattice that appeared separate The attached object is now part of the editable
from the surface. This is no longer the case: patch object. The Tessellation settings for the
The control framework conforms exactly to the original object affect attached objects as well.
surface, making it easier to visualize the results of
patch modeling. To attach and reorient an object:

The output of the Surface modifier (page 1–842) is a • Turn on Reorient before attaching the object.
patch surface. If you are modeling with splines and The object is both attached and moved to align
are using the Surface modifier to generate a patch with the patch object. The pivot of the attached
surface from the spline cage, you can use an Edit object matches the pivot of the Edit Patch
Patch modifier (page 1–638) for further modeling. object.

Show End Result To detach a patch surface:

1. Make a selection at the Patch sub-object level.
Turn on Show End Result on the Modify
panel if you have modifiers above the Editable 2. If you want to reorient the detached surface,
Patch modifier and want to see the result of all the turn on Reorient.
modifiers in the modifier stack. This function will 3. Click Detach.
remain on until you turn it off. A Detach dialog appears.

See also 4. Name the detached surface.

Edit Modifiers and Editable Objects (page 1–506) The detached surface remains in place if you
chose not to reorient it. It is deselected and
Modifying at the Sub-Object Level (page 1–506) assigned a different color.
Modifier Stack Controls (page 3–760)
To copy a patch surface:

Procedures 1. Make a selection at the Patch sub-object level.

To work at a sub-object level: 2. In the Geometry rollout > Topology group,

turn on Copy.
1. In the modifier stack display, choose a selection
level: Element, Patch, Edge, or Vertex. 3. If you want to reorient the copied surface, turn
on Reorient.
2. Select the sub-object geometry you want to edit.
4. Click Detach.
To attach an object using Edit Patch: A Detach dialog appears.
1. Select an editable patch object, or an object 5. Name the patch copy.
with the Edit Patch modifier applied.
The copied object remains in place if you chose
2. In the Modify panel > Geometry rollout > not to reorient it.
Topology group, click Attach.
3. Turn off Reorient, if necessary.
970 Chapter 9: Surface Modeling

To delete patches: To add a patch:

1. Make a selection at the Patch sub-object level. 1. At the Edge sub-object level, select an open
2. Click Delete. edge (one that bounds a single patch, and
therefore is not shared with another patch).
The patches disappear.
2. Click Add Tri or Add Quad.
To subdivide a patch: A new patch is added to the surface.
1. Make a selection at the Patch sub-object level.
To unlock interior edges of selected patches:
2. Turn on Propagate to maintain surface
continuity. 1. At the Patch sub-object level, select one or more
patches.
3. Click Subdivide.
2. Right-click the selection and choose Manual
The patch selection is subdivided, increasing Interior from the pop-up menu.
the number of patches.
The check mark moves from Auto Interior, the
You can repeat this process, subdividing default, to Manual Interior. Interior edges and
multiple times. Each subdivision increases the their vertices are now unlocked. If you now
number of patches, which become increasingly transform the patch, the interior edges remain
smaller. The following figure is an example of static. To transform the interior vertices, see the
modeling a highly subdivided surface. 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.
To subdivide an edge:
3. Switch to Handle level.
1. At the Edge sub-object level, make an edge
The interior vertices appear as yellow squares.
selection.
4. Transform the interior vertices of the selected
A single edge is indicated by its coordinate axis
patches.
or transform gizmo at the center of the edge.
For multiple edges, the axis icon is at the center
To anchor a patch:
of the selection set.
By default, the welding process shifts the geometry
2. Optionally, turn on Propagate to maintain
of both patches to a common center. You can
surface continuity.
anchor one patch so that the other patch moves to
3. Click Subdivide. its location when the weld occurs.
The edge selection is subdivided. Each new 1. At the Patch (Patch) level, before you begin the
edge is on the boundary of a new, smaller patch. 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 Selection Rollout (Editable Patch)
make the weld.
Create or select an object > Modify panel > Right-click
object’s entry in the stack display > Convert To: Editable
To create a new element, do one of the following: Patch > Selection rollout

• Shift +drag one or more patches. Create or select an object > Right-click the object >
Transform (lower-right) quadrant of the quad menu >
• Shift +extrude one or more patches. Convert To: > Convert to Editable Patch > Selection
rollout
• Shift +extrude one or more edges.
• Shift +drag an element. The Selection rollout provides buttons for
selecting the sub-object level, working with named
Interface selections, display and filter settings, and displays
information about selected entities.
Selection rollout
For information about these settings, see Selection Editable Patch has five levels of sub-object editing:
Rollout (Editable Patch) (page 1–971). Vertex, Handle, Edge, Patch, and Element. The
selection you make at each level appears in the
Soft Selection rollout viewport as a component of the patch object. Each
level maintains its own sub-object selection. When
For information on the Soft Selection rollout you return to a level, the selection reappears.
settings, see Soft Selection Rollout (page 1–963).
Clicking a sub-object level button here is the same
Geometry and Surface Properties rollouts as clicking a sub-object type in the Modifier Stack
rollout. Click the button again to turn it off and
The Geometry rollout (page 1–986) provides
return to the object selection level.
functions for editing a patch object and its
sub-objects, and the Surface Properties controls let
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)
972 Chapter 9: Surface Modeling

Interface 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—Selects an entire patch. At this level,

a patch can be detached, deleted, or its surface
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
Vertex—Lets you select vertex control points
display by turning on Shade Selected Faces in the
and their vector handles on a patch object. At this
Viewport Properties dialog. Right-click over the
level, vertices can be welded and deleted.
viewport name and choose Configure in the menu
By default, a transform gizmo or axis tripod to display the Viewport Properties dialog. You
appears at the geometric center of the selected can also use the default keyboard shortcut, F2, to
vertices. If you turn on Gizmo Preferences (page toggle this feature.
3–832) > Allow Multiple Gizmos, however, gizmos
or tripods appear at all selected vertices. Named Selections group

Vector handles appear as small green squares These functions work with named sub-object
around selected vertices. Also, with certain objects selection sets. To create a named sub-object
you may see interior vertices represented as yellow selection, make the selection, and then enter
squares. a name in the Named Selection Sets field on
the toolbar. For more information, see Named
Handle—Lets you select vector handles Selection Sets (page 1–83).
associated with each vertex. This level lets you Copy—Places a named sub-object selection into
manipulate the handles without needing to deal the copy buffer. After clicking this button, choose
with vertices. the named sub-object selection from the Copy
A Transform gizmo or axis tripod appears at the Named Selection dialog that appears.
geometric center of the selected handles. Paste—Pastes the named sub-object selection from
At this level, vector handles appear as small green the copy buffer.
squares around all vertices. Also, with certain
 Selection Rollout (Editable Patch) 973

You can use Copy and Paste to copy sub-object Note: The state of the Backface Cull setting in the
selections between different objects. Display panel does not affect sub-object selection.
Thus, if Ignore Backfacing is off, you can still select
Filter group sub-objects, even if you can’t see them.
These two check boxes, available only at the Vertex Shrink—Reduces the sub-object selection area
sub-object level, let you select and transform by deselecting the outermost sub-objects. If
vertices, vectors (handles on the vertices), or both. the selection size can no longer be reduced, the
When a check box is turned off, you can’t select the remaining sub-objects are deselected. Unavailable
corresponding element type. Thus, for example, if at the Handle sub-object level.
you turn off Vertices, you can manipulate vectors
Grow—Expands the selection area outward in all
without accidentally moving a vertex.
available directions. Unavailable at the Handle
Tip: For easier editing of vectors only, use the sub-object level.
Handle sub-object level (page 1–979).
Ring—Expands an edge selection by selecting all
You can’t turn off both check boxes. When you edges parallel to the selected edges. Available only
turn off either check box, the other one becomes at the Edge sub-object level.
unavailable. At that point, you can manipulate the
element corresponding to the check box that’s on, Loop—Expands the selection as far as possible, in
but you can’t turn it off. alignment with selected edges. Available only at
the Edge sub-object level.
Vertices—When on, you can select and move
vertices. Select Open Edges—Selects all edges that are used
by only one patch. Available only at the Edge
Vectors—When on, you can select and move sub-object level.
vectors.
You can use this to troubleshoot a surface; open
Lock Handles—Affects only Corner vertices. Locks edges will be highlighted.
the tangent vectors together so that when you
move one, you move them all. Available only at the Selection Information—At the bottom of
Vertex sub-object level. the Selection rollout is a text display giving
information about the current selection. If
By Vertex—When you click a vertex, any handles, multiple sub-objects are selected, or none is
edges, or patches that use that vertex, depending selected, the text gives the number and type
on the current sub-object level, are selected. selected. If one sub-object is selected, the text gives
Available only at the Handle, Edge, and Patch the identification number and type of the selected
sub-object levels. item.
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.
974 Chapter 9: Surface Modeling

Geometry rollout
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).
 Editable Patch (Vertex) 975

See Geometry Rollout (Patch) (page 1–986) for

detailed descriptions of these controls.

Surface Properties rollout

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
Patch in the stack display > Vertex sub-object level

The Relax Mesh controls on the Surface Properties Select an editable patch > Modify panel > Selection
rollout > Vertex button
rollout change the apparent surface tension by
moving vertices closer to, or away from, their Select an editable patch > Right-click the patch > Tools
1 (upper-left) quadrant of the quad menu > Sub-objects
neighbors. The typical result is that the object gets > Vertex
smoother and a little smaller as the vertices move
toward an averaged center point. You can see the At the Editable Patch (Vertex) level, you can select
most pronounced effects on objects with sharp single and multiple vertices and move them using
corners and edges. standard methods. You can also move and rotate
Relax—Turns on the relax function for renderings. vector handles (page 3–1029), thus affecting the
shapes of any patches connected to the vertex.
Relax V iewports—Turns on the relax function for
viewports. Procedures
Relax Value—Sets the distance a vertex moves as a To transform either vertices or vectors:
percentage of the distance between a vertex and 1. At Patch (Vertex) level, with Selection rollout >
the average location of its neighbors. Range=-1.0 Filter group > Vertices turned on, select vertices
to 1.0. Default=0.5. in the patch object you want to transform.
Iterations—Sets how many times Relax is repeated. Vertices and their vectors both appear.
Each iteration recalculates average vertex locations
2. Turn off one of the filters, leaving the other on,
based on the result of the previous iteration.
and choose a transform.
Default=1.
A transform cursor appears when you move
Keep Boundary Points Fixed—Vertices at the edge
onto a vertex or vector in the selection set.
of open patches do not relax. Default=on. You can toggle between filters to alternatively
Save Outer Corners—Preserves the original transform either component.
positions of vertices farthest away from the object
center. 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
vertex causes the opposite vectors to adjust
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.
If Lock Handles is off (the default),
Shift +Move "breaks" the handle, allowing it
to move independently.
Deleting vertices
If Lock Handles is on, the handles remain
locked in their coplanar relationship. However, To weld vertices:
the vertex is still switched to Corner, and
1. At Patch (Vertex) level, select two valid vertices
turning off Lock Handles lets you move the
on different patches.
handles separately.
2. Set Weld Threshold to a value at least equal to
2. Right-click the vertex, and choose Corner from
the distance between the selected vertices.
the quad menu.
3. Click Selected.
To delete a vertex:
The two vertices move together and join.
1. At Patch (Vertex) level, select a vertex.
2. Click Delete.
The vertex and all patches sharing this control
point are deleted.
 Editable Patch (Vertex) 977

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.

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.
• At Patch level (page 1–981), you can change
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.
978 Chapter 9: Surface Modeling

Geometry rollout 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
See Geometry Rollout (Patch) (page 1–986) for
detailed descriptions of these controls. you can specify a color to match.
 Editable Patch (Handle) 979

Select—Depending on which radio button is Interface

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.
• Usage of the transform gizmo when
manipulating handles.
• Elimination of the possibility of inadvertently
transforming vertices.
• Support for named selection sets of handles.
• Copying and pasting handles.
• Use the Align tool (page 1–462) for aligning
handles. See Geometry Rollout (Patch) (page 1–986) for
detailed descriptions of these controls.
980 Chapter 9: Surface Modeling

Interface
Editable Patch (Edge) Selection rollout
Select an editable patch > Modify panel > Expand the Select Open Edges—Selects all edges that are used
editable patch in the stack display > Edge sub-object level by only one patch. You can use this to troubleshoot
Select an editable patch > Modify panel > Selection a surface; open edges will be highlighted.
rollout > Edge button
For information on the other controls in this
Select an editable patch > Right-click the patch > Tools 1 rollout, see Selection Rollout (Editable Patch) (page
(upper-left) quadrant of the quad menu > Sub-objects >
Edge 1–971).

An edge is the portion of a patch object between Soft Selection rollout

two adjacent vertices. When at the Editable Patch See Soft Selection Rollout (page 1–963) for
(Edge) level, you can select single and multiple information on the Soft Selection rollout settings.
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.
• At Patch level (page 1–981), you can change
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.
 Editable Patch (Patch) 981

Geometry rollout
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

three or four surrounding edges and vertices.
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.

See Geometry Rollout (Patch) (page 1–986) for

detailed descriptions of these controls.
982 Chapter 9: Surface Modeling

Geometry rollout

A complex patch (on right) no longer deforms a bitmap

The two leftmost patches show Linear patch

mapping. The top left patch is a patch with planar
mapping and the bottom left shows its UVW
space representation. The patch on the right is a
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
information on the Soft Selection rollout settings.
See Geometry Rollout (Patch) (page 1–986) for
detailed descriptions of these controls.
 Editable Patch (Patch) 983

Surface Properties rollout 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: The best way to use Flip Normal Mode
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
from the keyboard. The total number of available
IDs is 65,535.
Select ID—Selects patches or elements
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
These controls let you work with patch normals,
Multi/Sub-Object material assigned to it. Click the
material IDs, smoothing groups and vertex colors.
drop arrow and choose a sub-material from the
Normals group list. The patches or elements that are assigned that
material are selected. If an object does not have
Flip—Reverses the direction of the surface normals a Multi/Sub-Object material assigned, the name
of the selected patches. list is unavailable. Likewise, if multiple objects
Unify—Flips the normals of an object so that they are selected that have an Edit Patch, Edit Spline,
all point in the same direction, usually outward. or Edit Mesh modifier applied, the name list is
This is useful for setting an object’s patches inactive.
to appropriate orientations, thus eliminating Note: Sub-material names are those specified in the
apparent holes in the object surface. 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 The spinner value is a percentage; zero is
material names. completely transparent and 100 is completely
opaque.
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 Editable Patch (Element)
selections add to the existing selection set of Select an editable patch > Modify panel > Expand the
patches or elements. Default=on. editable patch in the stack display > Element sub-object
level
Smoothing Groups group Select an editable patch > Modify panel > Selection
rollout > Element button
Use these controls to assign selected patches to
Select an editable patch > Right-click the patch > Tools 1
different smoothing groups (page 3–1013), and to (upper-left) quadrant of the quad menu > Sub-objects >
select patches by smoothing group. Element

To assign patches to one or more smoothing

Use the Element sub-object level when you
groups, select the patches, and then click the
want to select and work on all contiguous faces
number(s) of the smoothing group(s) to assign
in an element. The Element sub-object level
them to.
is essential when you are Shift +cloning and
Select by SG (Smoothing Group)—Displays a dialog Shift +extruding patches, because doing so
that shows the current smoothing groups. Select creates separate elements. For example, if you
a group by clicking the corresponding numbered select a patch, hold down the Shift key, and
button and clicking OK. move the patch to a new location, a new element
is created separate from the original. This also
Clear All—Removes any smoothing group
applies to extrusion. If you hold the Shift key
assignments from selected patches.
down while you extrude, a new element is created.
Edit Vertex Colors group Note: In some cases, you might find that moving
a patch element causes parts of it to move by
Use these controls to assign the color, illumination
differing amounts. This typically occurs because
color (shading), and alpha (transparency) values
the object is set to Manual Interior. It happens, for
of vertices on the selected patch(es).
instance, when you convert a sphere primitive to
Color—Click the color swatch to change the color an editable patch object. To remedy this, select
of vertices on the selected patch(es). the element, and then right-click it to display the
quad menu, and in the Tools1 quadrant, choose
Illumination—Click the color swatch to change
Auto Interior.
the illumination color of vertices on the selected
patch(es). This lets you change the color of
Interface
shadows without changing the vertex colors.
Selection rollout
Alpha—Lets you assign an alpha (transparency)
value to vertices on the selected patch(es). For information on the controls in this rollout, see
Selection Rollout (Editable Patch) (page 1–971).
 Editable Patch (Element) 985

Soft Selection rollout Geometry rollout

See Soft Selection Rollout (page 1–963) for
information on the Soft Selection rollout settings.
986 Chapter 9: Surface Modeling

See Geometry Rollout (Patch) (page 1–986) for Interface

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
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.
 Geometry Rollout (Patch) 987

Subdivision group (Vertex, Edge, Patch, and Subdivide (Edge, Patch, and Element levels
Element levels only) only)—Subdivides the selected sub-objects.
Bind (Vertex level only)—Lets you create a seamless, • Propagate—When on, extends the subdivision
gapless connection between two patch edges to neighboring patches. Propagating the
that have unequal numbers of vertices. The two subdivisions along all contiguous patches
patches must belong to the same object, and the prevents patch cracks where you have attached
vertex need not be selected first. Click Bind, then patches together.
drag a line from an edge-based vertex (not a
corner vertex) to the edge you want to bind it to. Topology group
The cursor turns into a white cross when over a Add Tri / Add Quad (Edge level only)—You can add
legal edge. Tri and Quad patches to any open edge 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.

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
and a neck, without the need to create additional
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.
988 Chapter 9: Surface Modeling

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; this vertex is included in the sequence of
vertices for the new patch.
• To create a Tri Patch: Click three times in
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: Click four times in free
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
Original patch with edges selected (top) and three-sided detached object is moved and rotated so that
patches added (bottom)
its Local coordinate system is positioned and
Add Tri adds a three-sided patch to each selected aligned with the origin of the current active
edge. Select one or more edges, then click Add Tri grid.
to add the patch or patches. • Copy—When on, the detached patches or
Add Quad adds a four-sided patch to each selected elements are copied to a new patch object,
edge. Select one or more edges, and then click Add leaving the originals intact.
Quad to add the patch or patches. Attach—Lets you attach an object to the currently
Create (Vertex, Patch, and Element levels only)—Lets selected patch object. Click the object you want to
you add geometry to the patch object. Available at attach to the currently selected patch object.
Vertex, Patch, and Element sub-object levels only. If you attach a non-patch object, the object is
At the Vertex sub-object level, turn on Create and converted to a patch object.
then click anywhere to add vertices to the object.
 Geometry Rollout (Patch) 989

When you attach an object, the materials of the Delete (Vertex, Edge, Patch, and Element levels
two objects are combined in the following way: only)—Deletes the selected sub-objects.
• If the object being attached does not have a Warning: Delete vertices or edges with caution.
material assigned, it inherits the material of the Deleting a vertex or edge also deletes the patches that
object it is being attached to. share them. For example, if you delete the single vertex
• Likewise if the object you’re attaching to doesn’t at the top of a spherical patch, the top four patches are
also deleted.
have a material, it inherits the material of the
object being attached. Break (Vertex and Edge levels only)—For vertices,
• If both objects have materials, the resulting new breaks a vertex into multiple vertices. Use this
material is a multi/sub-object material (page if you need to split open an edge to add another
2–1594) that encompasses the input materials. patch or for general modeling operations. Select
A dialog appears offering three methods of a vertex, and then click Break. After the break,
combining the objects’ materials and material select the individual vertices and move them to
IDs. For more information, see Attach Options separate the edges.
Dialog (page 1–1018). For edges, splits an edge. Use this if you need
Attach remains active in all sub-object modes, but to split open an edge for general modeling
always applies to objects. 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
Top: Original patch object with rendering
patches, set the spinner to a sufficient distance,
Bottom: Rendering with another patch attached
and click Selected.
Reorient—When on, reorients the attached element
At the Edge sub-object level, clicking Selected
so that each patch’s creation local coordinate welds two edges that share vertices. You can use
system is aligned with the creation local coordinate this to eliminate gaps on a surface.
system of the selected patch.
990 Chapter 9: Surface Modeling

Target (Vertex level only)—Turn on and drag from

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.
Original patch (top) and inward and outward extrusions
Note: Sides created by beveling or extrusion are Note: In some cases, particularly with closed objects (objects with
assigned to smoothing group 1. no holes or open edges), the second bevel step might not produce
visible results.
Extrude—Click this button, and then drag any
edge, patch, or element to extrude it interactively. Extrusion—This spinner sets whether the extrusion
Hold down the Shift key during this operation is outward or inward, depending on whether the
to create a new element. value is positive or negative.

When the mouse cursor is over a selected patch or Outlining (Patch and Element levels only)—This
element, it changes to an Extrude cursor. spinner lets you scale selected patches or elements
bigger or smaller, depending on whether the value
Bevel (Patch and Element levels only)—Click this
is positive or negative. It is normally used after an
button, and then drag any patch or element to extrusion for beveling the extruded patches.
extrude it interactively, then click and release
the mouse button, and drag again to bevel the Normal—If Normal is set to Local (the default),
extrusion. Hold down the Shift key during this extrusion takes place along the normal of each
operation to create a new element. selected edge, patch, or individual patch in an
element. If normal is set to Group, extrusion
When the mouse cursor is over a selected element, takes place along the averaged normal of each
it changes to a Bevel cursor. 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 Paste—Pastes orientation information from the
by a beveling operation and the neighboring copy buffer to a vertex handle. If Paste Length is
patches. The shapes are determined by the handle on, it also pastes the length of the copied handle.
configurations of vertices at the intersections.
When you click Paste, the software displays all
Start refers to the intersection between the sides
handles on the selected object. When the mouse
and the patches surrounding the beveled patch.
cursor is over a handle end, the cursor image
Finish refers to the intersection between the sides
changes to the one shown below. Click a handle
and the beveled patch or patches. The following
end to paste the information from the buffer to the
settings are available for each:
handle. You can continue clicking other handle
• Smooth—Vertex handles are set so the angles ends to paste the information repeatedly. To exit
between the new patches and their neighbors Paste mode, right-click in the viewport or click the
are relatively small. Paste button.
• Linear—Vertex handles are set to create linear
transitions.
• None—Vertex handles are not modified.
Copy Length / Paste Length—When on and you
Warning: Set Bevel Smoothing before the bevel is use Copy, the length of the handle is also copied.
performed; changing the setting has no effect on When on and you use Paste, the length of the
existing beveled patches. originally copied handle is pasted as well as its
orientation. When off, only the orientation is
Tangent group (Vertex and Handle levels only) copied or pasted.
These controls let you copy orientation, and
optionally length, between handles on the same Surface group
object, or on different objects applied with View Steps—Controls the grid resolution of the
instances of the same Edit Patch modifier. The tool patch model surface as depicted in the viewports.
doesn’t support copying handles from one patch Range=0 to 100. Default=5.
object to another, or between spline and patch
Render Steps—Controls the grid resolution of the
objects.
patch model surface when rendered. Range=0 to
Copy—Copies a patch handle’s transform settings 100. Default=5.
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.
992 Chapter 9: Surface Modeling

patch surfaces, which can generate more accurate

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
on the left has Use True Patch Normals turned off,
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. 3ds Max prompts you for a name: type in a
Original mesh display of model (top) and with increased steps
name for the new shape object, and then click OK.
(bottom)
Each patch edge forms an individual spline. You
Show Interior Edges—Enables the display of the
can use this to create a spline cage based on
patch object’s interior edges in wireframe views.
patch edges. This is useful for spline modeling or
When off, only the object’s outline is visible. Turn
working with surface tools.
on to simplify the display for faster feedback.
Patch Smooth—At the sub-object level, adjusts
Use True Patch Normals—Determines how the
the tangent handles of the vertices of selected
software smoothes the edges between patches.
sub-objects to smooth the surface of the patch
Default=off.
object. At the object level, adjusts all tangent
When the check box is off, the software computes handles to smooth the surface.
the surface normals from the smoothing groups
Patch Smooth sets the handles to absolute
of the mesh object to which the patch object is
positions based on the patch object geometry;
converted before rendering. These normals are not
repeated applications have no effect.
accurate, especially with a low View/Render Steps
setting. When the check box is on, the software
computes true patch normals directly from the
 Patch Grids 993

Quad patch and tri patch

A patch tube before smoothing (left) and after using Patch Editable Patches
Smooth (right)
You can convert a basic patch grid to an editable
patch object (page 1–968). The editable patch has a
variety of controls that let you directly manipulate
it and its sub-objects. For example, at the Vertex
Patch Grids sub-object level, you can move vertices or adjust
their Bezier handles. Editable patches let you
Create panel > Geometry > Patch Grids create surfaces that are less regular, more free-form
Create menu > Patch Grids
than the basic, rectangular patches.
When you convert a patch to an editable patch,
You can create two kinds of patch surfaces in grid you lose the ability to adjust or animate its creation
form: Quad Patch and Tri Patch. Patch grids begin parameters.
as flat plane objects but can be modified into
arbitrary 3D surfaces by either using an Edit Patch See also
modifier or collapsing the grid’s modifier stack
Edit Modifiers and Editable Objects (page 1–506)
down to an Editable Patch in the Modify panel.
Modifying at the Sub-Object Level (page 1–506)
Patch grids provide convenient "building material"
for custom surfaces and objects, or for adding Modifier Stack Controls (page 3–760)
patch surfaces to existing patch objects.
Procedure
You can animate the surface of a Patch object using
various modifiers such as the Flex and Morph To create a patch grid:
modifiers. Control vertices and tangent handles of 1. On the Create panel > Geometry > Patch Grids
a patch surface can be animated with an Editable > Object Type rollout, click either Quad Patch
Patch modifier. or Tri Patch.
2. Drag over any viewport to create a patch.
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.
994 Chapter 9: Surface Modeling

Interface Procedures
To create a patch grid:
1. On the Create panel > Geometry > Patch Grids
> Object Type rollout, click either Quad Patch
or Tri Patch.
AutoGrid—Uses surface normals as a plane to 2. Drag over any viewport to define a length and
create patches. Click a patch type and then click width for the patch.
and drag the cursor over a face in the viewports.
To edit a Quad Patch:
Detailed information about the two patch grid
types is available in these topics: 1. Select a Quad Patch.

Quad Patch (page 1–994) 2. On the Modify panel, right-click Quad Patch in
stack view and choose Editable Patch.
Tri Patch (page 1–995)
The Quad Patch collapses to an Editable Patch.
3. On the Editable Patch Selection rollout, click
Quad Patch Vertex.
4. In any viewport, select a vertex on the patch
Create panel > Geometry > Patch Grids > Quad Patch
object, and move the vertex to change the
Create menu > Patch Grids > Quad Patch surface topology.
Vertices and vectors can be animated with an
Quad Patch creates a flat grid with a default of 36
Editable Patch modifier.
visible rectangular facets. A hidden line divides
each facet into two triangular faces for a total of At the sub-object Edge level, you can add patches
72 faces. 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

Quad Patch
 Tri Patch 995

Interface 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
you increase the size of the grid.

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.

Tri Patch
Create—Creates a patch based on the XYZ, Length,
and Width values.
Procedures
Parameters rollout To create a Tri Patch:

Length, Width—Sets the grid dimensions in current 1. On the Create panel > Geometry > Patch Grids
units. > Object Type rollout, click Tri Patch.
996 Chapter 9: Surface Modeling

2. Drag over any viewport to create the patch. Keyboard Entry rollout
X/Y/Z—Sets the patch center.
To edit a Tri Patch:
1. Select a Tri Patch. Length—Sets the patch length.

2. On the Modify panel, right-click TriPatch in Width—Sets the patch width.

stack view, and choose Editable Patch. Create—Creates a patch based on the XYZ, Length,
The Tri Patch collapses to an Editable Patch. and Width values.
3. In the Editable Patch Selection rollout, click
Vertex. Parameters rollout

4. In any viewport, select a vertex on the patch Length, Width—Sets dimensions of grid in current
object and move the vertex to change the units.
surface topology. Generate Mapping Coordinates—Creates map
You can animate vertices and vectors with an coordinates for applying mapped materials.
Editable Patch modifier. Default=off.

Interface

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), like the Edit Mesh

modifier, provides controls for manipulating a
mesh object made up of triangular faces as an
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.
To make a sub-object selection on a non-editable
mesh object (for example, a primitive) for passing
up the stack to a modifier, use the Mesh Select
Name and Color rollout modifier (page 1–719).
The Name and Color rollout (page 3–757) lets you Once you make a selection with Editable Mesh,
rename objects and change their wireframe color. you have these options:
 Editable Mesh Surface 997

• Use the options supplied on the Edit Geometry

rollout to modify the selection. Later topics • Use the Collapse utility (page 1–966).
discuss these options for each of the mesh • Apply a modifier to a parametric object that
components. turns the object into a mesh object in the stack,
• Transform or Shift +clone the selection, as and then collapse the stack. (For example, you
with any object. can apply a Mesh Select modifier.)
• Pass the selection to a later modifier in the • Import a non-parametric object, such as that
stack. You can apply one or more standard found in a 3DS file.
modifiers to the selection.
Converting an object to an editable mesh removes
• Use the options on the Surface Properties all parametric controls, including the creation
rollout to alter the surface characteristics of parameters. For example, you can no longer
selected mesh components. increase the number of segments in a box, slice a
Note: Because Edit Mesh modifier functionality is circular primitive, or change the number of sides
almost identical to that of editable mesh objects, on a cylinder. Any modifiers you apply to an
features described in the Editable Mesh topics also object are collapsed as well. After conversion, the
apply to objects with Edit Mesh applied, except only entry left on the stack is "Editable Mesh."
as noted. Maintaining an object’s creation parameters:
Tip: Editable Poly (page 1–1022) is similar to
As described in the above procedure, you can
Editable Mesh, but lets you work with polygons of
convert an existing object to an editable mesh,
four or more sides, and provides a greater range of
which replaces the creation parameters in the stack
functionality.
with "Editable Mesh." The creation parameters are
Tip: You can exit most Editable Mesh command no longer accessible or animatable. If you want to
modes, such as Extrude, by right-clicking in the maintain the creation parameters, you can use the
active viewport. following modifiers:
• Edit Mesh Modifier (page 1–634)
See also
• Mesh Select Modifier (page 1–719)
Edit Modifiers and Editable Objects (page 1–506)
• Delete Mesh Modifier (page 1–626)
Modifying at the Sub-Object Level (page 1–506)
• Tessellate Modifier (page 1–865)
Modifier Stack Controls (page 3–760) • Face Extrude Modifier (page 1–682)

Procedure • Affect Region Modifier (page 1–557)

To produce an editable mesh object:

Interface
First select the object, and then do one of the Modifier Stack display
following:
Show End Result—Normally, if you apply a
• Right-click the object and choose Editable
modifier such as Twist to an editable-mesh object
Mesh from the Convert To submenu in the
and then return to the Editable Mesh stack entry,
transform quadrant.
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 Edit Geometry rollout
original sub-object selection as a yellow mesh,
The Edit Geometry rollout (page 1–1011) provides
the final object as a white mesh, and the original
various controls for editing an editable mesh object
editable mesh as an orange mesh.
and its sub-objects. For information specific to the
different sub-object levels, click any of the links
Selection rollout
below:
See Selection Rollout (Editable Mesh) (page 1–999).
Editable Mesh (Object) (page 1–1001)
Named Selections Editable Mesh (Vertex) (page 1–1003)
Copy—Places a named selection into the copy Editable Mesh (Edge) (page 1–1006)
buffer.
Editable Mesh (Face/Polygon/Element) (page
Paste—Pastes a named selection from the copy 1–1009)
buffer.
For more information, see Named Selection Sets
(page 1–67). Working with Mesh Sub-Objects
This topic describes how to work with sub-object
Selection Information selections when you are editing an Editable Mesh
At the bottom of the Selection rollout is a (page 1–996).
text display giving information about the
current selection. If no objects or more than See also
one sub-object are selected, the text gives the Edit Modifiers and Editable Objects (page 1–506)
number of objects and the type selected. If a
single sub-object is selected, the text gives its Modifying at the Sub-Object Level (page 1–506)
identification number and type. Modifier Stack Controls (page 3–760)
Note: When the current sub-object level is Polygon
Editable Mesh (page 3–932)
or Element, selection information is given in faces.
Editable Poly (page 3–933)
Soft Selection rollout
Selecting and Transforming
Soft Selection controls affect the action of
sub-object Move, Rotate, and Scale functions. In selecting and transforming sub-object
When these are on, 3ds Max applies a spline curve geometry, you use standard techniques:
deformation to unselected vertices surrounding • Clicking any vertex, edge, or
the transformed selected sub-object. This provides face/polygon/element selects it.
a magnet-like effect with a sphere of influence
• Holding down Ctrl lets you add to or subtract
around the transformation.
from the selection with single clicks.
For more information, see Soft Selection Rollout
• Holding down Alt lets you a subtract from
(page 1–963).
the selection with single clicks, or with
Window/Crossing selections.
 Selection Rollout (Editable Mesh) 999

• Beginning a selection outside the object starts a • If you choose Clone To Element, the selection
region selection. Holding down Ctrl during is cloned in its new position and remains part
region selection lets you add to the selection. of the original object.
Once you’ve made a sub-object selection, you can
Animating Sub-Object Geometry
use the Spacebar to lock the selection while
you’re working with it. When you work with an editable mesh, you can
directly transform and animate a sub-object
Using Sub-Object Selection selection. In effect, the selection works like any
other object.
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).
Selection Rollout (Editable Mesh)
These selection sets are saved with the file. With The Selection rollout provides buttons for turning
sub-object selections, you have these options: different sub-object levels on and off, working with
• Choose one of the selection sets to pass named selections and handles, display settings,
geometry up the stack to other modifiers. Only and information about selected entities.
one selection set is active at a time. When you first access the Modify panel with
• Change to one of the other selection sets at any an editable mesh selected, you’re at the Object
time. level, with access to several functions available as
described in Editable Mesh (Object) (page 1–1001).
• Use named selection sets (page 1–83) for
You can toggle the various sub-object levels, and
sub-object geometry you want to reuse.
access relevant functions by clicking the buttons at
In modeling a head, for example, you might the top of the Selection rollout.
have a number of different vertex selections for
forehead, nose, and chin. Such selections can Clicking a button here is the same as selecting
be difficult to re-create, so named sets give you a sub-object type in the Modifier Stack display.
easy access to the original selection when you Click the button again to turn it off and return to
want to rework a particular area. the Object selection level.
The Selection rollout also allows you to display
Cloning Sub-Object Geometry and scale vertex or face normals (page 3–980)
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.
1000 Chapter 9: Surface Modeling

Interface within the visible wire edges. Region selection

selects multiple polygons within the region.

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-objects only by clicking a vertex, or by region.
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: The state of the Backface Cull setting in the
Vertex—Turns on Vertex sub-object level, Display panel does not affect sub-object selection.
which lets you select a vertex beneath the cursor; Thus, if Ignore Backfacing is off, you can still select
region selection selects vertices within the region. sub-objects, even if you can’t see them.
Ignore Visible Edges—This is enabled when the
Edge—Turns on Edge sub-object level, which Polygon face selection method is chosen. When
lets you select the edge of a face or polygon beneath Ignore Visible Edges is off (the default), and you
the cursor; region selection selects multiple edges click a face, the selection will not go beyond the
within the region. At the Edge sub-object level, visible edges no matter what the setting of the
selected hidden edges are displayed as dashed Planar Thresh spinner. When this is on, face
lines, allowing for more precise selection. selection ignores the visible edges, using the Planar
Thresh setting as a guide.
Face—Turns on Face sub-object level, which
Generally, if you want to select a "facet" (a coplanar
lets you select a triangular face beneath the cursor;
collection of faces), you set the Planar Threshold
region selection selects multiple triangular faces
to 1.0. On the other hand, if you’re trying to select
within the region. If a selected face has a hidden
a curved surface, increase the value depending on
edge and Shade Selected Faces is off, the edge is
the amount of curvature.
displayed as a dashed line.
• Planar Thresh—(Planar Threshold) Specifies the
Polygon—Turns on Polygon sub-object level, threshold value that determines which faces are
which lets you select all coplanar faces (defined by coplanar for Polygon face selection.
the value in the Planar Threshold spinner) beneath
the cursor. Usually, a polygon is the area you see
 Editable Mesh (Object) 1001

Show Normals—When on, the program displays Interface

normals (page 3–980) in the viewports. Normals Edit Geometry rollout
are displayed as blue lines.
Show normals is not available in Edge mode.
• 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
See Edit Geometry Rollout (Mesh) (page 1–1011)
Editable Mesh (Object) controls are available when for detailed descriptions of these controls.
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).
1002 Chapter 9: Surface Modeling

Surface Properties rollout 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) and then reassign mapping
coordinates to the displaced snapshot mesh.
Specifies surface approximation settings for
subdividing the editable mesh. These controls Subdivision Presets group & Subdivision
work like the surface approximation settings for Method group
NURBS surfaces (page 1–1078). They are used The controls in these two group boxes specify how
when you apply a displacement map (page 2–1511) the displacement map is applied when Subdivision
to the editable mesh. Displacement is on. They are identical to the
Note: The Surface Properties rollout is available Surface Approximation controls (page 1–1239) used
only for editable mesh objects; it does not appear for NURBS surfaces.
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) to the same effect.
Subdivision Displacement—When on, faces are
subdivided to accurately displace the mesh,
using the method and settings you specify in the
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.
 Editable Mesh (Vertex) 1003

2. Select the vertices to weld.

Editable Mesh (Vertex) 3. If the vertices are very close together, go to
Select an editable mesh object. > Modify panel >
the Edit Geometry rollout > Weld group
Selection rollout > Vertex and click Selected. If that doesn’t work (you
Select an editable mesh object. > Modify panel > Modifier
get a “No vertices within weld threshold.”
Stack display > Expand Editable Mesh. > Vertex message), proceed to the next step.
Select an editable mesh object. > Quad menu > Tools 4. Increase the numeric value to the right of
1 quadrant > Vertex the Selected button.
This is the threshold value; the minimum
Vertices are points in space: they define the
distance that vertices can be apart from each
structure of faces. When vertices are moved or
other to be welded.
edited, the faces they form are affected as well.
Vertices can also exist independently; such isolated 5. Click Selected again.
vertices can be used to construct faces but are At this point, one of three things happens:
otherwise invisible when rendering. None, some, or all of the vertices are welded.
At the Editable Mesh (Vertex) sub-object level, you If the latter, you’re done. If either of the
can select single and multiple vertices and move others occurs, proceed to the next step.
them using standard methods. 6. Continue increasing the threshold value and
clicking Selected until all of the vertices are
See also welded.
Editable Mesh Surface (page 1–996) 2. To use Target Weld:
1. On the Selection rollout, turn on Ignore
Procedures Backfacing, if necessary. This ensures that
To weld mesh vertices: you’re welding only vertices you can see.
You can use either of two methods to combine 2. Find two vertices you want to weld, and
several vertices into one, also known as welding. If determine the ultimate location of the
the vertices are very close together, use the Weld resulting vertex. You can weld any two
function. You can also use Weld to combine a vertices, but for best results the two should
number of vertices to the average position of all be contiguous; that is, they should be
of them. connected by a single edge.
Alternatively, to combine two vertices that are far For this example, we’ll call the vertices A and
apart, resulting in a single vertex that’s in the same B, and the resulting vertex will be at vertex
position as one of them, use Target Weld. B’s location.
Tip: Welding vertices is considerably easier with 3. Click the Target button.
poly objects. See this procedure: To weld polygon The button stays highlighted, to indicate that
vertices: (page 1–1029) you’re now in Target Weld mode.
1. To use Weld: 4. Drag vertex A to Vertex B.
1. On the Selection rollout, turn on Ignore While you’re dragging, the mouse cursor
Backfacing, if necessary. This ensures that image is a four-headed, +-shaped arrow.
you’re welding only vertices you can see.
1004 Chapter 9: Surface Modeling

When over an eligible target vertex, the Interface

cursor changes to a crosshairs. Selection rollout
Tip: If you have trouble dragging in the
For information on the Selection rollout settings,
proper direction, open the Axis Constraints see Editable Mesh (page 1–998).
toolbar (page 3–687) and click the XY
button. Soft Selection rollout
5. Release the mouse button. Soft Selection controls affect the action of
The pair is welded. The resulting vertex sub-object Move, Rotate, and Scale functions.
remains at vertex B’s position, and you exit When these are on, the program applies a
Target Weld mode. spline curve deformation to unselected vertices
Tip: If you have trouble combining the two surrounding the transformed selected sub-object.
vertices, try increasing the Pixels value with This provides a magnet-like effect with a sphere of
the spinner to the right of the Target button. influence around the transformation.

You remain in Target Weld mode, and can For more information, see Soft Selection Rollout
continue to weld pairs of vertices. (page 1–963).
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.
You can add to the selection by holding 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.)
 Editable Mesh (Vertex) 1005

Edit Geometry rollout 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
See Edit Geometry Rollout (Mesh) (page 1–1011) changing the vertex’s color.
for detailed descriptions of these controls.
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 At the Editable Mesh (Edge) sub-object level, you
can select single and multiple edges and transform
Color/Illumination—These radio buttons let you
them using standard methods.
choose to select vertices by vertex color value or
vertex illumination value. Set the desired options
and then click Select.
See also
Editable Mesh Surface (page 1–996)
Color Swatch—Displays the current color to match.
Click to open the Color Selector, where you can
Procedure
specify a different color.
To create a shape from one or more edges:
Select—Depending on which radio button is
1. Select the edges you want to make into shapes.
selected, selects all vertices whose vertex color or
illumination values either match the color swatch, 2. On the Edit Geometry rollout, click Create
or are within the range specified by the RGB Shape From Edges.
spinners. 3. Make changes, as needed, on the Create Shape
Range—Specifies a range for the color match. dialog that appears.
All three RGB values in the vertex color or • Enter a curve name or keep the default.
illumination color must either match the color
• Choose Smooth or Linear as the Shape Type.
specified by the Color swatch in Select By Vertex
Color, or be within a range determined by adding • Turn on Ignore Hidden Edges to exclude
and subtracting the Range values from the hidden edges from the calculation, or turn
displayed color. Default=10. this feature off.
4. Click OK.
For example, if you’ve chosen Color and set the
color swatch to medium gray (R=G=B=128), and The resulting shape consists of one or more
are using the default Range values of 10,10,10, splines whose vertices are coincident with the
then clicking the Select button selects only vertices vertices in the selected edges. The Smooth
set to RGB color values between 118,118,118 and option results in vertices using smooth values,
138,138,138. while the Linear option results in linear splines
with corner vertices.
When you region-select edges, all edges are
Editable Mesh (Edge) highlighted, including hidden edges, which
are displayed as dashed lines. As a default,
Select an editable mesh object. > Modify panel >
Selection rollout > Edge the Create Shape function ignores the hidden
edges, even though they’re selected. Turn off
Select an editable mesh object. > Modify panel > Modifier Ignore Hidden Edges if you want to include the
Stack display > Editable Mesh rollout > Edge
hidden edges in the calculation.
Select an editable mesh object. > Quad menu > Tools 1
quadrant > Edge If the selected edges are not continuous, or if
they branch, the resulting shape will consist
An edge is a line, visible or invisible, forming the of more than one spline. When the Create
side of a face and connecting two vertices. Two Shape function runs into a branching ’Y’ in
faces can share a single edge. 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
Shape repeatedly to make the correct number
of shapes. Finally, use Attach in the Editable
Spline to combine the shapes into one.

Top: Selected edges removed from original object

Bottom: Unwanted edges removed

Interface
Selection rollout
Top: Original object
See Editable Mesh (page 1–998) for information on
Bottom: Object with edges selected 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 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
of edges is primarily of importance when an object
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
share the edge, with the angle set by the Threshold
spinner to its right.
Clicking Auto Edge can have one of three effects,
depending on which radio button is active (Set
means to make an invisible edge visible; Clear
means to make a visible edge invisible):
• Set and Clear Edge Vis—Can change the
visibility of all selected edges depending on the
See Edit Geometry Rollout (Mesh) (page 1–1011) Threshold setting.
for detailed descriptions of these controls. • 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

For more information, see Soft Selection Rollout

Editable Mesh (Face/Polygon/ (page 1–963).
Element) Edit Geometry rollout
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

A face 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 See Edit Geometry Rollout (Mesh) (page 1–1011)
the transformed selected sub-object. This provides for detailed descriptions of these controls.
a magnet-like effect with a sphere of influence
around the transformation.
1010 Chapter 9: Surface Modeling

Surface Properties rollout 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: The best way to use Flip Normal mode
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—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
These controls let you work with face normals, Multi/Sub-Object material assigned to it. Click
material IDs, smoothing groups and vertex colors. the drop arrow and choose a sub-material from
the list. The sub-objects that are assigned that
Normals group material are selected. If an object does not have
Flip—Reverses the direction of the surface normals a Multi/Sub-Object material assigned, the name
of the selected faces. list is unavailable. Likewise, if multiple objects
are selected that have an Edit Patch, Edit Spline,
Unify—Flips the normals of an object so that they
or Edit Mesh modifier applied, the name list is
all point in the same direction, usually outward.
inactive.
This is useful for restoring an object’s faces to
their original orientations. Sometimes normals of Note: Sub-material names are those specified in the
objects that have come into 3ds Max as part of a Name column on the material’s Multi/Sub-Object
DXF file are irregular, depending on the methods Basic Parameters rollout; these are not created by
 Edit Geometry Rollout (Mesh) 1011

default, and must be specified separately from any Edit Vertex Colors group
material names.
Use these controls to assign the color, illumination
Clear Selection—When on, choosing a new ID or color (shading), and alpha (transparency) values
material name deselects any previously selected of vertices on the selected face(s).
sub-objects. When off, selections are cumulative,
Color—Click the color swatch to change the color
so new ID or sub-material name selections add to
of vertices on the selected face(s). Assigning vertex
the existing selection set of patches or elements.
colors at the face level prevents blending across the
Default=on.
face(s).
Smoothing Groups group Illumination—Click the color swatch to change
the illumination color of vertices on the selected
Use these controls to assign selected faces to
face(s). This lets you change the illumination
different smoothing groups (page 3–1013), and to
without changing the vertex’s color.
select faces by smoothing group.
Alpha—Lets you assign an alpha (transparency)
To assign faces to one or more smoothing groups,
value to vertices on the selected face(s).
select the faces, and then click the number(s) of
the smoothing group(s) to assign them to. The spinner value is a percentage; zero is
completely transparent and 100 is completely
Select by SG (Smoothing Group)—Displays a dialog
opaque.
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
Edit Geometry Rollout (Mesh)
Clear Selection is off, the new selection is added to Select an editable mesh object. > Modify panel >
any previous selection set. Selection rollout > Choose any sub-object level.

Clear All—Removes any smoothing group Select an editable mesh object. > Modify panel > Modifier
Stack display > Expand Editable Mesh. > Choose any
assignments from selected faces. sub-object level.

Auto Smooth—Sets the smoothing groups based Select an editable mesh object. > Quad menu > Tools 1
on the angle between faces. Any two adjacent quadrant > Choose any sub-object level.

faces will be put in the same smoothing group if

the angle between their normals is less than the The Edit Geometry rollout for Meshes contains
threshold angle, set by the spinner to the right of most of the controls that let you alter the geometry
this button. of the mesh, at either the Object (top) level, or
one of the sub-object levels. The controls that the
Threshold—This spinner (to the right of Auto rollout displays can vary, depending on which level
Smooth) lets you specify the maximum angle is active; if a control is not available for the active
between the normals of adjacent faces that level, it might be grayed out, or simply might not
determines whether those faces will be put in the appear at all. The descriptions below indicate the
same smoothing group. levels at which controls are available.
1012 Chapter 9: Surface Modeling

Interface 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
third click. At the Polygon sub-object level, you
can continue clicking as many times as you like to
add vertices to the new polygon. To finish drawing
a new polygon, click twice, or click again on any
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
into the face or polygon you’re creating.
You can start creating faces or polygons in any
viewport, 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 be facing away from you, and you won’t be
able to see it unless you’ve turned on Force 2-Sided
or are using a two-sided material.

Editing buttons Delete (sub-object levels only)—Deletes selected

sub-objects and any faces attached to them.
Create—Lets you add sub-objects to a single
selected mesh object. Select an object, choose a Attach—Lets you attach another object in the scene
sub-object level, click Create, and then click to add to the selected mesh. You can attach any type
sub-objects. Available only at the Vertex, Face, of object, including splines, patch objects, and
Polygon, and Element levels only. 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.

Shaded view of model (upper left); wireframe view of model

• Likewise, if the object you’re attaching to (upper right); model with objects attached (lower left); and
doesn’t have a material, it inherits the material subsequent multi/sub-object material (lower right)
of the object being attached.
• If both objects have materials, the resulting new Attach remains active in all sub-object levels,
material is a multi/sub-object material (page but always applies to objects.
2–1594) that encompasses the input materials. Attach List (Object level only)—Lets you attach
A dialog appears offering three methods of other objects in the scene to the selected mesh.
combining the objects’ materials and material Click to display a Select Objects dialog (page 1–78)
IDs. For more information, see Attach Options where you choose multiple objects to attach.
Dialog (page 1–1018).
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
the face corners to be moved away from each other
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, and then select a face to be divided. Each
face is subdivided where you click it. You can click
as many faces as you want divided, in sequence. Extruded edges seen in viewport and rendered image
To stop dividing, click Divide again to turn it off,
or right-click. Extrude (Edge and Face/Polygon/Element levels
only)—Click this button and then either drag to
Extrude, Chamfer, and Bevel group 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,
The Extrude controls let you extrude edges or and then adjust the spinner.
faces. Edge extrusion works in a fashion similar
The Chamfer controls are available only at the
to face extrusion. You can apply extrusion
Vertex and Edge sub-object levels. They let you
interactively (by dragging on sub-objects) or
bevel object corners using a chamfer function. You
numerically (using spinners).
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, original. Essentially, it’s a bevel with no height.
all selected sub-objects are chamfered identically. You can achieve this in Editable Mesh with the
If you drag an unselected vertex or edge, any following procedure:
selected sub-objects are first deselected. 1. Select the polygon to inset.
A chamfer "chops off " the selected sub-objects, 2. Right-click the spinner all the way to the right
creating a new face connecting new points on all of the Extrude button. This performs an
visible edges leading to the original sub-object. extrusion with no height, thus creating a new
Chamfer Amount specifies the exact distance from polygon plus connecting polygons in the same
the original vertex along each of these edges. New position as the original.
chamfer faces are created with the material ID of
3. Set a negative Bevel value using the numeric
one of the neighboring faces (picked at random)
field or the spinner. This insets the new polygon
and a smoothing group that is an intersection of all
created by the extrusion without changing its
neighboring smoothing groups.
height.
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
than one edge is extruded. With Normal set
to Group (the default), extrusion takes place Chamfer box showing extruded face
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: A similar operation is Inset, which Editable
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
1016 Chapter 9: Surface Modeling

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.
Release the mouse at that point to weld all selected
vertices to the target vertex they were dropped on.
Extruded face beveled in two different directions
The pixels spinner to the right of the Target
You can bevel faces by dragging or by using
button sets the maximum distance in screen pixels
keyboard/spinner entry.
between the mouse cursor and the target vertex.
Bevel (Face/Polygon/Element levels only)—Click
this button, and then drag vertically on any face to Tessellate group (Face/Polygon/Element levels
extrude it. Release the mouse button and move only)
the mouse vertically to bevel the extrusion. Click
to finish.
• When over a selected face, the mouse cursor
changes to a Bevel cursor.
Use these controls to tessellate (subdivide) selected
• With multiple faces selected, dragging on any faces. Tessellation is useful for increasing local
one bevels all selected faces equally. mesh density while modeling. You can subdivide
• You can drag other faces in turn to bevel them any selection of faces. Two tessellation methods
while the Bevel button is active. Click Bevel are available: Edge and Face-Center.
again or right-click to end the operation.
Tessellate—Click to tessellate selected faces, based
Outlining—This spinner (to the right of the Bevel on the Edge, Face-Center, and Tension (spinner)
button) lets you scale selected faces bigger or settings.
smaller, depending on whether the value is positive
or negative. It is normally used after an extrusion
for beveling the extruded faces.
 Edit Geometry Rollout (Mesh) 1017

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)

Top: Original selection Explode—Breaks up the current object into

Middle: Tessellated once
multiple elements or objects based on the angles
Bottom: Tessellated twice
of its edges. This function is available in Object
mode as well as all sub-object levels except Vertex
Tension—(Active only when Tessellate by Edge is and Edge.
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—Edge inserts vertices in
the middle of each edge and draws three lines
connecting those vertices. As a result, four faces
are created out of one face. (To see this at the
Polygon or Element sub-object level, turn off
Display panel > Display Properties rollout > Edges
Only.) Exploded faces (white) removed from tessellated faces
1018 Chapter 9: Surface Modeling

The angle threshold spinner, to the right of the Grid Align—Aligns all vertices in selected objects
Explode button, lets you specify the angle between or sub-objects to the plane of the current view. If
faces below which separation will not occur. For a sub-object level is active, function aligns only
example, all sides of a box are at 90-degree angles selected sub-objects.
to each other. If you set the spinner to 90 or above,
This function aligns the selected vertices to the
exploding the box changes nothing. However, at
current construction plane. The current plane is
any setting below 90, the sides all become separate
specified by the active viewport in the case of the
objects or elements.
home grid. When using a grid object, the current
To Objects/Elements—Specifies whether the plane is the active grid object.
exploded faces become the separate objects or
Make Planar (sub-object levels only)—Forces all
elements of the current object.
selected sub-objects to become coplanar. The
plane’s normal is the average surface normal of all
faces attached to the selected sub-objects.
Remove Isolated Vertices—Deletes all isolated
Collapse (sub-object levels only)—Collapses
vertices in the object regardless of the current
selection. selected sub-objects into an averaged vertex.

Select Open Edges (Edge level only)—Selects all

edges with only one face. In most objects, this Attach Options Dialog
shows you where missing faces exist.
Select an editable mesh object. > Modify panel > Attach
Create Shape from Edges (Edge level only)—After button
selecting one or more edges, click this button to
create a spline shape from the selected edges. A The Attach Options dialog appears when you
Create Shape dialog appears, letting you name attach two or more objects to which materials have
the shape, set it to Smooth or Linear, and ignore been assigned. It provides three different methods
hidden edges. The new shape’s pivot is placed at of combining the sub-materials and the material
the center of the mesh object. IDs in the two objects.
View Align—Aligns all vertices in selected objects
Interface
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.
In the case of orthographic viewports (page 3–986),
using View Align has the same effect as aligning
to the construction grid when the home grid is
active. When aligning to a perspective viewport
Match Material IDs to Material—The number
(including camera and light views), the vertices are
of material IDs in the attached objects are
reoriented to be aligned to a plane that is parallel
modified so they are no greater than the number
to the camera’s viewing plane. This plane is
of sub-materials assigned to those objects.
perpendicular to the view direction that is closest
For example, if you have a box with only two
to the vertices’ average position.
sub-materials assigned to it, and you attach it to
 Cut and Slice 1019

another object, the box will have only two material results in the fewest additional sub-materials
IDs, instead of the six it was assigned on creation. or IDs.
Match Material to Material IDs—Maintains the • Use the second option (Match Material to
original ID assignment in the attached objects Material IDs) when you need to maintain the
by adjusting the number of sub-materials original material ID assignments.
in the resulting multi/sub-object material. • Avoid using the third option, unless you need
For example, if you attach two boxes, both to repeat a 3ds Max version 1 attachment for
assigned single materials, but with their default compatibility with a previous project.
assignment of 6 material IDs, the result would be
• Leave Condense Material IDs selected unless
a multi/sub-object material with 12 sub-materials
you have an unassigned sub-material that you
(six containing instances of one box’s material,
want to keep for future assignment.
and six containing instances of the other box’s
material). Use this option when it’s important to • Perform Edit menu > Hold before performing
maintain the original material ID assignments in the attach.
your geometry.
Note: If you want to make the instanced
sub-materials unique, select them in Track View,
Cut and Slice
and click the Make Unique button on the Track Select an editable mesh object. > Modify panel >
View toolbar. You can also make them unique Selection rollout > (Optional: Choose a sub-object level.)
> Edit Geometry rollout > Cut and Slice group box
one at a time with the Make Unique button (page
2–1442) in the Material Editor. The tools available in the Cut and Slice group
Do Not Modify Mat IDs or Material—Does not adjust let you subdivide edges and faces to create new
the number of sub-materials in the resulting vertices, edges, and faces. You can slice an editable
sub-object material. Note that, if the number of mesh object at any sub-object level; the Cut tool
material IDs in an object is greater than the number is available at every sub-object level except the
of sub-materials in its multi/sub-object material, Vertex sub-object level.
then the resulting face-material assignment might
be different after the attach. Procedures
To create a new face using Cut:
Condense Material IDs—Affects the Match Material
IDs To Material option. When this is on, duplicate 1. Convert the geometry to an editable mesh.
sub-materials or sub-materials that aren’t used in
the objects are removed from the multi/sub-object 2. On the Modify panel, choose the
material that results from the attach operation. object’s Edge (or Face, Polygon, or Element)
Default=on. sub-object level.
3. On the Selection rollout, turn on Ignore
Tips
Backfacing.
• In most cases, use the first option (Match
4. On the Edit Geometry rollout, in the Cut and
Material IDs to Material) while keeping
Slice group, click the Cut button.
Condense Material IDs selected. This
maintains the appearance of the objects, and 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
point where the edge was clicked with the
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. Continue clicking edges to cut. To start from a
different point, right-click, and then select the
new start point. To finish cutting, right-click
twice.
You can use 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. Position and rotate the Slice Plane gizmo to
where you want the first slice.
6. Click the Slice button. The object is sliced.
 Cut and Slice 1021

7. If you want, move the Slice Plane to a second Slice Plane—Creates a gizmo for a slice plane that
position and click the Slice button again. can be positioned and rotated where you want to
8. Click the Slice Plane button again to turn it off slice the edges. Also enables the Slice button.
and see the results. Slice—Performs the slice operation at the location
9. To better understand what has happened, turn of the slice plane. The Slice button is available only
off Edges Only in the Display panel. when the Slice Plane button is highlighted. 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.
Slice gizmo placed for first slice (top) and second slice You can also use the keyboard shortcut Alt+C to
(bottom)
toggle Cut mode.

Interface Important: When using the Cut tool to add new edges,
you should work in a non-Perspective viewport, such
Note: The keyboard shortcuts listed here require
as Front or User. If you use Cut while working in a
that the Keyboard Shortcut Override Toggle (page
Perspective viewport, you may find that the created
3–872) be on.
edges appear to jump or aren’t placed correctly. Using
an orthogonal viewport will allow the cuts to appear
Cut and Slice group
where you click.
Tip: When performing a Cut, turn on Selection
rollout > Ignore Backfacing to avoid accidentally
selecting edges on the back side of the mesh.
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

the new faces to create holes, or animate the new • Pass a sub-object selection to a modifier
faces as separate elements. higher in the stack. You can apply one or more
standard modifiers to the selection.
Refine Ends—When on, adjacent faces at the ends
of the cut are also divided by additional vertices, • Use the options on the Interface (page 1–1061)
so that the surface stays contiguous. When Refine to alter surface characteristics.
Ends is off, the surface will have a seam where Tip: You can exit most Editable Poly command
the new vertex meets the adjacent face. For this modes, such as Extrude, by right-clicking in the
reason, it’s a good idea to keep Refine Ends turned active viewport.
on, unless you are sure that you don’t want the
extra vertices created. Editable Poly Workflow
Refine Ends affects only Cut. It does not affect Sub-object-specific functions in the Editable Poly
Slice. 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.

Polymeshes Also, many commands are accompanied by a

Settings button, which gives you a second way to
Create or select an object. > Quad menu > Transform use the command:
quadrant > Convert To submenu > Convert to Editable
Poly • In Direct Manipulation mode, activated by
Create or select an object. > Modify panel > Right-click
clicking the command button, you apply the
the base object in the stack. > Choose Convert to: command by manipulating sub-objects directly
Editable Poly.
in the viewport. An example of this is Extrude.

Editable Poly (page 3–933) is an editable object Note: Some buttons, such as Tessellate, operate
with five sub-object levels: vertex, edge, border, on the mesh immediately, with no viewport
polygon, and element. Its usage is similar to that of manipulation required.
an editable mesh object (page 1–996), with controls • Interactive Manipulation mode is well suited
for manipulating an object as a polygon mesh at to experimentation. You activate this mode
various sub-object levels. Rather than triangular by clicking the command’s Settings button.
faces, however, the poly object’s faces are polygons This opens a non-modal settings dialog and
with any number of vertices. places you in preview mode, where you can set
Editable Poly gives you these options: parameters and see the results immediately in
the viewport. You can then accept the results by
• Transform or Shift +Clone the selection, as
clicking OK, or reject them by clicking Cancel.
with any object.
You can also use this mode to apply the same or
• Use the options supplied on the Edit rollouts different settings to several different sub-object
to modify the selection or object. Later topics selections in a row. Make the selection,
discuss these options for each of the polymesh optionally change the settings, click Apply, and
components. then repeat with a different selection.
 Editable Poly Surface 1023

Important: When you click Apply, the settings are of sides on a cylinder. Any modifiers you apply
“baked into” the selection, and then applied again to an object are merged into the mesh as well.
to the selection as a preview. If you then click OK to After conversion, the only entry left on the stack
exit, you will have applied the settings twice. If your is "Editable Poly."
intention is to apply them only once, simply click OK
the first time, or click Apply, and then Cancel. To maintain an object’s creation parameters:

Note: Changes implemented in Interactive • As noted in the previous procedure, if

Manipulation mode cannot be animated. you convert an existing object to editable
poly format, 3ds Max replaces the creation
See also parameters in the stack with "Editable Poly."
The creation parameters are no longer
Edit Poly Modifier (page 1–640)
accessible or animatable. If you want to
Poly Select Modifier (page 1–762) maintain the creation parameters, you can use
the Edit Poly modifier (page 1–640) or the Turn
Turn To Poly Modifier (page 1–874)
To Poly modifier (page 1–874).
Procedure
Interface
To produce an editable poly object:
Stack Display
First select an object, and then do one of the
For more information on the Stack Display, see
following:
Modifier Stack (page 3–760).
• If no modifiers are applied to the object, In
the Modify panel, right-click in the modifier Show End Result—Normally, if you apply a
stack display and choose Editable Poly from the modifier such as Symmetry (page 1–861) to an
Convert To list on the pop-up menu. editable poly object and then return to the Editable
Poly stack entry, you cannot see the effect of the
• Right-click the object and choose Convert To
modifier on the object’s geometry. But if you turn
Editable Poly from the Convert To submenu in
on Show End Result while in sub-object level,
the Transform quadrant of the quad menu.
you can see the final object as a white mesh, the
• Apply a modifier to a parametric object that original sub-object selection as a yellow mesh, and
turns the object into a poly object in the the original editable polymesh as an orange mesh.
stack display, and then collapse the stack. For
example, you can apply a Turn To Poly modifier Selection rollout
(page 1–874).
Lets you access the different sub-object levels. See
To collapse the stack, use the Collapse utility Selection Rollout (Polymesh) (page 1–1024).
(page 1–966) and set Output Type to Modifier
Stack Result, or right-click the object’s modifier Soft Selection rollout
stack and then choose Collapse All.
Soft Selection controls apply a smooth falloff
Converting an object to Editable Poly format between selected sub-objects and unselected
removes all parametric controls, including the ones. When Use Soft Selection is on, unselected
creation parameters. For example, you can no sub-objects near your selection are given partial
longer increase the number of segments in a box, selection values. These values are shown in the
slice a circular primitive, or change the number viewports by means of a color gradient on the
1024 Chapter 9: Surface Modeling

vertices, and optionally on the faces. They affect Subdivision Displacement rollout
most types of sub-object deformations, such as
Specifies surface approximation for subdividing
the Move, Rotate, and Scale functions and any
the polymesh. See Subdivision Displacement
deformation modifiers (such as Bend) applied to
Rollout (Polymesh) (page 1–1063).
the object. This provides a magnet-like effect with
a sphere of influence around the selection. Subdivision Presets group & Subdivision
For more information, see Soft Selection Rollout Method group
(page 1–963). The controls in these two group boxes specify
how the program applies the displacement map
Edit (sub-object) rollout when Subdivision Displacement is on. They are
The Edit (sub-object) rollout provides identical to the Surface Approximation controls
sub-object-specific functions for editing an (page 1–1239) used for NURBS surfaces.
editable poly object and its sub-objects. For
specific information, click any of the links below: Paint Deformation rollout

Edit Vertices rollout (page 1–1031) Paint Deformation lets you stroke elevated and
indented areas directly onto object surfaces. For
Edit Edges rollout (page 1–1039) more information, see Paint Deformation Rollout
Edit Borders rollout (page 1–1044) (page 1–1064).

Edit Polygons/Elements rollout (page 1–1048)

Selection Rollout (Polymesh)
Edit Geometry rollout
Create or select an editable poly object. > Modify panel >
The Edit Geometry rollout provides global Selection rollout
functions for editing an editable poly object and
its sub-objects. For specific information, click any The Selection rollout provides tools for accessing
of the links below: different sub-object levels and display settings and
Editable Poly (Object) (page 1–1029) for creating and modifying selections, and displays
information about selected entities.
Editable Poly (Vertex) (page 1–1034)
When you first access the Modify panel with
Editable Poly (Edge) (page 1–1043) an editable poly selected, you’re at the Object
Editable Poly (Border) (page 1–1047) level, with access to several functions available as
described in Editable Poly (Object) (page 1–1028).
Editable Poly (Polygon/Element) (page 1–1053) You can toggle the various sub-object levels, and
access relevant functions, by clicking the buttons
Subdivision Surface rollou at the top of the Selection rollout.
Controls on this rollout apply subdivision to the Clicking a button here is the same as choosing
polymesh in the style of the MeshSmooth modifier. a sub-object type in the modifier stack display.
See Subdivision Surface Rollout (Polymesh) (page Click the button again to turn it off and return to
1–1060). the Object selection level.
 Selection Rollout (Polymesh) 1025

Note: You can convert sub-object selections in and only edges of faces that did not have all
three different ways with the use of the Ctrl and vertices selected; that is, of faces around the
Shift keys: border of the vertex selection.
• To convert the current selection to a different
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 Vertex selection (left) converted to edge border (center)
and face border (right)
the Polygon button, all polygons that use that
vertex are selected.
• When you convert edges to faces, the
• To convert the selection to only sub-objects resulting selection of faces had some but
all of whose source components are originally not all of their edges selected, and were
selected, hold down both Ctrl and Shift next to faces with no edges selected. When
as you change the level. For example, if you you convert edges to vertices, the resulting
convert a vertex selection to a polygon selection vertices are on previously selected edges,
with Ctrl+Shift +click, the resultant selection but only at intersections where not all edges
includes only those polygons all of whose were selected.
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:
Edge selection (left) converted to face border (center)
• When you convert faces, the resulting and vertex border (right)
selection of edges or vertices all belong to
selected faces that bordered unselected faces. Conversion commands are also available from the
Only the edges or vertices that bordered quad menu.
unselected faces are selected.
Interface

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
1026 Chapter 9: Surface Modeling

Ignore Backfacing—When on, selection of

Vertex—Turns on Vertex sub-object level,
sub-objects affects only those facing you. When
which lets you select a vertex beneath the cursor;
off (the default), you can select any sub-object(s)
region selection selects vertices within the region.
under the mouse cursor, regardless of their
visibility or facing. If there are more than one
Edge—Turns on Edge sub-object level, which
sub-object under the cursor, repeated clicking
lets you select a polygon edge beneath the cursor; cycles through them. Likewise, with Ignore
region selection selects multiple edges within the Backfacing off, region selection includes all
region. sub-objects, regardless of the direction they face.
Note: The state of the Backface Cull setting in the
Border—Turns on Border sub-object level,
Display panel does not affect sub-object selection.
which lets you select a sequence of edges that
Thus, if Ignore Backfacing is off, you can still select
borders a hole in the mesh. Borders are always
sub-objects, even if you can’t see them.
composed of edges with faces on only one side of
them, and are always complete loops. For example, By Angle—When on and you select a polygon,
a box doesn’t have a border, but the teapot object the software also selects neighboring polygons
has a couple of them: on the lid, on the body, on based on the angle setting to the right of the check
the spout, and two on the handle. If you create box. This value determines the maximum angle
a cylinder, then delete one end, the row of edges between neighboring polygons to select. Available
around that end forms a border. only at the Polygon sub-object level.
When Border sub-object level is active, you can’t For example, if you click a side of a box and the
select edges that aren’t on borders. Clicking a angle value is less than 90.0, only that side is
single edge on a border selects that whole border. selected, because all sides are at 90-degree angles
to each other. But if the angle value is 90.0 or
You can cap a borders, either in Editable Poly or by
greater, all sides of the box are selected. This
applying the Cap Holes modifier (page 1–569). You
function speeds up selection of contiguous areas
can also connect borders between objects with the
made up of polygons that are at similar angles to
Connect compound object (page 1–328).
one another. You can select coplanar polygons
with a single click at any angle value.
Polygon—Turns on Polygon sub-object level,
which lets you select polygons beneath the cursor. Shrink—Reduces the sub-object selection area
Region selection selects multiple polygons within by deselecting the outermost sub-objects. If
the region. the selection size can no longer be reduced, the
remaining sub-objects are deselected.
Element—Turns on Element sub-object level,
Grow—Expands the selection area outward in all
which lets you select all contiguous polygons in an
available directions.
object. Region selection lets you select multiple
elements. For this function, a border is considered to be an
edge selection.
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.
 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.

Left: Original loop selection

Upper right: Ring Shift up moves selection outward (from
Ring selection adds to the selection all the edges that are
center of model).
parallel to the ones selected originally.
Lower right: Ring Shift down moves selection inward (toward
center of model).
Tip: After making a ring selection, you can use
Connect to subdivide the associated polygons into To expand the selection in the chosen direction,
new edge loops. Ctrl +click the up or down spinner button. To
shrink the selection in the chosen direction,
[Ring Shift]—The spinner next to Alt +click the up or down spinner button.
the Ring button lets you move the selection in
Loop—Expands the selection as far as possible, in
either direction to other edges in the same ring;
alignment with selected edges.
that is, to neighboring, parallel edges. If you have
a loop selected, you can use this function to select Loop applies only to edge and border selections,
a neighboring loop. Applies only to Edge and and propagates only through four-way junctions.
Border sub-object levels.

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 Editable Poly (Object)
sub-object levels.
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.

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 (Vertex) 1029

Interface Paint Deformation rollout

Edit Geometry 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

1 quadrant > 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).

See Edit Geometry Rollout (Polymesh) (page Procedures

1–1055) for detailed descriptions of these controls. To weld polygon vertices:
You can use either of two methods to combine
Subdivision Surface rollout
several vertices into one, also known as welding. If
See Interface (page 1–1061) for information on the the vertices are very close together, use the Weld
Subdivision Surface rollout settings. function. You can also use Weld to combine a
number of vertices to the average position of all
Subdivision Displacement rollout of them.
See Interface (page 1–1063) for information on the Alternatively, to combine two vertices that are far
Subdivision Displacement rollout settings. 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 use Weld: For this example, we’ll call the vertices A and
1. On the Selection rollout, turn on Ignore B, and the resulting vertex will be at vertex
Backfacing, if necessary. This ensures that B’s location.
you’re welding only vertices you can see. 3. Click the Target Weld button.
2. Select the vertices to weld. The button stays highlighted, to indicate that
3. If the vertices are very close together, simply you’re now in Target Weld mode.
click Weld. If that doesn’t work, proceed to 4. Click vertex A and then move the mouse.
the next step. A rubber-band line connects the vertex and
4. Click the Settings button to the right of the mouse cursor.
the Weld button. 5. Position the cursor over vertex B, whereupon
This opens the Weld Vertices dialog (page the cursor image changes from an arrow
1–1077). to a crosshairs. Reminder: Only vertices
connected to the first vertex by a single edge
5. Increase the Weld Threshold value gradually
qualify for target welding.
using the spinner (click and hold on the
up-down arrow buttons to the right of the 6. Click to weld the two.
numeric field and then drag upward). If you The resulting vertex remains at vertex B’s
need the value to change more quickly, hold position, and you exit Target Weld mode.
down the Ctrl key as you drag.
To select vertices by color:
When the threshold equals or exceeds
the distance between two or more of the 1. In the Vertex Properties rollout > Select Vertices
vertices, the weld occurs automatically, and By group, click the color swatch, and specify the
the resulting vertex moves to their average color of vertex you want in the Color Selector
location. (page 1–161).
6. If not all the vertices are welded, continue 2. Specify ranges in the RGB Range spinners.
increasing the Weld Threshold value until This lets you select vertices that are close to the
they are. specified color, but don’t match exactly.
7. Click OK to exit. 3. Click the Select button.

2. To use Target Weld: All vertices matching the color, or within the
RGB range, are selected.
1. On the Selection rollout, turn on Ignore
Backfacing, if necessary. This ensures that You can add to the selection by holding Ctrl as
you’re welding only vertices you can see. you click the Select button, and subtract from
the selection by holding the Alt key.
2. Find two vertices you want to weld, and
determine the ultimate location of the Tip: You can select all vertices of the same color
resulting vertex. The two vertices must be by first selecting the vertex you want matched,
contiguous; that is, they must be connected dragging a copy of the Edit Color swatch to the
by a single edge. 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 Remove—Deletes selected vertices and combines

Selection rollout the polygons that use them. The keyboard shortcut
is Backspace .
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
Removing one or more vertices deletes them and retriangulates
ones. When Use Soft Selection is on, unselected the mesh to keep the surface intact. If you use Delete instead,
sub-objects near your selection are given partial the polygons depending on those vertices are deleted as well,
selection values. These values are shown in the creating a hole in the mesh.
viewports by means of a color gradient on the Warning: Use of Remove can result in mesh shape
vertices, and optionally on the faces. They affect changes and non-planar polygons.
most types of sub-object deformations, such as the
Move, Rotate, and Scale functions, as well as any Break—Creates a new vertex for each polygon
deformation modifiers (such as Bend) applied to attached to selected vertices, allowing the polygon
the object. This provides a magnet-like effect with corners to be moved away from each other where
a sphere of influence around the selection. they were once joined at each original vertex. If a
vertex is isolated or used by only one polygon, it
For more information, see Soft Selection Rollout is unaffected.
(page 1–963).
Extrude—Lets you extrude vertices manually via
Edit Vertices rollout 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.
This rollout includes commands specific to vertex
• Drag vertically to specify the extent of the
editing.
extrusion, and horizontally to set the size of the
Note: To delete vertices, select them and press the base.
Delete key. This can create one or more holes
• With multiple vertices selected, dragging on
in the mesh. To delete vertices without creating
any one extrudes all selected vertices equally.
holes, use Remove (see below).
1032 Chapter 9: Surface Modeling

• You can drag other vertices in turn to extrude numerically, click the Chamfer Settings button and
them while the Extrude button is active. Click use the Chamfer Amount value.
Extrude again or right-click in the active
If you chamfer multiple selected vertices, all of
viewport to end the operation.
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.
Chamfer box showing extruded vertex For example, if you chamfer one corner of a box,
the single corner vertex is replaced by a triangular
Extrude Settings—Opens the Extrude Vertices
face whose vertices move along the three edges
dialog (page 1–1073), which lets you perform
that led to the corner. Outside faces are rearranged
extrusion via interactive manipulation.
and split to use these three new vertices, and a new
If you click this button after performing a manual triangle is created at the corner.
extrusion, the same extrusion is performed on the
Alternatively, you can create open space around
current selection as a preview and the dialog opens
the chamfered vertices; for details, see Chamfer
with Extrusion Height set to the amount of the last
Vertices dialog (page 1–1070).
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 dialog (page
1–1077). To weld vertices that are relatively far
apart, use Target Weld instead.

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
 Editable Poly (Vertex) 1033

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
mouse cursor. Position the cursor over another,
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.

Connect will not let the new edges cross. 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
Top: The original vertex selection Cut.
Center: Vertices chamfered
Remove Isolated Vertices—Deletes all vertices that
Bottom: Vertices chamfered with Open on
don’t belong to any polygons.
Chamfer Settings—Opens the Chamfer Vertices
Remove Unused Map Verts—Certain modeling
dialog (page 1–1070), which lets you chamfer
operations can leave unused (isolated) map
vertices via interactive manipulation and toggle
vertices that show up in the Unwrap UVW editor
the Open option.
(page 1–888), but cannot be used for mapping.
If you click this button after performing a manual You can use this button to automatically delete
chamfer, the same chamfer is performed on the these map vertices.
current selection as a preview and the dialog opens
Weight—Sets the weight of selected vertices. Used
with Chamfer Amount set to the amount of the
by the NURMS subdivision option and by the
last manual extrusion.
MeshSmooth modifier (page 1–722). Increasing a
Target Weld—Allows you to select a vertex and vertex weight tends to pull the smoothed result
weld it to a neighboring target vertex. Target Weld toward the vertex.
works only with pairs of contiguous vertices; that
is, vertices connected by a single edge.
1034 Chapter 9: Surface Modeling

Edit Geometry rollout 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
See Edit Geometry Rollout (Polymesh) (page the pipeline and can be used in conjunction with
1–1055) for detailed descriptions of these controls. vertex color to provide full RGBA data for export.

Select Vertices By group

Color/Illumination—Determines whether to
select vertices by vertex color values or vertex
illumination values.
Color Swatch—Displays the Color Selector (page
1–161), where you can specify a color to match.
Select—Depending on which radio button is
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 the Edit Geometry and Edit Edges rollouts; for
spinners. other controls, see Editable Poly (page 1–1022).
Range—Specifies a range for the color match. Note: Besides edges, each polygon has one or more
All three RGB values in the vertex color or internal diagonals (page 3–928) that determine
illumination must either match the color specified how the polygon is triangulated by the software.
by the color swatch in Select By Vertex Color, or Diagonals can’t be manipulated directly, but you
be within plus or minus the values in the Range can use the Turn and Edit Triangulation functions
spinners. Default=10. to change their positions.

Subdivision Surface rollout Procedure

See Interface (page 1–1061) for information on the Example: To use the Cut and Turn features:
Subdivision Surface rollout settings. 3ds Max provides a convenient function for
turning edges, which, along with the Cut feature,
Subdivision Displacement rollout streamlines the custom modeling process
See Interface (page 1–1063) for information on the considerably. Specifically, cutting a new polygon
Subdivision Displacement rollout settings. into existing geometry minimizes the number of
extra visible edges, typically adding none or one.
Paint Deformation rollout And after using cut, the new Turn function lets you
adjust any diagonal with a single click.
Paint Deformation lets you stroke elevated and
indented areas directly onto object surfaces. For 1. In the Perspective viewport, add a Plane object.
more information, see Paint Deformation Rollout This object is available from the Create panel >
(page 1–1064). 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
Editable Poly (Edge) the Perspective viewport, press F4 to activate
Edged Faces view mode.
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

the side of a polygon. An edge can’t be shared by
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. 2. Convert the Plane object to Editable Poly
format. If you’re not sure how, continue in
At the editable poly Edge sub-object level, you can this step; otherwise, skip to the next step after
select single and multiple edges and transform converting.
them using standard methods. This topic covers
1036 Chapter 9: Surface Modeling

To convert the object, right-click once in the you click the mouse button. Another connects
Perspective viewport to exit create mode. to a corner of the polygon; this connection
This leaves the object selected. Right-click changes depending on the mouse position.
again in the Perspective viewport, and then And, if the cursor isn’t over an edge or a vertex
at the bottom of the Transform quadrant, (it changes appearance if it is, depending on
choose Convert To > Convert To Editable Poly. which), a third line connects the mouse cursor
Alternatively, apply the Edit Poly modifier. 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 object is now an editable poly and the

command panel switches to the Modify panel.
3. Cut is available at the object level as well as at
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
The result is a rectangle across four polygons,
move the mouse around the viewport.
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
visible edge instead of seven, as in previous
versions. The edge connects corner of the
Two or three lines appear and move as you new polygon with a corner of the original one.
move the mouse. One line connects the mouse This new edge is not selected, but the ones you
cursor to the original click location, and created explicitly are.
indicates where the next cut will appear when
 Editable Poly (Edge) 1037

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
Turn tools in 3ds Max.

To create a shape from one or more edges:

Connecting the remaining corners are a
1. Select the edges you want to make into shapes.
number of diagonals (page 3–928), which serve
to fully triangulate the polygons. The new Turn 2. On the Edit Edges rollout, click Create Shape
function lets you manipulate each of these with From Selection.
a single click. 3. Make changes, as needed, on the Create Shape
7. Go to the Edge sub-object level, and then, on dialog that appears.
the Edit Edges rollout, click Turn. • Enter a curve name or keep the default.
All diagonals, including those created from the • Choose Smooth or Linear as the shape type.
Cut operations, appear as dashed lines.
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
8. Click a diagonal to turn it, and then click it Shape function runs into a branching ’Y’ in
again to return it to its original status. 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
In Turn mode, click a diagonal (dashed line) once to turn it. shapes into one.

Each diagonal has only two different available

positions, given no changes in any other
diagonals’ or edges’ positions.
1038 Chapter 9: Surface Modeling

Above: Original object Above: Selected edges removed from original object
Below: Object with edges selected 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. When Use Soft Selection is on, unselected
sub-objects near your selection are given partial
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 Remove—Deletes selected edges and combines the
a sphere of influence around the selection. polygons that use them.
For more information, see Soft Selection Rollout
(page 1–963).

Edit Edges rollout

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.

This rollout includes commands specific to edge

editing.
Left: The original edge selection
Note: To delete edges, select them and press the
Center: Standard Remove operation leaves extra vertices.
Delete key. This deletes all selected edges and
Right: Clean Remove with Ctrl +Remove deletes the extra
attached polygons, which can create one or more vertices.
holes in the mesh. To delete edges without creating
holes, use Remove. Edges with the same polygon on both sides usually
can’t be removed.
Insert Vertex—Lets you subdivide visible edges
manually. Warning: Use of Remove can result in mesh shape
changes and non-planar polygons.
After turning on Insert Vertex, click an edge to
add a vertex at that location. You can continue Split—Divides the mesh along the selected edges.
subdividing polygons as long as the command is This does nothing when applied to a single edge in
active. the middle of a mesh. The vertices at the end of
To stop inserting edges, right-click in the viewport, affected edges must be separable in order for this
or click Insert Vertex again to turn it off. option to work. For example, it would work on a
single edge that intersects an existing border, since
Note: In previous versions of the software, this
the border vertex can be split in two. Additionally,
command was called Divide. two adjacent edges could be split in the middle of a
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

Chamfer box showing extruded edge
creates new polygons that form the sides of the
extrusion, connecting the edge to the object. The Extrude Settings—Opens the Extrude Edges
extrusion has either three or four sides; three if the dialog (page 1–1073), which lets you perform
edge was on a border, or four if it was shared by extrusion via interactive manipulation.
two polygons. As you increase the length of the
extrusion, the base increases in size, to the extent If you click this button after performing a manual
of the vertices adjacent to the extruded edge’s extrusion, the same extrusion is performed on the
endpoints. current selection as a preview and the dialog opens
with Extrusion Height set to the amount of the last
Following are important aspects of edge extrusion: manual extrusion.
• When over a selected edge, the mouse cursor Weld—Combines selected edges that fall within the
changes to an Extrude cursor. threshold specified in Weld dialog (page 1–1077).
• Drag vertically to specify the extent of the
You can weld only edges that have one polygon
extrusion, and horizontally to set the size of the
attached; that is, edges on a border. Also, you
base.
cannot perform a weld operation that would result
• With multiple edges selected, dragging on any in illegal geometry (e.g., an edge shared by more
one extrudes all selected edges equally. than two polygons). For example, you cannot weld
• You can drag other edges in turn to extrude opposite edges on the border of a box that has a
them while the Extrude button is active. Click side removed.
Extrude again or right-click in the active Weld Settings—Opens the Weld dialog (page
viewport to end the operation. 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, than two polygons). For example, you cannot weld
creating a new polygon connecting new points on opposite edges on the border of a box that has a
all visible edges leading to the original vertex. The side removed.
new edges are exactly <chamfer amount> distance
Bridge—Connects border edges on an object with
from the original edge along each of these edges.
a polygon “bridge.” Bridge connects only border
New chamfer faces are created with the material ID
edges; that is, edges that have a polygon on only
of one of the neighboring faces (picked at random)
one side. This tool is particularly useful when
and a smoothing group which is an intersection of
creating edge loops or profiles.
all neighboring smoothing groups.
There are two ways to use Bridge in Direct
For example, if you chamfer one edge of a box,
Manipulation mode (that is, without opening the
each corner vertex is replaced by two vertices
Bridge Edges settings dialog):
moving along the visible edges that lead to the
corner. Outside faces are rearranged and split • Select two or more border edges on the object,
to use these new vertices, and a new polygon is and then click Bridge. This immediately creates
created at the corner. the bridge between the pair of selected borders
using the current Bridge settings, and then
Alternatively, you can create open space around deactivates the Bridge button.
the chamfered edges; for details, see Chamfer Edges
dialog (page 1–1070). • If no qualifying selection exists (that is, two or
more selected border edges), clicking Bridge
Chamfer Settings—Opens the Chamfer Edges activates the button and places you in Bridge
dialog (page 1–1070), which lets you chamfer edges mode. First click a border edge and then move
via interactive manipulation and toggle the Open the mouse; a rubber-band line connects the
option. mouse cursor to the clicked edge. Click a
second edge on a different border to bridge the
If you click this button after performing a manual two. This creates the bridge immediately using
chamfer, the same chamfer is performed on the the current Bridge settings; the Bridge button
current selection as a preview and the dialog opens remains active for connecting more edges.
with Chamfer Amount set to the amount of the To exit Bridge mode, right-click the active
last manual chamfer. viewport or click the Bridge button.
Target Weld—Allows you to select an edge and Note: Bridge always creates a straight-line
weld it to a target edge. When positioned over an connection between edges. To make the bridge
edge, the cursor changes to a + cursor. Click and connection follow a contour, apply modeling
move the mouse and a dashed line appears from tools as appropriate after creating the bridge. For
the vertex with an arrow cursor at the other end example, bridge two edges, and then use Bend
of the line. Position the cursor over another edge (page 1–560).
and when the + cursor appears again, click the
mouse. The first edge is moved to the position of Bridge Settings—Opens the Bridge Edges
the second, and the two are welded. dialog (page 1–1068), which lets you add
polygons between pairs of edges via interactive
You can weld only edges that have one polygon
manipulation.
attached; that is, edges on a border. Also, you
cannot perform a weld operation that would result Connect—Creates new edges between pairs of
in illegal geometry (e.g., an edge shared by more 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), which lets you preview
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
on the selected edge or edges. Used by the NURMS
subdivision option and by the MeshSmooth modifier
(page 1–722).
 Editable Poly (Edge) 1043

At low settings, the edge is relatively smooth. At But changing the position of a nearby diagonal
higher settings, the crease becomes increasingly can make a different alternate position available
visible. At 1.0, the highest setting, the edge to a diagonal.
becomes a hard crease.
For more information on how to use Turn with
Edit Tri[angulation]—Lets you modify how the enhanced Cut tool, see this procedure (page
polygons are subdivided into triangles by drawing 1–1035).
internal edges, or diagonals (page 3–928).
Edit Geometry rollout

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, See Edit Geometry Rollout (Polymesh) (page
right-click in the viewport or click the Turn button 1–1055) for detailed descriptions of these controls.
again.
Subdivision Surface rollout
Each diagonal has only two available positions
See Interface (page 1–1061) for information on the
at any given time, so clicking a diagonal twice in
Subdivision Surface rollout settings.
succession simply returns it to its original position.
1044 Chapter 9: Surface Modeling

Subdivision Displacement rollout This selects the entire closed loop of continuous
open edges that make up the border selection.
See Interface (page 1–1063) for information on the
Subdivision Displacement rollout settings. 2. Click Cap.

Paint Deformation rollout Interface

Paint Deformation lets you stroke elevated and Selection rollout
indented areas directly onto object surfaces. For See Editable Poly (page 1–1025) for information on
more information, see Paint Deformation Rollout the Selection rollout settings.
(page 1–1064).
Soft Selection rollout
Soft Selection controls apply a smooth falloff
Editable Poly (Border) between selected sub-objects and unselected
Select an editable poly object. > Modify panel > Selection ones. When Use Soft Selection is on, unselected
rollout > Border sub-objects near your selection are given partial
Select an editable poly object. > Modify panel > Modifier selection values. These values are shown in the
Stack display > Expand Editable Poly. > Border viewports by means of a color gradient on the
Select an editable poly object. > Quad menu > Tools
vertices, and optionally on the faces. They affect
1 quadrant > Border most types of sub-object deformations, such as the
Move, Rotate, and Scale functions, as well as any
A border is a linear section of a mesh that can deformation modifiers (such as Bend) applied to
generally be described as the edge of a hole. This is the object. This provides a magnet-like effect with
usually a sequence of edges with polygons on only a sphere of influence around the selection.
one side. For example, a box doesn’t have a border,
For more information, see Soft Selection Rollout
but the teapot object has several: on the lid, on the
(page 1–963).
body, on the spout, and two on the handle. If you
create a cylinder, and then delete an end polygon,
Edit Borders rollout
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 rollout includes commands specific to editing
borders.
 Editable Poly (Border) 1045

Note: To delete a border, select it and press the Insert Vertex—Lets you subdivide border edges
Delete key. This deletes the border and all manually.
attached polygons.
After turning on Insert Vertex, click a border edge
Extrude—Lets you extrude a border manually via to add a vertex at that location. You can continue
direct manipulation in the viewport. Click this subdividing border edges as long as the command
button, and then drag vertically on any border to is active.
extrude it.
To stop inserting vertices, right-click in the
Extruding a border moves it along a normal and viewport, or click Insert Vertex again to turn it off.
creates new polygons that form the sides of the Note: In previous versions of the software, this
extrusion, connecting the border to the object. command was called Divide.
The extrusion can form a varying number of
additional sides, depending on the geometry Chamfer—Click this button and then drag a border
near the border. As you increase the length of the in the active object. The border need not be
extrusion, the base increases in size, to the extent selected first.
of the vertices adjacent to the extruded border’s If you chamfer multiple selected borders, all of
endpoints. them are chamfered identically. If you drag an
Following are important aspects of border unselected border, any selected borders are first
extrusion: deselected.
• When over a selected border, the mouse cursor A border chamfer essentially “frames” the border
changes to an Extrude cursor. edges, creating a new set of edges paralleling the
• Drag vertically to specify the extent of the border edges, plus new diagonal edges at any
extrusion, and horizontally to set the size of the corners. These new edges are exactly <chamfer
base. amount> distance from the original edges. New
chamfer faces are created with the material ID of
• With multiple borders selected, dragging on one of the neighboring faces (picked at random)
any one extrudes all selected borders equally. and a smoothing group which is an intersection of
• You can drag other borders in turn to extrude all neighboring smoothing groups.
them while the Extrude button is active. Click
Alternatively, you can create open space around
Extrude again or right-click in the active
the chamfered borders, essentially cutting away
viewport to end the operation.
at the open edges; for details, see Chamfer Edges
Extrude Settings—Opens the Extrude Edges dialog (page 1–1070).
dialog (page 1–1073), which lets you perform
Chamfer Settings—Opens the Chamfer Edges
extrusion via interactive manipulation.
dialog (page 1–1070), which lets you chamfer
If you click this button after performing a manual borders via interactive manipulation and toggle
extrusion, the same extrusion is performed on the the Open option.
current selection as a preview and the dialog opens
If you click this button after performing a manual
with Extrusion Height set to the amount of the last
chamfer, the same chamfer is performed on the
manual extrusion.
current selection as a preview and the dialog opens
1046 Chapter 9: Surface Modeling

with Chamfer Amount set to the amount of the Connect will not let the new edges cross. Thus, for
last manual chamfer. example, if you select all four edges of a four-sided
polygon and then click Connect, only neighboring
Cap—Caps an entire border loop with a single
edges are connected, resulting in a diamond
polygon.
pattern.
Select the border, and then click Cap.
Connect Settings—Lets you preview the
Bridge—Connects two borders on an object with a Connect and specify the number of edge segments
polygon “bridge.” There are two ways to use Bridge created by the operation. To increase the mesh
in Direct Manipulation mode (that is, without resolution around the new edge, increase the
opening the Bridge Settings dialog): Connect Edge Segments setting.
• Select an even number of borders on the object,
Create Shape From Selection—After selecting one
and then click Bridge. This immediately creates
or more borders, click this button to create a spline
the bridge between each pair of selected borders
shape from the selected edges. A Create Shape
using the current Bridge settings, and then
dialog appears, letting you name the shape and set
deactivates the Bridge button.
it to Smooth or Linear. The new shape’s pivot is
• If no qualifying selection exists (that is, two placed at the center of the poly object.
or more selected borders), clicking Bridge
Weight—Sets the weight of selected borders. Used
activates the button and places you in Bridge
mode. First click a border edge and then move by the NURMS subdivision option.
the mouse; a rubber-band line connects the Increasing an edge weight tends to push the
mouse cursor to the clicked edge. Click a smoothed result away.
second edge on a different border to bridge the
Crease—Specifies how much creasing is performed
two. This creates the bridge immediately using
on the selected border or borders. Used by the
the current Bridge settings; the Bridge button
remains active for connecting more pairs of NURMS subdivision option.
borders. To exit Bridge mode, right-click the At low settings, the border is relatively smooth. At
active viewport or click the Bridge button. higher settings, the crease becomes increasingly
Note: Bridge always creates a straight-line visible. At 1.0, the highest setting, the border is
connection between border pairs. To make not smoothed at all.
the bridge connection follow a contour, apply Edit Tri[angulation]—Lets you modify how
modeling tools as appropriate after creating the polygons are subdivided into triangles by drawing
bridge. For example, bridge two borders, and then internal edges, or diagonals (page 3–928).
use Bend (page 1–560).
To edit triangulation manually, turn on this
Bridge Settings—Opens the Bridge dialog (page button. The hidden edges appear. Click a polygon
1–1067), which lets you connect pairs of borders vertex. A rubber-band line appears, attached to
via interactive manipulation. the cursor. Click a non-adjacent vertex to create a
new triangulation for the polygon.
Connect—Creates new edges between pairs of
selected border edges. The edges are connected Tip: For easier editing of triangulation, use the
from their midpoints. Turn command instead (see following).

You can connect only edges on the same polygon.

 Editable Poly (Border) 1047

Turn—Lets you modify how polygons are Edit Geometry rollout

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).

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 Soft Selection rollout

Paint Deformation lets you stroke elevated and Soft Selection controls apply a smooth falloff
indented areas directly onto object surfaces. For between selected sub-objects and unselected
more information, see Paint Deformation Rollout ones. When Use Soft Selection is on, unselected
(page 1–1064). sub-objects near your selection are given partial
selection values. These values are shown in the
viewports by means of a color gradient on the
Editable Poly (Polygon/Element) 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
Select an editable poly object. > Modify panel > Selection deformation modifiers (such as Bend) applied to
rollout > Polygon or Element the object. This provides a magnet-like effect with
Select an editable poly object. > Modify panel > Modifier
a sphere of influence around the selection.
Stack display > Expand Editable Poly. > Polygon/Element
For more information, see Soft Selection Rollout
Select an editable poly object. > Quad menu > Tools 1 (page 1–963).
quadrant > Polygon or Element

Edit Polygons/Elements rollout

A polygon 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
At the element sub-object level, this rollout
user interface give you a choice of editing methods. includes commands that are common to both
See Editable Poly Workflow (page 1–1022) for more polygons and elements. At the polygon level, it
information. contains those as well as a number more that are
unique to polygons. The commands available at
Interface both levels are Insert Vertex, Edit Triangulation,
Selection rollout Retriangulate, and Flip.
See Editable Poly > Selection rollout (page 1–1025) Note: To delete polygons or elements, select them
for information on the Selection rollout settings. 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.
Chamfer box showing extruded polygon
Note: In previous versions of the software, this
command was called Divide. Extrude Settings—Opens the Extrude Faces
Extrude—Lets you perform manual extrusion via dialog (page 1–1072), which lets you perform
direct manipulation in the viewport. Click this extrusion via interactive manipulation.
button, and then drag vertically on any polygon If you click this button after performing an
to extrude it. extrusion, the same extrusion is performed on the
Extruding polygons moves them along a normal current selection as a preview and the dialog opens
and creates new polygons that form the sides of the with Extrusion Height set to the amount of the last
extrusion, connecting the selection to the object. manual extrusion.

Following are important aspects of polygon Outline—Lets you increase or decrease the
extrusion: outside edge of each contiguous group of selected
polygons.
• 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 Outline is often used after an extrusion or bevel to
viewport to end the operation. adjust the size of the extruded faces. It doesn’t scale
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 • When over a selected polygon, the mouse
Outline Selected Faces dialog, which lets you cursor changes to a Bevel cursor.
perform outlining by a numeric setting. • 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), which lets you perform
beveling via interactive manipulation.
If you click this button after performing a bevel,
the same bevel is performed on the current
selection as a preview and the dialog opens with
the same settings used for the previous bevel.
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.
Extruded polygons (top), outline expanded (middle), outline • With multiple polygons selected, dragging on
reduced (bottom)
any one insets all selected polygons equally.
Note that size of inner polygons doesn’t change.
• You can drag other polygons in turn to inset
Bevel—Lets you perform manual beveling via them while the Inset button is active. Click
direct manipulation in the viewport. Click this Inset again or right-click to end the operation.
button, and then drag vertically on any polygon
to extrude it. Release the mouse button and then
move the mouse vertically to outline the extrusion.
Click to finish.
 Editable Poly (Polygon/Element) 1051

Note: Bridge always creates a straight-line

connection between polygon pairs. To make
the bridge connection follow a contour, apply
modeling tools as appropriate after 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
Inset works on a selection of one or more polygons. As with
Outline, only the outer edges are affected.
selections via interactive manipulation.
Flip—Reverses the directions of the normals of
Inset Settings—Opens the Inset Selected Faces
selected polygons, hence their facing.
dialog (page 1–1074), which lets you inset polygons
via interactive manipulation. Hinge From Edge—Lets you perform a manual
hinge operation via direct manipulation in the
If you click this button after performing a manual viewport. Make a polygon selection, click this
inset, the same inset is performed on the current button, and then drag vertically on any edge to
selection as a preview and the dialog opens with hinge the selection. The mouse cursor changes to
Inset Amount set to the amount of the last manual a cross when over an edge.
inset.
Bridge—Connects two polygons or polygon
selections on an object with a polygon “bridge.”
There are two ways to use Bridge in Direct
Manipulation 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 The hinge edge needn’t be part of the selection. It can be any
settings, and then deactivates the Bridge button. edge of the mesh. Also, the selection needn’t be contiguous.

• If no qualifying selection exists (that is, two Hinging polygons rotates them about an edge
or more discrete polygon selections), clicking and creates new polygons that form the sides of
Bridge activates the button and places you in the hinge, connecting the selection to the object.
Bridge mode. First click a polygon and move It’s essentially an extrusion with rotation, with
the mouse; a rubber-band line connects the the exception that, if the hinge edge belongs to a
mouse cursor to the clicked polygon. Click a selected polygon, that side is not extruded. The
second polygon to bridge the two. This creates manual version of Hinge From Edge works only
the bridge immediately using the current Bridge with an existing polygon selection.
settings; the Bridge button remains active for
Tip: Turn on Ignore Backfacing to avoid
connecting more pairs of polygons. To exit
inadvertently hinging about a backfacing edge.
Bridge mode, right-click the active viewport or
click the Bridge button.
1052 Chapter 9: Surface Modeling

Hinge Settings—Opens the Hinge From Edge

dialog (page 1–1073), which lets you hinge
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.

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
You can extrude a single face (1) or a selection of contiguous the cursor. Click a non-adjacent vertex to create a
(2) or non-contiguous faces (3). Extrusion 2 uses Taper Curve new triangulation for the polygon.
and Twist. Extrusion 3 uses Taper Amount; each extrusion has
a different curve rotation. Retriangulate—Lets the software automatically do
its best triangulation on the polygon or polygons
Make a selection, click this button, and the select a
currently selected.
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), which lets you extrude along splines via
interactive manipulation.
Edit Triangulation—Lets you modify how polygons Retriangulate attempts to optimize how selected polygons are
are subdivided into triangles by drawing internal subdivided into triangles.
edges. 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 Polygon Properties rollout
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

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—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.
See Edit Geometry Rollout (Polymesh) (page
1–1055) for detailed descriptions of these controls. [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 if the angle between their normals is less than the
the list. The sub-objects that are assigned that threshold angle, set by the spinner to the right of
material are selected. If an object does not have this button.
a Multi/Sub-Object material assigned, the name
Threshold—This spinner (to the right of Auto
list is unavailable. Likewise, if multiple objects
Smooth) lets you specify the maximum angle
are selected that have an Edit Patch, Edit Spline,
between the normals of adjacent polygons that
or Edit Mesh modifier applied, the name list is
determines whether those polygons will be put in
inactive.
the same smoothing group.
Note: Sub-material names are those specified in the
Name column on the material’s Multi/Sub-Object Edit Vertex Colors group
Basic Parameters rollout; these are not created by
Use these controls to assign the color, illumination
default, and must be specified separately from any
color (shading), and alpha (transparency) values
material names.
of vertices on selected polygons or elements.
Clear Selection—When on, choosing a new ID or
Color—Click the color swatch to change the color
material name deselects any previously selected
of vertices on selected polygons or elements.
sub-objects. When off, selections are cumulative,
so new ID or sub-material name selections add to Illumination—Click the color swatch to change the
the existing selection set of patches or elements. illumination color of vertices on selected polygons
Default=on. or elements. This lets you change the illumination
without changing the vertex’s color.
Smoothing Groups group
Alpha—Lets you assign an alpha (transparency)
Use these controls to assign selected polygons to value to vertices on selected polygons or elements.
different smoothing groups (page 3–1013), and to
The spinner value is a percentage; zero is
select polygons by smoothing group.
completely transparent and 100 is completely
To assign polygons to one or more smoothing opaque.
groups, select the polygons, and then click the
number(s) of the smoothing group(s) to assign Subdivision Surface rollout
them to.
See Interface (page 1–1061) for information on the
Select By SG (Smoothing Group)—Displays a dialog Subdivision Surface rollout settings.
that shows the current smoothing groups. Select
a group by clicking the corresponding numbered Subdivision Displacement rollout
button and clicking OK. If Clear Selection is See Interface (page 1–1063) for information on the
on, any previously selected polygons are first Subdivision Displacement rollout settings.
deselected. If Clear Selection is off, the new
selection is added to any previous selection set. Paint Deformation rollout
Clear All—Removes any smoothing group Paint Deformation lets you stroke elevated and
assignments from selected polygons. indented areas directly onto object surfaces. For
Auto Smooth—Sets the smoothing groups based
more information, see Paint Deformation Rollout
on the angle between polygons. Any two adjacent (page 1–1064).
polygons will be put in the same smoothing group
 Edit Geometry Rollout (Polymesh) 1055

For example, if you extrude a polygon, and want to

Edit Geometry Rollout (Polymesh) apply the same extrusion to several others, select
the others, and then click Repeat Last.
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
You can apply a spline extrusion of a single polygon (left)
levels, except as noted in the descriptions below.
repeatedly to other single polygons (1) or to multiple polygon
selections, contiguous (2) or not (3).
Interface
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.
Repeat Last—Repeats the most recently used
The Constraints setting persists at all sub-object
command.
levels.
1056 Chapter 9: Surface Modeling

Preserve UVs—When on, you can edit sub-objects vertices in succession to define the shape of the
without affecting the object’s UV mapping. You new polygon. (The cursor changes to a cross
can choose any of an object’s mapping channels when it is over a vertex that can legally be part
to preserve or not; see Preserve UVs Settings, of the polygon.) To finish polygon creation,
following. Default=off. double-click the last vertex. You can also finish
creating the polygon by clicking any vertex
Without Preserve UVs, there is always a direct
of the new polygon a second time. You can
correspondence between an object’s geometry
also create new polygons at the Polygon and
and its UV mapping. For example, if you map an
Element sub-object levels.
object and then move vertices, the texture moves
along with the sub-objects, whether you want it You can add vertices in this mode by
to or not. If you turn on Preserve UVs, you can Shift +clicking in an empty space; these
perform minor editing tasks without changing vertices are incorporated into the polygon
the mapping. you’re creating.
Tip: For best results with Preserve UVs at the You can start creating polygons in any viewport,
vertex level, use it for limited vertex editing. For but all subsequent clicks must take place in the
example, you’ll usually have no trouble moving same viewport.
a vertex within edge or face constraints. Also, Tip: For best results, click vertices in
it’s better to perform one big move than several counterclockwise (preferred) or clockwise
smaller moves, as multiple small moves can begin order. If you use clockwise order, the new
to distort the mapping. If, however, you need polygon will face away from you.
to perform extensive geometry editing while
• Vertex level—Lets you add vertices to a single
preserving mapping, use the Channel Info utility
selected poly object. After selecting the object
(page 2–1738) instead.
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
Original object (left); Scaled vertices with Preserve UVs off
can create vertices on object faces.
(center); Scaled vertices with Preserve UVs on (right)
• Edge and Border levels—Lets you create an edge
Preserve UVs Settings—Opens the Preserve Map between a pair of non-adjacent vertices on the
Channels dialog (page 1–1075), which lets you same polygon. Click Create, click a vertex,
specify which vertex color channels and/or texture and then move the mouse. A rubber-band line
channels (map channels) to preserve. By default, extends from the vertex to the mouse cursor.
all vertex color channels are off (not preserved), Click a second, non-adjacent vertex on the
and all texture channels are on (preserved). same polygon to connect them with an edge.
Create—Lets you create new geometry. How this Repeat, or, to exit, right-click in the viewport
button behaves depends on which level is active. or click Create again.

• Object, Polygon, and Element levels—Lets you Edges you create separate the polygons.
create polygons from isolated vertices and For example, by creating an edge inside a
border vertices. All vertices in the object are quadrilateral polygon, you turn it into two
highlighted. Click three or more existing triangles.
 Edit Geometry Rollout (Polymesh) 1057

Collapse (Vertex, Edge, Border, and Polygon levels

only)—Collapses groups of contiguous selected
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. Shaded view of model (upper left); wireframe view of model
(upper right); model with objects attached (lower left); and
• Likewise, if the object you’re attaching to
subsequent multi/sub-object material (lower right)
doesn’t have a material, it inherits the material
of the object being attached. Detach (sub-object levels only)—Detaches the

• If both objects have materials, the resulting selected sub–objects and the polygons attached to
new material is a multi/sub-object material them as a separate object or element. The Detach
(page 2–1594) that includes the input materials. As Clone option copies the sub-objects rather than
A dialog appears offering three methods of moving them.
combining the objects’ materials and material You’re prompted to enter a name for the new
IDs. For more information, see Attach Options object. Detached faces leave a hole in the original
Dialog (page 1–1018). object when you move them to a new position,
Attach remains active in all sub-object levels, unless you use the Detach As Clone option.
but always applies to objects.
Cut and Slice group
Attach List—Lets you attach other objects in These knife-like tools let you subdivide the poly
the scene to the selected mesh. Click to display a mesh along a plane (Slice) or in a specific area
Select Objects dialog (page 1–78) where you choose (Cut). Also see Full Interactivity.
multiple objects to attach.
Slice Plane (sub-object levels only)—Creates a
gizmo for a slice plane that you can position and
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 QuickSlice on a polygon selection at the Poly
operations create double sets of vertices at the sub-object level.
points where the edges are divided. This lets you Note: At the Polygon or Element sub-object level,
easily delete the new polygons to create holes, or QuickSlice affects only selected polygons. To
animate the new polygons as separate elements. slice the entire object, use QuickSlice at any other
Slice (sub-object levels only)—Performs the slice sub-object level, or at the object level.
operation at the location of the slice plane. Cut—Lets you create edges from one polygon to
Available only when Slice Plane is on. This tool another or within polygons. Click at the start
slices the poly just like the “Operate On: Polygons” point, move the mouse and click again, and
mode of the Slice modifier (page 1–825). continue moving and clicking to create new
Reset Plane (sub-object levels only)—Returns the connected edges. Right-click once to exit the
Slice plane to its default position and orientation. current cut, whereupon you can start a new one,
Available only when Slice Plane is on. or right-click again to exit Cut mode.

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.

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.
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: You can use Cut with Turn for enhanced
productivity. For more information, see this
Note: At the Object level, QuickSlice affects the procedure (page 1–1035).
entire object. To slice only specific polygons, use MSmooth—Smoothes the object using the current
settings. This command uses subdivision
 Edit Geometry Rollout (Polymesh) 1059

functionality similar to that of the MeshSmooth is active, this function affects only selected vertices
modifier (page 1–722) with NURMS Subdivision, or those belonging to selected sub-objects. In the
but unlike NURMS Subdivision, it applies the case of orthographic viewports, using View Align
smoothing instantly to the selected area of the has the same effect as aligning to the construction
control mesh. grid when the home grid is active. When aligning
to a perspective viewport (including camera and
MSmooth Settings—Opens the MeshSmooth
light views), the vertices are reoriented to be
Selection dialog (page 1–1074), which lets you
aligned to a plane that is parallel to the camera’s
specify how smoothing is applied.
viewing plane. This plane is perpendicular to
Tessellate—Subdivides all polygons in the object the view direction that is closest to the vertices’
based on the Tessellation settings (page 1–1077). average position.
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), which lets you
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
plane used is the one to which the button axis is Above: Selected polygons in Perspective view
perpendicular; so, for example, clicking the X Below: Same polygons aligned to Front view
button aligns the object with the local YZ axis.
Grid Align—Aligns all vertices in the selected object
At the Object level, makes all vertices in the object to the plane of the current view. If a sub-object
planar. mode is active, function aligns only selected
sub-objects. This function aligns the selected
View Align—Aligns all vertices in the object to the
vertices to the current construction plane. The
plane of the active viewport. If a sub-object mode
1060 Chapter 9: Surface Modeling

current plane is specified by the active viewport Paste—Pastes the named selection from the copy
in the case of the home grid. When using a grid buffer.
object, the current plane is the active grid object.
Relax—Applies the Relax function to the current
selection, using the Relax dialog settings (see Delete Isolated Vertices (Edge, Border, Polygon, and
following). Relax normalizes mesh spacing by Element levels only)—When on, deletes isolated
moving each vertex toward the average location of vertices when you delete a selection of contiguous
its neighbors. It works the same way as the Relax sub-objects. When off, deleting sub-objects leaves
modifier (page 1–779). all vertices intact. Default=on.
Note: At the object level, Relax applies to the entire Full Interactivity—Toggles the level of feedback for
object. At any sub-object level, Relax applies only the QuickSlice and Cut tools, as well as all settings
to the current selection. dialogs.
Relax Settings—Opens the Relax dialog (page When on (the default), the final result is always
1–1076), which lets you specify how the Relax visible as you use the mouse to manipulate the
function is applied. tool or change a numeric setting. With Cut and
QuickSlice, when Full Interactivity is turned off,
Hide Selected (Vertex, Polygon, and Element levels
only the rubber-band line is visible until you click.
only)—Hides any selected sub-objectgs.
Similarly, with numeric settings in dialogs, the
Unhide All (Vertex, Polygon, and Element levels final result is visible only when you release the
only)—Restores any hidden sub-objects to mouse button after changing the setting.
visibility.
The state of Full Interactivity doesn’t affect
Hide Unselected (Vertex, Polygon, and Element changing a numeric setting from the keyboard.
levels only)—Hides any unselected sub-objects. Whether it’s on or off, the setting takes effect only
when you exit the field by pressing Tab or Enter ,
Named Selections (sub-object levels only) or by clicking a different control in the dialog.
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 Subdivision Surface Rollout
different object, go to the same sub-object level, (Polymesh)
and then paste the set. Create or select an editable poly object. > Modify panel >
Note: This function uses sub-object IDs, so if the Subdivision Surface rollout

target object’s geometry differs from that of the

source object, the pasted selection will probably Applies subdivision to the object in the style of
comprise a different set of sub-objects. MeshSmooth (page 1–722), so you can work on a
lower-resolution "cage" mesh and simultaneously
For more information, see Named Selection Sets see a smoother, subdivided result. This rollout is
(page 1–67). available at all sub-object levels, as well as at the
Copy—Opens a dialog that lets you specify a object level, and always affects the entire object.
named selection set to place into the copy buffer.
 Subdivision Surface Rollout (Polymesh) 1061

Interface a less cluttered display. When off, the software

displays all faces added by NURMS Subdivision;
thus, higher Iterations settings (see Display 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
all polygons in the object. This is not, 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.

Smooth Result—Applies the same smoothing Show Cage—Toggles the display of a two-color
group to all polygons. wireframe that shows the editable poly object
before modification or subdivision. The cage
Use NURMS Subdivision—Applies smoothing colors are shown as swatches to the right of the
via the NURMS method. See NURMS. The check box. The first color represents unselected
difference between NURMS in Editable Poly and sub-objects, and the second color represents
MeshSmooth is that the latter gives you access to selected sub-objects. Change a color by clicking
control vertices, but the former does not. its swatch.
You control the degree of smoothing with the
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
1062 Chapter 9: Surface Modeling

You can press 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
they lie on a plane.
When the Smoothness check box in the Render
group (see below) is off, this setting controls
smoothness both in the viewports and at render
time. When the check box is on, this setting
controls smoothness only in the viewports.
The cage displays the original structure of the edited object.
Render group
Typically this feature is used in conjunction with
the NURMS Subdivision feature, or with the Applies a different number of smoothing iterations
MeshSmooth modifier (page 1–722), because it lets and/or a different Smoothness value to the object
you easily toggle visibility of the unsmoothed base at render time.
object while simultaneously viewing the smoothed Tip: Use a low number of iterations and/or a lower
result, but it works with any modifier. When used Sharpness value for modeling, and higher values
with a modifier, turn on Show End Result to make for rendering. This lets you work quickly with
Show Cage available. a low-resolution object in the viewports, while
Tip: Show Cage is particularly helpful when used
producing a smoother object for rendering.
with the Symmetry modifier (page 1–861). Iterations—Lets you choose a different number of
smoothing iterations to be applied to the object at
Display group render time. Turn on Iterations, and then use the
Iterations—Sets the number of iterations used to spinner to its right to set the number of iterations.
smooth the poly object. Each iteration generates Smoothness—Lets you choose a different
all polygons using the vertices created from the Smoothness value to be applied to the object at
previous iteration. Range=0 to 10. render time. Turn on Smoothness, and then use
When the Iterations check box in the Render group the spinner to its right to set the smoothness value.
(see below) is off, this setting controls iterations
both in the viewports and at render time. When Separate By group
the check box is on, this setting controls iterations Smoothing Groups—Prevents the creation of new
only in the viewports. polygons at edges between faces that don’t share at
Tip: Use caution when increasing the number of least one smoothing group.
iterations. The number of vertices and polygons Materials—Prevents the creation of new polygons
in an object (and thus the calculation time) can for edges between faces that do not share Material
increase as much as four times for each iteration. IDs.
Applying four iterations to even a moderately
complex object can take a long time to calculate.
 Subdivision Displacement Rollout (Polymesh) 1063

Update Options group the subdivided mesh, but would not affect an
object that uses subdivision displacement only.
Sets manual or render-time update options, for
situations where the complexity of the smoothed
object is too high for automatic updates. Note that
Interface
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
the object only at render time.
Manually—Turns on manual updating. When
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
match the current MeshSmooth settings. Works
only when you choose When Rendering or
Manually.

Subdivision Displacement Rollout

(Polymesh)
Create or select an editable poly object. > Modify panel Subdivision Displacement—When on, polygons are
> Subdivision Displacement rollout subdivided to accurately displace the poly object,
using the method and settings you specify in the
Specifies surface approximation settings for Subdivision Presets and Subdivision Method
subdividing the editable poly. These controls work group boxes. When off, the poly is displaced by
like the surface approximation settings for NURBS moving existing vertices, the way the Displace
(page 1–1078) surfaces. They are used when you modifier (page 1–629) does. Default=off.
apply a displacement map (page 2–1511) to the
editable poly. Split Mesh—Affects the seams of displaced poly
objects; also affects texture mapping. When on,
Note: These settings differ from the Subdivision
the poly object is split into individual polygons
Surface settings in that, while the latter are applied
before it is displaced; this helps preserve texture
at the same modifier-stack level as the mesh,
mapping. When off, the poly is not split and an
subdivision displacement is always applied at
internal method is used to assign texture mapping.
the top of the stack, when the mesh is used for
Default=on.
rendering. Thus, a Symmetry modifier applied to
an object using surface subdivision would affect 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 Tip: You can streamline the painting process by
the better technique, but it can cause problems for using the Brush Presets tools (page 3–690).
objects with clearly distinct faces, such as boxes,
or even spheres. A box’s sides might separate as Procedure
they displace outward, leaving gaps. And a sphere To paint deformation onto a mesh object:
might split along its longitudinal edge (found in
1. Apply an Edit Poly modifier (page 1–640) to
the rear for spheres created in the Top view) unless
an object, or convert the object to Editable
you turn off Split Mesh. However, texture mapping
Poly (page 1–1022) format. Paint Deformation
works unpredictably when Split Mesh is off, so
uses existing geometry, so the object should
you might need to add a Displace Mesh modifier
have enough mesh resolution for the desired
(page 1–514) and make a snapshot (page 1–453)
deformation.
of the poly. You would then apply a UVW Map
modifier (page 1–922) and then reassign mapping 2. Do either of the following:
coordinates to the displaced snapshot poly. • To deform anywhere on the object, remain
at the object level, or work at a sub-object
Subdivision Presets group & Subdivision level with no sub-objects selected.
Method group
• To deform only specific areas of an object,
The controls in these two group boxes specify go to a sub-object level and then select the
how the program applies the displacement map sub-objects in the area to deform.
when Subdivision Displacement is on. They are
identical to the Surface Approximation controls 3. On the Paint Deformation rollout, click
(page 1–1239) used for NURBS surfaces. Push/Pull.
4. Set Push/Pull value to a negative value to push
into the object surface, or to a positive value
Paint Deformation Rollout to pull the surface outward. The higher the
absolute value, the greater the effect.
Edit/Editable Poly object > Paint Deformation rollout
5. Set Brush Size and Brush Strength.
Paint Deformation lets you push, pull, or 6. Position the mouse cursor over the surface to
otherwise affect vertices by dragging the mouse be deformed.
cursor over the object surface. At the object
As you move the mouse, the “brush” reorients
level, Paint Deformation affects all vertices in the
dynamically to show the normal direction of
selected object. At sub-object levels, it affects only
the portion of the mesh currently under the
selected vertices (or vertices that belong to selected
cursor. You can use the normal direction of
sub-objects), and recognizes soft selection.
deformed surfaces as the push/pull direction by
By default, deformation occurs in the normal (page choosing Deformed Normals.
3–980) direction of each vertex. 3ds Max continues 7. Press the mouse button and drag to deform the
to use a vertex’s original normal for the direction surface. If you paint in the same spot repeatedly
of deformation, but you can opt to use the altered without lifting the mouse button, the effect
normal direction for a more dynamic modeling is cumulative up to the maximum Push/Pull
process, or even deform along a specific axis. Value setting.
Note: Paint Deformation cannot be animated.
 Paint Deformation Rollout 1065

Interface 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, or to pull together vertices that are too
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
deformation in Push/Pull or Relax mode.
Paint Deformation has three modes of operation:
Push/Pull Direction group
Push/Pull, Relax, and Revert. Only one of these
modes can be active at a time. The remaining This setting lets you specify whether pushing or
settings control the effect of the active deformation pulling vertices occurs with respect to surface
mode. normals, original or deformed, or along a specific
axis. Default=Original Normals.
For any mode, choose the mode, change settings
as necessary, and then drag the cursor over the Painting deformations with Original Normals
object to paint the deformation. typically moves vertices perpendicular to the
original surface; using Deformed Normals
To paint deformation anywhere on the object, tends to move vertices outward after their initial
remain at the object level, or work at a sub-object deformation, resulting in a “puffy” effect.
level with no sub-objects selected. To deform only
specific areas of an object, go to a sub-object level Original Normals—When chosen, pushing or
and select the sub-objects in the area to deform. pulling a vertex moves it in the direction of its
normal before deformation. Repeated applications
Push/Pull—Moves vertices into the object surface
of Paint Deformation always move each vertex in
(push) or out of the surface (pull). The direction the same direction it moved originally.
and extent of pushing or pulling is determined by
the Push/Pull Value setting. Deformed Normals—When chosen, pushing or
pulling a vertex moves it in the current direction of
Tip: To reverse the Push/Pull direction while
the normal; that is, after deformation.
painting, press and hold Alt .
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 geometry. After using Commit, you can no longer
1–443). apply Revert to changes up to that point.
Push/Pull Value—Determines the direction and Cancel—Eliminates all changes since the initial
maximum extent of a single application of the application of Paint Deformation or the most
push/pull operation. Positive values “pull” vertices recent Commit operation.
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, dragging once or more over the same area)
without lifting the mouse button. Editable Poly Settings
Tip: You can use Alt to switch between pushing Dialogs
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 Bevel Polygons Dialog
of -8.5. Select an Edit Poly or editable poly object. > Modify panel
> Polygon sub-object level > Edit Polygons rollout > Bevel
Brush Size—Sets the radius of the circular brush. Settings button
Only vertices inside the brush circle are deformed.
Select an Edit Poly or editable poly object. > Polygon
Default=20.0. sub-object level > Quad menu > tools 2 quadrant > Bevel
Settings button
Tip: To change the brush radius interactively,
release the mouse button, press and hold
Beveling involves first extruding and then scaling
Shift+Ctrl +left mouse button, and then drag
the extruded polygon(s). Use these settings for
the mouse. This also works with all other
beveling polygons in Interactive Manipulation
painter-interface features in 3ds Max such as Skin
mode.
> Paint Weights and VertexPaint.
Brush Strength—Sets the rate at which the brush Interface
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
Bevel Type group
Painter Options dialog (page 1–960), where you
can set various brush-related parameters. Group—Beveling takes place along the average
normal of each contiguous group of polygons. If
Commit—Makes any deformation changes
you bevel multiples of such groups, each group
permanent, “baking” them into the object
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. Examples of an internal bridge (left) and an external bridge
(right), the latter connecting two elements
Apply—Applies the settings to the current
selection, retaining them if you then make another
Note: Bridging two elements makes them
selection.
contiguous, combining them into a single element.
OK—Applies the settings to the current selection
and closes the dialog. Interface
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 Bridge lets you use existing poly/border selections,
or pick them from the dialog. Choose one of the
Use these settings for bridging pairs of polygons, following:
polygon selections, or borders in Interactive Use Specific Polygons/Borders—In this mode, use
Manipulation mode. the Pick buttons to designate polygons or borders
Note: Bridge calculates which way the bridge for bridging.
polygons should face. If you bridge two
Use Polygon/Border Selection—If one or more
sub-objects so that the bridge goes through the
qualifying selection pairs exist, choosing this
object, the bridge polygons face inward. But if you
option connects them immediately. If not, you can
create a bridge that goes through empty space,
select pairs of sub-objects in a viewport to connect
such as when connecting sub-objects between two
them.
elements, the polygons face outward. To make
the bridge polygons face differently, use the Flip If you make more than two qualifying selections,
function. Bridge connects them in increasing order of ID.
1068 Chapter 9: Surface Modeling

For example, if you select polygon 12, 35, and 89, or border; at 99.0, it’s greatest near the second
Bridge connects polygons 12 and 35. But if you selected polygon or border.
then deselect polygon 35, Bridge then connects
Smooth—Determines the maximum angle between
polygons 12 and 89.
columns across which smoothing can occur. A
Polygon/Edge 1/2—Click each Pick button in turn, column is a string of polygons extending along the
and then click a polygon or border edge in a length of the bridge.
viewport. At the Border sub-object level, clicking
Apply—Applies the settings to the current
any edge on a border designates the entire border
selection, retaining them if you then make another
for bridging. Also, the edges you pick on each
selection.
border are connected directly, and the remaining
edges are connected in consecutive order. You can OK—Applies the settings to the current selection
change the order of the edge correspondences with and closes the dialog.
the Twist settings. Available only in Use Specific
Cancel—Closes the dialog without applying the
mode.
settings to the current selection. Does not reverse
After clicking a sub-object, the Pick button shows previous uses of Apply.
its ID number. You can change the selection at
any time by clicking a Pick button and picking a
different sub-object. Bridge Edges Dialog
Twist 1/2—Rotates the order of connection Select an Edit Poly or editable poly object. > Modify panel
between the edges of the two selections. The two > Polygon or Border sub-object level > Edit Polygons
rollout > Bridge Settings button
controls let you set a different twist amount for
each end of the bridge. Select an Edit Poly or editable poly object. > Polygon or
Border sub-object level > Quad menu > tools 2 quadrant
> Bridge Settings button
Segments—Specifies the number of polygons
along the length of the bridge connection. This
setting also applies to manually bridged polygons. Use these settings for bridging pairs of edges in
Interactive Manipulation mode.
Tip: When using Taper, set Segments to a value
Note: Bridge calculates which way the bridge
greater than 1.
polygons should face. If you bridge two edges
Taper—Sets the extent to which the bridge width so that the bridge goes through the object, the
becomes smaller or larger toward its center. bridge polygons face inward. But if you create a
Negative settings taper the bridge center smaller; bridge that goes through empty space, such as
positive settings taper it larger. when connecting edges between two elements,
Note: To change the location of maximum taper, the polygons face outward, in general. To make
use the Bias setting. the bridge polygons face differently, use the Flip
function.
Bias—Determines the location of maximum taper
Note: Bridging edges of two elements makes them
amount.
contiguous, combining them into a single element.
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
 Bridge Edges Dialog 1069

Interface

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.
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.
Use Edge 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.
Top Left: Edge selections before bridging
Edge 1/Edge 2—Click each Pick button in turn, and Top Right: Segments=2, Bridge Adjacent<83.0
then click a border edge in a viewport. Available Bottom Left: Bridge Adjacent=83.0
only in Bridge Specific Edges mode. Bottom Right: Bridge Adjacent=126.5
After clicking an edge, the Pick button shows its ID
number. You can change the selection at any time Note: The above illustration shows, among other
by clicking a Pick button and picking a different things, how setting Bridge Adjacent too high can
sub-object. cause overlapping polygons (left side of the two
bottom images), which is undesirable.
Segments—Specifies the number of polygons
along the length of the bridge connection. This Apply—Applies the settings to the current
setting also applies to manually bridged edges. selection, retaining them if you then make another
selection.
Smooth—Specifies the maximum angle between
columns across which smoothing can occur. A OK—Applies the settings to the current selection
column is a string of polygons extending along the and closes the dialog.
length of the bridge. Cancel—Closes the dialog without applying the
Reverse Triangulation—When bridging two settings to the current selection. Does not reverse
edge selections each of which contains different previous uses of Apply.
numbers of edges, two ways of triangulating the
bridge polygons are possible. This check box lets
you toggle between them.
1070 Chapter 9: Surface Modeling

Open—When on, the chamfered area is deleted,

Chamfer Vertices/Edges/Borders leaving open space. Default=off.
Dialog
This setting stays active during the current session.
Select an Edit Poly or editable poly object. > Modify If you turn on Open and then later chamfer
panel > Vertex/Edge/Border sub-object level > Edit sub-objects interactively, the Open option remains
Vertices/Edges/Borders rollout > Chamfer Settings button
in effect.
Select an Edit Poly or editable poly object. >
Vertex/Edge/Border sub-object level > Quad menu >
tools 2 quadrant > Chamfer Settings button
Connect Edges Dialog
Chamfering creates new faces around the
Select an Edit Poly or editable poly object. > Modify panel
chamfered entity, along with connecting edges. > Edge sub-object level > Edit Edges rollout > Connect
Or, with the Open option, you can create an open Settings button
(empty) area instead. This dialog is the same for Select an Edit Poly or editable poly object. > Edge
chamfering vertices, edges, and borders of poly sub-object level > Quad menu > tools 2 quadrant >
Connect Settings button
objects. You can use it to set the chamfer amount
numerically, and to toggle the Open option.
Connecting edges creates new edges between
adjacent pairs of selected edges. The Connect
Interface
Edges dialog settings let you specify the number of
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.

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.
 Extrude Polygons Along Spline Dialog 1071

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

Top left: Original edge selection
splines in Interactive Manipulation mode.
Top right: Segments=3, Pinch=Slide=0
Bottom left: Segments=3, Pinch=-50, Slide=0 Interface
Bottom right: Segments=3, Pinch=-50, Slide=–200

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.

Segments—The number of new edges between If you open this dialog after performing a manual
each adjacent pair of selected edges. Default=1. Extrude Along Spline, the name of the spline you
used appears on the button.
Pinch—The relative spacing between the new,
connecting edges. Negative values move the edges Align to face normal—Aligns the extrusion with
closer together; positive values move them farther the face normal, which, in most cases, makes it
apart. Default=0. perpendicular to the extruded polygon(s). When
turned off (the default), the extrusion is oriented
If Segments=1, the Pinch setting has no effect.
the same as the spline.
Slide—The relative positioning of the new edges.
Default=0.
1072 Chapter 9: Surface Modeling

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
With Align To Face Normal, the extrusion does not follow the panel > Polygon sub-object level > Edit Polygons rollout
original orientation of the spline (1); it’s reoriented to match > Extrude Settings button
the face normals (2), or averaged normals for contiguous
selections. The Rotation option is available only when Align Select an Edit Poly or editable poly object. > Polygon
To Face Normal is on. sub-object level > Quad menu > tools 2 quadrant >
Extrude Settings button
Rotation—Sets the rotation of the extrusion.
Available only when Align To Face Normal is on. Use these settings for extruding polygons in
Default=0. Range=-360 to 360. Interactive Manipulation mode.
Segments—Specifies the number of polygons
Interface
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—Sets the rate at which the tapering
proceeds. Lower settings result in a more gradual
taper; large settings result in a more abrupt taper. Extrusion Type group
Taper Curve affects the thickness of the extrusion Group—Extrusion takes place along the average
between its endpoints, but not the size of the ends. normal of each contiguous group of polygons. If
you extrude multiples of such groups, each group
Twist—Applies a twist along the length of the
moves along its own averaged normal.
extrusion.
Local Normal—Extrusion takes place along each
When using this option, increasing the number
selected polygon’s normal.
of segments will improve the smoothness of the
extrusion. By Polygon—Extrudes or bevels each polygon
individually.
Apply—Applies the settings to the current
selection, retaining them if you then make another Extrusion Height—Specifies the amount of the
selection. extrusion in scene units. You can extrude selected
 Extrude Vertices/Edges Dialog 1073

polygons outward or inward, depending on Extrusion Base Width—Specifies the size of the
whether the value is positive or negative. extrusion base in scene units.
Apply—Applies the settings to the current You can set this as high as you want, but the actual
selection, retaining them if you then make another size cannot extend beyond the vertices adjacent to
selection. the extruded sub-object(s).
OK—Applies the settings to the current selection Apply—Applies the settings to the current
and closes the dialog. selection, retaining them if you then make another
selection.
Cancel—Closes the dialog without applying the
settings to the current selection. Does not reverse OK—Applies the settings to the current selection
previous uses of Apply. and closes the dialog.
Cancel—Closes the dialog without applying the
settings to the current selection. Does not reverse
Extrude Vertices/Edges Dialog previous uses of Apply.
Select an Edit Poly or editable poly object. > Modify
panel > Vertex/Edge/Border sub-object level > Edit
Vertices/Edges/Borders rollout > Extrude Settings button
Hinge Polygons From Edge Dialog
Select an Edit Poly or editable poly object. >
Vertex/Edge/Border sub-object level > Quad menu > Select an Edit Poly or editable poly object. > Modify
tools 2 quadrant > Extrude Settings button panel > Polygon sub-object level > Edit Polygons rollout
> Hinge From Edge Settings button
Use this dialog for extruding vertices, edges, and Select an Edit Poly or editable poly object. > Polygon
borders in Interactive Manipulation mode. sub-object level > Quad menu > tools 2 quadrant > Hinge
From Edge Settings button
Note: At the Border sub-object level, this dialog is
named Extrude Edges. Use these settings for hinging polygons in
Interactive Manipulation mode.
Interface
Interface

Extrusion Height—Specifies the amount of the

extrusion in scene units.
You can extrude sub-objects outward or inward,
depending on whether the value is positive or
negative. 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 Interface

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 # is the ID number of the hinge edge.
All subsequent hinge operations created via the Inset Type group
dialog will use this hinge. To hinge multiple This setting affects how Inset works with selections
polygons, each from one of its own sides, you must of more than one polygon.
reselect the hinge each time.
Group—The inset takes place across multiple,
Apply—Applies the settings to the current contiguous polygons.
selection, retaining them if you then make another
By Polygon—Insets each polygon individually.
selection.
Inset Amount—Specifies the amount of the inset
OK—Applies the settings to the current selection
in scene units.
and closes the dialog.
Apply—Applies the settings to the current
Cancel—Closes the dialog without applying the
selection, retaining them if you then make another
settings to the current selection. Does not reverse
selection.
previous uses of Apply.
OK—Applies the settings to the current selection
and closes the dialog.
Inset Polygons Dialog Cancel—Closes the dialog without applying the
Select an Edit Poly or editable poly object. > Modify panel settings to the current selection. Does not reverse
> Polygon sub-object level > Edit Polygons rollout > Inset previous uses of Apply.
Settings button

Select an Edit Poly or editable poly object. > Polygon

sub-object level > Quad menu > tools 2 quadrant > Inset
Settings button MeshSmooth Selection Dialog
Select an Edit Poly or editable poly object. > Modify panel
Use these settings for insetting polygons in > Polygon sub-object level > Edit Geometry rollout >
Interactive Manipulation mode. MSmooth Settings button

This dialog lets you specify how mesh smoothing

affects editable poly and Edit Poly objects.
 Preserve Map Channels Dialog 1075

Interface
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
Smoothness—Determines how sharp a corner changes in vertex locations.
must be before polygons are added to smooth it.
Smoothness is calculated as the average angle of Interface
all edges connected to a vertex. A value of 0.0 The dialog contains buttons for all available,
prevents the creation of any polygons. A value of data-containing vertex color channels and texture
1.0 adds polygons to all vertices even if they lie on channels. The number and type of buttons
a plane. displayed vary depending on the state of the
Separate by Smoothing Groups—Prevents the object; they can be changed, for example, with the
creation of new polygons at edges between VertexPaint modifier (page 1–936) and the Channel
polygons that don’t share at least one smoothing Info utility (page 2–1738).
group. Click a button to toggle its state. When off, a
Separate by Materials—Prevents the creation of button is gray and appears higher than the dialog
new polygons for edges between polygons that do surface. When on, a button is orange and appears
not share Material IDs. pressed in.

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.
1076 Chapter 9: Surface Modeling

Vertex Color Channels—Displays buttons for any Note: At the object level, Relax applies to the entire
vertex-color channels that contain data. These can object. At any sub-object level, Relax applies to
be Vertex Colors, Vertex Illumination, and Vertex selected sub-objects only.
Alpha. By default, all vertex-color buttons are off,
so that associated UVs are affected by sub-object Interface
editing. To prevent a channel from being affected
by sub-object editing, click its button.
Texture Channels—Displays buttons for any texture
(mapping) channels that contain data. These are
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. Amount—Controls how far a vertex moves for each
iteration. The value specifies a percentage of the
Reset All—Returns all channel buttons to their distance from the original location of a vertex to
default states: all vertex color channels off, all the average location of its neighbors. Range=-1.0
texture channels on. to 1.0. Default=0.5.
Apply—Applies the settings to the current Iterations—Sets how many times to repeat the
selection, retaining them if you then make another Relax process. For each iteration, average locations
selection. are recalculated and the Relax Value is reapplied to
OK—Applies the settings to the current selection every vertex. Default=1.
and closes the dialog. Hold Boundary Points—Controls whether
Cancel—Closes the dialog without applying the vertices at the edges of open meshes are moved.
settings to the current selection. Does not reverse Default=on.
previous uses of Apply. When on, boundary vertices do not move while
the rest of the object is relaxed. This option is
particularly useful when working with multiple
Relax Dialog elements within a single object that share open
edges.
Select an Edit Poly or editable poly object. > Modify panel
> object level or any sub-object level > Edit Polygons
rollout > Relax Settings button When this check box is off, all vertices of the object
are relaxed.
Select an Edit Poly or editable poly object. > object level
or any sub-object level > Quad menu > tools 2 quadrant Hold Outer Points—When on, preserves the
> Relax Settings button
original positions of vertices farthest away from
the object center.
Use these settings for relaxing vertices in
Interactive Manipulation mode. Relax in Apply—Applies the settings to the current
Edit/Editable Poly works much like the Relax selection, retaining them if you then make another
modifier (page 1–779): It normalizes the distance selection.
between each affected vertex and its neighbors by
OK—Applies the settings to the current selection
moving the vertex toward the average position of
and closes the dialog.
its neighbors.
 Tessellate Selection Dialog 1077

Cancel—Closes the dialog without applying the Apply—Applies the settings to the current
settings to the current selection. Cancel does not selection, retaining them if you then make another
reverse previous uses of Apply. selection.
OK—Applies the settings to the current selection
and closes the dialog.
Tessellate Selection Dialog
Cancel—Closes the dialog without applying the
Select an Edit Poly or editable poly object. > Modify panel
> Polygon sub-object level > Edit Polygons rollout > settings to the current selection. Does not reverse
Tessellate Settings button previous uses of Apply.

This dialog lets you specify how Tessellate should

subdivide polygons. Weld Vertices/Edges Dialog
Interface 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
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 Weld Threshold—Specifies the maximum distance,
active. in scene units, within which selected sub-objects
will be welded.
A negative value pulls vertices inward from their
plane, resulting in a concave effect. A positive Any vertex or edge that lies outside this threshold
value pulls vertices outward from their plane, (that is, it’s farther than this from the nearest
resulting in a rounding effect. 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 You can also model surfaces using polygonal
change the setting with the spinner. meshes or patches. Compared to NURBS surfaces,
meshes and patches have these shortcomings:
Apply—Applies the settings to the current
selection, retaining them if you then make another • Using polygons can make it more difficult to
selection. create complicated curved surfaces.

OK—Applies the settings to the current selection • Because meshes are faceted, facets appear at the
and closes the dialog. edge of rendered objects. You must have a large
number of small faces to render a smoothly
Cancel—Closes the dialog without applying the curved edge.
settings to the current selection. Does not reverse
previous uses of Apply. 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
NURBS 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

Fountain created as a NURBS model
Models
3ds Max provides NURBS surfaces and curves.
NURBS stands for Non-Uniform Rational Like Shape (page 1–262) objects, a NURBS
B-Splines. NURBS have become an industry model can be an assemblage of multiple NURBS
standard for designing and modeling surfaces. sub-objects. For example, a NURBS object might
They are especially suited for modeling surfaces contain two surfaces that are separate in space.
with complicated curves. The tools for modeling NURBS curves and NURBS surfaces are controlled
with NURBS do not require an understanding by either point or control vertex (CV) sub-objects.
of the mathematics that produces these objects. Points and CVs behave somewhat like the vertices
NURBS are popular because they are easy of spline objects, but there are differences.
to manipulate interactively, and because the The parent object in a NURBS model is either a
algorithms that create them are both efficient and NURBS surface or a NURBS curve. Sub-objects
numerically stable. can be any of the objects listed here. A NURBS
 Creating NURBS Models 1079

curve remains a Shape object unless you add a Sub-objects can be dependent (page 1–1087)
surface sub-object to it when you convert it to a sub-objects whose geometry is related to the
NURBS surface (without changing its name). geometry of other sub-objects.
Surfaces—There are two kinds of NURBS surfaces.
See also
A point surface (page 1–1102) is controlled by
points, which always lie on the surface. A CV Creating NURBS Models (page 1–1079)
surface (page 1–1103) is controlled by control
Working with NURBS Models (page 1–1080)
vertices (CVs). Instead of lying on the surface, CVs
form a control lattice (page 3–923) that surrounds Modifying NURBS Models and Creating
the surface. (This is similar to the lattice used by Sub-Objects (page 1–1081)
the FFD [free-form deformation] modifiers.) Sub-Object Selection (page 1–1084)
See Creating Surface Sub-Objects (page 1–1177) CV Sub-Objects and Point Sub-Objects (page
and Editing Surface Sub-Objects (page 1–1141). 1–1085)
Curves—There are also two kinds of NURBS
Rigid Surfaces (page 1–1089)
curves. These correspond exactly to the two
kinds of surfaces. A point curve (page 1–1106) is Dependent Sub-Objects (page 1–1087)
controlled by points, which always lie on the curve. Nonrelational NURBS Surfaces (page 1–1116)
A CV curve (page 1–1110) is controlled by CVs,
which don’t necessarily lie on the curve.
See Creating Surface Sub-Objects (page 1–1177) Creating NURBS Models
and Editing Curve Sub-Objects (page 1–1135). There are a variety of ways to create NURBS
Points—Point surfaces and point curves have point models. This is a summary of how you create a
(page 1–1219) sub-objects. You can also create top-level, parent NURBS object:
separate point sub-objects that are not part of a • You can create a NURBS curve (page 1–1106)
surface or a curve. on the Shape (page 1–262) panel of the Create
See Creating and Editing Point Sub-Objects (page panel.
1–1219). • You can create a NURBS surface (page 1–1101)
on the Geometry (page 1–153) panel of the
CVs—CV surfaces and CV curves have CV
Create panel. When you use this technique, the
sub-objects. Unlike points, CVs are always part
NURBS surface is initially a flat rectangle. You
of a surface or a curve.
can alter it using the Modify panel.
See Editing Curve CV Sub-Objects (page 1–1127) • You can turn a standard geometry primitive
and Editing Surface CV Sub-Objects (page 1–1130). (page 1–170) into a NURBS object.
Imports—Imports are 3ds Max objects, including • You can turn a torus knot (page 1–189) into a
other NURBS objects. Within the NURBS model, NURBS object.
they render as NURBS; but they retain their
• You can turn a prism (page 1–205) extended
original parameters and modifiers.
primitive into a NURBS object.
See Attaching and Importing 3ds Max Objects (page • You can turn a spline (page 1–266) object
1–1120). (Bezier spline) into a NURBS object.
1080 Chapter 9: Surface Modeling

• You can turn a patch grid (page 1–993) object You might even choose to delete the original,
(Bezier patch) into a NURBS object. starter object once you have built a model from
• You can turn a loft (page 1–352) object into a newer sub-objects.
NURBS object. Going immediately to the Modify panel avoids the
To turn objects other than NURBS curves and problem of creating additional top-level NURBS
surfaces into NURBS objects, use the Modify objects, which you can’t use to build relational,
panel. Right-click the object’s name in the stack dependent sub-objects. (The exception is using
display (see Modifier Stack (page 3–760)) and curves for loft and sweep surfaces. See U Loft
choose Convert To: NURBS. Surface (page 1–1196), UV Loft Surface (page
1–1200), 1-Rail Sweep Surface (page 1–1204), or
In viewports, the quad menu (page 3–694) also 2-Rail Sweep Surface (page 1–1209).)
lets you convert objects to NURBS. Select and
then right-click the object, and in the Transform Two general references for modeling with NURBS
(lower-right) quadrant, choose Convert To: > are Curves and Surfaces for Computer-Aided
Convert to NURBS. Geometric Design: A Practical Guide by Gerald
Farin (Academic Press, fourth edition 1996) and
• In addition, the modifiers Extrude (page 1–680) Interactive Curves and Surfaces: A Multimedia
and Lathe (page 1–707) let you choose NURBS Tutorial on Computer Aided Graphic Design by
output, which creates a NURBS object. Alyn Rockwood and Peter Chambers (Morgan
Kaufman Publishers, 1996).

Working with NURBS Models

When you work with NURBS models, usually you Surface Trimming
follow these overall steps: To trim a surface is to use a curve on the surface
• Create one NURBS object as the "starter" to cut away part of the surface, or to cut a hole in
object. This can be a surface object, a curve the surface.
object, or a converted geometry primitive, as
Before you trim a surface, you must create a curve
described in Creating NURBS Models (page
on that surface. These are the kinds of curves that
1–1079).
can trim surfaces:
Often modelers like to identify a single, master
• U iso and V iso curves (page 1–1168)
surface as the main component of the model.
Converted geometry primitives are good if you • Surface-surface intersection curve (page 1–1166)
want the starter surface to become the master • Normal projected curve (page 1–1169)
surface. See Creating NURBS Surfaces from
• Vector projected curve (page 1–1171)
Geometric Primitives (page 1–1116). Point and
CV surfaces are good as starters for rectangular • CV curve on surface (page 1–1172)
surfaces. • Point curve on surface (page 1–1175)
• On the Modify panel, you can edit the original Once you’ve created the curve, you trim the surface
object, or you can create additional sub-objects. by turning on Trim in the curve sub-object’s
See Using the NURBS Toolbox to Create parameters. A Flip Trim control inverts the trim
Sub-Objects (page 1–1083). 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
it for the purposes of editing it, or replacing it as a
parent to a dependent sub-object (page 1–1087). To
do so, use the Select Objects dialog. See Sub-Object Above: CV curve on surface
Selection (page 1–1084). Below left: Using the curve to trim the surface
Below right: Using Flip Trim to change the trimming
Procedures direction

Example: To cut a hole in a CV surface: To select an untrimmed surface:

1. Create a CV surface in the Top viewport. 1. Make sure the Keyboard Shortcut Override
2. Create a closed CV curve sub-object that lies on toggle (page 3–872) is on.
top of (or above) the surface. 2. At the appropriate sub-object level or during a
3. In the toolbox, turn on Normal Projected replace parent operation, press H . A Select
Curve, then in the Top viewport select first the Objects dialog (page 1–78) appears.
CV curve, then the surface. 3. If the untrimmed version is selectable at this
This creates a projection of the CV curve that level, the trimmed version appears as a "tree,"
lies on the surface, and can trim it. with a plus sign next to it. Click the plus sign to
4. In the normal projected curve’s parameters,
expand the tree. The child is the untrimmed
click to turn on Trim. version. Highlight its name to select it.

A hole appears in the surface. Depending on

the orientation of the Normal Projected curve, Modifying NURBS Models and
you might see everything but the hole.
Creating Sub-Objects
5. Use the Flip Trim toggle to invert the trim.
You can edit NURBS immediately when you
Note: Trims aren’t displayed in viewports if the enter the Modify panel. You don’t have to apply
NURBS surface’s Surface Trims toggle is turned a modifier, as you do for most kinds of 3ds Max
off on the General rollout’s Display group box. objects.
While you are editing a NURBS object on the
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

NURBS surface objects includes rollouts that let blend surface is a dependent surface sub-object
you create new NURBS sub-objects. that connects the edges of two other surfaces.
• 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
a convertible 3ds Max object. The attached
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
of the NURBS object it renders as a NURBS,
but you can still edit it parametrically at the
Imports sub-object level. At this sub-object
level, viewports display its usual geometry,
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.
Example: Rollout for creating NURBS surface sub-objects
Note: You can detach a NURBS sub-object to
Tip: Another way to create curve and surface make it a new, top-level NURBS object, and
sub-objects is to use the NURBS Creation Toolbox you can extract an imported object to create an
(page 1–1083). independent, top-level object once again.

This is a summary of how to create sub-objects:

• An individual point sub-object is either an Quad Menu for NURBS Objects
independent point or a dependent point tied to
While a NURBS object is selected and the Modify
other NURBS geometry.
panel is active, the quad menu (page 3–694)
• Curve sub-objects are either independent point displays two quadrants that are specifically for
curves or CV curves, or they are dependent NURBS editing.
(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
 Using the NURBS Toolbox to Create Sub-Objects 1083

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
Quad menu for modifying NURBS models

Tools 1 (upper-left) Quadrant

These options are general display and sub-object
level shortcuts.
Transform Degrade—Toggles 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

Toolbox for NURBS objects
These options are creation and editing shortcuts.
The toolbox contains buttons for creating NURBS
Create CV Surface, Create CV Curve, Create Point
sub-objects. In general, the toolbox behaves like
Surface, Create Point Curve—These create a new
this:
NURBS sub-object.
• While the button is on, the toolbox is visible
Insert CV Row, Insert CV Column, Refine CV Curve,
whenever a NURBS object or sub-object is
Refine CV Row—These add CVs to a CV Surface
1084 Chapter 9: Surface Modeling

selected and you are on the Modify panel. It

disappears whenever you deselect the NURBS Sub-Object Selection
object or make a different panel active. When When you work with NURBS models, you often
you return to the Modify panel and select a work with sub-objects. While you are at the
NURBS object, it reappears. sub-object level, you use the usual selection
• You can use the toolbox to create sub-objects techniques, such as clicking, dragging a region,
from either the top, object level, or from any or holding down Ctrl , to choose one or more
NURBS sub-object level. sub-objects.
• When you turn on a toolbox button, you go into You can also select NURBS point, curve, and
creation mode, and the Modify panel changes surface sub-objects by name. Turn on the
to show the parameters (if there are any) for the Keyboard Shortcut Override Toggle (page 3–872),
kind of sub-object you are creating. go to a NURBS sub-object level, and then press the
Other NURBS rollouts aren’t displayed while H key. This displays a Select Objects dialog (page
you create the new sub-object. This differs from 1–78) that lists only sub-objects at the current
using the NURBS object’s Create rollouts or the level. Choose one or more objects in the list, and
NURBS right-click menu (page 1–1082). then click Select. You can assign your own names
to NURBS sub-objects (aside from CVs) that you
• If you are at the top, object level and use the
want to edit frequently.
toolbox to create a sub-object, you must then
go to the sub-object level to edit the new Press Ctrl+H to have the Select Sub-Objects
sub-object. (This is the same as using the dialog list only sub-objects directly beneath the
buttons on the rollouts.) mouse cursor.
• If you are at a sub-object level and use the The H shortcut is also a convenient way to choose
toolbox to create an object of the same parent objects while you’re creating dependent
sub-object type, you can edit it immediately sub-objects.
after you turn off the create button (or
right-click to end object creation). Workflow Tips
• If you are at a sub-object level and use the When you work with NURBS, you switch
toolbox to create an object of a different frequently between the object and sub-object
sub-object type, you must change to that levels, or from one sub-object level to another.
sub-object level before you can edit the new Keyboard shortcuts and pop-up menus can help
sub-object. you do this.
The individual creation buttons are described in • The Sub-Object Selection Toggle (default:
these topics: Ctrl+B ) switches between object and
sub-object levels.
Creating and Editing Point Sub-Objects (page
1–1219) • The Cycle Sub-Object Level shortcut (default:
Insert ) switches from one sub-object level to
Creating Curve Sub-Objects (page 1–1151)
another.
Creating Surface Sub-Objects (page 1–1177) • 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: necessarily lie on the curve or surface they define.
Top Level, Surface CV Level, Surface Level, The CVs define a control lattice (page 3–923) that
Curve CV Level, Point Level, Curve Level, and connects the CVs and surrounds the NURBS
Imports Level. curve or surface. The control lattice displays in
• The command panel’s right-click popup menu lines that are yellow by default.
(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.
Cone-shaped NURBS surface with its control lattice (CVs are
• When you select surface CV sub-objects that are displayed as green squares)
"on top of " each other in a 3D view, sometimes
all the selected CVs fail to highlight. To fix this, Tip: When you use Zoom Extents, the entire extents
choose Customize > Viewport Configuration of a NURBS object are displayed, including its
(page 3–853), and turn on Z-buffer Wireframe control lattice. Because CVs can be located some
Objects. 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
CV Sub-Objects and Point Field of View to zoom in.
Sub-Objects
You can move a CV at the Curve CV or Surface
Independent curves and independent surfaces CV sub-object level on the Modify panel. Other
both come in two varieties: they are either CV transforms, rotate and scale, work as well. Rotate
sub-objects or point sub-objects. This topic and scale are useful mainly when you have selected
describes the differences between the two. multiple CVs.

CV Curves and CV Surfaces

CV curves and CV surfaces have control vertices
(CVs) as do splines. The position of the CVs
controls the shape of the curve or the surface.
However, unlike spline vertices, CVs don’t
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

to adjust the CV’s effect on the curve or surface.
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)

Weights can be a useful way to "tune" the

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, Point Curves, and Point Surfaces

Point curves and point surfaces are similar to CV
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,
working with point sub-objects is slower than
working with CV sub-objects. You can think of a
point curve or point surface as being dependent Moving a parent surface changes the blend surface (the blend
on the points to which it fits. surface is displayed in green)

Points that you create individually are the same as The immediate, interactive relation between the
the points on point curves and surfaces, except that parent and dependent sub-objects is known as
initially they aren’t part of a curve or surface. You relational modeling. Relational modeling is one of
can create a point curve by fitting it to points that the reasons NURBS models can be particularly
you select. When you fit the new point curve, you easy to change or to animate.
can use points that are part of curves or surfaces, Important: Dependent sub-objects must have
and individual point sub-objects. 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
Dependent Sub-Objects a top-level NURBS object to create a dependent object,
NURBS sub-objects are either independent or first you must attach or import the top-level object. See
dependent. A dependent sub-object is based on Attaching and Importing 3ds Max Objects (page 1–1120).
the geometry of other sub-objects. For example, You have the option of making a dependent
a blend surface smoothly connects two other sub-object independent. After you do so, the
surfaces. Transforming or animating either of sub-object is no longer related to its parents.
the original, parent surfaces causes the shape of Changes to the former parents don’t affect it, but
the blend to change as it maintains a connection you can edit and transform it as an independent
between the parents. 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
a slowdown in performance. Once a dependent
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
have gizmos can’t change relative to their parent
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
parents as well. Sub-objects that have gizmos can
change relative to their parent objects. In this case,
The arrow points to the segment indicating an error condition.
as with modifiers that use gizmos, you are really
transforming the gizmo. For example, rotating a
mirror sub-object changes the mirror axis, and Seed Values
therefore the mirror’s position relative to its parent Some kinds of dependent sub-objects depend on
curve or surface. geometry that might have more than one solution.
For example, if you want to create a surface-curve
When you Shift +Clone (page 1–1237) a
intersection point, and the curve intersects the
dependent NURBS sub-object, by default the
surface more than once, the software must decide
parent objects are also cloned. For example, if you
which intersection is to be the location of the point.
Shift +Clone a UV loft, all the lofting curves are
copied as well. This means that the new object has For these kinds of objects, seed value (page 3–1008)
the same type as the original object. The cloned parameters control the decision. The seed location
object keeps its parents, so you can edit it just as is on a parent object, and the software chooses the
you do the original. When you Shift +Clone a location nearest to the seed value that satisfies the
NURBS sub-object, you can also choose to remove creation condition. You can alter the seed value
dependencies in order to improve performance. when you edit these dependent sub-objects. The
seed location is displayed as a yellow square.
Error Condition for Dependent
For example, the seed location for a surface-curve
Sub-Objects
intersection point is a U position along the length
Sometimes changes you make to the parent objects of the parent curve. The surface-curve intersection
make it no longer possible to correctly update closest to the seed is chosen as the location of the
the dependent object’s geometry. For example, a dependent point.
fillet between two curves requires the curves to be
coplanar. If you move one curve (or its CVs or The seed location for a surface is a pair of UV
points) so that the curves are no longer coplanar, coordinates in the surface’s parameter space (page
the fillet cannot update correctly. In this case, the 3–988).
dependent object’s geometry reverts to a default
position, and it is displayed in orange to indicate Replacing Parent Sub-Objects
an error condition. (You can change the error Dependent sub-objects have controls that let
color using the Colors panel (page 3–799) of the you replace the object or objects on which they
Customize User Interface dialog (page 3–792).) depend. For example, Offset Surface has a button
 Rigid Surfaces 1089

called Replace Base Surface. You can click this You can apply Edit Patch (page 1–638) and Edit
button and then click a different surface to act as Mesh (page 1–634) modifiers to NURBS surface
the base of the offset. objects.
This capability lets you replace a trimmed surface Tip: To improve performance while you animate
with its untrimmed version, or vice versa. To your scene, make the surfaces in your NURBS
do so, you need to use the Select Objects dialog model nonrelational surfaces (page 1–1116).
(page 1–78). For example, select the trimmed Modifiers treat nonrelational surfaces as if they
surface sub-object and turn on the Keyboard were independent CV surfaces: you can animate
Shortcuts Override toggle (page 3–872). Click the the scene more efficiently, and then turn relational
replacement button, press the H key, expand the modeling back on before you render.
surface’s tree, and then highlight the name of the
untrimmed version. Deforming NURBS Objects
Deform modifiers such as Bend (page 1–560)
and Twist (page 1–876) operate on CV and point
Rigid Surfaces sub-objects. They don’t change the NURBS model
To improve performance, you can make any kind into an editable mesh object. This means that
of surface sub-object into a rigid surface. The only you can use a deform modifier, collapse the stack,
editing allowed on a rigid surface is to transform and still have a NURBS object that you can edit
it at the Surface sub-object level. You can’t move further. However, because the deform modifiers
a rigid surface’s points or CVs, or change the directly affect CVs and points (and not the mesh
number of points or CVs. approximation of the NURBS model), they can
produce unexpected results. For example, a Ripple
Rigid surfaces reduce the amount of memory (page 1–783) modifier does not ripple the surface
used by the NURBS model. Making surfaces rigid if the CVs are farther apart than the wavelength
improves performance, especially for large and of the ripples. If you want the modifier to affect
complex models. the mesh approximation instead of the CVs, you
When a surface is rigid, you can’t see its points can apply a Mesh Select (page 1–719) modifier
or CVs when you are at the Point or Surface CV first. Then when you collapse the stack, you get an
sub-object levels. If the model has only rigid editable mesh, not a NURBS object.
surfaces and no point curves, the Point and Surface These are the deform modifiers that collapse to
CV sub-object levels aren’t available at all. NURBS:
To make a rigid surface editable again, click Make • Modifiers in the Parametric Modifiers set,
Point, Make Independent, Make Loft, or Convert except for Lattice (which collapses to an
Surface. editable mesh) and Slice (which collapses to an
editable poly or an editable mesh).
• Modifiers in the Animation Modifiers set,
NURBS and Modifiers except for the world space modifier versions of
In general, you can apply modifiers to NURBS PatchDeform, PathDeform, and SurfDeform
models as you do to other objects. (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 objects that you can use as paths and motion
usefulness when you collapse them. trajectories.
The modifiers with Soft Selection controls treat NSurf Sel can select any kind of NURBS sub-object
NURBS models the same way they treat editable except imports. Each sub-object selection is of one
meshes. As with editable mesh vertices, CVs are sub-object level only.
colored proportionally according to how severely
the region affects them. Procedure
If Relational Stack is turned off (see Nonrelational To use a NURBS select modifier:
NURBS Surfaces (page 1–1116)), the Affect 1. With a NURBS object selected, go to the
Neighbors toggle can affect all surface CVs, curve Modify panel and apply NSurf Sel.
CVs, and points in neighboring sub-objects.
The selection modifier has no controls at the
If Relational Stack is on, Soft Selection affects
object level.
neighboring sub-objects only if they are at the
same sub-object level. 2. Click to open the modifier’s hierarchy, and
choose a sub-object level.
Soft Selection works with Scale and Rotate as well
The selection modifier has the same selection
as with the Move transform.
controls you see for the corresponding
sub-object type.
NURBS Objects and the UVW Map
Modifier While applying the modifier, you can also select
NURBS sub-objects by name. Turn on the
When you apply a UVW Map (page 1–922)
Keyboard Shortcut Override Toggle button on
modifier, it affects the NURBS object the same way
the status bar, and then press the H key. This
it affects a mesh. If you then collapse the stack,
displays a version of the Select Objects dialog
UVW mapping is still in effect. However, you
(page 1–78) that lists only sub-objects at the
can override the mapper for individual surface
current level. Choose one or more objects in
sub-objects. To do so, turn on the surface’s
the list, and then click Select. Press Ctrl+H to
Generate Mapping Coords check box, if necessary.
have the Select Objects dialog list only objects
When the check box is on, you get the natural
directly beneath the mouse cursor.
mapping of the surface; when it is off, you get the
mapping from the collapsed UVW modifier. 3. Use the selection controls to create a selection
set of the chosen sub-object type.
Tip: Don’t use UVW Map to assign a texture to
an animated surface. The texture will shift as the With the NSurf Sel modifier, you can select
surface animates. NURBS sub-objects at any level except imports.
Note: To select point, curve, or curve CV
NURBS Selection Modifier sub-objects, you must go to the NURBS object and
The NURBS Surface Selection (NSurf Sel) (page turn on Relational Stack.
1–747) lets you place a NURBS sub-object Once you have used the modifier to create the
selection on the modifier stack. This lets you selection, you can apply other modifiers to it. If
modify only the selected sub-objects. Also, the selected sub-object is a curve, you can also use
selected curve sub-objects are Shape (page 1–262) it as a path or trajectory.
 NURBS and Animation 1091

Note: NSurf Sel doesn’t support copy and paste • Fuse

of selections as Mesh Select does. Copying and The animation of the point or CV being fused
pasting mesh selections is based on vertex indexes. to the other point or CV (the second one
NURBS selections are based on object IDs, which chosen) is lost. The first point or CV acquires
are unique to each model. the animation of the second.

NURBS and Animation NURBS Concepts

In general, you animate NURBS curves and NURBS curves and surfaces did not exist in the
NURBS surfaces by turning on the Auto Key traditional drafting world. They were created
button and transforming sub-object attributes specifically for 3D modeling using computers.
such as CV or point positions, by animating Curves and surfaces represent contours or shapes
the parameters that control dependent NURBS within a 3D modeling space. They are constructed
objects, and so on. You can’t animate NURBS mathematically. NURBS mathematics is complex,
object creation or creation parameters, or and this section is simply an introduction to some
fundamental changes to NURBS geometry such NURBS concepts that might help you understand
as adding or deleting CVs or points, attaching what you are creating, and why NURBS objects
objects, and so on. behave as they do. For a comprehensive
Tip: To improve performance while you animate description of the mathematics and algorithms
your scene, make the surfaces in your NURBS involved in NURBS modeling, see The NURBS
model nonrelational surfaces (page 1–1116). Book by Les Piegl and Wayne Tiller (New York:
Modifiers treat nonrelational surfaces as if they Springer, second edition 1997).
were independent CV surfaces: you can animate
the scene more efficiently, and then turn relational Definition and Parameter Space
modeling back on before you render.
The term NURBS stands for Non-Uniform
Some NURBS editing operations remove Rational B-Splines. Specifically:
animation controllers. • Non-Uniform means that the extent of a control
vertex’s influence can vary. This is useful when
Operations that Remove Animation modeling irregular surfaces.
The following operations remove animation from • Rational means that the equation used to
a NURBS object or sub-object: represent the curve or surface is expressed as a
• Make Independent ratio of two polynomials, rather than a single
summed polynomial. The rational equation
This operation removes the animation of
provides a better model of some important
anything directly dependent on the object.
curves and surfaces, especially conic sections,
• Break, Extend, Join and Zip, Refine, Delete, cones, spheres, and so on.
Rebuild, Reparameterize, Close, Make Loft,
• A B-spline (for basis spline) is a way to construct
Convert Curve, and Convert Surface
a curve that is interpolated between three or
Any operation that changes the number of more points.
points or CVs in a curve or surface removes the
animation of all points or CVs that are lost.
1092 Chapter 9: Surface Modeling

Shape curves such as the Line tool and other Curves also have continuity (page 3–923). A
Shape tools are Bezier curves, which are a continuous curve is unbroken. There are different
special case of B-splines. levels of continuity (page 3–923). A curve with an
angle or cusp is C0 continuous: that is, the curve
The non-uniform property of NURBS brings up
is continuous but has no derivative at the cusp.
an important point. Because they are generated
A curve with no such cusp but whose curvature
mathematically, NURBS objects have a parameter
changes is C1 continuous. Its derivative is also
space (page 3–988) in addition to the 3D geometric
continuous, but its second derivative is not. A
space in which they are displayed. Specifically, an
curve with uninterrupted, unchanging curvature
array of values called knots (page 3–961) specifies
is C2 continuous. Both its first and second
the extent of influence of each control vertex (CV)
derivatives are also continuous.
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
Levels of curve continuity:
they exist geometrically in 3D space. Surfaces have 0
Left: C , because of the angle at the top
two dimensions in parameter space, called U and 1
Middle: C , at the top a semicircle joins a semicircle of smaller
V. radius
2
NURBS curves and surfaces have the important Right: C , the difference is subtle but the right side is not
properties of not changing under the standard semicircular and blends with the left

geometric affine transformations (Transforms), or A curve can have still higher levels of continuity,
under perspective projections. The CVs have local but for computer modeling these three are
control of the object: moving a CV or changing adequate. Usually the eye can’t distinguish
its weight does not affect any part of the object between a C2 continuous curve and one with
beyond the neighboring CVs. (You can override higher continuity.
this property by using the Soft Selection (page
1–1147) controls.) Also, the control lattice that Continuity and degree are related. A degree 3
connects CVs surrounds the surface. This is equation can generate a C2 continuous curve.
known as the convex hull (page 3–924) property. This is why higher-degree curves aren’t generally
needed in NURBS modeling. Higher-degree
Degree and Continuity curves are also less stable numerically, so using
them isn’t recommended.
All curves have a degree (page 3–927). The degree
of a curve is the highest exponent in the equation Different segments of a NURBS curve can have
used to represent it. A linear equation is degree 1; different levels of continuity. In particular, by
a quadratic equation is degree 2. NURBS curves placing CVs at the same location or very close
typically are represented by cubic equations and together, you reduce the continuity level. Two
have a degree of 3. Higher degrees are possible, coincident CVs sharpen the curvature. Three
but usually unnecessary. coincident CVs create an angular cusp in the
curve. This property of NURBS curves is known as
multiplicity (page 3–977). In effect, the additional
 NURBS Concepts 1093

one or two CVs combine their influence in that a one-dimensional parameter space to two
vicinity of the curve. 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
will behave well when you edit it in viewports.
Effects of multiplicity: there are three CVs at the apex on the
left, two CVs at the apex on the right. There are two ways to reparameterize:
• Chord-length
By moving one CV away from the other, you
increase the curve’s continuity level again. Chord-length reparameterization spaces knots
Multiplicity also applies when you fuse CVs. Fused in parameter space based on the square root of
CVs create a sharper curvature or a cusp in the the length of each curve segment.
curve. Again, the effect goes away if you unfuse the • Uniform
CVs and move one away from the other.
Uniform reparameterization spaces knots
Degree, continuity, and multiplicity apply to uniformly. A uniform knot vector has the
NURBS surfaces as well as to curves. advantage that the curve or surface changes
only locally when you edit it.
Refining Curves and Surfaces
CV curve and surface sub-objects give you
Refining a NURBS curve means adding more CVs. the option of reparameterizing automatically
Refining gives you finer control over the shape of whenever you edit the curve or surface.
the curve. When you refine a NURBS curve, the
software preserves the original curvature. In other Point Curve and Surface Concepts
words, the shape of the curve doesn’t change,
You can work with point curves and point surfaces
but the neighboring CVs move away from the
as well as with CV curves and surfaces. The
CV you add. This is because of multiplicity: if
points that control these objects are constrained
the neighboring CVs didn’t move, the increased
to lie on the curve or surface. There is no control
presence of CVs would sharpen the curve. To
lattice, and no weight control. This is a simpler
avoid this effect, first refine the curve, and then
interface that you might find easier to work
change it by transforming the newly added CVs,
with. Also, point-based objects give you the
or adjusting their weights.
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
Refining a NURBS curve. interface to CV curves and surfaces, which are
the fully defined NURBS objects. The underlying
NURBS surfaces have essentially the same representation of the curve or surface is still
properties as NURBS curves, extended from constructed using CVs.
1094 Chapter 9: Surface Modeling

You can also think of a point curve or surface as • In general, point curves and surfaces are
dependent on its points. You can use the Convert slower than CV curves and surfaces. Trims are
Curve button to convert a point curve or surface to the slowest kind of dependency, and texture
the CV form, or vice versa. 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
NURBS Tips and Techniques you finish creating it.
These topics contain suggestions on how to work • You can use NSurf Sel (page 1–747) to apply
with NURBS. They include tips collected from modifiers to a sub-object selection. However,
various NURBS modeling users. before you do so make sure that Relational
Stack is on; Relational Stack (page 1–1116) is
How to Make Objects with NURBS Modeling (page
on the General rollout for NURBS models.
1–1094)
Otherwise, NSurf Sel can select only the Surface
How to Fix NURBS Objects (page 1–1098) and Surface CV sub-object levels.
How to Improve Performance (page 1–1099)
Converting Other Objects to NURBS
Animation, Textures, and Rendering (page 1–1099)
• Remember that you can collapse splines (page
1–266) to NURBS objects. A spline Shape or a
NURBS curve can be a good starter object for
How to Make Objects with NURBS
a NURBS model.
Modeling
• Shapes with sharp angles collapse to multiple
These are tips on using NURBS to create models. NURBS curves. You can control this before
NURBS conversion by first converting the
Objects and Sub-Objects Shape to an editable spline (page 1–289).
• In 3ds Max, a NURBS model is a single, Modify the editable spline so that all its vertices
top-level NURBS object (page 1–1078) that can are Bezier or Smooth vertices. Then when you
contain a variety of sub-objects. Get in the collapse the spline to a NURBS curve, you
habit of creating a single object at the top level, obtain a single curve.
then going immediately to the Modify panel • If you want a single NURBS curve, don’t change
and adding sub-objects by using rollouts or the vertices to Bezier Corner vertices. These always
NURBS Creation Toolbox (page 1–1083). convert to a junction between two different
• Sub-objects are either independent or NURBS curves.
dependent. Dependent sub-objects (page • Collapsing a primitive (page 1–170) into a
1–1087) use relational modeling to build NURBS object is one of the quickest ways to
NURBS geometry that is related to other start building a NURBS model. After collapsing
geometry. However, understand that the the primitive, you can select various CVs and
more dependencies a model has, the slower transform them. Other objects you can convert
interactive performance becomes. to NURBS are prisms (page 1–205), torus knots
 How to Make Objects with NURBS Modeling 1095

(page 1–189), lofts (page 1–352), and patch grids Also, remember that snaps work in a viewport
(page 1–993). only when you have made the viewport active.
• You can also change the NURBS surface by And choosing your snap settings does not turn
applying modifiers. The modifiers act on the on snaps. You must also turn on the 3D Snap
points or CVs of the surface, and not on the Toggle button (page 2–35) (on the status bar).
surface itself. After applying the modifiers, Snaps are especially important when you create
collapse the modifier stack (page 3–760). This the curves for building 1-rail (page 1–1204) and
removes the modifiers from the stack without 2-rail (page 1–1209) sweep surfaces.
changing the position of the modified points or • Remember that without leaving the viewport,
CVs, making for a simpler and quicker model. you can right-click to display a quad menu
• Another way to create a NURBS surface object (page 3–694) with shortcuts for changing the
is to apply a Lathe (page 1–707) or Extrude sub-object level, creating some sub-objects,
(page 1–680) modifier to a NURBS curve. Set and using some other edit commands.
the modifier’s Output Type to NURBS, and • When you work with NURBS, there are a lot
then collapse when you’re done adjusting the of rollouts in the Modify panel. Minimize
parameters. the rollouts you don’t need. For example,
(There are also NURBS lathe and extrude minimizing the Modifiers rollout helps unless
surface sub-object types, which you can apply you’re applying Modifiers, and minimizing the
to curve sub-objects.) Surface Common rollout is useful when you’re
creating U loft, UV loft, and 1-rail or 2-rail
Shortcuts, Snaps, and User Interface Tips sweep surfaces.
• Remember to turn on the Plug-In Keyboard • Don’t set viewports to display edged faces.
Shortcut Toggle (page 3–872). While it is on, Displaying edges is almost twice as slow as
you can use all the NURBS keyboard shortcuts. displaying a simple shaded viewport.
• One of the most useful NURBS keyboard
shortcuts is H , which displays a Select Objects
Creating Curves
dialog (page 1–78). You can use H during • When drawing a CV curve, click three times
sub-object creation as well as sub-object to get a sharp corner.
selection. This is handy when sub-objects are Be aware, however, that multiple CVs increase
crowded or hard to see. the amount of calculation and therefore reduce
A variant is Ctrl+H , which also displays the performance and stability of your model.
the Select Objects dialog, but lists only those However, if you want to use the curve to
NURBS sub-objects beneath the mouse cursor construct a U Loft, and so on, this is the best
position. technique.
• There are special NURBS Snaps in the Grid and • You can also create sharp corners by fusing the
Snap Settings dialog (page 2–41) (right-click ends of two separate NURBS curve sub-objects.
the 3D Snap toggle to display this). When This is the recommended method if you aren’t
you use NURBS snaps, turn off Options/Axis using the curves to construct a surface.
Constraints; otherwise, snaps work only in the • While creating curves, you can turn on the
current axis. Draw in All Viewports toggle. This lets you
1096 Chapter 9: Surface Modeling

draw curves in 3D. Begin drawing a curve in achieve this, draw the rails first, then draw the
one viewport, go to another viewport, and cross sections using the NURBS Snaps (page
continue drawing. 2–41) Curve End and Curve Edge turned on.
If your mouse has a middle mouse button, • 2-rail sweeps have the additional requirement
Alt +middle mouse button lets you use arc that the endpoints of the first cross section
rotate (page 3–744) to change a viewport’s intersect the endpoints of the rails. Again,
orientation while you are creating the curve. NURBS Snaps help you do this.
• To create a transform curve along a specific If the endpoints of the first cross-section don’t
axis, turn on the appropriate axis constraints, coincide with the rail endpoints, the resulting
and then Shift +move a copy of the transform surface might not follow the rails.
curve. • While you’re editing a sweep, the Edit Curve
button lets you directly transform the CVs of
Curves and Direction a rail or cross section, without changing the
• NURBS curves show their direction in sub-object level. Edit Curve also gives you
viewports. A small circle indicates the first access to all the rollouts that control the curve.
vertex. If the curve is closed, a plus sign (+) You can use Refine or Make First, for example,
indicates the direction of the curve. without changing levels.
Be aware of curve direction when you use
curves to construct blend surfaces (page
Curves on Surfaces and Projected Curves
1–1183), U loft (page 1–1196) and UV loft (page • You can use a viewport to draw a curve on a
1–1200) surfaces, and 1-rail (page 1–1204) and surface (page 1–1172) (COS), but this works
2-rail (page 1–1209) sweeps. If the curves don’t only for visible portions of the surface. To see
have the same direction, you can get strange the entire surface and the curve or curves on it
twisting. Make sure curves have the same projected into a flat plane, use Edit Curve.
direction before you construct the surface. If your mouse has a middle mouse button,
On the Curve Common rollout, the controls Alt +middle mouse button lets you use arc
Reverse and Make First let you control the rotate (page 3–744) to change a viewport’s
direction of the curve, and where its starting orientation while you draw the curve on
point or CV is located. surface.
Another good way to make sure curves are • Neither curves on surfaces nor projected curves
aligned is to draw one curve and then use can cross the edge of a surface. This includes
Shift +Clone to create the others. After the seam on surfaces with fused CVs. If you
creating the aligned curves, you can transform try to project across the seam, only part of the
CVs to vary the curves on which the surface curve’s projection is created.
will be based.
Creating Blend Surfaces
Curves for Sweeps
• You can blend between curves or between
• Besides expecting cross-section curves to be all surface edges. (You can’t blend from a trimmed
in the same direction, 1-rail (page 1–1204) and edge. In that situation, you are blending from
2-rail (page 1–1204) sweep surfaces work best if the curve that trimmed the surface.)
the cross sections intersect the rail or rails. To
 How to Make Objects with NURBS Modeling 1097

• If you want a controllable tangent or tension, If you have a joined curve as one of the
you must blend to a surface edge or a curve on a curves to construct the loft, reparameterize it
surface. Adjusting tension changes the flatness before you create the loft, or set the curves to
or "bulginess" of that end of the blend. reparameterize automatically.
When a curve and a surface (or two surfaces) • The Edit Curve button lets you directly
are near each other, sometimes it can be hard to transform the CVs of a curve within a U loft
tell which edge you are selecting. To assist you, or UV loft (page 1–1200), without changing
the currently selected surface turns yellow, and the sub-object level. Edit Curve also gives you
the edge that will be used for the blend turns access to all the rollouts that control the curve.
blue. Make sure you have selected the right You can use Refine or Make First, for example,
surface before you choose the edge. without changing levels.
• If the edges you are blending have different • To close a UV loft, you can pick the first V
numbers of points (usually due to different curve again to make it the last curve in the loft.
surface approximation settings), then Sometimes a seam is visible at this location in
sometimes rendering shows gaps between the the UV loft.
blend and the original surface. If this happens,
go to the Surface Approximation rollout (page Multisided Blend Surfaces
1–1239) and increase the value of Merge until
• If the program doesn’t create the multisided
the gaps disappear when you render.
blend (page 1–1213), fuse the CVs at the three
The Merge setting affects only the production or four corners. Snapping CVs to each other
renderer. It has no effect on viewport display. doesn’t always succeed, because of rounding
off.
Lofts
• If you need a surface between only two curves, Multicurve Trimmed Surfaces
use a ruled surface (page 1–1193) instead of a U • Multicurve trimmed surfaces are the only way
loft. This is faster. to create a trimmed hole that contains sharp
• If loft creation seems slow, make sure the angles.
Display While Creating check box (in the U
Loft Surface rollout (page 1–1196)) is turned off. Displacement Mapping
• If the U loft doesn’t come out as you expected, • In general, the default tessellation settings
try reparameterizing the curves. Click aren’t suitable for displaced surfaces. With
Reparam. at the Curve sub-object level. This these default settings, displacement mapping
button is on the CV Curve rollout. In the can create an extremely high face count,
Reparameterize dialog (page 1–1237), choose which performs very slowly. Change the
Chord Length reparameterization. surface approximation to the lowest necessary
resolution. A good rule of thumb is to start
If a curve is dependent or a point curve, first
with Spatial approximation and an Edge value
you will have to make it independent (this also
of 20. If that is too low, reduce the Edge value
improves performance).
until the model looks as it should.
Curves that are made of two joined curves
• Use the Displace NURBS world space modifier
have this problem more often than others.
(page 1–515) to convert the displacement map
1098 Chapter 9: Surface Modeling

into an actual displaced mesh so you can see the • If a CV curve gives you unexpected or incorrect
effect of displacement in viewports. To make a results, try reparameterizing it. Click Reparam.
displaced mesh copy of the NURBS model, use at the Curve sub-object level. This button is on
Snapshot (page 1–453). the CV Curve rollout. In the Reparameterize
dialog (page 1–1237), choose Chord Length
Connecting an Arm to a Shoulder reparameterization.
• The easiest approach is to create a CV curve on If the curve still gives you trouble, try rebuilding
surface (page 1–1172) or normal projected curve it. The Rebuild button is on the same rollout.
(page 1–1169) on the shoulder. Then create the • If a blend between a surface and a curve
arm as a U loft (page 1–1196). For the last curve gives you unexpected or incorrect results, try
of the U loft, select the CV curve on surface or reparameterizing the parent surface. Click
the normal projected curve. Then turn on Use Reparam. at the Surface sub-object level. This
COS Tangents, which makes the loft surface button is on the CV Surface rollout. In the
tangent to the other surface where the arm joins Reparameterize dialog (page 1–1237), choose
the shoulder. Chord Length reparameterization.
• If the blend appears twisted, use the Start Point • If you see a seam in a shaded viewport, render
spinner to change the location of the first point the viewport first before you try to fix the seam.
of the curves that make up the U loft surface. What you see in viewports might not be what
• Another way to connect a U loft to another you get in a render, and the viewport shader
surface is to project the last curve in the U is less accurate than the production renderer.
loft onto the other surface. Click Make COS Seams in viewports can also result from
to convert the projected curve into a curve on different surface approximation settings (page
surface, and then on the U Loft Surface rollout 1–1239) for the viewport and the renderer, so
click Insert to make the new curve on surface check these as well.
the last curve in the U loft. You can scale the • If you see gaps between faces in the rendered
curve on surface or move its CVs to get the model, increase the Merge value for the
curvature and blending you want. renderer in the surface approximation settings.
• Sometimes gaps between faces appear after
you convert a NURBS model into a mesh. (For
How to Fix NURBS Objects
example, by using Mesh Select (page 1–719).)
These are tips on fixing problems with NURBS If this happens, increase the Merge value for
models. the renderer in the surface approximation (page
• If you create a surface but it isn’t visible in 1–1239) settings.
viewports, click Flip Normals. Flip Normals is • If you see odd twists in a 1-rail (page 1–1204)
available on the surface’s creation rollout, or or 2-rail (page 1–1209) sweep, add more cross
at the Surface sub-object level on the Surface sections at the areas of change in the surface.
Common rollout. For example, if your rail looks like a box with
• If you create a blend surface (page 1–1183) and rounded corners, placing cross sections at the
it looks like a bow tie, use Flip End 1 or Flip corners helps to control the shape of the sweep.
End 2 to correct the twist. 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 Shift+Ctrl+T toggles trim display. The trims
curvature is more constant. still appear in renderings.
• If a U loft or UV loft doubles back on itself • For symmetrical models, create only half the
unexpectedly, make sure that all the curves are geometry, and then mirror it. You can then use
going in the same direction. Click Reverse to a blend (page 1–1183) surface or ruled (page
change a curve’s direction. Use the Start Point 1–1193) surface to connect the two halves.
spinner to align the curve’s initial points. • Restart 3ds Max when performance begins
to slow down. If your NURBS model needs
to page, then working with it for a long time
How to Improve Performance causes performance to slow. If you notice this,
These are tips on improving the performance of save your work, close 3ds Max, and then restart.
your NURBS models. • Convert point surfaces to CV surfaces whenever
• Avoid using point curves and point surfaces. possible.
These are slower than CV curves and CV • When you use texture surfaces, use the Edit
surfaces. Use the point forms only when you Texture Surface dialog (page 1–1230) (click
need them for construction; for example, Edit Texture Surface on the Material Properties
when you use Curve Fit to create a curve that rollout (page 1–1149)) to rebuild the texture
interpolates specific points. surface with the minimum necessary number
• Use the nonrelational stack (page 1–1116) of UV rows and columns.
feature in conjunction with the Shaded Lattice • U lofts are faster than UV lofts.
toggle to improve performance while you
• Every type of surface is faster if you can make it
animate your NURBS model.
independent.
• Use Transform Degrade to hide surfaces while
• Set the surface approximation (page 1–1239) for
you are moving, rotating, and scaling NURBS
viewports to use the lowest possible resolution.
sub-objects. The shortcut Ctrl+X toggles this
Set the renderer to use higher resolution, and
option.
turn on View Dependent for the renderer
You can use Ctrl+X in the middle of a so objects far from the camera render more
transform, to turn on degradation if things are quickly.
happening slowly.
• You can customize and save surface
• Turn off the display of dependent surfaces approximation (page 1–1239) presets by
while you are creating new dependent surfaces using the Surface Approximation utility (page
or moving, rotating, or scaling NURBS 1–1245). This utility also lets you set surface
sub-objects. The shortcut Ctrl+D toggles approximation values for a selection set of
dependent surface display. multiple NURBS models.
• 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 Animation, Textures, and
won’t be visible anyway. Rendering
You can also speed up performance by turning These are tips about animating NURBS models
off the Display Trims toggle. The shortcut and using textures with animated NURBS models.
1100 Chapter 9: Surface Modeling

• An easy way to animate a growing surface is to (on the Surface Approximation rollout) from
put a curve point (page 1–1220) with trimming Curvature to Spatial. You will then get a much
on a curve, then animate the U position of the more drastic change in face count.
curve point, and then use this curve as the rail • To get a map to smoothly cover two or more
of a 1-rail sweep (page 1–1204). As the trimmed surface without tiling, create another surface
rail grows, so does the sweep surface. (You whose shape covers and roughly conforms to
must trim the curve before you create the sweep the original surfaces. Apply the texture to the
surface.) larger surface. In the Material Properties rollout
• If you see gaps between surfaces in rendered (page 1–1149) for the original surfaces, set
images, increase the value of Merge for the Texture Surface to Projected, click Pick Source
renderer in the surface approximation (page Surface, and pick the larger surface. Adjust the
1–1239) settings. larger surface to fine-tune the map projection.
• If a texture slides around on the surface during Hide the larger surface before you render.
animation, this is because you are using the • To have different maps on a surface sub-object,
default Chord-Length parameterization of the use different mapping coordinates (page 3–967),
texture surface. Select the surface, then on and multiple map channels (page 3–966). On
the Material Properties rollout (page 1–1149) the Material Properties rollout (page 1–1149),
change the parameterization to User Defined. change the Map Channel value and then turn
Now the texture should stick to the surface on Generate Mapping Coordinates. (Each
better. map channel requires its own set of mapping
• Don’t use the UVW Map modifier (page 1–922) coordinates.)
to apply a texture to an animated NURBS NURBS surface sub-objects let you set the map
surface. channel directly, and don’t require you to apply
• If a surface seems to glitter or jump around UVW Map modifiers as other objects do.
as you move toward it in an animation, this • If a map doesn’t align to a surface sub-object the
is because View Dependent tessellation is on way you want it to, on the Material Properties
(on the Surface Approximation rollout (page rollout (page 1–1149) choose User Defined as
1–1239)) so the tessellation is constantly the Texture Surface, and then use Edit Texture
changing. Usually View Dependent creates no Points or the Edit Texture Surface dialog to
visible changes, but if it does, turn it off. move the points of the texture surface.
• If a surface seems to glitter or jump around • To adjust how the map aligns to the edges of
while it changes during animation, this a surface sub-object, use the Texture Corner
is because the tessellation is changing as settings on the Material Properties rollout (page
the surface animates. Changing surface 1–1149).
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 U lofts (page
1–1196) and UV lofts (page 1–1200).
• If the View Dependent setting doesn’t seem
to be doing much, change the tessellation
 NURBS Surfaces 1101

You can also create NURBS surface sub-objects by

NURBS Surface Primitives attaching or importing other 3ds Max objects (page
1–1120).
Create panel > Geometry > NURBS Surfaces
Both NURBS curves and NURBS surfaces have a
Create menu > NURBS > CV Surface/Point Surface Display area in the General rollout on the Modify
panel. These controls affect which portions of
NURBS (page 3–980) surface objects are the basis the NURBS geometry are displayed. Next to the
of NURBS models. The initial surface you create Display area is the button that turns on the toolbox
using the Create panel is a planar segment with for creating sub-objects.
points or CVs. It is meant simply to be "raw
Display Controls for NURBS Models (page 1–1117)
material" for creating a NURBS model. Once
you have created the initial surface, you can Warning: When you move CV sub-objects, the effect
modify it on the Modify panel by moving CVs or must be calculated over a region of the surface.
NURBS points, attaching other objects, creating Although the calculations are optimized, this is a more
sub-objects, and so on. involved process than simply moving vertices in an
editable mesh. Because of this, if you manipulate large
There are two kinds of NURBS surfaces: numbers of a NURBS surface’s CVs by transforming,
Point Surface (page 1–1102) animating, applying modifiers, and so on, you will notice
a drop in interactive performance.
CV Surface (page 1–1103)
You can use MAXScript to control NURBS objects.
You can also create a NURBS surface from a See "Working with NURBS in MAXScript" in the
geometric primitive (page 1–1116). MAXScript help file. Choose Help > Additional
NURBS surfaces can contain multiple sub-objects, Help, and then choose MAXScript from the list
including NURBS points, NURBS curves, and of additional help files.
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)
1102 Chapter 9: Surface Modeling

Interface
Point Surface
The creation parameters are the same for both
Create panel > Geometry > NURBS Surfaces > Point Surf point surfaces and CV surfaces, except that the
labels indicate which kind of basic NURBS surface
Create menu > NURBS > Point Surface
you are creating.

Keyboard Entry rollout

The Keyboard Entry rollout lets you create a point
surface by typing. Use the 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.

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. X, Y, and Z—Let you enter the coordinates of the
center of the surface.
Procedure
Length and Width—Let you enter the dimensions
To create a point surface:
of the surface in current 3ds Max units.

1. Go to the Create panel. Length Points—Lets you enter the number of points
along the length of the surface (this is the initial
2. Turn on Geometry, and choose NURBS number of point columns).
Surfaces from the drop-down list. Width Points—Lets you enter the number of points
3. Turn on Point Surf. along the width of the surface (this is the initial
number of point rows).
4. In a viewport, drag to specify the area of the
planar segment. Create—Creates the surface object.

5. Adjust the surface’s creation parameters.

 CV Surface 1103

Create Parameters rollout 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).
Length—The length of the surface in current
3ds Max units.
CV Surface
Width—The width of the surface in current
3ds Max units. Create panel > Geometry > NURBS Surfaces > CV Surf

On the Modify panel, the Length and Width Create menu > NURBS > CV Surface
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
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. The CVs in a control lattice shape the surface it defines.

On the Modify panel, the point Length and Width CV surfaces are NURBS surfaces (page 1–1101)
spinners are no longer available. You can change controlled by control vertices (CVs (page 3–926)).
the number of rows and columns by deleting The CVs don’t lie on the surface. They define
existing rows and columns, or by adding new rows a control lattice (page 3–923) that encloses the
and columns using the Refine controls at the Point surface. Each CV has a weight that you can adjust
sub-object level. to change the shape of the surface.

Generate Mapping Coordinates—Generates Because an initial NURBS surface is meant to

mapping coordinates so you can apply mapped be edited, the surface creation parameters do
materials to the surface. 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.
X, Y, and Z—Let you enter the coordinates of the
5. Adjust the surface’s creation parameters.
center of the surface.
Note: When you edit a CV surface you can add
Length and Width—Let you enter the dimensions
or move CVs so that more than one CV is at
the same location (or close to it) to increase of the surface, in current 3ds Max units.
the influence of the CVs in that region of the Length CVs—Lets you enter the number of CVs
surface. Two coincident CVs sharpen the along the length of the surface (this is the initial
curvature. Three coincident CVs create an number of CV columns).
angular peak in the surface. This technique can
Width CVs—Lets you enter the number of CVs
help you shape the surface. However, if you
later move the CVs individually, you lose this along the width of the surface (this is the initial
effect. (You can also obtain the influence of number of CV rows).
multiple CVs by fusing (page 3–946) CVs.) Create—Creates the surface object.

Interface
The creation parameters are the same for both
point surfaces and CV surfaces, except that the
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
between the controls on this rollout. To click the
Create button from the keyboard, press Enter
while the button is active.
 CV Surface 1105

Create Parameters rollout 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

Length—The length of the surface in current
3ds Max units. The radio buttons in this group box let you
choose automatic reparameterization. With
Width—The width of the surface in current reparameterization, the surface maintains
3ds Max units. its parameterization as you edit it. Without
On the Modify panel, the Length and Width reparameterization, the surface’s parameterization
spinners are no longer available. You can change doesn’t change as you edit it, and can become
the length or width of the surface by scaling the irregular.
surface at the Surface sub-object level. Moving CV None—Do not reparameterize.
sub-objects also alters the length and width of the
surface. Chord Length—Chooses the chord-length
algorithm for reparameterization.
Length CVs—The number of CVs along the length
of the surface. In other words, the initial number Chord-length reparameterization spaces knots (in
of CV columns in the surface. Can range from 4 parameter space (page 3–988)) based on the square
to 50. root of the length of each curve segment.

Width CVs—The number of CVs along the width of Chord-length reparameterization is usually the
the surface. In other words, the initial number of best choice.
CV rows in the surface. Can range from 4 to 50. Uniform—Spaces the knots uniformly.
On the Modify panel, the CV Length and Width A uniform knot vector has the advantage that the
spinners are no longer available. You can change surface will change only locally when you edit it.
the number of rows and columns by deleting With the other two forms of parameterization,
existing rows and columns, or by adding new moving any CV can change the entire surface.
rows and columns using the Refine controls at the
Surface CV sub-object level.
1106 Chapter 9: Surface Modeling

Editing Point Sub-Objects (page 1–1123)

NURBS Curve Primitives Editing Curve CV Sub-Objects (page 1–1127)
Create panel > Shapes button > NURBS Curves Editing Surface CV Sub-Objects (page 1–1130)
Editing Curve Sub-Objects (page 1–1135)
NURBS (page 3–980) curves are Shape objects
(page 1–262), and you can use them as you Editing Surface Sub-Objects (page 1–1141)
do splines. You can use the Extrude or Lathe Note: Like an object-level NURBS surface (page
modifiers to generate a 3D surface based on a 1–1101), an object-level NURBS curve is a
NURBS curve. You can use NURBS curves as top-level NURBS model (page 3–980) that can
the path or the shape of a loft. (Lofts created contain NURBS curve, NURBS surface, and
using NURBS curves are loft objects, not NURBS NURBS point sub-objects. A NURBS curve
objects.) remains a Shape object unless you add a surface
You can also use NURBS curves as Path Constraint sub-object to it; if you do, it converts to a NURBS
and Path Deform paths or as motion trajectories. surface (without changing its name).

You can assign thickness to a NURBS curve so it Creating Independent Surfaces from NURBS Curve
renders as a cylindrical object. (The thickened Objects (page 1–1114)
curve renders as a polygonal mesh, not as a You can also create NURBS curve sub-objects by
NURBS surface.) attaching or importing other objects such as other
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
Display area in the Modify panel. These controls
A curve and the same curve rendered with thickness
affect which portions of the NURBS geometry are
There are two kinds of NURBS curve objects: displayed. Next to the Display area is the button
that turns on the toolbox for creating sub-objects.
Point Curve (page 1–1106)
CV Curve (page 1–1110)
Like other Shape objects, NURBS curves can
Point Curve
contain multiple sub-objects, which are either Create panel > Shapes button > NURBS Curves > Point
dependent or independent. Curve button

Create menu > NURBS > Point Curve

Creating Curve Sub-Objects (page 1–1151)
Creating Surface Sub-Objects (page 1–1177) Point curves are NURBS curves (page 1–1106)
whose points are constrained to lie on the curve.
Creating and Editing Point Sub-Objects (page
1–1219) A point curve can be the basis of a full NURBS
model (page 3–980).
Common Sub-Object Controls (page 1–1122)
 Point Curve 1107

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.
Points lie on the curve they define.
Procedure
Drawing Three-Dimensional Curves To create a NURBS point curve:

When you create a point curve, you can draw it in

1. Go to the Create panel.
three dimensions. There are two ways to do this:
• Draw In All Viewports: This toggle lets you use 2. Turn on Shapes, and choose NURBS
any viewport to draw the curve, enabling you Curves from the drop-down list.
to draw three dimensionally.
3. Turn on Point Curve.
• Using Ctrl to drag points: While you draw a
4. In a viewport, click and drag to create the first
curve, you can use the Ctrl key to drag a point
point, as well as the first curve segment. Release
off of the construction plane.
the mouse button to add the second point. Each
With the Ctrl –key method, further mouse subsequent location you click adds a new point
movement lifts the latest point off the construction to the curve. Right-click to end curve creation.
plane. There are two ways to use this: Note: If you begin the curve by clicking without
• Click-drag. If you hold down Ctrl and also dragging, this also creates the curve’s first point.
hold down the mouse button, you can drag However, if you release the mouse button more
to change the height of the point. The point’s than five pixels away from where you initially
location is set when you release the mouse pressed it, this creates an additional point.
button. While you are creating a point curve, you can
This method is probably more intuitive. press Backspace to remove the last point you
• Click-click. If you Ctrl +click and then release created, and then previous points in reverse
the mouse button, the height changes as you order.
drag the mouse. Clicking the mouse a second If Draw In All Viewports is on, you can draw in
time sets the point’s location. any viewport, creating a 3D curve.
This method is less prone to repetitive stress To lift a point off the construction plane, use
injury. the Ctrl key as described earlier in this topic
under "Drawing Three-Dimensional Curves."
While you are offsetting the point, a red dotted
line is drawn between the original point on the
1108 Chapter 9: Surface Modeling

As with splines, if you click over the curve’s Rendering rollout

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
can also close a curve when you edit it at the
Curve sub-object level.) When a closed curve
is displayed at the Curve sub-object level, 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, you can turn off the Start New
Shape check box, and then repeat the preceding
steps.

Interface
The creation parameters are the same for both
point curves and CV curves.

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
displayed in the viewport as a 3D mesh using the
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 V iewport settings—Lets you set different Sides—Sets the number of sides (or facets) for
rendering parameters, and displays the mesh the spline mesh n the viewport or renderer. For
generated by the Viewport settings. Available only example, a value of 4 results in a square cross
when Enable in Viewport is turned on. section.
Generate Mapping Coords—Turn this on to apply Angle—Adjusts the rotational position of the
mapping coordinates. Default=off. cross-section in the viewport or renderer. For
example, if the spline mesh has a square cross
The U coordinate wraps once around the thickness
section you can use Angle to position a "flat" side
of the spline; the V coordinate is mapped once
down.
along the length of the spline. Tiling is achieved
using the Tiling parameters in the material itself. Rectangular—Displays the spline’s mesh shape as
rectangular.
Real-World Map Size—Controls the scaling method
used for texture mapped materials that are applied Aspect—Sets the aspect ratio for rectangular
to the object. The scaling values are controlled cross-sections. The Lock check box lets you lock
by the Use Real-World Scale settings found in the aspect ratio. When Lock is turned on, Width
the applied material’s Coordinates rollout (page is locked to Depth that results in a constant ratio
2–1625). Default=on. of Width to Depth.
Viewport—Turn this on to specify Radial or Length—Specifies the size of the cross–section
Rectangular parameters for the shape as it will along the local Y axis.
display in the viewport when Enable in Viewport
Width—Specifies the size of the cross–section
is turned on.
along the local X axis.
Renderer—Turn this on to specify Radial or
Angle—Adjusts the rotational position of the
Rectangular parameters for the shape as it will
cross-section in the viewport or renderer. For
display when rendered or viewed in the viewport
example, if you have a square cross-section you
when Enable in Viewport is turned on.
can use Angle to position a "flat" side down.
Radial—Displays the 3D mesh as a cylindrical
Auto Smooth—If Auto Smooth is turned on, the
object.
spline is auto-smoothed using the threshold
Thickness—Specifies the diameter of the viewport specified by the Threshold setting below it. Auto
or rendered spline mesh. Default=1.0. Range=0.0 Smooth sets the smoothing based on the angle
to 100,000,000.0. between spline segments. Any two adjacent
segments are put in the same smoothing group if
the angle between them is less than the threshold
angle.
Threshold—Specifies the threshold angle in
degrees. Any two adjacent spline segments are put
in the same smoothing group if the angle between
them is less than the threshold angle.

Splines rendered at thickness of 1.0 and 5.0, respectively

1110 Chapter 9: Surface Modeling

Keyboard Entry rollout Draw In All V iewports—Lets you use any viewport
while you are drawing the curve. This is one way
The Keyboard Entry rollout lets you create a
to create a 3D curve. When off, you must finish
NURBS curve by typing. Use the Tab key to
drawing the curve in the viewport where you
move between the controls in this rollout. To click
began it. Default=on.
a button from the keyboard, press Enter while
the button is active. While Draw In All Viewports is on, you can also
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)

X, Y, and Z—Let you enter the coordinates of the controlled by control vertices (CVs (page 3–926)).
next point to add. The CVs don’t lie on the curve. They define a
control lattice (page 3–923) that encloses the curve.
Add Point—Adds the point to the curve.
Each CV has a weight that you can adjust to change
Close—Ends creation of the curve and creates the curve.
a segment between the last point and the initial While you’re creating a CV curve you can click
point to close the curve. to create more than one CV at the same location
Finish—Ends creation of the curve, leaving it open. (or close to it), increasing the influence of the
CVs in that region of the curve. Creating two
Create Point Curve rollout coincident CVs sharpens the curvature. 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.)
A CV curve can be the basis of a full NURBS model
(page 3–980).
This rollout contains the controls for curve
approximation.

Interpolation group
The controls in this group box change the accuracy
and type of curve approximation (page 1–1238)
used to generate and display the curve.
 CV Curve 1111

from the plane. You can move the mouse into an

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
CVs shape the control lattice that defines the curve.
To create a NURBS CV curve:
Drawing Three-Dimensional Curves
1. Go to the Create panel.
When you create a CV curve, you can draw it in
three dimensions. There are two ways to do this:
2. Turn on Shapes, and choose NURBS
• Draw In All Viewports: This toggle lets you use Curves from the drop-down list.
any viewport to draw the curve, enabling you
3. Turn on CV Curve.
to draw three dimensionally.
4. In a viewport, click and drag to create the
• Using Ctrl to drag CVs: While you draw a
first CV, as well as the first curve segment.
curve, you can use the Ctrl key to drag a CV
Release the mouse to add the second CV. Each
off of the construction plane.
subsequent location you click adds a new CV to
With the Ctrl –key method, further mouse the curve. Right-click to end curve creation.
movement lifts the latest CV off the construction Note: If you begin the curve by clicking without
plane. There are two ways to use this: dragging, this also creates the curve’s first CV.
• Click-drag. If you hold down Ctrl and also However, if you release the mouse more than
hold down the mouse button, you can drag to five pixels away from where you initially pressed
change the height of the CV. The CV’s location it, this creates an additional CV.
is set when you release the mouse button. While you are creating a CV curve, you can
This method is probably more intuitive. press Backspace to remove the last CV you
• Click-click. If you Ctrl +click and then release created, and then previous CVs in reverse order.
the mouse button, the height changes as you If Draw In All Viewports is on, you can draw in
drag the mouse. Clicking the mouse a second any viewport, creating a 3D curve.
time sets the CV’s location. To lift a CV off the construction plane, use
This method is less prone to repetitive stress the Ctrl key as described earlier in this topic
injury. under "Drawing Three-Dimensional Curves."
While you are offsetting the CV, a red dotted As with splines, if you click over the curve’s
line is drawn between the original CV on the initial CV, a Close Curve dialog (page 1–1228)
construction plane and the actual CV offset is displayed. This dialog asks whether you
1112 Chapter 9: Surface Modeling

want the curve to be closed. Click No to keep Enable In Renderer—When on, the shape is
the curve open or Yes to close the curve. (You rendered as a 3D mesh using the Radial or
can also close a curve when you edit it at the Rectangular parameters set for Renderer. In
Curve sub-object level.) When a closed curve previous versions of the program, the Renderable
is displayed at the Curve sub-object level, the switch performed the same operation.
initial CV is displayed as a green circle, and a
Enable In Viewport—When on, the shape is
green tick mark indicates the curve’s direction.
displayed in the viewport as a 3D mesh using the
5. Adjust the curve’s creation parameters. Radial or Rectangular parameters set for Renderer.
6. (Optional) To add a new NURBS curve In previous versions of the program, the Display
sub-object, you can turn off the Start New Render Mesh performed the same operation.
Shape check box, and then repeat the preceding Use Viewport settings—Lets you set different
steps. rendering parameters, and displays the mesh
generated by the Viewport settings. Available only
Interface when Enable in Viewport is turned on.
The creation parameters are the same for both
Generate Mapping Coords—Turn this on to apply
point curves and CV curves.
mapping coordinates. Default=off.
Rendering rollout 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
to the object. The scaling values are controlled
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
display when rendered or viewed in the viewport
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

segments are put in the same smoothing group if

the angle between them is less than the threshold
angle.
Threshold—Specifies the threshold angle in
degrees. Any two adjacent spline segments are put
in the same smoothing group if the angle between
them is less than the threshold angle.

Splines rendered at thickness of 1.0 and 5.0, respectively

Sides—Sets the number of sides (or facets) for

the spline mesh n the viewport or renderer. For
example, a value of 4 results in a square cross
section.
A curve and the same curve rendered with thickness
Angle—Adjusts the rotational position of the
cross-section in the viewport or renderer. For
Keyboard Entry rollout
example, if the spline mesh has a square cross
section you can use Angle to position a "flat" side The Keyboard Entry rollout lets you create a
down. NURBS curve by typing. Use the Tab key to
move between the controls in this rollout. To click
Rectangular—Displays the spline’s mesh shape as
a button from the keyboard, press Enter while
rectangular.
the button is active.
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 Y axis.
Width—Specifies the size of the cross–section
along the local X axis.
Angle—Adjusts the rotational position of the
X, Y, and Z—Let you enter the coordinates of the
cross-section in the viewport or renderer. For
next CV to add.
example, if you have a square cross-section you
can use Angle to position a "flat" side down. Add Point—Adds the CV to the curve.

Auto Smooth—If Auto Smooth is turned on, the Weight—Enter a weight for the CV.
spline is auto-smoothed using the threshold
Close—Ends creation of the curve and creates a
specified by the Threshold setting below it. Auto
segment between the last CV and the initial CV, to
Smooth sets the smoothing based on the angle
make the curve a closed curve.
between spline segments. Any two adjacent
1114 Chapter 9: Surface Modeling

Finish—Ends creation of the curve, leaving it open Chord Length—Chooses the chord-length
ended. algorithm for reparameterization.
Chord-length reparameterization spaces knots (in
Create CV Curve rollout
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.

This rollout contains the controls for curve

approximation. Creating NURBS Curve and
Surface Objects
Interpolation group
The controls in this group box change the accuracy
and kind of curve approximation (page 1–1238) Creating Independent Surfaces
used to generate and display the curve. from NURBS Curve Objects
Draw In All Viewports—Lets you use any viewport To create independent surfaces from top-level
while you are drawing the curve. This is one way NURBS curve objects, use the Extrude (page
to create a 3D curve. When off, you must finish 1–680) and Lathe (page 1–707) modifiers. Extrude
drawing the curve in the viewport where you adds height to the curve, creating a shape by
began it. Default=On. sweeping it along the curve’s local Z axis. Lathe
creates a surface of rotation, revolving the shape
While Draw In All Viewports is on, you can also
along a specified axis. You can also use the Bevel
use snaps (page 2–41) in any viewport.
(page 1–562) and Bevel Profile (page 1–565)
modifiers on NURBS curves.
Automatic Reparameterization group
These modifiers treat NURBS curves the same way
The controls in this group box let you specify
they treat shapes (page 1–262). The advantage of
automatic reparameterization. They are similar
using NURBS curves instead of shapes is in the
to the controls in the Reparameterize dialog (page
different possible shapes that NURBS geometry
1–1237), with one addition: all choices except
and editing provide.
for None tell the software to reparameterize the
curve automatically; that is, whenever you edit it Tip: When you create a complicated surface,
by moving CVs, refining, and so on. especially with the Lathe modifier, you often want
to render both sides of the surface. Turn on Force
None—Do not reparameterize automatically.
 Creating NURBS Curves from Splines 1115

2-Sided in the Render Scene dialog to see both Procedure

sides of the extruded or lathed surface. To see both To turn a spline into NURBS curves:
sides in viewports, turn on Force 2-Sided in the
1. Create the spline.
Viewport Configuration dialog.
By default, an object with Extrude or Lathe 2. Go to the Modify panel.
collapses to an editable mesh (page 1–996) object.
To have Extrude or Lathe output collapse to a 3. In the stack display, right-click the name of the
NURBS object, change the setting to NURBS in the spline.
Output group box of the Extrude or Lathe rollout, 4. On the pop-up menu, choose Convert To:
and then collapse the modifier stack (page 3–760). NURBS.
The spline is converted to one or more CV
curves.
Creating NURBS Curves from
Smoothly curved splines, such as circles and
Splines
arcs, convert to a single CV curve.
Select Spline object. > Modify panel > Right-click the Splines with sharp angles, such as rectangles
spline name. > Convert To: NURBS
and stars, convert to multiple CV curves whose
endpoints are at the angles in the original
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.

Splines become NURBS curves that then become NURBS

surfaces.

You can turn 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.
1116 Chapter 9: Surface Modeling

Procedure
Creating NURBS Surfaces from To turn a primitive into a NURBS object:
Geometric Primitives
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-objects such as Lathe.
Primitive objects become NURBS surfaces that you can then
edit in various ways.
Nonrelational NURBS Surfaces
You can turn a standard primitive (page 1–170)
into a NURBS object formed of CV surfaces (page Select NURBS object. > Modify panel > General rollout >
Relational Stack toggle
1–1179). Once converted, you can no longer edit
the object parametrically, but you can edit it as a
Nonrelational NURBS surfaces provide a way
NURBS object, moving CVs and so on.
to improve the performance of NURBS with
You can’t convert most extended primitive objects modifiers. These are controlled by the Relational
in this way, but you can convert the torus knot Stack toggle on the General rollout for NURBS
(page 1–189) and prism (page 1–205) extended objects.
primitives to NURBS objects.
You can also convert 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
to cap surfaces that aren’t closed.
 Display Controls for NURBS Models 1117

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, you can render it now. If it has
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
model looks different than it did with the
nonrelational stack. Usually the difference in
appearance isn’t great, but the nonrelational
stack can show anomalies such as cracks
When Relational Stack is on, NURBS maintain full between Blend surfaces.
relational modeling on the modifier stack (page
3–760). When this toggle is off (the default),
then using the modifier stack converts surfaces Display Controls for NURBS
into independent CV surfaces before applying Models
modifiers. Surfaces on the stack behave in a
nonrelational way. If your NURBS model contains Modify panel > Select NURBS object. > General rollout
> Display group, Surface Display group, and NURBS
no dependent surfaces, then it behaves the same on Creation Toolbox button
the stack regardless of the Relational Stack setting.
Modify panel > Select NURBS object. > Right-click in
However, the results are still faster if Relational viewport. > Display commands on the Tools 1 (upper-left)
Stack is turned off. quadrant of the quad menu

When Relational Stack is off, there is no overhead The check boxes on the General rollout for a
of copying the data from the relational model, NURBS curve or surface control how the object
and no need to compute the relational surfaces, is displayed in viewports. If all check boxes are
so performance is faster. turned off, the NURBS object is invisible (except
Tip: To improve performance still further, display for the white bounding-box indicators displayed
surfaces as shaded lattices (see Display Controls for in shaded viewports when the object is selected).
NURBS Models (page 1–1117)). With Relational An additional rollout, Display Line Parameters
Stack off and Shaded Lattice chosen, NURBS (page 1–1119), contains controls for how surfaces
objects perform on the stack about as well as mesh display in viewports.
objects do.
1118 Chapter 9: Surface Modeling

Interface 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
Display group surfaces are always shaded while you transform
Lattices—When on, displays control lattices in them, but transforms can take longer.
yellow lines. (You can change the lattice color using Keyboard shortcut (while Keyboard Shortcut
the Colors panel (page 3–799) of the Customize Override Toggle is on): Ctrl+X
User Interface dialog.) The Curve CV and Surface
Tip: You can toggle Ctrl+X during a transform,
CV sub-object levels also have a local Display
as well as before you begin the transform.
Lattice toggle, which overrides this global setting
at the sub-object level. The Curve CV and Surface
NURBS Creation Toolbox—Turn on to display
CV settings are independent. In other words, at
the sub-object level you can turn on the lattice for the NURBS sub-object creation toolbox. See Using
an object’s curves but not its surfaces, or vice versa. the NURBS Toolbox to Create Sub-Objects (page
1–1083).
Keyboard shortcut (while Keyboard Shortcut
Override Toggle is on): Ctrl+L Keyboard shortcut (while Keyboard Shortcut
Override Toggle is on): Ctrl+T
At the object level, this shortcut is equivalent to
turning Lattice on or off. At the sub-object level, Surface Display group
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 This group box, for surfaces only, lets you choose
Surfaces—When on, displays surfaces. how to display surfaces in viewports.

Keyboard shortcut (while Keyboard Shortcut Tessellated Mesh—When chosen, NURBS surfaces
Override Toggle is on): Ctrl+Shift+S display as fairly accurate tessellated meshes in
shaded viewports. In wireframe viewports,
Dependents—When on, displays dependent
they appear as either iso curves or wire meshes,
sub-objects.
depending on the settings you’ve chosen on the
Keyboard shortcut (while Keyboard Shortcut Display Line Parameters rollout (page 1–1119).
Override Toggle is on): Ctrl+D
 Display Line Parameters for NURBS Surfaces 1119

Shaded Lattice—When chosen, NURBS surfaces U Lines and V Lines—The number of lines used to
appear as shaded lattices in shaded viewports. approximate the NURBS surface in viewports,
Wireframe viewports display the surface’s lattice along the surface’s local U and V dimensions,
without shading. A shaded lattice shades the CV respectively. Reducing these values can speed up
control lattice (page 3–923) of the NURBS surface. the display of the surface, but reduce accuracy
This displays more quickly than a tessellated mesh. of the display. Increasing these values increases
The shading is not accurate. It gives you a fairly accuracy at the expense of time. Setting one of
good idea of lofts, but is less accurate for free-form these values to 0 displays only the edge of the
surfaces. The shading is always as large or larger object in the corresponding dimension.
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 Iso and mesh displays of a NURBS teapot
having to turn on the Keyboard Shortcut Override
Iso Only—When chosen, all viewports display iso
Toggle.)
line (page 3–959) representations of the surface.
Iso(parametric) lines are similar to contour lines.
The lines show where the NURBS surface has
Display Line Parameters for
a constant U value or V value or both. Iso line
NURBS Surfaces representations can be less crowded and easier to
Select NURBS object. > Modify panel > Display Line visualize than wire mesh representations.
Parameters rollout
Iso and Mesh—(The default.) When chosen,
These parameters are contained on a single rollout wireframe viewports display iso line
at the top level of a NURBS object. representations of the surface, and shaded
viewports display the shaded surface.
Interface 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

• To maintain parametric control over primitives.

Creating and Editing NURBS For example, if you import a sphere, you can
change its radius directly, which you can’t do
Sub-Objects after using Attach.
• To use Bezier splines as NURBS curves.
Attaching and Importing 3ds Max For example, if you want to use a Bezier spline
Objects as a curve in a NURBS model, import it. This
allows you to edit it as a Bezier spline, and not
Modify panel > Select NURBS object. > General rollout >
Attach button, Import button, and related controls as a NURBS curve.
Surfaces and curves created by an import are
There are two ways to bring other 3ds Max objects available in the NURBS model. For example, if
into a NURBS object: you import a box, you can create a blend surface
• Attach, which works like Attach for meshes between one of its polygons and another surface
and splines. It converts the attached object to in your NURBS object.
NURBS format. Once the object is attached,
Once you have imported an object, the NURBS
you can edit it as a NURBS surface or curve.
object has an Imports sub-object level. When you
However, the attached object’s history is lost.
select an import, it is highlighted in red.
Note: For NURBS surfaces, you can attach
other NURBS objects, standard primitive (page It is an error to apply a modifier to an import when
1–170) objects, or quad patch (page 1–994) and the modifier converts the import into something
tri patch (page 1–995) surfaces. The patch is that can’t be converted to a NURBS object. For
converted to a NURBS surface. Quad patches example, if you import a sphere and apply a Bend
convert more successfully than Tri Patches. A (page 1–560) to it, the sphere converts to an
converted Tri Patch has a collapsed internal editable mesh, which can’t automatically convert
edge, which gives irregular results when you to a NURBS surface. In this case, the import
manipulate its mesh. sub-object is in an error state, and it is displayed in
the error color (orange by default).
When you convert a spline circle (page 1–273)
to a NURBS curve, the direction of the curve Imports are displayed in two different ways.
is reversed. This facilitates using the curve to While you work at the NURBS object level or at a
trim a surface: if the direction weren’t reversed, sub-object level other than Imports, imports are
usually the circle would trim outward instead displayed as NURBS curves or surfaces, and use
of inward. the NURBS object’s mesh tessellation (see Surface
Approximation (page 1–1239)). However, at the
• Import, which works somewhat like the
Imports sub-object level, the selected import is
operand of a Boolean (page 1–338). The object
displayed using its native display format. In other
is brought into the NURBS object without
words, it displays as it would if it were a top-level
losing its history. You can select the imported
object. This is because the display must let you edit
object as a sub-object.
the imported object. For example, an imported
Bezier spline needs to display its tangent handles.
Using Imports
This wouldn’t be possible if it were displayed as
Here are reasons to use Import instead of Attach:
 Attaching and Importing 3ds Max Objects 1121

a converted NURBS curve. Leaving the Imports extracted object, the import sub-object, or the
sub-object level returns to NURBS-style display. whole NURBS model before you can see the
extracted object.
You can extract an imported object. This creates
an independent, top-level object again.
Interface

Procedures Attach and Import controls

To attach or import an object to a NURBS object:
Attach—Lets you attach another object to the
NURBS object. Click to turn on Attach, and
1. Select the NURBS object and go to the then click the object to attach. If the object
Modify panel. you’re attaching isn’t already a NURBS object, it
2. (Optional.) Turn on Reorient if you want to is converted to one or more NURBS curves or
reorient and align the import with the center surfaces that are sub-objects of the object you’re
of the NURBS object. modifying.
3. Turn on Attach or Import. Attach Multiple—Lets you attach multiple objects
Note: At this step, you can click Attach Multiple to the NURBS surface. Displays a version of the
or Import Multiple instead. These buttons Select Objects dialog (page 1–78), listing the objects
display a Select Objects dialog (page 1–78) so that can be attached. Use the dialog controls to
you can choose multiple objects to attach or select one or more objects by name, and then click
import. Attach.
4. Click the object to attach or import. Reorient—Moves and reorients the object you
are attaching or importing so its creation local
The mouse cursor changes shape to indicate
coordinate system is aligned with the creation
a valid object. You can attach curves, NURBS
local coordinate system of the NURBS object.
surfaces, or objects convertible to NURBS.
Import—Lets you import another object to the
To extract an imported object: NURBS object. Works the same way Attach does,
1. Go to the Imports sub-object level and select but the imported object retains its parameters and
the object to extract. modifiers.
2. Click Extract Import on the Import sub-object Import Multiple—Lets you import multiple objects.
rollout. Works the same way Attach Multiple does, but
If Copy is set (the default), the extracted object the imported objects retain their parameters and
is a top-level copy of the imported object. modifiers.
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
1122 Chapter 9: Surface Modeling

selection modifier, NSurf Sel (page 1–747). See

Common Sub-Object Controls NURBS and Modifiers (page 1–1089).
Many controls are common to the various kinds of Selection controls also include a Name field that
sub-objects in NURBS models (with the exception lets you customize the name of individual NURBS
of Imports (page 1–1120)). This topic introduces sub-objects other than CVs. (The Name field is
the controls that are common to most NURBS the only selection control for Import sub-objects.)
sub-objects.
Visibility
See also
You can hide or unhide NURBS sub-objects as
Editing Point Sub-Objects (page 1–1123) you do other objects. Hidden sub-objects are
Editing Curve CV Sub-Objects (page 1–1127) invisible in viewports, but remain renderable.
(At the sub-object level, hiding doesn’t affect the
Editing Surface CV Sub-Objects (page 1–1130) renderer.) You can’t select hidden sub-objects.
Editing Curve Sub-Objects (page 1–1135) Hide and unhide by name is available for curve
and surface sub-objects.
Editing Surface Sub-Objects (page 1–1141)
Make Independent
Transforming Sub-Objects
You can make a dependent point, curve, or surface
One way to alter a NURBS model is to transform sub-object independent.
its sub-objects. Transforming lets you interactively
change the model’s curvature and shape. Warning: When you make an object independent,
you lose the animation controllers for all objects that
Transforming points or CVs is especially useful for
depend on it in turn. When you make point objects
adjusting the shape of a NURBS curve or surface.
independent, you lose the animation controllers for all
You can also Shift +Clone most kinds of points on the curve or surface. Also, if you make a curve
sub-objects, except CVs. For curves and surfaces, that trims a surface independent, you lose the trimming
Shift +Cloning displays a Sub-Object Clone of the surface.
Options dialog (page 1–1237), which lets you
reduce relational dependencies to improve Remove Animation
performance. All sub-object rollouts have a Remove Animation
button. This removes animation controllers from
Selection Controls the selected sub-objects.
There is a Selection group box on the rollout for all
NURBS sub-objects except Imports. The buttons Detach and Copy
in this group let you control which sub-objects You can create a new curve or surface object by
to select. The selection buttons let you select detaching a curve or surface sub-object from
sub-objects individually, or multiple sub-objects at a NURBS model. To do so, select the curve
once. For example, Surface CV selection buttons or surface and then click Detach. A dialog is
give you the option of selecting individual CVs, or displayed, which lets you enter a name for the new
selecting a row of CVs on the surface, and so on. NURBS object. The new object is no longer part of
Note: There is no delete modifier for NURBS the original NURBS object.
curves as there is for splines. There is a NURBS
 Editing Point Sub-Objects 1123

You can also use the Detach button to create a new The Selection group box, described under
NURBS object that is a copy of a curve or surface "Interface" later in this topic, provides
sub-object. To do so, select the curve or surface, some additional options for selecting Point
and click to turn on Copy before you click Detach. sub-objects.
A dialog is displayed, which lets you enter a name 2. Turn on Move or another transform and then
for the new object. The original curve or surface drag in a viewport to transform the selection.
sub-object remains part of the NURBS object you
were editing, but the copied curve or surface is The shape of the model changes as you
now a NURBS object of its own. interactively transform the points.
Rotate and Scale are useful only when you’ve
Relational—This toggle affects dependent objects.
selected multiple points.
When off, detaching a dependent sub-object
makes it an independent object. For example, Tips
detaching a U loft converts it to a CV surface.
When on, detaching a dependent sub-object also • The Lock Selection Set button is useful
detaches the objects it depends on, so the object when you transform NURBS point sub-objects.
remains dependent. For example, detaching a U You can make a selection in one viewport, click
loft also detaches the curves that define it. Lock Selection Set (or press the Spacebar ),
and then transform the selection in a different
viewport.
Editing Point Sub-Objects • When you move point sub-objects, move them
as systematically as possible to avoid "getting
Modify panel > Select NURBS object or sub-object. >
Point sub-object level > Select point sub-objects. lost."
Modify panel > Select NURBS object or sub-object. > • On surfaces, avoid moving points so they cross
Right-click. > Tools 1 (upper-left) quadrant > Sub-objects over or under adjacent points. This can create
> Point > Select point sub-objects.
odd-looking warps or overlaps in the surface.
This topic describes the controls for point
To Shift +Clone a point sub-object:
sub-objects. A rollout labeled Point contains the
point sub-object controls for NURBS models. In • Hold down Shift while you transform the
addition to the Point rollout described here, the point.
Point sub-object level displays the Soft Selection This works only for points that lie on curves
rollout (page 1–1147). or surfaces, independent point (page 1–1219)
sub-objects, and curve point (page 1–1220) or
Procedures surface point (page 1–1222) sub-objects that
To transform point sub-objects: lie on the curve or surface (that is, that aren’t
displaced).
1. At the Point sub-object level, select one or more
points. To use the keyboard to select point sub-objects:
The sub-object selection tools are the same as You can select point sub-objects using the Ctrl
for other kinds of sub-objects. You can also use key and the arrow keys. The arrows traverse the
the H key while the Keyboard Shortcut Override sub-objects in the order they were created. To do
toggle (page 3–872) is on. See Sub-Object so, follow these steps:
Selection (page 1–1084).
1124 Chapter 9: Surface Modeling

The point, row, or column is deleted. Deleting a

"single" point actually deletes both the row and
1. Turn on the Keyboard Shortcut
column to which the point belongs.
Override Toggle.
2. Click or drag to select points. To add a point to a curve:
3. Hold down Ctrl and use the arrow keys to 1. In the Refine group box, turn on Curve.
move among the point sub-objects.
2. Click the curve where you want to add the
For points on curves, the arrow keys traverse point.
the point selection along the length of the
A point is added at the location you clicked.
curve. The arrow keys don’t move between
The curvature can change.
curve sub-objects.
For points on surfaces, the left and right arrow To add a point and extend the length of a curve:
keys traverse the U dimension of a surface, 1. Click to turn on Extend.
while the up and down arrow keys traverse the
2. Move the mouse over a point curve. The curve
V dimension of the surface. The arrow keys
is highlighted in blue, and one of the curve’s
don’t move between surface sub-objects.
ends displays a box to show where the curve
The arrow keys don’t traverse individually will be extended.
created points that aren’t part of a curve or
3. Drag from the highlighted end point, and then
surface.
release the mouse button.
You can also use the H keyboard shortcut (while
A new point is added beyond the original
the Keyboard Shortcut Override Toggle is on)
length of the curve.
to display a dialog and select points by name.
Ctrl+H displays only the names of points directly To add points to a point surface:
beneath the mouse cursor.
1. In the Refine group box, click Surf Row, Surf
To remove a point from a curve: Col., or Surf Row & Col.

1. Select a point. 2. Click the surface.

2. In the Delete group box, click Point. A row, a column, or both are added close to
the point where you clicked the surface. The
Keyboard shortcut: Delete
new points are placed on the surface so they
The point is deleted and the shape of the curve preserve the surface’s curvature. The curvature
is updated. can change, but only slightly.
Note: An open point curve must have at least
To fuse two points:
two endpoints.
1. Turn on Fuse.
To remove points from a surface:
2. Click a point without releasing the mouse
1. Select a point, row, or column. button. Drag to another point, and then release
The appropriate Delete buttons are enabled. the mouse button.
2. In the Delete group box, click Point, Row, or The first point you choose acquires the position
Col. 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. Turn on Soft Selection.
3. Transform 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,
Selection group
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.
Point sub-object selection controls
Interface
Single Point—(The default.) When on, you can
In addition to the Point rollout described here,
the Point sub-object level also displays the Soft select individual points by clicking, or groups of
Selection rollout (page 1–1147). points by dragging a region.
Row of Points—When on, clicking a point selects
the entire row the point belongs to. 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 the Colors panel (page 3–799) of the Customize
selects the entire column the point belongs to. User Interface dialog (page 3–792).)
Dragging selects all columns in the region.
Unfuse—Unfuses the fused points.
If the point is on a curve, Column of Points selects
Extend—Extends a point curve. Drag from the end
only a single point.
of a curve to add a new point and extend the curve.
Row and Column of Points—When on, clicking a
Warning: When you add points with Extend, you lose
point selects both the row and column the point
the animation controllers for all points on the curve or
belongs to. Dragging selects all rows and columns surface.
in the region.
Make Independent—Disabled if the point is
All Points—When on, clicking or dragging selects
independent. If the point is dependent, clicking
all the points in the curve or surface. this button makes it independent.
Tip: Rows and columns are easily visible when
Warning: When you make a point independent, you
the NURBS surface is planar, or nearly so. When
lose the animation controllers for all objects that depend
the surface has a complicated curvature, rows
on it in turn.
and columns can be more difficult to see. The
Row, Column, and Row/Column buttons can be Remove Animation—Removes animation
especially useful in this situation. controllers from the selected points.

Name—Shows the name of the currently selected Delete group

point. It is disabled if you have selected multiple
points. The buttons in this group box delete one or more
points.
By default, the name is "Point" followed by a
sequence number. You can use this field to give the Point—Deletes a single point (on a curve) or a row
point a name that you choose. and column of points (on a surface).

Hide—Click to hide the currently selected points. Row—Deletes a row from a surface.

Unhide All—Click to unhide all hidden points. Col.—Deletes a column from a surface.

Fuse—Fuses a point to another point. (You can’t Warning: When you delete points, you lose the
animation controllers for all points on the curve or
fuse a CV to a point, or vice versa.) This is one way
surface.
to connect two curves or surfaces. It is also a way
to change the shape of curves and surfaces.
Refine group
Fusing points does not combine the two point
The buttons in this box refine point curves or
sub-objects. They are connected but remain
surfaces by adding points to them.
distinct sub-objects that you can unfuse later.
Curve—Adds points to a point curve.
Fused points behave as a single point until you
unfuse them. Surf Row—Adds a row of points to a point surface.

Fused points are displayed in a distinct color. The Surf Col.—Adds a column of points to a point
default is purple. (You can change this color using surface.
 Editing Curve CV Sub-Objects 1127

Surf Row & Col.—Adds both a row and a column The Selection group box, described under
to a point surface; their intersection is where you "Interface" later in this topic, provides some
click the surface. additional options for selecting CV sub-objects.
Warning: When you add points, you lose the animation 2. Turn on Move or another transform and then
controllers for all points on the curve or surface. drag in a viewport to transform the selection.
Points Selected—This text field shows how many The shape of the model changes as you
points are currently selected. interactively transform the CVs.
Rotate and Scale are useful only when you’ve
selected multiple CVs.
Editing Curve CV Sub-Objects
Tips
Modify panel > Select NURBS object or sub-object. >
Stack display > Curve CV sub-object level > Select CV • When you transform NURBS CV
sub-objects.
sub-objects, the Lock Selection Set button can
Modify panel > Select NURBS object or sub-object. > be useful. You can make a selection in one
Right-click. > Tools 1 (upper-left) quadrant > Sub-objects
> Curve CV > Select CV sub-objects. viewport, click Lock Selection Set (or press the
Spacebar ), and then transform the selection
This topic describes the controls for CV in a different viewport.
sub-objects that lie on curves. A rollout labeled CV • When you move CV sub-objects, move them as
contains the CV sub-object controls for NURBS systematically as possible to avoid "getting lost."
models. In addition to the CV rollout described
here, the Curve CV sub-object level displays the To use the keyboard to select curve CV sub-objects:
Soft Selection rollout (page 1–1147). You can select curve CV sub-objects using the
In you can edit the CVs in CV curves on surfaces Ctrl key and the arrow keys. The arrows traverse
(page 1–1172) as you edit other kinds of curve the sub-objects in the order they were created. To
CVs. You can transform CVs in CV curves on do so, follow these steps:
surfaces, but you can’t move the CVs off the
surface. Using the Curve CV sub-object level is an
alternative to editing these CVs by using the Edit 1. Turn on the Keyboard Shortcut
Curve on Surface (page 1–1229) dialog. Override Toggle.
2. Click or drag to select CVs.
Procedures 3. Hold down Ctrl and use the arrow keys to
To transform curve CV sub-objects: move among the CV sub-objects.
1. At the Curve CV sub-object level, select one or For CVs on curves, the arrow keys traverse the
more CVs. CV selection along the length of the curve.
The sub-object selection tools are the same The arrow keys don’t move between curve
as for other kinds of sub-objects. You can sub-objects.
also use the H key while the Keyboard You can also use the H keyboard shortcut (while
Shortcut Override toggle (page 3–872) is on. See the Keyboard Shortcut Override Toggle button is
Sub-Object Selection (page 1–1084). on) to display a dialog and select CVs by name.
1128 Chapter 9: Surface Modeling

Ctrl+H displays only the names of CVs directly an animation controller, the first CV acquires
beneath the mouse cursor. it too.
Fused CVs display in purple by default.
To remove a CV from a curve:
1. Select a CV. To unfuse fused CVs:
2. Click Delete. 1. Select the fused CV.
Keyboard shortcut: Delete 2. Click Unfuse.
The CV is deleted and the shape of the curve Now you can move and edit the two CVs
is updated. independently.
Note: A CV curve must have at least one more
To transform a region:
CV than the degree (page 3–927) of the curve.
1. Using sub-object selection, select one or more
To add a CV to a curve: CVs for the center of transformation.
1. Turn on Refine. 2. Turn on Soft Selection.
2. Click the curve where you want to add the CV. 3. Transform the CV.
A CV is added at the location you clicked. A region around the selected CV is transformed
Neighboring CVs move away from the new CV accordingly.
in order to preserve the original curvature.
Move is the most common transform to use.
To add CVs and extend the length of a curve:
Rotate and Scale can be used with a non-local
transform center.
1. Click to turn on Extend.
Tip: If Soft Selection appears not to be working,
2. Move the mouse over a CV curve. The curve is the Falloff value might be too small for the size
highlighted in blue, and one of the curve’s ends of your surface. On the Soft Selection rollout
displays a box to show where the curve will be (page 1–1147), increase the value of Falloff so it
extended. encompasses other points or CVs.
3. Drag from the highlighted end CV, and then
release the mouse button. Interface
New CVs are added beyond the original length In addition to the CV rollout described here, the
of the curve. Curve CV sub-object level also displays the Soft
Selection rollout (page 1–1147).
To fuse two CVs:
1. Turn on Fuse.
2. Click a CV without releasing the mouse button.
Drag to another CV, and then release the mouse
button.
The first CV you choose acquires the position
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
 Editing Curve CV Sub-Objects 1129

toward the CV. Decreasing the weight relaxes the

curve away from the CV.
Increasing weight is a way to harden a curve; 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.
Hide—Click to hide the currently selected CVs.

Selection group 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
connect two curves. It is also a way to change the
shape of curves.
Curve sub-object selection controls
Fusing CVs does not combine the two CV
Single CV—(The default.) When on, you can select sub-objects. They are connected but remain
individual CVs by clicking, or groups of CVs by distinct sub-objects that you can unfuse later.
dragging a region.
Fused CVs behave as a single CV until you unfuse
All CVs—When on, clicking or dragging selects all them. Fused CVs behave similar to a single point,
the CVs in the curve. but the property of multiplicity for coincident CVs
also applies. (See NURBS Concepts (page 1–1091)
Name—Shows either "No CVs selected", "Multiple
and CV Curve (page 1–1110).) The fused CVs
CVs selected", or "CurveName(index)", where
have proportionally more influence on the curve.
"CurveName" is the name of the CV’s parent
The curve can become sharper in the fused CVs’
curve, and "index" is the CV’s U location along the
vicinity, or even angular if more than two CVs are
length of the curve. You can’t edit the Name field
fused together.
to customize the names of CVs.
Fused CVs are displayed in a distinct color. The
If CVs are fused, the Name field shows the name
default is purple. (You can change this color using
of the first CV.
the Colors panel (page 3–799) of the Customize
Weight—Adjusts the weight of the selected CVs. User Interface dialog (page 3–792).)
You can use a CV’s weight to adjust the CV’s effect
Unfuse—Unfuses the fused CVs.
on the curve. Increasing the weight pulls the curve
1130 Chapter 9: Surface Modeling

Refine—Refines the curve by adding CVs.

Editing Surface CV Sub-Objects
Warning: When you add CVs with Refine, you lose the
animation controllers for all CVs on the curve. Modify panel > Select NURBS object or sub-object. >
Stack display > Surface CV sub-object level > Select CV
As you move the mouse over the CV curve, a sub-objects.
preview of the CVs that will be added, and their Modify panel > Select NURBS object or sub-object. >
locations, is displayed in blue. Right-click a viewport. > Tools 1 (upper-left) quadrant >
Sub-objects > Surface CV > Select CV sub-objects.
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
the curve, as refining does.
Transforming CVs changes the shape of the surface.
Tip: It is a good idea to reparameterize after you
have added CVs to a curve by inserting. See Procedures (page 1–1130)
Editing Curve Sub-Objects (page 1–1135). Interface (page 1–1132)
Extend—Extends a CV curve. Drag from the end This topic describes the controls for CV
of a curve to add a new CV and extend the curve. sub-objects that lie on surfaces. A rollout labeled
Warning: When you add points with Extend, you lose CV contains the CV sub-object controls for
the animation controllers for all points on the curve. NURBS models. In addition to the CV rollout
described here, the Curve CV sub-object level
Remove Animation—Removes animation
displays the Soft Selection rollout (page 1–1147).
controllers from the selected CVs.
Display Lattice—When on, displays the control Procedures
lattice (page 3–923) that surrounds CV curves. To transform surface CV sub-objects:
When off, the control lattice isn’t shown in
1. At the Surface CV sub-object level, select one
viewports. Default=on.
or more CVs.
CVs Selected—This text field shows how many CVs
The sub-object selection tools are the same as
are currently selected. for other kinds of sub-objects. You can also
use the H key 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
1. Turn on the Keyboard Shortcut
additional options for selecting CV sub-objects.
Override Toggle.
2. Turn on Move or another transform and then
2. Click or drag to select CVs.
drag in a viewport to transform the selection.
3. Hold down Ctrl and use the arrow keys to
The shape of the model changes as you
move among the CV sub-objects.
interactively transform the CVs.
For CVs on surfaces, the left and right arrow
Rotate and Scale are useful only when you’ve
keys traverse the U dimension of a surface,
selected multiple CVs.
while the up and down arrow keys traverse the
Tips V dimension of the surface. The arrow keys
don’t move between surface sub-objects.
• The Lock Selection Set button is useful
You can also use the H keyboard shortcut (while
when you transform NURBS CV sub-objects.
the Keyboard Shortcut Override Toggle button is
You can make a selection in one viewport, click
on) to display a dialog and select CVs by name.
Lock Selection Set (or press the Spacebar ),
Ctrl+H displays only the names of CVs directly
and then transform the selection in a different
beneath the mouse cursor.
viewport.
• When you move CV sub-objects, move them as To remove CVs from a surface:
systematically as possible to avoid "getting lost." 1. Select a row, column, or a row and column.
• On surfaces, avoid moving CVs so they cross The appropriate Delete buttons are enabled.
over or under adjacent points. This can create
2. In the Delete group box, click Row, Col., or
odd-looking warps or overlaps in the surface.
Both.
To Shift +clone surface sub-objects: The row, the column, or both are deleted.
• Hold down Shift while you transform the Note: You can’t delete a single CV from a CV
surface selection. surface. Nor can you delete a row or column if
The Sub-Object Clone Options (page 1–1237) that would make the surface have fewer than
dialog appears. This dialog provides various four rows or columns.
ways to clone the surfaces, some of which
To add CVs to a CV Surface:
reduce relational dependencies to improve
performance. 1. In the Refine group box, click Row, Col., or
Both.
To use the keyboard to select surface CV sub-objects:
2. Click the surface.
You can select surface CV sub-objects using the
A row, a column, or both are added close
Ctrl key and the arrow keys. The arrows traverse
to the point where you clicked the surface.
the sub-objects in the order they were created. To
Neighboring CVs move away from the new
do so, follow these steps:
CVs in order to preserve the surface’s original
curvature.
1132 Chapter 9: Surface Modeling

To fuse two CVs: Interface

1. Turn on Fuse. In addition to the CV rollout described here, the
2. Click a CV without releasing the mouse button. Surface CV sub-object level also displays the Soft
Drag to another CV, and then release the mouse Selection rollout (page 1–1147).
button.
CV rollout
The first CV you choose acquires the position
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.
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. Transform 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.
Surface CV sub-object rollout
Tip: If Soft Selection appears not to be working,
the Falloff value might be too small for the size
Selection group
of your surface. On the Soft Selection (page
1–1147) rollout, increase the value of Falloff so it
encompasses other CVs.

Surface CV sub-object selection controls

 Editing Surface CV Sub-Objects 1133

Single CV—(The default.) When on, you can select value you choose. Because weights are relative to
individual CVs by clicking, or groups of CVs by each other (rational), using the Weight control
dragging a region. when all CVs are selected has no visible effect.
Row of CVs—When on, clicking a CV selects the Tip: You can increase the curvature of an
entire row the CV belongs to. Dragging selects all indentation in a surface by increasing the weight
rows in the region. of the CVs surrounding the indented area. This is
easier and often more effective than moving the
Column of CVs—When on, clicking a CV selects the
indented area’s CVs.
entire column the CV belongs to. Dragging selects
all columns in the region. Hide—Click to hide the currently selected CVs.

Row and Column of CVs—When on, clicking a CV Unhide All—Click to unhide all hidden CVs.
selects both the row and column the CV belongs Fuse—Fuses a CV to another CV. (You can’t fuse a
to. Dragging selects all rows and columns in the CV to a point, or vice versa.) This is one way to
region. connect two surfaces. It is also a way to change the
All CVs—When on, clicking or dragging selects all shape of surfaces.
the CVs in the surface. Fusing CVs does not combine the two CV
Name—Shows either "No CVs selected", "Multiple sub-objects. They are connected but remain
CVs selected", or "SurfaceName(uIndex,vIndex)", distinct sub-objects that you can unfuse later.
where "SurfaceName" is the name of the CV’s Fused CVs behave as a single CV until you unfuse
parent surface, and "uIndex,vIndex" is the CV’s them. Fused CVs behave similar to a single point,
UV location on the surface. You can’t edit the but the property of multiplicity for coincident CVs
Name field to customize the names of CVs. also applies. (See NURBS Concepts (page 1–1091)
If CVs are fused, the Name field shows the name and CV Curve (page 1–1110).) The fused CVs have
of the first CV. proportionally more influence on the curve, which
can become sharper in the fused CVs’ vicinity,
Weight—Adjusts the weight of the selected CVs.
or even angular if more than two CVs are fused
You can use a CV’s weight to adjust the CV’s effect together.
on the surface. Increasing the weight pulls the
surface toward the CV. Decreasing the weight Fused CVs are displayed in a distinct color. The
relaxes the surface away from the CV. default is purple. (You can change this color using
the Colors panel (page 3–799) of the Customize
Increasing weight is a way to harden a surface: that User Interface dialog (page 3–792).)
is, to sharpen its curvature at a particular location.
Unfuse—Unfuses the fused CVs.
By default, the weight is 1.0 for the CVs of NURBS
objects that you create on the Create panel or the Remove Animation—Removes animation
NURBS sub-object creation rollouts. The weight controllers from the selected CVs.
of CVs in geometry that you convert to NURBS
can vary, depending on the object’s original shape. Constrained Motion group

You can change the weight when multiple CVs are These buttons constrain CV motion. They are
selected. Using the Weight field or spinner while enabled when you select one or more CVs. When
multiple CVs are selected assigns all of them the
1134 Chapter 9: Surface Modeling

you finish dragging the CV selection, the active Refine group

constraint button turns off.
These buttons refine the surface by adding CVs.
U—Constrains the CV selection to move in the As you move the mouse over the surface, a preview
surface’s U dimension. of the CVs that will be added, and their locations,
is displayed in blue.
Keyboard shortcut (Keyboard Shortcut Override
Toggle must be on): Alt+U Warning: When you add CVs with Refine, you lose the
animation controllers for all CVs on the surface.
V—Constrains the CV selection to move in the
surface’s V dimension. Row—Adds a row of CVs to the surface.

Keyboard shortcut (Keyboard Shortcut Override Col.—Adds a column of CVs to the surface.
Toggle must be on): Alt+V Both—Adds both a row and a column of CVs to
Normal—Constrains the CV selection to move the surface.
normal to the original surface. Tip: It is a good idea to reparameterize after you
Keyboard shortcut (Keyboard Shortcut Override have added CVs to a surface by refining. See
Toggle must be on): Alt+N Editing Surface Sub-Objects (page 1–1141).

Delete group Insert group

These buttons delete CVs from the surface. Select These buttons insert CVs into the curve. Click
one or more CVs, and then click Row, Col., or to turn on one of these buttons and then click
Both. the surface where you want to insert the new
CVs. Inserting CVs is similar to refining with
You can’t delete surface CVs if the deletion would CVs, except that other CVs in the surface do not
give the surface fewer than four rows or fewer than move. This means that the shape of the surface can
four columns. Aside from that restriction, these change when you insert.
buttons delete all rows, columns, or rows and
columns that contain selected CVs. This means Inserting CVs does not remove animation from
that you can’t delete after you make a selection the surface the way refining does.
using the Row and Column or All selection Row—Inserts a row of CVs into the surface.
buttons: that would imply deleting the entire CV
Col.—Inserts a column of CVs into the surface.
surface.
Both—Inserts both a row and a column of CVs
These buttons are unavailable unless the deletion
is possible. into the surface.
Tip: It is a good idea to reparameterize after you
Warning: When you delete CVs, you lose the animation
have added CVs to a surface by inserting. See
controllers for all CVs on the surface.
Editing Surface Sub-Objects (page 1–1141).
Row—Deletes rows of CVs from the surface.
Display Lattice—When on, displays the control
Col.—Deletes columns of CVs from the surface. lattice (page 3–923) that surrounds CV surfaces.
When off, the control lattice isn’t shown in
Both—Deletes both rows and columns of CVs
viewports. Default=on.
from the surface.
 Editing Curve Sub-Objects 1135

CVs Selected—This text field shows how many CVs The Sub-Object Clone Options (page 1–1237)
are currently selected. dialog is displayed. This dialog provides
various ways to clone the curves, some of which
reduce relational dependencies to improve
Editing Curve Sub-Objects performance.

Modify panel > Stack display > Open the NURBS object’s To use the keyboard to select curve sub-objects:
hierarchy. > Curve sub-object level > Select curve
sub-objects. You can select curve sub-objects using the Ctrl
key and the arrow keys. The arrows traverse the
This topic describes the controls that are common sub-objects in the order they were created. To do
to point and CV curves. A rollout labeled Curve so, follow these steps:
Common contains the curve sub-object controls
for NURBS models.
1. Turn on the Keyboard Shortcut
Procedures Override Toggle.
To transform curves:
2. At the Curve sub-object level, set the
1. At the Curve sub-object level, select one or
selection controls to select curves individually.
more curves.
3. Click or drag to select curves.
The sub-object selection tools are the same
as for other kinds of sub-objects. You can 4. Hold down Ctrl and use the arrow keys to
also press the H key when the Keyboard move among the curves in the current model.
Shortcut Override toggle (page 3–872) is on. See At the Curve sub-object level, the left and
Sub-Object Selection (page 1–1084). right arrow keys move forward and backward
The Selection group box, described under through individual curves in the order they
"Interface" later in this topic, provides were created. The up and down arrows are
additional options for selecting curves. equivalent to left and right.
2. Turn on Move or another transform and then You can also use the H keyboard shortcut (while
drag in a viewport to transform the selection. the Keyboard Shortcut Override Toggle is on)
The shape of the model changes as you to display a dialog and select curves by name.
interactively transform the curves. Ctrl+H displays only the names of curves
directly beneath the mouse cursor.
Tip: The Lock Selection Set button is useful
To delete a curve:
when you transform NURBS curve sub-objects.
You can make a selection in one viewport, click • Select the curve and then click Delete.
Lock Selection Set (or press the Spacebar ), Keyboard shortcut: Delete
and then transform the selection in a different
viewport. To turn a CV curve into a point curve:
1. Select the curve sub-object, and then click
To Shift +Clone curve sub-objects:
Make Fit.
• Hold down Shift while you transform the
curve selection.
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: The small circle indicates the first vertex.
• Select the curve sub-object, turn on Make First,
To turn a curve that lies on a surface into a Point
and then click a location on the curve.
Curve on Surface:
If the curve is closed and there is a vertex where
1. Select the curve sub-object, and then click
you click, this vertex becomes the first vertex. If
Make COS.
the curve is closed and there is no vertex where
you click, a new vertex is created at the location Make COS is unavailable unless the curve
you click. It becomes the new first vertex, and already lies on a surface; for example, it is a U
the curve’s points or CVs adapt to maintain the Iso curve.
curvature. 2. The Convert Curve on Surface dialog (page
If the curve is open, clicking it has no effect. 1–1226) is displayed.

Warning: Using Make First discards any animation

controllers for the points or CVs in the curve.

If the curve is open, the first vertex must be one

of the endpoints (by default, it is the first you
created). The Make First button has no effect,
but you can use Reverse to change the curve’s
direction.

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: If the curve is a closed curve, Break creates a

• Select a curve sub-object and then click single curve object, with its new start and end
Reverse. 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.
The software closes the curve by adding a
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.
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
about 30 units), use the Join Curve dialog to set
the Tolerance value greater than the distance
of the gap.

To break a curve:
• Turn on Break and then click a curve.
The curve is split into two independent curve
sub-objects. Two coincident (but independent)
points or CVs are created at the location you
clicked: each is the endpoint of one part of the
original curve.
1138 Chapter 9: Surface Modeling

Interface
Curve Common rollout

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.
By default, the name is the name of the curve
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
The controls on this rollout apply to all curve curves. Click to display a Select Sub-Objects
types. Depending on the type of curve, an dialog that lists curves by name. Select the curves
additional rollout is displayed with controls to make visible, then click Unhide.
specific to that type of curve.
Delete—Deletes the selected curve sub-objects.

Selection group Make Fit—Turns a CV curve into a point curve.

The selection buttons for curve sub-objects let you This displays the Make Point Curve dialog (page
select either individual curves, or curves that are 1–1235), which lets you set the number of points.
connected in space. For a point curve, this button lets you change the
number of points in the curve.
 Editing Curve Sub-Objects 1139

Reverse—Reverses the order of the CVs or points Convert Curve—Click to display the Convert Curve
in a curve, so that the first vertex becomes the last, dialog (page 1–1225). This dialog provides a more
and the last becomes the first. general way to convert a CV curve to a point curve,
or a point curve to a CV curve. It also lets you
The first point or CV is significant when you use
adjust a number of other curve parameters.
the NURBS curve like a spline: as a loft (page
1–352) path or shape, as a path constraint (page Make Independent—Disabled if the curve is
2–398) path, or as a motion trajectory (page independent. If the curve is dependent, clicking
2–301). For these purposes, the first vertex of the this button makes it independent.
curve is significant. If the curve is a closed curve,
Warning: When you make a curve independent, you
you can use Make First to set the curve’s first
lose the animation controllers for all objects that depend
vertex. on it in turn. If you make a curve that trims a surface
The direction of the curve also determines the independent, you lose the trimming of the surface.
initial direction of normals on surfaces based on Remove Animation—Removes animation
this curve. controllers from the selected curves.
Make COS—This button is enabled only for the Detach—Detaches the selected curve sub-object
following kinds of curves: from the NURBS model, making it a new top-level
• U iso curves (page 1–1168) NURBS curve (page 1–1106) object. The Detach
• V iso curves (page 1–1168) dialog (page 1–1228) is displayed, which lets you
name the new curve. The new object is no longer
• Normal projected curves (page 1–1169) part of the original NURBS model.
• Vector projected curves (page 1–1171)
To create a new top-level NURBS curve that is a
• Surface-surface intersection curves (page copy of the selected curve, turn on Copy before
1–1166) you click Detach.
• Surface edge curves (page 1–1177) Copy—When on, clicking Detach creates a copy of
• CV curves on surfaces (page 1–1172) the selected curve instead of detaching it from the
• Point curves on surfaces (page 1–1175) NURBS model. Default=off.

This displays a Make Curve on Surface dialog Make First—For a closed curve, lets you choose a
(page 1–1226), which turns the selected curve position that becomes the first vertex of the curve.
into a CV or point curve on surface. Once The first point or CV is significant when you use
converted, you can edit the new curve on the NURBS curve like a spline: as a loft (page
surface using the curve on surface controls, 1–352) path or shape, as a path constraint (page
including the Edit Curve on Surface dialog (page 2–398) path, or as a motion trajectory (page
1–1229). 2–301). For these purposes, the first vertex of the
If the curve is already a curve on surface, this curve is significant. If the curve is a closed curve,
button lets you change it from a point to CV you can use Make First to set the curve’s first
curve on surface, or vice versa. vertex.
The new Curve on Surface preserves the Break—Breaks a single curve into two curves.
trimming of the original curve. 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 number of CVs in the curve. Degree 3 curves
the animation controllers for all points or CVs on the are adequate to represent continuous curves, and
curve. are stable and well behaved. Default=3.
Join—Joins two curve sub-objects together. After Setting the degree greater than 3 isn’t
you have joined the curves in a viewport, the Join recommended because higher-degree curves are
Curves dialog (page 1–1232) is displayed. This slower to calculate and less stable numerically.
dialog lets you choose the method for joining the Higher-degree curves are supported primarily to
two curves. be compatible with models created using other
Warning: When you join two curve sub-objects, you
surface modeling programs.
lose the animation controllers for all points or CVs on The number of CVs in a CV curve must be at least
both curves. one greater than the curve’s degree.
Material ID—Lets you assign a material ID value
to the curve. If the curve is renderable, material Automatic Reparameterization group
IDs let you assign a material to the curve using The controls in this group box let you specify
a Multi/Sub-Object (page 2–1594) material. In automatic reparameterization. They are similar
addition, the Select by ID button lets you select a to the controls in the Reparameterize dialog (page
curve or multiple curves by specifying a material 1–1237), with the addition that all choices except
ID number. Can range from 1 to 100. Default=1. for None tell the software to reparameterize the
curve automatically; that is, whenever you edit it
Select by ID—Displays a Select by Material ID (page
by moving CVs, refining, and so on.
1–1238) dialog.
None—Do not reparameterize automatically.
CV Curve rollout
Chord Length—Chooses the chord-length
This additional rollout is displayed when a CV algorithm for reparameterization.
curve is selected.
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 chord-length parameterization, moving
any CV can potentially change the entire curve.

Degree—Sets the degree of the curve. The higher Close—Closes the curve. Disabled if the curve is
the degree value, the greater the continuity. The already closed.
lower the degree, the more discontinuous the Rebuild—Displays the Rebuild CV Curve dialog
curve segments become. The degree can’t be less (page 1–1236), which lets you specify how to
than one or greater than the number allowed by
 Editing Surface Sub-Objects 1141

rebuild the curve. Rebuilding the curve can change Procedures

its appearance. To transform surface sub-objects:
Reparam.—Displays the Reparameterize dialog 1. At the Surface sub-object level, select one or
(page 1–1237). Reparameterizing a curve changes more surface sub-objects.
the curve’s parameter space (page 3–988) to
The sub-object selection tools are the same as
provide a better relation between control point
for other kinds of sub-objects. In addition,
locations and the shape of the curve.
you can use the H key when the Keyboard
Tip: It is a good idea to reparameterize after Shortcut Override toggle (page 3–872) is on. See
you have added CVs to the curve by refining or Sub-Object Selection (page 1–1084).
inserting.
The Selection group box, described under
"Interface" later in this topic, provides
Point Curve rollout
additional options for selecting surfaces.
This additional rollout appears when a point curve
2. Turn on Move or another transform and then
is selected.
drag in a viewport to transform the selection.
The shape of the model changes as you
interactively transform the surfaces.

Tip: The Lock Selection Set button is useful

Close—Closes the curve. Disabled if the curve is when you transform NURBS sub-objects. You
already closed. can make a selection in one viewport, click
Lock Selection Set (or press the Spacebar ),
and then transform the selection in a different
Editing Surface Sub-Objects viewport.
Modify panel > Stack display > Open the NURBS object’s
hierarchy. > Surface sub-object level > Select surface To use the keyboard to select surface sub-objects:
sub-objects.
You can select surface sub-objects using the Ctrl
key and the arrow keys. The arrows traverse the
This topic describes controls that are common
sub-objects in the order they were created. To do
to point surfaces, CV surfaces, and the various
so, follow these steps:
dependent surface types. A rollout labeled Surface
Common contains the surface sub-object controls
for NURBS surfaces. Another rollout, Material 1. Turn on the Keyboard Shortcut
Properties (page 1–1149), controls mapping on Override Toggle.
surface sub-objects, and is described in its own
topic. See Surface Approximation (page 1–1239) 2. At the Surface sub-object level, set the
for a description of that rollout. The final rollout selection controls to select surfaces individually.
for surface sub-objects depends on the type of
surface selected. 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 One or two blue curves appear on the surface to
right arrow keys move forward and backward indicate where the break will occur.
through individual surfaces in the order they 2. When you have dragged to the location you
were created. The up and down arrows are want to break, click the surface.
equivalent to left and right.
Note: If you break a dependent surface, the new
You can also use the H keyboard shortcut (while "broken" surfaces are made independent.
the Keyboard Shortcut Override Toggle is on)
to display a dialog and select surfaces by name. You cannot break a trimmed surface.
Ctrl+H displays only the names of surfaces
To extend a surface:
directly beneath the mouse cursor.
1. Turn on Extend.
To delete a surface: 2. Move the mouse over the surface without
• Select the surface and then click Delete. depressing the mouse button. The edge that
Keyboard shortcut: Delete will be extended is highlighted in blue.
3. When the edge you want to extend is
To make a surface a loft: highlighted, press the mouse button, and then
1. Select the surface and then click Make Loft. A drag vertically to increase the length of the
Make Loft dialog (page 1–1234) is displayed. 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
2. Use the Make Loft dialog controls to choose the mouse button, drag to the other surface. The
settings for the new surface, and then click OK. edge of the other surface is also highlighted in
blue. Drag on the other surface to choose the
To break a surface: edge to connect, and then release the mouse
1. Turn on Break Row, Break Col., or Break Both, button.
and then drag over the surface. The surface that owns the highlighted edge is
highlighted in yellow, to help you distinguish
 Editing Surface Sub-Objects 1143

which edge you are choosing when two surfaces Interface

have coincident edges. Surface Common rollout
The Join Surfaces dialog (page 1–1233) is
displayed, which gives you a choice of methods
for how to join the surfaces. Whichever method
you choose, the software creates a single surface
that replaces the two original surfaces.

To close a surface:
• Select the surface sub-object and then click
Close Rows or Close Cols.

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

Rigid surfaces reduce the amount of memory

used by the NURBS model. Making surfaces rigid
improves performance, especially for large and
complex models.
Surface sub-object selection controls
When a surface is rigid, you can’t see its points
Single Surface—Clicking or transforming a surface or CVs when you are at the Point or Surface CV
selects only a single surface sub-object. sub-object levels. If the model has no nonrigid
All Connected Surfaces—Clicking or transforming surfaces and no point curves, the Point and Surface
a surface selects all surface sub-objects that are CV sub-object levels aren’t available at all.
connected within the NURBS object. To be To make a surface no longer rigid, click Make
connected, two surfaces must have all the CVs on Point or Make Independent. Editing the surface
a shared edge fused between them, or one surface with Break, Join, and so on also makes it no longer
must be a connected dependent of the other (for rigid.
example, a blend or a cap).
Make Loft—Displays a Make Loft dialog (page
Name—Shows the name of the currently selected 1–1234) to convert the surface sub-object to a
surface. It is disabled if you have selected multiple (dependent) U loft or UV loft surface. Can also
surfaces. change the dimension used to construct a U loft
By default, the name is the name of the surface type surface.
("CV Surface," "Point Surface," "Blend Surface," You can’t use Make Loft if the surface sub-object
and so on) followed by a sequence number. You is in an error condition.
can use this field to give the surface a name that
Tip: Make Loft creates a loft with uniformly spaced
you choose.
curves. To make a loft with adaptively spaced iso
Hide—Click to hide the currently selected surface. curves, manually create the curves and then loft
them with U Iso Lines, V Iso Lines, or U and V
Unhide All—Click to unhide all hidden surfaces.
Iso Lines.
Hide by Name—Click to display a Select
Make Point—Displays a Make Point dialog (page
Sub-Objects dialog that lists surfaces by name.
1–1235) to convert any kind of surface to a point
Select the surfaces to hide, then click Hide.
surface. You can also use Make Point to change
Unhide by Name—Disabled unless there are hidden the number of rows and columns if the surface is
surfaces. Click to display a Select Sub-Objects already a point surface.
dialog that lists surfaces by name. Select the
Convert Surface—Click to display the Convert
surfaces to make visible, then click Unhide.
Surface dialog (page 1–1227). This dialog provides
Delete—Deletes the selected surface sub-objects. a general way to convert a surface to a different
type of surface. You can convert between lofts,
Make Rigid—Makes the surface rigid. The only
point ("fit") surfaces, and CV surfaces. The dialog
editing allowed on a rigid surface is to transform
also lets you adjust a number of other surface
it at the Surface sub-object level. You can’t move
parameters.
a rigid surface’s points or CVs, or change the
number of points or CVs.
 Editing Surface Sub-Objects 1145

Make Independent—Disabled if the surface is Force 2-Sided in the Rendering Method panel of
independent. If the surface is dependent, clicking the Viewport Configuration dialog (page 3–853), or
this button makes it independent. assign a Double-Sided Material (page 2–1591).
Warning: When you make a surface independent, you Break Row—Breaks the surface into two surfaces in
lose the animation controllers for all objects that depend the direction of a row (the surface’s U axis).
on it in turn.
Break Col.—Breaks the surface into two surfaces in
Remove Animation—Removes animation the direction of a column (the surface’s V axis).
controllers from the selected surfaces.
Break Both—Breaks the surface into four surfaces
Detach—Detaches the selected surface sub-object in both directions.
from the NURBS model, making it a new top-level
You cannot break a trimmed surface.
NURBS surface object (page 1–1101). The Detach
dialog (page 1–1228) is displayed, which lets you Extend—Extends the surface by changing its
name the new surface. The new object is no longer length.
part of the original NURBS model.
Warning: Extending a surface loses all animation
To create a new top-level NURBS surface that is a controllers for the surface and its points or CVs.
copy of the selected surface, turn on Copy before
Join—Joins two surface sub-objects together. After
you click Detach.
you have joined the surfaces in a viewport, the
Copy—When on, clicking Detach creates a copy of Join Surfaces dialog (page 1–1233) is displayed.
the selected surface instead of detaching it from This dialog lets you choose the method for joining
the NURBS model. Default=off. the two surfaces. You can join only original edges
of surfaces; you cannot join edges created by
Renderable—When on, the surface renders. Turn
trimming.
off to make the surface invisible in renderings.
Default=on. Warning: When you join two surface sub-objects, you
lose the animation controllers for all point or CVs on
Display Normals—When on, the normal for each
both surfaces.
selected surface is displayed. There is one normal
per surface sub-object. The normal is displayed at CV Surface rollout
the surface’s UV origin, so displaying normals can
help you see how materials will be mapped. On This additional rollout is displayed when a CV
the other hand, the normal can be hard to see if surface is selected.
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.
Turn on Force 2-Sided in the Render Scene dialog
(page 3–2) to see both sides of the surface. To see
both sides of the surfaces in viewports, turn on
1146 Chapter 9: Surface Modeling

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 chord-length parameterization, moving
U Degree and V Degree—Let you set the degree of any CV can potentially change the entire surface.
the surface in either the U or V dimension. The
The close controls let you close a surface. They
higher the degree value, the greater the continuity.
are displayed on the CV Surface rollout while an
The lower the degree, the more discontinuous the
independent CV surface sub-object is selected.
surface segments become. The degree can’t be less
They are disabled if the surface is already closed in
than one or greater than the number allowed by the
that direction.
number of CVs in the specified dimension. Degree
3 is adequate to represent continuous surfaces, and Close Rows—Closes the surface by joining the ends
is stable and well behaved. Default=3. of its rows.
Setting the degree greater than 3 isn’t Close Cols.—Closes the surface by joining the ends
recommended because higher-degrees are of its columns.
slower to calculate and less stable numerically.
Rebuild—Displays the Rebuild CV Surface dialog
Higher-degrees are supported primarily to be
(page 1–1236), which lets you specify how to
compatible with models created using other
rebuild the surface. Rebuilding the surface can
surface modeling programs.
change its appearance.
The number of CVs in a given dimension must be
Warning: When you rebuild a surface, you lose the
at least one greater than that dimension’s degree. animation controllers for all CVs on the surface.

Automatic Reparameterization group Reparam.—Displays the Reparameterize dialog

(page 1–1237). Reparameterizing a surface
The controls in this group box let you specify
changes the surface’s parameter space (page 3–988)
automatic reparameterization. They are similar
to provide a better relation between control point
to the controls in the Reparameterize dialog (page
locations and the shape of the surface.
1–1237), with the addition that all choices except
for None tell the software to reparameterize the Tip: It is a good idea to reparameterize after you
curve automatically; that is, whenever you edit it have added CVs to the surface by refining or
by moving CVs, refining, and so on. inserting.

None—Do not reparameterize automatically. 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 With soft selection, transforming a single vertex can move
independent point surface sub-object is selected. others.
They have no effect if the surface is already closed
in that direction. The Soft Selection rollout for point and CV
sub-objects contains the controls for this feature.
Close Rows—Closes the surface by joining the ends The Soft Selection check box is turned off by
of its rows. default.
Close Cols.—Closes the surface by joining the ends Before you begin, you might need to increase the
of its columns. number of CVs or points on the surface. This
allows smoother and more complex reshaping
effects.
Soft Selection Rollout (NURBS)
A single point or CV works well for many
Modify panel > Select NURBS point or CV sub-objects. > purposes. Moving a point or CV along a single
Soft Selection rollout
axis is the most useful for smoothly raising and
lowering surfaces. For multiple points or CVs, you
The soft selection controls for NURBS models
can also use Rotate or Scale.
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
the field are drawn along smoothly while you move
the selected one.
With this feature, you can sculpt the points or CVs
of a curve or surface. For example, you can draw
a sphere into an egg, or gently curve a flat surface
into hills and valleys.
1148 Chapter 9: Surface Modeling

Interface

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.

Soft Selection—When on, point or CV transforms

affect a region of the curve or surface.
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.
Left: Pinch=.5
Same Type Only—(for point curves and surfaces
Right: Pinch=2
only) When on, the transform affects only
Falloff and Bubble have their default values.
neighboring points of the same type; that is, either
curve points, surface points, or independent Bubble—Expands and contracts the curve along
points. the vertical axis. Sets the relative "fullness" of
Soft Selection Curve—This curve display shows the region. Limited by Pinch, which sets a fixed
how Soft Selection will work. You can experiment starting point for Bubble. A setting of 0 for Pinch
with a curve setting, undo it, and try another and 1.0 for Bubble produces a maximum smooth
setting with the same selection. bulge. Negative values for Bubble move the bottom
of the curve below the surface, creating a "valley"
Falloff—Distance in current units from the center around the base of the region. Default=0.
to the edge of a sphere defining the region. Use
higher falloff settings to achieve more gradual
slopes, depending on the scale of your geometry.
Default=20.
 Material Properties Rollout 1149

make one checker color another checker map

on channel 2.

Interface
Material Properties rollout

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.

To use multiple map channels on a single surface

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. Material ID—Use this to change the surface’s
material ID number. Multiple material IDs
3. Change the U and V tiling values for map
in a single NURBS object let you assign a
channel 2.
multi/sub-object material (page 2–1594) to the
Now when you assign a mapped material, maps NURBS object.
on map channel 1 use the default UV tiling,
Select by ID—Displays a Select by Material ID
while maps on map channel 2 use the channel
dialog (page 1–1238).
2 tiling. An easy way to see this is to create a
checker (page 2–1638) map on channel 1, and
1150 Chapter 9: Surface Modeling

Texture Channels group box in 3D viewports, and the U and V spinners

are enabled.
The controls in this group box support materials,
including tiling and positioning mapping U and V—Unavailable unless you’ve chosen one of
coordinates on the surface. the Corners radio buttons. When available, you
use these spinners to set the U and V texture values
Map Channel—Chooses a UV coordinates map
for the chosen corner.
channel (page 3–966). Range=1 to 99. A single
surface can use up to 99 texture channels. By default, the U and V values for most surfaces
Default=1. range from 0.0 to 1.0. For some kinds of geometry
converted to a NURBS surface, these ranges can
Gen. Mapping Coordinates—Generates mapping
vary.
coordinates so you can apply mapped materials to
the surface. Each surface in a NURBS object has
Texture Surface group
its own set of mapping coordinates. Default=off.
The controls in this group box let you choose
U and V Offset—Offset mapping coordinates along
a method for mapping texture to the currently
the surface’s local U axis or V axis. That is, at
selected NURBS surface sub-object, and to adjust
0.0 (the default), the map begins at the U or V
the parameters for some of the chosen methods.
origin. Increasing an Offset value moves the map
forward along that axis, and decreasing it moves it These controls are available when Generate
backward. These parameters are animatable. Mapping Coordinates is on.
U and V Tiling—Control the tiling of UV mapping A texture surface is a surface associated with the
coordinates; that is, the number of times a mapped surface sub-object. The texture surface controls
material’s map is repeated in the surface’s local how materials are mapped. In effect, changing
U axis or V axis. Default=1.0 for both axes (no the texture surface stretches or otherwise changes
tiling). These parameters are animatable. the UV coordinates for the surface, altering the
mapping.
Rotation Angle—Lets you specify a rotation angle
for the texture. This parameter is animatable. Maps can shift with certain surface approximation
methods. This effect is especially noticeable when
Texture Corners group the surface has animated CVs. You can reduce or
eliminate map shifting by changing the mapping
The controls in this group box let you explicitly
method to User Defined.
set which texture surface UV values to use at the
corners of a surface. These controls are especially Tip: Don’t use the UVW Map modifier to apply a
useful when you are matching the textures of texture to an animated NURBS surface.
adjacent surfaces.
Default—Automatically generates a texture
These controls are disabled unless Generate surface. This method evenly distributes the texture
Mapping Coordinates is on. and attempts to compensate for stretching of the
surface.
Corners radio buttons—The four buttons
correspond to the four corners of the currently The default texture surface method has no
selected surface. When you choose a button, the additional controls.
corresponding corner is highlighted with a blue
 Creating Curve Sub-Objects 1151

User Defined—Generates a texture surface that you project, this field displays the name of the projector
can edit. You edit the user-defined texture surface (source) surface. Otherwise, this field says "None."
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), which lets Creating Curve Sub-Objects
you control UV mapping on this surface. This Select NURBS object. > Modify panel > Create Curves
button is available when you’ve chosen User rollout
Defined as the texture surface method. Select NURBS object. > Modify panel > NURBS toolbox
Edit Texture Points—Click to edit texture surface Keyboard > Ctrl+T to toggle NURBS toolbox display
points directly in viewports. This button available (Keyboard Shortcut Override Toggle must be on)
when you’ve chosen User Defined as the texture
surface method. Curve sub-objects are either independent point
and CV curves (similar to the top-level point
While Edit Texture Points is on, the points of and CV curves described in Point Curve (page
the texture surface are displayed in viewports, 1–1106) and CV Curve (page 1–1110)), or they are
where you can adjust their positions by using the dependent curves. Dependent curves are curve
selection and transform tools. sub-objects whose geometry depends on other
Projected—Generates the texture surface by curves, points, or surfaces in the NURBS object.
projecting the texture of another NURBS surface When you change the geometry of the original,
sub-object in the NURBS model. The projection parent sub-objects, the dependent curve changes
travels along the direction of the normals of the as well.
source surface. You create curve sub-objects using the Create
Projected texture surfaces are relational: if you Curves rollout on the Modify command panel for
update the source surface, the texture updates on a NURBS curve.
all the surfaces it projects onto.
If you use the same source surface to project a
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-object in the same NURBS model.
Source text field—If Projected is the chosen texture
surface method and you have picked a surface to
1152 Chapter 9: Surface Modeling

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).

Tip: Lathe and extrude surface sub-objects can Create a dependent chamfer curve (page
be based on only a single curve; see Creating 1–1161).
Dependent Surfaces (page 1–1177). If you create
dependent curves and then want to use the set Create a dependent fillet curve (page 1–1164).
of curves (for example, two parents and a fillet
between them) as the basis of an extrude or loft Create a dependent surface-surface
surface, first go to the Curve sub-object level and intersection curve (page 1–1166).
use Join to connect the curves.
Creation operations for dependent sub-objects Create a dependent U iso curve (page
require you to select one or more parent objects. 1–1168).
In general, you can click and drag, or click and
then click again. You can also use the H keyboard Create a dependent V iso curve (page 1–1168).
shortcut to display a Select Objects dialog (page
1–78) for choosing the parent. (The Keyboard Create a dependent normal projected curve
Shortcut Override Toggle (page 3–872) must be on (page 1–1169).
for H to work this way.)
Create a dependent vector projected curve
Toolbox Buttons for Creating Curves
(page 1–1171).
These are the toolbox (page 1–1083) buttons for
creating curve sub-objects: Create a dependent CV curve on surface (page
1–1172).
Create an independent CV curve sub-object
(page 1–1153).
 CV Curve Sub-Object 1153

• Click-click. If you Ctrl +click and then release

Create a dependent point curve on surface the mouse button, the height changes as you
(page 1–1175). drag the mouse. Clicking the mouse a second
time sets the CV’s location.
Create a dependent surface offset curve (page
This method is less prone to repetitive stress
1–1167).
injury.
Create a dependent surface edge curve (page While you are offsetting the CV, a red dotted
1–1177). line is drawn between the original CV on the
construction plane and the actual CV offset
from the plane. You can move the mouse into an
inactive viewport, in which case the software sets
CV Curve Sub-Object
the height of the CV using the CV’s Z axis in the
Select NURBS object. > Modify panel > Create Curves inactive viewport. This lets you set the height of
rollout > CV Curve button the CV with accuracy.
Select NURBS object. > Modify panel > NURBS toolbox
> Create CV Curve button Snaps (page 2–41) also work when you change the
height of a CV. For example, if you turn on CV
CV curve sub-objects are similar to object-level snapping, you can set a CV to have the same height
CV curves (page 1–1110). The main difference as another CV by snapping to that other CV in an
is that you can’t give CV curves a renderable inactive viewport.
thickness at the sub-object level.
Procedure
Drawing Three-Dimensional Curves To create a CV curve sub-object:
When you create a CV curve, you can draw it in
three dimensions. There are two ways to do this: 1. Turn on CV Curve.

• Draw In All Viewports: This toggle lets you use 2. In a viewport, click and drag to create the first
any viewport to draw the curve, enabling you CV, as well as the first curve segment. Release
to draw three dimensionally. the mouse button to add the second CV. Each
subsequent location you click adds a new CV to
• Using Ctrl to drag CVs: While you draw a the curve. Right-click to end curve creation.
curve, you can use the Ctrl key to drag a CV
off of the construction plane. Note: If you begin the curve by clicking without
dragging, this also creates the curve’s first CV.
With the Ctrl –key method, further mouse However, if you release the mouse button more
movement lifts the latest point off the construction than five pixels away from where you initially
plane. There are two ways to use this: pressed it, this creates an additional CV.
• Click-drag. If you hold down Ctrl and also While you are creating a CV curve, you can
hold down the mouse button, you can drag to press Backspace to remove the last CV you
change the height of the CV. The CV’s location created, and then previous CVs in reverse order.
is set when you release the mouse button.
If Draw In All Viewports is on, you can draw in
This method is probably more intuitive. any viewport, creating a 3D curve.
1154 Chapter 9: Surface Modeling

To lift a CV off the construction plane, use None—Do not reparameterize automatically.
the Ctrl key as described earlier in this topic
Chord Length—Chooses the chord-length
under "Drawing Three-Dimensional Curves."
algorithm for reparameterization.
As with splines, if you click over the curve’s
initial CV, a Close Curve dialog (page 1–1228) Chord-length reparameterization spaces knots (in
is displayed. This dialog asks whether you parameter space (page 3–988)) based on the square
want the curve to be closed. Click No to keep root of the length of each curve segment.
the curve open or Yes to close the curve. (You Chord-length reparameterization is usually the
can also close a curve when you edit it at the best choice.
Curve sub-object level.) When a closed curve
Uniform—Spaces the knots uniformly.
is displayed at the Curve sub-object level, the
initial CV is displayed as a green circle, and a A uniform knot vector has the advantage that the
green tick mark indicates the curve’s direction. curve or surface changes only locally when you edit
it. With the other two forms of parameterization,
Interface moving any CV can change the entire sub-object.
CV Curve rollout (creation time)
CV Curve rollout (modification time)

Draw In All Viewports—Lets you use any viewport

while you are drawing the curve. This is one way
to create a 3D curve. When off, you must finish
drawing the curve in the viewport where you
began it. Default=on. Degree—Sets the degree of the curve. The higher
the degree value, the greater the continuity. The
While Draw In All Viewports is on, you can also lower the degree, the more discontinuous the
use snaps (page 2–41) in any viewport. curve segments become. The degree can’t be less
than one or greater than the number allowed by
Automatic Reparameterization group
the number of CVs in the curve. Degree 3 curves
The controls in this group box let you specify are adequate to represent continuous curves, and
automatic reparameterization. They are similar are stable and well behaved. Default=3.
to the controls in the Reparameterize dialog (page
Setting the degree greater than 3 isn’t
1–1237), with one addition: all choices except
recommended, because higher-degree curves are
for None tell the software to reparameterize the
slower to calculate and less stable numerically.
curve automatically; that is, whenever you edit it
Higher-degree curves are supported primarily to
by moving CVs, refining, and so on.
 Point Curve Sub-Object 1155

be compatible with models created using other

surface modeling programs. Point Curve Sub-Object
The number of CVs in a CV curve must be at least Select NURBS object. > Modify panel > Create Curves
one greater than the curve’s degree. rollout > Point Curve button

Select NURBS object. > Modify panel > NURBS toolbox >
Automatic Reparameterization group Create Point Curve button

The controls in this group box let you specify

automatic reparameterization. They are similar Point curve sub-objects are similar to object-level
to the controls in the Reparameterize dialog (page point curves (page 1–1106). Points are constrained
1–1237), with one addition: all choices except to lie on the curve. The main difference is that you
for None tell the software to reparameterize the can’t give point curves a renderable thickness at
curve automatically; that is, whenever you edit it the sub-object level.
by moving CVs, refining, and so on.
Drawing Three-Dimensional Curves
None—Do not reparameterize automatically.
When you create a point curve, you can draw it in
Chord Length—Chooses the chord-length three dimensions. There are two ways to do this:
algorithm for reparameterization. • Draw In All Viewports: This toggle lets you use
Chord-length reparameterization spaces knots (in any viewport to draw the curve, enabling you
parameter space (page 3–988)) based on the square to draw three dimensionally.
root of the length of each curve segment. • Using Ctrl to drag points: While you draw a
Chord-length reparameterization is usually the curve, you can use the Ctrl key to drag a point
best choice. off of the construction plane.

Uniform—Spaces the knots uniformly. With the Ctrl key method, further mouse
movement lifts the latest point off the construction
A uniform knot vector has the advantage that the plane. There are two ways to use this:
curve or surface changes only locally when you edit
• Click-drag. If you hold down Ctrl and also
it. With the other two forms of parameterization,
hold down the mouse button, you can drag
moving any CV can change the entire sub-object.
to change the height of the point. The point’s
Close—Closes the curve. Disabled if the curve is location is set when you release the mouse
already closed. button.
Rebuild—Displays the Rebuild CV Curve dialog This method is probably more intuitive.
(page 1–1236) to let you rebuild the CV curve. • Click-click. If you Ctrl +click and then release
Reparam—Displays the Reparameterize dialog the mouse button, the height changes as you
(page 1–1237) to let you re parameterize the CV. drag the mouse. Clicking the mouse a second
time sets the point’s location.
This method is less prone to repetitive stress
injury.
While you are offsetting the point, a red dotted
line is drawn between the original point on the
1156 Chapter 9: Surface Modeling

construction plane and the actual point offset the curve open or Yes to close the curve. (You
from the plane. You can move the mouse into an can also close a curve when you edit it at the
inactive viewport, in which case the software sets Curve sub-object level.) When a closed curve
the height of the point using the point’s Z axis in is displayed at the Curve sub-object level, the
the inactive viewport. This lets you set the height initial point is displayed as a green circle, and a
of the point with accuracy. green tick mark indicates the curve’s direction.
Snaps (page 2–41) also work when you change the
Interface
height of a point. For example, if you turn on Point
snapping, you can set a point to have the same Point Curve rollout (creation time)
height as another point by snapping to that other
point in an inactive viewport.

Procedure
To create a point curve sub-object: Draw In All V iewports—Lets you use any viewport
while you are drawing the curve. This is one way
1. Turn on Point Curve. to create a 3D curve. When off, you must finish
drawing the curve in the viewport where you
2. In a viewport, click and drag to create the first
began it. Default=on.
point, as well as the first curve segment. Release
the mouse button to add the second point. Each While Draw In All Viewports is on, you can also
subsequent location you click adds a new point use snaps (page 2–41) in any viewport.
to the curve. Right-click to end curve creation.
Note: If you begin the curve by clicking without
Point Curve rollout (modification time)
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.
While you are creating a point curve, you can Close—Closes the curve. Disabled if the curve is
press Backspace to remove the last point you already closed.
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. This dialog asks whether you
want the curve to be closed. Click No to keep
 Curve Fit 1157

Curve Fit Transform Curve

Select NURBS object. > Modify panel > Create Curves Select NURBS object. > Modify panel > Create Curves
rollout > Dependent Curves group box > Curve Fit button rollout > Dependent Curves group box > Transform
button
Select NURBS object. > Modify panel > NURBS toolbox
> Create Fit Curve button Select NURBS object. > Modify panel > NURBS toolbox >
Create Transform Curve button

A transform curve is a copy of the original curve

with a different position, rotation, or scale.

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 Curve used to create a transform curve
objects, or they can be point sub-objects you
created explicitly. They can’t be CVs. Procedure
To create a transform curve:
Procedure
To create a point curve with Curve Fit:
• In a NURBS object that contains at least
one curve, turn on Transform.
1. Turn on Curve Fit. To move the transform curve, click and drag
2. Click to select two or more points. the curve you want to duplicate. To rotate or
scale the transform curve, click the parent
A point curve is created. It runs through the curve, click to turn on Sub-Object on the
points you select, in the order you select them. Modifier Stack rollout, choose Curve from the
You can use Backspace to undo point drop-down list, and then use a transform to
selection in reverse order. rotate or scale the transform curve.
3. Right-click to end creation. When you use Move to create the transform
curve, it simply copies the parent. (It doesn’t
Interface exaggerate curvature as an offset curve does.)
There are no parameters for a point curve created Axis constraints don’t apply to the creation of
with Curve Fit. transform curves. You can click to create the
1158 Chapter 9: Surface Modeling

curve in place; then once it is created, 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 Blend curves connecting original curves

transform curve as a curve sub-object, and you can

animate curve sub-object transforms. Transform Procedure
curves also have one control in the Modify panel. To create a blend curve:

1. In a NURBS object that contains two

curves, turn on Blend.
2. Click one curve near the end that you want
to connect. The end that will be connected
Replace Base Curve—Lets you replace the parent is highlighted. Without releasing the mouse
curve. Click the button, then click the curve to button, drag to the end of the other curve
replace the original 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
Blend Curve mouse button.
After the blend curve is created, changing the
Select NURBS object. > Modify panel > Create Curves
rollout > Dependent Curves group box > Blend button position or the curvature of either parent curve
changes the blend curve as well.
Select NURBS object. > Modify panel > NURBS toolbox >
Create Blend Curve button 3. Adjust the blend parameters.

A blend curve connects the end of one curve to Interface

the end of another, blending the curvature of
Blend Curve rollout (creation time)
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.

"Tension" affects the tangent between a parent

curve and the blend curve. The greater the tension
 Offset Curve 1159

value, the more closely the tangent parallels the

parent curve, and the smoother the transition. The Offset Curve
lower the tension, the greater the tangent angle
Select NURBS object. > Modify panel > Create Curves
and the sharper the transition between parent and rollout > Dependent Curves group box > Offset button
blend.
Select NURBS object. > Modify panel > NURBS toolbox >
Tension 1—Controls tension at the edge of the first Create Offset Curve button
curve you clicked.
An Offset curve is offset from the original, parent
Tension 2—Controls tension at the edge of the
curve. It is normal to the original. You can offset
second curve you clicked. both planar and 3D curves.
Blend Curve rollout (modification time)

"Tension" affects the tangent between a parent

curve and the blend curve. The greater the tension
value, the more closely the tangent parallels the Curve used to create an offset curve
parent curve, and the smoother the transition. The
lower the tension, the greater the tangent angle Procedure
and the sharper the transition between parent and To create an offset curve:
blend.
1. In a NURBS object that contains at least
Tension 1—Controls tension at the edge of the first one curve, turn on Offset.
curve you clicked.
2. Click the curve you want to offset, and drag to
Tension 2—Controls tension at the edge of the set the initial distance.
second curve you clicked.
An offset curve is created.
Replace First Curve and Replace Second Curve—Let 3. Adjust the Offset parameter.
you replace the parent curves. Click the button,
then click the curve to replace the original first or If the parent curve is not linear, increasing the
second curve. distance increasingly exaggerates the curvature
of the offset curve.
1160 Chapter 9: Surface Modeling

Interface
Offset Curve rollout (creation time)

Offset—The distance between the parent curve

and the offset curve, in 3ds Max units.
This parameter is animatable.

Offset Curve rollout (modification time)

Curve used to create a mirror curve

Procedure
To create a mirror curve:

1. In a NURBS object that contains at least

Offset—The distance between the parent curve one curve, turn on Mirror.
and the offset curve, in 3ds Max units. 2. On the Mirror Curve rollout, choose the axis or
Replace Base Curve—Lets you replace the parent plane you want to use.
curve. Click the button, then click the curve to 3. Click the curve you want to mirror, and drag to
replace the original curve. set the initial distance.
A mirror curve is created. A gizmo (yellow by
default) indicates the direction of mirroring.
Mirror Curve Transforming the mirror curve’s gizmo changes
the orientation of the mirror, letting you mirror
Select NURBS object. > Modify panel > Create Curves
rollout > Dependent Curves group box > Mirror button along an axis that isn’t aligned with a local
coordinate axis.
Select NURBS object. > Modify panel > NURBS toolbox >
Create Mirror Curve button 4. Adjust the mirror parameters.

A mirror curve is a mirror image of the original Interface

curve.
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
Mirror Axis group transforming the mirror plane, so Rotate has the
effect of rotating the plane about which the curve
The Mirror Axis buttons control the direction in
is mirrored. (This is like rotating the mirror gizmo
which the original curve is mirrored.
in the Mirror modifier.)
You can’t transform the mirror curve directly (that
Offset—Controls the mirror’s distance from the
would simply transform the mirror curve and its
original curve.
parent curve at the same time). You transform it
by transforming its gizmo. By using transforms This parameter is animatable.
you can mirror about an arbitrary axis, rather
Replace Base Curve—Lets you replace the parent
than using one of the Mirror Axis presets. When
curve. Click the button, then click the curve to
you transform a mirror curve, you are actually
replace the original curve.
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.) Chamfer Curve
Offset—Controls the mirror’s distance from the Select NURBS object. > Modify panel > Create Curves
rollout > Dependent Curves group box > Chamfer button
original curve.
Select NURBS object. > Modify panel > NURBS toolbox >
This parameter is animatable. Create Chamfer Curve button

Mirror Curve rollout (modification time) Chamfer creates a curve that is a straight bevel
between two parent curves.
1162 Chapter 9: Surface Modeling

Interface
Chamfer Curve rollout (creation time)

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 The lengths are the distances from the intersection
begin to create the chamfer. (or apparent intersection) at which the chamfer
2. Click one curve near the end that you want segment is drawn.
to connect. The end that will be connected Length 1—The distance along the first curve you
is highlighted. Without releasing the mouse click.
button, drag to the end of the other curve that
you want to connect. When the end that will This parameter is animatable.
be connected is highlighted, release the mouse Length 2—The distance along the second curve
button. you click.
A chamfer curve is created. Changing the
This parameter is animatable.
position or the curvature of either parent curve
can change the chamfer as well. Some length values make it impossible to construct
The parent curves must be coplanar. The the chamfer. If you set the length to an invalid
chamfer is not necessarily connected at the value, the chamfer returns to a default position and
endpoints of the parent curves: you can is displayed in the error color (orange by default).
adjust its position with the chamfer’s Length
Trim First Curve and Trim Second Curve groups
parameters.
3. Adjust the chamfer parameters. 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

Chamfer Curve rollout (modification time)

Flipping the direction of a trim

Trim Curve—When on (the default), trims the

parent curve against the fillet curve. When off, 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.
The lengths are the distances from the intersection
(or apparent intersection) at which the chamfer
segment is drawn.
Length 1—The distance along the first curve you
click.
Length 2—The distance along the second curve
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).

Trim First Curve and Trim Second Curve groups

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

parent curve against the fillet curve. When off, the
Above: Two simple fillets
parent isn’t trimmed.
Below: Flip Trim changes the direction of trimming and the
Flip Trim—When on, trims in the opposite shape the fillet.
direction.
Procedure
Seed 1 and Seed 2—Change the U location of the
seed value on the first and second curves. If there To create a fillet curve:
is a choice of directions, the direction indicated
1. In a NURBS object that contains at least
by the seed points is the one used to create the
two curves, turn on Fillet.
chamfer.
2. Click one curve near the end that you want
Replace First Curve and Replace Second Curve—Let
to connect. The end that will be connected
you replace the parent curves. Click the button,
is highlighted. Without releasing the mouse
then click the curve to replace the original first or
button, drag to the end of the other curve that
second curve.
you want to connect. When the end that you
want to connect is highlighted, release the
mouse button.
Fillet Curve A fillet curve is created. It trims the ends of the
Select NURBS object. > Modify panel > Create Curves parent curve to match the fillet. The fillet is
rollout > Dependent Curves group box > Fillet button not necessarily placed at the endpoints of the
Select NURBS object. > Modify panel > NURBS toolbox > parent curves: placement depends on the value
Create Fillet Curve button of the Radius parameter.
Changing the position or the curvature of either
Fillet creates a curve that is a rounded corner
parent curve can change the fillet as well.
between two parent curves.
The parent curves must be coplanar.
3. Adjust the fillet parameters.
 Fillet Curve 1165

Interface Seed 1 and Seed 2—Change the U location of the

Fillet Curve rollout (creation time) 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.
This parameter is animatable.
Tip: If the fillet you initially create is in an error
state, often this is because the radius is not large
enough to bridge the distance between the two
curves. Increasing the Radius value gives you a
Radius—The radius of the fillet arc in the current
correct fillet. The fillet becomes an arc displayed
3ds Max units. Default=10.0.
in the dependent object color (green by default).
When the fillet is in an error state it is displayed as a Tip: If the fillet you initially create is in an error
straight line in the error color (orange by default). state, often this is because the radius is not large
enough to bridge the distance between the two
Trim First Curve and Trim Second Curve groups curves. Increasing the Radius value gives you a
correct fillet. The fillet becomes an arc displayed
These two group boxes let you control how the
in the dependent object color (green by default).
parent curves are trimmed. The controls are the
When the fillet is in an error state it is displayed as a
same in each. "First" and "second" refer to the
straight line in the error color (orange by default).
order in which you picked the parent curves.
Trim Curve—When on (the default), trims the Trim First Curve and Trim Second Curve groups
parent curve against the fillet curve. When off, the These two group boxes let you control how the
parent isn’t trimmed. parent curves are trimmed. The controls are the
Flip Trim—When on, trims in the opposite same in each. "First" and "second" refer to the
direction. order in which you picked the parent curves.
1166 Chapter 9: Surface Modeling

Trim Curve—When on (the default), trims the If the surfaces intersect at two or more locations,
parent curve against the fillet curve. When off, the the intersection closest to the seed point is the one
parent isn’t trimmed. that creates the curve.
Flip Trim—When on, trims in the opposite
Procedure
direction.
To create a surface-surface intersection curve:
Seed 1 and Seed 2—Change the U location of the
seed value on the first and second curves. If there 1. Turn on Create Surface-Surface
is a choice of directions, the direction indicated by Intersection Curve in the NURBS toolbox, or
the seed points is the one used to create the fillet. Surf x Surf on the Create Curves rollout.
Replace First Curve and Replace Second Curve—Let 2. Click the first surface, then the second.
you replace the parent curves. Click the button, If the two surfaces intersect, a curve that lies
then click the curve to replace the original first or along their intersection is created.
second curve.
Interface
Surf-Surf Intersection Curve rollout (creation
Surface-Surface Intersection time)
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

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
Trimming a surface with a surface-surface intersection curve
across a surface, trimming is impossible, and the
This command creates a curve that is defined affected surface is displayed in the error color
by the intersection of two surfaces. You can use (orange by default).
surface-surface intersection curves for trimming
Flip Trim 1 and Flip Trim 2—When on, trim the
(page 1–1080).
associated surface in the opposite direction.
 Surface Offset Curve 1167

U Seed and V Seed—Change the UV location of Replace First Surface and Replace Second
the seed value on surface 1, the first surface you Surface—Let you replace the parent surfaces. Click
clicked. If there is a choice of intersections, the a button, then click the surface to replace the
intersection closest to the seed point is the one original first or second surface.
used to create the curve.

Surf-Surf Intersection Curve rollout

(modification time)
Surface Offset Curve
Select NURBS object. > Modify panel > Create Curves
rollout > Dependent Curves group box > Surf Offset
button

Select NURBS object. > Modify panel > NURBS toolbox >
Create Surface Offset Curve button

This command creates a curve that is offset from

a curve that lies on a surface. In other words, the
parent curve must have one of the following types:
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
the surface. That is, the new curve is either above
or below the surface by the offset amount.

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 Creating surface offset curves
associated surface in the opposite direction.
Procedure
U Seed and V Seed—Change the UV location of
the seed value on surface 1, the first surface you To create a surface offset curve:
clicked. If there is a choice of intersections, the
1. In a NURBS object that contains at least
intersection closest to the seed point is the one
one NURBS surface with a curve on it, turn
used to create the curve.
on Create Surface Offset Curve in the NURBS
1168 Chapter 9: Surface Modeling

toolbox, or Surf Offset on the Create Curves

rollout. U and V Iso Curves
2. Put the cursor over a curve that lies on a surface,
Select NURBS object. > Modify panel > Create Curves
and drag to set the offset amount. Release the rollout > Dependent Curves group box > U Iso Curve
mouse button to end curve creation. button or V Iso Curve button

Select NURBS object. > Modify panel > NURBS toolbox >
Interface Create U Iso Curve button or Create V Iso Curve button

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)

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
Offset—The amount by which the curve is offset surface. You can use U and V iso curves to trim
from the surface on which the parent curve lies. surfaces (page 1–1080).
This parameter is animatable.
Procedure
Replace Curve—Lets you replace the parent curve.
To create an iso curve:
Click the button, then click the curve to replace
the original parent curve.
• Turn on U Iso Curve or V Iso Curve,
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 Trim Controls group

Iso Curve rollout (creation time) Trim—When on, trims the surface against the iso
curve.
Flip Trim—When on, flips the direction of the trim.

Replace Base Surface—Lets you replace the parent

surface. Click the button, then click the new
surface on which to base the iso curve.

Normal Projected Curve

Select NURBS object. > Modify panel > Create Curves
Position—Sets the iso curve’s position along the U rollout > Dependent Curves group box > Normal Proj.
button
or V axis of the surface.
Select NURBS object. > Modify panel > NURBS toolbox >
This parameter is animatable. Create Normal Projected Curve button

Trim Controls group A normal projected curve lies on a surface. It is

Trim—When on, trims the surface against the iso based on an original curve, which is projected
curve. onto the surface in the direction of the surface’s
normals.
Flip Trim—When on, flips the direction of the trim.
You can use normal projected curves for trimming
Iso Curve rollout (modification time) (page 1–1080).

Position—Sets the iso curve’s position along the U

Trimming a surface with a normal projected curve
or V axis of the surface.
If the projection intersects the surface in two or
This parameter is animatable.
more locations, the intersection closest to the seed
point is the one that creates the curve.
1170 Chapter 9: Surface Modeling

Procedure of projections, the projection closest to the seed

To create a normal projected curve: point is the one used to create the curve.

1. In a NURBS object that contains at least Normal Projected Curve rollout (modification
time)
one surface and one curve sub-object, turn on
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 "off the edge of the surface." The projected
curve is created only where the projection and
the surface intersect.

Interface Trim Controls group

Normal Projected Curve rollout (creation time)
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
a closed loop.
Flip Trim—When on, trims the surface in the
opposite direction.
Trim Controls group
U Seed and V Seed—Change the UV location of
Trim—When on, trims the surface against the the seed value on the surface. If there is a choice
curve. When off, the surface isn’t trimmed. of projections, the projection closest to the seed
If it’s impossible to trim with this curve, the surface point is the one used to create the curve.
is displayed in the error color (orange by default). Replace Curve and Replace Surface—Let you replace
For example, the curve is unusable for trimming if the parent sub-objects. Click a button, then click
it neither crosses the edge of the surface nor forms a curve or surface to replace the original parent
a closed loop. object.
Flip Trim—When on, trims the surface in the
opposite direction.
U Seed and V Seed—Change the UV location of
the seed value on the surface. If there is a choice
 Vector Projected Curve 1171

2. Click the curve, then the surface where you

Vector Projected Curve want the vector projection curve to lie.
The initial vector direction is in the view
Select NURBS object. > Modify panel > Create Curves
rollout > Dependent Curves group box > Vector Proj. direction. That is, the vector points away from
button you as you look at the viewport. If the curve can
Select NURBS object. > Modify panel > NURBS toolbox > be projected onto the surface in this direction,
Create Vector Projected Curve button the projection curve is created. The original,
parent curve can go "off the edge of the surface."
A Vector Projected curve lies on a surface. This The projection curve is created only where the
is almost the same as a Normal Projected curve, projection and the surface intersect.
except that the projection from the original curve
to the surface is in the direction of a vector that Interface
you can control.
In viewports a gizmo (yellow by default) indicates
You can use vector projected curves for trimming the projection axis. Transforming the gizmo
(page 1–1080). 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)

Trimming a surface with a vector projected curve

If the projection intersects the surface in two or

more locations, the intersection closest to the seed Trim Controls group
point is the one that creates the curve. Trim—When on, trims the surface against the
curve. When off, the surface isn’t trimmed.
Procedure
If it’s impossible to trim with this curve, the surface
To create a vector projected curve: is displayed in the error color (orange by default).
For example, the curve is unusable for trimming if
1. In a NURBS object that contains at least it neither crosses the edge of the surface nor forms
one surface and one curve sub-object, click to a closed loop.
turn on Vector Projected Curve in the NURBS
toolbox or Vector Proj. in the Create Curves Flip Trim—When on, trims the surface in the
rollout. opposite direction.
1172 Chapter 9: Surface Modeling

U Seed and V Seed—Change the UV location of

the seed value on the surface. If there is a choice CV Curve on Surface
of projections, the projection closest to the seed
point is the one used to create the curve. Select NURBS object. > Modify panel > Create Curves
rollout > Dependent Curves group box > CV on Surf
button
Vector Projected Curve rollout (modification
Select NURBS object. > Modify panel > NURBS toolbox >
time) Create CV Curve on Surface button

A CV curve on surface is similar to a plain CV

curve, but it lies on a surface. You create it by
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.

Trim Controls group

Trim—When on, trims the surface against the
curve. When off, the surface isn’t trimmed. Trimming a surface with a CV curve on surface

If it’s impossible to trim with this curve, the surface There are two methods for drawing and editing
is displayed in the error color (orange by default). curves on surfaces: drawing in a viewport, or
For example, the curve is unusable for trimming if using the Edit Curve on Surface dialog. The choice
it neither crosses the edge of the surface nor forms is useful because you draw in two dimensions, with
a closed loop. a mouse or other pointing device, while the curve
on a surface can exist in three dimensions. The
Flip Trim—When on, trims the surface in the
more complex the 3D surface, the more effort it
opposite direction.
can require to create and edit a curve on a surface.
U Seed and V Seed—Change the UV location of
Visual feedback can help you draw the curve. The
the seed value on the surface. If there is a choice
point whose surface you first click is shown as a
of projections, the projection closest to the seed
blue square, and the surface’s minimum UV point
point is the one used to create the curve.
is shown as a plus sign (+). As you draw the curve,
Replace Curve and Replace Surface—Let you replace it is displayed interactively in viewports.
the parent sub-objects. Click a button, then click
a curve or surface to replace the original parent Drawing in a Viewport
object. 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
onto the surface. This is a straightforward way to
 CV Curve on Surface 1173

create a curve on a surface if the portion of the Interface

surface where the curve will lie is clearly visible in CV Curve on Surface rollout (creation time)
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)
lets you edit curves on surfaces as you edit regular
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.
While you are creating a CV curve on surface, the
2D View toggle controls display of the Edit Curve Trim Controls group
on Surface dialog. Trim—When on, trims the surface against the
You can edit the CVs in CV curves on surfaces at curve. When off, the surface isn’t trimmed.
the Curve CV sub-object level (page 1–1127), as you If it’s impossible to trim with this curve, the surface
edit other kinds of curve CVs. You can transform is displayed in the error color (orange by default).
CVs in CV curves on surfaces, but you can’t move For example, the curve is unusable for trimming if
the CVs off the surface. Using the Curve CV it doesn’t form a closed loop.
sub-object level is an alternative to editing these
CVs by using the Edit Curve on Surface dialog. Flip Trim—When on, trims the surface in the
opposite direction.
Procedure
Automatic Reparameterization group
To create a CV curve on surface:
The radio buttons in this group box let you
1. In a NURBS object that contains at least choose automatic reparameterization. With
one surface, turn on Create CV Curve on reparameterization, the curve maintains its
Surface in the NURBS toolbox, or CV on Surf parameterization as you edit it. Without
on the Create Curves rollout. reparameterization, the curve’s parameterization
2. Do one of the following: doesn’t change as you edit it, and can become
irregular.
• Draw the curve in the viewport, using the
mouse above the surface. None—Do not reparameterize.

• Turn on 2D View. This displays an Edit Chord Length—Chooses the chord-length

Curve on Surface dialog, which lets you algorithm for reparameterization.
create the curve in a two-dimensional (UV)
Chord-length reparameterization spaces knots (in
representation of the surface.
parameter space (page 3–988)) based on the square
3. Right-click to end curve creation. root of the length of each curve segment.
1174 Chapter 9: Surface Modeling

Chord-length reparameterization is usually the Automatic Reparameterization group

best choice.
The radio buttons in this group box let you
Uniform—Spaces the knots uniformly. choose automatic reparameterization. With
reparameterization, the curve maintains its
A uniform knot vector has the advantage that the
parameterization as you edit it. Without
curve will change only locally when you edit it.
reparameterization, the curve’s parameterization
With the other two forms of parameterization,
doesn’t change as you edit it, and can become
moving any CV can change the entire curve.
irregular.
2D View—When on, displays the Edit Curve on
None—Do not reparameterize.
Surface dialog (page 1–1229), which lets you
create the curve in a two-dimensional (UV) Chord Length—Chooses the chord-length
representation of the surface. algorithm for reparameterization.
Chord-length reparameterization spaces knots (in
CV Curve on Surface rollout (modification time)
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 will change only locally when you edit it.
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
Trim Controls group
in a two-dimensional (UV) representation of the
Trim—When on, trims the surface against the surface.
curve. When off, the surface isn’t trimmed.
To edit multiple curves on a surface, select more
If it’s impossible to trim with this curve, the surface than one CV curve sub-object on the same surface,
is displayed in the error color (orange by default). then click Edit.
For example, the curve is unusable for trimming if
Rebuild—Displays the Rebuild CV Curve dialog
it doesn’t form a closed loop.
(page 1–1236) to let you rebuild the CV curve on
Flip Trim—When on, trims the surface in the surface.
opposite direction.
Reparam—Displays the Reparameterize dialog
(page 1–1237) to let you reparameterize the CV
curve on surface.
 Point Curve on Surface 1175

on a surface can exist in three dimensions. The

Point Curve on Surface more complex the 3D surface, the more effort it
can require to create and edit a curve on a surface.
Select NURBS object. > Modify panel > Create Curves
rollout > Dependent Curves group box > Point on Surf Visual feedback can help you draw the curve. The
button
point whose surface you first click is shown as a
Select NURBS object. > Modify panel > NURBS toolbox > blue square, and the surface’s minimum UV point
Create Point Curve on Surface button
is shown as a plus sign (+). As you draw the curve,
it is displayed interactively in viewports.
A point curve on surface is similar to a plain point
curve, but it lies on a surface. You create it by
Drawing in a Viewport
drawing rather than projecting from a different
curve. You can use this curve type for trimming When you click to position a point, the click is
(page 1–1080) the surface on which it lies. projected in the viewport’s Z dimension. That is,
your click is projected "through the screen" and
onto the surface. This is a straightforward way to
create a curve on a surface if the portion of the
surface where the curve will lie is clearly visible in
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)
lets you edit curves on surfaces as you edit regular
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.
While you are creating a point curve on surface,
the 2D View toggle controls display of the Edit
Curve on Surface dialog.
You can edit the points in point curves on surfaces
at the Point sub-object level (page 1–1123), as you
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
Trimming a surface with a point curve on surface sub-object level is an alternative to editing these
There are two methods for drawing and editing points by using the Edit Curve on Surface dialog.
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
1176 Chapter 9: Surface Modeling

Procedure Flip Trim—When on, trims the surface in the

To create a point curve on surface: opposite direction.
2D View—When on, displays the Edit Curve on
1. In a NURBS object that contains at least Surface dialog (page 1–1229), which lets you
one surface, turn on Create Point Curve on create the curve in a two-dimensional (UV)
Surface in the NURBS toolbox, or Point on Surf representation of the surface.
on the Create Curves rollout.
2. Do one of the following: Point Curve on Surface rollout (modification
time)
• Draw the curve in the viewport, using the
mouse above the surface.
• 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
Point curves on surfaces have point sub-objects Trim Controls group
that you can transform and edit in viewports as Trim—When on, trims the surface against the
you do with plain point curves. curve. When off, the surface isn’t trimmed.
(There is no special Move Surface Points button as If it’s impossible to trim with this curve, the surface
there was prior to 3ds Max 3.) is displayed in the error color (orange by default).
For example, the curve is unusable for trimming if
Point Curve on Surface rollout (creation time) 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
Trim Controls group dialog (page 1–1229), which lets you edit the curve
Trim—When on, trims the surface against the
in a two-dimensional (UV) representation of the
curve. When off, the surface isn’t trimmed. surface.

If it’s impossible to trim with this curve, the surface To edit multiple curves on a surface, select more
is displayed in the error color (orange by default). than one point curve sub-object on the same
For example, the curve is unusable for trimming if surface, then click Edit.
it doesn’t form a closed loop.
 Surface Edge Curve 1177

Seed 1 and Seed 2—The curve resides on the edge

Surface Edge Curve closest to the two seed values. Adjust the seed
values to change the edge on which the curve
Select NURBS object. > Modify panel > Create Curves
rollout > Dependent Curves group box > Surf Edge
resides.
button
Replace Surface— This lets you replace the parent
Select NURBS object. > Modify panel > NURBS toolbox > surface. Click a button, then click a surface to
Create Surface Edge Curve button
replace the original parent surface.
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 Creating Surface

To create a surface edge curve: Sub-Objects
1. Turn on Surf Edge. Select NURBS object. > Modify panel > Create Surfaces
rollout
2. As you move the mouse in the scene, NURBS Select NURBS object. > NURBS toolbox
surface edges are highlighted in blue. Click the
edge where you want to create the curve. Keyboard > Ctrl+T to toggle NURBS toolbox display
(Keyboard Shortcut Override Toggle must be on.)

Interface Surface sub-objects are either independent point

Surface Edge Curve rollout (creation time) 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
in the NURBS model. When you change the
geometry of the original, parent surface or curve,
Seed 1 and Seed 2—The curve resides on the edge
the dependent surface changes as well.
closest to the two seed values. Adjust the seed
values to change the edge on which the curve You create surface sub-objects using the Create
resides. Surfaces rollout on the Modify panel for a NURBS
surface, or using the NURBS toolbox (page
Surface Edge Curve rollout (modification time) 1–1083).
1178 Chapter 9: Surface Modeling

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).
Tip: Lathe and extrude surface sub-objects can
be based on only a single curve. If you have
Create a dependent lathe surface (page
dependent curves and want to use the set of curves
1–1190).
(for example, two parents and a fillet between
them) as the basis of an extrude or lathe surface,
first go to the Curve sub-object level and use Join Create a dependent ruled surface (page
to connect the curves. 1–1193).

Creation operations for dependent sub-objects Create a dependent cap surface (page
require that you select one or more parent objects. 1–1195).
In general, you can click and drag, or click and
then click again. You can also use the H keyboard Create a dependent U loft surface (page
shortcut to display a Select Objects dialog (page 1–1196).
1–78) for choosing the parent. (The Keyboard
Shortcut Override Toggle (page 3–872) must be on
Create a dependent UV loft surface (page
for H to work this way.)
1–1200).
Toolbox Buttons for Creating Surfaces
Create a dependent 1-rail sweep surface (page
These are the toolbox buttons for creating surface 1–1204).
sub-objects:
Create a dependent 2-rail sweep surface (page
Create an independent CV surface sub-object 1–1209).
(page 1–1179).
Create a dependent multisided blend surface
(page 1–1213).
 CV Surface Sub-Object 1179

CV Surface rollout (creation time)

Create a dependent multicurve trimmed
surface (page 1–1214).

Create a dependent fillet surface (page

1–1216).

CV Surface Sub-Object
Select NURBS object. > Modify panel > Create Surfaces
rollout > CV Surf

Select NURBS object. > Modify panel > NURBS toolbox >
Create CV Surface button

Select NURBS object. > Modify panel > Right-click a

viewport. > Tools 2 (lower-left) quadrant > Create CV
Surface

CV surface sub-objects are similar to object-level Length—The length of the surface in current
CV surfaces (page 1–1103). 3ds Max units.
Width—The width of the surface in current
See also 3ds Max units.
Editing Surface Sub-Objects (page 1–1141) Length Points—The number of points along the
Surface Approximation (page 1–1239) length of the surface. In other words, the initial
number of point columns in the surface. Range=2
Procedure to 50. Default=4.
To create a CV surface sub-object: Width Points—The number of points along the
width of the surface. In other words, the initial
1. In a NURBS object, turn on CV Surf number of point rows in the surface. Range=2 to
on the Create Surfaces rollout or Create CV 50. Default=4.
Surface in the toolbox.
Generate Mapping Coordinates—Generates
2. In a viewport, drag to specify the initial area mapping coordinates so you can apply mapped
of the CV surface. materials to the surface.
3. Adjust the CV surface’s creation parameters.
Flip Normals—Turn on to reverse the direction of
the surface normals.
Interface
The parameters that appear when you create a CV Automatic Reparameterization group
surface sub-object differ from those you see when The radio buttons in this group box let you
you modify it as a sub-object. 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 Setting the degree greater than 3 isn’t
irregular. recommended, because higher degrees are slower
to calculate and less stable numerically. Higher
None—Do not reparameterize.
degrees are supported primarily to be compatible
Chord Length—Chooses the chord-length with models created using other surface modeling
algorithm for reparameterization. programs.
Chord-length reparameterization spaces knots (in The number of CVs in a given dimension must be
parameter space (page 3–988)) based on the square at least one greater than that dimension’s degree.
root of the length of each curve segment.
Automatic Reparameterization group
Chord-length reparameterization is usually the
best choice. The radio buttons in this group box let you
choose automatic reparameterization. With
Uniform—Spaces the knots uniformly.
reparameterization, the surface maintains
A uniform knot vector has the advantage that the its parameterization as you edit it. Without
surface will change only locally when you edit it. reparameterization, the surface’s parameterization
With the other two forms of parameterization, doesn’t change as you edit it, and can become
moving any CV can change the entire surface. irregular.
None—Do not reparameterize.
CV Surface rollout (modification time)
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,
U Degree and V Degree—Let you set the degree of moving any CV can change the entire surface.
the surface in either the U or V dimension. The The close controls let you close a surface. They
higher the degree value, the greater the continuity. appear on the Point Surface rollout while an
The lower the degree, the more discontinuous the independent point surface sub-object is selected.
surface segments become. The degree can’t be less They have no effect if the surface is already closed
than one or greater than the number allowed by the in that direction.
number of CVs in the specified dimension. Degree
Close Rows—Closes the surface by joining the ends
3 is adequate to represent continuous surfaces, and
is stable and well behaved. Default=3. of its rows.
 Point Surface Sub-Object 1181

Close Cols.—Closes the surface by joining the ends 2. In a viewport, drag to specify the initial area of
of its columns. the point surface.
Rebuild—Displays the Rebuild CV Surface dialog 3. Adjust the point surface’s creation parameters.
(page 1–1236), which lets you specify how to
rebuild the surface. Rebuilding the surface can Interface
change its appearance. The parameters that appear when you create a
Reparameterize—Displays the Reparameterize point surface sub-object differ from those you see
dialog (page 1–1237). Reparameterizing a surface when you modify it as a sub-object.
changes the surface’s parameter space (page 3–988)
to provide a better relation between control point Point Surface rollout (creation time)
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

Select NURBS object. > Modify panel > Create Surfaces
rollout > Point Surf

Select NURBS object. > Modify panel > NURBS toolbox > Length—The length of the surface in current
Create Point Surface button
3ds Max units.
Select NURBS object. > Modify panel > Right-click a
viewport. > Tools 2 (lower-left) quadrant > Create Point Width—The width of the surface in current
Surface
3ds Max units.
Point surface sub-objects are similar to object-level Length Points—The number of points along the
point surfaces (page 1–1102). The points are length of the surface. In other words, the initial
constrained to lie on the surface. number of point columns in the surface. Range=2
to 50. Default=4.
See also
Width Points—The number of points along the
Editing Surface Sub-Objects (page 1–1141) width of the surface. In other words, the initial
number of point rows in the surface. Range=2 to
Surface Approximation (page 1–1239)
50. Default=4.
Procedure Generate Mapping Coordinates—Generates
To create a point surface sub-object: mapping coordinates so you can apply mapped
materials to the surface.
1. In a NURBS object, turn on Point Surf Flip Normals—Turn on to reverse the direction of
on the Create Surfaces rollout or Create Point the surface normals.
Surface in the toolbox.
1182 Chapter 9: Surface Modeling

Point Surface rollout (modification time) Procedure

To create a transform surface:

• In a NURBS object that contains at least

one surface, turn on Transform.
The close controls let you close a surface. They To move the transform surface, click and drag
appear on the Point Surface rollout while an the surface you want to duplicate. To rotate or
independent point surface sub-object is selected. scale the transform surface, click the parent
They have no effect if the surface is already closed surface, click to turn on Sub-Object on the
in that direction. Modifier Stack rollout, choose Surface from the
drop-down list, and then use a transform to
Close Rows—Closes the surface by joining the ends
rotate or scale the transform surface.
of its rows.
When you use Move to create the transform
Close Cols.—Closes the surface by joining the ends
surface, it simply copies the parent. (It doesn’t
of its columns.
exaggerate curvature as an offset surface does.)
Axis constraints don’t apply to the creation
of transform surfaces. You can click to create
Transform Surface the surface in place; then once it is created,
Select NURBS object. > Modify panel > Create Surfaces transform it using constraints.
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. 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.)
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.
Surface created as a transform
 Blend Surface 1183

Transform Surface rollout (modification time) 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
Replace Base Surface—Lets you replace the parent
is also highlighted in blue. Drag on the other
surface. Click the button, then click the surface to surface to choose the edge to connect, and then
replace the original surface. release the mouse button to create the blend
surface.
The surface that owns the highlighted edge is
Blend Surface highlighted in yellow, to help you distinguish
Select NURBS object. > Modify panel > Create Surfaces which edge you are choosing when two surfaces
rollout > Dependent Surfaces group box > Blend have coincident edges.
Select NURBS object. > Modify panel > NURBS toolbox > The blend surface is created. Changing the
Create Blend Surface button
position or the curvature of either parent
surface will change the blend surface as well.
A blend surface connects one surface to another,
blending the curvature of the parent surfaces to 3. Adjust the blend parameters.
create a smooth surface between them. You can
also blend from a surface to a curve, or from a Interface
curve to a curve. 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)

Blend surface connecting two other surfaces

Procedure
To create a blend surface:

1. In a NURBS object that contains two "Tension" affects the tangent between a parent
surfaces, two curves, or a surface and a curve, surface and the blend surface. The greater the
turn on Blend. tension value, the more closely the tangent
1184 Chapter 9: Surface Modeling

parallels the parent surface, and the smoother

the transition. The lower the tension, the greater
the tangent angle and the sharper the transition
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
effect if the edge is a curve.

A. No flipping
B. End 2 is flipped.

Flip Tangent 1 and Flip Tangent 2—Flip the tangent

at the edge of the first or second curve or surface.
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.
When you blend to a CV or point curve on surface,
A. Tension 1=0, Tension 2=10 the new blend surface is tangent to the surface on
B. Tension 1=1, Tension 2=1 which the curve on surface lies. The Flip Tangent
C. Tension 1=10, Tension 2=0 controls are especially useful in this situation.
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. Tangent 1 flipped
B. Tangent 2 flipped
 Blend Surface 1185

Start Point 1 and Start Point 2—Adjust the position Tension 2—Controls tension at the edge of the
of the start point at the two edges of the blend. second surface you clicked. This value has no
Adjusting the start points can help eliminate effect if the edge is a curve.
unwanted twists or "buckles" in the surface.
Flip End 1 and Flip End 2—Flip one of the normals
These spinners are unavailable if the edges or used to construct the blend. A blend surface is
curves are not closed. created using the normals of the parent surfaces.
If the two parents have opposing normals, or
While you’re adjusting start points, a dotted
if a curve has the opposite direction, the blend
blue line is displayed between them, to show the
surface can be shaped like a bow tie. To correct
alignment. The surface is not displayed, so it
the situation, use Flip End 1 or Flip End 2 to
doesn’t slow down adjustment. When you release
construct the blend using a normal opposite the
the mouse button, the surface reappears.
corresponding parent surface’s normal.
Flip Normals—Turn on to reverse the direction of
Flip Tangent 1 and Flip Tangent 2—Flip the tangent
the blend surface normals.
at the edge of the first or second curve or surface.
Flipping the tangent reverses the direction in
Blend Surface rollout (modification time)
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.
When you blend to a CV or point curve on surface,
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.
"Tension" affects the tangent between a parent
While you’re adjusting start points, a dotted
surface and the blend surface. The greater the
blue line is displayed between them, to show the
tension value, the more closely the tangent
alignment. The surface is not displayed, so it
parallels the parent surface, and the smoother
doesn’t slow down adjustment. When you release
the transition. The lower the tension, the greater
the mouse button, the surface reappears.
the tangent angle and the sharper the transition
between parent and blend. Replace First Edge and Replace Second Edge—Let
you replace the parent edges or curves. Click a
Tension 1—Controls tension at the edge of the first
button, then click the edge to replace the original
surface you clicked. This value has no effect if the
first or second edge. The edge can be on the same
edge is a curve.
1186 Chapter 9: Surface Modeling

surface as the original edge, or on a different Offset Surface rollout (creation time)
surface.

Offset Surface
Select NURBS object. > Modify panel > Create Surfaces
rollout > Dependent Surfaces group box > Offset
Offset—The distance between the parent surface
Select NURBS object. > Modify panel > NURBS toolbox >
Create Offset Surface button and the offset surface, in 3ds Max units.
If the parent surface is planar, the appearance of
An Offset surface is offset a specified distance from the offset surface doesn’t change with distance. If
the original along the parent surface’s normals. 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
Surface created as an offset
dimensions of the offset and its parent.
The Cap check box appears only on the creation
Procedure rollout. If you want to remove the caps later,
To create an offset surface: simply select them as surface sub-objects and
delete them. Think of offset capping as a workflow
1. In a NURBS object that contains at least shortcut rather than a property (or parameter) of
one surface, turn on Offset. offset surfaces.
2. Click the surface you want to offset, and drag to To flip the normal of an offset cap, select it as a
set the initial distance of the offset surface. surface sub-object and use the Flip Normals toggle
The offset surface is created. on the Surface Common rollout.
3. Adjust the Offset parameter. Note: If you trim the original surface, or make the
offset surface independent and then trim it, the
Interface capping surfaces will look strange.
While an offset surface sub-object is selected,
a rollout with the offset Distance parameter is
displayed at the bottom of the Modify panel.
 Mirror Surface 1187

Offset Surface rollout (modification time) 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.
Offset—The distance between the parent surface
3. Click the surface you want to mirror, and drag
and the offset surface in 3ds Max units.
to set the initial distance of the mirror surface.
If the parent surface is planar, the appearance of
The mirror surface is created. A gizmo (yellow
the offset surface doesn’t change with distance. If
by default) indicates the direction of mirroring.
the parent surface is curved, increasing the offset
Transforming the mirror surface’s gizmo
value increasingly exaggerates the curvature of the
changes the orientation of the mirror, letting
offset surface.
you mirror along an axis that isn’t aligned with
Replace Base Surface—Lets you replace the parent a local coordinate axis.
surface. Click the button, then click the new The Flip Normals control lets you flip the
surface on which to base the offset. surface normals at creation time. (After
creation, you can flip normals using controls on
the Surface Common rollout.)
Mirror Surface 4. Adjust the Offset parameter.
Select NURBS object. > Modify panel > Create Surfaces
rollout > Dependent Surfaces group box > Mirror Interface
Select NURBS object. > Modify panel > NURBS toolbox > While a mirror surface sub-object is selected, the
Create Mirror Surface button
Mirror Surface rollout appears at the bottom of the
Modify panel. Also, a gizmo (yellow by default)
A mirror surface is a mirror image of the original
indicates the mirror axis.
surface.
Mirror Surface rollout (creation time)

Surface created as a mirror

1188 Chapter 9: Surface Modeling

Mirror Axis group and its parent surface at the same time). You
transform it by transforming its gizmo. By using
The Mirror Axis buttons control the direction in
transforms you can mirror about an arbitrary axis,
which the original surface is mirrored.
rather than using one of the Mirror Axis presets.
You can’t transform the mirror surface directly When you transform a mirror surface, you are
(that would simply transform the mirror surface actually transforming the mirror plane, so Rotate
and its parent surface at the same time). You has the effect of rotating the plane about which
transform it by transforming its gizmo. By using the surface is mirrored. (This is like rotating the
transforms you can mirror about an arbitrary axis, mirror gizmo in the Mirror modifier.)
rather than using one of the Mirror Axis presets.
Tip: A convenient way to guarantee that a surface
When you transform a mirror surface, you are
is symmetrical is to create one side of the surface,
actually transforming the mirror plane, so Rotate
mirror that surface, and then create a blend
has the effect of rotating the plane about which
between the two sides.
the surface is mirrored. (This is like rotating the
mirror gizmo in the Mirror modifier.) Offset—Controls the mirror’s distance from the
original surface. This parameter is animatable.
Tip: A convenient way to guarantee that a surface
is symmetrical is to create one side of the surface, Replace Base Surface—Lets you replace the parent
mirror that surface, and then create a blend surface. Click the button, then click the new
between the two sides. surface on which to base the mirror.
Offset—Controls the mirror’s distance from the
original surface. This parameter is animatable.
Extrude Surface
Flip Normals—Lets you flip the surface normals.
Select NURBS object. > Modify panel > Create Surfaces
Mirror Surface rollout (modification time) 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
extrude sub-object is part of the NURBS model, so
you can use it to construct other curve and surface
sub-objects.

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
 Extrude Surface 1189

Extrude Surface rollout (creation time)

Surface extruded from a curve Amount—The distance the surface is extruded

from the parent curve in current 3ds Max units.
Procedure This parameter is animatable.
To create an extrude surface:
Direction group
1. In a NURBS object that contains at least
one curve, turn on Extrude. X, Y and Z—Choose the axis of extrusion.
Default=Z.
2. Move the cursor over the curve to extrude, and
drag to set the initial amount. Start Point—Adjusts the position of the curve’s
start point. This can help eliminate unwanted
By default, the surface extrudes along the
twists or "buckles" in the surface.
NURBS model’s local Z axis. A gizmo (yellow
by default) indicates the direction of extrusion. This control is disabled if the curve is not a closed
Transforming the extrude surface’s gizmo curve.
changes the direction of the extrude, letting you
The start point is displayed as a blue circle.
extrude along an axis that isn’t aligned with a
local coordinate axis. Flip Normals—Lets you flip the surface normals

The Flip Normals control lets you flip the at creation time. (After creation, you can flip
surface normals at creation time. (After normals using controls in the Surface Common
creation, you can flip normals using controls on rollout.)
the Surface Common rollout.) Cap—When on, two surfaces are generated to close
3. Adjust the extrusion parameters. the ends of the extrusion. While they are present,
the cap surfaces are maintained so they match the
Interface dimensions of the extrude surface. The parent
curve must be a closed curve.
While an extrude sub-object is selected, a rollout
with the extrusion parameters is displayed at the The Cap check box appears only on the creation
bottom of the Modify panel. 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. Lathe Surface
To flip the normal of an extrude cap, select it as a Select NURBS object. > Modify panel > Create Surfaces
Surface sub-object and use the Flip Normals toggle rollout > Dependent Surfaces group box > Lathe
on the Surface Common rollout. Select NURBS object. > Modify panel > NURBS toolbox >
Create Lathe Surface button
Extrude Surface rollout (modification time)
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.

Amount—The distance the surface is extruded

from the parent curve in current 3ds Max units.

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 Surface created by lathing a curve
twists or "buckles" in the surface.
This control is disabled if the curve is not a closed Procedure
curve. To create a lathe surface:

The start point is displayed as a blue circle. 1. In a NURBS object that contains at least
Replace Base Curve—Lets you replace the parent one curve, turn on Lathe.
curve. Click the button, then click the new curve 2. Click the curve to lathe.
on which to base the extruded surface.
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, and lets you lathe around an axis that isn’t
aligned with a local coordinate axis.
 Lathe Surface 1191

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.

The Flip Normals control lets you flip the

surface normals at creation time. (After A partial lathe (degrees=225)
creation, you can flip normals using controls on
the Surface Common rollout.) Direction group
3. Adjust the lathe parameters. X, Y, and Z—Choose the axis of rotation. Default=Y.

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)

X, Y, and Z rotations of the same curve

Align group
These buttons position the axis of rotation relative
to the curve.
Min—(The default.) Locates the lathe axis at the
curve’s negative local X-axis boundary.
Center—Locates the lathe axis at the curve’s center.
1192 Chapter 9: Surface Modeling

Max—Locates the lathe axis at the curve’s positive

local X-axis boundary.

Adding a cap to a partial lathe

Lathe Surface rollout (modification time)

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.
This control is disabled if the curve is not a closed
curve.
The start point is displayed as a blue circle.
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
Degrees—Sets the angle of rotation. At 360 degrees
the ends of the lathe. While they are present, the (the default), the surface completely surrounds
cap surfaces are maintained so they match the the axis. At lower values, the surface is a partial
dimensions of the lathe surface. The lathe must be rotation.
a 360-degree lathe.
The Cap check box appears only on the creation Direction group
rollout. If you want to remove the caps later, X Y and Z—Choose the axis of rotation. Default=Y.
simply select them as surface sub-objects and
delete them. Think of lathe capping as a workflow Align group
shortcut rather than a property (or parameter) of
These buttons position the axis of rotation relative
lathe surfaces.
to the curve.
To flip the normal of a lathe cap, select it as a
Min—(The default.) Locates the lathe axis at the
Surface sub-object and use the Flip Normals toggle
curve’s negative local X-axis boundary.
on the Surface Common rollout.
 Ruled Surface 1193

Center—Locates the lathe axis at the curve’s center. Automatic Curve Attachment
Max—Locates the lathe axis at the curve’s positive When you create a ruled surface, you can select
local X-axis boundary. curves that are not already sub-objects of the active
NURBS model. You can select another curve or
Start Point—Adjusts the position of the curve’s
spline Splines object in the scene. When you select
start point. This can help eliminate unwanted
that curve, it attaches to the current object as if you
twists or "buckles" in the surface.
had used the Attach button (page 1–1120).
This control is disabled if the curve is not a closed
Warning: If the curve you attach is a sub-object of
curve. another NURBS model, the entire model (that is, the
The start point is displayed as a blue circle. curve’s parent NURBS object) is attached as well.

Replace Base Curve—Lets you replace the parent As you move the mouse over a curve that is not
curve. Click the button, then click the new surface part of the active NURBS object, the cursor
on which to base the lathed surface. changes shape to indicate that you can pick the
curve, but the curve is not highlighted in blue.

Procedure
Ruled Surface
To create a ruled surface:
Select NURBS object. > Modify panel > Create Surfaces
rollout > Dependent Surfaces group box > Ruled
1. In a NURBS object that contains at least
Select NURBS object. > Modify panel > NURBS toolbox > two curves, turn on Ruled.
Create Ruled Surface button
2. Drag from one curve to the other.

A ruled surface is generated from two curve You can also click first one curve, then the other.
sub-objects. It lets you use curves to design the A dependent surface is generated, using the
two opposite borders of a surface. two curves as the surface’s opposite edges.
The perpendicular edges are generated
automatically.

Using two curves to create a ruled surface The Flip Normals control lets you flip the
surface normals at creation time. (After
You can animate the parent curves or their CVs to creation, you can flip normals using controls on
change the ruled surface. the Surface Common rollout.)
1194 Chapter 9: Surface Modeling

Interface Ruled Surf rollout (modification time)

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
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,
Flip Beginning and Flip End—Flip one of the curve
use Flip Beginning or Flip End to construct the
directions used to construct the ruled surface.
ruled surface using a direction opposite the
A ruled surface is created using the directions
corresponding parent curve’s direction. These
of the parent curves. If the two parents have
controls eliminate the need to reverse the curve.
opposing directions, the ruled surface can be
shaped like a bow tie. To correct the situation, Start Point 1 and Start Point 2—Adjust the position
use Flip Beginning or Flip End to construct the of the start point at the two curves that specify
ruled surface using a direction opposite the the ruled surface. Adjusting the start points can
corresponding parent curve’s direction. These help eliminate unwanted twists or "buckles" in the
controls eliminate the need to reverse the curve. surface.
Start Point 1 and Start Point 2—Adjust the position These spinners are disabled if the edges or curves
of the start point at the two curves that specify are not closed.
the ruled surface. Adjusting the start points can
While you’re adjusting start points, a dotted
help eliminate unwanted twists or "buckles" in the
blue line is displayed between them, to show the
surface.
alignment. The surface is not displayed, so it
These spinners are disabled if the edges or curves doesn’t slow down adjustment. When you release
are not closed. the mouse button, the surface reappears.
While you’re adjusting start points, a dotted Replace First Curve and Replace Second Curve—Let
blue line is displayed between them, to show the you replace the parent curves. Click a button,
alignment. The surface is not displayed, so it then click the curve to replace the original first or
doesn’t slow down adjustment. When you release second curve.
the mouse button, the surface reappears.
Flip Normals—Turn on to reverse the direction of
the ruled surface’s normals.
 Cap Surface 1195

creation, you can flip normals using controls on

Cap Surface the Surface Common rollout.)

Select NURBS object. > Modify panel > Create Surfaces Interface
rollout > Dependent Surfaces group box > Cap
While a cap surface sub-object is selected, a rollout
Select NURBS object. > Modify panel > NURBS toolbox >
Create Cap Surface button with cap surface controls is displayed at the bottom
of the Modify panel.
This command creates a surface that caps a closed
curve or the edge of a closed surface. Caps are Cap Surface rollout (creation time)
especially useful with extruded surfaces.

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.
The start point is displayed as a blue circle.

Cap Surface rollout (modification time)

Capping an extrude surface

Procedure
To create a cap surface:

1. In a NURBS object, turn on Cap. Replace Curve—Lets you replace the parent curve
2. Move the mouse over the closed curve or the or edge. Click the button, then click the new curve
closed edge of a closed surface. or edge on which to base the cap.

If the cap can be created, the curve or edge is Start Point—Adjusts the position of the edge or
highlighted in blue. curve’s start point.
3. Click the highlighted curve or edge. The start point is displayed as a blue circle.

The Flip Normals control lets you flip the

surface normals at creation time. (After
1196 Chapter 9: Surface Modeling

U Loft Surface
Select NURBS object. > Modify panel > Create Surfaces
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.

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
current object as if you had used the Attach button.
Warning: If the curve you attach is a sub-object of
another NURBS model, the entire model (that is, the
Using multiple curves to create a U Loft surface curve’s parent NURBS object) is attached as well.
Tips As you move the mouse over a curve that is not
• A U loft can be an extremely dense surface. part of the active NURBS object, the cursor
To improve performance while working with changes shape to indicate you can pick the curve,
viewports, set the surface approximation (page but the curve is not highlighted in blue.
1–1239) for viewports to Curvature Dependent.
• You can speed up U loft creation by making
Procedures
sure that the curves you loft have the same To create a U loft surface:
number of CVs in the same order (that is, the
curves point in the same direction). Also, CV 1. In a NURBS object that contains at least
curves have a performance advantage over two curves, turn on U Loft.
point curves. 2. Click the first curve.
• Turning off display of dependent sub-objects, 3. Click additional curves in succession.
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.)
 U Loft Surface 1197

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).
As you move the mouse over a curve that is not
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.

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 U loft sub-object is selected. It isn’t
possible to edit more than one U loft at a time, so
unlike some other NURBS sub-objects, the rollout
doesn’t appear when multiple U loft sub-objects
are selected.
The U loft is created. It is "stretched" across the
curves you click. The order in which you click When you create lofted and swept surfaces, you
the curves can affect the shape of the U loft have access to all the parameters, and some of the
surface. The names of the curves appear in the editing operations, of the surface. You can reverse
U Loft Surface creation rollout. and set start points on curves while you create
the surface. You can also use the arrow buttons
While creating a U loft, you can press
to change the order of the curves, and you can
Backspace to remove the last curve you
remove a curve with the Remove button.
clicked from the list of U loft curves.
Tip: When you edit a U loft sub-object, close the
The Flip Normals control lets you flip the
Surface Common rollout to see the U Loft Surface
surface normals at creation time. (After
rollout more easily.
creation, you can flip normals using controls on
the Surface Common rollout.)
4. Right-click to end U loft creation.
1198 Chapter 9: Surface Modeling

U Loft Surface rollout (creation time) 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
you have selected a curve in the U Curves list.
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, turning on this toggle causes the U loft to
use the tangency of the surface. This can help you
blend a loft smoothly onto a surface. Default=off.
This toggle is disabled unless the curve is a point
U Curves—This list shows the name of the curves
or CV curve on surface.
you click in the order you click them. You can
select curves by clicking their names. Viewports Flip Tangents—Reverses the direction of the
display the selected curve in blue. Initially the first tangents for that curve.
curve is the one selected. This toggle is disabled unless the curve is a point or
You can also select more than one curve at a time. CV curve on surface and Use COS Tangents is on.
This is useful when you use the Edit Curves button. Auto Align Curve Starts—(Disabled.)
Arrow Buttons—Use these to change the order of Close Loft—(Disabled.)
curves used to construct the U loft. Select a curve
in the list, and then use the arrows to move the Insert—(Disabled.)
selection up or down. Remove—Removes a curve from the U loft surface.
These buttons are available at creation time. Select the curve in the list, and then click Remove.
This button is available at creation time.
Refine—(Disabled.)
 U Loft Surface 1199

Replace—(Disabled.) Arrow Buttons—Use these to change the order of

curves used to construct the U loft. Select a curve
Display While Creating—When on, the U loft
in the list, and then use the arrows to move the
surface is displayed while you create it. When off,
selection up or down.
the loft is created more quickly. Default=off.
These buttons are available at creation time.
Flip Normals—Reverses the direction of the U loft’s
normals.
Curve Properties group
U Loft Surface rollout (modification time) 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
you have selected a curve in the U Curves list.
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, turning on this toggle causes the U loft to
use the tangency of the surface. This can help you
blend a loft smoothly onto a surface. Default=off.
This toggle is disabled unless the curve is a point
or CV curve on surface.
U Curves—This list shows the name of the curves Flip Tangents—Reverses the direction of the
you click, in the order you click them. You can tangents for that curve.
select curves by clicking their names in this list.
This toggle is disabled unless the curve is a point or
Viewports display the selected curve in blue.
CV curve on surface and Use COS Tangents is on.
Initially the first curve is the one selected.
Auto Align Curve Starts—When on, aligns the start
You can also select more than one curve at a time.
points of all curves in the U loft. The software
This is useful when you use the Edit Curves button.
chooses the location of the start points. Using
1200 Chapter 9: Surface Modeling

automatic alignment minimizes the amount of control lattice if the curve is a CV curve. You can
twisting in the loft surface. Default=off. now transform or otherwise change the points
or CVs as if you were at the Point or Curve CV
Close Loft—If the loft was initially an open surface,
sub-object level. To finish editing the curve, click
turning on this toggle closes it by adding a new
to turn off Edit Curve.
segment to connect the first curve and the last
curve. Default=off. When you turn on Edit Curves, all applicable
rollouts for the selected curves are displayed,
Insert—Adds a curve to the U loft surface. Click
including the Curve Common rollout, the CV
to turn on Insert, then click the curve. The curve
or Point rollout (depending on the curve type),
is inserted before the selected curve. To insert a
and the CV Curve or Point Curve rollout. These
curve at the end, first highlight the "----End-----"
rollouts appear beneath the U Loft rollout. They
marker in the list.
let you edit the loft curves and their points or CVs
Remove—Removes a curve from the U loft surface. without having to switch sub-object levels.
Select the curve in the list, and then click Remove. Tip: When you edit curves in a U loft, turning off
This button is available at creation time. display of the U loft itself can make the curves
easier to see and improve performance. Use
Refine—Refines the U loft surface. Click to turn
Ctrl+D (while the Keyboard Shortcut Override
on Refine, then click a U-axis iso curve on the
Toggle button (page 3–872) is on) to toggle display
surface. (As you drag the mouse over the surface,
of dependent sub-objects, including U Lofts.
the available curves are highlighted.) The curve
you click is converted to a CV curve and inserted
into the loft and the U Curves list. As when you
refine a point curve, refining a U loft can change UV Loft Surface
the curvature of the surface slightly. Once you’ve Select NURBS object. > Modify panel > Create Surfaces
refined the surface by adding a U curve, you can rollout > Dependent Surfaces group box > UV Loft
use Edit Curve to change the curve.
Select NURBS object. > Modify panel > NURBS toolbox >
Create UV Loft Surface button
Replace—Replaces a U curve with a different
curve. Select a U curve, click to turn on Replace,
A UV loft surface is similar to a U loft surface, but
then click the new curve in a viewport. Available
has a set of curves in the V dimension as well as in
curves are highlighted as you drag the mouse.
the U dimension. This can give you finer control
This button is enabled only when you’ve selected a over the lofted shape, and require fewer curves to
single curve in the U Curves list. achieve the result you want.
Display Iso Curves—When set, the U loft’s V-axis
iso curves are displayed as well as the 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 Curve—Lets you edit the currently selected
curve without switching to another sub-object
level. Click to turn on Edit Curve. The points
or CVs of the curve are displayed, as well as the
 UV Loft Surface 1201

Warning: If the curve you attach is a sub-object of

another NURBS model, the entire model (that is, the
curve’s parent NURBS object) is attached as well.

As you move the mouse over a curve that is not

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.
Using perpendicular curves to create a UV loft surface
2. Click to turn on UV Loft in the toolbox or on
If the U and V curves intersect, the UV loft the Create Surfaces rollout.
surface interpolates all the curves. If the curves
3. Click each of the curves in the U dimension,
don’t intersect, the lofted surface lies somewhere
then right-click. Click each of the curves in
between the U and V curves. In general, UV loft
the V dimension, then right-click again to end
works best if the ends of all the curves in one
creation.
direction lie on the two end curves in the other
direction, as in the illustration. UV loft does not As you click curves, their names appear in the
work well if the curves in both directions are lists on the UV Loft Surface creation rollout.
closed. The order in which you click the curves can
affect the shape of the UV loft surface.
Note: The Make Loft (page 1–1234) dialog
(displayed by the Make Loft button on the Surface In either dimension, you can click the same
Common rollout for surface sub-objects) now lets curve more than once. This can help you create
you convert a surface to a UV loft as well as a U a closed UV loft.
loft. In addition, you can use point curves instead
To create a UV loft with automatic attach (example):
of CV curves for the new loft lattice. If you use
point curves for a UV loft, turning on the Fuse 1. From the Create panel, create three or more
Points option guarantees that the U and V curves independent CV or point NURBS curves.
intersect. 2. Go to the Modify panel, and click to turn on
UV Loft in the NURBS toolbox.
Automatic Curve Attachment
3. Select the curves in the appropriate order for
When you create a UV loft, you can select curves the loft.
that are not already sub-objects of the active
The UV loft is created. You don’t need to
NURBS model. You can select another curve or
collapse the curves to a NURBS surface or
spline (page 1–266) object in the scene. When you
Attach them to an existing NURBS model.
select that curve, it attaches to the current object as
if you had used the Attach button (page 1–1120). As you move the mouse over a curve that is not
part of the active NURBS object, the cursor
1202 Chapter 9: Surface Modeling

changes shape to indicate that you can pick the UV Loft Surface rollout (creation time)
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
Surface Common rollout to see the U Loft Surface
rollout more easily.

U Curves and V Curves—These lists show the names

of the curves you click, in the order you click them.
You can select a curve by clicking its name in a list.
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—Use these to change the order of
curves in the U Curve or V Curve list. Select a
curve in the list, and then use the arrows to move
the selection up or down.
 UV Loft Surface 1203

Insert—(Disabled.) U Curves and V Curves—These lists show the names

of the curves you click, in the order you click them.
Remove—Removes a curve from the U list or V list.
You can select a curve by clicking its name in a list.
Select the curve in the list, and then click Remove.
Viewports display the selected curve in blue.
Refine—(Disabled.)
The two buttons above and the four below each list
Replace—(Disabled.) are identical for both lists.
Display While Creating—When on, the UV loft Arrow Buttons—Use these to change the order of
surface is displayed while you create it. When off, curves in the U Curve or V Curve list. Select a
the loft can be created more quickly. Default=off. curve in the list, and then use the arrows to move
the selection up or down.
Flip Normals—Reverses the direction of the UV
loft’s normals. Insert—Adds a curve to the U list or V list. Click
to turn on Insert, then click the curve. The curve
UV Loft Surface rollout (modification time) 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 list or V list.
Select the curve in the list, and then click Remove.
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
V 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, 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. Click to turn on Edit Curve. The points
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
1-rail sweep surface
let you edit the loft curves and their points or CVs
Changing the position of the rail can change the shape of the
without having to switch sub-object levels.
surface.
Tip: When you edit curves in a UV loft, turning
The cross-section curves should intersect the rail
off display of the UV loft itself can make the
curve. If the cross-sections don’t intersect the rail,
curves easier to see and improve performance. Use
the resulting surface is unpredictable. In addition,
Ctrl+D (while the Keyboard Shortcut Override
the initial point of the rail and the initial point of
Toggle button (page 3–872) is on) to toggle display
the first cross-section curve must be coincident.
of dependent sub-objects, including UV lofts.
Use NURBS Snaps (page 2–41) to accomplish this.
The UV loft surface can deviate from the curve
if you edit a curve in a UV loft by increasing the Automatic Curve Attachment
weight of the curve CVs. You can work around
When you create a 1-rail sweep, you can select
this by refining the curve at the point where the
curves that are not already sub-objects of the active
surface deviates.
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
1-Rail Sweep Surface if you had used the Attach button (page 1–1120).
Select NURBS object. > Modify panel > Create Surfaces Warning: If the curve you attach is a sub-object of
rollout > Dependent Surfaces group box > 1-Rail another NURBS model, the entire model (that is, the
Select NURBS object. > Modify panel > NURBS toolbox > curve’s parent NURBS object) is attached as well.
Create 1-Rail Sweep button
As you move the mouse over a curve that is not
Sweep surfaces are constructed from curves. A part of the active NURBS object, the cursor
1-rail sweep surface uses at least two curves. changes shape to indicate that you can pick the
One curve, the "rail," defines one edge of the curve, but the curve is not highlighted in blue.
surface. The other curves define the surface’s cross
sections. Procedures
To create a 1-rail sweep:
1. Create the curves that define the surface you
want to create.
 1-Rail Sweep Surface 1205

Example: To create a 1-rail sweep with automatic

2. Click to turn on 1 Rail Sweep in the attach:
toolbox or on the Create Surfaces rollout.
1. From the Create panel, create two independent
3. Click the curve to use as the rail, then click each CV or Point NURBS curves.
of the cross-section curves. Right-click to end
2. Go to the Modify panel, and click to turn on
creation.
1-Rail Sweep in the NURBS toolbox.
The sweep is interpolated smoothly between
3. Select the curves in the appropriate order for
the cross sections, following the outline defined
the sweep.
by the rail.
The sweep is created. You don’t need to collapse
the curves to a NURBS surface or Attach them
to an existing NURBS model.
As you move the mouse over a curve that is not
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.

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,
close the Surface Common rollout to see the 1-rail
sweep Surface rollout more easily.

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.
1206 Chapter 9: Surface Modeling

1-Rail Sweep Surface rollout (creation time) 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.
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.)
Rail Curve—Shows the name of the curve you chose Sweep Parallel—When on, ensures that the sweep
to be the rail. surface’s normal is parallel to the rail.
Replace Rail—(Disabled.) Snap Cross-Sections—When on, cross-section
Section Curves—This list shows the names of the
curves are translated so they intersect the rail.
cross-section curves, in the order you click them. The first cross section is translated to the start of
You can select a curve by clicking its name in the the rail, and the last to the end of the rail. The
list. Viewports display the selected curve in blue. cross sections in the middle are translated to
touch the rail at the closest point to the end of the
Arrow Buttons—Use these to change the order of cross-section curves.
section curves in the list. Select a curve in the list,
and then use the arrows to move the selection up When Snap Cross-Sections is on, the sweep
or down. follows the rail curve exactly. This makes it easier
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 1-Rail Sweep Surface rollout (modification time)
cross sections bank like a car following a road, or a
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) use for the center
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, the sweep can be created more quickly.
Default=off.
Flip Normals—Reverses the direction of the sweep’s
normals.

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—This list shows the names of the
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—Use these to change the order of
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 Sweep Parallel—When on, ensures that the sweep
surface’s normal is parallel to the rail.
These controls affect individual curves you select
in the Section Curves list, as opposed to properties Snap Cross-Sections—When on, cross-section
of the sweep surface in general. They are enabled curves are translated so they intersect the rail.
only when you have selected a curve in the Section The first cross section is translated to the start of
Curves list. the rail, and the last to the end of the rail. The
cross sections in the middle are translated to
Reverse—When set, reverses the direction of the
touch the rail at the closest point to the end of the
selected curve.
cross-section curves.
Start Point—Adjusts the position of the curve’s
When Snap Cross-Sections is on, the sweep
start point. This can help eliminate unwanted
follows the rail curve exactly. This makes it easier
twists or "buckles" in the surface.
to construct 1-rail sweep surfaces.
This control is disabled if the curve is not a closed
Road-Like—When on, the sweep uses a constant
curve.
up-vector so the cross sections twist uniformly
While you’re adjusting start points, a dotted as they travel along the rail. In other words, the
blue line is displayed between them, to show the cross sections bank like a car following a road, or a
alignment. The surface is not displayed, so it camera following a path constraint (page 2–398).
doesn’t slow down adjustment. When you release Default=off.
the mouse button, the surface reappears.
When you edit the surface, you can control the
Insert—Adds a curve to the section list. Click to angle of banking. The up-vector is displayed
turn on Insert, then click the curve. The curve as a yellow gizmo (similar to the gizmo that
is inserted before the selected curve. To insert a lathe surfaces (page 1–1190) use for the center
curve at the end, first highlight the "----End-----" of rotation). To change the up-vector angle, use
marker in the list. Rotate (page 1–439) to change the gizmo’s angle.
Remove—Removes a curve from the list. Select the Display Iso Curves—When set, the 1-rail sweep’s
curve in the list, and then click Remove. V-axis iso curves are displayed as well as the
Refine—Refines the 1-rail sweep surface. Click
U-axis curves used to construct the loft. The
to turn on Refine, then click an iso curve on the V-axis curves are only for display. You can’t use
surface. (As you drag the mouse over the surface, them for surface construction.
the available section curves are highlighted.) The Edit Curves—Lets you edit the currently selected
curve you click is converted to a CV curve and curve without switching to another sub-object
inserted into the sweep and the section list. As level. Click to turn on Edit Curve. The points
when you refine a point curve, refining a sweep or CVs of the curve are displayed, as well as the
can change the curvature of the surface slightly. control lattice if the curve is a CV curve. You can
Once you’ve refined the surface by adding a now transform or otherwise change the points
cross-section curve, you can use Edit Curves to or CVs as if you were at the Point or Curve CV
change the curve. sub-object level. To finish editing the curve, click
Replace—Lets you replace the selected curve.
to turn off Edit Curves.
Select a curve in the list, click this button, and then Tip: When you edit curves in a 1-rail sweep,
select the new curve. turning off display of the sweep itself can make the
 2-Rail Sweep Surface 1209

curves easier to see and improve performance. Use endpoints of the first cross-section curve must be
Ctrl+D (while the Keyboard Shortcut Override coincident. Use NURBS Snaps to accomplish this.
Toggle (page 3–872) is on) to toggle display of
dependent sub-objects, including sweeps. Automatic Curve Attachment
The sweep surface can deviate from the curve When you create a 2-rail sweep, you can select
if you edit a curve in a sweep by increasing the curves that are not already sub-objects of the active
weight of the curve CVs. You can work around NURBS model. You can select another curve or
this by refining the curve at the point where the spline object (page 1–266) in the scene. When you
surface deviates. 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
2-Rail Sweep Surface another NURBS model, the entire model (that is, the
curve’s parent NURBS object) is attached as well.
Select NURBS object. > Modify panel > Create Surfaces
rollout > Dependent Surfaces group box > 2-Rail As you move the mouse over a curve that is not
Select NURBS object. > Modify panel > NURBS toolbox > part of the active NURBS object, the cursor
Create 2-Rail Sweep button changes shape to indicate that you can pick the
curve, but the curve is not highlighted in blue.
Sweep surfaces are constructed from curves. A
2-rail sweep surface uses at least three curves. Procedures
Two curves, the "rails," define the two edges of
To create a 2-rail sweep:
the surface. The other curves define the surface’s
cross sections. A 2-rail sweep surface is similar to 1. Create the curves that define the surface you
a 1-rail sweep. The additional rail gives you more want to create.
control over the shape of the surface.
2. Click to turn on 2 Rail Sweep in the
toolbox or on the Create Surfaces rollout.
3. Click the curve to use as the first rail, then click
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
Sweep surface created with two rails can affect the shape of the sweep surface.
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
1210 Chapter 9: Surface Modeling

Example: To create a 2-rail sweep with automatic 2-Rail Sweep Surface rollout (creation time)
attach:
1. From the Create panel, create three independent
CV or Point NURBS curves.
2. Go to the Modify panel, and click to turn on
2-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.
As you move the mouse over a curve that is not
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.

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,
Rail Curves—Shows the names of the two curves
close the Surface Common rollout to see the 2-rail
you chose to be the rails.
sweep surface rollout more easily.
Section Curves—This list shows the names of the
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—Use these to change the order of
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 the rails. The cross sections in the middle are
only when you have selected a curve in the Section translated to touch the rails at the closest point to
Curves list. the ends of the cross-section curves. Default=off.
Reverse—When set, reverses the direction of the When Snap Cross-Sections is on, the sweep
selected curve. follows the rail curves exactly. This makes it easier
to construct 2-rail sweep surfaces.
Start Point—Adjusts the position of the curve’s
start point. This can help eliminate unwanted Display While Creating—When on, the sweep
twists or "buckles" in the surface. surface is displayed while you create it. When
off, the sweep can be created more quickly.
This control is disabled if the curve is not a closed
Default=off.
curve.
Flip Normals—Reverses the direction of the sweep’s
While you’re adjusting start points, a dotted
normals.
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
fitting plane. This plane moves along the rails
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—When off, the size of the plane is
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
1212 Chapter 9: Surface Modeling

2-Rail Sweep Surface rollout (Modification time) 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
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.
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
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.
Rail Curves—Shows the names of the two curves
you chose to be the rails. Refine—Refines the 2-rail sweep surface. Click
to turn on Refine, then click an iso curve on the
Replace Rail 1 and Replace Rail 2—Let you replace
surface. (As you drag the mouse over the surface,
the rail curves. Click one of these buttons, then in
the available section curves are highlighted.) The
a viewport click the curve to use as the new rail.
curve you click is converted to a CV curve and
Section Curves—This list shows the names of the inserted into the sweep and the section list. As
cross-section curves, in the order you click them. when you refine a point curve, refining a sweep
You can select a curve by clicking its name in the can change the curvature of the surface slightly.
list. Viewports display the selected curve in blue. Once you’ve refined the surface by adding a
cross-section curve, you can use Edit Curves to
Arrow Buttons—Use these to change the order of
change the curve.
section curves in the list. Select a curve in the list,
 Multisided Blend Surface 1213

Replace—Lets you replace the selected curve. sub-object level. To finish editing the curve, click
Select a curve in the list, click this button, then to turn off Edit Curves.
select the new curve. Tip: When you edit curves in a 2-rail sweep, turning
Sweep Parallel—When off, the rail curves define off display of the sweep itself can make the curves
a ruled surface, and the cross sections describe easier to see and improve performance as well. Use
lofting from this base ruled surface. When on, Ctrl+D (while the Keyboard Shortcut Override
each cross section is associated with its best Toggle (page 3–872) is on) to toggle display of
fitting plane. This plane moves along the rails dependent sub-objects, including sweeps.
and parallel to them. If the rails are curved, the The sweep surface can deviate from the curve
plane can rotate. If the spacing between the rails if you edit a curve in a sweep by increasing the
changes, the section scales or stretches. In either weight of the curve CVs. You can work around
case, the surface is blended from section to section this by refining the curve at the point where the
along its entire length. Default=off. surface deviates.
Sweep Scale—When off, the size of the plane is
scaled only in the direction across the rails. When
on, the plane is scaled uniformly in all directions. Multisided Blend Surface
Default=off.
Select NURBS object. > Modify panel > Create Surfaces
Snap Cross-Sections—When on, cross-section rollout > Dependent Surfaces group box > N Blend
curves are translated and scaled so they intersect
Select NURBS object. > Modify panel > NURBS toolbox >
both rails. The first cross section is translated Create a Multisided Blend Surface button
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 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.
Multisided blend between three other surfaces
Edit Curves—Lets you edit the currently selected
curve without switching to another sub-object A multisided blend surface "fills in" the edges
level. Click to turn on Edit Curve. The points defined by three or four other curve or surface
or CVs of the curve are displayed, as well as the sub-objects. Unlike a regular, two-sided blend
control lattice if the curve is a CV curve. You can surface, the curves’ or surfaces’ edges must form a
now transform or otherwise change the points closed loop; that is, they must completely surround
or CVs as if you were at the Point or Curve CV 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 Multicurve Trimmed Surface
surfaces meet. Sometimes snapping the corners
doesn’t work, because of round-off error. Select NURBS object. > Modify panel > Create Surfaces
rollout > Dependent Surfaces group box > Multi-Trim

Procedure Select NURBS object. > Modify panel > NURBS toolbox >
Create a Multicurve Trimmed Surface button
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. Creating a multicurve trimmed surface

3. Right-click to end creation. A multicurve trimmed surface is an existing

A new surface is created. It covers the opening. surface trimmed by multiple curves that form a
loop.
Interface When you create a multicurve trimmed surface,
Multisided Blend surfaces have no parameters you create only one trimmed hole. If you want
other than those on the Surface Common rollout to create multiple holes, first create holes in the
(page 1–1141). 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. At the Curve CV or Point sub-object level, 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 Multicurve Trimmed Surface rollout (creation
a normal or vector projected curve for each time)
curve in the loop.
Tip: You can also use CV or point curve on
surface for these curves.

4. Turn on Multicurve Trimmed Surface

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.)
Trim Curves—This list shows the names of the
Interface
curves used to trim the surface. You can select a
While a multicurve trimmed sub-object is selected, curve by clicking its name. Viewports display the
a rollout with the multicurve trim parameters selected curve in blue.
appears. This rollout appears only when one
Insert—(Disabled.)
multicurve trimmed sub-object is selected. It
isn’t possible to edit more than one multicurve Remove—Removes a curve from the list. Select the
trimmed object at a time, so unlike some other curve in the list, and then click Remove.
NURBS sub-objects, the rollout doesn’t appear
Replace—(Disabled.)
when multiple multicurve trimmed sub-objects
are selected. Flip Trim—Reverses the direction of the trim.
Tip: When you edit a multicurve trimmed Flip Normals—Turn on to reverse the direction of
sub-object, close the Surface Common rollout the trimmed surface’s normals.
to see the Multicurve Trim Surface rollout more
easily.
1216 Chapter 9: Surface Modeling

Multicurve Trimmed Surface rollout Replace—Lets you replace the selected curve.
(modification time) 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
surface will go into an error condition (orange
display by default) until the curves you are working
on once again form a closed loop.

Fillet Surface
Select NURBS object. > Modify panel > Create Surfaces
rollout > Dependent Surfaces group box > Fillet Surf

Trim Curves—This list shows the names of the Select NURBS object. > Modify panel > NURBS toolbox >
Create Fillet Surface button
curves used to trim the surface. You can select a
curve by clicking its name. Viewports display the A fillet surface is a rounded corner connecting the
selected curve in blue. edges of two other surfaces.
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. Click to turn on Edit Curve. The points
or CVs of the curve are displayed, as well as the
control lattice if the curve is a CV curve. You can
Fillet surface created from two parent surfaces
now transform or otherwise change the points
or CVs as if you were at the Point or Curve CV Usually you use both edges of the fillet surface
sub-object level. To finish editing the curve, click to trim the parent surfaces, creating a transition
to turn off Edit Curves. between the fillet and its parents.
Don’t edit the curve so you break the loop. If you
do, the surface goes into an error condition.
 Fillet Surface 1217

Procedure and the second surface you chose, respectively.

To create a fillet surface: The radiuses control the size of the fillet surface.
Default=1.0.
1. In a NURBS object, turn on Fillet on the
Lock—Locks the Start and End radius values so
Create Surfaces rollout or Create Fillet Surface
they are identical. When on, the End Radius
in the toolbox.
setting is unavailable. Default=on.
2. Click to choose the first parent surface, then
click to choose the second parent surface. Radius Interpolation group
Potential parent surfaces are highlighted in blue
This group box controls the radius of the fillet.
as you move the mouse in a viewport.
The Radius Interpolation setting has no effect
The fillet surface is created. If the fillet surface unless one or both surfaces that define the fillet
can’t be created, a default error surface is have curvature to them.
displayed (by default, the error surface displays
as orange). Linear—When chosen (the default), the radius is
linear.
Interface Cubic—When chosen, the radius is treated as a
Fillet Surface rollout (creation time) 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. If there is more than one way to construct
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
on the first surface you chose.
Surface 1 Y—Sets the local Y coordinate of the seed
on the first surface you chose.
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
Start Radius and End Radius—Set the radius used
of the fillet.
to define the fillet at the first surface you chose
1218 Chapter 9: Surface Modeling

Flip Trim—Reverses the direction of the trim. Radius Interpolation group

Flip Normals—Turn on to reverse the direction of This group box controls the radius of the fillet.
the fillet surface’s normals. The Radius Interpolation setting has no effect
unless one or both surfaces that define the fillet
Fillet Surface rollout (modification time) 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. If there is more than one way to construct
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
on the first surface you chose.
Surface 1 Y—Sets the local Y coordinate of the seed
on the first surface you chose.
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
Start Radius and End Radius—Set the radius used For each of the parent surfaces, these controls
to define the fillet at the first surface you chose affect trimming.
and the second surface you chose, respectively.
Trim Surface—Trims the parent surface at the edge
The radiuses control the size of the fillet surface.
of the fillet.
Default=10.0.
Flip Trim—Reverses the direction of the trim.
Lock—Locks the Start and End radius values so
they are identical. When on, the End Radius Replace First Surface and Replace Second
setting is unavailable. Default=on. 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 Point (NURBS)

Sub-Objects Select NURBS object. > Modify panel > Create Points
rollout > Point button
Select NURBS object. > Modify panel > Create Points
rollout Select NURBS object. > Modify panel > NURBS toolbox >
Create Point button
Select NURBS object. > Modify panel > NURBS toolbox
This command creates an independent,
Keyboard > Ctrl+T to toggle NURBS toolbox display
(Keyboard Shortcut Override Toggle must be on.) freestanding point.

In addition to the points that are an integral part of Procedure

point curve (page 1–1106) and point surface (page To create a freestanding point:
1–1102) objects, you can create "freestanding"
1. Select a NURBS object.
points. Such points can help you construct point
curves by using the Curve Fit (page 1–1157) 2. In the Modify > Create Points rollout, turn on
button. You also use dependent points to trim Point.
curves. 3. Click a viewport to position the point.
You create individual points as NURBS sub-objects Independent point sub-objects have no additional
while you are modifying NURBS. To create points parameters. You can use Curve Fit in the Create
individually, use the Create Points rollout or the Curves rollout to create a curve from multiple
NURBS toolbox (page 1–1083). freestanding points.

Toolbox Buttons for Creating Points Interface

These are the toolbox buttons for creating point There are no additional controls for independent
sub-objects: points.

Create an independent point (page 1–1219).

Offset Point
Create a dependent offset point (page 1–1219).
Select NURBS object. > Modify panel > Create Points
rollout > Dependent Points group box > Offset Point
Create a dependent curve point (page button
1–1220). Select NURBS object. > Modify panel > NURBS toolbox >
Create Offset Point button
Create a dependent curve-curve intersection
point (page 1–1223). This command creates a dependent point that
is coincident to an existing point or at a relative
distance from an existing point.
Create a dependent surface point (page
1–1222).
Procedure
Create a dependent surface-curve intersection To create a dependent offset point:
point (page 1–1224). 1. Select a NURBS object
1220 Chapter 9: Surface Modeling

2. On the Modify > Create Points rollout, turn on

Offset Point. Curve Point
3. In a viewport, click an existing point.
Select NURBS object. > Modify panel > Create Points
4. In the Modify > Offset Points rollout, use the rollout > Dependent Points group box > Curve Point
button
Offset spinners to adjust the point’s position
relative to the original point. 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.
The point can be either on the curve or off the
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
the curve’s local U axis). There are three ways
Interface to displace the point’s location relative to the U
position.
While an offset point sub-object is selected, the
Offset Point rollout appears. 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.
At Point—When chosen, the dependent point has
the same location as the original, parent point.
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 1221

4. Right-click to end operation.

U Position—Specifies the point’s location on the
Interface curve or relative to the curve.
While a curve point sub-object is selected, the On Curve—When on, the point lies on the curve
Curve Point rollout appears. 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
U Position.
U Tangent—Specifies the distance from the curve
along the tangent.
1222 Chapter 9: Surface Modeling

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.

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.

Interface
Surface Point While a surface point sub-object is selected, the
Surface Point rollout appears. These controls are
Select NURBS object. > Modify panel > Create Points similar to the curve point controls.
rollout > Dependent Points group box > Surface Point
button

Select NURBS object. > Modify panel > NURBS toolbox

> Create Surf Point button

This command creates a dependent point that lies

on a surface or relative to it. This is enabled with a
NURBS object that contains a surface.

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.
 Curve-Curve Intersection Point 1223

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

Select NURBS object. > Modify panel > Create Points
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

U Position and V Position—If the point is on the intersection of two curves.
surface, these coordinates specify the point’s
location, based on the surface’s local UV Procedure
coordinates.
To create a dependent curve-curve point:
On Surface—Specifies that the point lies on the
1. Turn on Curve-Curve, then drag from the first
surface, at the location specified by U Position and
curve to the second.
V Position.
If the curves do not intersect, the point is
If the point lies on the surface, you can move it orange, an invalid dependent point.
using the Move transform. You can also move it
The point is created at the nearest intersection
using the Move Surface Point button. See Editing
between the two curves. You can use the
Point Sub-Objects (page 1–1123). Either way, this
curve-curve parameters to trim the parent
updates the U Position and V Position values.
curves.
Offset—Moves the point according to a relative
2. Right-click to end the create operation.
(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.
1224 Chapter 9: Surface Modeling

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.
Replace First Curve and Replace Second
Curve—(Only at modification time.) Let you
replace the parent curves. Click a button, then
click the curve to replace the original first or
Interface second curve.
While a curve-curve point sub-object is selected,
the Curve-Curve Intersection rollout appears.
Surface-Curve Intersection Point

Select NURBS object. > Modify panel > Create Points

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-Curve on the Create Points rollout.
2. Click the curve, then click the surface.
Trim First Curve and Trim Second Curve groups
The point is created at the nearest intersection
These two groups let you control how the parent between the curve and the surface that is nearest
curves are trimmed. The controls are the same the seed point. You can use the surface-curve
in each. "First" and "second" refer to the order in parameters to trim the parent curve.
which you picked the parent curves.
 Convert Curve Dialog 1225

NURBS Editing Dialogs

Convert Curve Dialog

Modify panel > Select NURBS curve sub-object. > Curve
Common rollout > Convert Curve button

This dialog is a general way to convert one kind of a

Interface curve to another or to adjust a curve’s parameters.
While a surface-curve intersection point
sub-object is selected, a rollout with its parameters Interface
appears.

Trim Curve group Point Curve and CV Curve—Choose whether to

Trim—When on, trims the curve from the surface. convert to a point curve or a CV curve. If the
When off, the curve isn’t trimmed. curve is already of the type you chose, the settings
in this dialog don’t convert it, but do change its
Flip Trim—When on, trims the curve in the
properties. Default=CV Curve.
opposite direction.
Seed—Changes the U location of the seed value CV Curve options
on the curve. If there is a choice of intersections, These are the options when you choose CV Curve.
the intersection closest to the seed point is the one
used to create the point. Number—When chosen, the spinner sets the
number of CVs in the CV curve.
Replace Curve and Replace Surface— (Only at
modification time.) Let you replace the parent Tolerance—When chosen, the software calculates
sub-objects. Click a button, then click a curve or the number of CVs. This option rebuilds the curve
surface to replace the original parent object. according to accuracy. The lower the Tolerance
value, the more accurate the rebuild. Increasing
Tolerance enables the curve to be rebuilt using
fewer CVs.
1226 Chapter 9: Surface Modeling

Reparameterization group
Convert Curve on Surface Dialog
These controls let you reparameterize the CV
curve and turn on automatic reparameterization. Modify panel > Select NURBS object. > Stack display >
Curve sub-object level > Select curve sub-object. > Curve
Chord Length—Chooses the chord-length Common rollout > Make COS button
algorithm for reparameterization.
This dialog converts a curve to a point curve on
Chord-length reparameterization spaces knots (in surface (page 1–1175) or CV curve on surface (page
parameter space (page 3–988)) based on the square 1–1172). The Make COS button that displays it is
root of the length of each curve segment. enabled only for the following types of curves:
Chord-length reparameterization is usually the • U iso curves (page 1–1168)
best choice.
• V iso curves (page 1–1168)
Uniform—Spaces the knots uniformly.
• Normal projected curves (page 1–1169)
A uniform knot vector has the advantage that the • Vector projected curves (page 1–1171)
curve changes only locally when you edit it. With
• Surface-surface intersection curves (page
chord-length parameterization, moving any CV
1–1166)
can potentially change the entire sub-object.
• Surface edge curves (page 1–1177)
Maintain Parameterization—When on, the curve is
automatically reparameterized as you edit it, using • CV curves on surfaces (page 1–1172)
the currently active method of reparameterization. • Point curves on surfaces (page 1–1175)
When off, no reparameterization happens
If the curve is already a curve on surface, this
unless you use a dialog to specifically request it.
dialog lets you change its type.
Default=on.
Interface
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 CV Curve on Surface—Converts the curve to a CV
rebuilt using fewer points. curve on surface.

Preview—When on, the effect of the conversion is Number of CVs—Specifies the number of CVs in
previewed in viewports. Default=on. 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 From U and V Iso Lines—Uses curves from both the
in the new curve. U and V dimensions to construct a UV loft.
Preview—When on, previews the effect of the U Curves—Sets the number of curves in U.
conversion in viewports. Default=on.
V Curves—Sets the number of curves in V.

Use Point Curves—When on, constructs the loft

Convert Surface Dialog from point curves instead of the default CV curves.
Default=off.
Modify panel > Select NURBS surface sub-object. >
Surface Common rollout > Convert Surface button Extra Points per Segment—This control is available
only for UV lofts (From U and V Iso Lines). Lets
This dialog provides a general way to convert one you increase the number of points in each segment.
kind of a surface to another or to adjust a surface’s
parameters. Fuse Points—This control is available only for
UV lofts (From U and V Iso Lines). When on,
Interface 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
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).
Loft tab
Tolerance—When chosen, the software calculates
If the surface isn’t already a loft, this tab converts it the number of points. This option rebuilds the
to the kind of loft you indicate. surface according to accuracy. The lower the
Tolerance value, the more accurate the rebuild.
The controls are comparable to those in the Make
Increasing Tolerance enables the surface to be
Loft dialog (page 1–1234).
rebuilt using fewer points.
From U Iso Lines—Uses curves along the surface’s U
dimension to construct a U loft. CV Surface tab
From V Iso Lines—Uses curves along the surface’s If the surface isn’t already a CV surface, this tab
V dimension to construct a U loft. If the surface converts it to a CV surface.
was already a U loft, set this to change the lofting This tab is the default.
dimension.
1228 Chapter 9: Surface Modeling

Number—When chosen, the spinners set the Delete Original Curves—This is available only if the
number of CVs in the CV surface. surface was already a U loft or UV loft. When on,
Convert Surface deletes the original loft curves
In U—Sets the number of CV rows (in the surface’s
when you click OK. When off, the original curves
U axis).
remain where they are. Default=off.
In V—Sets the number of CV columns (in the
surface’s V axis).
Tolerance—When chosen, the software calculates
CV Curve: Close Curve Dialog
the number of CVs. This option rebuilds the Create panel > Shapes button > CV Curve button > In
surface according to accuracy. The lower the viewports, draw a CV curve and click to create a CV in the
same location as the first CV in the curve.
Tolerance value, the more accurate the rebuild.
Increasing Tolerance enables the surface to be Modify panel > Select NURBS object. > NURBS toolbox
> Create CV Curve > In viewports, draw a CV curve
rebuilt using fewer CVs. sub-object and click to create a CV in the same location
as the first CV in the curve.
Reparameterization group
This dialog lets you create a closed CV curve when
These controls let you reparameterize the CV you click to create a CV in the same location as the
surface and turn on automatic reparameterization. curve’s first CV.
Chord Length—Chooses the chord-length
algorithm for reparameterization. Interface
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. Yes—Closes the curve and ends curve creation.

Uniform—Spaces the knots uniformly. No—Keeps the curve open and does not end curve
creation.
A uniform knot vector has the advantage that the
surface changes only locally when you edit it. With
chord-length parameterization, moving any CV
Detach Dialog (NURBS)
can potentially change the entire surface.
Modify panel > Select a NURBS sub-object. > Curve
Maintain Parameterization—When on, the Common or Surface Common rollout > (optional) Copy
surface is automatically reparameterized toggle > Detach button
as you edit it, using the currently active
method of reparameterization. When off, no This dialog appears when you use Detach to
reparameterization happens unless you use a create a new top-level NURBS curve or surface
dialog to specifically request it. Default=on. sub-object.

Preview—When on, viewports display a preview of

the conversion. Turning off this toggle can speed
up conversion, especially to lofts.
 Edit Curve on Surface Dialog 1229

Interface 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
viewports and a blue asterisk (*) shows the current
mouse location on the surface.
While you are creating a curve, you can press
Detach as—Lets you assign a name to the new Backspace to remove the last point or CV you
object. By default, the name is "Curve" or "Surface" created, and then previous points or CVs in
followed by a sequence number. reverse order.
This option is unavailable when Detach To
Interface
Element is on.
Relational —This toggle affects dependent objects.
When off, detaching a dependent sub-object
makes it an independent object. For example,
detaching a U loft converts it to a CV surface.
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

This dialog lets you edit curves on surfaces as you

edit regular curves in a viewport. The main part Toolbar
of the dialog is a two-dimensional view of the
The toolbar above the surface image provides
surface. The controls provide typical curve editing
selection, transform and viewing controls. These
functions.
controls work the way their analogs do in the main
This is a modeless dialog. You can use the main 3ds Max viewports. The toolbar is disabled while
3ds Max window while Edit Curve on Surface you create a new curve on surface.
remains open. However, if you select a different
Select—Selects one or more points. Drag a window
kind of curve or a sub-object that isn’t a curve, the
to select multiple points.
dialog closes.
1230 Chapter 9: Surface Modeling

Move—Moves the selected points. button works differently.) These controls are
disabled while you create a new curve on surface.
Move is a flyout. The alternative buttons constrain
texture points to move either vertically or Refine—Adds points to the curve. This does not
horizontally. change curvature. For point curves, the curvature
can change, but only slightly.
Rotate—Rotates the selected points.
Insert—(Not available for point curves on
Scale—Scales the selected points. This is a flyout
surfaces.)
that lets you choose between uniform scale,
nonuniform scale in the surface’s U dimension, or Close—Closes the curve.
nonuniform scale in the surface’s V dimension.
Fuse—Fuses two points.
Pan—Pans the surface view.
Weight—(Not available for point curves on
Zoom—Zooms in or out on the surface view. surfaces.)
Zoom Window—Zooms to a window you drag on Delete—Deletes the selected points.
the surface view.
Open—Opens the curve by unfusing the points
Zoom Extents—Zooms to the extents of the surface. where the curve was originally closed.
Lock Selection—Locks the active selection set. You Unfuse—Unfuses the selected points.
can turn this on to keep from accidentally selecting
Remove Animation—Removes animation
other points or CVs while you’re transforming a
controllers from the selected points or CVs.
selection set.
Preview—When on (the default), edits you make
in the dialog are also shown in viewports. Edit Texture Surface Dialog
Curve on Surface Image Modify panel > Select NURBS surface sub-object. >
Material Properties rollout > Texture Channels group box
> Turn on Gen. Mapping Coords. > Texture Surface group
Below the toolbar is a 2D image of the curve. box > Choose User-Defined. > Edit Texture Surface button
This image shows the points or CVs of the curve,
allowing you to edit it as you edit sub-objects in This dialog lets you edit the texture surface for a
viewports. surface sub-object. It is available when you have
If you right-click while in the image, a pop-up chosen User Defined as the sub-object’s texture
menu lets you switch between Select, Move, surface method.
Rotate, and Scale. This is an alternative to using A texture surface is associated with the surface
the toolbar. sub-object. The texture surface is used to control
If your mouse has a middle button, you can use it how materials are mapped. In effect, changing
to pan in this window. the texture surface stretches or otherwise changes
the UV coordinates for the surface, altering the
Buttons and Weight mapping.

These controls are comparable to editing controls The Edit Texture Surface dialog shows a 2D view of
on the rollouts for point sub-objects. (The Open 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 Move is a flyout. The alternative buttons constrain
Rollout (page 1–1149). texture points to move either vertically or
horizontally.
Maps can shift with certain surface approximation
methods. This effect is especially noticeable when Rotate—Rotates the selected points.
the surface has animated CVs. You can reduce or
Scale—Scales the selected points. This is a flyout
eliminate map shifting by changing the mapping
that lets you choose between uniform scale,
method to User Defined.
nonuniform scale in the surface’s U dimension, or
Tip: Don’t use the UVW Map modifier to apply a nonuniform scale in the surface’s V dimension.
texture to an animated NURBS surface.
Pan—Pans the surface view.

Interface 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
also shown in viewports. In viewports, selected
texture points are displayed in red, and the others
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
surface as you edit sub-objects in viewports.
If you right-click while in the image, the popup
Toolbar menu lets you switch between Select, Move,
The toolbar above the surface image provides Rotate, and Scale. This is an alternative to using
selection, transform and viewing controls. the toolbar.
These controls work the way their analogs do in If your mouse has a middle button, you can use it
viewports. to pan in this window.
Note: You can animate transforms to the texture
surface points. Texture Surface Controls
Select—Selects one or more points. Drag a window The controls below the surface image edit the
to select multiple points or CVs. texture surface.
Move—Moves the selected points.
1232 Chapter 9: Surface Modeling

Remove Animation—Removes animation ZIP tab

controllers from the selected texture points.
This tab chooses the zip algorithm. Zipping
Reset to Defaults—Resets user-defined mapping concatenates the CV lattices of the two original
to the default. curves. Zipping can change the shape of the
original curves, but usually it produces a better
Rebuild—Displays the Rebuild Texture Surface
result than joining.
dialog (page 1–1236), which rebuilds the texture
surface and lets you change the number of CV By default, the ZIP tab is active.
rows or columns.
If both curves are untrimmed point curves, the
Insert Row, Insert Col., Insert Both—Click one of result of zipping is a point curve. In all other cases,
these buttons to insert a row or column of points, the result is a CV curve.
or both at once, into the surface. Insertion adds
Tolerance—A distance in 3ds Max units. If the
points without moving other rows and columns.
ends of the two original curves are closer than this
While you refine the surface, the operation is distance, zipping deletes one of the points or CVs
previewed the same way Insert is previewed in 3D in order to avoid creating coincident points or CVs
viewports. in the new zipped curve.
Delete Row, Delete Col., Delete Both—Click one of Tension 1—(Disabled.)
these buttons to delete a row or column of points,
Tension 2—(Disabled.)
or both at once.
Join tab

Join Curves Dialog This tab chooses the join algorithm. Joining first
creates a blend curve between the two original
Modify panel > Select NURBS curve sub-object. > Curve curves, and then makes all three into a single
Common rollout > Join button > Join two curves in a
viewport. curve. Joining does not change the shape of the
two original curves.
This dialog lets you choose the way to join two If both curves are point curves, the result is a point
curves. curve. If one or both curves are CV curves, the
result is a CV curve.
Interface
Tolerance—A distance in 3ds Max units. If the
gap between the curves you are joining is greater
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
blend step, the resulting curve can deviate from the
 Join Surfaces Dialog 1233

parent curves, in order to maintain smoothness. ZIP tab

(The amount of deviation depends on how far
This tab chooses the zip algorithm. Zipping
from tangent the two input curves were at the join.)
concatenates the CV lattices of the two original
A problem arises when the gap is too small. In this surfaces. Zipping can change the shape of the
case, the software generates the blend but because original surfaces, but compared to joining it
there isn’t enough room for it, the resulting curve usually produces a simpler surface that is easier
has a loop. To avoid having this loop, set the to edit.
Tolerance higher than the gap distance.
By default, the ZIP tab is active.
If you set the tolerance to 0.0, the software chooses
If both curves are untrimmed point surfaces, the
a value to use for the Tolerance.
result of zipping is a point surface. In all other
Tension 1—Adjusts the tension of the new curve at cases, the result is a CV surface.
the end of the first curve you picked.
Tolerance—A distance in 3ds Max units. If the
Tension 2—Adjusts the tension of the new curve at edges of the two original surfaces are closer than
the end of the second curve you picked. this distance, zipping deletes one row (or column)
of the points or CVs in order to avoid creating a
Preview—When on, the effect of the zip or join is
coincident point or CV row (or column) in the
previewed in viewports. Default=on.
new zipped surface.
Tension 1—(Disabled.)
Join Surfaces Dialog Tension 2—(Disabled.)
Modify panel > Select NURBS surface sub-object. >
Surface Common rollout > Join button > Join two Join tab
surfaces in a viewport.
This tab chooses the join algorithm. (This method
This dialog lets you choose the way to join two was the only way to join surfaces in 3ds Max prior
surfaces. to v3.) Joining first creates a blend surface between
the two original surfaces, and then makes all three
Interface 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—A distance in 3ds Max units. If the gap
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 Interface

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 From U Iso Lines—Uses curves along the surface’s U
at the edge of the first surface you picked. dimension to construct a U loft.
Tension 2—Adjusts the tension of the new surface From V Iso Lines—Uses curves along the surface’s
at the end of the second surface you picked. V dimension to construct a U loft. If the surface
was already a U loft, set this to change the lofting
Preview—When on, the effect of the zip or join is
dimension.
previewed in viewports. Default=on.
From U and V Iso Lines—Uses curves from both the
U and V dimensions to construct a UV loft.
Make Loft Dialog U Curves—Sets the number of curves in U.
Modify panel > Select NURBS surface sub-object. > V Curves—Sets the number of curves in V.
Surface Common rollout > Make Loft button
Use Point Curves—When on, constructs the loft
This dialog converts a surface sub-object to a from point curves instead of the default CV curves.
(dependent) U loft or UV loft surface. You can Default=off.
also change the dimension used to construct a U
Extra Points per Segment—This control is enabled
loft surface.
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. Make Point Curve Dialog
Delete Original Loft Curves—This is available only if Modify panel > Select NURBS curve sub-object. > Curve
Common rollout > Make Fit button
the surface was already a U loft or UV loft. When
on, Make Loft deletes the original loft curves when
The Make Fit button for a NURBS curve sub-object
you click OK. When off, the original curves remain
turns a CV curve into a point curve. For point
where they are. Default=off.
curves, it lets you change the number of points. It
Preview—When on, displays a preview of the new displays this dialog.
loft surface. Loft creation is faster when Preview
is off. Default=off. Interface

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 Number of Points—Sets the number of points in
point surface sub-object. the point curve.

Interface
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

Number in U—Sets the number of columns.
when you click to create a point in the same
Number in V—Sets the number of rows. location as the curve’s first point.
Preview—When on, your changes are previewed in
Interface
viewports. Point surface conversion is faster when
Preview is off. Default=off.

Yes—Closes the curve and ends curve creation.

No—Keeps the curve open and does not end curve

creation.
1236 Chapter 9: Surface Modeling

Interface
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

The Rebuild button for CV curves displays this

dialog. It lets you specify how to rebuild the curve.
Rebuilding the curve 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
Tolerance—Rebuilds the curve according to number in the U dimension, and Number in V
accuracy. The lower the Tolerance value, the more specifies the number in the V dimension. These
accurate the rebuild. Increasing Tolerance enables values default to the numbers that already exist in
the curve to be rebuilt using fewer CVs. the surface.

Number—(The default.) Lets you alter the number Preview—When on (the default), your changes are
of CVs in the curve. previewed in viewports.

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 >
Rebuild CV Surface Dialog Texture Channels group box > Turn on Gen. Mapping
Coords. > Texture Surface group box > Choose
Modify panel > Select NURBS object. > Stack display > User-Defined. > Edit Texture Surface button > Edit
Surface sub-object level > Select an independent CV Texture Surface dialog > Rebuild button
surface sub-object. > CV Surface rollout > Rebuild button
This dialog rebuilds the texture surface and lets
The Rebuild button for CV surfaces displays this you change the number of CV rows or columns.
dialog. It lets you specify how to rebuild the
surface. Rebuilding the surface can change its
appearance.
 Reparameterize Dialog 1237

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
root of the length of each curve segment.
Chord-length reparameterization is usually the
best choice.
Number in U—Sets the number of CV columns. Uniform—Spaces the knots uniformly.

Number in V—Sets the number of CV rows. A uniform knot vector has the advantage that
the curve or surface changes only locally when
you edit it. With chord-length parameterization,
Reparameterize Dialog moving any CV can potentially change the entire
sub-object.
Modify panel > Select NURBS object. > Stack display >
Curve sub-object level > Select an independent CV curve Maintain Parameterization—When on, the curve is
sub-object. > CV Curve rollout > Reparam. button
automatically reparameterized as you edit it, using
Modify panel > Select NURBS object. > Stack display the currently active method of reparameterization.
> Curve sub-object level > Select an independent CV
surface sub-object. > CV Surface rollout > Reparam. When off, no reparameterization happens unless
button you use this dialog. Default=off.

The Reparam. button for CV curves and surfaces Preview—If on (the default), displays the effects of
displays this dialog. Reparameterizing a CV reparameterizing in viewports.
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. Sub-Object Clone Options Dialog
Tip: It is a good idea to reparameterize after you Modify panel > Select NURBS surface or curve sub-object.
> Shift +Clone. > Clone Options dialog
have added CVs to a curve or surface by refining
or inserting.
When you Shift +Clone (page 1–478) a surface
or curve sub-object, the Clone Options dialog
Interface
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 CV surfaces. If Include Parent(s) is off, only the

one curve or surface is cloned. Cloning is slower
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.
Relational Copy—The cloned object is the same
Interface
type as the original. If the original object was a
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. ID—Specifies the material ID you want to select.
Independent Copy—The cloned object is an Clear Selection—When on, replaces the current
independent CV curve or CV surface. It has selection (if any) by the material ID selection.
the same shape as the original, but its relational When off, adds the material ID selection to the
dependencies aren’t copied. This method of current selection set.
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 Curve and Surface
actually a transform curve or transform surface, Approximation
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 Curve Approximation
on translation.
Modify panel > Select top-level NURBS object. > Curve
Include Parent(s)—(Available only for Independent Approximation rollout
Copy or Copy as Transform Object(s).) Tells the
system whether or not to include the parents of Although NURBS curves are analytically
the dependent object. For example, if Include generated, in order to generate and display them
Parent(s) is on when you clone a blend surface, the they must be approximated by line segments.
two parent surfaces are also cloned as independent
 Surface Approximation 1239

Curve approximation controls are displayed in the

creation parameters for curve objects, and on a Surface Approximation
Curve Approximation rollout for NURBS models
Modify panel > Select top-level NURBS object. > Surface
(top-level NURBS objects). At the model level, Approximation rollout
approximation controls affect all curve sub-objects
Modify panel > Select NURBS surface sub-object. >
in the model. Surface Approximation rollout

Curve approximation is accomplished by segments.

One or more line segments, or steps, are used Although NURBS surfaces are analytically
to approximate each segment of the curve. For generated, in order to generate and display them
point curves, a segment of a curve is the portion they must be approximated by faces. You use the
between one point and the next. For CV curves, controls described in this section to set the type of
the segment is determined by the CV’s parametric approximation used and its parameters.
knot (page 3–961). The transition from one CV The Surface Approximation rollout controls how
curve segment to another isn’t visible in viewports. surface sub-objects in the NURBS model are
Curve approximation parameters aren’t approximated for purposes of rendering and
animatable. viewport display. NURBS can be approximated
differently in viewports and in the renderer.
Interface Typically you want viewport display to be clear
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
Steps—The maximum number of line segments
buttons for selecting the kind of display output,
used to approximate each curve segment. If the viewport or renderer, these parameters control.
curve displays or renders with angles, increase this Surface approximation parameters are not
value. This control is unavailable when Adaptive animatable.
is on. Range=1 to 100.
Note: If the size or shape of a surface changes
Optimize—Turn on this check box to optimize the over time, the tessellation used to approximate it
curve. When on, interpolation uses the specified can change (automatically) as well. This has the
Steps value unless two segments are collinear, in advantage of improving render time in animations.
which case they are converted to a single segment. It has the disadvantage that you can’t apply image
This control is unavailable when Adaptive is on. motion blur (page 3–955) to NURBS objects
whose tessellation changes during animation. The
Adaptive—(The default.) Segments the curve
Regular method of tessellation is the exception:
adaptively, based on its curvature. In other words,
it doesn’t change when animated, so you can use
the curve is assigned more segments where its
image motion blur with Regular tessellation.
curvature is greatest, and fewer segments where
its curvature is less.
1240 Chapter 9: Surface Modeling

Surface Approximation Per Surface interactively in viewports, including shaded

viewports, and by the preview renderer.
By default, surface sub-objects use the same
approximation settings as the top-level NURBS The Viewports surface settings are also used when
model. You can override these settings. you apply a mesh modifier such as Mesh Select to
Each surface sub-object now has a Surface the NURBS object. This is important because the
Approximation rollout of its own. The controls modifier can affect the scene’s geometry.
on this rollout are disabled unless you turn off
Renderer—When chosen, the rollout affects how
the Lock to Top Level toggle. With this toggle
surfaces in the NURBS object are displayed by
turned off, you can choose approximation settings
the renderer, and by the draft renderer for Quick
specific to this surface sub-object.
Render.
Interface The next cluster of buttons lets you choose which
portions of the geometry are affected by the
surface approximation settings.
Base Surface—Settings affect the entire surface.
This is the default.
Surface Edge—Turn on to set approximation values
for tessellating surface edges that are defined by
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—Turn on to set a third,
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
Base Surface settings to the Surface Edge settings.
In other words, surfaces and surface edges have a
relational tessellation setting unless Lock is turned
Tessellation group off. Default=on.
Viewports—When chosen, the rollout affects
how surfaces in the NURBS object are displayed
 Surface Approximation 1241

Tessellation Presets group Renderer, Displaced Surface:

Lets you choose a preset low, medium, or high Method=Spatial and Curvature Edge=10.0
quality surface approximation. While a preset Distance=10.0 Angle=4.0 Merge=(Unavailable)
is chosen, the values it uses are displayed on the Advanced Parameters > Minimum=0,
Tessellation Method rollout. Maximum=3
Preset values are saved in the 3dsmax.ini (page Keyboard shortcut: Alt+2
1–18) file. You can customize the preset values
High—Selects a high-quality surface
by using the Surface Approximation utility (page
approximation. These are the default values:
1–1245).
Viewports, Base Surface:
Low—Selects a (comparatively) low-quality surface
approximation. These are the default values: Method=Spatial and Curvature Edge=5.0
Distance=15.0 Angle=10.0 Merge=0.0 Advanced
Viewports, Base Surface:
Parameters > Minimum=0, Maximum=3
Method=Spatial and Curvature Edge=50.0
Renderer, Base Surface:
Distance=50.0 Angle=50.0 Merge=0.0 Advanced
Parameters > Minimum=0, Maximum=3 Method=Spatial and Curvature Edge=5.0
Distance=5.0 Angle=3.0 Merge=0.01 Advanced
Renderer, Base Surface:
Parameters > Minimum=0, Maximum=4
Method=Spatial and Curvature Edge=20.0
Renderer, Displaced Surface:
Distance=20.0 Angle=15.0 Merge=0.01 Advanced
Parameters > Minimum=0, Maximum=3 Method=Spatial and Curvature Edge=5.0
Distance=5.0 Angle=2.0 Merge=(Unavailable)
Renderer, Displaced Surface:
Advanced Parameters > Minimum=0,
Method=Spatial and Curvature Edge=20.0 Maximum=4
Distance=20.0 Angle=10.0 Merge=(Unavailable)
Keyboard shortcut: Alt+3
Advanced Parameters > Minimum=0,
Maximum=2 Note: The keyboard shortcuts for surface
approximation presets don’t require that the
Keyboard shortcut: Alt+1
Keyboard Shortcut Override Toggle be on. You
Medium—(The default for both viewports and can change the surface approximation of NURBS
rendering.) Selects a medium-quality surface objects by selecting them in a viewport, and then
approximation. These are the default values: using Alt+1 , Alt+2 , or Alt+3 . This works for
sub-objects as well, but the surface sub-object’s
Viewports, Base Surface:
Lock to Top Level toggle must be turned off.
Method=Spatial and Curvature Edge=20.0
Distance=20.0 Angle=15.0 Merge=0.0 Advanced Tessellation Method group
Parameters > Minimum=0, Maximum=3 The controls in this group affect the display of the
Renderer, Base Surface: NURBS surface in viewports if you have chosen
Viewports above, or by the renderer if you have
Method=Spatial and Curvature Edge=10.0 chosen Renderer above. You can choose between
Distance=15.0 Angle=10.0 Merge=0.01 Advanced
Parameters > Minimum=0, Maximum=4
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 Regular mesh of the NURBS teapot
might be better than Curvature, because of Parametric—Generates an adaptive tessellation
their regular tessellation. Curvature-dependent based on U Steps by V Steps. Low values for U
tessellation can cause problems with some and V Steps using the Parametric method often
modifiers. provide good results. Model complexity increases
• Renderer Tessellation: Spatial and Curvature rapidly as U and V Steps values increase, so
usually obtains the most accurate rendering. take care when you switch from Regular, which
Curvature can be the more efficient choice generally requires higher U and V values, to
when you render animated surfaces. Parametric, where lower U and V values generally
suffice.
Lock to Top Level—(for sub-object surfaces only)
When on, the surface sub-object uses the same For example, if you convert a teapot to NURBS and
surface approximation settings as the top-level set the U and V steps to 15, the Regular method
NURBS model, and other controls on this rollout generates 4470 faces but the Parametric method
are disabled. When turned off, you can set the generates 204960 faces.
sub-object approximation to differ from the
top-level model. Default=on.
Regular—Generates a fixed tessellation across the
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 mesh of the NURBS teapot

Spatial—Generates a uniform tessellation made

of triangular faces.
 Surface Approximation 1243

The Edge parameter specifies the maximum When both Distance and Angle are 0.0, the
length of a triangular face in the tessellation. The surfaces degenerate and can become flat surfaces.
value is a percentage of the object’s bounding
box. Decreasing this value increases accuracy but
increases rendering time.

Curvature mesh of the NURBS teapot

Spatial and Curvature—Combines the spatial

(edge-length) method and the curvature (distance
Spatial mesh of the NURBS teapot
and angle) methods, using all three values.
Curvature—(The default.) Generates a variable
The Edge parameter specifies the maximum
tessellation based on the curvature of the surface.
length of a triangular face in the tessellation. The
The tessellation has a finer grain where the surface
value is a percentage of the object’s bounding
is more curved. Changing surface curvature
box. Decreasing this value increases accuracy but
dynamically changes the curvature tessellation.
increases rendering time. When you set Edge
The Distance parameter specifies how far the to 0.0, the effect is equivalent to the Curvature
approximation can deviate from the actual NURBS method.
surface. Distance is a percentage of the diagonal of
The Distance parameter specifies how far the
each surface’s bounding box. Each surface in an
approximation can deviate from the actual
object is tessellated based on its size, independently
NURBS surface. Distance is a percentage of the
of other surfaces. Scaling a surface doesn’t change
diagonal of each surface’s bounding box. Each
its tessellation. Decreasing this value increases
surface in an object is tessellated based on its size,
accuracy but increases rendering time. When
independently of other surfaces. Scaling a surface
you set Distance to 0.0, the software ignores this
doesn’t change its tessellation. Decreasing this
parameter and uses the Angle to control accuracy.
value increases accuracy but increases rendering
The Angle parameter specifies the maximum angle time. When you set Distance to 0.0, the software
between faces in the approximation. Decreasing ignores this parameter and uses the Edge and
this value increases accuracy but increases Angle values to control accuracy.
rendering time. When you set Angle to 0.0, the
The Angle parameter specifies the maximum angle
software ignores this parameter and uses Distance
between faces in the approximation. Decreasing
to control accuracy.
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 for production rendering, by default the software
and Distance values to control accuracy. adjusts the tessellation of adjoining surfaces to
match each other, in terms of the number of faces
When Distance, Angle, and Edge are all 0.0, the
along the edges. The Merge parameter controls
surfaces degenerate and can become flat surfaces.
how this is done. If Merge is zero, adjoining faces
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, the Merge value is 0.1 percent of the
diagonal of the object’s bounding box. In other
words, a Merge value of 1.0 (higher than necessary
Spatial and Curvature mesh of the NURBS teapot for most purposes) is 0.1 percent of the length
of the diagonal. Because Merge is based on the
View-Dependent—(for the Renderer only) When
object’s dimensions, you can scale the NURBS
on, takes the object’s distance from the camera
model without affecting the Merge setting.
into account while calculating tessellation. This
can improve rendering time by not generating Advanced Parameters—Click to display the
fine-grained tessellations for objects in the distance Advanced Surface Approximation dialog (page
of the rendered scene. The view-dependent effect 1–1245). The parameters in this dialog apply to
works only when you render camera or perspective the Spatial, Curvature, and Spatial and Curvature
views. It doesn’t work in orthographic views. This approximation methods.
control is disabled while Viewports is active. Clear Surface Level—(Appears only for top-level
For the Spatial, Curvature, and Spatial and surfaces.) Clears all surface approximation
Curvature methods, the Distance and Edge values settings assigned to individual surface sub-objects.
specify pixels instead of 3ds Max units when When you click this button, all surface-specific
View-Dependent is on. approximations are lost, and Lock to Top Level is
on for surface sub-objects.
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
 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 Delauney surface subdivision style
Spatial and Curvature approximation methods.
Subdivision Limits
Interface
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
Subdivision Style of Triangles lets you specify the maximum number
Chooses the method used to subdivide the surface: of triangles into which the surface will be divided.
Default=20000.
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.
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 Interface

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.
 Surface Approximation Rollout 1247

Iso Parametric Lines group Viewports—When chosen, the utility affects how
surfaces in the NURBS objects are displayed
The controls in this group box affect the display of
interactively in viewports, including shaded
the NURBS surfaces in viewports.
viewports, and by the preview renderer.
U Lines and V Lines—The number of lines used to
The Viewports surface settings are also used when
approximate the NURBS surfaces in viewports,
you apply a mesh modifier such as Mesh Select to
along the surface’s local U and V dimensions,
the NURBS objects. This is important because it
respectively. Reducing these values can speed up
can affect the scene’s geometry.
the display of the surface, but reduce accuracy
of the display. Increasing these values increases Renderer—When chosen, the utility affects how
accuracy at the expense of time. Setting one of surfaces in the NURBS objects are displayed by
these values to 0 displays only the edge of the the renderer, and by the draft renderer for Quick
object in the corresponding dimension. Render.
Iso Only—When chosen, all viewports display iso Base Surface—When on, settings affect entire
line (page 3–959) representations of the surface. surfaces in the selection set. Default=on.
Iso (parametric) lines are similar to contour lines.
Surface Edge—When on, settings affect the
The lines show where the NURBS surface has
tessellation of surface edges that are defined by
a constant U value or V value or both. Iso line
trim curves.
representations can be less crowded and easier to
visualize than wire mesh representations. Displaced Surface—Enabled only when Renderer
is chosen. Turn on to set a third, independent
Iso and Mesh—(The default.) When chosen,
approximation setting for surfaces that have a
wireframe viewports display iso line
displacement map (page 2–1511) or Displace (page
representations of the surface, and shaded
1–629) modifier applied to them.
viewports display the shaded surface.
Mesh Only—When chosen, wireframe viewports Load Tessellation Preset group
display the surface as a wire mesh, and shaded
Lets you choose a preset low, medium, or
viewports display the shaded surface.
high-quality level of surface approximation. While
In wireframe viewports, this option lets you see a preset is chosen, the values it uses are displayed
the surface approximation used for viewports. 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:
Iso and mesh displays of a NURBS teapot Method=Spatial and Curvature
Edge=50.0
1248 Chapter 9: Surface Modeling

Distance=50.0 Renderer, Base Surface:

Angle=50.0 Method=Spatial and Curvature
Merge=0.0 Edge=10.0
Advanced Parameters > Minimum=0, Distance=15.0
Maximum=3
Angle=10.0
Renderer, Base Surface:
Merge=0.01
Method=Spatial and Curvature
Advanced Parameters > Minimum=0,
Edge=20.0 Maximum=4
Distance=20.0 Renderer, Displaced Surface:
Angle=15.0 Method=Spatial and Curvature
Merge=0.01 Edge=10.0
Advanced Parameters > Minimum=0, Distance=10.0
Maximum=3
Angle=4.0
Renderer, Displaced Surface:
Merge=(Unavailable)
Method=Spatial and Curvature
Advanced Parameters > Minimum=0,
Edge=20.0 Distance=20.0 Maximum=3
Angle=10.0 Merge=(Unavailable) High—Selects a high-quality level of surface
approximation. These are the default values:
Advanced Parameters > Minimum=0,
Maximum=2 Viewports, Base Surface:
Medium—(The default for both viewports and Method=Spatial and Curvature Edge=5.0
rendering.) Selects a medium-quality level of Distance=15.0 Angle=10.0 Merge=0.0 Advanced
surface approximation. These are the default Parameters > Minimum=0, Maximum=3
values:
Renderer, Base Surface:
Viewports, Base Surface:
Method=Spatial and Curvature
Method=Spatial and Curvature
Edge=5.0
Edge=20.0
Distance=5.0
Distance=20.0
Angle=3.0
Angle=15.0
Merge=0.01
Merge=0.0
Advanced Parameters > Minimum=0,
Advanced Parameters > Minimum=0, Maximum=4
Maximum=3
Renderer, Displaced Surface:
 Surface Approximation Rollout 1249

Method=Spatial and Curvature Note: When Viewports is chosen, you must also
choose Mesh Only in order to see the effect of the
Edge=5.0
Mesh Parameter settings in wireframe viewports.
Distance=5.0
Generally speaking, if the preset values you have
Angle=2.0 chosen give good results, you don’t need to adjust
the controls in this rollout further. Use them if you
Merge=(Unavailable)
encounter problems with the preset alternative.
Advanced Parameters > Minimum=0,
Tips
Maximum=4
• Viewport Tessellation: The tessellation method
Save Tessellation Preset group creates the mesh, so if you modify the NURBS
object with Mesh Select, choose the method
Click a button to save the current Tessellation
that gives the result you need. If you use
Method settings as a new Low, Medium, or High
modifiers heavily, Spatial or Parametric might
preset. These values are saved in the 3dsmax.ini
be better than Curvature, because of their
file.
regular tessellation. Curvature-dependent
Note: There is a separate Low, Medium, and High tessellation can cause problems with some
preset for Base Surface and Displaced Surface modifiers.
approximation. Check whether Base Surface or
• Renderer Tessellation: Spatial and Curvature
Displaced Surface is on before you use the buttons
usually obtains the most accurate rendering.
in this group box to save a custom preset.
Curvature can be the more efficient choice
Customizing preset values overwrites the default when you render animated surfaces.
presets. To restore the defaults, you can re-enter
Regular—Generates a fixed tessellation across the
the default preset values shown above, and then
surface based on U Steps by V Steps. Increasing
save them with the corresponding button. You can
these parameters increases accuracy at a cost of
also restore defaults by editing the 3dsmax.ini file
speed, and vice versa, but in general this can be the
to delete the custom preset values.
quickest and least accurate way to approximate a
When you customize the preset values, there is no NURBS surface. Very low values for U and V Steps
necessary correlation between the button names using the Regular method usually doesn’t provide
and the quality of surface approximation. The good results. Model complexity increases slowly
software has no way of knowing how "good" a as U and V Steps values increase.
tessellation is, and you can save a very high-quality
Parametric—Generates an adaptive tessellation
surface approximation in the Low preset, for
based on U Steps by V Steps. Low values for U
example.
and V Steps using the Parametric method often
Tessellation Method group provide good results. Model complexity increases
rapidly as U and V Steps values increase, so
The controls in this group box affect the display take care when you switch from Regular, which
of the NURBS surfaces in either viewports, generally requires higher U and V values, to
if Viewports is chosen, or by the renderer, if Parametric, where lower U and V values generally
Renderer is chosen. You can choose between five suffice.
algorithms. Each approximates NURBS surfaces
by tessellating them in a different way.
1250 Chapter 9: Surface Modeling

For example, if you convert a teapot to NURBS and Changing surface curvature dynamically changes
set the U and V steps to 15, the Regular method the curvature tessellation.
generates 4470 faces but the Parametric method
The Distance parameter specifies how far the
generates 204960 faces.
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
Parametric mesh of the NURBS teapot
rendering time. When you set Angle to 0.0, the
Spatial—Generates a uniform tessellation made software ignores this parameter and uses the
of triangular faces. Distance to control accuracy.
The Edge parameter specifies the maximum When both Distance and Angle are 0.0, the
length of a triangular face in the tessellation. The surfaces degenerate and can become flat surfaces.
value is a percentage of the object’s bounding
box. Decreasing this value increases accuracy but
increases rendering time.

Curvature mesh of the NURBS teapot

Spatial and Curvature—(The default.) Combines

the spatial (edge-length) method and the
Spatial mesh of the NURBS teapot
curvature (distance and angle) methods, using all
Curvature—Generates a variable tessellation based three values.
on the curvature of the surface. The tessellation The Edge parameter specifies the maximum
has a finer grain where the surface is more curved. length of a triangular face in the tessellation. The
 Surface Approximation Rollout 1251

value is a percentage of the object’s bounding limit. You might want to increase this value to 7
box. Decreasing this value increases accuracy but (the greatest value allowed). See the description of
increases rendering time. When you set Edge Advanced Parameters, below.
to 0.0, the effect is equivalent to the Curvature
Merge—Controls the tessellation of surface
method.
sub-objects whose edges are joined or very nearly
The Distance parameter specifies how far the joined. When input to a modifier (such as Mesh
approximation can deviate from the actual NURBS Select) that requires a mesh, and when NURBS
surface. Distance is a percentage of the diagonal of surfaces are tessellated for production rendering,
each surface’s bounding box. Each surface in an by default the software adjusts the tessellation of
object is tessellated based on its size, independently adjoining surfaces to match each other, in terms of
of other surfaces, and scaling a surface doesn’t the number of faces along the edges. The Merge
change its tessellation. Decreasing this value parameter controls how this is done. If Merge is
increases accuracy but increases rendering time. zero, adjoining faces are unchanged. Increasing
When you set Distance to 0.0, the software ignores the value of Merge increases the distance the
this parameter and uses the Edge and Angle values software uses to calculate how edges should match,
to control accuracy. guaranteeing no gaps between the surfaces when
they are rendered. Default=0.01.
The Angle parameter specifies the maximum angle
between faces in the approximation. Decreasing In most cases, you don’t need to adjust Merge. If
this value increases accuracy but increases rendering shows gaps between nearly adjoining
rendering time. When you set Angle to 0.0, the faces, increase Merge to eliminate them.
software ignores this parameter and uses the Edge
Technically, the Merge value is one tenth of one
and Distance values to control accuracy.
percent of the diagonal of the object’s bounding
When Distance, Angle, and Edge are all 0.0, the box. In other words, a Merge value of 1.0 (higher
surfaces degenerate and can become flat surfaces. than necessary for most purposes) is 0.1 percent
of the length of the diagonal. Because Merge is
View-Dependent—(for the Renderer only): When
based on the object’s dimensions, you can scale the
on, takes the object’s distance from the camera
NURBS model without affecting the Merge setting.
into account while calculating its tessellation. This
can improve rendering time by not generating Advanced Parameters—Click to display the
fine-grained tessellations for objects that are Advanced Surface Approximation dialog (page
in the distance of the rendered scene. The 1–1245). The parameters in this dialog apply to
view-dependent effect only works when you the Spatial, Curvature, and Spatial and Curvature
render camera or perspective views. It doesn’t approximation methods.
work in orthographic views. This control is
Clear Surfaces—When on, the settings you choose
disabled while Viewports is active.
in this utility override all sub-object specific
For the Spatial, Curvature, and Spatial and surface approximation settings in the selected
Curvature methods, when View-Dependent is on, NURBS models. When off, the utility affects
the Distance and Edge values specify pixels instead top-level NURBS models but settings local to
of the software’s default units. individual surface sub-objects remain unaffected.
Note: When View-Dependent is on, tessellation Default=Off.
very quickly reaches the maximum subdivision
1252 Chapter 9: Surface Modeling

Set Selected—Applies the surface approximation lattice for an object’s curves but not its surfaces,
values active in the utility to all selected NURBS or vice versa.
objects.
Curves—When on, displays curves.
Reset—Resets the values in the utility to the default
Surfaces—When on, displays surfaces.
settings for a NURBS surface.
Dependents—When on, displays dependent
sub-objects.
Surface Display Rollout Surface Trims—When on, displays surface
Utilities panel > Utilities rollout > More button > Utilities trimming. When turned off, displays all of a
dialog > Surface Approximation > Surface Display rollout surface even if it’s trimmed.

The controls in the Surface Display rollout are the Transform Degrade—When on, transforming a
same as the display controls for NURBS surface NURBS surface can degrade its display in shaded
objects, with two additional buttons: Set Selected viewports, to save time. This is similar to using
and Reset. the Adaptive Degradation toggle for playing
animations. You can turn off this toggle so surfaces
Interface are always shaded while you transform them, but
transforms can take longer to create.

Button set
Set Selected—Applies the display settings active in
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
Display group
A couple of utilities help you manage the polygon
Lattices—When on, displays control lattices, in count for scenes and animations that must not
yellow lines. (You can change the lattice color become too complex. Show Statistics, available
by using the Colors panel (page 3–799) of the from the viewport right-click menu, lets you
Customize User Interface dialog. The Curve CV monitor the number of polygons, vertices, etc.,
and Surface CV sub-object levels also have a local in the scene, as well as the frames per second
Display Lattice toggle, which overrides this global displayed. The Level of Detail utility, available
setting at the sub-object level. The Curve CV and from the Utilities panel (page 3–778), lets you
Surface CV settings are independent. In other manage the complexity of an object in the scene.
words, at the sub-object level, you can turn on the 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 The first column lists the statistics for the entire scene, while the
second only refers to the selected objects.
You can quickly access various statistics related to Polys —Displays the number of polygons in the
your current selection and entire scene. scene and selection.
Note: These statistics are relevant primarily to mesh
Note: This is valid only for poly objects.
and poly objects. Some statistics information
might be unavailable with certain other types of Tris —Displays the number of triangle faces in the
object. scene and selection.
Note: If you select a polygon in a poly object, this
Procedure option shows two or more triangles.
To use the viewport statistics display:
Edges —Displays the number of edges in the scene
1. Customize the statistics display on the and selection.
Customize menu > Viewport Configuration
Verts —Displays the number of vertices in the
dialog > Statistics panel.
scene and selection.
2. Activate the viewport in which to display
statistics. FPS —The frames per second displayed in the
viewport.
3. Toggle the statistics display by pressing 7 or
right-clicking the viewport label and choosing
Show Statistics. Level of Detail Utility
Interface Utilities panel > Utilities rollout > More button > Utilities
dialog > Level of Detail
You can customize the viewport statistics by
turning on and off options on the Statistics (page The Level Of Detail utility lets you construct an
3–861) panel of the Viewport Configuration object that alters its geometric complexity or level
dialog. The following statistics reflect all options of detail based on its size in the rendered image.
turned on. You create several versions of the same object each
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 To access an object’s stack:
on their size in the rendered scene. 1. Select the Level Of Detail object, and then
The main purpose of this utility is to save time in choose Group menu > Open.
rendering complex objects and in manipulating 2. In the Level Of Detail utility, choose the object
objects in the viewports. Since a portion of you want to access from the list window,
rendering speed is directly related to the number and then turn on Display In Viewports (or
of faces that must be rendered in a scene, using the double-click the object’s name in the list
Level Of Detail utility lets you reduce the number window).
of rendered faces as an object reduces its apparent
3. Select the object in the viewport.
size. In addition, you can use this utility to display
a simple stand-in for a more complex object in 4. Open the Modify panel to access that object’s
the viewports. Since the stack is not calculated for parameters.
objects hidden in the viewports, you can speed 5. When finished, choose Group menu > Close.
up viewport manipulation by using this utility
to substitute complex stack objects with simple To assign materials within the group:
stand-ins. 1. Select the grouped object.
2. Use Display In Viewports in the Level Of Detail
Procedures
utility to display the grouped object you want
To set up an object for the Level Of Detail utility: to assign the material to.
1. Create two or more objects that are identical 3. Drag the material from the Material Editor (or
except for their complexity. the Browser) over to the object in the viewport.
Note: It’s best to assign materials and mapping 4. Choose Assign To Object in the Assign Material
coordinates, as well as all modifiers while the alert, and then click OK.
objects are still separate.
Note: Be sure and choose Assign To Object. If
2. Select all of the objects, and use the Align tool you choose the default Assign To Selection, all
to center all of them about a common center. objects in the group will be assigned the same
3. Group the objects. material.
4. Choose the Level Of Detail utility.
To dismantle a Level Of Detail object:
5. While the grouped object is selected, click the
If you look at a Level Of Detail object in Track
Create New Set button.
View, you’ll see only the tracks for the sub-object
The name of the objects within the group that’s currently displayed in the viewports. To see
appear in the Level Of Detail list, in order of all sub-objects in Track View, you need to turn off
complexity; only the least complex object in the Visible Objects.
group is displayed in the viewports, while all
other objects are made invisible. If you need to dismantle a grouped Level Of
Detail object, and restore its sub-objects to their
6. Use the controls in the Level Of Detail rollout to
independent states, follow these steps:
adjust when the objects will switch their display
in the rendered scene. 1. Open the Filters dialog in Track View, and turn
off Visible Objects in the Show Only group box.
 Level of Detail Utility 1255

2. The tracks for all of the sub-objects in the Level Interface

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.

Level of Detail Set group

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 item. Double-clicking the object name in the list
set. You must first attach the object you want to performs the same function.
add to the group object. To add an object to the
set, use Align to center the object with the group Threshold Units group
object. Select the object you want to add, and then The options in this group box let you choose
choose Attach from the Group menu, and then between two types of threshold units. Switching
click the group object. Finally, click the Add to Set between these two options does not alter the
button, and then click the object you want added. effect; it alters the method by which you set the
Remove from Set—Removes the object highlighted thresholds.
in the list window from the current set. Note that Pixels—The thresholds are determined by
the object then becomes visible in the viewports, specifying the maximum pixel size of the image
but is still part of the group. To remove the object (measured diagonally). Use when you want to set
from the group, choose Group menu > Open, the transfer thresholds using absolute rather than
select the object you want removed, and choose relative values.
Group menu > Detach. Select the group object
again, and choose Group menu > Close. % of Target Image—Sets the thresholds based on
the percentage of the size of the image (measured
Image Output Size group diagonally) relative to the size of the rendered
output.
Width/Height—The Width and Height spinners in
this area are set to the current rendering output
Thresholds group
size each time you enter the Level of Detail utility.
Using the spinners, you can change this to any Min Size/Max Size—Sets the minimum size of the
resolution. If the percent of Target Image option is object before it’s replaced by the less complex
selected, as you change the Target Image Size, the object, and the maximum size of the object before
threshold values change as well. it’s replaced by the more complex object. The
values vary depending on the current type of
Reset to Current—Resets both spinners to the Threshold Unit. The default threshold values are
current rendering output size. initialized so that the most complex object is 100
List window—Lists all of the objects in the group by percent of the image output size. The remaining
complexity, with the least complex at the top of the thresholds are set using an algorithm based on a
list. The numbers at the left of each object name ratio of the number of faces between each object.
are the threshold values that indicate at what size It assumes that all faces are the same size, and then
the object will be displayed in the rendered scene. picks thresholds so that the faces would remain a
The numbers can be one of two types of units, constant size as displayed on the screen. Usually,
pixels, or percentage of the target image. You set this will provide the type of smooth transition you
the type of unit in the Threshold Units group. need, but you can customize the threshold values.
The threshold values are interrelated between
Display in Viewports—Displays in the viewport the
the objects, so altering the minimum size of one
object highlighted in the list window. Only one object, for example, will also alter the maximum
object in the group is displayed in the viewports at size of the next object.
any time. As a default, the least complex object is
displayed, but you can look at the other objects Reset All—Resets all thresholds for all objects in
by highlighting them in the list and selecting this the list, using the previously described algorithm.
 Level of Detail Utility 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
the simple object in the list window and, in the
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
Index

Symbols & Numerics A

1-rail sweep surface 1–1204 about
2 3 4 links 2–1111, 2–1150 about MAXScript 1–xvii
2 feet down 2–988, 2–997 buttons 2–1106
2.5D snap 2–35 footstep animation 2–856
2-point perspective 2–1392 freeform animations 2–886
2-rail sweep surface 1–1209 absolute 2–1150
2-sided 3–855, 3–901 absolute snap 2–35, 2–41
2D absolute/offset coordinate display 3–709
2D coordinates rollout 2–1625 abut selected (video post) 3–329
2D images 3–608 acceleration (raytrace) 2–1531
2D maps 2–1624 acceleration techniques (raytracer) 2–1528
2D snap 2–35 acceleration test (particle flow) 2–233
2D map accuracy 2–120, 3–815
glossary 3–901 AccuRender materials
32–bit floating-point output 3–613 in 3ds Max 3–455
3D actions (particle flow) 2–141, 3–903
3D coordinates rollout 2–1663 action recovery 2–121
3D maps 2–1662 adding 2–131
3D snap 2–35 and order/priority 2–124
viewing and navigating 3D space 1–21 and time frames 2–141
3D displacement shader (mental ray) 2–1714 editing parameters 2–131
3D DWF order of 2–123, 2–130
exporting 3–555 activate all maps 1–50
glossary 3–901 activate options 2–974
3D map activating
glossary 3–902 grid object 2–34
3DS files home grid 2–34
3DS import dialog 3–530 joint axes 2–485
exporting 3–532 maps 1–50
importing 3–530 activating footsteps 2–865
3ds Max active 2–1136
bones 2–834, 2–1080 active link (glossary) 3–903
knowledge of 2–832 active time segment 2–286
main window 1–9 active time segment (glossary) 3–904
materials 3–83 active viewport 1–22
3dsmax.ini file 1–17 to 1–18 active/inactive footsteps 3–904
1260 Index

ActiveShade 3–17 add selection to current layer 3–667

commands (quad menu) 3–22 add texture elements dialog 3–164
floater 3–21 add to track set 2–591
glossary 3–904 add twist pose 2–950
quick render 3–17 add/edit DBR host dialog 3–128
viewport 3–21 adding
actual stride height 2–992, 2–995 comments (particle system) 2–134
actual stride length 2–992, 2–995, 2–997 editable spline vertices 1–297
actual stride width 2–992, 2–995, 2–997 footsteps 2–863
adapt locks 2–871, 2–980, 3–905 poses 2–1096
adaptation 3–905 splines 1–303, 1–308
adapting adding controllers to bipeds 2–896
keyframes to edits 2–871 additive opacity (glossary) 3–906
keys to footstep edits 2–871 adjust animation range (track bar) 3–703
adaptive antialiaser dialogs 2–1533 to 2–1534 adjust color dialog
adaptive control 1–167, 1–828, 2–1534, 2–1698 vertexpaint modifier 1–949
adaptive degradation adjust pivot rollout 2–488
glossary 3–905 adjust talent pose option 2–1065
override 1–34 adjust transform rollout 2–489
viewport configuration dialog 3–859 adjusting
adaptive subdivision dialog 1–706 default envelope shape 2–1086
add keys in Track View 2–875
alpha compositor (video post) 3–381 link parameters 2–1091
atmosphere 2–1351, 3–304 normals and smoothing 1–166
contrast filter (video post) 3–343 object transforms 2–432
cross fade compositor (video post) 3–381 pivots 2–423
default lights to scene 1–49 talent pose 2–1065, 3–906
effect 2–1351 Adobe Illustrator files
external event (video post) 3–340 exporting 3–534
fade filter (video post) 3–344 importing AI 88 format 3–533
image alpha filter (video post) 3–344 advanced effects rollout 2–1341
image filter event (video post) 3–335 advanced file link settings 3–431
image input event (video post) 3–332 advanced key info 2–306
image layer event (video post) 3–337 advanced lighting
image output event (video post) 3–339 object properties 1–123
lens effects filter (video post) 3–345 select advanced lighting rollout 3–44
loop event (video post) 3–342 advanced lighting override material 2–1601
negative filter (video post) 3–345 advanced quad menu options 3–801
note track (Track View) 2–552 advanced ray-traced parameters rollout 2–1356
pseudo alpha compositor (video post) 3–382 advanced rollout 1–791
pseudo alpha filter (video post) 3–346 advanced shaders rollout
scene event (video post) 3–329 mental ray material 2–1548
simple additive compositor (video post) 3–383 advanced surface approximation dialog 1–1245
simple wipe compositor (video post) 3–383 AEC design elements 1–210
simple wipe filter (video post) 3–347 AEC extended 1–210
starfield filter (video post) 3–347 editing wall objects 1–228
time tag dialog 3–710 foliage 1–214
visibility track 2–556 railing 1–217
add change option 2–1108 wall 1–223
add keys affect region 1–557
function curves 2–581 soft selection rollout (EMesh) 1–963
Track View toolbar 2–560 soft selection rollout (NURBS) 1–1147
add layer 2–326, 2–334 affine transformation (glossary) 3–906
 Index 1261

after trajectory 2–944 anchors 2–962

age test 2–211 angle 1–286, 2–1070
AI import dialog 3–524 transition editor 2–1051
airborne option 2–988, 2–995, 2–997 angle of incidence 2–1276, 2–1279
airborne periods 2–878, 3–906 angle separation 3–826
aliasing/antialiasing angle snap 2–37
alias against background 3–826 angular dashpot 2–732
and supersampling 2–1459 animatable IK attachments to 3ds Max objects 2–908
fast adaptive 2–1533 animated
filters 1–567, 3–38 bitmap 2–1450
glossary 3–907 material previews 2–1450
multiresolution adaptive 2–1534 reference objects (particle flow) 2–178
align 1–462 texture 3–908
align geometry dialog (edit poly) 1–679 animating
and pivot point 2–488 a biped with footsteps 2–856
camera 1–468 a tablecloth (FFD(cylinder) space warp) 2–95
dialog 1–462 attachment 2–433
editable mesh objects 1–1011 cameras 2–1381
editable mesh vertices 1–1011 lens effects properties (video post) 3–349
flyout 1–462 lights 2–1282
grid to view 2–35 links 2–430
keys (Track View) 2–556 materials 2–1449
normals 1–465, 2–10 NURBS models 1–1099
objects 2–8 parameters 2–121
selected left (video post) 3–328 scene 1–8
selected right (video post) 3–328 shift+rotate 1–482
to view (dialog) 1–468 shift+scale 1–482
to view (toolbar) 1–468 sub-object geometry 1–998
all bipeds 2–944 transforms 1–432
all links 2–1150 vertices 2–346
allow non-vertical jambs 1–210 with applied IK 2–481
alpha channel 3–272, 3–907 with IK solvers 2–446, 2–461, 2–472
alpha compositor (video post) 3–381 with interactive IK 2–480
alpha map (baking) 3–149 animating a quadruped 2–907
alternate 2–992, 2–995, 2–997 animating hair 1–520, 1–540, 1–545
altitude (sunlight and daylight systems) 1–421 animation
ambient and particle system time frames 2–123
and diffuse map lock 2–1474 auto key mode 2–278
and raytrace materials 2–1514 combining animations 2–1026
color (glossary) 3–908 concepts 2–275 to 2–276
light 2–1276, 2–1279 to 2–1280, 3–908 constraints 2–392
lighting (rendered environment) 3–272 controllers 2–307, 3–909
mapping 2–1497 dynamics & adaptation rollout 2–980
ambient occlusion map (baking) 3–149 expanding tracks 2–886
analysis of lighting 3–76 glossary 3–909
analyze errors 2–1017 hair and fur modifier 1–520, 1–540, 1–545
analyze panel 2–1017 importing and exporting 2–921
analyzing importing from another scene 3–466
Shockwave 3D files 3–585 insert animation 1–114
W3D files 3–585 layers 3–910
anatomy of biped 2–846 loading 3–474
anchor (VRML97 helpers) 3–597 mapping 3–478 to 3–479, 3–481
anchor patches 1–968 methods 2–275
1262 Index

NURBS 1–1091 apply increment 2–962, 2–965

preferences settings 3–828 apply multiplier curve 2–584
previewing animations after attaching Physique 2–1084 applying materials 2–1405, 2–1409
sample animations in this release 2–920 arc 1–274
saving 3–476 arc rotate 3–744
selecting and moving tracks 2–886 arch & design material
show ghosting 1–46 main reference 2–1549
tips (NURBS) 1–1099 overview 2–1562
toggle animation mode 2–278 tips & tricks 2–1569
utilities 2–653 architectural material 2–1535
with radiosity 3–60 advanced lighting override rollout 2–1540
animation controls 3–716 and radiosity solution 2–1540
animation layer weight 2–325 to 2–326 physical qualities rollout 2–1536
animation layers 2–325 to 2–326, 2–333 to 2–334, 3–690 special effects rollout 2–1539
animation layers toolbar 3–690 templates rollout 2–1536
animation menu 3–681 archive
bone tools 1–411 file menu 3–499
constraints 2–371, 2–392 to 2–393, 2–396, 2–398, program (files preferences) 3–819
2–401, 2–406, 2–409 archiving scenes 1–19
create bones 1–404 area light rollout 2–1354
dummy 2–16 area light sampling rollout 2–1354
IK solvers 2–440, 2–473 area lights 3–910
make preview 3–168 omni 2–1298
parameter collector 1–138 spotlight 2–1299
parameter editor 1–129 area omni light 2–1298
previews 3–168 area shadows 3–911
rename preview 3–170 area shadows rollout 2–1357
view preview 3–170 area spot light 2–1299
wire parameters 2–411 to 2–412 arms
animation mode arm link 2–984
set key 2–280 resizing 2–852
animation modifiers 1–557 turning on 2–846
animation quad menu 3–697 array 1–450
animation range arraying objects 1–484
ignore 2–521 button 1–450
respect 2–521 creating 1–471
animation workbench 2–1012 creating arrays 1–487, 1–489
anisotropic highlights 2–1492 dialog 1–450
anisotropic shader flyout 1–448
anisotropy mapping 2–1504 using the array dialog 1–485
basic parameters rollout 2–1480 array dialog 1–450
ankle attach option 2–846, 2–984 array flyout 1–448
ankle tension 2–959 artificial light 2–1280
antialiasing 3–98, 3–939, 3–1005 ASCII files: exporting 3–534
append ASE files 3–534
.mfe file 2–1032 aspect ratio 3–30, 3–911
motion flow editor 2–1032 assemblies
append footsteps 2–863, 2–936 and groups 1–98
applied ik and selection sets 1–98
glossary 3–910 attach to 1–111
applied IK 2–439, 2–481, 2–491, 2–497 close 1–109
apply ease curve 2–584 create 1–107
apply ease or multiplier curve (Track View) 2–584 disassemble 1–110
 Index 1263

explode 1–110 attaching and importing 3ds Max objects 1–1120

open 1–109 controls dialog (block controller) 2–388
using 1–98 editable mesh edges 1–1011
assembly commands 1–107 editable mesh vertices 1–1011
assembly heads helper objects 1–111 editable patch object 1–986
assembly menu object 1–968, 1–988
assemble 1–107 splines 1–295, 1–297, 1–308
attach 1–111 to assembly 1–111
detach 1–110 to groups 1–106
disassemble 1–110 attach points/tendon 2–1147
explode 1–110 attach to deforming mesh constraint 2–799
asset browser 3–504 attach to node 2–1106
internet download dialog 3–515 attach to rigid body constraint 2–798
preferences 3–514 attached links 2–1147
using 1–17 attaching
asset tracking mesh to a biped using Physique 2–1106
dialog 3–487 tendon to another link 2–1096
icons 3–498 attachment
open from vault 3–389 animating 2–433
asset tracking dialog 2–920, 3–487 constraint 2–393
asset tracking dialog icons 3–498 attachments (IK) 3–912
asset tracking prompts 3–498 attenuation 2–1276, 2–1279, 3–912
assign and lights 3–821
controller (Track View) 2–546 parameters 2–1345
controller rollout (motion panel) 3–774 raytrace attenuation rollout 2–1706
material to selection 2–1441 attribute holder modifier 1–559
object effects dialog 2–696 attributes (custom) 1–129
random colors 1–161 audio controller 2–309, 2–386
vertex colors utility 2–1734 AudioClip (VRML97 helpers) 3–606
assign controller rollout (character studio) 2–934 auto 2–1070
assign random colors 1–161 auto clip names 2–1027
assign renderer rollout 3–35 auto expand
assign to link 2–1089, 2–1150 animated 2–527
assigning base objects 2–527
colors to objects 1–159 keyable 2–527
controllers 2–292 materials 2–527
materials 2–1405, 2–1409 transforms 2–527
associate bipeds with delegates 2–1199 xyz components 2–527
associate objects with delegates 2–1196 auto key 2–278, 3–717
assume skin pose 1–116 and set key 2–280
asterisk (in modifier stack) 1–508 auto termination rollout 2–499
atmospheres and effects auto timing 2–992, 2–995, 2–997
adding atmosphere 3–276 AutoCAD
and raytracing 2–1528 blocks 3–456 to 3–457
atmospheric effect 3–272, 3–282, 3–284, 3–288 importing DWG and DXF files 3–536
for atmospheric apparatus 3–304 importing DXF files 3–551
for lights 2–1349 instanced objects 3–456
atmospheric apparatus 3–304 AutoCAD Architecture
BoxGizmo 3–304 files 3–444
CylGizmo 3–306 materials 3–445
SphereGizmo 3–307 objects 3–444, 3–461
attach styles 3–461
attach options 1–1018 AutoCAD blocks in 3ds Max 3–441
1264 Index

AutoCAD DWG/DXF import options dialog 3–536 VRML97 helpers 3–605

AutoCAD, AutoCAD Architecture, and Revit backlight (sample slot) 2–1432
working with 3–440 backup
autodesk inventor files auto 3–819
importing 3–552 backing up and archiving scenes 1–19
Autodesk Vault 3–487 backup on save 3–819
Autodesk VIZ files 3–525 files 3–819
autogrid 3–913 recovered files 1–20
AutoGrid 2–7 backward knees (creating characters with) 2–891
automatic baked material rollout
auto archive 3–819 rendering to texture 3–162
auto backup 1–19, 3–819 baking animation 2–120
auto secondary (lens effects) 3–238 baking textures 3–144
auto termination (IK) 2–499 target map slot 3–150
automatic exposure control 3–295 texture elements 3–146
unit conversion 3–815 balance
automatic mapping rollout animating 2–876 to 2–877
rendering to texture 3–163 shifting 2–876
autoplay preview file 3–815 shifting for entire footstep animation 2–876
AVI files 3–168, 3–609 balance factor 2–876 to 2–877, 2–954, 3–914
avoidance behavior 2–1164, 2–1211, 3–913 balance parameters dialog 2–629
preventing collisions 2–1240 balance track 2–622
awning window 1–256 ballistic gait 2–878, 3–914
axis constraints 1–437, 3–687 ballistic tension 2–846, 2–878, 2–945, 2–954, 3–914
and hierarchies 2–500 barycentric
and rollouts 2–500 coordinates (glossary) 3–914
and snaps 2–41 morph controller 2–300, 2–309
axis constraints toolbar 3–687 morph controller key info dialog 2–346
axis order 2–916, 2–948 base layer 2–974
axis ordering 2–1012 basic file link settings 3–429
axis tripod 1–45 basic key info 2–304
and transform managers 1–433 basic parameters rollout
and World Axis 1–424 materials 2–1470
axonometric views 1–24, 3–913 PArray 2–258
azimuth (sunlight and daylight system 1–421 basics
basic building blocks 1–155
B creating and modifying objects 1–153
B-spline (glossary) 3–913 file linking 3–416
backburner selecting objects 1–64
network rendering 3–201, 3–208 batch
Backburner 3–173 rendering 3–201, 3–203, 3–208
backburner command line control 3–215 batch file conversion (motion capture) 2–1065, 2–1075
backface cull on object creation 3–821 batch rendering 3–201, 3–203, 3–208
backfacing - ignore 1–996, 1–1011, 1–1019 backburner 3–201 to 3–202, 3–208
background 1–44 batch render dialog 3–203
and antialiasing 1–567, 3–38 batch render tool 3–203
color 3–272, 3–276 cameras 3–201, 3–203, 3–208
image 3–272 error dialog 3–203
reset background transform 1–45 errors 3–203
sample slot 2–1433 network rendering 3–201, 3–203, 3–208
select background image 1–42 presets 3–203
update viewport image 1–44 quick start 3–201
viewport 3–731 scene states 3–201, 3–203, 3–208
viewport background 1–38
 Index 1265

using 3–202 adjusting in motion mixer 2–611

batch rendering completed 3–203 combining motions 2–924
before trajectory 2–944 combining with mixer 2–604
behavior assignments and teams dialog 2–1200 export with motion mixer 2–624
behavior rollout 2–1211 filtering in motion mixer 2–612
behaviors 2–1159, 3–915 loading 2–942
avoid 2–1211, 3–913 path 2–1041
fabric 1–579 saving 2–882, 2–941
obstacle-avoidance 2–1164, 3–983 transitions in motion mixer 2–616
orientation 2–1214, 3–985 biped 2–833, 3–916
patch-based 3–991 add to motion mixer 2–607
path follow 2–1216, 3–992 and physique 2–834
repel 2–1218, 3–1003 assign controller rollout 2–934
scripted 2–1220, 3–1008 body parameters 2–844, 2–846
seek 2–1220, 3–1008 center of mass 2–833
space warp 2–1221, 3–1013 colored keys 2–1005
speed vary 2–1222, 3–1015 creating 2–844
surface arrive 2–1223, 3–1018 display options 2–944
surface follow 2–1226, 3–1019 dummies 2–922
wall repel 2–1227, 3–1033 dynamics 2–833, 2–980
wall seek 2–1229, 3–1033 dynamics parameters 2–954
wander 2–1231, 3–1033 edit 2–1038
bend 2–990, 2–1136 editing keys in Track View 2–875
bend links mode 2–895, 2–936, 2–952, 3–915 figure files (.fig) 2–855
bend modifier 1–560 figure mode 2–847
bend parameters (links) 2–1091 IK key colors 2–1005
bending keyboard shortcuts 2–1006
center of mass track 2–914 layer 2–974
footstep path 2–869 load motion file 2–936
bevel moving keys 2–1004
bevel modifier 1–562 naming 2–847
bevel profile modifier 1–565 playback 2–936, 3–916
deformation 1–366 previewing motion 2–929
faces and polygons 1–1011 root object 2–846
patches 1–986 select keys based on foot states 2–965
types of beveling 1–366 setting keys 2–904
bevel polygons dialog 1–1066 shifting balance 2–876
bezier structure 2–847
controllers 2–310 tracks in Track View 2–888
handle control 2–582 user interface 2–932
bezier curves 3–915 working with 2–843
bias 2–950, 2–956, 2–1091, 2–1136 biped apps rollout 2–935
mental ray shadow maps 2–1360 biped balance, motion mixer 2–622
bifold door 1–252 biped clips 2–649
billboard (VRML97 helpers) 3–607 biped colored keys 2–1005
binding Track View 2–1005
objects 2–437, 2–461, 2–491 biped crowds 2–1172
to space warp 2–58 biped dynamics 3–916
vertices 1–297 biped IK key colors 2–1005
BioVision motion capture data files 2–1065 biped links
BIP files 2–919 to 2–920, 2–1065, 2–1263, 3–916 selecting and rotating 2–895
adding to motion mixer 2–609 biped object 2–636
adjust time in motion mixer 2–615 biped playback 2–936
1266 Index

biped rollout 2–936 block/style parent 3–918

bipeds blocks 3–457
and crowd simulation 2–1187 and linking to 3ds Max 3–918, 3–1031
correcting posture 2–925 AutoCAD 3–441, 3–456
deleting 2–854 AutoCAD and 3ds Max 3–438
linking objects to 2–854 material assignment 3–458
moving objects 2–890 materials 3–458
posing 2–847 multi-view 3–459
posing a biped 2–925 propagation 2–1432
rotating objects 2–891 blowup (render) 3–13
scaling after physique is applied 2–1099 blue vertices 2–1150
visible in playback 2–944 blur
bipeds dialog 2–643 and blur offset (glossary) 3–918
birth event 3–916 particle motion blur 2–240
birth operator 2–143 rendering effect 3–260
birth script operator 2–145 BMP files 3–610
bitmap map 2–1631 body 2–960
bitmap pager 3–828 horizontal tracks 2–846, 2–945
bitmap pager statistics dialog 3–514 parameters (biped) 2–846
bitmap proxies 3–32 space 3–918
bitmap proxies dialog 3–496 tracks 2–846
bitmap/photometric path editor 3–510, 3–516 turning track 2–945
bitmaps vertical tracks 2–846, 2–945
choosing 2–1635 bomb space warp 2–105
display 3–840 to 3–841, 3–844 bone tools 1–411
glossary 3–917 bone editing 1–411
Material Editor 2–1631, 2–1635 fin adjustment 1–413
path configuration 3–503, 3–811 object properties 1–414
path editor 3–510 bones 1–404, 2–1080
blend and IK solvers 2–440, 2–472
blend curve (NURBS) 1–1158 bone base 2–944
blend element parameters 3–140 bone tip 2–944
blend material 2–1588 display 2–853
blend object (glossary) 3–917 exporting 3–580
blend surface (NURBS) 1–1183 floating bones rollout (Physique) 2–1110
blend from/to 2–1140 linking to follow objects 2–461
blend map (baking) 3–149 spline IK solver 2–477
blend materials stretch factor 1–415
limitations when baking textures 3–147 used with physique 2–1079, 2–1082
blend weight 1–807 using objects as 1–410, 2–440
blending using unlinked bones with Physique 2–1082
between links 2–1085, 2–1111, 2–1150 Boolean controller 2–316
envelopes 2–1086 Booleans
blending envelope display options dialog 2–1125, 2–1128 alignment 1–338
Blinn highlights 2–1493 and editable splines 1–308
Blinn shader basic parameters 2–1480 Boolean objects 1–338, 1–378, 1–388
blizzard 2–251 Boolean operation (glossary) 3–919
BlobMesh object 1–331 colinear edges 1–338
block combining objects that have materials 1–345
controller 2–389 to 2–390, 2–392 complexity between operands 1–338
block controller 2–313 coplanar faces 1–338
block controllers (Track View) 2–1179 face normals 1–338
block reference 3–917 inverted meshes 1–338
 Index 1267

material IDs 1–338 bulge editor 2–1096, 2–1106, 2–1114, 2–1135, 2–1141
overlapping elements 1–338 bulge sub-object 2–1127, 2–1141
surface topology 1–338 bulges 2–1111, 2–1113, 3–920
troubleshooting problems with 3–885 creating 2–1094
with maps and materials 1–338 fine-tuning 2–1096
bound vertex 1–297, 3–919 overview 2–1093
boundary conditions (and tendons) 2–1147 shaping 2–1096
bounding box (and envelope creation) 2–1111 workflow 2–1094
bounding box (glossary) 3–919 bump mapping 2–1506, 2–1539
bounds (inner/outer) 2–1085 bump shader (mental ray) 2–1716
box button
BoxGizmo 3–304 2.5D snap 2–35
standard primitive 1–171 2D snap 2–35
box caustics filter 3–106 3D snap 2–35
box method 2–1242 ActiveShade floater 3–21
box selected align 1–462
render bounding box/selected dialog 3–16 align camera 1–468
branching events (particle flow) 2–123 align to view 1–468
break angle snap 2–37
spline at selected vertex 1–297 animate 3–717
vertices 1–1011 arc rotate 3–744
breathe option (links) 2–1091, 2–1136 array 1–450
bricks 2–1658 auto key 3–717
bridge dialog 1–1067 bind to space warp 2–58
bridge edges dialog 1–1068 button sets (utilities) 3–779
brightness and contrast effect 3–265 clone and align tool 1–459
browse 2–1070 crossing 1–93
browser current frame 3–724
material/map 2–1412 dolly camera 3–746
browsing from 3ds Max 3–504 dolly light 3–751
brush dolly target 3–746, 3–751
styling hair with a 1–529 edit current event 3–324
brush options 1–960 edit scene event (video post) 3–329
brush preset manager 3–692 full screen 3–738
brush presets 3–690 get material 2–1439
BSP method 3–129 go forward to sibling 2–1447
BSP method, raytrace acceleration 3–1000 go to end 3–724
bubble motion rollout (PArray) 2–270 go to frame 3–724
bubble motion with Particle Flow 2–123 go to parent 2–1446
bubble notification go to start 3–722
communication center 3–716 light falloff 3–753
buckets, distributed rendering 3–124 light hotspot 3–752
buffer mode 2–936 lock selection 2–555
build face 1–1011 make unique (Material Editor) 2–1442
bulge angle display properties dialog 2–1127 material and map type 2–1449
bulge angles 2–1114, 2–1141, 3–920 Material Editor 2–1427
adding 2–1095 Material Editor options 2–1436
changing 2–1095 maximize viewport 3–738
choosing for editing 2–1095 mirror 1–448
color 2–1141 new sequence 3–323
deleting 2–1095 next frame 3–724
parameters 2–1114 normal align 1–465
setting 2–1095 open sequence 3–323
1268 Index

orbit/pan camera 3–749 button appearance 3–803

orbit/pan light 3–755 BVH files 2–919, 2–1061, 2–1065, 2–1263, 3–920
pan (Track View) 2–595 by layer 3–920
pan (user interface) 3–743 bylayer 3–655
percent snap 2–38
perspective 3–747 C
pick material from object 2–1448 C-Ext 1–200
place highlight 1–467 cache operator (particle flow) 2–197
play/stop 3–723 CAL files 2–1070
previous frame 3–723 calculation order (joint precedence) 2–467
quick align 1–465 calculator 1–12
quick render 3–17 calibrating marker files 2–1065
quick render (Production) 3–17 camera correction modifier 2–1392
render scene 3–12 camera effects rollout 3–101
roll camera 3–747 camera map modifier
roll light 3–753 object space 1–567
save sequence 3–324 world space 1–513
scale keys 2–559, 2–580 camera map per pixel map 2–1732
scale values 2–581 camera match
select and link 2–422 camera match helper 2–1391
select and manipulate 2–15 camera match point 2–1391
select and move 1–439 camera match utility 2–1387
select and rotate 1–439 camera point 2–1391
select and uniform scale 1–441 CamPoint 2–1391
select by material 2–1439 camera tracker
select by name 1–77 batch track rollout 2–678
select object 1–77 camera tracker utility 2–667
selection center 1–447 error thresholds rollout 2–677
selection lock 3–707 match move rollout 2–680
sets of modifiers 3–772 motion trackers rollout 2–673
show curves 3–705 move smoothing rollout 2–682
show end result 2–1446 movie rollout 2–670
snapshot 1–453 movie stepper rollout 2–676
spacing tool 1–455 movie window 2–671
spinner snap 2–38 object pinning rollout 2–683
squash 1–442 position data rollout 2–679
transform coordinate center 1–447 requirements for camera tracking 2–669
truck camera 3–748 troubleshooting 2–685
truck light 3–755 camera view
unlink selection 2–422 right-click menu 3–731
use pivot point center 1–446 camera viewports 1–33, 3–745
zoom 3–739 cameras 2–1365, 2–1372
zoom (Track View) 2–596 align camera button 1–468
zoom all 3–740 animating 2–1381
zoom extents 3–740 camera object icons 2–1365
zoom extents all 3–737 camera view 1–24
zoom extents all selected 3–737 camera viewport controls 3–745
zoom extents selected 3–740 choosing for vertical views 2–1365
zoom horizontal extents 2–595 common parameters 2–1373
zoom region 3–742 create camera from view 1–48
zoom region (Track View) 2–597 depth of field parameters (mental ray renderer) 2–1383
zoom selected object 2–588 dolly or target 3–746
zoom value extents 2–596 free 2–1370
match camera to view 1–468
 Index 1269

multi-pass parameters 2–1383, 2–1386 light objects 2–1282

orbit/pan 2–1381, 3–749 link inheritance 2–434
placing 1–7 smoothing 1–167
roll 3–747 video system 2–1434
setting lens size 2–1373 changing biped to bones 2–921
target 2–1371 channel 1–285
truck 3–748 channel (map) 3–966
using clipping planes to exclude geometry 2–1379 channel info
using horizon to match perspective 2–1380 skin utilities 2–700
using move and rotate to aim 2–1379 channel info utility 2–1738
using transforms to aim 2–1379 character 1–112
with target 2–1371 character assembly 1–102
zoom 2–1381 and parameter wiring 1–104
candela 3–965 create character 1–112
canopy mode 1–214 destroy character 1–115
cap holes modifier 1–569 insert animation 3–466
cap surface 1–1195 insert character 1–115
capsule 1–195 lock/unlock 1–115
capture viewport 1–35 save character 1–115
car paint material and shader 2–1576 skin pose 1–116
car-wheel constraint 2–757 character modeling 1–842
cartoon shading 2–1605 character studio
casement window 1–257 assign controller rollout 2–934
category, hiding and unhiding objects by 1–72 definition 2–831
caustics 3–92, 3–106 file formats 2–1263
caustics (mental ray) 3–80 space warp behavior 2–1221
caustics and global illumination rollout 3–106 checker map 2–1638
CCB files 1–950 child overlap 2–1130
cellular map 2–1664 children
center 1–435 don’t affect 2–489
center of mass 2–833, 2–933, 3–920 choose directory dialog 3–808, 3–810
object 2–846 choose renderer dialog 3–36
selecting tracks 2–888 choosing
shadow 2–846 child-to-parent precedence 2–469
shifting balance with 2–876 colors for realism 2–1400
tracks in Track View 2–945 parent-to-child precedence 2–470
chains (kinematic) 2–471, 3–960 playback speed and frame rate 2–288
chamfer transform center 1–435
and editable splines 1–297 CIBSE files 3–921
chamfer curve (NURBS) 1–1161 cineon image file format dialog 3–610
ChamferBox 1–191 circle 1–273
ChamferCyl 1–192 circular
editable mesh edges 1–1011 falloff graph 3–254
glossary 3–920 circular arrays 1–489
chamfer dialog 1–1070 circulating
change of value over time 2–578 materials 2–1432
changed feature 1–334, 2–66, 2–543, 2–1546, 3–149, clean multimaterial utility 2–1742
3–398, 3–539 clean remove 1–1039
changing clear UVW mapping 1–933
biped body parameters 2–844 clip
biped name 2–847 ratio 2–615
controller properties 2–291 replace 2–634
initial biped anatomy 2–846 timing 2–615
1270 Index

transition 2–1048 cmdjob.exe 3–215

clip controllers 2–1179, 3–921 codec (glossary) 3–921
clip frame numbers cognitive controller 3–921
motion mixer 2–615 state dialog 2–1207
clip mode 2–1027 state transition dialog 2–1208
clip properties dialog 2–1027, 2–1045, 2–1059 cognitive controller editor 2–1206
clipping planes 2–1373, 2–1379, 3–921 cognitive controllers 2–1170
clips 2–1045 coincident - making splines 1–842
combining 2–1026 collapse
create 2–1027 collapse utility 1–966
looping with motion-capture filtering 2–1061 stack 1–504, 1–966
menu 2–632 vertices 1–1011
move 2–1027 collapse controller tool (Track View) 2–522
path 2–1041 collapse layer 2–326, 2–333
ClipState dialog 2–1253 collapsing
clone 1–476 animation tracks 2–886
clone and align tool 1–459 layers 2–974
clone options dialog (particle flow) 2–132, 2–136 collections
cloning 1–476 cloth 2–781
clone 1–476 creating and deleting 2–966
materials 2–1432 deforming mesh 2–794
objects 1–453, 1–474, 1–483 loading and saving 2–966
shape sub-object selections 1–289 rigid body 2–723
shift+move 1–479 rope 2–792
shift+rotate 1–480 soft body 2–788
shift+scale 1–481 collision 2–243
sub-object geometry 1–998 collision detection 2–891
cloning characters 2–922 cloth 1–572
close collision tests (particle flow)
assembly 1–109 collision 2–212
group (group menu) 1–105 collision spawn 2–215
close curve dialog 1–1228, 1–1235 collisions
cloth 2–778 storing and accessing 2–774
cloth modifier 1–578 collisions rollout 2–810, 2–1240
cloth simulation 1–571 color
collection 2–781 and light 2–1276, 2–1279, 2–1331
collision detection 1–572 and particle view display operator 2–131
dT messages during simulation 1–583 and program state 1–12
effect of geometry on 1–576 and realism 2–1400
fabric behavior 1–579 assigning to objects 1–159
garment maker modifier 1–607 balance (render effect) 3–265
how it works 1–576 bleeding 3–93
mesh density 1–577 changing vertex color 1–1009
modifier 2–778 color bleeding 3–45
object properties 1–602 color selector 1–161
overview 1–571 copying 1–165, 2–1452
troubleshooting and error codes in garment display 1–52
maker 1–622 illegal video colors 2–1434
units of measure 1–579 name and color rollout 3–757
cloth modifier 1–578 object color dialog 1–159
user interface 1–582 parameters 2–1345
clothing design 1–575 selecting vertices by 1–652, 1–1029
CLR files 3–799 temperature (light color) 2–1276
 Index 1271

color clipboard files 1–950 common panel

color clipboard utility 1–165 render scene dialog 3–27
color coding 2–945 common parameters rollout 3–27
color controls 2–1485 common procedures
color modifier maps 2–1692 video post 3–315
color palette commonality 1–509
vertexpaint modifier 1–950 communication center 3–712 to 3–713
color RGB controller 2–317 bubble notification 3–716
color selector 1–161, 3–815 configure 3–713
color space 3–1 new information 3–716
colors notifications 3–716
assign random 1–161 refresh content 3–715
biped IK/FK keys 2–1005 settings 3–713
biped keys in Track View 2–947 welcome wizard 3–713
biped trajectories 2–1005 compare dialog (loft objects) 1–374
footsteps 2–869 compass helper object 2–27
in Track View 2–944 complete map (baking) 3–147
vertex type 2–1089 component color - specular 3–1014
colors panel (customize UI) 3–799 components
COM 2–933 hair and fur feature 1–517
COM/DCOM server control utility 3–792 composite
combining animations 2–1026 glossary 3–922
combining motions map 2–1688
motion mixer 2–604 material 2–1589
combining objects 1–338, 1–378, 1–388 composite materials
Combustion limitations when baking textures 3–147
adding workspace 3–135 compositor
combustion map 2–1639 compositor maps 2–1687
combustion workspace file 3–611 compound materials
command line glossary 3–922
rendering 3–209, 3–211, 3–215 kinds of 2–1587
startup options 3–671 compound objects 1–313
command panel BlobMesh 1–331
troubleshooting when missing 3–893 Boolean 1–338, 1–378, 1–388
command panels conform 1–324
create 3–757 connect 1–328
display 3–775 mesher 1–374
hierarchy 3–773 morph 1–314
modify 3–758 ProBoolean 1–378
motion 3–774 ProCutter 1–388
overview 3–756 scatter 1–318
utilities 3–778 ShapeMerge 1–336
command-line options (MAXScript) 3–783 terrain 1–347
command-line options (starting 3ds Max) 3–671 compound rigid bodies 2–722
command-line rendering 3–209, 3–215 concepts 3–88
backburner command line 3–215 cone 1–172
batch render 3–209 cone (spotlight) 2–1338
DOS 3–211 cone angle manipulator 2–27
pre-render scripts 3–209, 3–215 cone caustics filter 3–106
commands provided only from the keyboard 3–669 configuration
comments network rendering 3–175
particle system 2–134, 2–206 configuration settings 3–119
comments on the documentation 3–874
1272 Index

configure deformable constraints 2–795

communication center 3–713 hinge 2–747
Direct3D 3–844 linear dashpot 2–730
driver 3–821, 3–840 link 2–403
key mode 3–725 look-at 2–406
modifier sets 3–772 orientation 2–409
OpenGL 3–841 path 2–398
presets (video post) 3–327 point-path 2–762
software display driver 3–840 point-point 2–750
system paths 3–810 position 2–401
time 3–725 prismatic 2–754
track bar 3–703 rag doll 2–737
user paths 3–808 simple constraints 2–727
utilities button sets 3–779 spring 2–727
viewports 3–853 surface 2–396
configure paths 3–808 contact object (particle flow) 3–922
configure preset dialog 3–33 contacting us 1–xiv
configure system paths 3–810 containers (glossary) 3–922
plug-ins path configuration 3–814 continuity 2–956, 2–1091, 2–1136, 3–923
configure user paths 3–808 continuity level (glossary) 3–923
bitmaps 3–189 NURBS concepts 1–1091
external files 3–811 continuous time frame 2–141
file i/o path configuration 3–810 contour shading
FX files 3–811 mental ray 3–96
using 3–189 contrast filter (video post) 3–343
conform contrast sampling thresholds 3–98
compound object 1–324 control lattice (glossary) 3–923
space warp 2–103 control objects (IK) 2–435, 2–446
connect control points 2–1114, 2–1130, 2–1141, 2–1147, 3–923
to child link 2–1147 and bulges 2–1096
to parent link 2–1147 and envelopes 2–1088
connect compound object 1–328 rotating 2–1088
connect edges dialog 1–1070 control vertex (CV) 3–926
connect parameter to shader dialog (mental ray) 2–1713 control vertex (glossary) 3–924
constant controller 3–924
coordinate system 3–815 controller menu, Track View 2–521
facet shading 3–937 controller toolbar, Track View 2–540
constrained point controller type 2–333 to 2–334
glossary 3–922 controller window, Track View 2–512
constraint solver 2–736 controllers 2–295 to 2–297, 2–307, 2–375, 2–896
constraint spaces 2–725 assigning 2–292
constraints 2–289, 2–392, 2–724 audio 2–309
and bones 1–404 barycentric morphing 2–309
and cloth 1–580 bezier 2–310
angular dashpot 2–732 block 2–313
attachment 2–393 Boolean 2–316
axis constraints 1–437, 3–687 categories of 2–289
breakable 2–735 changing length 2–502
car-wheel 2–757 changing properties 2–291
concepts 2–725 changing range 2–502
constraint solver 2–736 collapsing procedural controllers 2–522
constraint spaces 2–725 color RGB 2–317
cooperative constraints 2–735 copy 2–544
 Index 1273

default settings 3–828 conversion modifier

Euler XYZ rotation 2–318 turn to mesh 1–871
expression 2–320 turn to patch 1–873
frame duration 2–502 turn to poly 1–874
general-purpose controllers 2–295 convert 2–936
limit 2–335 between footstep and freeform animations 2–885
linear 2–341 data in motion capture buffer 2–1065
list 2–342 from buffer 2–1065
local euler XYZ rotation 2–344 to freeform 2–886
look at 2–344 to freeform/footsteps dialogs 2–999
make unique 2–550 convert curve dialog 1–1225
master point 2–346 convert surface dialog 1–1227
morph 2–300 convert to mesh 2–206
motion capture 2–347 converting
noise 2–353 event-level selection to particle level 2–138
on/off 2–355 TRC into CSM 2–665
paste 2–545 convex hull property (glossary) 3–924
point3 XYZ 2–317 cool (glossary) 3–924
position XYZ 2–356 cooperative constraints 2–735
properties 2–560 coordinate display (mouse position) 3–708
PRS 2–357 coordinate space 3–924
reaction 2–358 coordinate system 1–443
scale XYZ 2–371 coordinates
script 2–372 absolute/offset display 3–709
slave 2–313 barycentric (glossary) 3–914
smooth rotation 2–374 coordinate display 3–708
specifying default 2–294 coordinate system 1–443
TCB 2–377 coordinates rollouts 2–1625, 2–1663
time duration 2–502 mapping 2–1405
transform script 2–379 copies 1–472
types of 2–289, 2–546 creating 1–471
understanding 2–289 overview 1–472
viewing types 2–289 copy 2–1141, 2–1147
waveform 2–381 a material, map, bitmap, or color 2–1418
working with 2–289 footsteps 2–990
xref 2–383 pose 2–962
controlling poses and postures 2–910
colors 2–299 posture 2–962
display performance 1–28 selected cross section 2–1114
flipping on path 2–398 copy biped animation to clip dialog 2–635
IK precision 2–463 copy controller 2–544
object display 1–51 copy keys 2–579
position 2–298 copy layer 2–325 to 2–326
rotation 2–299 copy map dialog 2–1451
time 2–285 copy tangent handles 1–297
transforms 2–298 copy time (Track View) 2–568
viewport rendering 1–27 copy tracks 2–926
controls copy/paste rollout 2–966
camera viewport 3–745 copying
light viewport 3–750 actions, events (particle flow) 2–127, 2–132, 2–134
perspective and orthographic 3–738 and pasting items/objects 2–575 to 2–576
special 1–12 colors 1–165, 2–1452
viewport 3–735 copy controller (Track View) 2–544
1274 Index

copy time (Track View) 2–568 create multiple footsteps 2–988, 2–992
copy track (Track View) 2–568 jump 2–988, 2–997
joint parameters 2–495 run 2–988, 2–995
materials 2–1409, 2–1432 walk 2–988, 2–992
modifiers 2–544 create new layer 3–667
patch surface 1–968 create new map files 2–332
presets 3–437 create out of range keys 2–533
splines 1–308 create out-of-range keys utility (Track View) 2–562
transform keys 2–283 create panel 1–154, 3–757
CPY files 2–1263 cameras 2–1365
crash recovery 1–20 helpers 2–2
crease lights 2–1272, 2–1301
at link’s joint 2–1140 space warps 2–55
at parent’s joint 2–1140 systems 1–404
create create position lock key 2–310
clip 2–1027, 2–1045 create rotation lock key 2–310
envelopes 2–1111 create shape (editable patch) 1–988
footsteps 2–988 creating
keys for inactive footsteps 2–865, 2–990 1-rail sweep surface 1–1204
layer 2–974 2-rail sweep surface 1–1209
random motion 2–1035, 2–1055 a script 2–1045
script 2–1030, 2–1048 an object 1–157
separate tracks for biped arms 2–980 animated material previews 2–1450
shared motion flow 2–1039, 2–1056 arrays 1–471
transition 2–1045, 2–1051 biped character 2–844
unified motion 2–1038 biped skin 2–1076
create assembly (assembly menu) 1–107 blend surface 1–1183
create assembly dialog 1–107 bulges 2–1094
create biped rollout 2–844 cap surface 1–1195
create camera from view 1–48 chamfer curve 1–1161
create character 1–112 circular and spiral arrays 1–489
create key dialog 2–284 copies 1–471
create layer 2–326, 2–334 crowd system 2–1155
create material preview dialog 2–1452 curve sub-objects 1–1151
create menu 1–347, 3–675 custom sample object 2–1425
AEC objects 1–214, 1–217, 1–223, 1–232, 1–235, CV curve on surface 1–1172
1–239, 1–243, 1–251 to 1–252, 1–256 to 1–261 CV curve sub-object 1–1153
cameras 2–1365, 2–1370 to 2–1371 CV surface 1–1103
compound objects 1–318, 1–328, 1–331, 1–336, 1–338, CV surface sub-object 1–1179
1–352 dependent curve point 1–1220
extended primitives 1–186 dependent curve-curve point 1–1223
lights 2–1272 dependent curves 1–1151
NURBS 1–1102 to 1–1103, 1–1106, 1–1110 dependent offset point 1–1219
particles 2–237 dependent surface point 1–1222
patch grids 1–993 to 1–995 dependent surface-curve point 1–1224
photometric lights 2–1302 to 2–1305, 2–1307, 2–1309 dependent surfaces 1–1177
shapes 1–262, 1–270, 1–272 to 1–274, 1–276 to 1–278, editable mesh edges from shapes 1–1006
1–281 to 1–282, 1–284 to 1–288 editable mesh vertices 1–1011
standard lights 2–1288 to 2–1290, 2–1292 to 2–1293, extrude surface 1–1188
2–1295 faces 1–1011
standard primitives 1–170 fillet curve 1–1164
create method rollout 2–1242 fillet surface 1–1216
footsteps 2–863
 Index 1275

footsteps automatically 2–862 creation parameters 2–844

freeform animations 2–886 glossary 3–925
independent surfaces from NURBS curve cross fade compositor (video post) 3–381
objects 1–1114 cross section editor viewport options 2–1141
individual footsteps 2–863 cross sections 1–282, 1–284 to 1–288, 1–623, 1–842,
iso curve 1–1168 2–1108, 2–1114, 2–1130, 2–1141, 2–1147, 3–925
lathe surface 1–1190 and bulges 2–1096
linear arrays 1–487 and envelopes 2–1088
mirror curve 1–1160 and tendons 2–1147
mirror surface 1–1187 initialization 2–1125
models with NURBS 1–1094 parameters 2–1114
multicurve trim surface 1–1214 view (bulge editor) 2–1096
multiple footsteps 2–862 cross-hairs cursor 3–815
multiple slices 1–1019 crossing selection 1–93
multisided blend surface 1–1213 CrossSection modifier 1–623
normal projected curve 1–1169 crowd
NURBS curves from splines 1–1115 behaviors 2–1159, 2–1164
NURBS CV curve 1–1110 creating crowd systems 2–1155
NURBS models 1–1079 crowd object 2–1157
NURBS point curve 1–1106 definition 3–925
NURBS sub-objects 1–1081 delegate object 2–1159
NURBS surfaces 1–1101, 1–1116 keyboard shortcuts 2–1182
objects (basics) 1–153 with bipeds 2–1172
offset curve 1–1159 crowd animation
offset surface 1–1186 and bipeds 2–1187
particle emitter 2–239 ClipState dialog 2–1253
particle system 2–238 motionclip parameters dialog 2–1252
particles 2–143, 2–145 orientation behavior 2–1214
physique links and envelopes 2–1111 path follow behavior 2–1216
physique modifier 2–1083 repel behavior 2–1218
point curve on surface 1–1175 scripted behavior 2–1220
point curve sub-object 1–1155 seek behavior 2–1220
point curve with curve fit 1–1157 speed vary behavior 2–1222
point sub-objects 1–1078, 1–1219 surface arrive behavior 2–1223
point surface 1–1102 surface follow behavior 2–1226
point surface sub-object 1–1181 synthesis dialog 2–1246
primitives from the keyboard 1–169 user interface 2–1182
ruled surface 1–1193 vector field space warp 2–1241
shapes 1–262 wall repel behavior 2–1227
skin 2–1076 wall seek behavior 2–1229
sub-objects 1–1177 wander behavior 2–1231
surface edge curve 1–1177 working with 2–1154
surface offset curve 1–1167 crowd behaviors
surface sub-objects 1–1177 path follow 2–1162
surface-surface intersection curve 1–1166 seek 2–1162
tendons 2–1096 wall seek 2–1162
transform curve 1–1157 crowd helper object 2–1187, 3–925
transform surface 1–1182 crowd object
U loft surface 1–1196 associate bipeds with delegates dialog 2–1199
UV loft surface 1–1200 behavior assignments and teams dialog 2–1200
vector projected curve 1–1171 behavior rollout 2–1211
creation method rollout 1–354 collisions rollout 2–1240
edit multiple delegates dialog 2–1197
1276 Index

geometry rollout 2–1240 toolbar 2–1432

global clip controller 2–1241 transitions 2–1034
icon size 2–1240 customize menu 3–683
object/delegate associations dialog 2–1196 configure system paths 3–810
priority rollout 2–1235 configure user paths 3–808
scatter objects dialog 2–1189 customize user interface 3–792
select behavior type dialog 2–1205 grid and snap settings 2–41
select delegates dialog 2–1205 load custom UI scheme 3–805
set start frames dialog 2–1237 lock UI layout 3–788
setup rollout 2–1188 plug-in manager 3–788
smoothing rollout 2–1238 preferences 3–815
solve rollout 2–1232 revert to startup UI layout 3–807
state dialog 2–1207 save custom UI scheme 3–806
state transition dialog 2–1208 show UI 3–788
crowd simulation viewport configuration 3–853
avoid behavior 2–1211 customize user interface 3–792
cognitive controller 2–1206 colors 3–799
solving 2–1168 keyboard shortcuts 3–793
crowd system 3–925 load UI scheme 3–805
CS amplitude option (links) 2–1091, 2–1136 lock UI layout 3–788
CSM files 2–919, 2–1061, 2–1065, 2–1263, 3–925 menus 3–798
cube method 2–1242 overview 3–785
cubic morph controller 2–300 quad menus 3–795
CUI files 3–804 to 3–806 revert to startup layout 3–807
current bulge angle 2–1114, 2–1141 save UI scheme 3–806
current event (video post) 3–324 shortcuts 3–793
current frame 3–701, 3–724 toolbars 3–794
current value editor 2–533, 2–565 customizing biped characters in figure mode 2–847
currentdefaults.ini 3–790 customizing user interface
currently assigned links only 2–1150 Track View 2–599
currently installed driver 3–821 cut
curve editor 2–501, 2–507, 2–535, 2–1002 and slice 1–1011, 1–1019
display menu 2–530 and snaps 1–1019
modes menu 2–521 time (Track View) 2–567
curve view 3–925 cut time (Track View) 2–567
curves cutout mapping 2–1540, 2–1542
curve approximation 1–1238 cutting hair 1–529
curve fit 1–1157 CV 3–926
curve point 1–1220 CV curve
curve-curve intersection point 1–1223 CV curve 1–1110
curve-curve point 1–1223 CV curve (glossary) 3–926
freeze non-selected 2–587 CV curve on surface 1–1172
function 2–837, 2–1008 CV curve sub-object 1–1153
curves menu CV sub-objects 1–1085
Track View 2–525 CV surface
curves toolbar 2–535 CV surface 1–1103
custom attributes 1–129 CV surface (glossary) 3–926
custom grid 2–20 CV surface sub-object 1–1179
custom splash screen 1–17 CWS file 3–135
custom UI and defaults switcher 3–789 CWS file (combustion workspace) 3–611
custom UI scheme 3–804 cycling
customize animation 2–551
keyboard shortcut 2–1432
 Index 1277

cylinder SDynaFlect 2–85

chamfer 1–192 SOmniFlect 2–84
CylGizmo 3–306 UDeflector 2–89
standard primitive 1–177 UDynaFlect 2–86
cylindrical area omni light 2–1298 UOmniFlect 2–85
deform
D deform bevel 1–366
damper 1–396, 2–66 deform fit 1–367
damping joint action 2–466 deform scale 1–364
dashpots deform teeter 1–365
angular 2–732 deform twist 1–364
linear 2–730 deformable bodies 2–777
data files cloth 2–778
path for 3–813 constraints 2–795
data management deforming meshes 2–793
asset tracking dialog 3–487 ropes 2–789
open from vault 3–389 soft bodies 2–783
daylight soft selection 2–800
IES sky 2–1312 deformable constraints 2–795
IES sun 2–1309 attach to deforming mesh 2–799
DDS files (glossary) 3–611 attach to rigid body 2–798
deactivate all maps 1–50 fixing vertices 2–796
deactivate footsteps 2–865, 2–990 keyframe points 2–797
decay 2–1345 deformable envelopes 2–834, 2–1085, 2–1090, 2–1108,
default 2–1111, 2–1130, 3–927
controller settings 2–294, 3–828 deformation 2–1083, 3–927
controllers 2–294 deformation spline 2–1083, 2–1085, 2–1091, 2–1135,
heights 2–1 3–927
keyboard shortcuts 1–900, 2–140, 2–510, 2–1006, deformations (and loft objects) 1–363, 1–368
2–1111, 2–1182, 3–871 deforming meshes 2–793
lighting 2–1272, 2–1274 collection 2–794
material settings 2–1442 degradation override 1–34
tangent types 3–721 degree 1–1091, 3–927
default color 2–1141 degree of freedom and rotating links 2–891
default scanline rollout 3–38 delegate
default tangent types 3–721 adjusting parameters 2–1159
defaults geometry parameters rollout 2–1183
setting 3–790 motion parameters rollout 2–1183
setting and changing 1–17 delegates 2–1157
switching 3–789 definition 3–928
define helper objects 2–1183, 3–928
append 2–1048 using bipeds with 2–1172
inser below 2–1048 delete 1–95, 2–1141, 2–1147
insert above 2–1048 biped 2–854
script 2–1048 bulge angle 2–1114, 2–1141
defining bulge angles 2–1095
search terms (HTML help viewer) 3–876 bulge cross sections 2–1096
time tags 3–710 clip/transition 2–1027, 2–1045
deflector space warp 2–90 control points 2–1114
deflector space warps controller 2–549
deflector 2–90 cross section slice 2–1114
PDynaFlect 2–81 current event (video post) 3–324
POmniFlect 2–78 footsteps 2–869, 2–990
SDeflector 2–87
1278 Index

key 2–904, 2–956, 2–962 detach (group menu) 1–106

keys 2–554, 3–703 detach dialog (edit poly) 1–679
layers 2–974 detach dialog (NURBS curve/surface) 1–1228
maps 2–1413 editable mesh vertices 1–1011
material 2–1413 editable patches 1–986
mesh modifier 1–626 patch surface 1–968
operator (particle flow) 2–146 DGS material (mental ray) 2–1580
patch modifier 1–627 dgs material shader (mental ray) 2–1717
Schematic View 3–652 diagnostics
script 2–1030, 2–1048 mental ray renderer 3–123
selected keys (track bar) 3–703 dialog
spline modifier 1–627 asset tracking 3–487
tendons 2–1096 bevel polygons 1–1066
time (Track View) 2–567 bitmap pager statistics 3–514
Track View 2–598 chamfer 1–1070
transition 2–1051 color selector 1–161
transitions 2–1034 connect edges 1–1070
delete keys 2–502, 2–554 extrude polygons 1–1072
delete selected animation 3–698 filter selected euler tracks (Track View) 2–564
delete time (Track View) 2–567 flatten mapping 1–907
delete Track View 2–598 MAXScript debugger 3–783
delete twist pose 2–950 mixer transition editor 2–638
delete UVW mapping 1–933 normal mapping 1–908
deleting pelt map parameters 1–909
blocks of time 2–567 pick nodes 2–641
editable mesh edges 1–1011 pivot selection 2–959
editable mesh vertices 1–1011 prompts 3–498
isolated editable mesh vertices 1–1011 relax tool 1–912
particles 2–146 render UVs 1–914
patch surfaces 1–968 shared motion flow 2–1039, 2–1056
splines 1–308 track sets editor 2–591
vertices 1–297 unfold mapping 1–919
dent map 2–1667 unwrap options 1–920
dependencies (views menu) 1–47 weight tool 1–807
dependent 3–928 XRef objects 3–397
dependent sub-objects 1–1087, 3–928 dialogs
depot (particle view) bitmap proxies 3–496
display of 2–129 global settings and defaults for bitmap proxies 3–496
glossary 3–928 toggling 3–670
depth of field 2–1383, 3–90, 3–101, 3–269 dielectric material shader (mental ray) 2–1719
description panel (particle view) different ambient and different diffuse materials
display of 2–129 dialog 3–512
glossary 3–928 diffuse
deselect all 1–88 diffuse color (glossary) 3–929
Design Web Format 3–555 diffuse distribution 2–1323
designing clothing (garment maker) 1–575 diffuse level 2–1489
designing materials 2–1395 diffuse level mapping 2–1499
destination clip diffuse mapping 2–1498
transition editor 2–1051 roughness mapping 2–1500
destination directory 2–1075 diffuse map (baking) 3–147
destroy character 1–115 diffuse parameters rollout 3–143
detach 2–1147 diffuse texture element rollout 3–143
detach (assembly) 1–110 direct manipulation mode 1–1022
 Index 1279

Direct3D driver 3–838, 3–843 to 3–844 topology-dependence warning 3–815

Direct3D driver setup dialog 3–843 track bar 3–707
directional parameters 2–1348 trajectories 2–931
directories transmittance 2–1430
for network rendering 3–187 world axis 3–821
mounting 3–188 display color rollout 1–52
sharing 3–188 display driver setup dialog 3–838
DirectX 10 3–847 display menu
DirectX 9 shader material 2–1613 curve editor 2–530
DirectX 9 shaders, FX file 3–946 particle view 2–129
DirectX shaders 2–1464, 2–1613 to 2–1614 display menu (Schematic View) 3–644
disable layer 2–325 to 2–326 display panel 3–775
disable particle system 2–121 display color rollout 1–52
disabling playback 2–1084 display properties rollout 1–55
disassemble 1–110 freeze rollout 1–54
disc (circular) area light 2–1299 hide by category rollout 1–52
displace hide rollout 1–53
disp approx modifier (OSM) 1–628 link display rollout 1–58
displace mesh (world space) 1–514 object display 1–51
displace modifier (OSM) 1–629 display rollout 1–791, 2–812
displace NURBS (world space) 1–515 hair and fur modifier 1–549
displace space warp 2–76 display subtree 2–1130
displacement mapping 1–628, 2–1511, 2–1539 display trajectories;trajectories,displaying 2–957
displacement shading displaying
mental ray renderer 3–96 links 2–421
display selected key statistics (Track View) 2–595
backface cull 3–775 selected keys 2–594
coordinate display 3–708 distance
cross-hairs cursor 3–815 distance from origin (accuracy setting) 3–815
display controls for NURBS models 1–1117 measuring 2–13, 2–15
display driver (specifying at startup) 3–671 distributed bucket rendering rollout 3–124
display floater 3–775 distributed maps 3–124
display floater (Schematic View) 3–651 distributed rendering 3–124, 3–1001
display image 3–502 distribution
display operator (particle flow) 2–202 materials 2–1432
display performance 1–28 dithering (glossary) 3–930
display plane 2–6 divide
display properties rollout 1–55 edges 1–1019
grid settings 3–709 editable mesh edges 1–1011
hide/unhide (glossary) 3–951 faces 1–1011
hide/unhide objects 3–775 segments 1–303
key bracket display 3–828 divisions 2–1114, 2–1141
layer properties 3–656 docking 3–930
line parameters for NURBS surfaces 1–1119 documentation for 3ds Max 1–xiv
marker 2–1065 DOF 2–1383, 3–269
nth frame 3–821 dolly
NU scale warning 3–815 camera 3–746
options/preferences 2–847, 2–853, 2–931, 2–944, light 3–751
2–1090, 2–1130, 2–1141 target 3–746, 3–751
properties 3–775 don’t affect children 2–489
reflectance 2–1430 donut 1–276
selection floaters 1–79 doors 1–210, 1–246
stack collapse warning 3–815 bifold 1–252
1280 Index

pivot 1–251 dynamics & adaptation rollout 2–980

sliding 1–251 dynamics deflectors 2–81, 2–85 to 2–86
dope sheet 2–501, 2–507, 2–1002 dynamics objects 1–395
modes menu 2–521 dynamics rollout
toolbars 2–538 hair and fur modifier 1–545
Dope Sheet dynamics utility 2–686
editing footstep timing 2–869 dynamics properties rollout (Material Editor) 2–686,
DOS 2–1479
command-line rendering 3–211 edit object dialog 2–696
double support 2–988, 2–992, 3–930 edit object list dialog 2–700
double-sided 3–901
double-sided material 2–1591 E
download options (asset browser) 3–515 ease curve
drag and drop applying 2–584
and copied/instanced maps 2–1451 deleting 2–585
and instanced objects 3–456 enable toggle 2–585
content from web pages 3–523 glossary 3–932
maps and materials 2–1423 ease options
modifier 1–499 key info rollout 2–958
sub-object material assignment 2–1424 transition editor 2–1051
with i-drop indicator 3–523 ease out-of-range types (Track View) 2–585
drag space warp 2–66 edge - definition 3–932
draw control points 2–1114 edge count 1–1253, 3–861
draw in profile view 2–1114 edge visibility threshold 1–1006
draw links as lines 3–821 edges
drawing aids 2–1, 2–52 aligning 1–1011
DRF files 3–527, 3–529 and rendering 3–826
driver setup/configuration 3–838, 3–840 to 3–841, 3–844 attaching 1–1011
dummies 2–922 chamfer 1–1011
dummy helper object 2–16 creating shapes from 1–1006
dummy object (glossary) 3–930 cut and slice 1–1011
dummy objects deleting 1–1011
using 2–429 divide 1–1019
duplicate name dialog (material library) 2–1453 dividing 1–1011
DWF extruding 1–1011
exporting 3–555 make planar 1–1011
DWG files 3–931 rotating 1–1011
exporting 3–550 welding 1–1011
importing 3–536 edit
DWG/DXF import options dialog 3–536 alpha compositor (video post) 3–381
geometry panel 3–539 biped 2–1038
layers panel 3–544 button appearance 3–803
spline rendering panel 3–545 clip 2–1048
DXF files 3–931 contrast filter (video post) 3–343
exporting 3–552 cross fade compositor (video post) 3–381
importing 3–536, 3–551 current event (video post) 3–324
dynaflectors 2–81, 2–85 to 2–86, 3–931 external event (video post) 3–340
dynamic names (particle flow) 2–131 fade filter (video post) 3–344
dynamics 2–122, 3–916, 3–932 filter event (video post) 3–335
and footsteps 2–1002 footsteps 2–936, 2–1000
dynamics blend 2–945, 2–954, 3–932 freeform 2–1000
hair and fur modifier 1–520, 1–540, 1–545 ghosts 2–1034
options 2–846 image alpha filter (video post) 3–344
image input event (video post) 3–332
 Index 1281

layer event (video post) 3–337 transform type-in 1–431

lens effects filter (video post) 3–345 undo/redo 1–94
loop event (video post) 3–342 edit menu (Schematic View) 3–642
negative filter (video post) 3–345 edit modifiers
normals 1–634 and editable objects 1–506
output image event (video post) 3–339 edit mesh modifier 1–634
preset settings 3–438 edit patch modifier 1–638
pseudo alpha compositor (video post) 3–382 edit poly modifier 1–640
pseudo alpha filter (video post) 3–346 edit spline modifier 1–680
range bar (video post) 3–327 edit multiple delegates dialog 2–1197
ranges (Track View) 2–573 edit named selections 1–84
scene event (video post) 3–329 edit normals
simple additive compositor (video post) 3–383 edit normals modifier 1–634
simple wipe compositor (video post) 3–383 edit object dialog 2–696
simple wipe filter (video post) 3–347 edit object list dialog 2–700
starfield filter (video post) 3–347 edit poly
tag 3–711 align geometry dialog 1–679
time 2–566, 2–1002 bevel polygons dialog 1–1066
time tag dialog 3–711 border 1–663
transition 2–1048 bridge borders/polygons dialog 1–1067
transitions 2–1034 bridge edges dialog 1–1068
edit commands 1–94, 2–1130 chamfer dialog 1–1070
and envelopes 2–1088 connect edges dialog 1–1070
edit curve on surface dialog 1–1229 detach dialog 1–679
edit geometry rollout edge 1–656
edit poly modifier 1–673 extrude edges dialog 1–1073
editable mesh 1–1011 extrude polygons along spline dialog 1–1071
editable poly 1–1055 extrude polygons dialog 1–1072
edit keys 2–1002 extrude vertices dialog 1–1073
edit keys (Track View) 2–528, 2–554, 2–559 hinge from edge dialog 1–1073
edit keys mode 2–508 inset polygons dialog 1–1074
edit macro button dialog 3–803 meshsmooth selection dialog 1–1074
edit menu 3–673 object 1–651
clone 1–476 paint deformation rollout 1–1064
delete 1–95 polygon/element 1–666
edit named selections 1–84 preserve map channels dialog 1–1075
fetch 1–95 relax dialog 1–1076
hold 1–95 tessellate selection dialog 1–1077
move 1–439 vertex 1–652
object properties 1–117 weld dialog 1–1077
particle view 2–127 weld edges dialog 1–1077
region 1–92 weld vertices dialog 1–1077
rotate 1–439 edit poly modifier 1–640
scale 1–440 edit geometry rollout 1–673
select all 1–87 selection rollout 1–647
select by 1–88 edit ranges 2–573
select by color 1–88 edit ranges mode (Track View) 2–509, 2–528
select by name 1–88 edit texture surface dialog 1–1230
select invert 1–88 edit time mode (Track View) 2–528, 2–566
select none 1–88 edit time tag 3–711
select region crossing 1–93 edit track set 2–591
select similar 1–88 edit UVWs dialog 1–888
selection method 1–92 menu bar 1–895
1282 Index

edit wire 2–412 vertex 1–1029

editable mesh 1–996, 3–932 weld dialog 1–1077
aligning 1–1011 weld edges dialog 1–1077
edge 1–1006 weld vertices dialog 1–1077
edit geometry rollout 1–1011 editable spline 1–289, 1–842
element 1–1009 and overlapping vertices 1–289
exploding 1–1011 attaching to 1–303
face 1–1009 general rollout (for object and sub-objects) 1–289
object 1–1001 identification numbers and 1–289
polygon 1–1009 object 1–295
selection rollout 1–999 rendering options 1–289
vertex 1–1003 segment 1–303
editable objects and edit modifiers 1–506 setting vertex type 1–297
editable patch 1–968 spline 1–308
attach 1–986 vertex 1–297
changing vertex type 1–986 vertex area selection 1–289
deleting vertices 1–986 editing
detach 1–986 action parameters (particle view) 2–131
edge 1–980 active footsteps in time 2–871
element 1–984 animation 2–304
geometry rollout 1–986 bones 1–411, 1–413
handle 1–979 curve cv sub-objects 1–1127
object 1–974 curve sub-objects 1–1135
patch 1–981 fins (bones) 1–413
vector 1–979 footstep placement 2–869
vertex 1–975 footsteps 2–988
visibility of 1–989 footsteps in time 2–869
editable poly 1–1022 footsteps in Track View 2–869
bevel polygons dialog 1–1066 modifier stack 1–504
border 1–1044 named selection sets 1–67
bridge borders/polygons dialog 1–1067 point sub-objects 1–1123, 1–1219
bridge edges dialog 1–1068 strokes 3–865
chamfer dialog 1–1070 surface cv sub-objects 1–1130
connect edges dialog 1–1070 surface sub-objects 1–1141
edge 1–1035 time (Track View) 2–566
edit geometry rollout 1–1055 time tags 3–711
extrude edges dialog 1–1073 wall objects 1–228
extrude polygons along spline dialog 1–1071 editing track sets 2–590
extrude polygons dialog 1–1072 editor
extrude vertices dialog 1–1073 cognitive controller 2–1206
glossary 3–933 edtiable patch
hinge from edge dialog 1–1073 selection rollout 1–971
inset polygons dialog 1–1074 effects 3–217
meshsmooth selection dialog 1–1074 auto secondary lens effects 3–238
object 1–1028 blur lens effects 3–260
paint deformation rollout 1–1064 brightness and contrast lens effects 3–265
polygon/element 1–1048 color balance lens effects 3–265
preserve map channels dialog 1–1075 depth of field lens effects 3–269
relax dialog 1–1076 effects (rendering menu) 3–218
selection rollout 1–1024 effects panel 3–219
subdivision displacement rollout 1–1063 environment and effects dialog 3–217
subdivision surface rollout 1–1060 file output lens effects 3–266
tessellate selection dialog 1–1077 film grain lens effects 3–268
 Index 1283

glow lens effects 3–226 working with 2–1090

lens effects 3–223 working with both envelope types 2–1091
manual secondary lens effects 3–242 working with rigid 2–1091
merging from other files 3–220 environment 3–271
ray lens effects 3–234 and raytrace materials 2–1514
rings lens effects 3–230 environment map (glossary) 3–934
star lens effects 3–246 environment panel 3–272
streak lens effects 3–250 exposure controls 3–293
elements 3–933 environment and effects dialog 3–217
of rendered textures 3–146 effects panel 3–219
rendering 3–130 environment panel 3–272
ellipse 1–274 environment effect
email notification fire 3–276
network rendering 3–196 fog 3–282
rendering 3–33 volume fog 3–284
emission rollout (particle view) 2–136 volume light 3–288
emit start/stop values, and frame rate 2–144 environment shader (mental ray) 2–1721
emitter (particle flow) 2–135, 3–933 environments 3–217
empty flow operator 2–209 environment and effects dialog 3–217
enable ease or multiplier curve toggle 2–585 EPS files 3–612
enable layer 2–326 error threshold (camera tracker) 2–677
encapsulated PostScript files 3–612 errors 1–20
end effector 2–1080 garment maker 1–622
end effectors 2–437, 2–440, 2–463, 2–471, 3–933 euler filter 2–564
animating 2–461 euler rotation 2–916, 2–948
linking to parent 2–461 controller 2–891
entering frames 2–594 Euler XYZ rotation controller 2–318
entire link 2–1114, 2–1141 euler/tangent 2–916
entities events (particle flow)
AutoCAD 3–441 and action sequence 2–123
envelope parameters 2–1130 branching 2–123
envelope sub-object 2–1125, 2–1128 event display 2–131, 2–133, 3–936
exclude envelopes dialog 2–1126 event level 3–936
envelopes 2–1130, 3–934 glossary 3–935
adjusting shapes 2–1086 inputs 3–957
and control points 2–1088 local 3–963
and cross sections 2–1088 notating 2–206
and edit commands 2–1088 properties 2–134
and weighted vertices 2–834 events (video post) 3–325
blending types 2–1086 every step update script (particle flow) 2–139
choosing default fit 2–1083 exclude
choosing default types 2–1083 exclude left end point (Track View) 2–570
copying 2–1086 exclude right end point (Track View) 2–571
copying to mirrored link 2–1088 exclude/include lights 2–1283, 2–1335
display options 2–1090 exclude envelopes dialog 2–1126
exclude for selected links 2–1126 exclude left end point (Track View) 2–570
excluding influence 2–1086 exclude option 2–1086, 2–1126
overview 2–1085 exclude right end point (Track View) 2–571
scaling size 2–1086 excluding layers 3–438
selecting 2–1086 excluding particles from lighting 2–121
types of 2–1085 execute network rendering 3–182
updating display manually 2–1090 execute sequence (video post) 3–325
using transforms with 2–1086 exit command (file menu) 3–503
1284 Index

expanding animation tracks 2–886, 2–888 pseudo color 3–300

expert mode 1–51 expression controller 2–320, 2–324
explicit axis keys 2–297, 2–357 expression evaluator 1–12
explode expression techniques 1–146
assemblies 1–110 extended parameters rollout (materials) 2–1471
editable mesh objects/sub-objects 1–1011 extended primitives 1–186
explode angle threshold 1–1011 C-Ext 1–200
groups 1–106 capsule 1–195
objects into faces 2–105 chamfer box 1–191
particle system 2–68 chamfer cylinder 1–192
splines 1–308 gengon 1–199
explode angle threshold 1–1011 hedra 1–187
exploding objects 2–68 hose 1–206
explosion 2–68 L-Ext 1–198
explosions 2–120 L-Extrusion 1–198
export animation oil tank 1–194
motion mixer 2–624 prism 1–205
export selected (file menu) 3–486 ringwave 1–202
exporting spindle 1–196
3D DWF 3–555 torus knot 1–189
3DS files 3–532 extended shapes
Adobe Illustrator files 3–534 angle 1–286
animation 2–921 channel 1–285
ASCII files 3–534 tee 1–287
bones 3–580 wide flange 1–288
DWG files 3–550 wrectangle 1–284
DXF files 3–552 extended splines 1–266
export (file menu) 3–486 extents
FBX 3–558 scene extents 3–1007
HTR/HTR2 3–578 zoom extents (particle view) 2–129
IGES files 3–562 extents (glossary) 3–936
m3g files 3–563, 3–565 to 3–566 external event (video post) 3–340
MTL 3–590 external reference 3–1037
OBJ 3–589 external reference, AutoCAD (glossary) 3–1036
objects 3–486 extraction tolerance 2–1070
selected objects 3–486 extras dope sheet toolbar
Shockwave 3D files 3–580 to 3–581 Track View 2–541
stereolithography 3–588 extras toolbar 3–688
STL files 3–588 extrude
texture coordinates 1–914 editable mesh edges 1–1011
to IGES 3–563 extrude modifier 1–680
UVs 1–914 extrude surface (NURBS) 1–1188
VRML97 files 3–591 faces 1–682
W3D files 3–580 to 3–581 faces and polygons 1–1011
exporting materials 2–1407 patches 1–986
expose transform extrude edges dialog 1–1073
helper object 2–17 extrude polygons along spline dialog 1–1071
exposetm 2–17 extrude polygons dialog 1–1072
helper object 2–17 extrude vertices dialog 1–1073
exposure control 3–293 extruded shapes 1–198, 1–200
automatic 3–295 eyedropper tool 2–1448
linear 3–296
logarithmic 3–297 F
f-curves 2–837, 2–1008
 Index 1285

f-stop 3–90, 3–101 field of view

face - definition 3–936 flyout 3–741
face extrude modifier 1–682 glossary 3–937
face/edge thresholds (optimize modifier) 1–748 field-of-view
faces field-of-view button 3–741
assigning to smoothing groups 1–1009 fields (glossary) 3–938
beveling and extruding 1–1011 FIG (figure) files 2–936, 2–1070
creating 1–1011 saving and loading 2–855
dividing 1–1011 FIG files 2–1263
tessellating 1–1011 loading 2–942
faceted (glossary) 3–937 saving 2–941
facial animation 2–1100 figure mode 2–834, 2–936, 2–982, 2–984, 3–939
facial expression 1–729 figure structure 2–1070
fade filter (video post) 3–344 file corruption 3–883
fade in/out (lights) 2–1345 file formats 2–919, 2–1263
falloff 2–1111, 2–1130, 2–1136, 2–1338 file i/o path configuration 3–810
falloff map 2–1670 file link 3–903
glossary 3–954 advanced settings 3–431
light falloff 3–753 basic settings 3–429
family elements basics 3–416
from Revit 3–457 excluding layers 3–438
rendering properties 3–457 file link settings dialog 3–428, 3–435
fast adaptive antialiaser 2–1533 including layers 3–438
fast view display mode 3–853 manager utility 3–422
favorite location dialog 3–516 presets 3–429, 3–431
favorites tips for using 3–419
asset browser 3–516 working with drawing files 3–417
HTML help viewer 3–878 xref resolution 3–439
FBX file menu 3–386, 3–673
exporting 3–558 archive 3–499
importing 3–558 exit 3–503
FBX files 2–921 export 3–486
features export selected 3–486
crowd 2–839 file link manager 3–422
feedback about the documentation 1–xiv, 3–874 file properties 3–500
fence selection region 1–90 import 3–485
fetch (edit menu) 1–95 load animation 3–474
FFD soft bodies 2–786 merge 3–463
FFD(box) space warp 2–91 merge animation 3–466
FFD(cyl) space warp 2–95 new 3–386
FFDs 2–834, 3–937 open 3–387
and physique 2–1104 open recent 3–390
FFD 2x2x2 1–683 replace 3–470
FFD 3x3x3 1–683 reset 3–387
FFD 4x4x4 1–683 save 3–390
FFD modifier 1–683 save animation 3–476
FFD select modifier 1–689 save as 3–391
FFD(box) modifier 1–685 save copy as 3–392
FFD(box) space warp 2–91 save selected 3–392
FFD(cyl) modifier 1–685 summary info 3–499
FFD(cylinder) space warp 2–95 view image file 3–502
FGM files 3–937 XRef objects 3–394
XRef scene 3–407
1286 Index

file output 3–266 key 3–718

file properties 3–500 sampling 3–1005
file types filters panel 2–1023
BIP 2–920, 3–916 final gather map (FGM file) 3–937
BVH 3–920, 3–969 final gather rollout 3–111
CAL 2–1070 final gathering 3–93, 3–111, 3–940
CSM 2–1065, 3–920, 3–925, 3–969 final step update script (particle flow) 2–139
CWS 3–135 find target test (particle flow) 2–218
FIG 2–936, 2–1070 finding errors 2–1012
.mfe file 2–1045 fine-tuning envelopes 2–1088
MNM 2–1061, 2–1065 fingers option 2–846
MOC 2–1065, 2–1070 fins (bones) 1–404, 1–413
PHY 2–1098, 2–1106, 3–994 fire environment effect 3–276
STP 2–924 first vertex 1–297, 3–941
file-handling commands 3–386 fit 2–1130, 2–1147
files fit (deformation) 1–367
backup and saving 3–819 fit to existing 2–1070
compressed 3–819 fix ambient utility 3–512
finding 3–510 fix panel 2–1020
incremental saves 3–819 fix vertices constraint 2–796
managing 1–15 fixed
mismatched units 3–852 transition editor 2–1051
motion flow editor 2–1041 fixed width text button 3–815
preferences settings 3–819 fixed window 1–258
recent in file menu 3–819 fixing errors 2–837, 2–1012, 2–1020
fillet fixing motion errors 2–1023
and editable splines 1–297 fixing problems 3–883
fillet curve 1–1164 flag properties dialog (Material Editor) 2–1655
fillet surface 1–1216 flag with black 3–826
fillet/chamfer modifier 1–689 flat mirror map 2–1695, 3–83, 3–942
glossary 3–939 flatten footsteps 2–1070
film grain effect 3–268 flatten mapping 1–898, 1–907
filter color mapping 2–1503 flatten sides 1–1011
filter color/filter opacity (glossary) 3–939 flex modifier 1–691, 1–700
filtering 2–837 flexibility (neck and spine) 2–846
euler tracks (Track View) 2–564 flip normals 1–166, 1–1009
motion capture and marker data 2–1070 float controllers 2–297
trackgroups 2–645 float limit controller 2–335
tracks in motion mixer 2–612 floaters 1–431, 3–775
filtering bitmaps 3–939 bone tools 1–411
filtering character animation 3–940 display floaters 3–775
filters 3–98 Schematic View display floater 3–651
add filter event (video post) 3–335 selection floaters 1–79
caustics 3–106 transform type-in 1–431
creating custom 1–68 floating 3–930
edit filter event (video post) 3–335 floating bones 2–1082, 2–1110
environment backgrounds (viewports) 3–821 flows (particle flow) 2–208
euler tracks (Track View) 2–564 empty flow 2–209
filter (track bar) 3–703 glossary 3–942
filter combinations dialog 1–81 standard flow 2–209
filtering selections 1–81 fluorescence (glossary) 3–942
filters button (Track View) 2–541 flyouts 1–12
filters dialog (Track View) 2–542 align 1–462
 Index 1287

arc rotate 3–744 footsteps 2–999

array 1–448 activating 2–865
default tangent types 3–721 airborne period 2–883
dolly camera/target 3–746 appending 2–863
dolly light/target 3–751 bending path 2–869
field of view 3–741 convert to 2–999
flyout (glossary) 3–943 creating 2–863
material ID channel 2–1444 creating automatically 2–862
orbit/pan light 3–755 creating multiple 2–862
quick render 3–17 deleting 2–869
select and scale 1–440 display 2–853
selection region 1–80 editing in time 2–869
timing preferences 3–815 editing placement 2–869
use center 1–445 footstep mode dialog 2–1000
zoom extents 3–740 freeform period between 2–883
zoom extents all 3–737 moving and rotating 2–869
focus plane 3–90 saving 2–882
fog selecting in Dope Sheet mode 2–869
VRML97 helper 3–600 selecting in viewports 2–869
fog environment effect 3–282 timing 2–869
folder timing gait parameters 2–861
motion flow editor 2–1041 footsteps method 3–943
foliage 1–210, 1–214 force operator (particle flow) 2–204
follow object force space warps
binding to 2–461 displace 2–76
glossary 3–943 drag 2–66
follow/bank utility 2–653 gravity 2–73
foot states 2–833, 2–936, 2–965, 3–943 motor 2–61
footcandle 3–955 path follow 2–71
footstep PBomb 2–68
adaptation 2–988 push 2–59
animation (glossary) 3–943 vortex 2–63
animation workflow 2–856 wind 2–75
converting to freeform 2–885 forward kinematics 2–954, 3–944
creation 2–863 and IK 2–435
edge selection 2–1000 manipulating hierarchies with 2–426
editing 2–988 forward kinematics and bipeds 3–944
keys 2–867 FOV
leg states 2–867 field-of-view button 3–741
timing (gait parameters) 2–861 fps 1–1253
footstep creation 2–833, 2–936, 2–988 fracture 2–770
create multiple footsteps (jump) 2–997 tips 2–773
create multiple footsteps (run) 2–995 fragmentation (particle flow) 2–120
footstep operations 2–990 frame
footstep extraction 2–1070 transition editor 2–1051
using motion-capture filtering 2–1061 frame rate 2–288, 3–725, 3–944
footstep keys and emit start/stop values (particle flow) 2–144
body horizontal 2–867 frames (snapping) 2–554
body turning/rotation 2–867 frames per second 3–861
body vertical 2–867 free area light 2–1309
footstep method 2–833 free camera 2–1370
footstep mode 2–936, 2–988 free key defaults 2–956
footstep operations rollout 2–936, 2–990
1288 Index

free lights garment maker modifier 1–607

direct 2–1293 user interface 1–613
linear 2–1307 using 1–575
spot 2–1290 general parameters (lights) 2–1331
free-form deformation (FFD) general parameters rollout
box 2–91 hair and fur modifier 1–534
box/cyl modifier 1–685 general preferences settings 3–815
cylinder 2–95 general settings rollout
modifier 1–683 render to texture 3–157
select modifier 1–689 generate colors 2–944
freeform 2–999 gengon 1–199
animation 2–902 geographic location dialog 1–422
convert to 2–999 geometric primitives 3–948
converting to footsteps 2–885 geometric/deformable space warps
inserting period between footsteps 2–883 bomb 2–105
method 2–833 conform 2–103
setting period in footstep animations 2–883 FFD(box) 2–91
freeform animation 2–886, 2–1002, 3–945 FFD(cyl) 2–95
freeform method 3–945 ripple 2–102
freeze wave 2–100
freeze rollout (display panel) 1–54 geometry
freeze/unfreeze (glossary) 3–945 AutoCAD 3–441
freezing/unfreezing objects 1–70, 3–775 AutoCADArchitectural Desktop 3–443
freeze non-selected curves (Track View) 2–587 compound objects 1–313
frequently asked questions doors 1–246
reactor 2–821 effect on cloth 1–576
frizz animation extended primitives 1–186
hair and fur modifier 1–520, 1–540 file formats 3–523
frizz parameters rollout geometric primitives 1–169
hair and fur modifier 1–540 importing 3–524
from z level 2–1070 loft object 1–352
full screen 3–738 standard primitives 1–170
function curve editor 2–507, 2–535 types of 1–155
function curves 2–837, 2–1008, 2–1012 windows 1–253
add keys mode 2–581 geometry parameters rollout 2–1183
glossary 3–945 geometry rollout 2–1240
show tangents 2–582 patch 1–986
Track View 2–578 GeoSphere 1–176
funnel-like objects 2–63 get material 2–1439
fuse vertices 1–297, 1–303, 1–308 getting started 1–1
fusing (glossary) 3–946 ghost
FX files 3–946 transition editor 2–1051
ghosts
G ghost before/after current frame 3–821
G-buffer ghost in wireframe 3–821
glossary 3–946 GI (global illumination) 3–51
layers (rendering preferences) 3–826 GIF files 3–613
gait pattern 3–947 gizmo
gait type 3–947 box atmospheric apparatus 3–304
game engine - edit normals 1–634 cylinder atmospheric apparatus 3–306
gamma correction (glossary) 3–948 gizmo/center (glossary) 3–949
gamma preferences 3–824 preferences 3–832
garment maker sphere atmospheric apparatus 3–307
troubleshooting and error codes 1–622
 Index 1289

tracker 2–671 rigid vertices 2–1150

types of 3–304 grid
using transform gizmos 1–426 autogrid 2–7
gizmos rollout 1–791 grid and snap settings 2–41
global and local exclude/include dialog (for raytraced maps grid nudge distance 3–821
and materials) 2–1531 grid setting display 3–709
global clip 2–1179, 2–1246 home grid settings 2–49
global clip controller 2–1241, 3–950 options 2–46
global event (particle flow) 3–949 snap override 2–45
global illumination 3–51, 3–61, 3–93, 3–106, 3–940 snaps 2–41
global illumination (mental ray) 3–80 user grids settings 2–51
global lighting (rendered environment) 3–272 grid method 3–129
global motion clip 2–1179 grid method, raytrace acceleration 3–1000
global raytracer settings dialog 2–1528 grids 2–33, 3–951
global settings and defaults for bitmap proxies dialog 3–496 activating 2–34
global shadow parameters (Track View) 2–512 align to view 2–35
glossary 3–901 aligning to 1–1011
glossiness mapping 2–1502, 3–950 and resolution of patch model surface 1–991
glow grid and snap settings 2–41
render effect 3–226 grid helper object 2–20
go to rotation test 2–224 show home grid 2–34
go to settings using 2–4 to 2–5
Material Editor 2–1446 to 2–1447 viewing 2–6
time 3–707, 3–722, 3–724 ground plane (and collision detection) 2–891
goal (and IK chain) 2–440 group
goniometric diagrams 2–1326 script 2–1048
grab viewport 1–35 group menu 1–104, 1–109, 3–674
gradients attach 1–106
gradient map 2–1650 close 1–105
gradient mapping 2–195 detach 1–106
gradient ramp map 2–1652 explode 1–106
lens effects gradient colors (video post) 3–381 group 1–104
lens effects gradient options (video post) 3–378 open 1–105
lens effects gradient types (video post) 3–379 ungroup 1–106
lens effects gradients (Video Post) 3–377 groups 1–96
graph editors menu 3–682 and assemblies 1–98
delete schematic view 3–652 and attaching physique 2–1083
delete Track View 2–598 and selection sets 1–96, 3–674
new schematic view 3–638, 3–652 closing nested groups 1–105
new Track View 2–597 detach from 1–110
saved schematic views 3–638, 3–653 explode 1–106
saved Track View 2–599 smoothing 1–167
Track View 2–598 using 1–96, 3–674
Track View - curve editor 2–501 grow 1–809
Track View - dope sheet 2–501 growth objects
graphics driver setup dialog 3–838 hair and fur modifier 1–517
GravAccel (gravitational acceleration) 2–846, 2–878, guide hairs
2–980, 3–950 hair and fur modifier 1–518, 1–526
gravity 3–950
computation 2–878 H
gravity space warp 2–73 hair
green brush for styling 1–529
line 2–1114 compositing method 3–222
cutting 1–529
1290 Index

light attributes 2–1351 favorites tab 3–878

shadows 3–223 index 3–874
styling 1–526 search 3–874
styling rollout 1–526 searching for help topics 3–876
hair and fur help menu 3–684
and lighting 1–519, 3–220 helper object 3–951
rendering options 3–221 helpers 2–2, 2–13
hair and fur feature atmospheric apparatus 3–304
components 1–517 camera match 2–1391
hair and fur modifier 1–516 compass 2–27
animation 1–520, 1–540, 1–545 cone angle 2–27
display rollout 1–549 dummy 2–16
dynamics 1–520, 1–540, 1–545 expose transform 2–17
dynamics rollout 1–545 exposetm 2–17
frizz animation 1–520, 1–540 grid 2–20
frizz parameters rollout 1–540 luminaire 1–111
general parameters rollout 1–534 manipulators 2–27
growth objects 1–517 plane angle 2–29
guide hairs 1–518, 1–526 point 2–23
instanced hair 1–523 protractor 2–26
kink parameters rollout 1–542 reactor 2–715
material parameters rollout 1–537 slider 2–31
mr parameters rollout 1–540 standard 2–16
multi strand parameters rollout 1–544 tape 2–24
quad menu 1–532 VRML97 3–597
selection rollout 1–521 HI IK solver 2–440, 2–446, 2–449
splines 1–517 IK display options rollout 2–458
styling hair 1–518, 1–526 IK solver properties rollout 2–456
styling rollout 1–526 IK solver rollout 2–453
surfaces 1–517 sliding and rotational joints 2–459
tools rollout 1–523 HI Solver 2–456
user interface 1–521 hide 1–53, 2–1150, 3–951
hair and fur render effect 3–220 hide attached nodes 2–1108
hair and fur render element 3–140 hide by category 1–52
hair light attributes 2–1351 hide reference geometry 1–772
handle display size 3–822 hide/show all 2–944
HD IK solver 2–440, 2–461, 2–467, 2–491 to 2–492, 2–494 hiding and unhiding 1–53
to 2–496 by category 1–52, 1–72
HD solver 2–496 by selection 1–70
HD Solver 2–461, 2–463, 2–468, 2–471, 2–491 to 2–492, edges 1–986
2–494 to 2–495 editable spline vertices 1–297
HDR file format 3–613 hide rollout 1–53
HDRI files 3–613 hierarchical linkage 3–951
head object 1–111 hierarchical subdivision surfaces 1–701
head object (glossary) 3–951 hierarchies
hedra 1–187 hierarchical linkage (glossary) 3–951
height map (baking) 3–148 joint limits 2–421
height map displacement shader (mental ray) 2–1722 navigating 2–425
height option 2–846, 2–984 terminology 2–416
helix 1–281 using multiple 2–418
help 3–873 viewing 2–424
about HTML help 3–874 hierarchy of biped objects (Track View) 2–886
contents 3–874
 Index 1291

hierarchy panel 3–773 searching in 3–876

commands 2–487 toolbar 3–878
IK 2–491 using 3–874
link info rollouts 2–499 HTR/HTR2
pivot 2–487 exporting 3–578
hierarchy right-click menu (Track View) 2–516 importing 3–576
hierarchy window (Track View) hue/saturation/value (glossary) 3–1001
placing selected objects 2–588
selecting by name 2–589 I
high dynamic range images 3–613, 3–621 i-drop Indicator 3–523
high-resolution rendering 3–197 IAM files
highlights importing 3–552
anisotropic 2–1492 ICB targa files (glossary) 3–633
Blinn 2–1493 icons
metal 2–1494 color scheme 3–806
multi-layer 2–1495 path for additional 3–813
Oren-Nayar-Blinn 2–1493 reactor 2–707
Phong 2–1493 ID
specular color 3–1014 material ID channel 2–1443
hinge constraint 2–747 IES 2–1328
hinge polygons from edge dialog 1–1073 IES sky 2–1312
history list 3–390, 3–502, 3–641 IES sun 2–1309
history-dependent IK solver 2–440 IFL files 3–616
history-independent IK solver 2–440, 2–446 and view file command 3–5, 3–502
hold (edit menu) 1–95 IFL manager utility 3–619
home grid 1–23 image file list control dialog 3–618
glossary 3–952 IGES
settings 2–49 and NURBS surfaces 3–558
using 2–4 export/import log file 3–560, 3–562
views based on the world coordinate axes 1–23 exporting to 3–563
hopping (dynamics of) 2–878 file translation 3–558
horizon (glossary) 3–953 glossary 3–954
horizontal (move key) 2–579 history 3–558
horizontal bezier handle control 2–582 IGES import dialog 3–560
horizontal text in vertical toolbar 3–815 import table to 3ds Max 3–561
hose 1–206 log files 3–560
hosts file 3–124 overview 3–558
hot (glossary) 3–953 temporary files 3–560
hot keys 1–900, 2–140, 2–510, 2–1006, 2–1111, 2–1182, ignore animation range 2–549
3–871 ignore backfacing 1–996, 1–1011, 1–1019
hotspot 2–1338, 3–752, 3–954 IK
how many 2–992, 2–995, 2–997 and control objects 2–435
how to (NURBS) and set key 2–281
fix objects 1–1098 animating with interactive IK 2–480
improve performance 1–1099 IK joints 2–437
make things 1–1094 IK solution (glossary) 3–955
how tos 2–1264 overlapping chains 2–446
HSDS modifier 1–576 to 1–577, 1–701, 1–706 preferences 3–830
HSV (glossary) 3–1001 IK blend 2–959, 3–954
HTML help viewer IK constraints 2–900, 2–902
favorites tab 3–878 IK limb solver 2–440, 2–472
keyboard shortcuts 3–879 IK object 2–954
right-click menus 3–879 IK only option 2–980
1292 Index

IK rollouts 2–491 importing geometry 3–524

auto termination 2–499 merge or replace scene 3–524
display options 2–458 importing motion-capture data 2–925
IK solver rollout 2–453 IMSQ files 3–620
inverse kinematics 2–497 in
object parameters 2–491 tangent 3–721
spline IK solver rollouts 2–478 in place mode 2–930, 2–936, 3–956
IK solvers 2–440, 2–446, 2–453, 2–461, 2–472 using to adjust keyframes 2–930
illegal video colors 2–1434 include new bones 2–1111
illuminance 3–955 include/exclude lights 2–1283
image alpha filter (video post) 3–344 including layers 3–438
image file formats 3–608 incremental saves 1–19, 3–819
image file list independent 3–558, 3–956
IFL control dialog 3–618 index of refraction 2–1471, 2–1509, 2–1514, 2–1538,
IFL manager utility 3–619 2–1670, 2–1703
image filter event (video post) 3–335 indirect illumination 3–106, 3–994
image input event (video post) 3–332 influence 1–78 to 1–79, 2–1114, 2–1141, 3–407, 3–465,
image input options (video post) 3–334 3–957
image layer event (video post) 3–337 areas of and envelopes 2–1085
image motion blur (glossary) 3–955 influenced vertices 2–1147
image output event (video post) 3–339 inherit rollout 2–500
image sequence 3–5 inheritance 2–434
images (2D) 3–608 initial graphics exchange specification (IGES) 3–558,
import 3–954
animations 3–466 initial pose 2–1111, 2–1113, 2–1130, 2–1141, 2–1147,
file menu 3–485 2–1150, 3–957
IGES files 3–560 to 3–561 initializing
import options 3–586 and ActiveShade 3–904
merge animation 3–466 initializing physique 2–1083, 3–957
importing ink ’n paint material 2–1605
3DS files 3–530 inline (VRML VRML97 helpers) 3–608
Adobe Illustrator 88 files 3–533 inner envelope 2–1130
and attaching 3ds Max objects 1–1120 inner/outer bounds 2–1085
animation 2–921 input devices for motion capture 2–655
DDF 3–571 inputs (particle flow) 3–957
DEM Models 3–571 insert 2–1141, 2–1147
DWG and DXF files 3–536 actions, events (particle view) 2–133
DXF files 3–551 bulge angle 2–1114, 2–1141
FBX 3–558 control points 2–1114
HTR/HTR2 3–576 cross section slice 2–1114
IAM files 3–552 insert animation 1–114
IGES files 3–560 insert character 1–115
IPT files 3–552 insert tracks dialog 3–466
landXML 3–571 time (Track View) 2–570
marker file 2–1061 tracks 3–466
motion-capture file 2–1061 vertices 1–295, 1–308
PRJ files 3–531 insert keys 2–558
scenes 1–16 inset polygons dialog 1–1074
SHP files 3–533 inside 2–1136
STL files 3–586 installing
TRC 3–577 3ds Max (for network rendering) 3–186
VRML files 3–591 instance duplicate maps utility 2–1744
 Index 1293

instanced hair preferences settings 3–830

hair and fur modifier 1–523 rollout 2–497
instanced modifiers 1–511 terminology 2–437
instanced objects inverse kinematics with bipeds 3–959
AutoCAD 3–456 invert selection 1–88
rendering properties 3–457 IOR 2–1471, 2–1509, 2–1514, 2–1538, 2–1670, 2–1703
instances 1–472 IPT files
glossary 3–957 importing 3–552
make unique 2–575, 2–577 iso curves 1–1168
of maps 2–1451 iso line (glossary) 3–959
overview 1–472 isolate selection tool 1–73
propagating materials 2–1432 isometric views 1–24
propagation 2–1432 isotropic light distribution 2–1323
shape instance operator (particle flow) 2–178 iteration setting (HD IK solver) 2–463
instances in motion mixer 3–958
integration steps (particle flow) 2–139 J
intensity (light) 2–1276, 2–1279 jambs 1–210
intensity mapping 2–1539 jitter (antialiasing control) 3–98, 3–1005 to 3–1006
intensity/color/attenuation parameters 2–1345 job archives
intensity/color/distribution rollout 2–1352 network job assignment 3–199
interactive IK 2–480 network rendering 3–173
interactive manipulation mode 1–1022 job dialogs (network rendering) 3–190
interactive redraw 2–1141, 2–1147 join dialogs (NURBS) 1–1232 to 1–1233
interactive rendering 3–17, 3–21, 3–1030 join to previous ik key option 2–960
interactive reshade 3–17, 3–22 joint intersections 2–1108
interactive update (Track View) 2–526 parameters 2–1094, 2–1098
internet joint intersections rollout 2–1140
access 3–522 joint rotation data (in BVH files) 2–1061
connection 3–504 joints
internet download dialog 3–515 activating joint axes 2–485
interparticle collision 2–243 joint limits (hierarchies) 2–421
interpolation 2–992, 2–995, 2–997, 3–958 joint parameters 2–483, 2–495
stride 2–862 joint precedence 2–467 to 2–468, 2–494
intersection 3–821 joint resistance and spring back 2–466
introduction limiting joint action 2–486
dynamics 2–707 path 2–483
inverse kinematics 2–435 rotational 2–483
NURBS modeling 1–1078 setting joint precedence 2–467
object selection 1–61 setting joint resistance 2–466
particle flow 2–109 setting parameters 2–483
physics 2–707 sliding 2–483
reactor 2–703 sliding and rotational 2–496
rendering effects 3–218 surface 2–483
sub-object selection 1–74 using default joint precedence 2–468
to this reference 3–873 JPEG files (glossary) 3–620
introduction to character studio 2–831 JSR-184
inventor files editing parameters 3–566
importing 3–552 export/import files 3–563, 3–565 to 3–566
inverse kinematics 2–954 log files 3–569
controlling precision 2–463 m3g player 3–570
glossary 3–958 texture parameters 3–565
introduction 2–435 JSR-184 player 3–570
methods 2–439 jump 2–936, 2–988
1294 Index

jumping key statistics (Track View) 2–595

dynamics of 2–878 key time display (Track View) 2–594
parameters 2–861 master track 2–346
moving 2–558, 2–579
K moving a group of 2–558
KBD files 3–793, 3–804 moving horizontal and vertical (Track View) 2–579
keep apart operator 2–172 randomize 2–533
key filters 2–590, 3–718 randomize utility 2–562
key info reducing 2–572
Bezier controllers 2–310 select 2–502
key info rollouts 2–304, 2–306 select by time 2–533, 2–563
master track key info dialog 2–391 soft selection manager 2–533
key info rollout 2–954 keys (setting) 2–904
key interpolation 2–833 keys menu
key mode 3–724 Track View 2–524
key modes (links) 2–430 keys windows (Track View) 2–504
key reduction kinematic chains 2–437, 3–960
settings 2–1070 kink parameters rollout
using motion-capture filtering 2–1061 hair and fur modifier 1–542
key tangents toolbar 2–535 knot (glossary) 3–961
key tools toolbar 2–535 Kodak Cineon 3–610
keyable icons 2–531
keyboard L
additional commands 3–669 L-Ext 1–198
creating primitives from 1–169 L-Extrusion 1–198
keyboard entry rollout 1–169 l-type stair 1–232
keyboard panel (customize UI) 3–793 landXML importer 3–571
keyboard shortcuts 1–900, 2–140, 2–510, 2–1006, 2–1111, landXML/DEM model import dialog 3–571
2–1182, 3–793, 3–871 Large BSP method 3–129
HTML help viewer 3–879 lasso selection region 1–90
override toggle 3–872 lateral ratio 2–622
keyframe interpolation 2–305 lathe
keyframe mode 3–717 lathe modifier 1–707
glossary 3–960 lathe surface (NURBS) 1–1190
keyframe vertices constraint 2–797 lattice modifier 1–709
keyframes lattice parameters rollout 2–1242
adapting to edits 2–871 launch script (glossary) 3–961
adjusting with in place mode 2–930 layer controller dialog 2–325
keyframing layer defaults 3–815
the biped 2–833 layer list 3–666
keyframing tools 2–962 layer manager 3–656
keys layer properties 2–333
adding 2–560 layer properties dialog 3–662
aligning 2–556 layer track 2–607
colors in Biped 2–947, 2–1005 layers 1–117, 2–974, 3–655, 3–961
create out of range 2–533 AutoCAD and 3ds Max 3–438
create out-of-range 2–562 excluding in file linking 3–438
default tangent types 3–721 from AutoCAD 3–421
delete 2–502, 2–554 from Revit 3–421
editing 2–554 glossary 3–961
glossary 3–960 including in file linking 3–438
interpolating 2–305 layer event (video post) 3–337
key mode 3–724 layer list button 3–666
key properties (track bar) 3–703 layer manager 3–656
 Index 1295

layer properties dialog 3–662 highlight properties 3–371

select dialog 3–438 manual secondary flare parameters 3–357
layers toolbar 3–688 lens effects filters (video post) 3–345
add selection to current layer 3–667 lens size (cameras) 2–1373
create new layer 3–667 level of detail
select objects in current layer 3–667 utility 1–1253
set current layer to selection’s layer 3–667 VRML97 helpers (LOD) 3–602
layout (viewports) 1–26, 3–856 lift 2–936, 2–965, 3–962
layout menu (Schematic View) 3–643 leg state 2–867
layout mode lift dynamics 2–878
glossary 3–961 light distribution
leg link 2–984 diffuse 2–1323
leg states 2–867 isotropic 2–1323
legacy DWG import 3–547 spotlight 2–1324
length 2–990 web 2–1325
transition editor 2–1051 light include/exclude tool 2–1283
lens effects 3–223 light lister 2–1285
auto secondary 3–238 light map 3–962
blur 3–260 light painting rollout (radiosity) 3–70
brightness and contrast 3–265 light parameters
color balance 3–265 mental ray indirect illumination rollout 2–1343
depth of field 3–269 mental ray light shader rollout 2–1345
file output 3–266 light shader rollout 2–1345
film grain effect 3–268 light shaders
glow 3–226 mental ray 2–1345
gradients 3–377 light tracer 3–44 to 3–45
manual secondary 3–242 light viewports 1–24, 1–33, 3–750
ray 3–234 lighting
ring 3–230 exclude/include dialog 2–1335
star 3–246 general parameters 2–1331
streak 3–250 guidelines 2–1280
lens effects (video post) hair and fur 1–519, 3–220
animating properties 3–349 in 3ds Max 2–1279
automatic secondary flare parameters 3–356 lighting analysis 3–76, 3–300, 3–628
flare 3–350 lighting analysis dialog 3–76
flare glow parameters 3–355 lighting data exporter utility 3–303
flare inferno parameters 3–360 lighting exclusion 2–121
flare preferences 3–353 lighting map (baking) 3–148
flare ray parameters 3–358 lighting parameters rollout 3–141
flare ring parameters 3–355 lighting texture element rollout 3–141
flare star parameters 3–359 lightmap shader 2–1614
flare streak parameters 3–360 lights 2–1272, 2–1301
focus 3–362 add default lights to scene 1–49
glow 3–364 advanced effects rollout 2–1341
glow inferno 3–368 and atmospheres 2–1351
glow preferences 3–367 and effects 2–1351
glow properties 3–365 and materials 2–1399
gradient colors 3–381 and shading 2–1399
gradient options 3–378 and shadows 2–1279
gradient types 3–379 animating 2–1282
highlight 3–370 atmospheres and effects for 2–1349
highlight geometry 3–374 dolly 3–751
highlight preferences 3–376 free area 2–1309
1296 Index

free direct 2–1293 linking objects to biped 2–854

free linear 2–1307 name 2–1150
free point 2–1304 scale 2–1091, 2–1136
free spotlight 2–1290 sub-object 2–1135
light falloff 3–753 to root attach node 2–1106
light include/exclude tool 2–1283 link constraint 2–403
light lister 2–1285 link rollouts 1–58, 2–499
mental ray shadow maps 2–1360 link info inherit 2–500
mr sky 2–1318 link info locks 2–500
mr sun 2–1319 link settings rollout 2–1136
name and color rollout 2–1273 link sub-object level
omni 2–1295 joint intersections rollout 2–1140
orbit/pan 3–755 link settings rollout 2–1136
photometric lights 2–1301 linkage, hierarchical 3–951
placing 1–7 linked file states 3–422
positioning 2–1282 linked objects
properties of 2–1276 assigning materials to 3–445, 3–454
roll 3–753 conversion settings 3–428, 3–435
standard 2–1288 selecting when file linking 3–440
target area 2–1307 linked XForm modifier 1–712
target direct 2–1292 linking
target linear 2–1305 and unlinking objects 2–421
target point 2–1303 animatable parameters 2–411 to 2–412
target spotlight 2–1289 bones to follow objects 2–461
truck 3–755 end effectors to parent 2–461
types of 2–1272, 2–1301 strategy 2–418
using 2–1274 linking files 3–422
viewport controls 3–752 to 3–753 links 3–963
working with 2–1274 adding and deleting 2–430
lights name and color rollout 2–1273 adjusting parameters 2–1091
Lightscape and joint settings 2–1111, 2–1113
export 3–572 and pivots 2–426
import 3–573 animating links 2–430
Lightscape import blending between 2–1083, 2–1085
Lightscape Materials utility 3–574 changing link inheritance 2–434
lightscape material 2–1604 displaying 2–421
Lightscape Materials utility 3–574 link inheritance (selected) utility 2–435
limit controller 2–335 main toolbar 2–422
limiting animation ranges 2–335 moving 2–890
limiting joint action 2–486 parameters 2–1091
line 1–270 radial scale parameters 2–1091
linear arrays (creating) 1–487 rotating 2–891
linear controller 2–341 scaling 2–851
linear dashpot 2–730 setting parameters 2–1091
linear exposure control 3–296 sliding parameters 2–1091
linear light rollout 2–1354 twist parameters 2–1091
link 2–1130, 2–1141, 2–1147 lip sync 1–729
biped hand to an object 2–960 list
blending 2–1108 layers 3–666
envelopes list (left side) 2–1126 list controller 2–342
length 2–1111 named selection sets 1–83
length as basis for envelope creation 2–1083 selection filter 1–81
linking drawing files 3–1004 transformation axis coordinate system 1–443
 Index 1297

list views (Schematic View) 3–645 deform bevel 1–366

listener deform fit 1–367
listener window (glossary) 3–963 deform scale 1–364
MAXScript listener 3–781 deform teeter 1–365
load 2–1070 deform twist 1–364
buffer only 2–1065, 2–1070 deformation dialog 1–368
file option 2–936 deformations 1–363
marker name file 2–1065 path commands 1–372
.mfe file 2–1032 path parameters rollout 1–356
motion capture file 2–1065 shape commands 1–373
motion flow editor 2–1032 skin parameters rollout 1–358
parameters 2–1070 surface parameters rollout 1–354
specification 2–1106, 2–1123 lofting
load animation 3–474 glossary 3–964
load custom UI scheme 3–805 shapes 1–262
load envelopes 1–805 log file 3–124, 3–964
load/save presets rollout (PArray) 2–274 log files
loading IGES 3–560
BIP files 2–942 logarithmic exposure control 3–297
biped figure files 2–855 LogLUV format (TIFF files) 3–303
biped step files 2–924 look at controller 2–344
FIG files 2–942 look at object (particle flow) 3–964
motion files 2–920 look-at constraint 2–406
STP files 2–942 loop 1–809
loading animation 3–472 looping 2–1061, 2–1070
local animation 2–551
working folder 3–487 animation (Track View) 2–570 to 2–571
local biped curve 2–1012 loop event (video post) 3–342
local center during animate 3–828 low res environment background 3–821
local coordinate system (glossary) 3–963 low-polygon modeling 1–1252
local euler XYZ rotation controller 2–344 lower bound 2–1147
local event (particle flow) 3–963 LS colors 1–550
local illumination 3–51 LS colors modifier 1–550
locate vertical center of mass keys 2–945 LS mesh modifier 1–713
lock LTLI files 3–964
character 1–115 lume shaders 2–1713
lock selection 2–555 lumen 3–965
lock time tag 3–710 LumeTools shaders 2–1713
lock UI layout 3–788 luminaire helper object 1–111
locking object transforms 2–433 luminance 3–964
selection lock 3–707 luminous flux (glossary) 3–965
lock assignments 2–1089, 2–1150 luminous intensity (glossary) 3–965
lock com keying 2–945 LUT preferences 3–824
lock selection lux 3–955
status bar 3–707 LZF files 3–965
Track View 2–555 LZG files 3–965
locks rollout 2–500 LZH files 3–965
LOD LZO files 3–965
level of detail utility 1–1253 LZV files 3–965
thresholds 1–1256
VRML97 helpers 3–602 M
loft object 1–352 m3g files 3–563
creation method rollout 1–354 m3g player 3–570
macro recorder (MAXScript) 3–782
1298 Index

macros diffuse roughness 2–1500

path for additional 3–813 displacement 2–1511
MACUtilities 2–665 filter color 2–1503
main toolbar 3–686 flatten 1–907
main window 1–9 glossiness 2–1502
make absolute 3–809 map network drive dialog 3–188
make controller/object unique (Track View) 2–550 mapping coordinates 2–1405
make curve on surface dialog 1–1226 mapping operator (particle flow) 2–195
make loft dialog 1–1234 metalness 2–1506
make material copy 2–1442 normal 1–908
make point curve dialog 1–1235 opacity 2–1503
make point dialog 1–1235 orientation 2–1505
make preview 2–1434, 3–168 reflection 2–1508
make relative 3–809 refraction 2–1509
make selected same size (video post) 3–328 self-illumination 2–1502
make unique 1–504, 1–511, 2–577, 3–770 shininess 2–1502
Material Editor 2–1442 shininess strength 2–1501
particle view 2–127, 2–133 specular color 2–1500
manage scene states 3–518 specular level 2–1501
manage scene states dialog 3–520 unfold 1–919
manager mapping biped motion 2–921
brush presets 3–692 maps 2–1662, 3–124, 3–503
manager (network rendering) 3–182 2D 2–1624
managers (transform) 1–433 3D 2–1662
managing activate all 1–50
files 1–15 camera map per pixel 2–1732
scenes and projects 3–385 cellular 2–1664
manipulator 2–27 checker 2–1638
manipulator helper objects color modifier 2–1692
cone angle 2–27 combustion 2–1639
plane angle 2–29 composite 2–1688
slider 2–31 compositor maps 2–1687
manipulators custom 3ds Max mental ray shaders 2–1711, 2–1714,
built-in 2–15 2–1716 to 2–1717, 2–1719, 2–1721 to 2–1724,
select and manipulate 2–15 2–1728 to 2–1730
manual secondary flares 3–242 cutout mapping 2–1542
manual update (envelopes) 2–1130 deactivate all 1–50
map animation 3–478 deleting 2–1413
map track to track rollout 3–481 dent 2–1667
motion mapping parameters rollout 3–479 dragging and dropping 2–1423
retargeting rollout 3–481 falloff 2–1670
map channel info dialog 2–1738 flat mirror 2–1695
map track to track rollout 3–481 glossary 3–968
mapped material gradient 2–1650
glossary 3–967 gradient ramp 2–1652
mapping hierarchy (glossary) 3–970
ambient color 2–1497 light map 3–962
anisotropy 2–1504 lume shaders 2–1713
bump 2–1506 map bias (glossary) 3–966
coordinates (glossary) 3–967 map channel (glossary) 3–966
cutout 2–1542 map types 2–1617
diffuse color 2–1498 mapped materials 2–240, 2–1445
diffuse level 2–1499 maps rollout 2–1474
 Index 1299

marble 2–1673 master point controller 2–346, 2–391

mask 2–1689 material
mental ray shaders 2–1712 xref material 2–1616
mix 2–1689 material assignment
noise 2–1674 blocks 3–458
normal bump 2–1731, 3–150 material attach options dialog (Boolean objects) 1–345
”other” (in the material/map browser) 2–1695, 2–1698 Material Editor 2–1409
to 2–1699, 2–1703, 2–1711 to 2–1714, 2–1716 to bitmap 2–1631
2–1717, 2–1719, 2–1721 to 2–1724, 2–1728 to dynamics properties rollout 2–1479
2–1732 maps rollout 2–1474
output 2–1692 material ID channel 2–1443
particle age 2–1675 menu bar 2–1428
particle MBlur 2–1676 morpher material 2–1592
Perlin marble 2–1677 options dialog 2–1436
planet 2–1678 tools 2–1427
procedural 3–997 type button 2–1449
projected 2–1341 material ID
raytrace 2–1698 and attaching objects 1–1018
reflect/refract 2–1699 and Booleans 1–338
reflection and refraction 2–1695 and editable meshes 1–1009
RGB multiply 2–1691 and editable patches 1–981
RGB tint 2–1693 and editable splines 1–308
show in viewport 2–1445 and particles 2–190
smoke 2–1679 changing (particle flow) 2–191
speckle 2–1680 glossary 3–969
splat 2–1681 material ID channel
stucco 2–1682 flyout 2–1444
swirl 2–1656 Material Editor 2–1443
thin wall refraction 2–1703 material operators
tiles 2–1658 dynamic 2–191
to enhance material 2–1403 frequency 2–189
transparency 2–1542 static 2–187
type button (Material Editor) 2–1449 material parameters rollout
vertex color 2–1693 hair and fur modifier 1–537
waves 2–1683 material propagation 2–1432
wood 2–1684 material shaders rollout
MapScaler object-space modifier 1–713 mental ray material 2–1544
MapScaler world-space modifier 1–551 material to shader 2–1723
marble map 2–1673 material xml exporter utility 2–1407
marker data 2–1061, 3–969 material/map browser 2–1412
marker display dialog 2–1075 material/map navigator 2–1447
marker files 2–1065, 3–920, 3–969 materialbyelement modifier 1–716
importing 2–1061 materials 2–1395, 2–1400, 3–83
name files 2–1061 adding to library 2–1406
marker name file dialog 2–1061 advanced lighting override 2–1601
market-specific defaults 3–790 and attaching objects 1–1018
marking a contact object (particle flow) 2–183 and blocks 3–457
mask map 2–1689 and particle array 2–239
mask viewport to safe region 3–821 and particle system events 2–124
master block parameters dialog (block controller) 2–390 and particle systems 2–240, 2–242
master clip 2–1179 and set key 2–281
master motion clip 2–1179, 3–969 and styles 3–461
master object 1–494 animating 2–1449
1300 Index

applying in particle flow 2–186 saving 2–1406, 2–1409

applying to an object 2–1405 scene 2–1440
applying to objects 2–1409 select by 2–1439
arch & design (mental ray) 2–1549 shell 2–1600
architectural 2–1535 shellac 2–1597
Architectural Desktop 3–446 show end result 2–1446
assign to selection 2–1441 SSS materials (mental ray) 2–1583
assigning 3–445, 3–454 standard 2–1465
AutoCAD Architecture 3–445 subsurface scattering (SSS) materials (mental
blend 2–1588 ray) 2–1583
blocks 3–458 top-bottom 2–1599
car paint (mental ray) 2–1576 type 2–1397, 2–1457
changing 3–446, 3–454 type button (Material Editor) 2–1449
combined when attaching objects/splines 1–295, types of 2–1457
1–1011 updating 2–1440
components 2–1399 using 1–6
composite 2–1589 using maps to enhance 2–1403
compound materials 2–1587 matte object (glossary) 3–971
copying 2–1409 matte parameters rollout 3–141
default material settings 2–1442 matte texture element rollout 3–141
deleting 2–1413 matte/shadow material 2–1584
designing 2–1395 max clips 2–649
DGS material (mental ray) 2–1580 MAX file finder utility 3–510
DirectX 9 shader 2–1613 MAX files and Autodesk VIZ 3–525
double-sided 2–1591 max object
dragging and dropping 2–1423 add to motion mixer 2–607
editable 2–1535 max objects to mix dialog 2–642
exporting 2–1407 maximum angular/positional deviation for a track 2–1070
get 2–1439 MAXScript 2–120
getting from library 2–1409 about MAXScript 1–xvii
glass (mental ray) 2–1582 and particle flow 2–208, 2–229
glossary 3–971 command-line 3–783
hierarchy (glossary) 3–970 glossary 3–972
ID channel 2–1443 listener 3–781
ink ’n paint 2–1605 MAXScript listener 3–781
lightscape 2–1604 menu 3–684, 3–780
loading from scene 2–1409 mini listener 3–699
make copy 2–1442 open MAXScript 3–781
material blending (morpher material) 2–1592 preferences settings 3–834
material modifier 1–714 run script 3–781
material name field 2–1448 visual MAXScript utility 3–783
material properties rollout (NURBS) 1–1149 MAXScript debugger dialog 3–783
matte/shadow 2–1584 MAXScript menu 3–684, 3–780
mental ray 2–1544 macro recorder 3–782
morpher 2–1592 MAXScript listener 3–781
multi/sub-object 2–1594 new script 3–781
name 2–1396, 2–1409 open script 3–781
pick from object 2–1448 run script 3–781
propagation 2–1432 maxstart.cui file 1–12, 1–17
put to library 2–1443 maxstart.max file 1–17
put to scene 2–1440 measure distance 2–15
raytrace 2–1512 measuring 2–13, 2–24, 2–52
Revit 3–453 to 3–454 melt modifier 1–717
 Index 1301

memory management 3–514 third-party shaders 2–1711

memory use 3–129 uv coordinate 2–1728
mental ray uv generator 2–1724
add/edit DBR host dialog 3–128 uv generator parameters rollout 2–1725
arch & design material 2–1549, 2–1562, 2–1569 uv generator shaders rollout 2–1727
car paint material and shader 2–1576 XYZ coordinate 2–1730
DGS material 2–1580 XYZ generator 2–1729
distributed bucket rendering 3–128 XYZ generator parameters rollout 2–1729
distributed bucket rendering rollout 3–124 XYZ generator shaders rollout 2–1730
glass material 2–1582 menu bar
material 2–1544 curve editor 2–521
object properties 1–126 dope sheet 2–521
satellite processors 3–128 Material Editor 2–1428
satellites 3–124 particle view 2–126
subsurface scattering materials 2–1583 Track View 2–521
mental ray Connection rollout 2–1461 menus
mental ray indirect illumination rollout 2–1343 animation 3–681
mental ray light shader rollout 2–1345 controller 2–521
mental ray material create 3–675
advanced shaders rollout 2–1548 customize 3–683
material shaders rollout 2–1544 edit 3–673
mental ray materials 2–1543 file 3–673
mental ray messages 3–124 graph editors 3–682
mental ray renderer 3–78, 3–940 group 3–674
contour shading 3–96 help 3–684
diagnostic tools 3–123 material editor copy and paste 2–1418
displacement shading 3–96 MAXScript 3–684, 3–780
feature enhancements 3–84 menu bar 3–672
FGM file 3–937 menus panel (customize UI) 3–798
final gather map 3–937 modifiers 3–678
materials 2–1543 particle view 2–126
messages window 3–87 reactor 2–706, 3–681
MI files 3–972 rendering 3–683
object properties 1–126 Schematic View 3–642
PASS file 3–990 tools 3–674
photon map 3–994 views 3–675
preferences 3–837 merge 3–463
processing panel 3–86 animation (file menu) 3–466
shadow map rollout 2–1360 custom sections 1–859
volume shading 3–95 effects 3–220
mental ray shaders 2–1461, 2–1710, 2–1712 insert tracks command 3–466
3D displacement 2–1714 merge dialogs 2–1453 to 2–1454, 3–406, 3–463, 3–465
bump shader 2–1716 scenes 1–16
car paint shader 2–1576 shapes 1–859
connect parameter to shader dialog 2–1713 merge from file
custom 3ds Max shaders 2–1711 sweep modifier 1–859
dgs material shader 2–1717 merge xref controller 2–383
dielectric material shader 2–1719 merging characters 2–922
environment shader 2–1721 mesh
height map displacement 2–1722 editable mesh 1–996
material to shader 2–1723 mesh select modifier 1–719
mr physical sky 2–1321 meshsmooth modifier 1–722
shader list 2–1723 skin morph modifier 1–812
1302 Index

skin wrap modifier 1–818 mirrored UVs 3–155

skin wrap patch modifier 1–824 mirroring 3–972
turbosmooth modifier 1–868 mirroring motion 2–913
working with mesh sub-objects 1–998 missing external files dialog 3–503
mesh - definition 3–972 missing map coordinates dialog 2–1623
mesh conversion 2–206 missing XRef paths dialog 3–415
mesh density, and cloth 1–577 MIX files 2–935, 2–1263
mesh editing 1–935 mix map 2–1689
mesh object (as Physique skin) 2–1076 mix menu 2–629
mesh size (reducing) 2–1099 mixdown 2–624
mesher object 1–374 mixer
meshing parameters rollout (radiosity) 3–67 and BIP files 2–924
meshsmooth modifier 1–722 load mix 2–652
MeshSmooth modifier and cloth 1–576 mode 2–652
meshsmooth selection dialog 1–1074 rollout 2–652
messages 3–124 save mix 2–652
meta-operators mixer clip source options dialog 2–634
cache 2–197 mixer transition editor dialog 2–636, 2–638
metaballs 1–331, 3–972 MNM file 3–973
metal bump shader 2–1614 MNM files 2–919, 2–1061, 2–1065, 2–1263
metal highlights 2–1494 MNU files 3–795, 3–798, 3–804
metal shader 2–1481 mobile gaming
metalness mapping 2–1506 editing JSR-184 parameters 3–566
methods (IK) 2–439 exporting JSR-184 files 3–563
.mfe file MOC files 2–1065, 2–1070
append 2–1032 modal (glossary) 3–973
file types 2–1045 mode
load 2–1032 motion flow 2–1026, 2–1043
save 2–1032 modeless (glossary) 3–973
MFE files 2–652, 2–919, 2–1263 modeling
folder 2–1041 objects 1–5, 1–842
MI file 3–119, 3–124 modes 2–936, 2–982, 2–988
MI files 3–972 in place 2–930
middle button pan/zoom (viewports preferences) 3–821 mixer 2–652
MIDI time slider control (animation preferences) 3–828, rubber band 2–876
3–847 talent figure 2–1061
mini listener (MAXScript) 3–699 Track View 2–521
mini Track View (track bar) 3–703 modes menu
minimum key spacing 2–1070 curve editor and dope sheet 2–521
mirror 1–448, 2–913, 2–962, 2–1130, 2–1141, 2–1147 modifier list 3–758
main toolbar 1–448 modifier sets menu 3–771
mirror curve (NURBS) 1–1160 modifier stack 3–760
mirror dialog 1–448 collapsing 1–504
mirror modifier 1–728 editing 1–504
mirror surface (NURBS) 1–1187 glossary 3–973
mirroring joint parameters 2–495 modifier stack rollout 1–502
mirroring objects 1–491 right-click menu 3–766
splines 1–308 using 1–502
mirror dialog 1–448 using at sub-object level 1–508
mirror parameters rollout 1–791 modifier-based space warps 2–107
mirror selected cross section 2–1114 modifiers 1–493, 1–497, 1–555, 1–557
mirrored link affect region 1–557
copying envelope settings to 2–1088 and AutoCAD object transforms 3–442
 Index 1303

and set key 2–281 normalize spline 1–747

and transforms 1–499 NSurf sel 1–747
attribute holder 1–559 object space 1–557
bend 1–560 patch select 1–751
bevel 1–562 PatchDeform 1–552, 1–754
bevel profile 1–565 PathDeform 1–552, 1–755
camera correction 2–1392 point cache 1–555, 1–758
camera map 1–513, 1–567 poly select 1–762
cap holes 1–569 preserve 1–766
cloth 1–578 projection 1–769, 1–771 to 1–773, 1–775 to 1–777
conversion 1–871, 1–873 to 1–874 projection holder 1–778
CrossSection 1–623 push 1–779
delete mesh 1–626 reactor cloth 2–778
delete patch 1–627 reactor rope 2–789
delete spline 1–627 reactor soft body 2–784
displace 1–629 relax 1–779
displace mesh (world space) 1–514 renderable spline 1–781
displace NURBS (world space) 1–515 ripple 1–783
edit mesh 1–634 select by channel 1–785
edit normals 1–634 shell 1–785
edit patch 1–638 skew 1–790
edit poly modifier 1–640 skin 1–791
edit spline 1–680 skin morph 1–812
extrude 1–680 skin wrap 1–818
face extrude 1–682 skin wrap patch 1–824
FFD 1–683, 1–685, 1–689 slice 1–825
fillet/chamfer 1–689 smooth 1–828
flex 1–691 spherify 1–829
free-form deformation 1–683, 1–685, 1–689 spline IK control modifier 1–830
garment maker 1–607 spline select 1–831
glossary 3–974 squeeze 1–833
hair and fur 1–516 STL check 1–834
HSDS 1–701, 1–706 stretch 1–836
instanced 1–509, 1–511 substitute 1–840
lathe 1–707 surface 1–842
lattice 1–709 surface mapper (world space) 1–556
linked XForm 1–712 SurfDeform 1–557, 1–848
list of 1–497 sweep 1–848, 1–857 to 1–858
LS colors (world space) 1–550 symmetry 1–861
LS mesh 1–713 taper 1–863
make controller unique 2–550 tessellate 1–865
MapScaler (object space) 1–713 topology dependent 3–1023
MapScaler (world space) 1–551 trim/extend 1–866
material 1–714 turbosmooth 1–868
materialbyelement 1–716 turn to mesh 1–871
melt 1–717 turn to patch 1–873
mesh select 1–719 turn to poly 1–874
meshsmooth 1–722 turn-to modifiers 1–871, 1–873 to 1–874
mirror 1–728 twist 1–876
morpher 1–729 unwrap UVW 1–878
multires 1–739 UVW map 1–922, 3–447, 3–455
noise 1–743 UVW mapping add 1–933
normal 1–746 UVW mapping clear 1–933
1304 Index

UVW mapping paste 1–934 motion capture 2–347, 2–655, 2–1059, 2–1064, 3–975
UVW Xform 3–447, 3–455 batch file conversion dialog 2–1075
UVW XForm 1–934 buffer 2–1061, 2–1065, 2–1070
vertexpaint 1–936 conversion parameters dialog 2–1070
volume select 1–952 converting data from buffer 2–1065
wave 1–957 file 2–1070
world space 1–512 importing files 2–1061
WSM 1–512 introduction to importing 2–925
XForm 1–959 rollout 2–1061, 2–1065
modifiers menu 3–678 motion clip 2–1246, 3–975
animation modifiers 1–557, 1–712, 1–754 to 1–755, motion clips
1–848 Track View pick dialog 2–1252
cache tools 1–758 motion clips panel 2–1246
free-form deformers 1–683, 1–685 motion damper 2–66
mesh editing 1–569, 1–626, 1–634, 1–680, 1–682, motion editing 2–1012
1–746, 1–748, 1–828, 1–834, 1–861, 1–865, 1–935 motion files 2–919, 3–976
to 1–936 information saved in 2–920
nurbs editing 1–557, 1–628, 1–848, 1–1101 loading motion files 2–920
parametric deformers 1–557, 1–560, 1–629, 1–709, samples 2–920
1–728, 1–743, 1–766, 1–779, 1–783, 1–790, 1–825, motion flow 2–837, 3–976
1–829, 1–833, 1–863, 1–876, 1–957, 1–959 and BIP files 2–924
patch/spline editing 1–623, 1–627, 1–638, 1–680, BIP file location 2–920
1–689, 1–707, 1–747, 1–842, 1–848, 1–857 to clip properties dialog 2–1045
1–858, 1–866 compare with motion mixer 2–604
radiosity modifiers 1–555, 1–839 editor file 2–1045
selection modifiers 1–719, 1–751, 1–831, 1–952 graph 2–1027 to 2–1028, 2–1045
subdivision surfaces 1–722, 1–839 mode 2–936, 2–1026, 2–1030, 2–1043, 2–1045, 2–1048
surface 1–628, 1–714, 1–716 optimize transition 2–1058
UV coordinates 1–513, 1–551, 1–556, 1–567, 1–922, random motion 2–1035
1–934 random motion flow 2–1039, 2–1056
modify child keys 2–529 rollout 2–1045
modify child keys (Track View) 2–509 script 2–1026 to 2–1027, 2–1048
modify panel 1–499, 3–758 shared 2–1056
modify subtree (Track View) 2–509, 2–528 shared motion flow 2–1039, 2–1056
modifying transition 2–1028
at sub-object level 1–506 unified motion 2–1038
multiple objects 1–509 workflow 2–1043
NURBS models 1–1081 motion flow editor 3–976
objects (basics) 1–153 append 2–1032
morph 1–314 files 2–1041
morph controllers 2–300 load 2–1032
morpher material 2–1592 save 2–1032
morpher modifier 1–729 motion flow graph
morphing (glossary) 3–974 optimize 2–1058
motion motion flow mode 2–936
combining BIP files 2–924 motion fow scripts 3–976
mapping 2–921 motion mapping parameters rollout 3–479
mirroring 2–913 motion mixer 2–604
Motion Analysis 2–665, 3–576 to 3–578 adding bipeds 2–607
motion blending 3–975 adding max objects 2–607
motion blur 2–122, 2–240, 2–1386, 3–89, 3–101, 3–114, adding tracks 2–607
3–269, 3–955, 3–981, 3–1007 adjusting balance 2–622
and particle flow 2–191 clip timing 2–615
 Index 1305

cloning clips 2–611 moving biped keys 2–1004

compare with motion flow 2–604 MPEG files 3–621
editor 2–646 mr parameters rollout
export animation 2–624 hair and fur modifier 1–540
filtering biped parts 2–645 mr physical sky shader 2–1321
how to use 2–604 MSP files 3–977
importing clips 2–609 MTL
menus 2–629 exporting 3–590
moving clips 2–611 mtl files (wavefront) 3–588
optimize transition 2–641 multi strand parameters rollout
preferences 2–651 hair and fur modifier 1–544
replacing clips 2–611 multi-layer basic parameters 2–1481
reservoir 2–649 multi-layer highlights 2–1495
toolbar 2–642 multi-level shader 2–1504
trackgroups 2–612 multi-pass parameters (cameras)
transitions 2–616 depth of field 2–1383
user interface 2–628 motion blur 2–1386
weight curve 2–619 multi-pass rendering effects 3–77
motion panel 2–301, 2–303 to 2–304, 2–306, 2–463, 2–933, multi-pass rendering effects (cameras) 2–1382
3–774 multi/sub-object material 1–834, 2–242, 2–1594
motion parameters rollout 2–1183 multi-threading 3–826
motion synthesis 2–1172, 3–977 multi-view
global clip controller 2–1241 blocks 3–459
motionclip parameters dialog 2–1252 multicurve trim surface 1–1214
motor 2–765 multiple biped links 2–895
motor space warp 2–61 selecting and rotating 2–895
mounting a directory (network rendering) 3–188 multiple instanced objects 2–121
mouse sensitivity 3–821 multiplicity (glossary) 3–977
MOV files 3–621 multiplier (glossary) 3–977
move 1–439, 2–936, 2–965 multiplier curve
clip 2–1045 applying 2–584
leg state 2–867 deleting 2–585
move keys (Track View) enable toggle 2–585
curve editor 2–579 glossary 3–978
dope sheet 2–558 multiplier out-of-range types (Track View) 2–586
edit keys 2–558 MultiRes modifier 1–739
function curves 2–579 multiresolution adaptive antialiaser 2–1534
moved pivot 2–959 multisided blend surface 1–1213
movie window (camera tracker) 2–671 multithreading and rendering 3–828
moving MVBlocks 3–459
actions, events (particle flow) 2–132
cameras 1–7 N
center of mass 2–876 N blend surface 1–1213
keys 2–558 n links 2–1111, 2–1150
keys (biped) 2–1004 N links 3–978
lights 1–7, 2–1282 name
links 2–890 object name 3–757
through time 2–287 name and color rollout 3–757
to first frame 3–722 for lights 2–1273
to last frame 3–724 named selection sets 1–67, 1–83 to 1–84, 1–508
to next frame 3–724 names
to previous frame 3–723 material 2–1396
to transform keyframes 3–724 selecting by (Track View) 2–589
naming layers 3–655
1306 Index

naming materials 2–1409 new settings preset dialog 3–437

natural light 2–1280 new Track View 2–597
navigating newton (glossary) 3–979
3D space 1–21 next frame 3–724
blocks 3–460 next key 3–724
camera and light views 1–33 next key-previous key 2–955
hierarchies 2–416, 2–425 next transition
rendered panorama 3–173 transition 2–1051
viewports 3–735 next/previous 2–1130, 2–1141
navigating the workbench 2–1010 next/previous key;finding, next/previous key 2–955
navigator (material/map) 2–1447 NGon 1–277
NavInfo (VRML97 helpers) 3–599 no blending 2–1111, 2–1150
neck link 2–984 no footsteps 2–1070
negative filter (video post) 3–345 no key reduction 2–1070
nested expressions (HTML help viewer) 3–876 node (glossary) 3–979
net render control (common parameters rollout) 3–79 node track (glossary) 3–979
network noise
working folder 3–487 and terrain effects 1–744
network plug-in configuration 3–814 noise controller 2–353
network rendering 3–173, 3–175, 3–1001 noise map 2–1674
advanced settings 3–199 noise modifier 1–743
Backburner 3–173 noise rollout (2D) 2–1630
configuration 3–175 noise threshold 2–1650, 2–1652, 2–1674, 3–282, 3–288
email notification 3–196 non-biped object 2–638, 2–641
error messages 3–183 non-vertical jambs 1–210
glossary 3–979 nonrelational NURBS surfaces 1–1116
how it works 3–180 nonscaling object size 3–821
installing 3ds Max for 3–186 normal bump map 2–1731
job dependencies 3–196 normal bump maps 3–150
job dialogs 3–190 troubleshooting 3–151
job handling 3–199 normal mapping 1–898, 1–908
manager 3–978 normal projected curve 1–1169
per-job timeouts 3–199 normalize spline modifier 1–747
pre-render MAXScript 3–199 normalized 2–1150
pre-render scripts 3–173 normals 1–166
server (glossary) 3–979 adjusting 1–166
set up 3–175 aligning 1–465, 2–10, 2–488
single computer 3–202 editing 1–634
starting 3–182 flipping 1–166
TCP post number 3–199 normal modifier 1–746
troubleshooting 3–183 scaling vertex and face 1–996
new unifying 1–166
new command (file menu) 3–386 viewing and changing 1–166
new Schematic View 3–652 normals map (baking) 3–148
new script 3–781 note keys 2–552
new sequence (video post) 3–323 note track 2–552 to 2–553
new Track View 2–597 notes
new feature 1–88, 1–163, 1–446, 1–500, 1–775, 1–1070, adding 2–197, 2–206
2–289, 2–291, 2–293, 2–301, 2–332, 2–414, 2–425, notes operator 2–206
2–518, 2–533, 2–543 to 2–544, 2–561, 2–564, 2–596, notes dialog (parameter collector) 1–145
2–959, 2–1005, 2–1414, 2–1447, 3–6, 3–426, 3–462, NSurf sel modifier 1–747
3–474, 3–537, 3–556, 3–697, 3–761, 3–847 nth serial numbering 3–826
new preset 3–437 NTSC 3–826, 3–980
 Index 1307

numbers NURBS models 1–1078

of links that can affect a vertex 2–834 creating 1–1079
show/hide all 2–944 creating sub-objects 1–1081
numeric calculator 1–12 dependent sub-objects 1–1087
numerical expression evaluator 1–12 display controls for 1–1117
NURBS 2–834 glossary 3–980
and animation 1–1091 modifying 1–1081
and modifiers 1–1089 objects and sub-objects 1–1078
animation tips 1–1099 overview 1–1080
blend curve 1–1158 sub-object selection 1–1084
blend surface 1–1183 working with 1–1080
cap surface 1–1195 NURBS surfaces 1–1101
chamfer curve 1–1161 and IGES 3–558
concepts 1–1091 creating from geometric primitives 1–1116
creating models 1–1094 display line parameters 1–1119
curve approximation 1–1238 glossary 3–981
curve fit 1–1157 making rigid imported surfaces independent 3–558
curve point 1–1220 surface approximation 1–1239
curve sub-objects 1–1135 NURMS 1–722, 1–1003
CV curve 1–1110
CV surface 1–1103 O
definition 1–1091 OBJ
extrude surface 1–1188 exporting 3–589
fixing problems with models 1–1098 obj files (wavefront) 3–588
glossary 3–980 object bounding box 2–1111
improving performance 1–1099 object color dialog 1–159
introduction 1–1078 object data flow 1–494
lathe surface 1–1190 object display 1–51
mirror curve 1–1160 object display culling 1–58
mirror surface 1–1187 object fragmentation (particle flow) 2–120
offset curve 1–1159 object instance 3–981
offset surface 1–1186 object motion blur (glossary) 3–981
point 1–1219 object motion inheritance rollout (PArray) 2–269
point curve 1–1106 object parameters rollout 2–491
point point 1–1219 copying/pasting/mirroring joint parameters 2–495
point surface 1–1102 position/orientation/bind to follow 2–492
ruled surface 1–1193 precedence 2–494
sub-object clone options dialog 1–1237 sliding and rotational joints 2–496
surf point 1–1222 object properties 1–117, 3–80
surface approximation 1–1239 advanced lighting panel 1–123
tips 1–1094, 1–1099 cloth 1–602
transform curve 1–1157 edit menu 1–117
transform surface 1–1182 general panel 1–117
U and V iso curves 1–1168 mental ray panel 1–126
U loft surface 1–1196 user defined panel 1–127
using toolbox to create sub-objects 1–1083 object selection (introduction) 1–61
working with models 1–1080 object space 3–982
NURBS curve/surface object space (biped) 3–983
detach dialog 1–1228 object space modifiers 3–983
NURBS curves 1–1106 object transforms 2–432 to 2–433
creating from splines 1–1115 object/delegate associations dialog 2–1196
fillet 1–1164 object-layer relationships 3–655
glossary 3–980 object-space modifier 1–557
MapScaler 1–713
1308 Index

objects 1–153, 2–960, 2–1282 from vault 3–389

aligning 2–8 group (group menu) 1–105
arraying 1–484 new bitmap file 2–1635
binding 2–461 particle view dialog 2–136
color 1–159 script (MAXScript menu) 3–781
combining 1–338, 1–378, 1–388 video post sequence 3–323
copies/instances/references 1–472 open dialog 2–942
creating 1–157 open from vault 3–389
exporting 3–486 open physique file 2–1106
freezing and unfreezing 1–70 open physique file button 2–1098
glossary 3–981 open recent 3–390
make controller unique (Track View) 2–550 OpenEXR files
modeling 1–5 format 3–621
modifying multiple objects 1–509 opening 3–626
object properties 1–117 saving 3–623
select and manipulate 2–15 OpenGL driver 3–838, 3–841
select and move 1–439 opening screen 1–17
select and rotate 1–439 to 1–440 operands 1–338, 1–378, 1–388, 3–985
selecting 1–61, 1–77 operator icon 3–985
selecting by material 2–1439 operators 2–142
techniques for cloning 1–474 birth 2–143
using as bones 1–410 birth script 2–145
objects to bake rollout 3–158 delete 2–146
obsolete file alert 3–390, 3–819 display 2–202
obstacle avoidance 2–1164 empty flow 2–209
obstacle parameters rollout 2–1242 force 2–204
obstacle-avoidance behavior 3–983 glossary 3–985
odd/even 3–826 keep apart 2–172
offset mapping 2–195
offset curve 1–1159 material dynamic 2–191
offset point 1–1219 material frequency 2–189
offset surface 1–1186 material static 2–187
offset/absolute coordinate display 3–709 notes 2–206
oiltank (extended primitive object) 1–194 operator time frames 2–141
omni light 2–1295, 3–983 position icon 2–147
omnidirectional light 3–983 position object 2–148
omniflector 2–78, 2–84 to 2–85, 3–984 render 2–206
on selected objects/on all objects 2–1075 rotation 2–153
on/off controller 2–355 scale 2–156
once time frame 2–141 script 2–208
online help shape 2–176
using HTML help viewer 3–874 shape facing 2–176
online reference shape instance 2–178
introduction 3–873 shape mark 2–183
searching in 3–876 speed 2–159
using HTML help viewer 3–874 speed by icon 2–162
only extract footsteps within tolerance 2–1070 speed by surface 2–167
opacity 2–1488 spin 2–154
falloff (glossary) 3–984 standard flow 2–209
mapping 2–1503 opposite tracks 2–945
open optical markers 3–985
assembly 1–109 optimizations rollout 2–1361
file (file menu) 3–387
 Index 1309

optimize overlays
motion flow 2–1058 xref scenes 3–408, 3–412
motion mixer 2–641 overriding (degradation) 1–34
transition 2–641, 2–1058 overshoot (glossary) 3–988
optimize modifier 1–748 overview
optimize transition cloth 1–571
transition editor 2–1051 clothing and pattern design 1–572
optimizing performance (particle flow) 2–120 garment maker modifier 1–607
options 3–828 physique 2–834
grid and snap 2–46 workflow 2–839
Material Editor 2–1436 overview of 3ds Max 1–1
rendering 3–826
viewports 3–821 P
options menu pack UVs dialog 1–909
Track View 2–526 paint (vertexpaint modifier) 1–936
options menu (particle view) 2–130 paint deformation rollout 1–1064
options menus (Schematic View) 3–644 to 3–645 brush options 1–960
orbit/pan paint selection region 1–91
camera 2–1381, 3–749 paint weights 1–960
light 3–755 paintbox
Oren-Nayar-Blinn basic parameters rollout 2–1482 vertexpaint modfier 1–941
Oren-Nayar-Blinn highlights 2–1493 painter options 1–960
organic surfaces 1–842 PAL 3–826, 3–988
orientation palette
changing 1–423 vertexpaint modifier 1–950
constraint 2–409 paletted 3–826
mapping 2–1505 pan
orientation bar 2–1114, 2–1141 panning views 1–29
orientation behavior 2–1214, 3–985 particle view 2–129, 2–135
origin (glossary) 3–986 Track View 2–595
origin point helper 3–431 viewport controls 3–743
origin slider 3–815 pan view 3–743
ortho snapping mode 2–38 panels
orthographic view 3–986 create 3–757
orthographic views 1–24 customize UI 3–793 to 3–795, 3–798 to 3–799
out display 3–775
tangent 3–721 hierarchy 3–773
out-of-range modify (command panel) 1–499, 3–758
keys (Track View) 2–562 motion 3–774
types 2–551, 2–585 to 2–586, 3–987 render scene 3–61, 3–219
outdoor lighting 3–45 scripted utility 3–1008
outer envelope 2–1130 utilities (command panel) 3–778
outline 1–308 panorama exporter 3–170
output image event (video post) 3–339 render setup dialog 3–171
output map 2–1621, 2–1692 viewer 3–173
output rollout 2–1621, 3–160 pants (cloth) 1–574
outputs (particle flow) 3–987 parallel projection 1–24
outside 2–1136 parameter (glossary) 3–989
overlap 2–1111 parameter animation 2–121
overlapping IK chains 2–446 parameter collector 1–138
overlapping vertices and editable rollout (for object and menu bar 1–142
sub-objects) 1–289 parameter collector menu bar 1–142
parameter collector notes dialog 1–145
parameter curve out-of-range types (Track View) 2–551
1310 Index

parameter editor 1–129 particle tests 2–210

parameter space (glossary) 3–988 age 2–211
parameter wiring 1–104, 2–411 to 2–412 collision 2–212
parameters collision spawn 2–215
custom attributes 1–129 find target 2–218
HD Solver 2–491 go to rotation 2–224
notes 1–145 scale 2–227
parameter collector 1–138 script 2–229
parameter collector menu bar 1–142 send out 2–230
parameter editor 1–129 spawn 2–230
wiring 2–411 speed 2–233
parameters panel (particle view) split amount 2–234
display of 2–129 split selected 2–235
glossary 3–988 split source 2–236
parameters rollout 1–791 particle view
parametric (glossary) 3–989 depot 2–125
parametric stride length 2–992, 2–995, 2–997 description panel 2–125
parametric stride width 2–992, 2–995, 2–997 display tools 2–125
parent overlap 2–1130 event display 2–131
PArray 2–256, 2–258, 2–260, 2–262, 2–268 to 2–271, 2–274 introduction 2–109, 2–125
partial blending 2–1092, 2–1130 menu bar 2–126
particle age map 2–122, 2–191, 2–1675 open 2–136
particle collision 2–243 parameters panel 2–125
particle deflector particles
deflector 2–90 along a path 2–163
SDeflector 2–87 and age 2–146
UDeflector 2–89 and binding to space warps 2–121
particle emission 2–145 and deflector space warps 2–212, 2–215
particle flow and materials 2–187, 2–189, 2–191
frequently asked questions 2–118 and particle flow 2–110
introduction 2–109 and stretch 2–122
keyboard shortcuts 2–140 appearance when selected 2–138
source 2–135 caching 2–197
particle generation 2–145 creating particle systems 2–238
particle level 3–990 direction 2–123, 2–159, 2–162, 2–167, 2–172, 2–176,
particle MBlur map 2–122, 2–1676 2–178
particle motion blur 2–122 display in viewports 2–202
particle motion damper 2–66 emission 2–143
particle rotation emission rate 2–145
rotation operator 2–153 generation 2–143
spin operator 2–154 geometry type 2–176, 2–178
particle system 2–134, 2–209, 3–990 leaving a mark 2–183
particle systems limiting life span 2–146
blizzard 2–251 mapping 2–195
creating 2–238 MBlur map 2–191
glossary 3–990 motion blur 2–191
overview 2–237 number of 2–119, 2–145
PArray 2–256 orientation 2–153
particle MBlur map 2–1676 parent particle 3–989
PCloud 2–253 particle age map 2–1675
snow 2–246 particle diagram 3–989
spray 2–244 particle emitter 2–239
super spray 2–249 particle generation rollout (PArray) 2–260
 Index 1311

particle motion blur 2–240 world-space modifier 1–552

particle spawn rollout (PArray) 2–271 paths
particle type rollout (PArray) 2–262 and AutoCAD xrefs 3–431
positioning 2–147 to 2–148 and particles 2–122, 2–163
rendered as 2–206 and XRefs 3–411, 3–415
rotation 2–153 configuring paths 1–15
scaling 2–156 configuring system paths 3–810, 3–814
size 2–176 configuring user paths 3–808, 3–810 to 3–812
spawn particles 3–1014 glossary 3–991
speed 2–123, 2–159, 2–162, 2–167, 2–172 moving a camera along 2–1381
spinning 2–154 path commands (loft objects) 1–372
synchronize animated bitmap textures 2–121 path follow space warp 2–71
testing particle scale 2–227 path parameters rollout 1–356
unexpected spawning 2–122 pattern background 2–1433
viewport display 2–202 pattern design (cloth) 1–572
PASS file PBomb space warp 2–68
mental ray renderer 3–990 PCloud particle system 2–253
paste 2–1141, 2–1147 PDynaFlect space warp 2–81
a material, map, bitmap, or color 2–1418 pelt map parameters dialog 1–909
paste controller (Track View) 2–545 per-bitmap resolution for bitmap proxies dialog 3–496
paste footsteps 2–990 per-pixel camera map 2–1732
paste from buffer 2–1065 per-pixel camera projection 2–1732
paste layer 2–325 to 2–326 percent snap 2–38
paste posture 2–962 perform footstep extraction 2–1070
paste posture opposite 2–962 performance 3–106, 3–129, 3–1000
paste selected cs 2–1114 and biped’s motion previewing 2–929
paste skin data dialog 2–700 and weight painting 1–961
paste tangent handles 1–297 controlling display performance 1–28
paste time/track (Track View) 2–568 improving in NURBS 1–1099
paste-pos tolerance 1–807 optimizing with physique 2–1099
pasting 2–910 while running 3ds Max 3–889
pasting joint parameters 2–495 performance optimization (particle flow) 2–120
patch (glossary) 3–991 period 3–992
patch grids 1–993 Perlin marble map 2–1677
quad patch 1–994 perspective
tri patch 1–995 and orthographic viewport controls 3–738
patch select modifier 1–751 glossary 3–992
patch surfaces 1–842, 1–993 matching 2–1380
copying 1–968 viewport control 3–747
deleting 1–968 perspective view 1–24
patch-based objects 3–991 phases of leg motion 3–993
PatchDeform Phong highlights 2–1493
object-space modifier 1–754 Phong shader 2–1480, 2–1482
world-space modifier 1–552 photometric lights 1–7, 2–1272, 2–1301
path area light sampling rollout 2–1354
motion flow 2–1041 common lamp values 2–1329
path constraint 2–398 data file 2–1328 to 2–1329, 2–1355
and particles 2–163 example of photometric data file 2–1329
path follow behavior 2–1162, 2–1216, 3–992 free area light 2–1309
path follow space warp 2–71 free linear light 2–1307
path joints 2–485 to 2–486 free point light 2–1304
PathDeform IES standard file format 2–1328
object-space modifier 1–755 linear light rollout 2–1354
1312 Index

mr sky light 2–1318 using 1–509

mr sun light 2–1319 pivot selection dialog 2–959
photometric webs 2–1326 pivoted window 1–259
preset lights 2–1302 pivots
target area light 2–1307 adjust pivot rollout 2–488
target linear light 2–1305 adjust transform rollout 2–489
target point light 2–1303 adjusting 2–423
web 2–1326 and links 2–426
web parameters 2–1355 resetting 2–423
photometry 3–993 pivots (IK extensions) 2–905
photon map 3–994 pixel 3–995
photon maps 3–93, 3–106 pixel data (rendered frame window) 3–7
photorealistic renderer 3–38 place highlight 1–467, 2–1282
PHY files 2–1098, 2–1106, 2–1263, 3–994 planar
physical scale 3–295 to 3–297, 3–300 constraints 1–437
physique 2–834, 2–1080, 2–1083, 3–994 make edges 1–1011
and changing geometry 2–1104 make vertices 1–1011
and FFDs 2–1104 threshold 1–719, 1–996
and groups 2–1083 plane 1–185, 2–764
and other modifiers 2–1104 plane angle manipulator 2–29
applying 2–1083 planet map 2–1678
blending envelope display 2–1125, 2–1128 plant 2–936, 2–965, 3–995
bulge angle display 2–1127 leg state 2–867
deformation spline 2–834, 2–1135 planted key defaults 2–956
getting started with 2–1076 plate match 3–38
initializing 2–1083 plate match/MAX R2.5 antialiasing 1–567
joint intersections rollout 2–1140 play selected 3–723
keyboard shortcuts 2–1111 playback 2–853, 2–936
link settings rollout 2–1136 real-time 2–197
overview 2–834 playback speed 2–288
reinitializing settings 2–1098 playing
saving settings 2–1098 animated material previews 2–1450
storing settings in PHY files 2–1098 animation 3–723
tendon display 2–1128 preview 2–1434
user interface 2–1106 plug-ins
Physique color selector (general preferences) 3–815
initialization 2–1123, 2–1125 glossary 3–995
physique initialization dialog 2–1083, 2–1111 plug-in manager 3–788
physique level of detail rollout 2–1108 sharing over a network 3–814
physique load specification dialog 2–1106, 2–1123 system path configuration 3–814
physique rollout 2–1106 plugin.ini file 1–17
Physique sub-objects 2–1129 PMAP file 3–995
PIC file format 3–613 PNG file (glossary) 3–628
PIC files 3–303, 3–628 point 1–1219, 2–1070
pick material from object 2–1448 glossary 3–995
pick nodes dialog 2–641 helper object 2–23
pinch 2–1147 sub-object 1–1085, 1–1219
pinch bias 2–1147 point cache modifiers 1–555, 1–758
ping-pong (playback direction setting) 3–723 point curve 1–1106
pivot door 1–251 glossary 3–996
pivot points 2–487, 2–959 on surface 1–1175
glossary 3–995 sub-object 1–1155
use pivot point center 1–446 point point 1–1219
 Index 1313

point surface 1–1102 preferences 3–815

glossary 3–996 animation 3–828
sub-object 1–1181 asset browser 3–514
point-path constraint 2–762 files 3–819
point-point constraint 2–750 gamma 3–824
point3 XYZ controller 2–317 general settings 3–815
polar snapping mode 2–39 gizmos 3–832
poly select modifier 1–762 inverse kinematics 3–830
polygon - definition 3–936 MAXScript preferences 3–834
polygon count 1–1253, 3–861 mental ray renderer 3–837
polyhedra 1–187 MIDI time slider control 3–847
POmniFlect space warp 2–78 motion mixer 2–651
ponytails 2–984 preference settings dialog 3–815
pose radiosity settings 3–836
copying and pasting 2–966 rendering 3–826
pose adjustment 2–1070 Schematic View 3–646
poses 3–996 strokes 3–862, 3–867
adding 2–1096 viewports 3–821
copying between bipeds 2–910 preferences (display) 2–931
reference 2–1076 premultiplied alpha (glossary) 3–633, 3–997
posing bipeds 2–847 preserve map channels dialog 1–1075
position preserve modifier 1–766
changing 1–423 preset lights 2–1302
ranges (Track View) 2–574 preset rendering options 3–23
position constraint 2–401 preset views 1–24
position data (in CSM files) 2–1061 presets 3–23, 3–437
position operators brush 3–690
position icon 2–147 configure (video post) 3–327
position object 2–148 rendering 3–23
position ranges (Track View) 2–574 preview
position XYZ controller 2–356 animated material previews 2–1450
position/orientation/bind to follow object 2–492 make 2–1434
position/rotation threshold (IK) 2–463 play 2–1434
position/rotation/scale (PRS) renderings 3–168
controller (Track View) 2–357 save 2–1434
parameters (motion panel) 2–303 preview and animation rollout 2–806
positional markers 3–996 preview window 2–815
posture previewing
copying and pasting 2–966 biped motion 2–929
postures 2–910 motion 2–1084
power 2–1114, 2–1141 Shockwave 3D files 3–585
pre-calculating particle motion 2–120 W3D files 3–585
pre-render scripts previous frame 3–723
advanced settings 3–173 previous key 3–723
command-line rendering 3–211 previous link/next link 2–1114, 2–1147
network rendering 3–190 previous transition
precedence 2–494 transition 2–1051
child-to-parent 2–469 primitives
glossary 3–997 creating with keyboard 1–169
parent-to-child 2–470 extended 1–186
setting manually 2–471 standard 1–170
precedence, and keyboard shortcuts 3–872 print size wizard 3–25
precision and drawing aids 2–1 priority of actions (particle flow) 2–124
1314 Index

priority rollout 2–1235 controller (Track View) 2–560

prism 1–205 dialog (Track View) 2–519
prismatic constraint 2–754 file menu 3–500
PRJ files 3–531, 3–902 of light 2–1276
problems 3–883 particle system 2–134
problems caused by unit settings 3–891 rigid body 2–717
ProBoolean 1–378 viewports 3–731
procedural maps waveform controllers 2–519
dent 2–1667 properties (clips) 2–1027
glossary 3–997 motion flow 2–1045
wood 2–1684 properties rollout 2–815
procedures 2–1264 props 2–898
process options rollout 3–124 using 2–898
processing panel protractor helper object 2–26
mental ray 3–86 proximity test (particle flow) 2–218
processing parameters rollout (radiosity) 3–64 ProxSensor (VRML97 helpers) 3–598
ProCutter 1–388 proxy object
production render 3–17 XRef object 3–414
productivity 2–833 proxy object rollout
profile 2–1141 XRef object 3–414
profile view 2–1114 PRS
program window 1–9 PRS controller (Track View) 2–357
progressive morphing 1–737 PRS parameters 2–303
project file format 3–531 PS files 3–612
project folder 3–393 PSD file (glossary) 3–629
project mapping projector 1–777 pseudo alpha compositor (video post) 3–382
project workflow in 3ds Max 1–1 pseudo alpha filter (video post) 3–346
projected window 1–260 pseudo color exposure control 3–300
projection - preferences 3–821 publish Shockwave 3–580
projection holder modifier 1–778 publishing to
projection modifier 1–769, 3–150 3D DWF 3–555
cage rollout 1–773 pull 2–1147
project mapping rollout 1–777 pull bias 2–1147
projection rollout 1–776 pull/pinch/stretch options (tendons) 2–1147
reference geometry rollout 1–772 push
selection check rollout 1–775 modifier 1–779
selection rollout 1–771 space warp 2–59
projection options dialog 3–165 put material to scene 2–1440
projector light 2–1341, 3–998 put to library 2–1443, 2–1455
projectors pyramid 1–182
project mapping 1–777
projects - managing 3–385 Q
prompt line 3–699 QOP files 3–801, 3–804
prop bone 2–1065, 3–998 quad menu
propagate materials to instances 2–1432 Schematic View 3–653
propagation 2–622 quad menus 1–1082, 2–534, 3–694, 3–696, 3–795, 3–801
blocks 2–1432 animation 3–697
instances 2–1432 hair and fur modifier 1–532
materials 2–1432 reactor 2–707
styles 2–1432 quad meshing 1–392
properties quad patch 1–994
animation controllers 2–519 quadruped
changing layer properties 3–666 animating a 2–907
quads panel (customize UI) 3–795
 Index 1315

quadtree 3–999 random placement difficulty dialog 2–1195

quaternion rotation 2–916, 2–948 randomize keys 2–533
quaternion/tcb 2–916 randomize keys utility (Track View) 2–562
quaternions 2–318 range bar (video post) 3–327
queue ranges
video post 3–312 editing 2–573
queue manager 3–999 positioning 2–574
queue monitor realigning with keys 2–574
client (glossary) 3–999 recoupling 2–574
quick align 1–465 ranges toolbar
quick render Track View - dope sheet 2–541
ActiveShade 3–17 ray
flyout 3–17 render effect 3–234
production 3–17 ray tracing 3–80, 3–116
quick start (batch rendering) 3–201 ray-traced
quickslice 1–676, 1–1058 reflections and refractions 3–88
QuickTime movies 3–621 shadows 3–89, 3–114, 3–1011
ray-traced shadows
R glossary 3–1000
radial dialogs parameters 2–1363
density 3–256 ray-trace bias (glossary) 3–1000
falloff 3–257 RAYHOSTS file 3–124, 3–1001
size 3–259 specifying name and path 3–124
radial scale 2–1130, 2–1136 raytrace
parameters (links) 2–1091 acceleration parameters 2–1531
radiance file format 3–613 adaptive antialiaser dialogs 2–1533
radiance map 3–613 attenuation rollout 2–1706
radiance picture files 3–628 basic material extensions rollout 2–1707
radiosity 2–1279, 3–51 basic parameters rollout 2–1514
and animation 3–60 dynamics properties rollout 2–1527
and architectural materials 2–1540 extended parameters rollout 2–1519
choosing radiosity 3–44 global settings 2–1528
controls 3–61 map 2–1698
how it works 3–56 map and material 2–1531
light painting rollout 3–70 maps rollout 2–1523
lighting analysis 3–76 material 2–1512
lighting analysis dialog 3–76 messages 2–1528
meshing parameters rollout 3–67 raytracer controls rollout 2–1521
preferences settings 3–836 refractive material extensions rollout 2–1708
processing parameters rollout 3–64 raytrace acceleration 3–116, 3–1000
rendering parameters rollout 3–71 parameters for BSP method 3–129
skylight 2–1296 parameters for Grid method 3–129
statistics rollout 3–75 parameters for Large BSP method 3–129
workflows 3–57 raytrace map 3–83
radiosity solution 3–51, 3–56 raytrace material 3–80, 3–83
radius 2–1147 raytracer parameters rollout 2–1704
rag doll constraint 2–737 raytracing acceleration parameters dialog 2–1531
railing 1–210, 1–217 re-attachment 2–1113
RAM player 3–635, 3–637 reaction controllers 2–358, 2–361
random motion reaction manager
create 2–1035, 2–1055 dialog 2–361
motion flow 2–1035 reaction manager dialog 2–361
script 2–1035, 2–1055
transition 2–1035
1316 Index

reactor special features 2–712

analyze world 2–813 spring 2–727
angular dashpot 2–732 storing and accessing collisions 2–774
car-wheel constraint 2–757 toolbar 2–706
cloth 2–778 toy car 2–766
cloth collection 2–781 troubleshooting 2–823
cloth modifier 2–778 utilities 2–813
collisions rollout 2–810 utility 2–805
compound rigid bodies 2–722 utils rollout 2–813
constraint solver 2–736 water 2–801
constraints 2–724 water space warp 2–801
cooperative constraints 2–735 wind 2–803
create animation 2–806 world rollout 2–808
deformable bodies 2–777 reactor helpers 2–715
deformable constraints 2–795 reactor menu 3–681
deforming mesh collection 2–794 real time (glossary) 3–1001
deforming meshes 2–793 real-time playback 2–197, 2–1084
display rollout 2–812 real-time preview 2–815
FFD soft bodies 2–786 real-world map size 2–1619
fracture 2–770 real-world mapping 2–1619
frequently asked questions 2–821 reassign globally 2–1108
gravity 2–808 reassigning vertices 2–1089
hinge constraint 2–747 rebuild dialogs
icons 2–707 CV curve 1–1236
introduction 2–703 CV surface 1–1236
linear dashpot 2–730 texture surface 1–1236
menu 2–706 recorder (MacroRecorder) 3–782
motor 2–765 recouple ranges (Track View) 2–574
plane 2–764 _recover.max files 1–20
point-path constraint 2–762 recovered file 1–20
point-point constraint 2–750 rectangle 1–272
preview 2–815 rectangular area light 2–1299
preview and animation rollout 2–806 rectangular region 3–742
prismatic constraint 2–754 rectangular selection region 1–89
properties rollout 2–815 recursion depth 2–1528
quad menu 2–707 red
rag doll constraint 2–737 deformable vertices 2–1150
rag doll script 2–817 line 2–1114
real-time preview 2–815 red/green/blue (glossary) 3–1001
reduce keys 2–813 redefine
rigid bodies 2–716 script 2–1048
rigid body collection 2–723 redo 1–36, 1–94
rope collection 2–792 redraw all views 1–50
rope modifier 2–789 reduce keys (Track View) 2–572
ropes 2–789 reducing mesh size 2–1099
scale 2–711 reference biped 2–974
scripts 2–817 reference coordinate system 1–435, 1–443, 3–815
setup scripts 2–817 reference objects 2–178, 3–1002
simple constraints 2–727 reference pose 2–1076
soft bodies 2–783 references 1–472, 2–577
soft body collection 2–788 glossary 3–1002
soft body modifier 2–784 overview 1–472
solver 2–806 using XRefs 3–393
 Index 1317

refine rendering elements separately 3–130

editable spline segments 1–303 scripts rollout 3–34
editable spline vertices 1–297 selected objects 3–13
glossary 3–1002 to texture 3–144
refining curves and surfaces (concept) 1–1091 vertex coloring 2–1693
reflect/refract map 2–1699, 3–83 VUE files 3–130
reflectance display 2–1430 render bounding box/selected dialog 3–16
reflection maps 2–1508, 2–1695 render effects 2–512, 3–218 to 3–219, 3–223, 3–226, 3–230,
reflections 3–88 3–234, 3–238, 3–242, 3–246, 3–250, 3–260, 3–265 to
refraction maps 2–1509, 2–1695 3–266, 3–268 to 3–269
refractions 3–88 hair and fur 3–220
refresh content render elements 3–130, 3–137 to 3–138
communication center 3–715 hair and fur 3–140
refresh viewport display 1–50 velocity 3–142
regathering 3–61 render scene dialog
region 1–65 advanced lighting panel 3–44
selection 1–65, 1–80, 1–89 to 1–91 common panel 3–27
selection method (edit menu) 1–92 render panel 3–2
selection preferences 3–860 renderer panel 3–36
zoom region (particle view) 2–129 render shortcuts toolbar 3–689
zoom region (viewport control) 3–742 render to texture 3–144, 3–146, 3–150, 3–158, 3–160,
region net render 3–197 3–162 to 3–165
reinitialize 3–1002 normal bump mapping 3–150
reinitialize (physique) 2–1098, 2–1106, 2–1113 render to texture dialog 3–156
reinitialize selected links 2–1091, 2–1136 add texture elements dialog 3–164
relative scale 2–1150 automatic mapping rollout 3–163
relative snap 2–35, 2–41 baked material rollout 3–162
relax dialog 1–1076 general settings rollout 3–157
relax mesh 1–986 objects to bake rollout 3–158
relax modifier 1–779 output rollout 3–160
relax tool dialog 1–912 projection options dialog 3–165
relaxing texture coordinates 1–912 render UVs dialog 1–914
remap locally 2–1108 render UVW Template 1–914
remove renderable spline modifier 1–781
ease or multiplier curve (Track View) 2–585 rendered frame window 3–5
note track (Track View) 2–553 rendered output 3–173
remove from link 2–1089, 2–1150 renderer
remove from track set 2–591 configure preset dialog 3–33
remove note track 2–553 renderer panel
rename objects tool 1–128 render scene dialog 3–36
rename preview 3–170 renderers 3–35 to 3–36, 3–38, 3–130
rename settings preset dialog 3–437 interactive 3–1030
render panorama exporter 3–170
ActiveShade 3–17, 3–21 photorealistic 3–1006
blowup 3–13 scanline 3–1006
common parameters rollout 3–27 viewport 3–1030
default scanline 3–38 rendering 3–1, 3–79
dialogs 2–1455, 3–2, 3–9, 3–633 and multithreading 3–828
presets 3–23 batch 3–201 to 3–202, 3–208
render operator (particle flow) 2–206 bones 1–404
render scene 3–2, 3–12 command line 3–209, 3–211, 3–215
render type list (main toolbar) 3–13 commands 3–11
rendered output 3–272 don’t alias against background 3–826
1318 Index

elements separately 3–137 replace clip 2–634

email notification 3–33 replace dialogs 2–1456, 3–470
large images 3–828 replace keys 2–579
on multiprocessor systems 3–828 replacing scenes 1–16
portions of scene 2–1379 requirements
preferences settings 3–826 for camera tracking 2–669
presets 3–23 system (see Installation Guide) 1–xiv
reactor toolbar 3–688 rescale world units utility 2–53
render farms 3–180 reservoir 2–626, 2–649
render operator (particle flow) 2–206 reservoir file groups dialog 2–635
rendering method 3–853 reset 3–387
scene 1–9 reset background transform (viewport image) 1–45
shapes 1–262 reset material settings to default 2–1442
to texture 3–144, 3–146, 3–150 reset XForm (transform) utility 1–438, 2–432
with caustics (mental ray) 3–80 reset position 3–442
with global illumination (mental ray) 3–80 reset tangents 1–297
with motion blur 3–89 reshade 3–17, 3–22
with shadow maps 3–89 resizing arms 2–852
rendering algorithms rollout 3–116 resolution 2–1114, 2–1141, 2–1147
rendering commands glossary 3–1003
render last 3–25 resolve externally referenced file dialog 3–439
rendering effects resource collector utility 3–512
multi-pass (cameras) 2–1382 resource information dialog 3–517
rendering for print 3–197 respect animation range 2–550
rendering menu 3–683 restore
ActiveShade floater 3–21 active view (views menu) 1–37
ActiveShade viewport 3–21 to default settings (animation controllers) 3–828
advanced lighting 3–44 restrict to axis buttons 1–437
effects 3–218 restrict to x 1–437
environment 3–271 to 3–272 restrict to xy plane 1–437
lighting analysis 3–76 restrict to y 1–437
Material Editor 2–1409 restrict to yz plane 1–437
material/map browser 2–1412 restrict to z 1–437
print size wizard 3–25 restrict to zx plane 1–437
radiosity 3–61 restructure biped to match file 2–936, 2–1065
RAM player 3–635 retarget 2–974
raytrace global exclude 2–1531 retargeting rollout 3–481
raytrace settings 2–1528 reverse knees (creating characters with) 2–891
render 3–12 reverse time (Track View) 2–569
render scene 3–12 revert to startup UI layout 3–807
render to texture 3–156 reviewing and editing strokes 3–865
show last rendering 3–25 Revit
video post 3–311 files 3–447
rendering parameters rollout (radiosity) 3–71 materials 3–453
rendering properties objects 3–447
family elements 3–457 settings 3–450
instanced objects 3–457 workflow 3–452
renderingmenu Revit material
panoramic exporter 3–170 3ds Maxobjects 3–455
reparameterize dialog 1–1237 RGB (glossary) 3–1001
repathing 3–487 RGB files 3–633
repel behavior 2–1218, 3–1003 RGB maps
replace (file menu) 3–470 multiply 2–1691
 Index 1319

tint 2–1693 maps 2–1474

right-click menus 3–694 materials 2–1470
additional quad menus 3–696 paint deformation 1–1064
animation 3–697 PArray rollouts 2–258, 2–260, 2–262, 2–268 to 2–271,
customize display 3–787 2–274
display option 3–821 root name 2–847, 2–984
display preference setting 3–821 ropes 2–789
event display (particle view) 2–133 collection 2–792
HTML help viewer 3–879 modifier 2–789
material editor copy and paste 2–1418 rotate 1–439
modifier stack 3–766 rotating
morpher modifier 1–729 curling fingers 1–446
named selection sets 1–85 editable mesh edges 1–1011
NURBS 1–1082 elbows and knees 2–891
sample slot 2–1422 hierarchy 1–446
Schematic View selection 3–653 lights 2–1282
snaps 2–41 links 2–891
spinner 2–282 multiple biped links 2–895
Track View 2–516, 2–534 multiple linked objects 1–446
Track View toolbar 2–603 particles 2–153
viewports 3–731 spine 2–891
XRef entities list (XRef object dialog) 3–405 views 1–29
XRef files list (XRef object dialog) 3–403 rotation
rigid bodies 2–716 and collision rollout (PArray) 2–268
basics 2–717 go to rotation test 2–224
collection 2–723 increment (viewport preference) 3–821
compound 2–722 rotation operator 2–153
constraints 2–724 rotational joints 2–486, 2–496
fracture 2–770 rotoscoping (glossary) 3–1003
properties 2–717 roughness 2–1490
storing and accessing collisions 2–774 roughness mapping 2–1500
rigid envelopes 2–834, 2–1085, 2–1091, 2–1108, 2–1111, RPF files 3–631
2–1130 RPS files 3–23
rigid surfaces (NURBS) 1–1089 rubber band mode 2–852, 2–876, 2–936
ring 1–809 rubber-band mode 3–1003
render effect 3–230 rubber-banding
ring array 1–415 arms and legs 2–852
ringwave 1–202 ruled surface sub-object 1–1193
ripple run 2–936, 2–988
modifier 1–783 run footstep 2–988, 2–995
space warp 2–102 run script 3–781
RLA files 3–630 running
RMAT materials dynamics of 2–878
in 3ds Max 3–446 in place 2–930
roll angle manipulator 2–1334 parameters 2–861
roll viewport controls RVT link 3–1004
camera 3–747
light 3–753 S
rollout safe frames 3–733, 3–857, 3–1030
distributed bucket rendering 3–124 safe video threshold 2–1434
twist poses 2–950 sample object 2–1432
rollouts 1–12, 2–488, 2–491 preview 2–1434
inverse kinematics 2–497 UV tiling 2–1433
video color check 2–1434
1320 Index

sample range (glossary) 3–1004 saved schematic views 3–653

sample rate 3–98 saving
sample slot 2–1420, 2–1422 backup on save 3–819
active 2–1441 BIP files 2–920, 2–941
adding bitmap 2–1631 biped figure files 2–855
and material name 2–1396 biped step files 2–924
background 2–1433 compressed file 3–819
backlight 2–1432 FIG files 2–941
cool 2–1442 files from previous versions 3–390
default 2–1442 material 2–1406
display adjustment 2–1436 materials 2–1409
hot 2–1442 physique data 2–1098
right-click menu 2–1422 STP files 2–941
sample type thumbnail image 3–819
cube 2–1432 UI configuration on exit 3–815
cylinder 2–1432 saving animation 3–472
sphere 2–1432 scale 1–440, 2–990, 2–1141
sample UV tiling 2–1433 a biped 2–1113
samples factor 2–1070
animations 2–920 in reactor 2–711
motion files 2–920 stride 2–936, 3–1006
samples threshold (motion capture) 2–655 tail keys 2–965
sampling 3–1005 scale operator (particle flow) 2–156
filters 3–98 scale synchronization between AutoCAD and
sampling quality rollout 3–98 3ds Max 3–422
thresholds 3–98 scale test (particle flow) 2–227
satellites 3–124 scale values (Track View) 2–581
save scale weight 1–810
.mfe file 2–1032 scaling 1–441
motion flow editor 2–1032 a biped 2–984
save animation 3–476 a node 2–1091
save as dialog 2–941 and system units 2–1099
save commands arm 2–852
hold 1–95 changing 1–423
save (file menu) 3–390 characters 2–1100
save active view (views menu) 1–37 deformation 1–364
save as (file menu) 3–391 face and vertex normals 1–996
save character 1–115 function curves 2–580
save copy as (file menu) 3–392 height 2–878
save custom UI scheme 3–806 keys (Track View) 2–559, 2–580
save preview (Material Editor) 2–1434 links 2–851
save selected (file menu) 3–392 particles 2–156
save sequence (video post) 3–324 rendering preferences 3–826
scene/settings in buffer 1–95 scale XYZ controller 2–371
save copy as 3–392 time (Track View) 2–570
save custom UI scheme 3–806 values (Track View Curve Editor) 2–581
save file 2–936 scaling objects 1–440
save parameters 2–1070 scanline renderer 3–38, 3–1006
save physique file 2–1106 scanline rendering 3–116
save reservoir items dialog 2–650 scatter 1–318
save segment 2–936 scatter objects dialog 2–1189
save talent figure structure 2–1065 scene event (video post) 3–329
save talent pose adjustment 2–1065 scene extents 3–1007
 Index 1321

scene motion blur (glossary) 3–1007 script operator 2–208

scene state script test 2–229
camera properties 3–518 script wiring (particle flow) 2–175, 2–205
camera transforms 3–518 scripts 2–1030
delete 3–520 and controlling particles 2–120
environment 3–518 debugging 3–783
layer assignments 3–518 define script 2–1030
layer properties 3–518 path for additional 3–813
light properties 3–518 start frame 2–1030
light transforms 3–518 start position x 2–1030
materials 3–518 start position y 2–1030
object properties 3–518 start position z 2–1030
rename 3–520 start rotation 2–1030
restore 3–520 scripts group
save 3–520 clip mode 2–1048
selected parts 3–518 copy 2–1048
scenegraph 3–581 create 2–1048
scenes 1–4 cut 2–1048
animating 1–8 define script 2–1048
archiving 1–19 delete script 2–1048
backing up 1–19 go to frame 2–1048
importing 1–16 group 2–1048
managing 3–385 paste 2–1048
merging 1–16 random motion 2–1048
rendering 1–9 redefine 2–1048
replacing 1–16 start frame 2–1048
Schematic View start position x 2–1048
delete Schematic View 3–652 start position y 2–1048
display floater 3–651 start position z 2–1048
displaying in viewport 3–731 start rotation 2–1048
glossary 3–1007 unified motion 2–1048
list views 3–645 scripts in motion flow 3–1008
menus 3–642 scripts rollout 3–34
new Schematic View 3–652 scrolling panels/toolbars 1–12
preferences dialog 3–646 SDeflector space warp 2–87
right-click menu (selection) 3–653 SDynaFlect space warp 2–85
saved schematic views 3–653 searching
Schematic View window 3–638 defining search terms 3–876
selecting with 1–69 for files 3–510
toolbars 3–649 for help topics 3–876
using 3–640 using nested expressions 3–876
screen 3–738 section 1–282
script section view 2–1114
and scripting definitions 3–1008 sections 2–1141, 2–1147
motion flow 2–1026 seed value (glossary) 3–1008
random motion 2–1035, 2–1055 seek behavior 2–1162, 2–1220, 3–1008
script controller (Track View) 2–372 segment (glossary) 3–1009
shared motion flow 2–1039, 2–1056 segments 2–1114
script rollout (particle flow) 2–139 segments shadow mode 3–114
script wiring 2–134, 2–175 select 1–442, 2–1150
scripted behavior 2–1220, 3–1008 and rotate control points 2–1114
scripting and scale control points 2–1114
birth operator 2–145 and translate cross section 2–1114
1322 Index

by link 2–1089, 2–1150 select objects dialog 1–77

clip/transition 2–1027, 2–1045 select objects in current layer 3–667
multiple biped links 2–895 select pivot 2–959
nearest bulge angle 2–1095, 2–1114, 2–1141 select region
select all (edit menu) 1–87 crossing 1–93
select and link button 2–422 lasso 1–90
select and manipulate 2–15 paint 1–91
select background image dialog 1–42 window 1–92
select bitmap image file dialog 2–1635 window/crossing 1–93
select invert (edit menu) 1–88 select scale rotate control points 2–1114
select keys by time (Track View) 2–563 select similar 1–88
select layers dialog 3–438 select time (Track View) 2–566
select linked objects dialog 3–440 select tool (particle view) 2–128
select none (edit menu) 1–88 selected deformable/rigid envelope areas 2–1130
select object (main toolbar) 1–77 selecting
select objects dialog 1–77 actions, events (particle flow) 2–132
select similar 1–88 and blocks 3–460
select time (Track View) 2–566 basics 1–64
selection floater 1–79 by ID 1–303, 1–308, 1–981, 1–1009
select and move 1–439 by material 2–1439
select and non-uniform scale 1–441 by name 1–67
select and rotate 1–439 by particle event 2–138
select and scale 1–440 by particle ID 2–138
select and squash 1–442 by region 1–65
select and transform buttons hierarchies 2–424
move 1–439 mesh sub-objects 1–998
non-uniform scale 1–441 named selection sets 1–67
rotate 1–439 objects 1–61, 1–64
scale flyout 1–440 open editable mesh edges 1–1011
squash 1–442 particles 2–138
uniform scale 1–441 selection filters 1–68
select and uniform scale 1–441 shadow type 2–1331
select behavior type dialog 2–1205 shape sub-objects 1–289
select bitmap image file dialog 2–1635 successive vertices 1–297
select button 2–1089 time 2–566
select by 1–88 with Schematic View 1–69
color 1–88 with Track View 1–69
material 2–1439 selecting workbench tracks 2–1011, 2–1016
material ID 1–303, 1–308, 1–981, 1–1009, 1–1238 selection (particle view) 2–128
name 1–77, 2–589 selection center (use center flyout) 1–447
name (button) 1–77 selection commands 1–76
name (edit menu) 1–88 selection filter (main toolbar) 1–81
select similar 1–88 selection floater (tools menu) 1–79
smoothing group 1–981, 1–1009 selection list 3–718
time (Track View) 2–563 selection lock toggle 3–707
vertex color 1–1003 selection region 1–80, 1–89 to 1–91
select by channel modifier 1–785 selection rollout
select delegates dialog 2–1205 edit poly modifier 1–647
select emitter objects dialog 2–151 editable mesh 1–999
select keys 2–502 editable poly 1–1024
select keys by time 2–533 hair and fur modifier 1–521
select menu (particle view) 2–128 selection sets 1–67, 1–81, 1–83, 1–511
select menu (Schematic View) 3–643 selection statistics 1–1253
 Index 1323

self-illumination 2–1480 to 2–1482, 2–1487 shadow maps 2–1363, 3–1010

self-illumination (glossary) 3–1009 mental ray 2–1360
self-illumination mapping 2–1502 shadow parameters (lights) 2–1337
send out test 2–230 shadow types 2–1331, 3–45
separate tracks options 2–888, 2–980, 2–1002 shadows 3–89
separating particles 2–172 shadow maps 3–89, 3–114, 3–1011, 3–1037
server setup and managing (network rendering) 3–182 shadow modes 3–114
set all 2–1070 shadows rollout 3–114
set as skin pose 1–116 shadows and rendering 2–1331
set bulge angle 2–1114, 2–1141 shadows from hair 3–223
set current layer to selection’s layer 3–667 shadows map (baking) 3–148
set free key 2–956 shape check utility 1–265
set key 2–280, 2–904, 2–956, 2–962, 3–718 shape commands (loft objects) 1–373
set lowest starting foot height to Z=0 2–936 shape operators (particle flow)
set multiple keys 2–965 shape 2–176
set parents 2–962 shape facing 2–176
set planted key 2–956 shape instance 2–178
set project folder 3–393 shape mark 2–183
set sliding key 2–956 shape sub-objects
set start frames dialog 2–1237 cloning selections 1–289
set twist pose 2–950 selecting 1–289
set weight 1–810 shape-file format 3–533
setting keys 2–904 ShapeMerge object 1–336
setting up shapes 1–262, 1–282, 3–1011
directories 3–187 creating from edges 1–656, 1–1035
rendering software 3–186 lofting 1–262
your scenes 1–4 rendering 1–262
settings shared
communication center 3–713 motion flow 2–1056
Revit 3–450 shared motion flow
setup rollout 2–1188 create 2–1039, 2–1056
setup rollout (particle view) 2–136 dialog 2–1039, 2–1056
SGI image file formats (glossary) 3–633 script 2–1039, 2–1056
shade selected (views menu) 1–47 sharing
shaded viewports 1–52 materials 2–1432
shader basic parameters rollout 2–1466 sharing a directory (network rendering) 3–188
shader list 2–1723 sharing plug-ins with a network 3–814
shaders 2–1466, 2–1468, 2–1480 to 2–1484, 2–1504 shell material 2–1600
car paint (mental ray) 2–1576 shell modifier 1–785
custom 3ds Max 2–1711 shellac material 2–1597
DirectX 2–1464 shift+clone
for standard materials 3–1010 animating 1–482
lume 2–1713 using 1–474, 1–478 to 1–481
LumeTools 2–1713 shifting
mental ray 2–1710 to 2–1712, 2–1723, 3–1009 center of mass 2–876
mental ray (third party) 2–1711 shininess 2–1537
mr physical sky 2–1321 shininess and shininess strength 2–1501 to 2–1502, 3–950
viewport 2–1464 shirt (cloth) 1–573
shading and lights 2–1399 Shockwave 3D files
shading type 2–1397 to 2–1398 analyzing 3–585
shading, cartoon 2–1605 exporting 3–580 to 3–581
shadow (center of mass) 2–846, 2–933 previewing 3–585
1324 Index

shortcuts 3–871 simple wipe filter (video post) 3–347

Biped 2–1006 simulation, cloth 1–571
Crowd 2–1182 single-axis constraints 1–437
particle flow 2–140 size
Physique 2–1111 of particle view icons 2–137
shortcuts - default keyboard of particle view logo 2–137
Track View 2–510 or particles 2–156
unwrap UVW 1–900 size of grid square 3–709
show size test (particle flow) 2–227
show curves button 3–705 skeletal deformation tool 1–791
show dependencies (views menu) 1–47 skeletons 2–833
show end result (Material Editor) 2–1446 and physique 2–1079
show end result (modifier stack) 1–503 structure 2–834
show frame numbers (viewports preference) 3–821 used with physique 2–1082
show ghosting (views menu) 1–46 sketch tool dialog 1–916
show home grid (views menu) 2–34 sketch UVWs 1–898
show key times (views menu) 1–46 skew modifier 1–790
show last rendering (rendering menu) 3–25 skin
show map in viewport (Material Editor) 2–1445 attaching to skeleton 2–1076
show safe frame 3–1030 creating 2–1076
show selected key statistics (Track View) 2–595 defined 2–1076
show tangents (Track View) 2–582 deformable 2–1076
show UI 3–788 mesh 2–1099
show vertices as dots (viewports preference) 3–821 optimizing 2–1099
transform gizmo 1–45 rigid 2–1076
show buffer 2–1065 save/load envelopes 1–802
to show original motion 2–1061 save/load vertex weights 1–802
trajectory 2–1065 sliding 2–1108
show entire trajectory 2–944 sliding parameters 2–1091
show graph valid types 2–1076
motion flow 2–1045 skin modifier 1–791
show icon control 2–1298 to 2–1299 paint weights 1–960
show markers 2–1065, 2–1075 weight table 1–810
show prop markers 2–1075 skin morph modifier 1–812
show recognized markers 2–1075 skin parameters rollout (loft objects) 1–358
show safe frame 3–857 skin pose commands 1–116
show selected key statistics (Track View) 2–595 skin pose mode 1–116
show statistics 1–1253 skin utilities 2–700
show tangents (Track View) 2–582 skin wrap modifier 1–818
show time 2–944 skin wrap patch modifier 1–824
show unrecognized markers 2–1075 skirt (cloth) 1–572
show/hide all 2–944 sky 2–1312
SHP files 3–533, 3–1012 skylight 2–1296
shrink 1–809 radiosity 2–1296
shutter speed 3–101 skylight (glossary) 3–1012
sibling slave controller 2–313
go forward 2–1447 slave parameters dialog (block controller) 2–391
go to 2–1447 sleeves (cloth) 1–573
sides 2–1141 slice
simple additive compositor (video post) 3–383 editable mesh edges 1–1011
simple constraints 2–727 editable mesh vertices 1–1011
simple shadow mode 3–114 modifier 1–825
simple wipe compositor (video post) 3–383 slide keys 2–558
 Index 1325

slider manipulator 2–31 soft selection manager 2–533

slider, time/frame 3–701 soft selection rollout
sliding 2–1136 brush options 1–960
angle 2–1070 soft selection rollouts 1–963, 1–1147
distance 2–1070 software display driver 3–838, 3–840
footsteps 2–1064, 3–1013 solve rollout 2–1232
parameters (links) 2–1091 solver plane 2–472
sliding and rotational joints (HI IK solver) 2–459 SOmniFlect space warp 2–84
sliding angle 2–1070 sort order (select objects dialog) 1–77
sliding distance 2–1070 sort shadow mode 3–114
sliding door 1–251 sound
sliding joints 2–485 to 2–486, 2–496 options dialog (Track View) 2–520
sliding key defaults 2–956 sound plug-in (animation preference) 3–828
sliding window 1–261 threshold 2–386
smart scale 1–440 VRML97 helpers 3–601
smart select 1–77, 1–80 source clip
smoke map 2–1679 transition editor 2–1051
smooth 2–1111 source file selection 2–1075
smooth modifier 1–828 source icon (particle flow) 2–135
smooth rotation controller 2–374 source outputs (particle flow) 3–987
smooth twist mode 2–952 space warp (vector field) 2–1241
smoothing groups 3–429, 3–1013 space warp behavior 2–1221, 3–1013
assigning faces to 1–1009 space warps 2–55
assigning patches to 1–981 binding to 2–58
viewing and changing 1–166 to 1–167 bomb 2–105
smoothing rollout 2–1238 conform 2–103
SMPTE (glossary) 3–1013 deflector 2–90
snap frames (Track View) 2–554 displace 2–76
snap options 2–12 drag 2–66
snap set key 2–974 FFD(box) 2–91
snaps FFD(cyl) 2–95
2D/2.5D/3D 2–35 glossary 3–1014
and cuts 1–1019 gravity 2–73
grid and snap settings 2–41 modifier-based 2–107
options/settings 2–12, 2–46 motor 2–61
setting standard 2–11 path follow 2–71
snap commands 2–35 PBomb 2–68
snap override 2–45 PDynaFlect 2–81
snaps toggle POmniFlect 2–78
angle 2–37 push 2–59
percent 2–38 reactor water 2–801
spinner 2–38 ripple 2–102
snaps toolbar 3–690 SDeflector 2–87
snapshot 1–453 SDynaFlect 2–85
cloning objects over time 1–483 SOmniFlect 2–84
dialog 1–453 UDeflector 2–89
snapshot dialog 1–453 UDynaFlect 2–86
snow 2–246 UOmniFlect 2–85
soft bodies 2–783 vortex 2–63
collection 2–788 wave 2–100
FFD soft bodies 2–786 wind 2–75
modifier 2–784 spacing tool 1–455, 1–491
soft selection 2–525 spawned particles 2–242
1326 Index

spawning particles 2–215, 2–230, 3–1014 spline IK

special controls 1–12 animating with spline IK solver 2–473
special-purpose controllers 2–296 control modifier 1–830, 2–473
specification 3–597, 3–954 spline IK solver dialog 2–477
specify conversion parameters once option 2–1075 spline IK solver rollouts 2–478
specify parameters for each file option 2–1075 spline select modifier 1–831
specifying spline-based deformation in physique 2–1083
default controller values 2–294 splines 1–266, 1–842
default controllers 2–294 adding 1–303, 1–308
reference coordinate system 1–435 arc 1–274
speckle map 2–1680 attach 1–297, 1–308
specular circle 1–273
color 3–1014 cleaning up segments 1–308
color mapping 2–1500 copying (outline) 1–308
level mapping 2–1501 deleting 1–308
specular highlight 2–1481 donut 1–276
specular highlights editable splines 1–289, 1–295, 1–297, 1–303, 1–308
anisotropic 2–1492 ellipse 1–274
Blinn 2–1493 explode 1–308
metal 2–1494 glossary 3–1015
multi-layer 2–1495 helix 1–281
Oren-Nayar-Blinn 2–1493 line 1–270
Phong 2–1493 making coincident 1–842
specular map (baking) 3–147 mirror 1–308
speed 2–992, 2–995, 2–997 NGon 1–277
speed operators (particle flow) rectangle 1–272
keep apart 2–172 star 1–277
speed 2–159 text 1–278
speed by icon 2–162 used with physique 2–1082
speed by surface 2–167 split mesh 1–1011
speed test (particle flow) 2–233 split scan lines 3–197
speed vary behavior 2–1222, 3–1015 split tests (particle flow)
sphere split amount 2–234
object 1–174 split selected 2–235
SphereGizmo helper 3–307 split source 2–236
spherical area omni light 2–1298 splitting particle stream 2–234 to 2–236
spherical deflector 2–87 spotlights
spherify modifier 1–829 parameters 2–1338
spin operator (particle flow) 2–154 spotlight distribution (photometric lights) 2–1324
spindle 1–196 spray 2–244
spine spring 2–727
flexibility 2–846 spring back - setting (IK) 2–466
spine link 2–984 spring controller 2–375
spinner right-click menu 2–282 spring dynamics object 1–400
spinners 1–12 spring options (flex modifier) 1–700
spinner precision 3–815 squash 1–442
spinner snap 2–38, 3–815 squeeze modifier 1–833
spiral stair 1–235 SSS materials (mental ray) 2–1583
splash screen 1–17 stack 1–502, 1–504, 1–508, 3–973
splash.bmp file 1–17 stack updates 2–1104, 2–1108
splat map 2–1681 stack.see modifier stack 3–760
spline dynamics 2–833, 2–856, 2–980, 3–1015 stairs 1–210, 1–231
l-type 1–232
 Index 1327

spiral 1–235 startup layout - return to 3–807

straight 1–239 startup screen 1–17
u-type 1–243 startup script (glossary) 3–1015
standard flow operator 2–209 startup scripts
standard helpers 2–16 path for additional 3–813
compass 2–27 startup.ms file 1–17
dummy 2–16 state dialog 2–1207
expose transform 2–17 state filters 2–965
exposetm 2–17 state panel 2–1248
grid 2–20 state transition dialog 2–1208
point 2–23 statistics 3–861
protractor 2–26 statistics rollout (radiosity) 3–75
tape 2–24 status bar controls
standard lights 2–1272, 2–1288 main window 3–698, 3–701
skylight 2–1296 Track View 2–588
standard material 2–1465 video post 3–313
standard materials step files 2–924, 2–936
shaders (glossary) 3–1010 step update scripts (particle flow) 2–139
standard primitives 1–170 steps
box 1–171 and editable patch 1–986
cone 1–172 and editable spline 1–289
cylinder 1–177 stereolithography (STL) 3–586
GeoSphere 1–176 stick 2–1070
plane 1–185 stick figures
pyramid 1–182 transition editor 2–1051
sphere 1–174 stitch tool dialog 1–918
teapot 1–183 stitch UVWs 1–897
torus 1–180 STL
tube 1–179 exporting files 3–588
standard snaps 2–11 importing files 3–586
standard user grids 2–20 STL check modifier 1–834
star 1–277 stop animation playback 3–723
lens effects 3–246 STP files 2–919, 2–924, 2–1263
starfield filter (video post) 3–347 loading 2–942
start after last footstep 2–992, 2–995, 2–997 saving 2–882, 2–941
start at current frame 2–992, 2–995, 2–997 straight stair 1–239
start frame Strauss basic parameters rollout 2–1483
scripts 2–1048 streak
transition editor 2–1051 render effect 3–250
start left 2–992, 2–995, 2–997 strength 2–1130
start position x stretch 2–1091, 2–1136, 2–1147
scripts 2–1048 stretch bias 2–1147
start position y stretch modifier 1–836
scripts 2–1048 stretcher 1–909
start position z strokes 3–868
scripts 2–1048 defining 3–863
start right 2–992, 2–995, 2–997 preferences 3–862, 3–867
start rotation reviewing and editing strokes 3–865
scripts 2–1048 viewport preferences 3–821
starting structure rollout 2–982, 2–984
manager and server (network rendering) 3–182 stucco map 2–1682
network rendering 3–182 styles
startup files 1–17 and Architectural Desktop objects 3–461
1328 Index

propagation 2–1432 surface point 1–1222

styling hair surface properties rollout (editable objects) 1–308,
hair and fur modifier 1–518, 1–526 1–981, 1–1001, 1–1003, 1–1006, 1–1009
styling rollout surface sub-objects - creating 1–1177
hair and fur modifier 1–526 surface tools 1–623, 1–842
sub-materials 3–815 surface trimming 1–1080
sub-object surface-curve intersection point 1–1224
chamfer curve (NURBS) 1–1161 surface-surface intersection curve 1–1166
common controls 1–1122 SurfDeform modifiers 1–848
glossary 3–1017 SurfDeform modifiers 1–557, 1–848
material assignment 2–1424 swap
selection 1–74, 1–506, 1–508, 1–998, 1–1084 colors 2–1452
sub-objects events (video post) 3–325
Physique 2–1129 maps 2–1451
subanim controller 2–896 sweep modifier 1–848
subdivide 1–986, 1–1011, 1–1019 extract 1–858
subdivide modifier 1–839 merge from file 1–859
subdivide modifier (world space) 1–555 pick shape 1–857
subdivision displacement rollout swirl map 2–1656
editable poly 1–1063 swivel angle 2–449, 2–472
subdivision surface rollout symmetrical tracks 2–945
editable poly 1–1060 symmetry modifier 1–861
subdivision surfaces 1–701, 1–963 synchronizing animated bitmap with the scene 2–1450
substeps 2–710 synthesis control dialog 2–1179
substitute modifier 1–840 synthesis dialog 2–1179
subsurface scattering (SSS) materials (mental ray) 2–1583 motion clips panel 2–1246
subtractive opacity (glossary) 3–1017 state panel 2–1248
subtree - modifying (Track View) 2–528 synthesis panel 2–1250
summary info 3–499 synthesis panel 2–1250
sun 2–1309 synthesis/synthesize 3–1019
sunlight 1–418 system paths 3–813
sunlight (glossary) 3–1018 system unit
super black 3–826, 3–1018 setup dialog 3–850
super spray 2–249 units mismatch dialog 3–852
superimposed material 2–1597 system units and scaling 2–1099
supersampling 2–1459, 3–1018 systems 1–404
support period 3–1018 bones 1–404
surf point 1–1222 daylight 1–418
surface approximation 1–1239, 1–1245 to 1–1246 ring array 1–415
surface arrive behavior 2–1223, 3–1018 sunlight 1–418
surface constraint 2–396
surface follow behavior 2–1226, 3–1019 T
surface joints 2–485 to 2–486 tags (time) 3–710
surfaces tails
NURBS surfaces 1–1101 adding 2–846
surface approximation (NURBS) 1–1239, 1–1245 to talent definition area 2–1070
1–1246, 1–1252 talent figure mode 2–1061, 2–1065, 3–1019
surface deform (SurfDeform) 1–557 tangent handles 1–297
surface edge curve 1–1177 tangent types 2–305
surface mapper (world space) 1–556 tangents
surface modifier 1–623, 1–842 glossary 3–1019
surface offset curve 1–1167 locking 2–583
surface parameters (loft objects) 1–354 type of 2–310
tape helper object 2–24
 Index 1329

taper modifier 1–863 terminology (inverse kinematics) 2–437

targa files (glossary) 3–633, 3–997 terrain 1–347
target creating effects with noise modifier 1–744
and particles 2–218 glossary 3–1021
camera 3–746 tessellate
lights 2–1289, 2–1292, 2–1303 to 2–1305, 2–1307 and displace space warp 2–76
target area light 2–1307 faces 1–1011
target camera 2–1371 tessellate modifier 1–865
target distance 3–90 tessellate selection dialog 1–1077
target linear light 2–1305 test outputs (particle flow) 3–987
target map slot 3–150 test time frames 2–141
target objects - look at controller 2–344 tests (particle flow) 2–210, 3–1021
target point light 2–1303 acceleration 2–233
TCB 2–957 age 2–211
controllers 2–377 circular travel 2–233
glossary 3–1020 collision 2–212
TCB (biped) 3–1019 collision spawn 2–215
tcb rotation distance from target 2–218
controller 2–891 find target 2–218
teapot 1–183 go to rotation 2–224
techniques scale 2–227
cloning objects 1–474 script 2–229
NURBS 1–1094 send out 2–230
tee 1–287 size 2–227
teeter deformation 1–365 spawn 2–230
temp speed 2–233
path for 3–813 split amount 2–234
temporary split selected 2–235
buffer 1–95 split source 2–236
IGES files 3–560 time 2–211
tendon display options dialog 2–1128 velocity 2–233
tendons 2–1076, 2–1108, 2–1111, 2–1113, 2–1147, 3–1020 texel 3–1021
adding 2–1096 text 1–278
adjusting 2–1147 texture
and fixed attach points 2–1147 baked elements 3–146
attach points 2–1147 baking 3–144
attached links 2–1147 rendering to 3–144, 3–146, 3–150
attaching to another link 2–1096 target map slot 3–150
attaching to link 2–1096 texture baking - shell material 2–1600
boundary conditions 2–1147 textures
creating 2–1096 and animated NURBS models 1–1099
cross sections 2–1147 and imported mask bitmaps 3–530
deleting 2–1096 and material properties 1–1149
inserting 2–1096 and NURBS models 1–1099
overview 2–1096 baking 3–156
using 2–1096 disable texture map display 3–853
workflow 2–1147 pick texture option (edit UVWs dialog) 1–888
tendons sub-object 2–1128 pinning 1–878
tension/continuity/bias 2–956, 2–1135 TGA files (glossary) 3–633
tension/continuity/bias (glossary) 3–1020 thin wall refraction map 2–1703, 3–83
tension/continuity/bias in biped 3–1020 three-DOF limb 2–950
terminating chains 2–471 threshold 1–167, 1–828
terminators 2–437 adaptive control 2–1534, 2–1698
1330 Index

and HD IK solver 2–463 time reverse (Track View) 2–569

color 2–1681 to 2–1682 time ruler (Track View) 2–510
edge visibility 1–1006 time steps 2–709
error (camera tracker) 2–677 time to next footstep 2–992, 2–995, 2–997
explode angle 1–1011 time warps 2–620
LOD 1–1253 TimeSensor (VRML97 helpers) 3–604
motion capture samples 2–655 timing parameters 2–988
noise 2–1650, 2–1652, 2–1674, 3–282, 3–288 tips
optimize 1–748 adjusting radiosity 2–1540
planar 1–719, 1–996 animation and textures (NURBS) 1–1099
position/rotation (IK) 2–463 camera correction 2–1393
reduce keys 2–572 copying keys between frames 3–703
safe video 2–1434 flipping face normals 1–1010
sound 2–386 magnifying camera adjustment 3–747
super black 3–826 maintaining consistent camera lens size 2–1374
supersampling 2–1459 NURBS 1–1094
use secondary (IK) 3–830 output size and rendering speed 3–28
weld 1–297, 1–842, 1–888, 1–920, 1–1011, 3–542, playing animations in all viewports 3–723
3–586 propagating layer properties 3–657
thumbnails radiosity and walkthroughs 3–60
open file 3–387 selecting faces to hide 1–1001
viewport image 3–819 testing radiosity 3–60
ticks (glossary) 3–1021 textures (NURBS) 1–1099
TIFF files 3–303, 3–634 turning off material propagation 3–770
tile/mirror (glossary) 3–1022 updating information in light lister 2–1285
tiles map 2–1658 using file link manager 3–419
time 2–955 VRML97 3–595
controlling 2–285 toes option 2–846
copy (Track View) 2–568 toggles
cutting 2–567 angle snap 2–37
deleting 2–567 animation mode 2–278, 3–717
editing 2–566 auto key mode 2–278, 3–717
fitting into 2–570 auto material propagation 2–1432
in particle flow 2–119 degradation override 1–34
insert (Track View) 2–570 enable ease or multiplier curve 2–585
moving through 2–287 full screen 3–738
paste (Track View) 2–568 key mode 3–724
removing 2–570 maximize viewport 3–738
rescaling active time segment 2–286 percent snap 2–38
reverse (Track View) 2–569 selection lock 3–707
scale (Track View) 2–570 shortcut keys 3–872
selecting 2–566 spinner snap 2–38
setting time segments 2–286 window/crossing 1–93
specifying active time segment 2–286 toggling
time configuration button 3–725 events (particle view) 2–131
time ruler (Track View) 2–510 operators (particle view) 2–131
time slider 2–510, 2–556, 3–701 toggling dialogs 3–670
time tags 3–710 to 3–711 tolerance 2–1070
time controls 3–716 toolbars 3–685, 3–803
time frames 2–141 axis constraints 3–687
time in the air 2–878 brush presets 3–690
time menu, Track View 2–526 controller toolbar 2–540
time paste (Track View) 2–568 curve editor 2–535
 Index 1331

displaying toolbars 3–787 topology dependent modifier 3–1023

dope sheet 2–538 torus 1–180
extras 3–688 torus knot 1–189
extras dope sheet toolbar 2–541 total statistics 1–1253
HTML help viewer 3–878 touch 2–936, 2–965, 3–1023
icon scheme 3–806 leg state 2–867
layers 3–688 touch dynamics 2–878
main 3–686 TouchSensor (VRML97 helpers) 3–603
ranges toolbar 2–541 toy car 2–766
reactor 2–706, 3–688 trace depth 3–106, 3–116, 3–994
render shortcuts 3–689 track
Schematic View 3–649 copying 2–568
snaps 3–690 glossary 3–1024
toolbars panel (customize UI) 3–794 note 2–552 to 2–553
troubleshooting when missing 3–893 track bar 3–703
video post 3–323 track selection 2–945
toolbox (NURBS) 1–1083 using motion-capture filtering 2–1061
tools track selection in workbench 2–1016
for low-polygon modeling 1–1252 track selection rollout 2–888
Material Editor 2–1427 track set list 2–535, 2–538
precision 2–1 track sets editor 2–591
rename objects 1–128 track sets list 2–590
tools menu 3–674 Track View 2–1000, 2–1002
align 1–462 assign controller 2–546
align camera 1–468 biped colored keys 2–1005
align to view 1–468 concepts 2–503
array 1–450 controller menu 2–521
camera match 2–1387 controller toolbar 2–540
clone and align tool 1–459 controller window 2–504, 2–512
color clipboard 1–165 curve editor 2–501, 2–507
display floater 3–775 curves menu 2–525
floaters 3–775 customization 2–599
grab viewport 1–35 delete Track View 2–598
isolate selection 1–73 dope sheet 2–501
light lister 2–1285 editing biped keys 2–875
measure distance 2–15 extras dope sheet toolbar 2–541
mirror 1–448 glossary 3–1023
normal align 1–465 hierarchy 2–512
open 1–109 hierarchy icons (glossary) 3–1024
place highlight 1–467 hierarchy of biped objects 2–886
quick align 1–465 key time display 2–594
rename objects 1–128 keys menu 2–524
selection floater 1–79 keys window 2–504
snapshot 1–453 menu bar 2–521
spacing tool 1–455 modes menu 2–521
tools rollout new Track View 2–597
hair and fur modifier 1–523 opening 2–886
tooltips 2–133, 3–699 Options menu 2–526
tooltips in viewports pan 2–595
preferences 3–815 pasting time 2–568
toon shader 2–1605 pick dialog 2–1252
top/bottom material 2–1599 pick dialog (block controller) 2–392
topology (glossary) 3–1022 properties 2–560
1332 Index

ranges toolbar 2–541 and light objects 2–1282

selecting with 1–69 and mesh sub-objects 1–998
shortcuts 2–510 and modifiers 1–499
sound options 2–520 animating 1–432
status bar/view controls 2–588 applying 1–423
time menu 2–526 commands 1–438
tracks menu 2–524 controllers (glossary) 3–909
utilities 2–561 to 2–564 curve 1–1157
utilities menu 2–533 curve sub-object 1–1157
value display 2–594 glossary 3–1026
view menu 2–532 locking 2–433
working with 2–503 locking axes 2–500
workspace 2–504 managers 1–433
zoom 2–596 resetting AutoCAD objects 3–442
zoom horizontal extents 2–595 surface 1–1182
zoom region 2–597 surface sub-object 1–1182
zoom selected object 2–588 transform tools 1–448
zoom value extents 2–596 using 1–424
Track View utilities viewing and copying keys 2–283
current value editor 2–565 transition 2–1028
tracker gizmo 2–671 clip 2–1048
trackgroup create 2–1028
filter 2–645 create all 2–1028
trackgroup filter dialog 2–631, 2–645 customize 2–1034
trackgroups edit 2–1028, 2–1034, 2–1048
adjusting balance 2–622 focus 2–616
creating and filtering 2–612 motion mixer 2–616
menu 2–631 optimize 2–616, 2–641
tracks optimize transition 2–1058
adding to motion mixer 2–607 random motion 2–1035
copying and pasting 2–966 transition editor 2–1028
menu 2–632 angle 2–1051
selecting workbench 2–1011 ease in 2–1051
tracks menu, Track View 2–524 ease out 2–1051
trajectories 2–957 fixed 2–1051
display 2–853, 2–931 frame 2–1051
glossary 3–1025 length 2–1051
motion panel 2–301 mixer 2–636, 2–638
trajectories (biped) 3–1025 optimize 2–1051
trajectory key editing 2–914 probability 2–1051
transform coordinates and coordinate center 1–442, 1–447 rolling 2–1051
transform gizmo 3–1025 start frame 2–1051
transform gizmos transition optimization dialog 2–1058
preferences 3–832 motion mixer 2–641
show transform gizmo 1–45 transition track 2–607
using 1–426 motion mixer 2–616
transform script controller 2–379 transitions
transform tools 1–448 menu 2–633
transform type-in 1–431, 3–709 state transition dialog 2–1208
transformation axis coordinate system list 1–443 translate only 3–124
transforms translation file (specifying name and path) 3–124
adjusting 2–432 translator options rollout 3–119
and envelopes 2–1086
 Index 1333

translucency 2–1491, 2–1538 truecolor 3–826, 3–1027

glossary 3–1027 tube 1–179
translucent highlights 2–1496 turbosmooth modifier 1–868
translucent shader 2–1484 turn to mesh modifier 1–871
transmittance display 2–1430 turn to patch modifier 1–873
transparency 2–1537 turn to poly modifier 1–874
TRC turning on/off
convert into CSM 2–665, 3–577 actions, events (particle view) 2–133
importing 3–577 particle system 2–136
tri patch 1–995 tweens 2–276
triangle count 1–1253, 3–861 twist 2–950, 2–1136
triangle pelvis 2–984 deformation 1–364
and physique 2–846 modifier 1–876
trigonometric functions 1–150 twist individual mode 2–952
trim clips twist links 2–855, 2–984
motion mixer 2–615 twist links mode 2–895, 2–952, 3–1028
trim overlapping segments 1–308 twist parameters (links) 2–1091
trim/extend modifier 1–866 twist poses 2–855
troubleshooting 3–883 two-DOF limb 2–950
assertion failed errors 3–883 two-point perspective 2–1392
basic troubleshooting start point 3–896 two-sided 3–855
Boolean objects 3–885 type-in weights 2–1150
camera match 2–1387 types of
camera tracker 2–685 dynamics objects 1–395
creases or ridges in Boolean objects 3–885 space warps 2–55
Direct3D failed to initialize message 3–896 transforms 1–424
Direct3D reports a memory warning 3–896
dual monitor configuration 3–896 U
garment maker errors 1–622 U and V iso curves 1–1168
large font problems 3–893 U loft surface and sub-object 1–1196
lost dialogs 3–893 u-type stair 1–243
merging corrupt files 3–883 UDeflector space warp 2–89
missing command panel 3–893 UDynaFlect space warp 2–86
missing gizmos 3–893 UI 3–683, 3–785, 3–788, 3–792, 3–805 to 3–807, 3–853,
multiple or missing buttons on toolbars 3–893 3–856
network rendering 3–183 customizing 3–804
normal bump maps 3–151 UI files 3–804
objects disappear when the camera gets close 3–891 unbinding
reactor 2–823 objects 2–461, 2–491
remember back up files 3–883 vertices 1–297
slow file opening 3–889 UNC 3–1028
slow response to open or drag dialogs 3–889 understanding
slow startup time 3–889 crowds 2–838
sluggish command response 3–889 motion flow 2–837
spanning across monitors 3–896 motion mixer 2–604
splines and Boolean operations 3–885 workbench 2–837, 2–1008
tips for successful Boolean operations 3–885 understanding crowd behaviors 2–1159
unit scale and movement resolution relationship 3–891 undo 1–12, 1–36, 1–94
video post 3–314 undo levels 3–815
viewport transparency 3–896 unexpected particle spawning 2–122
truck camera 3–748 unfold mapping 1–898, 1–919
truck light 3–755 unfreezing objects 1–70, 3–775
true/false, setting test results (particle view) 2–132 ungroup 1–106
unhide 1–53, 3–951
1334 Index

unhide all 2–1150 use transform coordinate center 1–447

unified motion UseEnvironAlpha setting 3–934
create 2–1038 user grids 2–20, 2–51
uniform scale 1–441 user interface
unify normals 1–166, 3–429 cloth modifier 1–582
units customizing 3–785
and display of mouse position 3–709 garment maker modifier 1–613
automatic unit conversion 3–387 hair and fur modifier 1–521
file load units mismatch 3–852 introduction 3–669
mismatch 3–852 menu bar 3–672
setup 3–848 problems and recovery 3–893
synchronizing between programs 3–422 user reference 3–873
system setup 3–850 user views 1–24
troubleshooting problems with 3–891 user-defined object properties 1–127
unit scale preference 3–815 using
using 2–2 assemblies 1–98
universal deflector 2–89 asset browser 1–17
universal naming convention (UNC) 3–1028 auto key button 2–278
unlink selection 2–422 axis constraints 1–437
unlock batch rendering 3–202
character 1–115 bend links mode 2–895
unlock assignments 2–1150 bipeds with crowd delegates 2–1172
unlock interior edges (of selected patches) 1–968 clipping planes to exclude geometry 2–1379
unwrap UVW 1–878, 1–900 configure paths 3–189
automatic mapping 1–898 create panel 1–154
Edit UVWs dialog 1–888 default joint precedence 2–468
options dialog 1–920 dummy objects 2–429
pack UVs dialog 1–909 grid objects 2–5
relax tool dialog 1–912 grids 2–4
UOmniFlect space warp 2–85 groups 1–96, 3–674
up vector 2–1070 help 3–873
update 2–119 home grid 2–4
ActiveShade 3–904 horizon to match perspective 2–1380
background image 1–44 HTML help viewer 3–874
background while playing 3–821 IK keyframe parameters 2–900
during spinner drag 1–51 in place mode to adjust keyframes 2–930
particle shape 2–182 interparticle collision 2–243
scene materials 2–1457 layers 2–913
update types (particle flow) 2–130 lights 2–1274
upper bound 2–1147 mapped materials with Particle Systems 2–240
use center flyout 1–445 maps to enhance a material 2–1403
use pivot point center 1–446 materials 1–6
use selection center 1–447 materials with particle array 2–239
use transform coordinate center 1–447 modifier stack 1–502
use dual planes (viewport preference) 3–821 modifier stack at sub-object level 1–508
use key reduction 2–1070 modify panel 1–499
use large toolbar buttons preference 3–815 move and rotate to aim 2–1379
use pivot point center 1–446 multi/sub-object materials with particle systems 2–242
use pivot points 1–509 multiple computers 3–173
use planes (viewport preference) 3–821 named selection sets 1–67
use secondary threshold (IK) 3–830 NURBS toolbox to create sub-objects 1–1083
use selection center 1–447 online reference 3–873
use soft select 2–525 Schematic View 3–640
 Index 1335

select by name 1–67 shape check 1–265

selection filters 1–68 skin utilities 2–700
shapes 1–262 strokes 3–868
shift+clone 1–478 surface approximation 1–1245
spawned particles 2–242 Track View 2–561
standard view navigation 1–29 utilities menu, Track View 2–533
transform gizmos 1–426 utilities panel 3–778
transforms 1–424 UVW remove utility 2–1408
transforms to aim a camera 2–1379 visual MAXScript 3–783
units 2–2 utils rollout 2–813
using crowds UV
behaviors 2–1162 coordinates 2–1405
crowd helper 2–1157 loft surface 1–1200
delegate helper 2–1157 sample UV tiling 2–1433
using props 2–898 uv coordinate shader (mental ray) 2–1728
using the track sets list 2–590 uv generator shader (mental ray) 2–1724
utilities uv generator shader parameters rollout (mental
animation 2–653 ray) 2–1725
asset browser 3–504 uv generator shaders rollout (mental ray) 2–1727
assign vertex colors 2–1734 UVW
camera match 2–1387 coordinates 2–1405
camera tracker 2–667 coordinates (glossary) 3–1028
channel info 2–1738 edit UVWs dialog menu bar 1–895
clean multimaterial 2–1742 map modifier 1–922
collapse 1–966 mapping in AutoCAD Architecture objects 3–447
color clipboard 1–165 mapping in Revit objects 3–455
create out-of-range keys (Track View) 2–562 remove utility 2–1408
dialog 3–779 XForm modifier 1–934
dynamics 2–686 UVW mapping add modifier 1–933
3ds Max file finder 3–510 UVW mapping clear modifier 1–933
filter selected euler tracks (Track View) 2–564 UVW mapping paste modifier 1–934
fix ambient 3–512
follow/bank 2–653 V
IFL manager 3–619 v command-line option 3–672
instance duplicate maps 2–1744 -v command-line option 3–672
level of detail 1–1253 value display 2–594
lighting data exporter 3–303 Vault 3–487
Lightscape Materials 3–574 setting working folder 3–488
link inheritance (selected) 2–435 VDA targa files (glossary) 3–633
list of 3–778 vector
LOD 1–1253 editable patch handle sub-object 1–979
MACUtilities 2–665 handles and editable patch vertex sub-objects 1–986
material xml exporter 2–1407 introduction 1–151
MAXScript 3–684, 3–780 vector handles (glossary) 3–1029
measure 2–52 vector projected curve 1–1171
motion capture 2–655 vector field 3–1029
object display culling 1–58 vector field space warp 2–1241, 3–1029
panorama exporter 3–170 create method rollout 2–1242
randomize keys (Track View) 2–562 lattice parameters rollout 2–1242
rescale world units 2–53 obstacle parameters rollout 2–1242
reset XForm (transform) 1–438 velocity element parameters rollout 3–142
resource collector 3–512 velocity interpolation 3–1030
select keys by time (Track View) 2–563 verbosity (messages) 3–124
versioning 3–487
1336 Index

vertex 2–1089 video post 3–311, 3–315

operations 2–1150 abut 3–329
settings 2–1111, 2–1113 add external event 3–340
vertex sub-object 2–1150 add image input event 3–332
vertex - definition 3–1030 add layer event 3–337
vertex alpha 1–938 add loop event 3–342
vertex color 1–936 add output event 3–339
rendering 2–1693 add scene event 3–329
vertex color map 2–1693 align left 3–328
vertex count 1–1253, 3–861 align right 3–328
vertex display size 3–822 alpha compositor 3–381
vertex illumination 1–938 alpha filter 3–344
vertex normals (scaling) 1–996 animating lens effects 3–349
vertex to link assignment automatic secondary flare parameters 3–356
initialization 2–1123 common procedures 3–315
vertex type 1–975 composite image sequences 3–315
vertex weld modifier 1–935 composite scene over image sequence 3–315
vertex-link assignments 2–1111, 2–1113 configure presets 3–327
vertexpaint modifier 1–936 contrast filter 3–343
adjust color dialog 1–949 create animation from still images 3–315
brush options 1–960 create starfield 3–315
color palette 1–950 cross fade compositor 3–381
paintbox 1–941 edit current event 3–324
palette 1–950 edit external event 3–340
vertical (move key) 2–579 edit image input event 3–332
vertical motion edit layer event 3–337
dynamics of 2–878 edit loop event 3–342
vertices edit output event 3–339
adding 1–297, 1–303 edit range bar 3–327
align 1–1011 edit scene event 3–329
attach/detach 1–1011 execute sequence 3–325
breaking 1–1011 fade filter 3–344
changing type 2–1089 flare glow parameters 3–355
checking assignments 2–1089 flare inferno parameters 3–360
checking for alignment in loft objects 1–374 flare lens effect 3–350
choosing type 2–1089 flare preferences 3–353
creating 1–1011 flare ray parameters 3–358
deleting 1–297, 1–1011 flare ring parameters 3–355
inserting 1–295, 1–308 flare star parameters 3–359
make planar 1–1011 flare streak parameters 3–360
making rigid 2–1089 focus lens effect 3–362
manually assigning deformable blended 2–1089 glow inferno 3–368
manually overriding assignments 2–1089 glow lens effect 3–364
painting 1–936 glow preferences 3–367
reassigning manually 2–1089 glow properties 3–365
removing deformable 2–1089 highlight geometry 3–374
selecting by color 1–652, 1–1029 highlight lens effect 3–370
slice 1–1011 highlight preferences 3–376
weld 1–1003, 1–1011 highlight properties 3–371
working with 2–1089 image input event 3–334
video color check 2–1434 image input options 3–334
video driver and display problems 3–896 join two animations 3–315
lens effects 3–349
 Index 1337

lens effects filters 3–345 highlight lens effect 3–370

lens effects gradient colors 3–381 highlight preferences 3–376
lens effects gradient options 3–378 highlight properties 3–371
lens effects gradient types 3–379 lens effects 3–345, 3–349
make an object glow 3–315 lens effects gradient colors 3–381
make same size 3–328 lens effects gradient options 3–378
manual secondary flare parameters 3–357 lens effects gradient types 3–379
negative filter 3–345 manuarl secondary flare parameters 3–357
new sequence 3–323 negative filter 3–345
open sequence 3–323 pseudo alpha filter 3–346
pseudo alpha compositor 3–382 simple wipe filter 3–347
pseudo alpha filter 3–346 starfield filter 3–347
queue 3–312 video safe frame (glossary) 3–1030
render in reverse 3–315 view
resize images 3–315 align to view button 1–468
save sequence 3–324 axonometric views 1–24
simple additive compositor 3–383 camera views 1–24
simple cross fade 3–315 light views 1–24
simple wipe compositor 3–383 navigation 1–29
simple wipe filter 3–347 perspective views 1–24
starfield filter 3–347 preset 1–24
status bar 3–313 view file dialog 3–502
swap events 3–325 view image file (file menu) 3–502
switch views 3–315 view preview (rendering menu) 3–170
toolbar 3–323 view change 1–36
troubleshooting 3–314 view controls
view controls 3–313 video post 3–313
video post compositors view image file 3–502
alpha compositor 3–381 view menu
cross fade compositor 3–381 Track View 2–532
pseudo alpha compositor 3–382 view menu (Schematic View) 3–644
simple additive compositor 3–383 view samples 3–1005
simple wipe compositor 3–383 view steps 1–991
video post filters view-handling commands 1–35
alpha filter 3–344 viewing
animating lens effects 3–349 3D space 1–21
automatic secondary flare parameters 3–356 and changing normals 1–166
contrast filter 3–343 grid objects 2–6
fade filter 3–344 portions of scene 2–1379
flare glow parameters 3–355 smoothing 1–167
flare inferno parameters 3–360 transform keys 2–283
flare lens effect 3–350 viewing sample biped animations 2–920
flare preferences 3–353 viewport clipping 2–1379, 3–731, 3–853
flare ray parameters 3–358 viewport configuration 3–853
flare ring parameters 3–355 adaptive degradation 3–859
flare star parameters 3–359 layout 3–856
flare streak parameters 3–360 regions 3–860
focus lens effect 3–362 rendering method 3–853
glow inferno 3–368 safe frames 3–857
glow lens effect 3–364 viewport configuration dialog 3–853
glow preferences 3–367 viewport controls 3–735
glow properties 3–365 viewport display, particles 2–202
highlight geometry 3–374
1338 Index

viewport navigation viewport image 1–44 to 1–45

walkthrough 1–30, 3–738 virtual viewport 3–860
viewport properties menu 3–731 visibility tracks 2–549, 2–556
viewport renderer (glossary) 3–1030 visible after/before 2–979
viewport rendering 3–853 visible/invisible 1–1006
viewport shaders 2–1464 visual MAXScript utility 3–783
lightmap 2–1614 VIZ files
metal bump 2–1614 linked geometry 3–525
viewport shading 3–853 VIZBlock 3–525
viewports 1–22, 3–729 VIZ Render files 3–527, 3–529
and display of modifier effect 3–760 Linked Geometry 3–529
arc rotate snap angle preference 3–821 VIZBlock 3–1031
background 1–38 VIZBlocks
configuring 3–853 selecting when file linking 3–440
controlling rendering 1–27 volume fog environment effect 3–284
create snapshot of 1–35 volume light environment effect 3–288
DirectX manager rollout 2–1464 volume select modifier 1–952
general concepts 1–22 volume shading
grab 1–35 mental ray 3–95
layout 3–856 vortex space warp 2–63
navigating 3–735 voxel 2–1531
preferences 3–821, 3–838, 3–840 voxel size 3–129
prompt line 3–699 VPX files 3–1031
redraw all views 1–50 VRML format 3–591
reset layout 3–785 VRML97 3–595
right-click menu 3–731 exporting to 3–591, 3–594
setting layout 1–26 helpers 3–597 to 3–608
status line 3–701 specification 3–597
tooltips 3–729 VST targa files (glossary) 3–633
tooltips preference 3–815 VUE file
viewport controls 3–735, 3–738, 3–745, 3–750 glossary 3–1031
viewport renderer (glossary) 3–1030 renderer 3–130
views menu commands and 3–675
views menu 3–675 W
activate all maps 1–50 W3D files
adaptive degradation toggle 3–859 analyzing 3–585
add default lights to scene 1–49 exporting 3–580 to 3–581
create camera from view 1–48 previewing 3–585
deactivate all maps 1–50 walk 2–936, 2–988
expert mode 1–51 footstep 2–988, 2–992
grids 2–33 walking gait 3–1033
redraw all views 1–50 walking parameters 2–861
reset background transform 1–45 walkthrough button 1–30
restore active view 1–37 walkthrough flyout 3–738
save active view 1–37 walkthrough navigation 1–30, 3–738
shade selected 1–47 wall 1–210, 1–223
show dependencies 1–47 editing wall objects 1–228
show ghosting 1–46 wall behaviors
show key times 1–46 repel 2–1227, 3–1033
show transform gizmo 1–45 seek 2–1229, 3–1033
undo/redo 1–36 wall seek behavior 2–1162
update background image 1–44 wander behavior 2–1231, 3–1033
update during spinner drag 1–51 warning messages 3–819
 Index 1339

water 2–801 wiring (particle flow) 2–134, 3–1033

rendering 2–803 wiring parameters 2–411
space warp 2–801 wiring tests to events (particle view) 2–131
wave wood map 2–1684
wave modifier 1–957 workbench 2–837, 2–1008
waveform controller 2–381 analyze panel 2–1017
wave space warp 2–100 analyzing curves 2–1011
wavefront files (obj, mtl) 3–588 animation 2–1012
Wavefront material files 3–590 curve view 3–925
Wavefront object files 3–589 filters panel 2–1023
waves map 2–1683 fix panel 2–1020
web distribution 2–1325 to 2–1326 fixing curves 2–1012
web distribution (photometric lights) 2–1355 navigating 2–1010
web parameters rollout 2–1355 select panel 2–1016
web site workflow 3–1035
getting content from 3–504 and biped 2–843
weight 2–1114, 2–1141, 2–1150 applying physique 2–1083
assignments (Skin modifier) 1–807 creating bulges 2–1094
assignments (vertex) 2–1092 footstep animation 2–856
vertices (Skin modifier) 1–791 in character studio 2–839
weight table 1–810 motion capture 2–1061
weight tool dialog 1–807 motion flow 2–1043
weighted vertices 2–834, 2–1130 procedures in this reference 2–1264
weld 1–935 Revit 3–452
editable mesh edges 1–1011 tendons 2–1147
editable mesh vertices 1–1003, 1–1011 workflows
threshold 1–297, 1–842, 1–888, 1–920, 1–1011, 3–542, designing materials 2–1395
3–586 edit poly 1–643
vertices 1–297 editable poly 1–1022
weld vertices/edges dialog 1–1077 project workflow in 3ds Max 1–1
what you should know to use character studio 2–832 radiosity 3–57
white paper, swivel angle and HI IK solver 2–449 set key 3–719
wide flange 1–288 sub-object selection (NURBS) 1–1084
width 2–990 working folder 3–487 to 3–488
wind 2–803 working with
wind space warp 2–75 crowd animation 2–1154
window/crossing toggle 1–93 workbench 2–1008
windows 1–210, 1–253 working with AutoCAD, AutoCAD Architecture and Revit
3ds Max 1–9 files 3–440
awning 1–256 working with biped 2–843
casement 1–257 working with crowd animation 2–1154
fixed 1–258 working with drawing files 3–417
pivoted 1–259 world axis 1–424
projected 1–260 world coordinate system (glossary) 3–1035
sample preview 2–1420 world rollout 2–808
sliding 1–261 world space 2–959, 3–1036
wire editor 2–412 world space (biped) 3–1036
wire parameters 2–411 to 2–412 world-space modifier 1–512
expression techniques 1–146 camera map 1–513
wireframe color 3–757 displace mesh 1–514
wireframes 1–46, 1–52, 3–1034 displace NURBS 1–515
wiring glossary 3–1036
particle view 2–134 LS colors 1–550
1340 Index

MapScaler 1–551 scenes 3–411

PatchDeform 1–552 user path configuration 3–812
PathDeform 1–552 using XRefs 1–16
subdivide 1–555 XRef merge dialog 3–406
surface mapper 1–556 XRef objects 3–393 to 3–394, 3–397, 3–414
SurfDeform 1–557 XRef scenes 3–393, 3–407
world-space tripod 3–729 XYZ controllers 2–317 to 2–318, 2–344, 2–356, 2–371
wrap cursor near spinner 3–815 XYZ coordinate shader (mental ray) 2–1730
wrectangle 1–284 XYZ generator shader (mental ray) 2–1729 to 2–1730
WSM modifier 1–512, 1–550 xyz position 2–958
camera map 1–513 XYZ to UVW option (UVW map modifier) 1–922
displace mesh 1–514
displace NURBS 1–515 Y
MapScaler 1–551 YUV file (glossary) 3–635
PatchDeform 1–552
PathDeform 1–552 Z
subdivide 1–555 -z command-line option 3–672
surface mapper 1–556 z element parameters rollout 3–143
SurfDeform 1–557 zero all 2–952
zero twist 2–952
X zoom
XAF files 3–472 about mouse point (preference) 3–821
adding to motion mixer 2–609 no zoom (particle view) 2–129
adjust time in motion mixer 2–615 region zoom (particle view) 2–135
adjusting in motion mixer 2–611 zoom 3–739
combining with mixer 2–604 zoom (particle view) 2–129, 2–135
filtering in motion mixer 2–612 zoom (Track View) 2–596
transitions in motion mixer 2–616 zoom all 3–740
XForm modifier 1–959 zoom extents (particle view) 2–129
XLI files 3–560 zoom extents all/all selected 3–737
XLO files 3–560, 3–562 zoom extents/extents selected 3–740
XMM files 3–472 zoom horizontal extents/extents keys (Track
xref 2–918 View) 2–595
add offset 2–383 zoom region (particle view) 2–129
xref biped 2–918 zoom region (Track View) 2–597
xref controller 2–298, 2–383 zoom selected object (Track View) 2–588
xref ik chain 2–436 zoom value extents (Track View) 2–596
xref material 2–1616 zooming views 1–29
XRef object zoom selected object option (Track View) 2–886
proxy object 3–414 zoom value extents (Track View) 2–596
XRef objects dialog zoom value extents range (Track View) 2–596
entities list right-click menu 3–405 ZT file 3–1037
files list right-click menu 3–403
XRef objects dialog 3–397
xref scenes
overlays 3–408, 3–412
xref systems 1–404
Xrefs
glossary 3–1036
resolving in file linking 3–439
resolving paths 3–431
XRefs
and paths 3–411, 3–415
glossary 3–1037