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Tutorial
Lofting a Telephone
A retro-style telephone
In this tutorial you will create a retro-style telephone. You will use 2D splines and shapes to create profiles, cross-
sections and paths, then use the lofting features of 3ds max to loft the shapes to create a 3D model.
Note: This tutorial is a basic tutorial, but we suggest that you do this after completing Animated Still Life, found in the
“Getting Started with 3ds max” tutorial. You'll need to know how to select objects and vertices and navigate around
the viewports.
Skill Level: Beginner
Time to Complete: 2 hours
Tutorial Files
All the necessary files to do the tutorials can be found on the Tutorial And Sample Files CD, the third CD that ships
with 3ds max 6. Before starting any tutorials, copy the \tutorials folder from the CD to your \3dsmax6 local
installation.
The files for this tutorial are in the \tutorials\intro_to_modeling folder.
In This Tutorial
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9. Click the Select And Move button and move the Telephone–Tower shape inside the Telephone–Base shape
to match the illustration.
Tip: Use the grid lines to help you position the shapes.
The top cross-sections are complete, so next you'll create the profile of the telephone seen from the front.
7. Right–click in the viewport to exit the Rectangle tool and open the Modify panel.
8. With Select And Move active, move Telephone–Front so the longer, narrow rectangle lines up with the
Telephone–Base shape.
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11. Move the spline so that it overlaps the narrower spline to match the illustration.
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1. Scroll down to the Geometry rollout and turn on Boolean. Make sure Union is turned on. The button will look
depressed and have a gold background.
2. Place your cursor over the longer, narrow spline and click.
The intersecting lines are cleaned up, and your profile is looking better.
Pressing the CTRL key while making a selection allows you to add objects, or sub-objects, to a previous
selection.
5. Scroll down to the Geometry rollout and turn on Fillet. In the adjacent field, drag the spinner upward until you
see 5.0 in the fillet radius field.
As you move the spinner, you can watch the corners round off.
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7. Click the down arrow next to the Modifier List to open the list of modifiers. Choose Taper.
You'll see an orange gizmo overlay on top of the four vertices.
8. Click the '+' symbol next to Taper to access its sub-object levels. Choose Center.
The gizmo center becomes active.
9. Move the Center downward until it's centered between the two lower vertices as shown in the illustration.
By moving the Center down to the lower edge of the gizmo, you control which way the vertices will taper when
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you set the Taper Amount. You want only the top vertices to taper, therefore, you move the gizmo center to the
opposite extreme.
10. In the Parameters > Taper Axis group, make sure you turn on the Primary: Y axis, then enter -.3 in the Amount
field.
The top is tapered.
3. Right–click Telephone–Front to open the quad menu and then choose Corner from the Tools 1 menu.
The only vertices that require Bezier Corners are the ones at each end of the fillets. You want these vertices to
have Corner attributes so when they are moved, the line segments between will not curve. You want the
segments to remain straight.
4. Select the two vertices at the base of the tower in the profile and right–click the Select And Move button.
This opens the Move Transform Type-In dialog.
5. In the Y-axis field of the Offset: Screen group, enter 1 and press Enter.
The two vertices shift up slightly.
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6. Close the Transform Type-In dialog. Click Editable Spline in the modifier stack to turn off sub-object mode.
Before you can work on other objects, you have to turn off sub-object mode. The entry in the modifier stack is
gray when sub-object mode is turned off.
Excellent! You're done with the front profile. Now you'll build the side profile using a different method.
2. Hold down the SHIFT key and drag the two cross-sections to the right, leaving about three grid squares
between the original and the copies.
The clone Options dialog appears.
3. In the Clone Options dialog, turn on Copy and change the name to Telephone–Side.
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4. Select the larger copy, and change the Width to 20 and the Corner Radius to 0.
Tip: You can set any field that uses a spinner to zero by right-clicking the spinner arrows.
5. Select the other copy, Telephone–Side, and change the Width to 55 and the Corner Radius to 0.
Both shapes are centered on one another.
6. Move Telephone–Side to the left so its right edge is in the middle of the tall, narrow rectangle as shown in the
illustration.
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7. Right-click Telephone–Side and choose Convert To: > Convert to Editable Spline.
8. In the Geometry rollout, click the Attach button and pick the tall, narrow rectangle.
Right–click to turn off the Attach tool.
The two rectangles must be attached in order to be able to use the Boolean function.
9. Click the '+' symbol next to Editable Spline in the modifier stack to access its sub-object levels.
By doing this, you can bypass a lot of scrolling between the Selection rollout and Geometry rollout.
Now you'll start refining the splines and vertices to create the side profile.
3. Once again, make sure Union is turned on and click the wider, shorter spline.
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6. In the Geometry rollout, turn on Fillet and drag the spinner until the Fillet Radius field is set to 5.
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7. Drag a selection window around the four vertices that comprise the side profile of the tower.
10. Move the Center to the right until it's centered between the two right–hand vertices as shown in the
illustration.
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11. In the Parameters > Taper Axis group, make sure you turn on the Primary: X axis then enter .6 in the Amount
field.
3. Right–click in the viewport and then choose Corner from the Tools 1 menu.
4. Select the two vertices at the base of the tower and right–click the Select And Move button.
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5. In the X axis field of the Offset: Screen group, enter –1 and press Enter.
The two vertices shift slightly to the left.
6. Close the Transform Type-In dialog and select the two top vertices on the tower section.
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7. Move them upwards to give the front of the profile more of a slope while reducing the slope on the back.
8. Click Editable Spline in the modifier stack to turn off sub-object mode.
9. From the menu bar, choose File > Save and save your scene as my_phone.max.
You're done with the shapes you'll need for the base of the telephone. In the next lesson you'll use the Loft tool and
Fit deformations to form the 3D model of the base.
Next
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3. Without changing any of the X, Y or Z values, click the Add Point button.
This places the first point of your loft path.
4. In the Z field enter 65 and click the Add Point button, again.
5. Click Finish and then right-click in the viewport to exit the Line tool.
That's it. The loft path for the base of the telephone is a simple, straight line. Now you're ready to build the base.
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Tip: If you lose track of objects, watch for the name tag flyout that appears when you place your cursor over an
object.
5. In the Path Parameters rollout, turn on Distance and enter 20 in the Path field.
In the wireframe viewports, you can see a yellow 'x' move up the loft path. Since you can add multiple shapes to
a loft path, this marker indicates where your next shape will be placed.
6. Click the Get Shape button again, and then press the H key.
This shortcut key opens the Pick Objects dialog where you can choose the next shape. This is handy when the
shapes in your scene may be obstructed.
7. Choose Telephone - Base from the list and click the Pick button.
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Adding a duplicate of the first shape ensures that the base footprint of the telephone is maintained before
blending into the tower section.
8. In the Path Parameters rollout, enter 21 in the Path field and click the Get shape button once again.
9. Press the H key and choose Telephone - Tower from the list and then click the Pick button again.
A distinct shoulder now divides the base and the tower.
If you didn't add the duplicate of the Telephone - Base cross-section at 20 units along the path, the transition
from the base footprint to the tower would have been immediate.
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10. In the Name And Color rollout, change the name to Telephone.
The base of the telephone is really shaping up. Now to finish it using Fit Deformations.
5. Click the Get Shape button on the Fit Deformation toolbar and pick the Telephone - Front profile.
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The profile appears in the Fit Deformation graph, but it doesn't make the model look any better.
7. Now click the Show Y-Axis button on the Fit Deformation toolbar.
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8. The Get Shape button on the Fit Deformation toolbar is still active so pick the Telephone - Side profile.
The side profile appears in the Fit Deformation graph, but it's apparent you'll have to rotate this one, too.
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If you notice any ridges or creases in the model, you can try turning off the following switches to fix the anomalies.
1. Open the Surface Parameters rollout and turn off Smooth Length or Smooth Width or both.
This is particularly useful for clearing up ridges on the surface.
2. To fix strange extrusions on the mesh, open the Skin Parameters rollout and try turning off Constant Cross-
Section or turning on Optimize Shapes.
Congratulations! You now have a base for your telephone. Next, you'll create the shapes for the receiver using the
shape modeling techniques.
Next
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z Continue from the previous lesson, Loft the Telephone Base, or you can open telephone_base_3d.max from the
\tutorials\basic_modeling folder.
Note: If you choose to use the sample file, the Telephone Base and shapes have been hidden to give you space to
work.
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10. Create one more circle and set its radius to 7 to produce the third cross-section.
11. In the Name And Color rollout, change the name to Receiver–Bend.
12. Right-click Receiver–Middle and choose Convert To > Convert to Editable Spline. Do the same for Receiver–
Bend.
The Modify panel opens so you can start editing the shape of the cross-sections.
3. Click the Select And Move button on the toolbar and move the two vertices upward as shown in the
illustration.
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4. Turn on Segment mode and drag a selection window across both bottom segments.
6. In the modifier stack, click the Editable Spline entry to turn off sub-object mode.
The entry turns gray.
7. Click the Receiver–Bend shape and turn on sub-object mode by clicking its Editable Spline entry in the modifier
stack.
8. Turn on Vertex mode and drag a selection windows around the top and bottom vertices.
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Next
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1. Right-click in the Front viewport to make it active. Open the Create panel.
Note: The overall top surface of the telephone base is around 40 units wide, so make sure you drag at least 25
units away from the first point before placing the second point. This will give you the necessary clearance after
the receiver is lofted.
5. Release the mouse button and click–drag again to place the second point of the path.
As you drag away from the second point, notice that the previous segment continues to curve in order to blend
with the next curve segment.
6. Release the mouse button again and click–drag away from the second point, not too far, to place the last point of
the loft path.
Note: If you drag too far away from the second point before releasing the mouse button, you'll add some quirky
distortions to the second curved segment.
7. Click and release to set the last point on the path, and then right-click to exit the Line tool.
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You should have a loft path that looks something like this.
With the loft path complete, you can now loft the 3D receiver.
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Now that the basic shapes are assigned, you can start refining and sculpting the receiver by editing the lofted
object's Deformations.
1. Open the Modify panel and then open the Deformations rollout.
First you'll properly orient the handle shape.
2. Click the Twist button to open the Twist Deformation graph.
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3. Click the black control point at the zero (left) end of the graph.
It turns white.
4. Move Control Point is already active, so drag the control point up toward 100.
Don't worry about getting it right on. You'll fine tune it next.
5. At the bottom of the graph, you'll see two text entry fields. Enter 90 in the second field.
The first field represents the distance along the loft path. The second field represents the rotation angle.
6. Click to select the control point at the opposite end of the path.
Notice that the first field at the bottom now reads 100.
7. Enter 90 in the second text entry field.
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2. Right-click in the Front viewport and maximize it by clicking the Min/Max button or pressing ALT+W.
3. In the Teeter Deformation graph, turn off Make Symmetrical and then click the first control point.
4. Enter -3 in the second entry field to straighten out the narrow end of the receiver.
If you're using your own loft path, you might have to change this value slightly.
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5. Click the control point at the opposite end of the graph and enter 2.
Now that the ends are fixed, you have to smooth the creasing going on at the bend.
6. In the Path Parameters rollout, set the path to 60. This is where the Receiver–Bend cross-section is located.
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7. In the Teeter Deformation graph, click Insert Corner Point and the click the graph around 60.
8. After placing the control point, enter 60 in the first entry field to precisely place the control point 60 units along
the loft path, and 15 in the second field to set the teeter angle.
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Just a little more sculpting and you'll be ready to finish the receiver.
2. In the Scale Deformation graph, click Insert Corner Point and add two new control points around 90 and 95.
3. Select the control point at 100 and change the second entry field value to 80.
The end of the receiver tapers.
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4. Select the next control point to the left and set the first field value to 99 and the second field value to 94.
The end of the receiver continues to be refined.
5. Select the next control point and set the first field value to 97 and the second field value to 100.
The end of the receiver is rounded off.
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2. Place your cursor over the Insert Control Point button. Click and hold until the flyout menu opens so you can
pick the Insert Bezier Point button.
3. On the red 'X' Deformation line, add two points: one at around 60 and the other around 70.
4. Click the Move Control Point button and change the values of the second new point to 70 and 81.
5. Move the cursor over the handle extending to the right and drag it so it matches the illustration.
6. Select the first of the two new points and set its field values to 61 and 56.
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7. Move your cursor over the handle extending to the left and move it to match the illustration.
2. Click the Insert Bezier Point button and add two new control points around 60 and 75 on the green, 'Y'
Deformation line.
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3. Click the Move Control Point button and change the values of the currently selected point to 76 and 82.
4. Move the cursor over the handle extending to the right and drag it to match the illustration.
5. Select the first of the two new points and set its field values to 60 and 69.
6. Move your cursor over the handle extending to the left and move it to match the illustration.
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3. Click the '+' symbol next to Symmetry in the modifier stack to access the Mirror sub-object level.
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4. In the Parameters rollout, turn on Flip from the Mirror Axis group.
The result is something like a receiver.
5. Turn on Select And Move and click Mirror in the modifier stack.
6. Drag the Mirror gizmo to the right to generate the other half.
You can let the two halves overlap a little. It should still fit on the telephone base.
7. In the Name field, change the object's name from Loft01 to Receiver.
8. Save your scene as my_phone04.max.
You've finished the receiver. Now you can unhide the telephone base and mate the two object together. You will also
add some final details.
Next
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5. Activate the Perspective viewport and click the Zoom Extents button to show the receiver and base.
6. Turn on Select And Move and move the receiver so it's centered a little above the top of the tower.
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7. The receiver seems a little out of proportion, so turn on Select And Scale button and increase the scale to
150%.
Tip: You can enter 150 in the X coordinate field below the time bar.
8. On the Modify panel, open the sub-object level for Symmetry and turn on Mirror mode.
9. Click Select And Move again and move the Mirror gizmo to the left about -8 units.
Instead of scaling the receiver along the X-axis, which can distort the ear and mouth pieces, moving the Mirror
gizmo affects only the middle handle part of the receiver. Watch in the Front viewport until the receiver looks like
the one in the illustration.
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10. Turn off Mirror mode and move the receiver so it's centered in the front view.
Very nice! Now you'll add the posts that will cradle the receiver.
2. Maximize the Left viewport to get a better view of the top of the tower and receiver.
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5. Turn off Start New Shape and create another rectangle again matching the illustration.
6. Right-click to turn off the Rectangle tool, then right-click again to open the quad menu.
7. Choose Convert To > Convert to Editable Spline.
8. In the Selection rollout, turn on Spline sub-object mode and select the first of the two rectangles you made.
10. Click the Subtraction button and click the other rectangle.
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12. Move the vertex to the left about –3 units. Watch the coordinate read out below the time bar.
13. Select the lower-right vertex and move the vertical handle to the left until the line running upwards curves as
shown in the illustration.
Tip: If the Y-axis of the Transform gizmo keeps you from moving the vertex handle to the left, press the X key
to turn off the Transform gizmo. After moving the vertex, press X again to turn the gizmo back on.
14. From the Edit menu, click Select Invert or press CTRL+I.
All the other vertices are now selected.
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15. In the Fillet value field, type 1 and then click Fillet.
16. Turn off the Fillet tool and right-click to open the quad menu. Choose Convert To > Convert to Editable Poly.
Tip: Press the F2 key to turn on Shade Selected Faces mode. Otherwise, only the perimeter of the object is
displayed in red.
2. In the Edit Polygons rollout, click the Extrude Settings button. In the Extrusion Height field, enter 8.0 and
click OK.
3. Activate the Perspective viewport and Arc Rotate the view to see the telephone from the other side.
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4. Turn on Border mode and select the border of the open side.
You can click one edge and the entire border will be selected.
5. In the Edit Border rollout, click Cap.
6. Turn off Border mode and move the cradle object to the left side of the telephone.
7. While holding down the SHIFT key, drag the cradle object to the opposite side of the telephone.
The Clone Option dialog opens.
8. In the Name field, enter Cradle and click OK.
9. In the Edit Geometry rollout, click the Attach button and pick the original cradle object.
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You've finished the cradle detail. Now the receiver won't slide off the telephone tower. Next you'll create a dial.
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Now you'll array the small cylinder to create a total of twelve copies.
1. With the small cylinder selected, open the Hierarchy panel and click the Affect Pivot Only button.
2. Click the Align button from the toolbar and press the H key to open the Pick Object dialog.
3. Choose Dial from the list and click the Pick button.
The Align Selection dialog opens.
4. In the Align Position (World) group, turn on the X, Y, and Z position toggles. In the Current Object and Target
Object groups, turn on Pivot Point, then click OK.
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The pivot point of the small cylinder is set to the center of the Dial. You need to do this in order to set a pivot
point to array the small cylinder around.
5. Turn off the Affect Pivot Only button and change the Reference Coordinate System from View to Local.
Using the Local reference coordinate system will allow the small cylinder to pivot around its own pivot point
instead of the pivot designated by the View.
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7. In the Array Transformation: Local Coordinates group, set the Z Rotate value to 30, and in the Array Dimensions
group, set the 1D Count to 12. Click OK.
8. Right-click one of the small cylinders and choose Convert To > Convert to Editable Poly.
The Modify panel opens automatically.
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Attaching all the cylinders will facilitate the Boolean subtraction you'll use to cut the finger holes in the dial.
1. Click the Select And Move button and make sure the reference coordinate system is set to Local.
2. Move the small cylinder object along the Z-axis so it completely intersects the Dial object.
3. Select the Dial object so you can make a copy of it. Hold down the SHIFT key while dragging along the local Z-
axis to create the copy.
Watch in the Left viewport so the copy does not pass above the original dial. When you release the mouse
button, the Clone Options dialog appears.
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4. In the Clone Options dialog, enter Hub in the Name field and click OK.
5. In the Parameters rollout for the Hub object, change the Radius to 10 and the Height to 3.
6. Select the Dial object.
7. Open the Create panel and click the down arrow next to Standard Primitives.
8. Choose Compound Objects and click the Boolean button.
9. In the Operations rollout, make sure Subtraction (A–B) is turned on.
10. Click the Pick Operand B button and pick the object made up of the small cylinders.
The finger holes are cut through the dial.
There you have it. Your own retro-style telephone. To see a final version of this model, open
telephone_3d_finished.max from the \tutorials\intro_to_modeling folder.
To continue adding realism, you can try your hand at adding realistic materials. To learn more about materials and
mapping, see Introduction to Materials and Mapping.
Also feel free to experiment further by adding more modeling details like feet underneath the base or the dial stop for
your finger. Now that you're experienced in the ways of lofting, go ahead and make the cord attaching the base to the
receiver.
Summary
In this tutorial, you learned to use the Loft compound object and its scale deformation tools to create objects. You
also learned how to use multiple objects with the Boolean compound object to create several holes in an object at
once. You can use these modeling tools for a variety of objects.
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Comments
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