【正文】 on the rotation of the joint that will drive the envelope of the Blend Shape node. A driven key interpolates the values of the driven attribute through the specified range on the driver attribute, and is independent of time.Your joint should still be bent to the extreme angle, so go ( Animate Set Driven Key Set ). This should bring up the Set Driven Key panel. Select the joint and click Load Driver. Then, in the Blend Shape panel, click the Select button under the slider. Back in the Set Driven Key panel, click Load Driven. Now, highlight the rotation value of the proper joint axis in the Driver section of the Set Driven Key panel. This should be the ZAxis, but may be the YAxis depending on how you built your skeleton. Then select the name of the Blend Shape target under 39。m starting with the knee. Imagine that. Next, go ahead and push the slider all the way up to 1 in the Blend Shape panel as per the image on the right. This will allow you to immediately see the changes you make in the target shape reflected in the base shape (the original clothing).Now es the fun part... start pushing and pulling faces, edges and vertices on the target shape until you like the look of the base shape. I also moved some of the vertices forward below the knee to give the appearance that the fabric is tightening and pulling against the calf. Step 8. When you are happy with your work, it39。ve decided, go ahead and bend the joint to it39。s time to decide what joint you39。s time to link this new shape to the original clothing as a morph target by creating a new Blend Shape node. However, Maya has a bug in it that will not allow you to do this from the Deform pull down menu in the Animate panel. Instead, we have to go ( Window Animation Editors Blend Shape ... ) This should bring up the Blend Shape Panel which should have nothing in it at this point. Select the duplicated shape, then shiftselect the original clothing. Then, from the Blend Shape panel go ( Edit Create Blend Shape ). This creates a new Blend Shape node and adds the duplicated geometry as the first morph target. To add additional targets later, you must first select the target, then the original geometry and go ( Deform Edit Blend Shape Add ). In some cases this doesn39。t have to go through all that? Now you need to make a duplicate of your duplicate to edit. The original duplicate (hmm... an oxymoron) will serve as our reference from here on out to create new morph targets, so move it somewhere where you won39。m talking about.Step 5. Now it is time to bind your character and his or her clothes. Before you do so, create a copy of your clothing and translate it to the side of your model. Place it on its own layer so you can turn the visibility on and off. Creating a copy of your clothing now before you bind it is not necessary, but it will save you from headaches in Step 6.Use the Paint Skin Weights tool to get your bends looking correct, as in the image to the right. Try to imagine what you want your finished product to look like and start to really shape the way the fabric bends from there.Step 6. Now you need to create a Morph Target for the Blend Shape node. When the skeleton deforms your geometry as much as it does here, it is very important that the geometry is in the exact same position it was before you bound it when you go to create your morph targets. However, we got around this by creating a duplicate of our clothes before we bound our skin. The only other way to acplish this is to return the skeleton to the bind pose by turning off the evaluation of constraints, expressions, IK handles and anything else that controls your skeleton first, then duplicating the clothing, unlocking all the attributes on the duplicated geometry and finally translating it to the side. Now aren39。 tool to create some extra edges where I thought my fabric would need to wrinkle. Compare the image here with this image. You39。 inside of Maya). We are only going to discuss the desired results here. Before we start, I must explain the optional Step 3. A mon workflow in animation is to have a lowresolution base shape that you use to animate. This drives a hidden highresolution model that only gets unhidden at render time. This is usually acplished with a wrap deformer, or with the connect poly shape plugin for Maya and , or with the new Smooth Proxy feature in Maya . If you are using this technique, you may not have enough geometry to create distinct wrinkles in your model. Take a look at the