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In this course, author Dan Ablan walks through the process of understanding the MODO workflow while learning to create 3D models and animations. The course teaches fundamental tasks, such as modeling polygons and applying materials with the Shader Tree, while exploring scene building in depth through advanced lighting, camera, and animation techniques. The course also covers MODO's schematic tools and shows how to render animations for various playback media.
Working with our fire extinguisher, we have used a lot of simple geometric shapes and used a good bit of the modo tools. But now you also want a little bit of realism in this as well. And we've done that by putting edges together and beveling them. But our little handle here is just kind of floating. And what we need to do is extend this clamp up so that our handle is connected to it. What we're going to do is go to the Clamp itself, and let's turn off the CenterHose and the Base from visibility, just by clicking the little eyeballs. And what we're going to do is edit this Clamp so that it encompasses our newly added handle.
And the way we're going to do that is by jumping to the Ctrl+Spacebar and choosing the Right view like that. Or you can choose Left. I think in this case, let's do Left. And what we want to do is take this handle and extend it up. And we don't want to stretch it. We actually want to take these nice points and move them up. Earlier in the course, I showed you how stretching a rounded corner can really kind of distort it. We want to work with the points. So we're going to go here. And in order to see things better, I want to make sure I'm in the Wireframe view.
And the reason is, other than visibility, is that if I go like this, often I'm only selecting what's in front of me, because it's a shaded view. If you take a look at a perspective view, and I kind of just go like this, it's only selecting what's in front. Often you can't select all the way down, because of the shaded view. So by going to a Wireframe view-- we're on the Left side, looking at a wireframe--we very easily can come in with our right mouse button and select all of those points.
And I know that those will go all the way through. We also want to take this side and move all of these up. So, very carefully, we're going to select from in here with the right mouse button, we're going to Lasso+Select all the way around, and then let go. And then I want to hold the Shift key and add to the selection, like that. Zoom out a little bit. W is our Transform tool. And I'll click just the green handle to move them straight up. I am going to move those up to about there.
And before I turn this off, Ctrl+Spacebar to a perspective view, and we can see that it might be a little too high, so we'll pull this back down right to about there. And what that does is encompasses the clamp and the handle altogether. So let's turn off the Move tool, click a blank area to deselect, and let's take a look at the OpenGL view. And now you could see that that handle is tucked away very nicely in there. Then we'll put on the Hose and the Base to get a feel for the whole thing.
And it's looking pretty good. And perhaps that hose might want to come up a little bit more. How would we edit that, now that we've extended our clamp up a little bit? Well, this was version 5 that we started with, so let's do this. So let's say File > Save As, and I'm going to version 6. Now I've been manually typing in these versions, but there's a better way to do this. So if you say File > Save Incremental, what happens is, version 6 now becomes version 001. We don't necessarily need to do that, but when you're start a new model on your own, do that from the beginning.
For instance, you would name this Fire Extinguisher and then the next save, do it incrementally, and it'll be 001, 02, and so on. And I pretty much do that for every single thing I do in modo. And the reason I do that is because too often people have final, final 1, final 2. Well, your model is almost never final, and if you save them in versions, you always have one to go back to, but you always know which is the most current, because it is the one with the highest number. Let's get back down to the CenterHose now, select that, and then I'm going to click right on it in Polygon mode, and I want to select all of it.
I'm going to hold the Shift key and press my up arrow. And we're able to go all the way down into that. Now I don't want to select the whole thing and move it; I want to get down just enough. That's the bottom, right there. So let's do this one more time. Select the front, Shift, and then up arrow. And then what I want to do is of course, just move it up, so I'll press the W command. But because I'm selecting only those polygons-- we'll turn the visibility off of the Clamp so you can see what's happening-- we're only extending just what we need, letting the Base remain inside there.
Very simple to edit these. And now that's extended up just a little bit more; it works pretty well. We'll turn off the Move tool, and we'll click the blank area to deselect. Part of editing polygons might mean adding a little bit more geometry. So just for a little bit of added realism, let's add a little bit of a rivet right here. So I'm going to go to Add Item and choose Mesh. I've a new blank Mesh layer. Ctrl+Space to get to the front view and then using the wheel on my mouse, I'm going to zoom in; you can also do it from the Zoom command in the top right.
We're going to select a disk and then right about here, we're just going to drag out like that, keeping an eye on your radius at the very bottom to make those even. And if you go up and down and left and right, this is how you control the X and the Y. And I'm doing this in the front view just simply for control. You can do it in any perspective view, and you can also come in here and manually punch in, just to even that out, and then turn off the tool. Ctrl+Space to get to the perspective view and you can see it's right there, which is fine.
We'll click on the polygon and then press W to move it in. And let's just make sure it touches. Now this is the advantage of having your background layer shaded as an OpenGL versus Wireframe, because now I know exactly where this is lining up. If it's a wireframe, I might not know where that is. So I'm just letting it sit right on there. Turn this off, and then I'm going to press the B key to bevel it. Click to activate the bevel. Let's shift this out and inset it just a little bit like that, and then I'm going to zoom in a little.
Now to make another bevel, hold the Shift key and click again, and then we'll just push this in a little bit, pull it out a little bit like that, and then turn off the bevel and then click to deselect. Now we can move this whole thing in by pressing W and just make sure it sits right in there. Lastly, Ctrl+Space back to the front view. Zoom out. I'm going to copy this, and the way I'm going to do it is pretty easy. That's one way of holding the bottom and the top is what we need.
So we're going to double-click this, go to Edit > Copy. Or you can use on the Mac, Command+C--on the PC, Ctrl+C. So we're going to copy this, move it down, Edit > Paste. Turn off the Move tool and deselect. And then Ctrl+Space to the Left view, and you can see that there's our little rivets right there. Now remember, these are on its own mesh layer, so I don't have to select anything if want to mirror both of them over. Shift+V is our mirror generator.
And we want it on the Z axis, and the reason I know this is because my workplane icon down here shows that I'm looking down the X axis and my Z currently is left and right. I'm going to click right on the center, and you can see that I'm a little off. Those are a little off right there. That's not really a big deal, because I can go right here to center and choose 0 and hit Return and they're perfectly lined up. Spacebar turns off the tool. Now the only thing is that this top one is inside this clamp. So I can do two things.
I can take these points and move them up for the clamp, or I can move the rivet down. So what I'm going to do is move the clamp. So I'll come back to the clamp, choose the Wireframe mode, and with the right mouse, I'm going to Lasso+Select just around these points. And if you don't get them all, make sure you add to it. So in this case, I was still in Polygon mode and that can work, but I want to be very specific and go to Vertices, or Vertex. Now here's the advantage, again, of a different mesh layer.
If I was building on the same layer, I would have selected that rivet inside there on all those points. Because it's on its own layer, I don't have to worry about that. W key for the Transform tool, and we'll just move those up. Turn off that, click to deselect, and this is going to be saved as version 6. Finally, all I really need to do is create some interior here if I want it. The way you can do that, I'm going to turn off all these things here so we can see what's happening.
These rivets that we've created-- I can even turn off the Clamp-- you can very easily take these edges and extend them in. So if you go back to an OpenGL mode, notice that the insides are blank-- very similar to how we created the fire extinguisher from the very beginning. We don't really need polygons in there, but what we can do is come down here like this, go to Vertices, choose one and then two. And earlier in the course I talked about the Loop mode, so press the L key, and it selects that entire loop of polygons.
If you put the Clamp back on, as well as the Handle, and then press the W key for the Transform tool, you can just drag these points until I hit that inside. Spacebar turns off the Move tool, click to deselect, and you can see that those are now in there. So, very easy to do, and you can do those with the others. And initially, these are the things that happen as you're modeling. I don't feel they're important because we're only going to render from a view like this. But if you're building this that you had a fly through it for some reason, and you wanted that to be more accurate, something to consider before you copy this one down and then mirror them over.
So let's name this layer, call these Rivets. And then we'll put the Base back on, and we'll save the model. So editing polygons is not very difficult, adding to your geometry. And a good part of this is staying organized throughout your scene. Whatever you're building, just stay organized. Work in multiple mesh layers. Work with simple geometry, so you have a lot more control. It's always easy to add more geometry and add more detail. It's a lot harder to take away. Keep that in mind as you build anything in modo.
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