308 Part II ✦ Working with Objects

Another key difference is that World-Space modifiers appear above all Object-Space modifiers
in the Modifier Stack, so they affect the object only after all the other modifiers are applied.

Tutorial: Learning Object-Space versus

World-Space order
World-Space modifiers are applied to objects after all Object-Space modifiers. To see this
affect, we apply the Subdivide modifier and then a Noise modifier to a flat Plane object to
create a rough, bumpy surface.
To see the order difference between World-Space modifiers and Object-Space modifiers,
follow these steps.
1. Select the Create ➪ Standard Primitives ➪ Plane menu command, and drag in the Top
viewport twice to create two Plane objects.
2. Select the Plane object on the left, choose Modifiers ➪ Radiosity Modifiers ➪ Subdivide,
and set the Size to 10.
3. Select the Modifiers ➪ Parametric Deformers ➪ Noise menu command to apply the Noise
modifier, enable the Fractal option, and set the X, Y, and Z Strength values to 50 each.
4. Select the right Plane object in the Top viewport, choose Modifiers ➪ Radiosity
Modifiers ➪ Subdivide (WSM), and set the Size to 10.
5. Finally, select the left Plane object in the Top viewport and drag the Noise modifier
from the Modifier Stack to the right Plane object.
Notice the difference in the two Plane objects.
Figure 11-8 shows the difference between the World-Space modifier and the Object-Space
modifier due to their order in the Modifier Stack. Although both objects receive the same
modifiers, the World-Space modifier for the object on the right has to be applied after all
other modifiers, so the object isn’t subdivided until after the Noise modifier has already been
applied. Therefore, it doesn’t have the resolution to make a lot of bumps.

Cross- All Space Warps are also applied using World-Space coordinates, so they also have the WSM
Reference letters next to their name. You can get more information on Space Warps in Chapter 38,
“Using Space Warps.”

Selection modifiers
The first set of modifiers available in the Modifiers menu is the Selection modifiers. You can
use these modifiers to select subobjects for the various object types. You can then apply
other modifiers to these subobject selections. Any modifiers that appear above a Selection
modifier in the Modifier Stack are applied to the subobject selection.
 Chapter 11 ✦ Introducing Modifiers for Basic Object Deformation 309

Figure 11-8: The left Plane object has been subdivided before applying noise, and the
right Plane has not.

Selection modifiers are available for every modeling type, including Mesh Select, Poly Select,
Patch Select, Spline Select, Volume Select, FFD Select, and NURBS Surface Select. You can
apply the Mesh Select, Poly Select, Patch Select, and Volume Select modifiers to any 3D
object, but you can apply the Spline Select modifier only to spline and shape objects, the FFD
Select modifier only to the FFD Space Warps objects, and the NURBS Surface Select modifier
(found in the NURBS Editing submenu) only to NURBS objects. Any modifiers that appear
above one of these Selection modifiers in the Modifier Stack are applied only to the selected
subobjects.

Cross- Each of the Selection modifiers is covered for the various modeling types in its respective
Reference chapter. For example, to learn about the Patch Select modifier, see Chapter 15, “Creating and
Editing Patches.”

When a Selection modifier is applied to an object, the transform buttons on the main toolbar
become inactive. If you want to transform the subobject selection, you can do so with the
XForm modifier.
310 Part II ✦ Working with Objects

New The Selection by Channel is a new addition to the Selection Modifiers set. You can learn
Feature more about this modifier in Chapter 50, “Max and Games.”

Volume Select modifier

Among the Selection modifiers, the Volume Select modifier is unique. It selects subobjects
based on the area defined by the modifier’s gizmo. The Volume Select modifier selects all sub-
objects within the volume from a single object or from multiple objects.
In the Parameters rollout for the Volume Select modifier, shown in Figure 11-9, you can specify
whether subobjects selected within a given volume should be Object, Vertex, or Face sub-
objects. Any new selection can Replace, be Added to, or be Subtracted from the current
selection. You can use the Invert option to select the subobjects outside of the current vol-
ume. You can also choose either a Window or Crossing Selection Type.

Figure 11-9: The Volume Select parameters

let you select using different shaped volumes.

The actual shape of the gizmo can be a Box, a Sphere, a Cylinder, or a Mesh Object. To use a
Mesh Object, click the button beneath the Mesh Object option and then click the object to
use in a viewport. In addition to selecting by a gizmo-defined volume, you can also select sub-
objects based on certain surface characteristics, such as Material IDs, Smoothing Groups, or
a Texture Map including Mapping Channel or Vertex Color. This makes it possible to quickly
select all vertices that have a Vertex Color assigned to them.
The Alignment options can Fit or Center the gizmo on the current subobject selection. The
Reset button moves the gizmo to its original position and orientation, which typically is the
bounding box of the object. The Auto Fit option automatically changes the size and orienta-
tion of the gizmo as the object it encompasses changes.

Note The Volume Select modifier also includes a Soft Selection rollout. Soft Selection lets you select
adjacent subobjects to a lesser extent. The result is a smoother selection over a broader sur-
face area. The Soft Selection options are explained in Chapter 12, “Modeling Basics.”
 Chapter 11 ✦ Introducing Modifiers for Basic Object Deformation 311

Tutorial: Applying damage to a car

In this tutorial, we use the Volume Select modifier to select the front corner of a car and then
apply Noise and XForm modifiers to make the corner look like it’s been damaged in a collision.
To use modifiers to make a section of a car appear damaged, follow these steps:
1. Open the Damaged car.max file from the Chap 11 directory on the CD-ROM.
This file includes a car model created by Viewpoint Datalabs.
2. With the front end of the car selected, choose the Modifiers ➪ Selection Modifiers ➪
Volume Select menu command.
This command applies the Volume Select modifier to the group.
3. In the Modifier Stack, click the plus sign icon to the left of the modifier name and select
the Gizmo subobject. Move the gizmo in the Top viewport so only the front corner of
the car is selected. In the Parameters rollout, select the Vertex option.
4. Choose the Modifiers ➪ Parametric Deformers ➪ Noise menu command to apply the
Noise modifier to the selected volume. In the Parameters rollout, enable the Fractal
option and set the X, Y, and Z Strength values to 30.
5. Choose Modifiers ➪ Parametric Deformers ➪ XForm to apply the XForm modifier and
use its gizmo to push the selected area up and to the left in the Top viewport. This step
makes the section look dented.
Figure 11-10 shows the resulting damaged car. Notice that the rest of the object is fine and
only the selected volume area is damaged.

Figure 11-10: The Noise and XForm modifiers are applied to just the subobject selection.
312 Part II ✦ Working with Objects

Cross- You can see another example of how a Select modifier can be used to select and apply a
Reference modifier to a subobject selection in Chapter 12, “Modeling Basics.”

Parametric Deformer modifiers

Perhaps the most representative group of modifiers is the Parametric Deformers. These modi-
fiers affect the geometry of objects by pulling, pushing, and stretching them. They all can be
applied to any of the modeling types, including primitive objects.

Note In the upcoming examples, you might start to get sick of seeing the hammer model used
over and over again, but using the same model enables you to more easily compare the
effects of the various modifiers, and it’s more interesting to look at than a simple box.

Bend modifier
The Bend modifier can bend an object along any axis. Bend parameters include the Bend
Angle and Direction, the Bend Axis, and the Limits. The Bend Angle defines the bend in the
vertical direction, and the Direction value defines the bend in the horizontal direction.
Limit settings are the boundaries beyond which the modifier has no effect. You can set Upper
and Lower Limits. Limits are useful if you want the modifier applied to only one half of the
object. The Upper and Lower Limits are visible as a simple plane on the modifier gizmo. For
example, if you want to bend a tall cylinder object and have the top half continue on straight,
you could simply set an Upper Limit for the cylinder at the location where you want it to stay
linear.

Note Several modifiers have the option to impose limits on the modifier, including upper and
lower limit values.

The hammer in Figure 11-11 shows several bending options. The left hammer shows a bend
value of 75 degrees around the Z axis, the middle hammer also has a Direction value of 60,
and the right hammer has an Upper Limit of 8.

Figure 11-11: The Bend modifier can bend objects about any axis.
 Chapter 11 ✦ Introducing Modifiers for Basic Object Deformation 313

Tutorial: Bending a tree

If you have a tree model that you want to bend as if the wind were blowing, you can apply
the Bend modifier. The tree then bends about its Pivot Point. Luckily, all the trees and plants
found in the AEC Objects category have their Pivot Points set about their base, so bending a
tree is really easy.
To bend a tree using the Bend modifier, follow these steps:
1. Select the Create ➪ AEC Objects ➪ Foliage menu command to access the available trees.
Select a long thin tree like the Yucca, and click in the Top viewport to add it to the scene.
2. With the tree selected, select the Modifiers ➪ Parametric Deformers ➪ Bend menu com-
mand to apply the Bend modifier to the tree.
3. In the Parameters rollout found in the Modify panel, set the Bend Axis to Z and the
Bend Angle to 60.
The tree bends as desired.
Figure 11-12 shows the bending Yucca plant. To animate this tree bending back and forth, just
set keys for the Angle parameters.

Figure 11-12: The Bend modifier can be used to bend trees.

314 Part II ✦ Working with Objects

Taper modifier
The Taper modifier scales one end of an object. The end of the object that is scaled is the end
opposite the Pivot Point. Taper parameters include the Amount and Curve, Primary and
Effect Axes, and Limits. The Amount value defines the amount of taper applied to the affected
end. The Curve value bends the taper inward (for negative values) or outward (for positive
values). You can see the curve clearly if you look at the modifier’s gizmo. For example, you
can create a simple vase or a bongo drum with the Taper modifier and a positive Curve value.
The Primary Axis defines the axis about which the taper is applied. The Effect axis can be a
single axis or a plane, and the options change depending on your Primary Axis. This defines
the axis or plane along which the object’s end is scaled. For example, if the Z axis is selected
as the Primary Axis, then selecting the XY Effect plane scales the object equally along both
the X and Y axes. Selecting the Y Effect axis scales the end only along the Y axis. You can also
select a Symmetry option to taper both ends equally. Taper limits work just like the Bend
modifier.
The left hammer in Figure 11-13 shows a taper of 1.0 about the Z axis, the middle hammer
also has a Curve value of –2, and the right hammer has the Symmetry option selected.

Figure 11-13: The Taper modifier can proportionally scale one end of an object.

Tutorial: Creating a yo-yo

The Taper modifier can be used to create a variety of simple objects quickly, such as a yo-yo.
To create a yo-yo using the Taper modifier, follow these steps:
1. Select Create ➪ Standard Primitives ➪ Sphere, and drag in the Front viewport to create
a sphere object.
2. With the sphere object selected, choose Modifiers ➪ Parametric Deformers ➪ Taper to
apply the Taper modifier. Set the Taper Amount to 4.0 about the Primary Z Axis and XY
as the Effect plane, and enable the Symmetry option.
Figure 11-14 shows the resulting yo-yo; just add a string.
 Chapter 11 ✦ Introducing Modifiers for Basic Object Deformation 315

Figure 11-14: The Taper modifier can be used to create a simple yo-yo.

Twist modifier
The Twist modifier deforms an object by rotating one end of an axis in one direction and the
other end in the opposite direction. Twist parameters include Angle and Bias values, a Twist
Axis, and Limits.
The Angle value is the amount of twist in degrees that is applied to the object. The Bias value
cause the twists to bunch up near the Pivot Point (for negative values) or away from the Pivot
Point (for positive values).
The left hammer in Figure 11-15 shows a twist angle of 120 about the Z axis, the middle hammer
shows a Bias value of 20, and the right hammer has an Upper Limit value of 8.

Noise modifier
The Noise modifier randomly varies the position of object vertices in the direction of the
selected axes. Noise parameters include Seed and Scale values, a Fractal option with
Roughness and Iterations settings, Strength about each axis, and Animation settings.
The Seed value sets the randomness of the noise. If two identical objects have the same set-
tings and the same Seed value, they look exactly the same even though a random noise has
been applied to them. If you alter the Seed value for one of them, then they will look dramati-
cally different.
316 Part II ✦ Working with Objects

Figure 11-15: The Twist modifiers can twist an object about an axis.

The Scale value determines the size of the position changes, so larger Scale values result in
a smoother, less rough shape. The Fractal option enables fractal iterations, which result in
more jagged surfaces. If Fractal is enabled, Roughness and Iterations become active. The
Roughness value sets the amount of variation, and the Iterations value defines the number of
times to complete the fractal computations. More iterations yield a wilder or chaotic surface,
but require more computation time.
If the Animate Noise option is selected, the vertices positions will modulate for the duration
of frames. The Frequency value determines how quickly the object’s noise changes, and the
Phase setting determines where the noise wave starts and ends.
Figure 11-16 shows the Noise modifier applied to several sphere objects. These spheres make
the Noise modifier easier to see than on the hammer object. The left sphere has Seed, Scale,
and Strength values along all three axes set to 1.0, the middle sphere has increased the
Strength values to 2.0, and the right sphere has enabled the Fractal option with a Roughness
value of 1.0 and an Iterations value of 6.0.

Figure 11-16: The Noise modifier can apply a smooth or wild look to your objects.
 Chapter 11 ✦ Introducing Modifiers for Basic Object Deformation 317

Cross- Another solution for creating terrains is the Terrain compound object covered in Chapter 17,
Reference “Building Compound Objects.”

Stretch modifier
The Stretch modifier moves one axis in one direction while moving the other axes in the
opposite direction, like pushing in on opposite sides of a balloon. Stretch parameters include
Stretch and Amplify values, a Stretch Axis, and Limits.
The Stretch value equates the distance the object is pulled, and the Amplify value is a multi-
plier for the Stretch value. Positive values multiply the effect, and negative values reduce the
stretch effect.
Figure 11-17 shows a Stretch value of 0.2 about the Z axis applied to the hammer, the middle
hammer also has an Amplify value of 2.0, and the right hammer has an Upper Limit value of 8.

Figure 11-17: The Stretch modifier pulls along one axis while pushing the other two.

Squeeze modifier
The Squeeze modifier takes the points close to one axis and moves them away from the cen-
ter of the object while it moves other points toward the center to create a bulging effect.
Squeeze parameters include Amount and Curve values for Axial Bulge and Radial Squeeze,
and Limits and Effect Balance settings.
The Effect Balance settings include a Bias value, which changes the object between the maxi-
mum Axial Bulge or the maximum Radial Squeeze. The Volume setting increases or decreases
the volume of the object within the modifier’s gizmo.
Axial Bulge is enabled with an Amount value of 0.2 and a Curve value of 2.0 in the left hammer
in Figure 11-18, the middle hammer has also added Radial Squeeze values of 0.4 and 2.0, and
the right hammer has an Upper Limit value of 8.
318 Part II ✦ Working with Objects

Figure 11-18: The Squeeze modifier can bulge or squeeze along two different axes.

Push modifier
The Push modifier pushes an object’s vertices inward or outward as if they were being filled
with air. The Push modifier also has one parameter: the Push Value. This value is the distance
to move with respect to the object’s center.
The positive Push value pushes the vertices outward away from the center, and a negative
Push value pulls the vertices in towards the center. The Push modifier can increase the size
of characters or make an object thinner by pulling its vertices in. Figure 11-19 shows the ham-
mer pushed with 0.05, 0.1, and 0.15 values.

Figure 11-19: The Push modifier can increase the volume of an object.

Relax modifier
The Relax modifier tends to smooth the overall geometry by separating vertices that lie
closer than an average distance. Parameters include a Relax Value that is the percentage of
the distance that the vertices move. Values can range between 1.0 and –1.0. A value of 0 has
no effect on the object. Negative values have the opposite effect, causing an object to become
tighter and more distorted.