Maya Works
Emelia Lute
I'm getting used to Maya after having not used it for about five years, and have a mesh with several hundred thousand faces that I'm trying to slice along the horizontal plane (for starters). It took me forever just to get it into Maya from SketchUp, and now it's giving me an error that "polyChipOff works only on polygonal faces" when I try to use Multi-Cut to slice and extract faces.
Can anyone help me fix this? It's been holding me back for weeks now, and I'm running out of time for this project. My file is too big to fit here, but I can Dropbox it/send it otherwise if anyone is willing to take a stab at it.
Thanks for the tip, but unfortunately this is a brand new download of Maya on a computer it's never been on before, so I don't think that's the issue. I managed to get the thing sliced after doing some kind of magic, but accidentally did so on the wrong model and now can't remember how I did it. Some cleanup technique, some selection method, I wish for the life of me I knew.
I'm really trying to upload the scene file, but it's 82.2MB and nothing I do seems to shrink it. I've tried deleting faces and the whole object disappears; the scene optimization doesn't do anything, either.
To reiterate, my current challenges are 1) cutting the mesh in half along the horizontal plane (through the thinnest part of the outer ring evently), and 2) filling the interior so that the walls have thickness and each of the 9 big "bulbs" are hollowed out and connected to adjacent "bulbs".
I figured it out yesterday and got it cut in half, ended up using Multi-Tool and going through a painful several hour process of fixing the ruined triangular faces. Now I have this: =1n0J6J98isZ5mmIg1OwW1NUDYEMowmMke
I went through the laborious effort of making and connecting each "bulb" divet by hand, and then inserting bridges at key points so the fill hole tool would work, but I'm finding now that the fill hole is making my life harder rather than easier (I have to cut this thing into thirds so it can be 3D printed). How would you have used the extrude tool to thicken the walls? I wasn't sure what to select; when I tried, everything just inverted and became a mess of spiky polygons.
I recently got back into Maya from 2 years of doing 2D work, I know a lot of things have changed and I'm basically a caveman now trying to use Arnold. But every time I enable the plugin, Maya works fine I'm able to render an image, however saving with the plugin enabled hard crashes the program.
When you get a chance, can you please zip and attach the scene file here or via dropbox/google drive or another file sharing program so I can take a look at it? If the file is confidential or under NDA please send it to me in a private message instead of posting it here.
There was nothing in your previous post. If you're responding via email attachments don't always go through so you'll need to either come back to the forums and manually attach the file or use a shareable download link via google drive, dropbox etc
Hello!
I have trouble exporting form ZBrush to Maya: almost every time ZBrush launches new Maya instance, but what I need is to add exported SubTools to already opened Maya scene.
How to setup GoZ properly to achieve that?
GoZ from Maya works fine, but trying to send it back to Maya opens the subtool in a new instance of Maya. Every subtool opens a whole new Maya scene, completely breaking my workflow. This is getting pretty absurd.
I noticed that the numbers in columnLayout30textField29 rise, each time I execute the script from the console, and then from the file again, which I find confusing, because the old window gets deleted each time.
(I am a lonely artist, trying to get into scripting. (python/maya and C#/unity) What I want to say is, that learning the coding part really isnt that hard. It can be tedious at times, but you can google your way through almost anything. But its the "setting up" part that almost always throws me. Installing IDEs and libraries and "connecting" things. Here I am getting errors all the time. So any general help on what I am missing here, would be very much appreciated)
I just bought my first Wacom product ever, and sadly it's not working with the only program I make a living with = Autodesk Maya.Maya is made by Autodesk, and is the industry-standard for film and CGI, used by Disney and basically everyone in the CG deparment. I've even made a project for their VP in the past.
I have arthritis and I found that I can't work with Mouse+Keyboard, but using a graphics tablet makes me fully capable of working and I have no pain at all.I've been using a Huion tablet for some years and it works fine under Linux with Maya (H320M). I then bought an XP-Pen tablet and it also works fine (Deco 01 v2).Recently I've been curious about Wacom and decided to buy an Intuos Pro S. The size was perfect for my use, but as you'll see in the following video, some of the most important Maya functions don't work.
Other royal scepters (1979.206.1132) and ritual regalia were carved out of jadeite and other greenstones. For the ancient Maya, jade objects embodied the color blue-green (the spectrum of blues and green was referred to as one word, yax, in the Classic Mayan language), which symbolized new growth, water, and primordial places and beings. Sculptures made of jade range from deity figures (1979.206.1069) made for cached offerings to amulets (02.18.309) and beads to be worn by rulers and deposited in their funerary chambers to be taken with them to the afterlife. In the same way artists worked the hard stone, they also delicately cut and incised marine and freshwater shell, animal bones, and even human bones. Shell earflare frontals (1995.489a, b) depict the severed head of the Maya Maize God, the personification of a newly harvested ear of corn.
A common medium of Maya sculpture that is almost entirely lost to observers today is that of wood. Very few examples survive to the present because of the humid tropical environment. Several lintels over temple doors were composed of wooden beams and contained carved scenes of royal conquest and ritual. Three-dimensional wooden objects are scarcer and primarily known from dry tombs, cave contexts, or waterlogged anoxic conditions. A miraculously preserved kneeling dwarf (1979.206.1063) would likely have held a plaque covered in tiles of obsidian or pyrite that reflected light upon the ruler gazing at it. Often wooden sculptures are only recognized through the traces of a thin shell of stucco that once covered them before the wood rotted away.
Modeled and carved works of fired clay show the Maya virtuosity at creating realistic figurines and elaborate vessels and incense burners. Figurines, created as vibrant beings in small scale to be placed in the burials of family members, show expressive and poignant scenes of the daily and ritual lives of the Maya. Some depict individuals in costumes impersonating deities or other characters (1979.206.953), women with rich clothing and jewelry (1979.206.373), or deities themselves (1979.206.728). Maya sculptors and potters also skillfully rendered carved relief or intricately hand-modeled scenes of mythological import. A carved bowl (2000.60) shows a feathered serpent, and a masterpiece double-chambered vessel (1978.412.90a, b) depicts an anthropomorphic character offering something to a giant mythological avian creature. Incense burners depicting the sun and rain gods (1978.412.99) were deployed in intimate rituals in palaces, temples, and caves, to honor the ancestors (1999.484.1a, b; 1982.394a, b) and summon benevolent beings.
The Classic Period derives its name from an early comparison with the Greek classical world: the time in which artists reached the pinnacle of naturalistic and beautiful artistic achievement. Later sculpture from the Maya area follows radically different conventions. In the ninth and tenth centuries, monumental sculpture adorned palaces in Campeche and Yucatan, sometimes marking the buildings as animate mountains. The Maya rain god, known as Chac, also features prominently in later Maya art. A fearsome full-bodied portrait (66.181) shows Chac grimacing and holding a double-bladed axe as if to threaten the beholders. The disembodied head of Chac (1978.412.24) from Chichn Itz has skeletal features that add a sinister dimension to this work from the years just before the abandonment of Maya cities.
The works of Maya Angelou encompass autobiography, plays, poetry, and teleplays. She also had an active directing, acting, and speaking career. She is best known for her books, including her series of seven autobiographies, starting with the critically acclaimed I Know Why the Caged Bird Sings (1969).
Angelou's autobiographies are distinct in style and narration, and "stretch over time and place",[2] from Arkansas to Africa and back to the US. They take place from the beginnings of World War II to the assassination of Martin Luther King Jr.[2] Angelou wrote collections of essays, including Wouldn't Take Nothing for My Journey Now (1993) and Even the Stars Look Lonesome (1997), which writer Hilton Als called her "wisdom books" and "homilies strung together with autobiographical texts".[3] Angelou used the same editor throughout her writing career, Robert Loomis, an executive editor at Random House, until he retired in 2011.[4] Angelou said regarding Loomis: "We have a relationship that's kind of famous among publishers."[5]
She was one of the most honored writers of her generation, earning an extended list of honors and awards, as well as more than 30 honorary degrees.[6] She was a prolific writer of poetry; her volume Just Give Me a Cool Drink of Water 'fore I Diiie (1971) was nominated for the Pulitzer Prize,[7] and she was chosen by President Bill Clinton to recite her poem "On the Pulse of Morning" during his inauguration in 1993.[8]