Rentabilidad Nominal y Real del Tipo de Fondo III

them out a bit. Repeat the process for the three remaining fingers and scale the faces so they look like Figure 4-37.

Figure 4-36

Figure 4-37

51. Select each of the four finger sections and independently extrude them to line up with the tip of each finger on the skel-etal reference. Use the Insert Edge Loop tool to create a loop to account for each joint of the fingers. Remember that you can rotate the figure so that the arm is parallel to the ground plane in order to make this process easier. Now adjust the position and scale of each finger to match the skeletal refer-ence. Check out Figure 4-38.

52. Create two additional loops between the tip of each finger and the next joint up. Do the same between the rest of the joints on all of the fingers.

Figure 4-38

53. Use the Insert Edge Loop tool to add another loop on the hand near the wrist. Now grab the two faces on the thumb side of the hand closer to the wrist. Extrude the face out to the first thumb joint, and then again to the tip of the thumb.

54. The thumb involves a bit of tweaking. Select all of the faces that make up the thumb and rotate them about 45 degrees.

Create two additional loops between each joint.

Figure 4-39

Figure 4-40

55. Let’s go back to the body and add a few more edge loops. Add three loops between the bottom of the pelvis and the next edge up. These loops will follow a path down along the front of the leg and around to the back.

56. Let’s get back to the head. In the side view, turn on Wireframe mode so that you can see the reference head.

Figure 4-41

Figure 4-42

57. Select the bottom vertices on the front of the face and move them so that they sit at the front of the mouth. The vertices up from the ones at the teeth should be moved up to just below the nose. The next set up should sit around the middle of the nose. Move the next set of verts to around the center of the eye socket. The next set up should move down to the crest of the brow ridge.

58. Compare Figure 4-43 to Figure 4-42 to see how the vertices have moved.

59. Continue to move the vertices on the head by following the example in Figure 4-44. Compare Figure 4-44 to Figure 4-43 so that you can see the original position of the vertices as well as where they should subsequently be moved.

Figure 4-43

60. Select the faces on the side of the head and then switch to a perspective view. Using the Scale tool, scale the faces uni-formly by selecting the center yellow cube on the manipulator.

It should look similar to Figure 4-45. We’ll pick back up on the head in the next chapter, ironically titled “Building the Head.”

Figure 4-44

Figure 4-45

61. Delete History and save your file!

62. Beyond averaging vertices we could also do a little manual adjustment. Select Mesh | Sculpt Geometry Toolp [v7:

Edit Polygons | Sculpt Geometry Toolp]. When the dialog pops up, select the Smooth radio button under Sculpt Parame-ters and set Max Displacement to 0.005. Drag the Sculpt manipulator over the geometry. You will see the edges start to become more “rounded.” Use the manipulator as a paintbrush to soften and round out the figure.

63. In order to get some of the form in place we could also use the Push and Pull sculpting tools. Be sure to select the Auto Smooth check box when using Push and Pull. You may also need to increase the Max Displacement as well. A good Max Displacement setting for Pull and Push would be about 0.2 to 0.4, with a Smooth Strength of 2 to 4. (See “The Sculpt Geometry Tool” in Chapter 3 for more information about this tool’s use.)

Don’t overdo it. Be sure to not continually hold down the left mouse button. The approach you want to use here is to touch the model and release the mouse button. This gives you the ability to better control how much you are smoothing. You will notice that if you smooth too much, the geometry will tighten up more than you would want. So remember, a little at a time.

You should end up with something like Figure 4-46.

Many times throughout the modeling process you may want to apply a smooth node to your model or work with a subdivided proxy to see how things are shaping up. I will often apply a Mesh | Smooth [v7: Polygons | Smooth] and then delete it again and again to see what I need to do on the lower-resolution model.

Here is another neat little trick. During the process of sculpting to obtain more of that organic shape, you can apply a Smooth and continue to sculpt on the higher-resolution model. Then by deleting the polySmoothFace, you will still retain a lot of the sculpt that you performed on the higher-resolution model on the original geometry.

Unfortunately, when you reapply the Smooth you won’t get the exact sculpting results, but believe me, it really does make things go a lot easier. One other little hitch is that Maya sometimes gets a bit screwy when you use the Sculpt Geometry tool. You may notice as you are using it that you can’t see any changes to the model. The fix is to duplicate the model and then delete the original. The Go Tools toolbox allows you to fix this by right-clicking on the Sculpt Poly button under the Modeling tab.

At this point you may notice that the center of your model may have been altered while you were using the Sculpt Geometry tool.

Use the Border Edge command to select the border and then scale the centerline on the X-axis as explained previously. Adjusting the centerline is something you will probably end up doing a lot when using the Sculpt Geometry tool. Using the Border Edge button in the Go Tools toolbox will make the process of straightening your border edge painless.