IntroductionWelcome| 00:04 |
Welcome to the getting started with 3D
and AutoCAD 2013 workshop with me Scott Onstott.
| | 00:10 |
I am an educator and trainer specializing
in AutoCAD and other design software.
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In addition to teaching AutoCAD I am also
the author of AutoCAD 2013 and AutoCAD LT
| | 00:19 |
2013 Essentials.
Enhancing architectural drawings and
| | 00:24 |
models with Photoshop, and several other
books.
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Getting started with 3D and Autocad is a
basic workshop for getting up to speed
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with 3D modeling.
It was designed for those already
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comfortable with 2D drawing who now want
to graduate to creating and designing
| | 00:38 |
three-dimensional models.
Traditional drafting techniques have
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limited artists to representing models as
2D projections, but now a new wave of
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software packages, and AutoCad in
particular, have allowed us to gradually
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move one step closer to reality with 3D
design.
| | 00:56 |
This course will teach you the basics for
how to get the most out of AutoCad's
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powerful 3D tools.
You will first learn how to navigate in
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3D space, and learn a number of tools
that make working in 3D on a 2D screen easier.
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Then you will model a complex form to
meet specific modeling challenges.
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In this case a classical architectural
ionic column.
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Next you will learn how to document 3D
models as 2D drawings.
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By having Autocad automatically generate
2D projections for you.
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Finally you will learn how to create
dynamic slide shows, animations, and
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photorealistic renderings of 3D models.
This course is for anyone interested in
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graduating from 2D to 3D design in
Autocad.
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So if you're interested in exploring
modeling in Autocad, from the basics of
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navigating through space, to modeling
complex forms with solids and surfaces.
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This course is for you, so let's get
started.
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| | 59:59 |
(music playing)
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1. Navigating in 3D3D views, perspectives, and tools in AutoCAD| 00:02 |
One of the challenges of working in 3D is
visualizing where things are in the third
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dimension of depth.
It can only be projected on to a flat 2D screen.
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In this lesson you will learn the
difference between parallel and
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perspective projection.
You will also learn how to change your
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point of view.
Using preset views, the view cube an the
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navigation bar interfaces.
Open the Cathedral One Project file, an
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then click here to open the View Controls
menu.
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It contains a list of preset views, an
they're categorized in two groups.
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These orthogonal views and the isometric
views.
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The word isometric literally means same
measure.
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And it refers to the fact that all three
coordinate axis appear equally foreshortened.
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You can see this here in parallel
projection, where all three axis are equal.
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If we change to perspective projection,
we get a subtley different, but very
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important change.
If we were to trace the lines that are
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parallel to the coordinate axes off into
the distance.
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They would have eventually converge at a
vanishing point.
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If we trace these edges here in the red
direction off into the distance, they too
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would converge.
And similarly, these vertical lines would
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converge at some point far below the
screen in the green direction.
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So what we're looking at here is a three
point perspective.
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This is the way that our eyes naturally
see things because objects that are
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further away from us seem to get smaller.
And so, I would choose perspective
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projection if I'm trying to present a
design in the way that it naturally looks
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in the real world.
However, when I'm working in AutoCAD, I
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often prefer to use parallel projection.
This way everything shows it's actual
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size and nothing is foreshortened.
If we switch to the front view again,
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you'll see that in parallel projection
it's like an elevation drawing.
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If I switch to perspective, it might look
more realistic, but it's much harder to
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work here and snap to different points.
I'll go back to parallel projection.
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Then I'll open this Adjacent menu, which
is called the View Port Controls menu
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I'll choose View Cube to toggle this
interface on.
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Here we can go to different points of
view by clicking on many of these
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different interface elements.
I'll click on this bar to go midway
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between the front and top views.
And I can click on the word Top to go
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into that precise orthogonal view.
You can also click on these corner pieces
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to go into isometric views, you can drag
this ring left and right to rotate the plan.
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You can also use this tiny menu in the
corner to change your projection type.
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This is parallel.
This is perspective, which is very subtly different.
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And then there is perspective with ortho
faces.
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So this is kind of like a hybrid mode
that gives you perspective when you're
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looking at it here in an isometric view.
Or if you go to an orthographic view like
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the right face, it will switch to
parallel projection.
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There's also a menu here which allows you
to change the coordinate system.
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And right now it says WCS, which means
World Coordinate System.
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You can create a new UCS from this menu
if you like.
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The WCS is the Default Coordinate System,
and the UCS is a User Configurable
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Coordinate System.
It can be useful to reorient or move the
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origin point of the UCS when working with
3D models, there are also arrows.
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Around the viewcube.
And if you click on the arrow, it will
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rotate 90 degrees.
Notice, also, that there are arrows out
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here that allow you to rotate the plan.
If you click on the Home symbol, it will
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take you back to whichever view is
defined as the Home view.
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To define a particular view as the home
view, go to it.
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And then right-click on this symbol and
choose set current view as home.
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Next, let's go back here to the View Port
Controls menu, and turn on the navigation bar.
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The navigation bar has steering wheel,
pen, different zoom controls here in this
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fly out menu.
And it also has different orbiting tools
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located here.
Let's try Orbit first.
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This allows you to drag and rotate the
view in a freehand kind of way.
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Press Enter to end the command.
A shortcut for that is to hold down the
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Shift key, and drag the mouse wheel, it
does the same thing.
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There's also a free orbit variation and
this allows you to orbit so that the
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vertical lines no longer stay vertical.
And you can get, sort of, all mixed up,
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upside down and backwards, here, if
you're in the free orbit variation, here.
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I'll go back and say, Zoom Previous.
Finally, there's continuous orbit.
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And the way that this works, is you click
and drag, and let go.
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And the model will continuously orbit
around and around.
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This can be good for a presentation.
It depends on how quickly you drag.
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If I drag very quickly, it will orbit too
fast.
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So you have to be careful about how you
drag and how quickly you release the
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mouse I'll use the view cube to go back
to a isometric viewpoint.
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In this lesson you learned how to change
projection types from parallel to
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perspective and back again.
And how to view the model from all angles
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using preset views, the view cube, and
the navigation bar.
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| Controlling the visual style| 00:02 |
In this video, you will review the
standard visual styles and learn how to
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create your own to display 3D objects
with your chosen visual cues.
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To represent 3D surfaces on a 2D screen,
one needs visual cues to determine which
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surfaces obscure other surfaces in the
dimension of depth.
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Open the Cathedral 2 project file.
And then click here to open the Visual
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Style Controls menu.
I'll switch to the Wire Frame Visual Style.
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And this is hard to interpret because of
the complexity of this model.
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There are so many intersecting lines.
I can't tell what's what.
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If we go to the 2D wire frame style, it
automatically changes the projection type
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to parallel.
You can verify that over here on this menu.
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I'll change it back to perspective.
Notice that when I do, it automatically
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changes me to the wire frame visual
style.
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Let's try shaded.
Now we see the surfaces, and we can make
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better sense of this geometry.
You can see shaded with edges for a
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little bit more information.
Hidden is more like a wire frame view.
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But with the surface information in
black.
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Shades of grey is just a big darker with
shaded edges.
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Conceptual shows a faint tint in blue.
The realistic style would display
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materials if any were assigned to the
model, which they're not at this time.
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Sketchy is an interesting style, it
represents the lines with these jittery edges.
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There's also X-ray which allows you to
see through the model.
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Let's say we want to create our own
visual style.
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I'll go to Sketchy and then click on the
View tab.
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You can click here to open this Visual
Styles menu on the Visual Styles panel.
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And you see these same styles as
thumbnails.
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Here you can choose to open the Visual
Styles Manager.
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And this is where you can find all the
parameters that control these visual styles.
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I'll click on the sketchy style.
And then let's change the face style from
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none to realistic.
That gives us some surface quality.
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I'll also scroll down, and under Edge
settings, I'll change the color to blue.
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Keep scrolling down.
And change the line extensions to three.
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This will reduce these little extensions
back a bit.
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Change jitter to low.
It's not quite so sketchy.
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I'll change the crease angle to a lower
number so that we get more creases.
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I'll use 4 degrees.
And then the halo gap creates kind of a
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drop shadow effect.
I'll use a 2% halo gap.
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Okay, that's kind of interesting.
Now you can also use the tools here on
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the panel to change your current Visual
Style.
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I'll click here to turn on the X-ray
effect.
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Notice that it says current now, rather
than Sketchy, because I've overridden the
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parameters that are defined.
In the Visual Styles manager.
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So, by adjusting the Visual Style
parameters you can display 3D models with
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a variety of visual cues.
There is no one way or right way to do this.
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So, feel free to experiment.
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| Working with tiled viewports| 00:02 |
To fully visualize an object in 3D, you
need to orbit around it in a single view port.
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In this lesson, you will learn how to
view all sides of an object at once, by
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using multiple tiled view ports.
In addition, you will see how you can
| | 00:15 |
start a command in one view port.
And end it in another to take advantage
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of the expanded spatial picture depicted
in tiled view ports.
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Go ahead and open the cathedral three
project file.
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On the view tab in the model Viewports
panel, open the Viewport Configuration
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flyout menu.
This lists a bunch of potential different
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arrangements for tiled viewports.
Let's try four equal.
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This divides the screen into these four
separate viewports.
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Only one viewport can be active at any
given time.
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You can see which one is active by a
thicker border around it.
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You can also determine that by the
position of the cursor.
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I can see it here in this view port.
But if I move up here, I don't see it.
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Just click in a viewport to activate it.
And then you can work in there.
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Each view port has its own view cube.
For example, over here, I'll click on the top.
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And then I'll rotate this, zoom in.
And change the visual style to wire frame.
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Over here, in this view port.
I'll choose northwest isometric.
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And I'll change the visual style to
hidden.
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Over here, I'll choose the front view.
And I'll change the visual style to
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shaded with edges.
I'll just zoom out a bit by rotating the
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mouse wheel.
So, you can configure each viewport how
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you like it.
Now, let's say I wanted to work here, in
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the front viewport and I'd like to see
this full screen.
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Click on this plus symbol, here in the
Viewport Controls menu.
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And choose maximize view port.
Now it fills the screen.
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If I want to go back, I can click
Restore.
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A shortcut for this is simply to double
click this plus icon in any viewport.
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Let's say I want to work in this
viewport.
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I can click in it and work in it over
here.
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Or if I want to see this full screen, I
can double-click on the plus symbol.
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And that takes me full screen in that
particular viewport.
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To go back, I can double-click the minus
symbol.
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And then I'll see my four tiled
viewports.
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So, let's say you want to draw a line.
Go to the Home tab, click the Line tool
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and let's say you want to start it from
some point that you can see in one view
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port down here.
I'll snap to this end point.
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And suppose for sake of argument, that I
want to draw it over here on the ground.
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But I can't see where that's going to
snap, because of the complexity of the model.
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I could just come over here into this
viewport.
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Click to make that viewport active.
And you can see that the Line command is
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still in progress.
I can then zoom in here and snap it to
| | 03:38 |
another point.
And thus, complete the line command.
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So you can use the different viewports to
help you see all the different sides of
| | 03:47 |
the object at once.
If you're working with four tiled
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viewports each viewport takes a quarter
of the screen.
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And so you don't have that much room to
work.
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You can combine adjacent viewports if you
want.
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Go back to the View tab and click Join.
Then click on two adjacent viewports, and
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they're joined together.
So in this way, you can configure the
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tiles however you want.
You can choose them from this Flyout
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menu, you can join adjacent viewports,
and you know how to maximize and minimize
| | 04:23 |
viewports, to make them full screen, and
to go back to your tiled viewports.
| | 04:31 |
So now that you've learned the mechanics
of working with tiled view ports, you can
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now visualize objects from all sides at
once.
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| Composing perspective views| 00:02 |
Here you will use a camera to fine tune a
perspective view.
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Use a steering wheel to navigate in
perspective.
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And save where you end up with a named
view.
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Perspective was developed in the
Renaissance to represent three dimensions
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on two dimensional surfaces.
Objects in perspective diminish in size
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according to their distance from the
observer.
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And this approximates human vision.
AutoCAD can create prospective
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projections automatically.
Open the Cathedral Four Project file, and
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then go up here and click on the View
Controls menu, and select Perspective.
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Hold down the shift key and drag the
Mouse Wheel to orbit.
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If you look carefully, you'll see that
there is an object in here.
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I'd like to get inside the building and
take a look at it.
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Roll the mouse wheel, and you'll zoom in.
Drag the mouse wheel to pan.Navigating in
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perspective using zoom and pan, is very
awkward, because you can't really control
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where you are.
Now I can see that this is a vase, but if
| | 01:17 |
I'd like to compose a view of this, we
need a different way of approaching it.
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So let's go ahead and go back out of the
model by clicking on the corner of the
| | 01:25 |
view cube.
Next, type Camera, and press Enter.
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You're prompted to specify a camera
location, click some arbitrary point over
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here somewhere.
Then it says Specify Target Location.
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Click another point and make sure that
snap is off, and click it right about here.
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Press Enter to complete the command.
In the end you have a camera symbol that
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shows the direction that the camera is
pointing in.
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Select the camera then you will see a
Preview window appear.
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Now the camera is on the ground plane and
that's why we are seeing this, horizontal
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line and all the geometry above it.
So, we should move the camera up if we
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want to get into this particular
corridor.
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We should figure out how high it is above
the ground first.
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So press Escape to deselect the Camera
and the Preview window.
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Zoom in here, and on the Home tab, click
the Measure tool in the Utilities panel.
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Turn on Snap and snap to a point right
here.
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And then snap to the point directly below
it on the ground.
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The distance is about 29 feet.
So if we wanted the camera to be at eye
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level, it would be about five feet above
that, so around 34 feet.
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Let's keep that in mind press Escape to
exit out of that command.
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Re-select the Camera and go ahead and
position the mouse over this blue axis.
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When it's highlighted, click, and then
you can slide the camera up.
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Notice what's happening in the camera
preview as I do this.
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The camera is moving up, alright.
But it's pointing at its target point,
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which is still on the ground.
So this isn't exactly how we want to move
| | 03:33 |
the camera.
Press Escape, to cancel out of that.
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You could, alternatively, move the target
location in much the same way.
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But again, that's not what we want
either.
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Press Escape.
There's a grip in between the camera and
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the target, right here, which says camera
and target location.
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And that's what we want.
Click and you can move it up.
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Type 34 Feet and press Enter.
So we should be at the correct level now.
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Next click on this plane to select it, so
you can move the camera in two directions
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at once.
Move it in to the corridor.
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I don't want to snap, so I'm going to go
down to the Status bar and toggle off
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Objects Snap.
And then I'll move it over here so that
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it's positioned in front of the corridor
as best as I can determine.
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And then I'll change the visual style to
shaded with edges so I can see that a
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little better so in this way you can
fine-tune the perspective by moving the
| | 04:40 |
camera object.
Hold down Shift and orbit, and come
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around here, so you can see the camera
plane represented here.
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It also has a Grip.
This allows you to change the Lens length
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of effective field of view.
This is helpful in an architectural
| | 05:04 |
interior to have a wider angle lens so
you can see more of the interior all at once.
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I'll expand that field of view and then
press Escape.
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Next I'd like to look through that
camera.
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To do so, type V for view and press
Enter.
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You'll see that the camera is here under
model views.
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Double-click to make it active and then
click Okay, and you'll actually be
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looking through that camera lens.
The next thing I want to do is walk
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forward through the corridor.
To do that we'll use a steering wheel.
| | 05:41 |
And you can launch that here from the
navigation bar.
| | 05:45 |
I'll click right here.
And you'll see that there's this
| | 05:48 |
interface element attached to the cursor.
It moves wherever I go.
| | 05:54 |
I'll position it right about here.
And then drag over the walk command.
| | 06:00 |
As I am dragging, you will see that we
have a blue circle down here and the way
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that this works is the distance you drag
away from that circle, is the direction
| | 06:08 |
you are going to go in and if you drag
really far, you are going to walk really fast.
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If you drag backwards away from that
circle you are going to back up, if you
| | 06:18 |
drag in one direction, you're going to
turn that way.
| | 06:23 |
You see?
So it's very intuitive.
| | 06:27 |
This is called first-person navigation,
and it's very much like video games,
| | 06:31 |
where you can just drag in the direction
you want to go in.
| | 06:40 |
You can also use up, down.
Drag over this and you can move your
| | 06:45 |
camera target line up and down.
If you want you can also look.
| | 06:52 |
This is changing the camera target, so
you can move it all around and look at
| | 06:58 |
whatever you want to focus on, and when
you're satisfied with the particular view
| | 07:03 |
you can exit from the steering wheel,
type V Enter, to go back into the View
| | 07:09 |
Manager, and create a new view.
I'll call this Camera Two.
| | 07:20 |
And click Okay.
Okay again.
| | 07:24 |
Notice that when I did the steering
wheel, it didn't move the camera along
| | 07:31 |
with me.
So it's necessary to save a new view
| | 07:35 |
after you use the steering wheel.
I'll just go ahead and click on an
| | 07:42 |
isometric viewpoint and switch into
Wireframe Visual style, and you can see
| | 07:47 |
that there are indeed two different
camera objects in the model representing
| | 07:53 |
these two saved views.
So in this lesson you learned how to use
| | 08:01 |
a camera to control perspective, a
steering wheel to navigate and views to
| | 08:06 |
save compelling compositions.
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|
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2. Drawing in 3DChanging the elevation of the drawing plane| 00:02 |
In this lesson, you will learn how to
move the familiar 2D drawing plane so you
| | 00:05 |
can draw at different 3D elevations.
This can be done either with the Elev
| | 00:10 |
command or by relocating the origin point
of the user coordinate system.
| | 00:16 |
And we'll try both approaches.
Go ahead and open the Concept1 project
| | 00:20 |
file to begin.
Position the cursor over this cylinder
| | 00:24 |
and rotate the mouse wheel to zoom in.
Verify that Object Snap is not running
| | 00:31 |
down here on the Status Bar.
And then click the Rectangle tool over
| | 00:36 |
here on the Draw panel.
Try to draw a rectangle on top of the
| | 00:41 |
cylinder by clicking two points, you
don't see anything.
| | 00:46 |
Hold down the Shift key and drag the
mouse wheel, so you can see underneath.
| | 00:51 |
What actually happened, was you drew the
rectangle underneath the cylinder on the
| | 00:55 |
current XY plane.
I'll rotate back up.
| | 01:02 |
It would be possible to draw on top of
the cylinder, if we were able to move the
| | 01:07 |
XY plane up, so that it was on top of
this surface.
| | 01:12 |
But to do that, we have to know how high
we need to move it.
| | 01:16 |
So, go ahead and click on the cylinder,
right -click, and choose Properties.
| | 01:24 |
Right here, this piece of geometry has a
height of one foot six.
| | 01:29 |
Let's keep that in mind, press Escape to
deselect.
| | 01:33 |
Then type ELEV for the Elev command and
press Enter.
| | 01:39 |
It says, Specify new default elevation.
I'll type in one foot six.
| | 01:45 |
Enter.
And now it says, Specify new default thickness.
| | 01:49 |
I'll type in one foot six again, and
press Enter.
| | 01:54 |
Now, use the Rectangle tool and draw a
rectangle on top of the cylinder.
| | 02:02 |
This time it worked.
The Elev command allowed us to change the
| | 02:07 |
elevation of the Drawing plane at a set
increment above the ground plane.
| | 02:14 |
But if you noticed, we also set the
thickness.
| | 02:17 |
And that didn't seem to do anything here.
It has no effect on polylines.
| | 02:22 |
However, if you go ahead and draw a line,
you'll see that it does have an effect.
| | 02:31 |
The thickness property makes the line
have a thickness in the Z direction.
| | 02:36 |
You see, this object is drawn at a height
of one foot six.
| | 02:42 |
And it also has a thickness of one foot
six.
| | 02:46 |
I can select this line segment and change
it's thickness property right here.
| | 02:51 |
I'll set that back to zero.
Escape.
| | 02:55 |
The thickness property is really an
ancient feature in AutoCAD, I would
| | 02:59 |
recommend avoiding it.
If you want to create an object like
| | 03:03 |
this, it's better to extrude the line,
rather than change its thickness property.
| | 03:09 |
So let me just go back and reset Elev
back to zero.
| | 03:13 |
I'll type ELEV, Enter.
Zero, Enter.
| | 03:18 |
Zero, Enter.
Now, suppose I want to draw an object on
| | 03:22 |
top of this red surface, but I don't want
to figure out how high that is above the
| | 03:26 |
ground plane.
There's a quicker way to set the height
| | 03:32 |
of the XY plane.
And that is to click on this UCS icon.
| | 03:38 |
And then hover the cursor over this
origin point.
| | 03:41 |
And choose Move Origin only.
Then turn on running Object Snap.
| | 03:47 |
And snap to a point on top of the red
surface.
| | 03:53 |
I'll zoom in there.
Press Escape to deselect.
| | 04:01 |
Can you see how the XY plane is now on
top of that surface?
| | 04:07 |
Now, go ahead and change the current
layer to layer five, so we have a
| | 04:10 |
contrasting color to work here.
And then draw a circle to turn off
| | 04:17 |
running objects now.
And try to draw it on top of the surface.
| | 04:24 |
It works beautifully.
It's drawn at the current elevation of
| | 04:28 |
the XY plane which was set interactively
by moving the origin point of the UCS icon.
| | 04:36 |
In some cases, you'll need to make a
truly 3D object that moves outside of the
| | 04:41 |
XY plane.
For example, let's say you want to draw a
| | 04:46 |
poly line from this corner of the box.
So, I'll turn on running Object Snap and
| | 04:53 |
I'll snap right here.
And then, I want that to go onto the top
| | 04:57 |
of this cone.
I'll click right here, and then, I want
| | 05:01 |
it to go to the corner of the wall here.
So, I'll click right here.
| | 05:06 |
It didn't seem to work.
You see, it's all in the same current XY plane.
| | 05:15 |
That's because the Polyline tool is
really a two-dimensional object, it has
| | 05:20 |
to exist in the current XY plane.
I will just raise that, if you want to
| | 05:27 |
create a two-dimensional Poly, you type
3D Poly and then press Enter.
| | 05:34 |
I will click here, up here and down here.
And now, I have a truly three-dimensional object.
| | 05:45 |
It goes outside of the XY plane.
Let me just get rid of that.
| | 05:51 |
Line Objects can go in three-dimensions
also.
| | 05:54 |
I'll just go ahead and draw a line from
here to here.
| | 05:59 |
To here, and the difference is, is that
these are two separate objects.
| | 06:03 |
There's two separate pieces here, and
they just have three-dimensional start
| | 06:07 |
and end coordinates.
Escape, if I join these two segments
| | 06:12 |
together, by typing join enter.
And then select two lines and press Enter.
| | 06:21 |
You are left with a 3D Polyline
automatically.
| | 06:27 |
Objects like this line or the 3D Poly are
called wire Frame objects, because they
| | 06:31 |
don't define any surface like these other
objects do.
| | 06:35 |
So in this lesson, you've learned how to
change the elevation of the 2D drawing
| | 06:40 |
plane with the Elev command.
And by moving the origin point of the
| | 06:44 |
user coordinate system.
You also learned how to use Object Snap
| | 06:49 |
to create 3D Wireframe objects.
| | 06:52 |
| | Collapse this transcript |
| Specifying 3D coordinates| 00:02 |
In this lesson you will learn about 3D
coordinates.
| | 00:04 |
And how to separate coordinate entry
using what are called point filters.
| | 00:09 |
Point filters allow you to draw objects
relative to other object's coordinates.
| | 00:14 |
Open the Concept2 project file.
And zoom into this red object.
| | 00:21 |
Draw a line, and snap its first point
right here on this corner.
| | 00:27 |
Let's specify the next point using 3D
Cartesian coordinates.
| | 00:32 |
I'll start by entering the at symbol to
indicate that I want to input relative coordinates.
| | 00:37 |
That is, they're relative to the last
point that I selected.
| | 00:42 |
If you don't type at, you'll be inputting
absolute coordinates.
| | 00:47 |
So those are going to be relative to the
origin point of the coordinate system itself.
| | 00:54 |
So usually when you're entering
coordinate data, you're going to preface
| | 00:57 |
it with the at symbol.
I'll go ahead and input the x coordinate
| | 01:03 |
of 24, comma, to say that I'm moving on
to the y coordinate.
| | 01:09 |
Now let's say that will be zero.
And then comma again to say that I'm
| | 01:14 |
moving on to the z coordinate, and I'll
type 12, Enter, Enter.
| | 01:20 |
So we've drawn a line that is 24 units in
the x direction.
| | 01:25 |
That's this red direction.
And you can see that either on the cursor
| | 01:30 |
itself or on the UCS icon.
The mnemonic is RGB equals XYZ.
| | 01:39 |
Now, let's look at this in the top view.
I'll zoom in.
| | 01:45 |
You can see here that the line goes
horizontally here.
| | 01:49 |
It has no value in the y coordinate.
And let's look at it in the front view.
| | 01:56 |
It goes up, in the z direction.
So if you remember, the coordinate was 24
| | 02:05 |
units over, zero units in the y
direction, and 12 units up in the z direction.
| | 02:12 |
So that specified that point.
Now, there are many occasions where you
| | 02:16 |
simply want to draw a line relative to
another object.
| | 02:21 |
And you don't really want to worry about
the coordinates.
| | 02:25 |
For this you can use point filters.
For example, let's say we want to draw a
| | 02:31 |
line from this same start point, and we
want to draw it up vertically just as
| | 02:37 |
tall as the cone is high.
So instead of querying information about
| | 02:44 |
the cone and learning the coordinates,
and possibly writing them down, and then
| | 02:48 |
inputting them, which is very tedious.
It's much more efficient to use a point
| | 02:53 |
filter to do this work for you.
So let's think about it.
| | 02:58 |
We want to filter out the coordinates.
And we want to separate them.
| | 03:02 |
So we know the x y coordinates of the
point that we want to specify.
| | 03:06 |
That's going to be directly above this
point.
| | 03:07 |
So I'm going to type in point xy.
This tells AutoCad that we're specifying
| | 03:08 |
a point filter, and we're going to use
the x and y coordinates of the picked point.
| | 03:24 |
So, I'll type Enter.
And then I'll pick this same point again.
| | 03:29 |
Now the command line says Need Z.
We've successfully separated the
| | 03:36 |
coordinates out, you see.
Now, we still need to input the missing coordinate.
| | 03:42 |
And we'll do that simply by clicking on
the top of this cone.
| | 03:45 |
Press Enter to end the line command.
So I've successfully drawn a line
| | 03:50 |
straight up, just as tall as the cone is
high.
| | 03:55 |
Let's try this again.
Let's say this time, I want to draw a
| | 04:00 |
line from this corner point on this red
object.
| | 04:05 |
And I want to draw it in this direction.
And I want it to stop right about here,
| | 04:11 |
lining up with the center of this
cylinder.
| | 04:16 |
If I snap it directly to the center of
the cylinder, well then we go from point
| | 04:20 |
to point, and that's not my intention.
So, I'll go undo.
| | 04:25 |
Let's try this again.
We'll draw the line from this point.
| | 04:32 |
And I want to specify the coordinates of
this point in the x z plane.
| | 04:40 |
And if you look at the cursor or the UCS
icon, you can imagine how that plane looks.
| | 04:47 |
It's running on the front face of the red
object, if you will.
| | 04:52 |
You can also see that over here on the
view cube.
| | 04:56 |
So on the command line, I'm going to type
point, x, z, Enter.
| | 05:02 |
And then I'm going to click right here on
the center of this object.
| | 05:08 |
So I used the cursor to specify those two
dimensions, and now AutoCAD is asking me
| | 05:13 |
for the missing dimension.
It says need y.
| | 05:17 |
So I'm going to specify that by clicking
back on this original point.
| | 05:23 |
And then press Enter to end the line
command.
| | 05:28 |
So point filters work by separating the
entry into two different phases.
| | 05:33 |
In the first phase, you're asked to pick
the point on the screen.
| | 05:37 |
And in the second phase, you're asked to
either input that with a number, or you
| | 05:41 |
can pick another point, to specify the
missing dimension.
| | 05:45 |
So, in this lesson, you learned how to
use point filters to separate how you
| | 05:49 |
enter coordinates in different
dimensions.
| | 05:53 |
In this way, you can snap objects
relative to specific dimensions of other objects.
| | 05:58 |
| | Collapse this transcript |
| Manually rotating the UCS| 00:02 |
In this video, you will learn how to
rotate and align the User Coordinate
| | 00:05 |
System, using the UCS Command, and the
UCS icon.
| | 00:09 |
Open the Concept3 project file and then
type UCS, Enter.
| | 00:16 |
The default option is to specify the
origin of UCS.
| | 00:20 |
That's why we have the UCS icon attached
to the cursor.
| | 00:25 |
Click some arbitrary point over here to
set a new origin, and then press Enter
| | 00:31 |
for the accept default option.
Now, I've succeeded in moving the origin
| | 00:37 |
point, so what does that really mean?
Well, if I want to use absolute
| | 00:41 |
coordinates, they're all relative to the
origin point.
| | 00:45 |
I could type L, Enter to draw a line.
And then I could start the line at the
| | 00:51 |
origin point by typing 0,0.
Enter.
| | 00:57 |
As you can see, I'm drawing a line
directly from that origin.
| | 01:01 |
I'll just snap it over here, and press
Enter.
| | 01:05 |
You can also move the origin point by
selecting the UCS icon itself, hovering
| | 01:10 |
the cursor over the origin point, and
choosing Move Origin Only.
| | 01:15 |
And you can snap it to a specific
location.
| | 01:22 |
I'll press Escape to deselect.
It's also useful to rotate the User
| | 01:26 |
Coordinate System.
Type UCS, Enter.
| | 01:32 |
And suppose we want to rotate it about
the x-axis.
| | 01:36 |
Click the x, Option.
And then, press Enter to accept the
| | 01:42 |
default rotation angle of 90 degrees.
Now, the xy plane is parallel to this
| | 01:49 |
front face.
So if I go ahead and draw an object, say
| | 01:54 |
a rectangle.
It will be drawn in that plane, as you
| | 01:59 |
can see here as I orbit.
While the xy plane is in that
| | 02:04 |
orientation, I'll draw another rectangle,
but this time I'll snap its first corner
| | 02:14 |
point here at the corner of this wall.
You see the difference?
| | 02:23 |
I'm still drawing in that plane, but I've
shifted the z-coordinate by snapping
| | 02:30 |
specifically to this endpoint.
You can also Move and Align the UCS icon,
| | 02:37 |
all at one time.
Click the UCS icon, cover the cursor over
| | 02:42 |
the Origin and chose Move and Align.
Now this works differently.
| | 02:49 |
Surfaces that you move the cursor over
highlight.
| | 02:52 |
I'll click right here to move the origin
point and align the xy plane.
| | 03:00 |
Parallel to this surface.
Press Escape to deselect.
| | 03:06 |
Then I'll draw a circle right here.
And you can see when your orbit that that
| | 03:13 |
is indeed on that surface.
Next, let's move the UCS from where it is
| | 03:21 |
here, just by saying Move Origin Only.
And we'll snap it in this corner point, here.
| | 03:31 |
Next, I'll click this grip at the end of
the x-axis.
| | 03:35 |
I'll choose Rotate Around Y Axis.
And you see what we have here?
| | 03:43 |
I can then click over here to reorient
the coordinate system.
| | 03:49 |
If you get confused as to where you are
in space, you can always go back to the
| | 03:53 |
original coordinate system, which is
called the world coordinate system or WCS.
| | 04:00 |
And you can do that by typing UCS, Enter.
And then just press Enter again, because
| | 04:06 |
it's the default option world.
UCS icon goes down in the lower left
| | 04:12 |
corner of the screen.
And you can also identify that you're in
| | 04:18 |
the WCS up here on this menu, at the
bottom of the ViewCube interface.
| | 04:25 |
This also allows you to create a new UCS.
Essentially, all that does is it types in
| | 04:31 |
UCS, Enter for you.
So that you launch the UCS command.
| | 04:36 |
Another useful option of the UCS command
is called Object.
| | 04:41 |
If we use that option, and then click on
an object, the UCS will automatically
| | 04:48 |
move on that object and align to it.
So now, I can go ahead and draw some lines.
| | 04:56 |
I'll turn on Ortho.
And just go ahead and show you that these
| | 05:03 |
lines are going to be either parallel or
perpendicular to the object that I
| | 05:08 |
aligned the UCS to.
So in this video, you learned many
| | 05:13 |
different ways how to manually adjust the
UCS using grips on its icon and with the
| | 05:18 |
UCS command.
| | 05:21 |
| | Collapse this transcript |
| Dynamically changing the UCS| 00:02 |
In this lesson you will learn how to use
AutoCAD's Dynamic UCS mode to
| | 00:05 |
conveniently draw objects on the surfaces
of other objects.
| | 00:09 |
Open the Concept 4 project file, and then
go down to the Status bar and click this
| | 00:15 |
icon to allow Dynamic UCS.
Then draw an object.
| | 00:21 |
Click the Rectangle tool on the Draw
panel.
| | 00:24 |
Position the cursor over this wall, and
notice that the axes change so that the
| | 00:29 |
red and green axes are now oriented with
respect to this surface.
| | 00:36 |
Click two points to draw a rectangle, and
then orbit by holding down Shift and
| | 00:40 |
dragging the mouse wheel.
And you'll see that the rectangle is
| | 00:45 |
indeed on that surface.
Zoom into this pyramid, click the Circle
| | 00:52 |
tool, hover the cursor over this surface,
and click two points.
| | 00:59 |
You'll see that the circle is flush with
that face.
| | 01:02 |
So Dynamic UCS really does two things.
It moves the origin point of the UCS to
| | 01:08 |
the surface, and it also reorients the
UCS to be aligned with the surface.
| | 01:16 |
This also works in 3D.
Let's change to the 3D Basics Workspace.
| | 01:23 |
And then create a box off to the side
here some place.
| | 01:31 |
Place another box on top ot it, simply by
drawing it on top of the surface.
| | 01:38 |
If you want a box to come off of the
side, you can just start drawing it there.
| | 01:43 |
So this is very intuitive, and it's great
for conceptual modeling.
| | 01:49 |
So in this lesson, you learned how to
enable Dynamic UCS mode, to have AutoCAD
| | 01:53 |
automatically and temporarily align the
user coordinate system with the surface
| | 01:56 |
of whichever object you move the cursor
over.
| | 02:01 |
| | Collapse this transcript |
| Using 3D transformation gizmos and subobject selection| 00:02 |
In this lesson, you will learn how to
transform objects in 3D using the Move,
| | 00:05 |
Rotate and Scale gizmos.
You will also learn how to select parts
| | 00:09 |
of 3D objects, called sub-objects and
transform them using gizmos as well.
| | 00:15 |
Open the Concept Five project file, and
select this cylinder.
| | 00:21 |
(audio playing)
It has a number of grips that allow you
| | 00:22 |
to change the form of the object.
Click the top grip to change the height.
| | 00:28 |
(audio playing) Click the bottom grip to pull the
bottom face up or down.
| | 00:32 |
(audio playing) Click any of these side grips to
change (audio playing) the radius.
| | 00:39 |
(audio playing) And you can click this square
grip in the middle (audio playing) to move the
| | 00:42 |
object in two dimensions.
(audio playing) In the 3D Basics workspace,
| | 00:47 |
there's a selection panel.
And in the selection panel there's a
| | 00:52 |
flyout that says No Gizmo.
Open that (audio playing) flyout and choose Move Gizmo.
| | 00:59 |
(audio playing)
The Move Gizmo appears here.
| | 01:01 |
And it's a complex user interface
element.
| | 01:05 |
If you position the cursor over an axis,
you'll see a line in that color.
| | 01:11 |
If you click on the axis, (audio playing) you can
then move the object in that direction.
| | 01:19 |
(audio playing)
If you hover the cursor over one of these
| | 01:22 |
planes, you'll see it highlight.
If you click there, (audio playing) you can then
| | 01:28 |
move the object in two dimensions at
once.
| | 01:31 |
(audio playing)
| | 01:39 |
So this provides an intuitive way to move
objects around in space.
| | 01:45 |
(audio playing)
Notice that when I orbit with an object
| | 01:47 |
selected, everything else is hidden.
(audio playing)
| | 01:52 |
This allows you to focus on (audio playing) what
you're working on.
| | 01:57 |
Go up here and change (audio playing) the flyout
to Rotate Gizmo next.
| | 02:02 |
The Rotate Gizmo next has three rings
corresponding to the three axes.
| | 02:07 |
If you click the blue ring, you can
rotate around the z-axis.
| | 02:12 |
If you click the red ring, of course it
rotates (audio playing) around the x-axis.
| | 02:16 |
You can do this interactively or you can
type in a number.
| | 02:21 |
I'll rotate this 90 degrees.
I'll type 90, Enter.
| | 02:25 |
I'll click the blue ring (audio playing) and
rotate it.
| | 02:29 |
Now this time, I'll hold down the Ctrl
key and then click.
| | 02:33 |
What happens is, I leave a copy behind.
(audio playing)
| | 02:41 |
Now these white lines are drawn at the
intersection of the two objects, but
| | 02:44 |
they're not really there.
It's just a display artifact.
| | 02:49 |
If I move one of these objects out
(audio playing) of the way, those white lines
| | 02:52 |
will disappear.
(audio playing) I'll go back to the move gizmo
| | 02:56 |
and slide this along the x-axis.
You'll see that those white lines are gone.
| | 03:05 |
(audio playing) Similarly with the move gizmo,
you can create (audio playing) a copy by starting
| | 03:09 |
to move (audio playing) and then holding down the
Ctrl key.
| | 03:13 |
When you click again to complete the move
(audio playing) the original is left behind.
| | 03:20 |
Press Esc to deselect.
(audio playing) The scale gizmo (audio playing) allows
| | 03:27 |
you to uniformly scale objects, click on
any one of its three axes to scale the
| | 03:33 |
object down or up.
Again, you can use numbers if you want to
| | 03:39 |
be precise.
I'll type 0.5, Enter, so that the object
| | 03:44 |
is now 50% of the original size.
Press Esc to deselect.
| | 03:53 |
Now let's take a look at this pyramid
object.
| | 03:56 |
There's another flyout next to the Gizmo
flyout called No Filter.
| | 04:01 |
(audio playing)
Open that and select Vertex.
| | 04:04 |
(audio playing)
Then click the apex of the pyramid.
| | 04:06 |
(audio playing)
And you'll see the scale gizmo up there.
| | 04:08 |
I'm (audio playing) going to change that to the
move gizmo (audio playing) and then I'll move
| | 04:14 |
that apex up.
(audio playing) And you see what's happening?
| | 04:20 |
I'm changing the form of the object by
moving one of its sub-objects, namely,
| | 04:25 |
the top vertex.
(audio playing)
| | 04:29 |
Let's try selecting an edge sub-object.
I'll press Esc to deselect the vertex,
| | 04:37 |
and then click down here (audio playing) to
select this particular edge.
| | 04:43 |
I can then move that (audio playing) in the green
direction, and I change the form of the object.
| | 04:50 |
(audio playing)
So, this is really the gateway to
| | 04:53 |
tremendous modeling power because you can
select particular sub-objects and then
| | 04:59 |
transform them using the Move, Rotate, or
Scale Gizmos.
| | 05:05 |
I'll change to another (audio playing) sub-object
level.
| | 05:09 |
This time, I'll select a face and I'll
press Esc to deselect the edge.
| | 05:15 |
And then I'll click on this face.
(audio playing)
| | 05:18 |
What happens if I were to (audio playing) scale
that?
| | 05:21 |
I'll use the Scale (audio playing) Gizmo and I'll
scale that down.
| | 05:26 |
(audio playing)
The whole object remains connected to it.
| | 05:29 |
So as I scale that down, we get a
dramatically different form.
| | 05:33 |
So in this video you learned how to move,
rotate, and scale 3D objects and their
| | 05:39 |
sub-objects, using Gizmo's.
| | 05:43 |
| | Collapse this transcript |
|
|
3. Modeling an Ionic ColumnDrawing spirals| 00:02 |
In this video you will use a lisp
program, to draw an archimedian spiral,
| | 00:05 |
that mimics the shape of the scrolls at
the top of an ionic column capital.
| | 00:12 |
You will learn how to convert the spiral
from a complex polyline into a spline,
| | 00:17 |
and then rebuild the spline to greatly
simplify the object.
| | 00:22 |
Open the Column 1 Project file, and type
OP for Options then press Enter.
| | 00:28 |
Go to the Files tab, and expand the
support file search path.
| | 00:34 |
Click Add, and then Browse.
Navigate through your file system to
| | 00:43 |
locate the project files.
Inside the chapter folder, there's a sub
| | 00:49 |
folder called Geom Curves.
Which contains the lisp program.
| | 00:56 |
Click OK.
We need to let AutoCAD know where this
| | 01:00 |
information is through the options.
Click OK again and now let's go ahead and
| | 01:06 |
look at that file in the Visual LISP
Integrated Development Environment.
| | 01:12 |
Type VLIDE and press Enter.
This launches a seperate program within AutoCAD.
| | 01:21 |
Click the Open icon and navigate to the
Geom Curves sub-folder.
| | 01:28 |
Then change the files of type drop-down
to LISP source files.
| | 01:33 |
Select Geom Curve and click Open.
This opens a window containing the entire program.
| | 01:39 |
I'll maximize it.
And you can read through it.
| | 01:45 |
It was designed by Eugeny Kalney in 2002.
And it contains a description, permission
| | 01:49 |
to use this software here as long as this
notice is included.
| | 01:57 |
And if you scroll down much further you
will see the actual source code.
| | 02:01 |
Don't worry, we don't need to know
anything about programming to use this.
| | 02:06 |
Click this icon right here to load this
window into Autocad.
| | 02:11 |
This makes the program available.
Then you can close the visual Lisp
| | 02:15 |
Integrated Development Environment.
And right here it says type Geon Curve or
| | 02:20 |
G Curve to start the command.
I'll type GCURV enter, and that now opens
| | 02:27 |
this program, and we can go ahead and
select, Geom spiral, and then archimedes.
| | 02:37 |
Click OK.
Specify the center point of this cure at
| | 02:41 |
some arbitrary point over here after the
sign.
| | 02:45 |
Then it says input parameter value 50,
press Enter to accept that default.
| | 02:51 |
Here its says input step type 12 and
press Enter.
| | 02:55 |
Now it says input n for the number of
points.
| | 03:01 |
Accept the default of 750 and press
Enter.
| | 03:04 |
The Archimedian spiral is drawn.
Zoom in.
| | 03:11 |
Select the object.
And it has 750 points, if you can believe it.
| | 03:17 |
We will need to simplify this if we're
going to use it as the basis of a 3D model.
| | 03:22 |
Or we'd end up with too much complexity.
Go to the Properties palette.
| | 03:28 |
And you'll see that right now this is a
poly line.
| | 03:30 |
Type P Edit, Enter.
There's an option within this command
| | 03:36 |
called Spline.
Normally it would curve the poly line
| | 03:39 |
between the points.
But because we have so many points, no
| | 03:43 |
change is really visible on the screen.
Press Enter again.
| | 03:47 |
But nevertheless, this step is necessary
for what follows.
| | 03:53 |
I want to convert this object into a
Spline, but I need to use the Spline
| | 03:57 |
option of the P-Edit command in order to
do that.
| | 04:02 |
Next, type Spline Edit.
Press Enter, and select the spline.
| | 04:12 |
This converts the object into a spline.
Press Enter again to end the command.
| | 04:19 |
Select the object, and go over to the
Properties palette again.
| | 04:23 |
You'll see that it is now a spline.
The reason I want to do this is because
| | 04:28 |
there's a command called rebuild, which
allows you to simplify spline objects,
| | 04:33 |
and we use that next.
Simply type rebuild, and press Enter.
| | 04:41 |
Here we can change the number of control
vertices in the spline, it started with 751.
| | 04:47 |
Let's change that value to 100 and click
OK.
| | 04:53 |
Then select the object again, and you
can see that it's much simpler and it
| | 04:58 |
retains the same curvature, more or less.
This is much more suitable for use in a
| | 05:04 |
3D model.
I'll press Escape to deselect.
| | 05:09 |
Now I want to make a copy of this object
in the exact same position.
| | 05:14 |
So I'll click Copy, select the object,
Enter, and for the base point I'll just
| | 05:18 |
type in the @ symbol, and press Enter.
And for the second point, again I will
| | 05:25 |
just type in the @ symbol, and press
Enter.
| | 05:28 |
Press Enter again to end the copy
command.
| | 05:32 |
So this is essentially a trick that
allows you to copy the object in place,
| | 05:36 |
by copying it from at to at.
Then I'll go ahead and rotate the last
| | 05:42 |
object created.
I'll type L enter, enter, specify the
| | 05:47 |
base point.
By using the Endpoint Object Snap and
| | 05:51 |
Snapping right here, and then I'm going
to type 90 to rotate that spiral 90 degrees.
| | 06:00 |
Zoom in here, and let's just adjust the
shape of this curve.
| | 06:03 |
I don't like it how it's coming to a cusp
or sharp point.
| | 06:07 |
I'll select this line and use its control
vertices to reshape it.
| | 06:14 |
I'll just zoom in here and change some of
the locations of these points.
| | 06:22 |
Just to reshape the curve.
There's no real right way to do this, you
| | 06:26 |
just want to go ahead and select these
objects and reshape them so that you have
| | 06:30 |
a better looking curve in the middle.
Perhaps I will remove a vertex here to
| | 06:40 |
simplify it.
Again remove another vertex and that's
| | 06:46 |
starting to look better.
Maybe I'll move this up a little bit so
| | 06:52 |
that we have a smoother shape at the
center of this spiral.
| | 06:57 |
Then draw a line from this end point
here.
| | 07:03 |
Turn on ortho, and draw it across like
that, horizontally.
| | 07:10 |
And then trim this part of the spiral
away, and erase, align.
| | 07:18 |
Then rotate both objects 90 degrees so
that they look like this.
| | 07:28 |
Next, move the objects on top of the
sketch.
| | 07:37 |
I'll turn off ortho so I can move that
right about there.
| | 07:41 |
And it looks pretty good.
It's not a perfect representation, but
| | 07:45 |
the sketch is really going to be used as
a rough inspiration for the model that we
| | 07:49 |
will be building.
I'll move this up just a little bit, and
| | 07:55 |
then let's go ahead and adjust this
image.
| | 07:59 |
I don't need to see the rest of these
other borders, so I'm going to click on
| | 08:03 |
the image and choose Create Clipping
Boundary.
| | 08:09 |
And then press Enter and click two points
surrounding the column in question to
| | 08:14 |
clip that image away.
Perhaps I'll also fade the image by
| | 08:20 |
dragging this slider.
Then we can see the red spiral a little
| | 08:26 |
bit more clearly.
Finally, push Escape to deselect.
| | 08:30 |
In this video you have learned how to
load and run a Lisp program to draw an
| | 08:34 |
Archimedean spiral.
In addition, you've positioned the spiral
| | 08:39 |
with respect to a scanned drawing which
will inspire your continued 3D modeling efforts.
| | 08:47 |
| | Collapse this transcript |
| Creating the volutes| 00:02 |
In this lesson you will duplicate spirals
onto two layers, and then extrude a
| | 00:05 |
spiral bar relief form.
In addition, you will position closed 2D
| | 00:10 |
boundaries in 3D space.
And loft a 3D value form between a series
| | 00:15 |
of cross sections.
Open the column 2 project file and zoom in.
| | 00:23 |
I'm anticipating needing to create two
sets of spirals.
| | 00:27 |
Because I want to extrude a bar relief
form here along the edge of the spiral.
| | 00:32 |
And I need to represent this inner
material of the volute.
| | 00:36 |
So I'd like to duplicate these two
objects.
| | 00:41 |
Click Copy, select the two spirals, press
Enter, and then copy it from this end
| | 00:47 |
point and place it back on the same
point.
| | 00:52 |
Press Enter to end the Copy command.
Now you have four objects, select two of
| | 00:58 |
them by clicking one at a time on each
spiral and then change their layer to
| | 01:03 |
layer 2.
Press Escape to deselect.
| | 01:06 |
Toggle off layer 2 for now.
Leave layer 0 as the current layer and
| | 01:12 |
draw a line representing the central axis
of the column, which is about here.
| | 01:21 |
Use Ortho to draw that line vertically.
While you're at it, also draw another
| | 01:28 |
line from this point, perpendicular to
the central axis.
| | 01:33 |
Set layer one current, and draw a line
from this endpoint.
| | 01:39 |
Perpendicular to the axis, and again down
low.
| | 01:44 |
Draw another line connecting these dots,
to create a closed form.
| | 01:49 |
Then type join, and select this little
line segment, these two, and these two
| | 01:56 |
spirals, enter I'll orbit.
And then, let's switch to the 3D modeling
| | 02:05 |
work space, and use the extrude button
here on the modelling panel.
| | 02:12 |
Select this object, press enter Zoom in,
and extrude it up, just a short distance,
| | 02:19 |
about like this to create this baw relief
form.
| | 02:26 |
And then change the visual style to shade
it with edges so you can see it.
| | 02:33 |
So far so good.
Now let's toggle off Layer 1 But first
| | 02:37 |
set layer two current.
Turn it on, set layer two current, go
| | 02:43 |
back and turn off layer one.
Okay.
| | 02:47 |
Now I'll go back to the top view, and
maybe rotate it back the way it was originally.
| | 02:56 |
Now for this spiral, I don't need this
inner portion, so I'll select this and
| | 03:00 |
delete it.
I'll go ahead and draw a line from here
| | 03:05 |
over to the central axis, and then draw
another line and snap it to the nearest
| | 03:10 |
point, which is any point along the edge,
right about here At the top of this
| | 03:15 |
curve, an draw the line perpendicular to
the central axis.
| | 03:23 |
Then draw another line, connecting these
two dots.
| | 03:28 |
Use the trim command.
Type: t r enter, enter, an then click
| | 03:31 |
here, to get rid of the spiral.
Use the Join command to join these yellow
| | 03:38 |
objects together in a single closed form.
Then orbit all the way around, like this.
| | 03:49 |
Now, this white line represents the half
of the distance that I want to extrude.
| | 03:53 |
The volute, ultimately, but first, I
want to rotate this down in 3D.
| | 03:58 |
So I'm going to select it.
Make sure rotate gizmo is selected over here.
| | 04:04 |
Position the cursor over this grip, so
that the rotate gizmo jumps over there.
| | 04:09 |
Click the green ring, move the mouse
down, with Ortho on, and click, and
| | 04:14 |
you've just rotated it in 3-D.
Press Escape to deselect.
| | 04:22 |
Go ahead and copy, type CO, Enter, and
copy this yellow object down from the
| | 04:28 |
end-point of the white line.
Straight down to the bottom, Enter.
| | 04:34 |
Now for clarity I think I'm going to
orbit underneath.
| | 04:38 |
And perhaps I'll just move this white
axis over, so that it's on the end of the
| | 04:42 |
yellow line.
So now you can see that they're connected spacially.
| | 04:49 |
This one's right below that one.
Then Copy these 2 objects down again the
| | 04:55 |
same distance.
So now we have 3 cross sections, then
| | 05:01 |
let's move the coordinates system up here
by selecting its origin point, moving it
| | 05:10 |
right here.
Let's make this, middle cross-section smaller.
| | 05:22 |
I'll scale it down, from this point, a
factor of 0.7.
| | 05:25 |
Scale, this object, enter, from this
point.
| | 05:33 |
0.7.
There we go.
| | 05:35 |
I'll look in the top view, and now I need
to turn off the image layer, cause its
| | 05:39 |
obscuring what's underneath it.
I'll go over here and open a layer drop
| | 05:47 |
down, and let's toggle off the image
layer.
| | 05:51 |
And then I'll move this middle cross
section over Not so much that it sticks
| | 05:56 |
out, but right about here.
And I'll orbit so you can see what I've done.
| | 06:04 |
Now let's go ahead and create a three
dimensional form.
| | 06:07 |
Go to the Solid tab.
Open this fly out here under Sweep and
| | 06:12 |
choose Loft.
Loft allows you to create a surface
| | 06:16 |
between cross sections.
Select the first, second, and third cross
| | 06:21 |
sections to create the loft.
Press Enter, Enter.
| | 06:27 |
You can refine the shape by selecting the
object that results.
| | 06:32 |
And using this multi-function grip menu.
Right now it's smooth fit.
| | 06:38 |
Other choices include ruled, which means
it goes straight straight.
| | 06:43 |
Or normal to all sections.
Or normal to start or end.
| | 06:44 |
Or just the start and end.
I'll choose normal to all sections so
| | 06:47 |
that the surface is perpendicular.
To the top face.
| | 06:59 |
And down here, it's perpendicular to this
face.
| | 07:04 |
And down here, it's perpendicular to the
bottom face.
| | 07:07 |
Normal refers to perpendicular vector, to
a surface.
| | 07:12 |
I'll press escape.
And then, let's toggle on layer.
| | 07:16 |
One, so I'm going to go back to the home
tab, under layers, and toggle that back on.
| | 07:24 |
And I need a copy of this underneath, so
I need to rotate the user coordinate
| | 07:29 |
system to mirror this object down below.
I'll type UCS, Enter, click X, Enter.
| | 07:39 |
Now the XY plane is on this surface.
I'll type MI for mirror, select this red
| | 07:47 |
object, Enter, and then I'm going to
click right here.
| | 07:53 |
Move the mouse over, click again and
press Enter to mirror that bar relief
| | 07:58 |
form on the other side of the volute.
So, in this lesson you learned how to
| | 08:06 |
prepare an extrusion and a loft by
careful positioning of closed 2D boundaries.
| | 08:12 |
You created a low bar relief extrusion
and a deep 3D volume using the Loft command.
| | 08:18 |
| | Collapse this transcript |
| Extruding and sweeping the abacus| 00:02 |
In this video, you will extrude the
abacus which will ultimately become the
| | 00:06 |
top most portion of the column and then
you will sweep a profile creating a
| | 00:11 |
transition between the abacus and the
volutes, open the column 3 project file
| | 00:15 |
and go into the top view by clicking on
the view cube Rotate the plan if
| | 00:19 |
necessary, and zoom into the sketch.
This is the abacus this top square
| | 00:28 |
object, and then this is the transition
between the abacus and the volutes below.
| | 00:36 |
Go to the Layers panel, open the Layer
Drop Down, turn off layer 1 and set layer
| | 00:43 |
3 current.
Then draw a rectangle, starting over here
| | 00:49 |
at this corner point.
Then hold down shift and right-click and
| | 00:56 |
choose nearest snap to a point that's on
this central axis point about like this
| | 01:02 |
to represent this half-portion of the
abacus.
| | 01:09 |
Then draw a temporary line down from the
mid-point, and then orbit by holding down
| | 01:13 |
shift and dragging the mouse wheel, so
that you can be sure of where you're
| | 01:18 |
snapping in 3D.
Click a point here that's perpendicular
| | 01:23 |
to the yellow volute surface and press
enter.
| | 01:25 |
Next turn off Layer 2, and turn off the
image, go back into the top view and
| | 01:34 |
rotate the view.
Okay, so right here we have a line, and
| | 01:42 |
everything here is on the same plane.
Draw a circle from the end of the line up here.
| | 01:53 |
It's also the mid-point of the rectangle,
and snap it to the mid-point of the line,
| | 01:58 |
like this.
Then draw another circle in much the same
| | 02:03 |
way, down below.
Draw another temporary line across the
| | 02:09 |
circle from its left quadrant point
across like that.
| | 02:14 |
Then trim, type TR, enter, and click
these different portions of the circles
| | 02:19 |
to trim them away.
In the end, you want to be left with two
| | 02:26 |
arcs, like that.
This represents this transiton between
| | 02:31 |
the abacus and the volutes below.
Move it over, some distance such that you
| | 02:38 |
have a gap here.
And then erase the temporary lines.
| | 02:46 |
Orbit And the next thing we need to do is
mirror this rectangle over to the other side.
| | 02:55 |
So type MI Enter, select the rectangle,
Enter.
| | 03:01 |
Select the end of this central axis.
Move the cursor over with Ortho on, click Enter.
| | 03:08 |
So now we have a representation of the
entire abacus.
| | 03:13 |
Now, I'd like the abacus to be a square,
because it's going to sit on top of this
| | 03:17 |
round column.
One way you can draw a square is with the
| | 03:23 |
polygon tool, and it works in the XY
plane.
| | 03:27 |
So I'd like to draw a square but not in
the current XY place.
| | 03:31 |
So before I go ahead and draw that, I'm
going to rotate the user coordinate
| | 03:36 |
center, type UCS > Enter, and then type X
> Enter.
| | 03:41 |
And press Enter again to accept the
default rotation angle of 90 degrees.
| | 03:47 |
Now, the XY plane is on this surface
here.
| | 03:51 |
You can look at the cursor and see the
green and the red lines, that represents
| | 03:55 |
the XY plane.
Now, we can use the polygon tool, type
| | 04:02 |
four, enter, and then use its edge option
click right here, and right over here, to
| | 04:08 |
draw the square along that edge.
The next thing we need to do is rotate
| | 04:19 |
this profile curve 45 degrees, type RO
Enter, select Both arcs, Enter.
| | 04:28 |
Click this end point and type 45 Enter.
So now it's in the correct orientation to
| | 04:37 |
represent a mitered joint.
But this particular profile curve, is
| | 04:44 |
going to b e down.
The same distance it is from the corner.
| | 04:51 |
So to represent that, let's go ahead and
offset this existing rectangle here.
| | 04:57 |
I'm going to type O for offset, Enter.
Zoom in, set the offset distance
| | 05:03 |
graphically by clicking these two points
here and here.
| | 05:09 |
Select this object to offset, and then
click inside and press Enter.
| | 05:14 |
So now we have two rectangles.
Next, move these two arcs from this end
| | 05:21 |
point down to this end point.
So now that's looking good.
| | 05:29 |
I think we're ready to create our three
dimensional objects.
| | 05:33 |
These are separate arcs.
So before we use them as a profile, it
| | 05:37 |
would make sense to join them together.
Type Join, Enter select them both, press Enter.
| | 05:46 |
Go to the Surface tab, because this is an
open object.
| | 05:50 |
When we sweep it, it will generate a
surface.
| | 05:54 |
Click Sweep, select the Profile > Enter.
Use the Alignment Option, it says, the
| | 06:01 |
line sweep object perpendicular to path
before sweep.
| | 06:06 |
No, we already rotated it.
It's in the right position right now,
| | 06:11 |
then click the Sweet Path, which is this
inner rectangle and the surface is generated.
| | 06:18 |
Next go to the Solid tab, and choose
Extrude.
| | 06:24 |
Select the larger rectangle, Enter.
And then snap to this end point to create
| | 06:30 |
this abacus.
Now let's see how this relates to the
| | 06:37 |
other geometry in the model.
Go to the Home Tab, open the Layers
| | 06:43 |
panel, open the Layer Drop Down and turn
on layers 2 and layers 1, click Outside
| | 06:50 |
and Orbit.
You can see that the green objects are
| | 06:55 |
too low.
They need to move up a bit in order to be
| | 06:59 |
centered on the volutes and the
bas-relief objects.
| | 07:05 |
So, let's move them.
Type M Enter, make a window to select
| | 07:09 |
those green objects, enter.
Grab them from the midpoint right here.
| | 07:17 |
We get warned that one of the surfaces
associated with this, is not selected, so
| | 07:23 |
I'll click Continue.
We didn't select the Arcs which define
| | 07:29 |
the sweep curve, but that's okay.
Now, I want to move this up, and I want
| | 07:36 |
to snap it in the y direction to this end
point here on these white lines.
| | 07:42 |
But if I click right here, it's just
going to move them over there.
| | 07:45 |
And that's not what I want.
So I'm going to type in a point filter
| | 07:50 |
0.XZ, because I want to specify those two
coordinates by clicking the cursor.
| | 07:58 |
So, press enter and then click back at
the same midpoint where you started to
| | 08:02 |
specify the X and Z coordinates.
And then it says, need Y, click on this
| | 08:08 |
endpoint to specify just the Y
coordinate.
| | 08:13 |
And now the green objects have moved up,
and everything looks great.
| | 08:19 |
In this lesson, you swept a surface and
extruded a solid while manipulating the
| | 08:23 |
user coordinate system in order to create
the objects where they were needed.
| | 08:29 |
You also used a point filter to specify a
transformation in a specific direction.
| | 08:33 |
| | Collapse this transcript |
| Revolving profiles| 00:02 |
In this lesson you will model some of the
finer details in the ionic colum capital,
| | 00:05 |
by revolving profiles.
Open the column for project file.
| | 00:11 |
Go to the Layers panel and toggle on the
Image layer.
| | 00:15 |
Go to t he top view Draw a line along the
right edge of the column sketch.
| | 00:26 |
Use Ortho, so that the line is vertical.
Draw another line along this transition
| | 00:33 |
between these objects, and another one
right here.
| | 00:39 |
Draw a third horizontal line, but this
time snap it to the corner of the yellow object.
| | 00:47 |
Turn it to make sure that that is snapped
correctly.
| | 00:50 |
Go back to the top view, and zoom in.
If you look closely at the sketch, it
| | 00:59 |
looks like it goes up and then it has a
bevel, and then it goes up again.
| | 01:05 |
So if we imagine that starting here, it
would go up, out, and in.
| | 01:12 |
So let's say that it ends right about
here.
| | 01:16 |
I'll draw another line.
Turn off object snap, and draw it right
| | 01:22 |
about here going up.
Now imagine this object is curved.
| | 01:30 |
You can see that here in these arcs.
So if it starts here, it's going to curve
| | 01:35 |
out, about to here maybe I will draw a
line up representing where that's going
| | 01:40 |
to end.
Then Turn off the image layer and set
| | 01:49 |
Layer 4 current.
Orbit, and draw another line.
| | 01:59 |
Turn on Snap, and draw from this endpoint
down to this endpoint below.
| | 02:07 |
This represents the central axis of the
column, and the midpoint of this line is
| | 02:12 |
the column's center line.
Let's turn off layers one and two now.
| | 02:18 |
Next, let's rotate the user coordinate
system about the x axis.
| | 02:23 |
Type UCS, Enter.
X, Enter.
| | 02:25 |
And then Enter again to accept the
default rotation of 90 degrees.
| | 02:40 |
Then draw a circle from the mid-point of
this cyan line, coming from the center
| | 02:45 |
line of the column.
Then go into what was called the Top
| | 02:52 |
View, but is now called the Back View in
the current UCS.
| | 02:59 |
Zoom in over here, make sure Snap is off.
And click right about here to represent
| | 03:07 |
this largest circle.
And then Orbit it to see what you have.
| | 03:13 |
Go ahead and copy this circle, use Snap
and copy it from this point to go
| | 03:22 |
perpendicular to this line and
perpendicular to this line, Enter.
| | 03:38 |
We can now delete these three, white
lines.
| | 03:43 |
But the next thing we need to do is make
these two circles smaller.
| | 03:49 |
Select the middle circle, click its grip,
switch back to the back view, zoom in
| | 03:57 |
here, and turn off Snap.
And click right about here, Escape.
| | 04:04 |
Select this circle, grab its grip and
click here, Escape.
| | 04:15 |
Then we can erase these three lines.
So we're left with three concentric circles.
| | 04:22 |
Next, we will draw in the profile shape.
So if you remember this top area has a
| | 04:33 |
curved profile.
Let's go ahead and draw a line using snap.
| | 04:38 |
And snap it to the quadrant of this
circle, to the quadrant of this circle.
| | 04:47 |
So this curve is going to bow out a
little bit.
| | 04:52 |
So we can visualize that more easily,
let's draw another line, and I'll just go
| | 04:57 |
ahead and use Ortho, click some arbitrary
point right about there, and then I'll
| | 05:03 |
snap back to there.
So we have essentially a plane here that
| | 05:09 |
we're going to be drawing this curve in,
defined by these three lines.
| | 05:14 |
Click Spline, start it here, continue it
to this point, an end it right there, Enter.
| | 05:25 |
Select the spline, position the cursor
over this middle grip And then hover the
| | 05:31 |
cursor over the red axis and move it
back.
| | 05:38 |
I'm using the Move gizmo to do this.
Press Esc to deselect, and then orbit so
| | 05:45 |
you can easily select these lines.
And then press the delete key to get rid
| | 05:53 |
of them.
Now over here, we have a more complex
| | 05:59 |
profile that we will start by just
drawing a line connecting the quadrants.
| | 06:07 |
Then we will draw a line From here, use
Ortho, draw a short segment about that long.
| | 06:17 |
And copy it, from its end point, and
place it over here.
| | 06:24 |
Draw a line connecting the end points,
and then erase the original line.
| | 06:31 |
Type Join.
And select these three line segments to
| | 06:35 |
join them into a single poly line.
So there's our profile sheet.
| | 06:43 |
Next go to the surface tab, and choose
Revolve.
| | 06:47 |
Select this profile, Enter.
And then we need to acquire the central axis.
| | 06:55 |
So with center snap running, you'll see
that we have center snaps appearing here.
| | 07:00 |
I'll click here, acquire another center
snap, and click on that point to
| | 07:05 |
determine the axis of revolution Then
I'll press Enter to accept the default
| | 07:11 |
360 degree resolution.
Let's do that again.
| | 07:17 |
Revolve, This Profile, Enter.
From one center point to another, But
| | 07:25 |
this time let's only revolve it 45
degrees.
| | 07:31 |
Enter.
So in this lesson you have learned how to
| | 07:34 |
lay out profiles in 3D, and revolve them
to generate surfaces.
| | 07:40 |
| | Collapse this transcript |
| Sculpting surfaces| 00:02 |
Here you will draw an ellipse over a
sketch and revolve half of it to form a
| | 00:05 |
3D surface.
Then you will move it into position and
| | 00:09 |
sculpt a NURBS surface to add additional
surface detail to the column capital.
| | 00:14 |
Open the Column 5 project file, go to the
Layers panel (audio playing) and toggle on
| | 00:18 |
(audio playing) the Image layer.
Set layer five current.
| | 00:24 |
Go to the top view and zoom in.
(audio playing) Let's focus on making this
| | 00:30 |
elliptical object.
Go up to the Draw panel (audio playing) and open
| | 00:35 |
the Ellipse flyout and choose the Axis
End method.
| | 00:39 |
Turn off Snap.
Click the lower point here.
| | 00:44 |
And then click some upper point, maybe
about here.
| | 00:47 |
(audio playing)
Click a point over here (audio playing) to
| | 00:50 |
represent the width.
Then turn off the image layer (audio playing) and orbit.
| | 01:01 |
We probably need to move the ellipse to
line it up perfectly with this central
| | 01:05 |
axis line.
Move, (audio playing) select the ellipse, turn on
| | 01:11 |
Object Snap, grab it from the quadrant
point and snap it on the end of the line there.
| | 01:19 |
Then draw (audio playing) a temporary line from
(audio playing) quadrant to quadrant (audio playing) and
| | 01:23 |
then trim off half of the ellipse.
(audio playing)
| | 01:29 |
Erase the temporary line.
Go to the Surface tab and revolve the
| | 01:34 |
elliptical arc, from end point to end
point, (audio playing) and then press Enter to
| | 01:40 |
accept the 360 degree rotation.
(audio playing)
| | 01:46 |
Next we need to move this surface up so
that it intersects with the blue surface,
| | 01:49 |
so we can see the relationship there.
We'll use the Rotate command to do this.
| | 01:56 |
Remember the Rotate command rotates
objects around the z-axis, so we need to
| | 02:00 |
change the UCS before we rotate this
object.
| | 02:04 |
Type UCS, Enter, x, Enter, Enter to
rotate the UCS about the x-axis 90 degrees.
| | 02:15 |
Now the z-axis is parallel with the
column's central axis.
| | 02:21 |
Type RO for rotate, select (audio playing) this
surface, press Enter.
| | 02:27 |
Click a point here at the center (audio playing)
and you're warned because removing the
| | 02:32 |
surface independently of its defining
curve.
| | 02:37 |
That's okay.
Click Continue.
| | 02:39 |
(audio playing)
Turn off Ortho and you can see how the
| | 02:42 |
surface is being rotated.
Type 90 and press Enter.
| | 02:49 |
So we got it closer, but I'd like to
rotate it back.
| | 02:54 |
A distance that's half as wide as this is
in arc measure.
| | 02:58 |
This is a 45 degree arc surface.
So if we rotate it back 22.5 degrees, it
| | 03:04 |
should be right in the center.
(audio playing)
| | 03:09 |
So let's do that.
RO, Enter.
| | 03:11 |
P for previous, Enter, Enter.
Specify the base point at one if these
| | 03:18 |
center snaps and type negative 22.5,
Enter.
| | 03:23 |
So, now its centered perfectly.
Go ahead and select the blue object.
| | 03:30 |
Go to the Home (audio playing) tab.
On the selection panel (audio playing) choose the
| | 03:34 |
rotate (audio playing) gizmo.
Make sure Snap is off and Ortho is off.
| | 03:41 |
Click the red ring, we are warned that we
are rotating this independently of its
| | 03:46 |
defining curve, that's okay.
I'm going to say do not show this message
| | 03:50 |
again and continue.
I'll rotate it about like that, and press Esc.
| | 03:58 |
Next, I want to sculpt this surface here
to give more detail.
| | 04:05 |
So, I'm going to select it and go to the
Surface tab.
| | 04:10 |
Choose Convert to NURBS.
NURBS surfaces give you more control.
| | 04:15 |
You can actually sculpt them by moving
their control vertices, known as CVs.
| | 04:22 |
Click Show CV, select the surface, and
press Enter.
| | 04:28 |
We see a few CVs here in the middle.
I'd like to rebuild the surface so it has
| | 04:33 |
more CVs.
Click Rebuild, select the surface, and
| | 04:38 |
you get this dialog box.
Every NURBS surface has two directions, U
| | 04:44 |
and V that are on the surface itself.
And it's hard to keep straight which is which.
| | 04:51 |
So let's try 12 in U and 6 in V.
Click Preview.
| | 05:01 |
Now we have 12 in this direction and six
in the other direction.
| | 05:05 |
That's not what I want.
Press Esc.
| | 05:09 |
(audio playing)
Change this to 6.
| | 05:11 |
And change this to 12.
Click (audio playing) preview.
| | 05:16 |
Now we have 12 going across this long
direction thats better.
| | 05:22 |
Now we have 6 going that way.
Press Enter.
| | 05:27 |
Now I'd like to sculpt the surface by
moving individual CVs.
| | 05:30 |
I'll select the surface to activate it.
Then I'm going to hold down the Shift key
| | 05:38 |
and click on multiple (audio playing) CVs here.
I might need to orbit while I'm doing
| | 05:45 |
this because the rotate Gizmo is in the
way.
| | 05:48 |
Actually, I'm going to go back to the
Home tab, on the Selection panel, and
| | 05:52 |
change this to the Move Gizmo.
Then I'm going to go ahead and hold down
| | 05:58 |
Shift and click on these four CVs To
highlight them all.
| | 06:05 |
I'm continuously holding down the Shift
key (audio playing) so that I can select multiple CV's.
| | 06:13 |
Now I'm going to position the cursor over
this blue axis and click, and move it up.
| | 06:19 |
Look at what's happening.
(audio playing)
| | 06:22 |
I'm sculpting the surface (audio playing)
This is going to add some additional
| | 06:26 |
detail which should be interesting on the
column capital.
| | 06:30 |
I'll press Esc to deselect.
Go back to the surface tab and click hide
| | 06:35 |
c v.
Now we need to array this around.
| | 06:41 |
So go to the Home tab.
Open the Array Flyout on the Modify panel
| | 06:46 |
and choose Polar Array.
Select the blue object and the surface
| | 06:50 |
object and press Enter.
Turn on Object Snap and click one of the
| | 06:56 |
center points.
Change the number of items to eight.
| | 07:02 |
Press Tab.
We don't need this to be associative.
| | 07:06 |
So make sure this is unchecked.
And click Close Array.
| | 07:10 |
That looks great.
However, it seems like it might be a
| | 07:16 |
little bit large.
Let's scale it down a bit.
| | 07:21 |
I'll turn off the green layer.
And then go ahead and choose scale,
| | 07:29 |
select everything on the screen hold down
Shift and deselect that central access line.
| | 07:39 |
Press Enter.
Click the midpoint of the axis.
| | 07:42 |
And let's scale it down by 0.08.
Let's turn on the other layers and see
| | 07:49 |
how it looks.
I'll turn on Layers 1, 2 and 3.
| | 07:58 |
(audio playing) It looks good.
Let's go ahead and conclude by mirroring
| | 08:03 |
this volute to other side.
Type MI.
| | 08:07 |
Enter.
(audio playing)
| | 08:10 |
Orbit.
(audio playing)
| | 08:11 |
Select crossing windows here to get the
bar relief red objects and the yellow objects.
| | 08:19 |
Enter.
Click any one of these center points.
| | 08:27 |
(audio playing)
Turn on Ortho.
| | 08:31 |
(audio playing)
Click again and press enter.
| | 08:40 |
Now we have completed the detail in the
column capital.
| | 08:46 |
In this lesson, you learned how to
convert a regular surface into a NURBS surface.
| | 08:51 |
You rebuilt the NURBS surface, and turned
on its CV's so you could sculpt it by
| | 08:54 |
repositioning its CV's.
In the end you arrayed the detailed
| | 08:59 |
object to complete the column capital.
| | 09:01 |
| | Collapse this transcript |
| Extruding the tapered column shaft and subtracting the flutes| 00:02 |
In this lesson you will model the fluted
column shaft, as shown in this sketch.
| | 00:06 |
Open the Column Six Project file, and
zoom into the underside of the column
| | 00:10 |
capital, orbit until you can see this
cyan line, which is at the center line of
| | 00:15 |
the column.
Go to the home tab and click on the Line tool.
| | 00:22 |
Draw a line from the mid-point of this
cyan line.
| | 00:27 |
Zoom out and orbit.
And draw the line down to the bottom of
| | 00:31 |
the fluted shaft.
About here.
| | 00:35 |
Enter.
Zoom back into the underside of the
| | 00:38 |
capital here.
In order to create this column we need to
| | 00:44 |
have a circle.
And that's going to be represented here
| | 00:48 |
by this circle on this cyan object.
So I'd like to create a circle on this
| | 00:55 |
magenta layer.
To do so, I need to rotate the User
| | 00:59 |
Coordinate System so that the xy plane
will be parallel to this circle.
| | 01:05 |
Type USC Enter.
X, Enter, Enter.
| | 01:11 |
Then click the Circle tool.
Hold down shift, and right-click, and
| | 01:17 |
choose Center to override any running
object snaps.
| | 01:21 |
Then position the cursor right here, and
click.
| | 01:26 |
Click right here again to snap to the
quadrant of the cyan object.
| | 01:31 |
Now we have a magenta object that's
coincedent with the lower edge of this
| | 01:36 |
cyan element.
However we can't see it very easily.
| | 01:41 |
Let's turn off Layer four.
Then go to the Solid tab and click Extrude.
| | 01:52 |
Select the magenta circle and press
Enter.
| | 01:59 |
You can see in the sketch that the base
of the column is a little bit wider.
| | 02:04 |
Than we have here.
So let's use the taper angle option.
| | 02:07 |
Type 0.5 degrees and press Enter.
It's tapering the shaft alright, but it's
| | 02:15 |
in the wrong direction.
Let's use taper angle again, and type
| | 02:20 |
negative .5 Enter.
Now that looks about right.
| | 02:26 |
Click at this end point to complete the
shaft.
| | 02:31 |
Then zoom into the base and draw a circle
starting at this quadrant point.
| | 02:38 |
This will represent the flute that we
will cut away from the volume of the column.
| | 02:44 |
Looking at the tooltip, I think a value
of about a hundred would be right, so
| | 02:50 |
type 100, Enter.
Then use extrude again, select the
| | 02:55 |
circle, and press Enter.
Let's extrude it all the way along the shaft.
| | 03:01 |
Over here I'm going to orbit to get a
better look.
| | 03:07 |
I'll extrude it just about to here, not
all the way to the end.
| | 03:12 |
I want to leave a bit of a gap.
Next I want to terminate this flute with
| | 03:19 |
a hemisphere.
So, I'll draw another circle centered
| | 03:26 |
here, going to this quadrant point.
To get a better look at that circle, I'm
| | 03:33 |
going to move it forward a short
distance.
| | 03:36 |
Move, Enter, L for Last, Enter, Enter to
exit Select Objects mode.
| | 03:43 |
And then move it forward a bit.
Then draw a line across its diameter and
| | 03:50 |
trim away half of the circle.
Then use revolve, select these two
| | 03:58 |
objects and press Enter.
Click these two end points to specify the
| | 04:05 |
axis of rotation, and then type 180 for a
half circle and press Enter.
| | 04:13 |
Then move the hemisphere from its end
point and snap it to the quadrant here of
| | 04:18 |
the cylinder.
So now we're left with two separate objects.
| | 04:25 |
To join them together, let's use the
Boolean Union tool here.
| | 04:31 |
This is named after the mathematician
George Bool, who discovered these operations.
| | 04:38 |
I'll select the cylinder and the
hemisphere and press Enter.
| | 04:41 |
Now we have a single object.
I'll erase this vertical line as well.
| | 04:47 |
If you look closely you'll see that
there's a gap between this object and the shaft.
| | 04:53 |
That's because of the taper angle.
We need to rotate this flute object.
| | 04:59 |
So that's it fully embedded in the shaft.
To do that, I will rotate it.
| | 05:06 |
And the rotate command rotates about the
z axis.
| | 05:10 |
So I need to rotate the UCS again.
Type UCS, Enter.
| | 05:17 |
Y, Enter, Enter.
Then ro for rotate.
| | 05:22 |
Select this flute object and click here
as the center of rotation.
| | 05:29 |
Use the reference option.
Click at the base again and go up here
| | 05:35 |
all the way to the end of the column.
Orbit around so you can get a better look.
| | 05:44 |
Click right here at the center point, and
then click here on the quadrant of the shaft.
| | 05:51 |
Now exactly half of the flute is embedded
in the shaft.
| | 05:59 |
I'll come back here to the base again,
and zoom in.
| | 06:03 |
I'd like to make an array of flutes all
the way around the circumference of the shaft.
| | 06:10 |
To do that I need to reset the UCS back
to where it was previously.
| | 06:14 |
Type UCS Enter, P Enter.
Then go to the Home tab, open the array
| | 06:22 |
Flyout, and choose Polar array.
Select the flute object, Enter, specify
| | 06:29 |
the center point down here, change the
number of items to 32.
| | 06:36 |
Make sure associative is not selected,
and click close array.
| | 06:44 |
Now we need to subtract all the flutes
from the column.
| | 06:48 |
To do that, go to the solid tab, choose
subtract, and then zoom in.
| | 06:56 |
The way that subtract works is there are
two phases.
| | 07:00 |
In the first phase you select the object
which you wish to remain after the
| | 07:04 |
subtraction is complete.
So in this case I'll select the shaft and
| | 07:10 |
press Enter.
Now I need to select all of the flutes.
| | 07:16 |
A quick way of doing that is to select
everything here with a crossing window,
| | 07:22 |
and then to zoom in, hold down Shift, and
click on the shaft itself to remove it
| | 07:28 |
from the selection, and then press Enter.
All of those objects are subtracted from
| | 07:39 |
the shaft.
If you look up here at the top, you'll
| | 07:42 |
see that the tops are terminated in these
hemispheres.
| | 07:48 |
Let's go ahead and go back to the Home
tab and toggle back on Layer Four.
| | 07:54 |
In this lesson, you learned how to
extrude an object at a taper angle and
| | 08:00 |
how to use bullion tools such as union
and subtract to model the fluided column shaft.
| | 08:09 |
| | Collapse this transcript |
| Modeling the base by revolving a profile| 00:02 |
In this lesson you will model the base of
the column.
| | 00:05 |
Open the Column 7 project file.
This object has rotational symmetry.
| | 00:11 |
So the approach will be to sketch one
side of it.
| | 00:15 |
This will be the profile.
And then we will revolve the profile to
| | 00:18 |
create the surface of the base.
Go in to the top view, and zoom in to the
| | 00:25 |
base area.
This appears to be composed of three arcs.
| | 00:34 |
Let's approximate that by drawing a
circle.
| | 00:39 |
I'm just going to estimate it here by
Clicking where I think the center of the
| | 00:43 |
circle might be, and then I'll click
again to represent that curve.
| | 00:52 |
Then use Copy, and copy the circle that
you just drew from its top quadrant down,
| | 00:57 |
and then copy a third circle down below.
Now if you don't think your circles are
| | 01:04 |
quite large enough, you can scale them
all together.
| | 01:09 |
Click Scale, select all three, Enter, and
scale them from the top quadrant.
| | 01:17 |
Then use the Reference option.
Click the first point of the reference
| | 01:23 |
line at the same point here at the top
quadrant.
| | 01:27 |
Click the second point of the reference
line here at the bottom quadrant, and now
| | 01:31 |
you have the ability to scale them all
interactively.
| | 01:36 |
I'll zoom in here and click right about
here.
| | 01:39 |
So now, I have 3 circle that line up
pretty well with the sketch.
| | 01:46 |
I'll draw a line through all of their
diameters, like this.
| | 01:52 |
And then, TR for trim, press Enter, Enter
to select all edges as cutting edges, and
| | 01:57 |
then trim away these opposite arcs.
Select the line and press delete.
| | 02:03 |
Then move the lower arc over, using
Ortho, until it's matching up more or
| | 02:07 |
less with the sketch.
Now this arc, doesn't really fit here, so
| | 02:15 |
Let's adjust the Arc that we have.
Select it, grab its grip and attach it to
| | 02:27 |
the end point of this semicircle, then
grab the midpoint grip and snap it here
| | 02:32 |
to the center.
Press Esc twice to deselect Orbit, and
| | 02:41 |
draw a line from the end point here of
the central axis.
| | 02:52 |
Draw that out horizontally.
I can't be sure if these are going to
| | 02:56 |
line up because I just eyeballed the
circle on the sketch.
| | 03:00 |
So to be precise, we need to move it
back.
| | 03:05 |
Sometimes when things are really close
like that, it's helpful if you move the
| | 03:09 |
object well out of the way at first.
And then use move again, choose P for
| | 03:16 |
Previous, reselect the objects, and move
them back perpendicular so that you can
| | 03:21 |
be certain that It lines up precisely.
Precise profiles are necessary to create
| | 03:29 |
surfaces in 3D.
Go ahead and trim away this line.
| | 03:37 |
Now we're left with a series of arcs and
a line.
| | 03:41 |
Let's join them together into a single
polyline.
| | 03:44 |
Type join enter, and select all of those
two dimensional objects.
| | 03:50 |
Press Enter, and then just to verify, you
can position the cursor over it, and now
| | 03:55 |
it says polyline in the tooltip.
Next go to the Surface tab.
| | 04:01 |
Click revolve, select the profile and
press enter.
| | 04:07 |
Then click the end point here at the base
of the column shaft.
| | 04:10 |
Zoom out and click down here using ortho.
Then press enter to accept the default
| | 04:19 |
rotation angle of 360 degrees It looks
good.
| | 04:24 |
Now let's turn off the sketch.
Type im for image and press enter.
| | 04:35 |
Right click on ionic order and say
detach.
| | 04:41 |
Closer the External References palette.
And take a look at the completed project.
| | 04:48 |
So, in this lesson, you drew the base
profile, and revolved it to complete the
| | 04:51 |
column model.
Congratulations on completing this project.
| | 04:55 |
| | Collapse this transcript |
|
|
4. Documenting 3D ModelsCreating 2D projections from a 3D model| 00:02 |
In this lesson, you will generate 2D top,
front, and side view drawings of a 3D
| | 00:06 |
mechanical part.
In addition, you will project an
| | 00:10 |
isometric drawing as well.
Open the MechanicalPart1 project file.
| | 00:15 |
This is a model of a three-dimensional
solid object.
| | 00:23 |
We're tasked with creating a series of 2D
drawings that represent this
| | 00:26 |
three-dimensional form.
Click on Layout1.
| | 00:30 |
A viewport is automatically created when
you first go to the Layout.
| | 00:37 |
We actually don't need this viewport.
Select it, and press the Delete key.
| | 00:43 |
Let's change the paper size.
Right-click on Layout 1 and choose Page
| | 00:47 |
Setup Manager.
Click Modify.
| | 00:52 |
Change the paper size to 17 by 11 inches,
so that it's oriented in Landscape
| | 01:00 |
Orientation here.
Select monochrome as the plot style table
| | 01:08 |
and check Display plot styles.
Click OK.
| | 01:14 |
And Close.
So we have a larger piece of paper, but
| | 01:18 |
there's nothing on it yet.
Let's go ahead and open the Layer
| | 01:25 |
Properties Manager and create a new layer
called Titleblock.
| | 01:31 |
Give that layer the color, white.
Make it Current.
| | 01:39 |
Change its Lineweight to something
thicker, perhaps 0.7 millimeters.
| | 01:48 |
Go ahead and draw a rectangle.
Inside the dash lines, which indicate the
| | 01:53 |
limits of the plot device.
Type x, Enter for EXPLODE, and explode
| | 01:59 |
the rectangle, turning it into lines.
OFFSET, and then type 3, Enter for 3 inches.
| | 02:09 |
And offset this line to the left, this
line down, and this line up.
| | 02:15 |
Enter.
TR for TRIM, press Enter again and trim
| | 02:20 |
away those lines.
So you have a titleblock.
| | 02:26 |
Now it's time to project 2D drawings from
the 3D model.
| | 02:30 |
Go to the Layout tab and click the Base
tool here on the Create View panel.
| | 02:39 |
You have two choices.
You can create this base 2D drawing
| | 02:43 |
either from the model in model Space in
AutoCAD or from a 3D model in Autodesk Inventor.
| | 02:52 |
Select the first option.
And then, click a point down here to
| | 02:57 |
locate the base projection.
Press Enter, move the cursor up and it
| | 03:02 |
automatically will create a top view for
you.
| | 03:06 |
Click there.
Move the cursor to the right relative to
| | 03:10 |
the base drawing and you'll get a side
view.
| | 03:14 |
Click a point to locate that drawing.
Now if you move the cursor around, you'll
| | 03:20 |
see that different views are suggested
depending on the relationship to the base drawing.
| | 03:30 |
Click up here to create an isometric
projection.
| | 03:34 |
And then press Enter.
Zoom in.
| | 03:39 |
And take a closer look.
Let's zoom in to the isometric.
| | 03:42 |
Make sure that Show Lineweight is on, so
you can see the representation of the
| | 03:49 |
line thickness here.
This is a bit thinner than this line for example.
| | 03:57 |
Go to the Layer Properties Manager.
Notice that we have four new layers that
| | 04:04 |
are prefaced with the letters MD, this
stands for model documentation.
| | 04:10 |
We have a set of hidden layers and a set
visible layers.
| | 04:15 |
The hidden layers are both regular and
narrow.
| | 04:18 |
And you can see that the lineweights have
been pre-assigned for you.
| | 04:23 |
Toggle off Narrow and this little line
disappeared.
| | 04:28 |
Toggle off Hidden and all those dashed
lines disappear.
| | 04:34 |
I think I'll leave MD_Hidden on.
But I'll leave MD_Hidden Narrow off.
| | 04:40 |
Also, the visible lines are on a separate
layer.
| | 04:42 |
We'll need to keep that on.
And MD_Visible Narrow refers to some of
| | 04:47 |
these lines down here that show the
faceting on this curved object.
| | 04:54 |
And turn that on and off.
Think it looks better with that off.
| | 05:02 |
So in this lesson, you learned how to
create a base projection of a 3D model in
| | 05:05 |
a layout.
And then, automatically create
| | 05:09 |
orthographic and isometric projections
from it.
| | 05:12 |
| | Collapse this transcript |
| Adjusting projections| 00:02 |
In this lesson you will learn how to
adjust the properties of drawing views,
| | 00:05 |
created with AutoCad's model
documentation features.
| | 00:09 |
You will also create new detailed and
sectioned drawings from existing 2D projects.
| | 00:15 |
Go ahead and select this isometric
drawing.
| | 00:18 |
There's a multifunction grip here, click
to open a menu of scales.
| | 00:24 |
Let's try one to one scale.
This is quite a bit larger.
| | 00:27 |
I'm going to move it over, so there's
still room on the sheet.
| | 00:31 |
I'll turn off, Ortho, to allow me to do
that, an I'll also turn off Object Snap,
| | 00:35 |
so I can click right here.
I'll re-select this drawing, an then
| | 00:42 |
click edit view.
In the appearance panel, you can change
| | 00:49 |
the, way that the objects are displayed,
by opening this flyout.
| | 00:54 |
Let's try shaded with visible and hidden
lines.
| | 00:59 |
I think this drawing is too big for this
particular sheet, so I'll change the
| | 01:02 |
scale back here in this drop down to 1:2.
Click okay.
| | 01:10 |
And then use the move command by typing m
enter.
| | 01:14 |
Select the object and move it over here.
So that's kind of in line with this top
| | 01:20 |
view and above this blank space.
Next in the create view panel, click the
| | 01:27 |
section tool.
Select the top view and zoom in, Attached
| | 01:32 |
to the cursor is the letter A and an
arrow.
| | 01:40 |
Turn on Object Snap Tracking, and Object
Snap.
| | 01:45 |
Position the cursor right here over this
midpoint, and track upward.
| | 01:51 |
Click a point to locate the start point
of the section line.
| | 01:57 |
Turn on Ortho and click another point
down here.
| | 02:02 |
Press enter, and then move the mouse over
to the right.
| | 02:08 |
This is a new section drawing that's cut
through the model at that aa line.
| | 02:15 |
I'll click right here to locate it.
Then press enter.
| | 02:20 |
Text is automatically created down here.
These are fields that are linked to these
| | 02:25 |
letters here.
However the drawing is rotated.
| | 02:30 |
I'd like to rotate it 90 degrees.
I'll select it, click its grip, and press
| | 02:36 |
the Spacebar twice to move to the rotate
of the grip editing command.
| | 02:44 |
And then click down below to rotate the
drawing.
| | 02:47 |
Next, I'm just going to move this up with
the move tool so we have a little bit
| | 02:51 |
more room on the screen down below.
Then I'll select this text.
| | 02:57 |
And use its M text location grip to move
that up.
| | 03:05 |
Press escape to deselect.
Over here, in this blank space, I'd like
| | 03:10 |
to create a detailed drawing of this
condition at the top of this object.
| | 03:18 |
I'll click Detail, select this view, zoom
in, specify a center point, right about here.
| | 03:30 |
Move the mouse out from that center point
and you'll see.
| | 03:36 |
The letter B up here with arrows pointing
to it in a circle.
| | 03:41 |
This is the area that we're going to
detail.
| | 03:44 |
I'll click right here, to locate letter
B, and then click over here to locate the
| | 03:50 |
detail view.
Press Enter Select this text, and move it up.
| | 04:01 |
Press Escape.
So I've laid out the section in detailed drawings.
| | 04:07 |
Now, let's go to model space, and make a
change to the model.
| | 04:15 |
Let's say I want to cut away a part of
this circle, and enlarge it.
| | 04:20 |
To do so I need to change the orientation
of the user coordinate system.
| | 04:24 |
Type UCS, Enter, X, Enter, Enter, then
type C for circle, Enter.
| | 04:34 |
Snap to the center point here, turn off
Show line weight and turn off object snap.
| | 04:46 |
Click a point down here.
It looks like a value of about 1.11 would work.
| | 04:51 |
So I'll type in 1.11, Enter, then I'll go
to the Solid tab, and choose Extrude.
| | 05:05 |
I'll extrude this object back, a short
distance, then click Subtract.
| | 05:13 |
Select the mechanical part first.
Press enter.
| | 05:17 |
Select this white object, and press
Enter.
| | 05:20 |
We've subtracted its volume from the
solid part.
| | 05:26 |
Now let's go ahead and see if that is
updated in the model documentation.
| | 05:32 |
Go back to layout one.
In after a moment everything is
| | 05:37 |
automatically updated.
Take a look over here.
| | 05:41 |
There's now a dash line here and this is
cut out.
| | 05:46 |
Over here in the section we also see that
new relationship.
| | 05:50 |
It represent here in the isometric
drawing.
| | 05:56 |
And the detail drawing also shows this
new condition, so all of these drawings
| | 06:02 |
are linked back to the original 3D model
in modelSpace.
| | 06:08 |
In this lesson, you learned how to edit a
view, and change its display properties
| | 06:12 |
and scale.
In addition you created a section in
| | 06:15 |
detail drawing from existing 2D
projections of the 3D model.
| | 06:20 |
You also altered the 3D model and saw
each one of the model documentation views
| | 06:24 |
automatically update.
| | 06:26 |
| | Collapse this transcript |
| Dimensioning 3D models on 2D projections| 00:02 |
In this video, you will add dimensions to
2D drawings that were projected from a 3D model.
| | 00:07 |
Then you will alter the 3D model and use
the annotation monitor to alert you if
| | 00:10 |
any associations have been broken.
You will then re-associate any
| | 00:16 |
orphan-dimensioned objects, to maintain
the veracity of the drawing.
| | 00:20 |
Open the Mechanical Part 3 project file,
and go to the Annotate Tab.
| | 00:27 |
Select the Linear Dimension tool from the
Flyout and Zoom In to the front view.
| | 00:35 |
Make sure object snap is on and snap to
these two end points.
| | 00:41 |
Place the dimension object somewhere
above the hole.
| | 00:44 |
Let's go ahead and open the Flyout and
choose Radius.
| | 00:51 |
Click on this Inner Radius, and locate a
dimension object, do that again over here.
| | 01:00 |
And then, up here in the top view, let's
do this one more time on this whole.
| | 01:08 |
Okay, now that we've added some
dimensions, let's turn on the Annotation
| | 01:14 |
Monitor which is located down here on the
Status Bar.
| | 01:21 |
This is going to alert us if any of our
dimensions become disassociated from the
| | 01:26 |
drawing views that they're connected to.
Switch to the model Tab, let's make a
| | 01:33 |
change to the 3D model.
Suppose we want to enlarge this hole, I'd
| | 01:40 |
like to draw a circle on this top
surface.
| | 01:46 |
We need to change the UCS.
Type UCS > Enter > Enter.
| | 01:52 |
This will reset the UCS back to the world
coordinate system, so that the x,y plane
| | 01:58 |
is on this surface.
Then type C Enter for circle, and snap to
| | 02:04 |
this top center point.
Create a circle of some arbitrary radius
| | 02:10 |
that's larger than the whole.
Then type EXT for extrude > Enter.
| | 02:18 |
Select the circle, and press Enter.
Move the cursor down some short distance.
| | 02:25 |
Click and the extrude command is
complete.
| | 02:29 |
Go to the Solid Tab, and click the
Subtract tool on the Boolean panel.
| | 02:34 |
Then select the Mechanical Part and press
Enter, because that's the piece that we
| | 02:39 |
want to have remain.
Then select the White Object and press
| | 02:45 |
Enter, and it is subtracted from the
volume of the mechanical part.
| | 02:51 |
You can better visualize that here by
changing the visual style to shaded with edges.
| | 02:57 |
So, we have enlarged the whole slightly.
Go back to Layout 1, you will see that
| | 03:03 |
the drawings automatically update, but we
get notification down here that one
| | 03:08 |
annotation has become disassociated due
to recent changes to the drawing views.
| | 03:16 |
You can either delete the disassociated
annotation by clicking here, or you can
| | 03:22 |
zoom in up here, and click this
exclamation point symbol, choose
| | 03:27 |
Reassociate, and then click on the outer
circle.
| | 03:35 |
The radius value automatically updates as
it's reassociated with this now larger hole.
| | 03:43 |
Note that down here, this didn't change,
it stayed associated to the inner diameter.
| | 03:49 |
Of course, if you wanted to, you could
select the dimension object and move its
| | 03:53 |
grips to represent the larger radius
value out here.
| | 04:00 |
However, it becomes disassociated, so you
can reassociate it with this point, and
| | 04:06 |
this point, and the dimension is
complete.
| | 04:12 |
So in this lesson, you learned how to use
the Annotation Monitor to alert you if
| | 04:16 |
any dimensions assigned to projected
views, lost their associations with the
| | 04:20 |
3D model.
After making a change to the model, you
| | 04:24 |
reassociated dimensions, so that their
values display true measurements.
| | 04:30 |
| | Collapse this transcript |
|
|
5. Creating Dynamic Slideshows, Animations, and RenderingsCreating animated slideshows| 00:02 |
In this lesson, you will save a number of
cinematic views and play them all in
| | 00:05 |
sequence using the show motion feature.
This type of animated slideshow can add a
| | 00:10 |
compelling element to on-screen
presentations.
| | 00:15 |
Open the motion 1 project file and orbit
around the model to get a sense of this house.
| | 00:23 |
The entrance to the house is actually
back here, and I'd like to start by
| | 00:27 |
placing a camera in this hallway, and
walking down the hallway.
| | 00:33 |
To do that let's orbit the model, so we
can get a top down view of the central
| | 00:39 |
hallway, more or less like this, then
type camera, Enter.
| | 00:47 |
Click the camera right about here.
And then click its target right about
| | 00:52 |
here, and press Enter.
Select the camera object.
| | 01:00 |
In architectural interiors it's always a
good idea to increase the field of view,
| | 01:04 |
so you can see more of the space.
To do this, click this grip and widen the
| | 01:09 |
field of view somewhat, like this.
Then position the cursor over this middle
| | 01:16 |
grip so you can move the camera and
target locations together.
| | 01:21 |
Click on the blue access and move the
camera up.
| | 01:27 |
In the camera preview window change the
visual style to shaded with edges.
| | 01:35 |
Then come back to the drawing window and
click on the green access.
| | 01:39 |
To move the camera and target inside the
hallway.
| | 01:46 |
I'll locate it right about here.
Press Escape to deselect.
| | 01:52 |
Next, type V, Enter, and double-click on
camera one to look through its lens, and
| | 01:58 |
click Okay.
Change the visual style to Shaded With Edges.
| | 02:07 |
I'd like to make some adjustments to this
view.
| | 02:10 |
To do that click the steering wheel tool
in the navigation bar.
| | 02:14 |
Use pan, and pan down.
And use walk to either walk backward or
| | 02:24 |
walk forward here, and position the
camera right about here so you can see
| | 02:28 |
some of this low high wall and you are
more or less in the center of the hallway.
| | 02:37 |
Maybe I'll pan over a little bit to the
right, close the steering wheel, type V
| | 02:42 |
for View, and press Enter.
Let's get rid of camera one and create a
| | 02:49 |
new one.
Right click on camera one and choose delete.
| | 02:54 |
Then click new.
For the view name type C1 Change the view
| | 03:01 |
type from 'still' to 'cinematic.' Then go
to shot properties.
| | 03:09 |
By default, the movement type is set to
'zoom in.' Let's see how this looks by
| | 03:13 |
clicking preview.
So we're zooming into this location,
| | 03:21 |
however the motion starts from outside
the house and goes through the window.
| | 03:26 |
I want to avoid that.
We can do that by decreasing the distance
| | 03:30 |
during this transition.
I'll change this to 150, and click
| | 03:35 |
preview again That looks great.
Now click okay, and okay again.
| | 03:44 |
Now lets create another view.
Click steering wheel and then walk forward.
| | 03:53 |
Use up down and drag down.
Until you can see this partial height
| | 03:58 |
wall here.
Walk forward a bit, and then maybe, look
| | 04:04 |
up or down so you can just see that
railing at the bottom of the drawing window.
| | 04:15 |
Close the steering wheel.
Type V Enter.
| | 04:20 |
Create a New View, called C2.
Change the View Type to Cinematic.
| | 04:28 |
Go to Shop Properties.
And again this, we'll use Zoom In, with a
| | 04:33 |
shorter distance.
Let's try 150 again and see how that looks.
| | 04:38 |
Preview, now that looks ok except it
starts too low.
| | 04:44 |
So let's cancel out, let's go back to the
steering wheel and pull the view up a
| | 04:50 |
ways, let's also look down a little bit.
Maybe I need to back up.
| | 05:04 |
There we go.
Now I can see this railing.
| | 05:07 |
I'll close the steering wheel.
Go back to V Enter.
| | 05:11 |
Create a new view called C2.
Change the type to cinematic, go to the
| | 05:17 |
shot properties tab, change the distance
to 150 and click preview.
| | 05:24 |
Okay that looks much better.
I'll say Okay, and Okay again.
| | 05:31 |
For the next view, I want to use the
steering wheel to move up here by walking.
| | 05:40 |
I'm going to look to the left.
So I'm going to drag, all the way over
| | 05:44 |
here, and then try that again, to drag
some more.
| | 05:50 |
I'll use pan, to drag over a bit to the
right.
| | 05:57 |
I'll look down a bit, and maybe move the
camera down as well.
| | 06:07 |
Close the steering wheel and save another
view.
| | 06:12 |
This time I'll call it C3 Make the view
type cinematic, go to shot properties.
| | 06:20 |
And this time I don't want to simply zoom
in.
| | 06:23 |
I'm going to change the movement type to
look.
| | 06:29 |
I want to end up where I am now, so I'll
change this to ending point An then I
| | 06:34 |
want the look transition, to turn, 90
degrees to the left.
| | 06:40 |
So I'll type in 90 here, and leave this
set to degrees left.
| | 06:46 |
Click Preview, and that looks good.
Okay, okay again.
| | 06:56 |
Let's create one more view down in the
kitchen.
| | 07:00 |
Use the steering wheel and walk forward.
Go down, and then look to the left a bit.
| | 07:14 |
Okay.
Save another view.
| | 07:16 |
Call it C4.
And let's try this with a zoom-in
| | 07:22 |
transition with a distance of 150.
Preview.
| | 07:31 |
And that looks good.
Okay, and okay again.
| | 07:38 |
Let's take a look at how all of these
transitions appear, when played back in sequence.
| | 07:44 |
Click the show motion tool here on the
navigation bar.
| | 07:50 |
This opens a user interface element here
at the bottom of the screen, an it's sort
| | 07:53 |
of interfering with the command line, so
I'm going to drag the command line up out
| | 07:56 |
of the way.
Now you can play an individual transition
| | 08:01 |
here, by clicking on the play button of a
particular view.
| | 08:06 |
I'll go to C1, and we can see how that
looks.
| | 08:12 |
I'll go to C4 and click Play.
If you want to play them all in sequence
| | 08:19 |
Come down here and click Play All.
And immediately after you click that, you
| | 08:25 |
can click this X to close the interface.
And then you can just watch as the
| | 08:30 |
cinematic views are played back in
sequence.
| | 08:39 |
So in this video, you learned how to save
cinematic views and configure their movements.
| | 08:44 |
You also played back a series of
cinematic view using show motion to
| | 08:47 |
create a compelling onscreen
presentation.
| | 08:51 |
| | Collapse this transcript |
| Animating camera motion| 00:02 |
In this lesson you will learn how to
animate a camera's motion along a path.
| | 00:06 |
You will create a video from this moving
camera, to impart a spatial sense in an
| | 00:09 |
architectural interior.
Open the Motion To project file.
| | 00:16 |
There's an object here which is a spline.
Select it and orbit, and observe that the
| | 00:21 |
spline is a three dimensional object.
It represents the path a camera will take
| | 00:27 |
while moving through this space.
Before you can animate a camera along a
| | 00:33 |
path, you first have to create a still
camera.
| | 00:37 |
So type v for view, and press Enter.
Click New and give it a name.
| | 00:45 |
I'll call it A1 to indicate an animated
camera.
| | 00:50 |
But paradoxically the view type should be
still.
| | 00:54 |
Click OK.
And OK again.
| | 00:57 |
The camera that I just created Is what
I'm looking through right now.
| | 01:01 |
So if I zoom out and orbit, you'll see
the camera is right here.
| | 01:08 |
Now, the position of this camera doesn't
matter because in a moment it's going to
| | 01:12 |
be moved over here to the start of the
path, and then we'll see it move along
| | 01:17 |
the path.
Revealing the interior of the space.
| | 01:24 |
To do this type anipath, for Animation
Path.
| | 01:31 |
Here in the camera area, click this
button to select the Motion Path.
| | 01:37 |
Then click on the spline.
We need to name this, and I'll just
| | 01:42 |
accept the default name of Path1, and
click Okay.
| | 01:46 |
Let's do a preview.
It's way too fast.
| | 01:52 |
I can hardly tell what's going on.
I'll close this window.
| | 01:57 |
An over here let's increase the duration.
It's only one second right now.
| | 02:03 |
Let's say that it's ten seconds.
Do another preview.
| | 02:09 |
Still it's, way too fast, but we're
getting a sense of what's happening.
| | 02:15 |
I notice here that the end of the path is
kind of looking at this window and part
| | 02:19 |
of the wall.
This is kind of an awkward place to end
| | 02:23 |
the video.
So lets go ahead and cancel and cancel
| | 02:27 |
out of this command as well.
Then zoom in and orbit until you can see
| | 02:33 |
the end of this spline path.
Select the spline, and you'll see two
| | 02:39 |
grips down there.
Let's get closer to it.
| | 02:42 |
Position the Cursor over one of the
grips, and choose Stretch Fit Point.
| | 02:46 |
Move it back, right about here.
And then move this back as well, say
| | 02:49 |
Stretch Fit Point.
And move it back, about like that.
| | 03:02 |
So now the camera will end up right here.
And hopefully we'll see more of this
| | 03:07 |
seating group.
Maybe I'll move it over, as well, in the
| | 03:10 |
green direction, so we make more of a
turn.
| | 03:13 |
Press Escape.
And then ani path again.
| | 03:18 |
Anipath.
Reselect the path, OK.
| | 03:21 |
Change the duration.
Let's see how it looks at 45 seconds.
| | 03:32 |
Click Preview.
This motion is slower and it's more
| | 03:39 |
appropriate for an architectural
interior.
| | 03:51 |
Okay, I like how that ends much better.
You can drag the preview out of the way.
| | 03:57 |
And you can scrub the time slider down
here, and as you do, notice that the
| | 04:01 |
camera is moving down here along the
path.
| | 04:11 |
Close the preview window, and let's say
that we're satisfied with this motion We
| | 04:15 |
would then choose a format.
I'll choose avi, and a resolution.
| | 04:23 |
I'll select the visual style as shaded.
And then click okay.
| | 04:34 |
We're prompted to save a file name,
avi1.avi.
| | 04:37 |
I'll click Save.
It's outputting the video.
| | 04:38 |
When it's done we'll be able to look at
the AVI file and we could send it to
| | 04:46 |
someone who doesn't use AutoCAD for
example.
| | 04:54 |
This is a way you can share a walkthrough
of an architectural interior with a client.
| | 05:02 |
When the animation is done, go ahead and
double-click on AVI1 to view it.
| | 05:34 |
So in this lesson.
You learned how to use the any path
| | 05:37 |
command to output a video of a camera
moving along a spline path.
| | 05:41 |
| | Collapse this transcript |
| Assigning and editing materials| 00:02 |
Materials describe how surfaces interact
with light in renderings.
| | 00:06 |
Examples include wood, granite, carpet
and so on.
| | 00:10 |
In this lesson you will load a number of
materials from the Autodesk Library into
| | 00:14 |
the current drawing, and then you will
assign them to specific layers.
| | 00:19 |
Open the Rendering One project file, and
here in the 3D modeling workspace, go to
| | 00:24 |
the Render tab.
In the Materials panel, click the
| | 00:29 |
Materials Browser.
At the top of this palette, we have a
| | 00:35 |
list of all of the materials which are
currently loaded into the drawing, and
| | 00:38 |
there's only one.
It's called Global.
| | 00:41 |
In fact every drawing has a generic
global material.
| | 00:46 |
Down below we have the AutoDesk library,
and you can scroll through it.
| | 00:52 |
Let's Open up Fabric and click on
Leather.
| | 00:56 |
Right here I'd like to use this Creased
Black Leather, on the sofas in the living room.
| | 01:01 |
Click this Up Arrow to add the material
to the document, an then it appears in
| | 01:05 |
the list here, in the upper area.
Expand Flooring and click on Carpet.
| | 01:14 |
Scroll through the list until you find a
carpet pattern that you like.
| | 01:18 |
You can make different selections than I
am.
| | 01:21 |
I'm just going to go ahead an add, this
Loop, Light Brown Carpet, to the drawing.
| | 01:27 |
And then I'll go to, Flooring Tile, an
choose this Square Dark Gray pattern.
| | 01:36 |
An then Flooring Wood, an I'll scroll
down an take a look at some of these samples.
| | 01:43 |
I like this Beechwood Grove.
I'll add it to the document.
| | 01:47 |
You can come up here and double-click on
a Material, and this will open up the
| | 01:51 |
Materials Editor.
Here you can change the Finish.
| | 01:56 |
I'm going to change this to, Unfinished,
so it's not shiny.
| | 02:04 |
I'll Close that.
The change that I just made, affects only
| | 02:07 |
the material that's in the current
drawing.
| | 02:10 |
It doesn't alter the material that, which
in the Library.
| | 02:14 |
Go down to Glass and choose Glazing, and
load Clear.
| | 02:23 |
And then under Metal, choose Steel.
And we need a steel material for the
| | 02:27 |
frame of the sofa and chairs in the
living room.
| | 02:32 |
I don't want it to be too shiny, so I'm
going to look for thumbnail here that is
| | 02:35 |
a little more matte than it's appearance.
Here's Stainless Brushed.
| | 02:41 |
I'll load that into the drawing.
Scrolling down I'll choose Stone Granite,
| | 02:46 |
and load Gray Speckled.
This will be the counter top material.
| | 02:54 |
Then I'll go to Wall Paint Matte, and
load Beige, for the walls and Cool Light
| | 03:00 |
for the ceiling.
Then I'll click on Wood, and scroll down
| | 03:08 |
here and find something that appeals to
me.
| | 03:12 |
This will be for the window frame.
I'll use this Birch Solid Stained No Gloss.
| | 03:20 |
OK, we've loaded a number of materials
into the drawing.
| | 03:27 |
Hopefully, we haven't forgotten
something, maybe we have.
| | 03:30 |
It's no problem if you do, you can always
come back and load additional materials later.
| | 03:36 |
Expand the Materials slide out, and
choose Attach By Layer.
| | 03:40 |
The way that this dialog box works, is
you have a listing of all the materials
| | 03:43 |
which are currently loaded into the
drawing, on the left, and you have a
| | 03:47 |
listing of all the Layers in the drawing,
on the right.
| | 03:53 |
Your job is to connect the two, by
dragging across this interface.
| | 03:57 |
So for the Walls, for example, I want to
use the Beige paint.
| | 04:02 |
So I'll drag this Swatch across here, and
drop it here.
| | 04:07 |
Floor 1 is going to be this staircase
here, that will be some kind of carpet.
| | 04:18 |
Here's Loop-lightbrown.
The Counter is going to be Stone.
| | 04:28 |
I think it's a Granite, Gray Speckled.
The Stove I think is behind us, so we
| | 04:34 |
don't need to worry about it.
And Furniture, I think it's upstairs, we
| | 04:40 |
don't see it in this particular view.
We do see a bit of the stools here, so
| | 04:47 |
let's load in this Birch on the stools
Layer.
| | 04:53 |
Stone, I think refers to the base of the
fireplace over here.
| | 05:00 |
I'll use this Grey Speckled Marble for
that.
| | 05:03 |
And then Metal, this will be the
Stainless Brushed.
| | 05:11 |
And of course Glass, this blue Layer over
here, is going to be the Clear material.
| | 05:23 |
Doors will be the Wood, the Seat Frame
will be the Stainless Brushed.
| | 05:32 |
The Seat Cushion, is going to be the
Creased Black Leather.
| | 05:40 |
The Table Legs are Stainless Brushed, and
the Glass Tabletop of course is the Clear material.
| | 05:54 |
Down here we have Floor 2, which I
believe is this Layer.
| | 05:57 |
This is going to be a tile pattern of
some kind, Square Dark Gray.
| | 06:05 |
Floor 3 is over here, and it's a hardwood
floor, Beachwood Grove, I'll drag that in here.
| | 06:14 |
The fireplace here is going to be a black
painted material, which I don't think we
| | 06:19 |
have, we'll have to go back and load that
in, in a moment.
| | 06:25 |
The Ceiling is Cool White paint, and the
equipment layer is the stove in the
| | 06:29 |
kitchen, which we can't see, so I don't
need to worry about that, at this
| | 06:33 |
particular time.
If you were going to make a rendering
| | 06:38 |
looking back into the kitchen, you would
then have to choose a material for that.
| | 06:43 |
Let's go back to the Materials Browser,
and choose Wall Paint matte, and load
| | 06:49 |
Black into the current drawing.
Close the Materials Browser.
| | 06:56 |
Open the Material Slide Out.
Go back to Attach by Layer.
| | 07:02 |
There's the black material, and I'll
scroll down here, and locate the
| | 07:07 |
Fireplace Layer.
OK, so I'm going to drag Black over to
| | 07:12 |
the Fireplace, and click OK.
Now everything on the screen has
| | 07:18 |
different colors, than the original layer
colors.
| | 07:22 |
And we can get an even better
approximation of what it would look like,
| | 07:25 |
by choosing the Realistic Visual style.
So in this lesson, you learned how to
| | 07:31 |
load materials, and assign them by layer.
| | 07:34 |
| | Collapse this transcript |
| Simulating sunlight| 00:02 |
In this lesson you will simulate sunlight
by turning on the sun and selecting a
| | 00:05 |
location for the project on the earth.
By choosing a date and time of day, the
| | 00:10 |
position of the sun in the sky will then
be calculated.
| | 00:15 |
Open the Rendering Two Project File.
Type V Enter.
| | 00:20 |
And go into the C1 view by
double-clicking it here.
| | 00:25 |
Click OK, and then on the Render tab,
click Sun Status to turn on the sun.
| | 00:33 |
Here you get a warning that asks you to
turn off the default lighting.
| | 00:38 |
This is recommended.
Because normally when you're working in
| | 00:42 |
the model, and the sunlight is off, there
are default lights which are used to
| | 00:47 |
illuminate the surfaces.
But now because we're making a more
| | 00:52 |
realistic simulation, we should turn off
the default lighting.
| | 00:57 |
And display the sun only.
Next we need to set the location of this
| | 01:01 |
site on the Earth.
To do that, click Set Location.
| | 01:05 |
You can either import a file from Google
Earth.
| | 01:10 |
You can use Google Earth actively to
locate the site.
| | 01:15 |
Or you can enter the location values
completely within Autocad.
| | 01:20 |
Let's choose this last option, an then
click Use Map.
| | 01:24 |
You can choose your region here from this
drop down list.
| | 01:30 |
I'll choose North America.
An then you can either choose your city
| | 01:35 |
from this list, or you can click on the
map.
| | 01:39 |
I'll click right up here.
And the cross here will jump to the
| | 01:45 |
nearest big city because this is
selected.
| | 01:49 |
The city that is closest to that point is
Vancouver BC.
| | 01:53 |
I'll click OK.
And now we're prompted that the timezone
| | 01:58 |
has been automatically updated to Pacific
time.
| | 02:02 |
I'll accept the updated time zone, an
then click OK.
| | 02:07 |
The lighting changed very slightly, as
the, latitude and longitude coordinates
| | 02:11 |
were input.
This affects the position of the sun in
| | 02:15 |
the sky.
You can then select a date and time up
| | 02:18 |
here using these sliders.
Let's say we want to get a look at this
| | 02:23 |
building during summer solstice.
So I'm going to drag this slider back to
| | 02:31 |
around June 21st or 22nd.
And then, I can drag the time of day.
| | 02:40 |
To change the illumination in the
interior.
| | 02:42 |
You can see in the morning, the sun's
going to be coming up behind our shoulder
| | 02:46 |
on the left, and then as the afternoon
progresses, it's going to go higher in
| | 02:50 |
the sky, and the eves are going to shade
the interior.
| | 02:57 |
And then again in the afternoon the sun
is going to be illuminating the wall
| | 03:00 |
behind us, which we can't see from this
particular viewpoint.
| | 03:06 |
So I think it might be most interesting
in this space if we did kind of a morning
| | 03:09 |
view, where we have more sunlight coming
in and illuminating these walls.
| | 03:15 |
Because the sun would be up and behind us
here on the left.
| | 03:21 |
Go over here and turn on shadows, full
shadows, and you'll get a rough idea of
| | 03:26 |
how the shadows might look.
You can also turn on the sky, background,
| | 03:34 |
and illumination here.
This will make a more realistic rendering
| | 03:42 |
because illumination is diffusely
scattered in the sky.
| | 03:47 |
And by turning this on we will get a more
accurate simulation.
| | 03:52 |
So in this video you learned how to
simulate the precise angle of solar illumination.
| | 03:57 |
By specifying the site's location and
choosing a time and date.
| | 04:01 |
| | Collapse this transcript |
| Creating renderings| 00:02 |
In this lesson you will create a series
of test renderings to converge on an
| | 00:05 |
increasingly realistic final image.
You will learn how to specify advance
| | 00:10 |
rendering settings, including exposure
and global illumination, to produce the
| | 00:14 |
highest quality results.
Open the rendering three project file.
| | 00:20 |
And then type v for view and press Enter.
Double-click on C1 to go in to that
| | 00:26 |
particular camera, and click OK.
Before you do anything else, change the
| | 00:33 |
visual style to wire frame.
This will take the load off the graphics
| | 00:39 |
card, so that the computer can focus
entirely on calculating the rendering
| | 00:43 |
rather than also having to try to display
an approximation on the screen.
| | 00:50 |
Go into the Lights panel and turn on Full
Shadows.
| | 00:54 |
And go into the Sun and Location panel
and turn on Sky Background and Illumination.
| | 01:02 |
Then click the teapot here in the Render
panel.
| | 01:05 |
The teapot is the symbol of computer
graphics.
| | 01:09 |
When you click the teapot, it opens a
separate render window, and the rendering progresses.
| | 01:15 |
At first, it starts out very coarse, and
then it gets increasingly refined.
| | 01:21 |
As the calculation continues.
However, I can see that the rendering is
| | 01:26 |
too dark, especially over here on the
left.
| | 01:29 |
That's because what's being rendered by
default is only the direct illumination.
| | 01:35 |
That is the light that's coming directly
out of the sun and striking surfaces.
| | 01:42 |
If this was an exterior model, the direct
illumination might be all that we need.
| | 01:47 |
However, in an architectural interior, we
need to make some changes to the
| | 01:52 |
rendering preferences to allow the light
to bounce around inside the space, and
| | 01:57 |
illuminate some of the walls which are
dark.
| | 02:02 |
Press Escape to cancel the rendering, and
then type RPREF which stands for
| | 02:07 |
rendering preferences, and press Enter.
This opens the Advanced Render Settings
| | 02:15 |
palette over here.
The first change that we should make, is
| | 02:20 |
to change the exposure type from
automatic to logarithmic.
| | 02:26 |
The logarithmic allows you to make
changes, whereas automatic does not.
| | 02:32 |
Then go up to the render panel and open
its slideout.
| | 02:36 |
Click Adjust Exposure.
A rendering preview image is generated up
| | 02:41 |
here, and this can take a moment.
This will give you a very rough idea of
| | 02:46 |
the general level of illumination in the
interior.
| | 02:51 |
By default, this exterior daylight option
is set to Auto, and that means that
| | 02:56 |
AutoCAD assumes that you're rendering an
exterior.
| | 03:01 |
This isn't the case here, so I'll change
that to Off.
| | 03:06 |
And then click OK.
Then let's do another test render.
| | 03:11 |
I'll click Render.
It looks a bit brighter.
| | 03:21 |
However, I'm not going to wait for this
to complete.
| | 03:24 |
I'm going to press Escape, because I can
see already that over here it's too dark.
| | 03:32 |
Go to Advanced Render Settings and scroll
down.
| | 03:35 |
In the Indirect Illumination Area,
there's a category called Global Illumination.
| | 03:44 |
This refers to light that is being
bounced around the interior of the space,
| | 03:47 |
like it would in the real world.
To enable this feature, simply click the
| | 03:53 |
light bulb icon, then go back and do
another test render.
| | 03:57 |
I can already see over here that it's
much better, it's much brighter on this wall.
| | 04:05 |
However, I'm seeing so much white here,
that I think the rendering might be too
| | 04:08 |
bright overall.
I'll press Escape, then go back to Adjust
| | 04:14 |
Exposure and wait for a new Preview image
to render.
| | 04:23 |
As I suspected, it's a bit too bright.
Let's change the Brightness value.
| | 04:30 |
To 50, perhaps that's too dark.
Let's try 55 that looks to be a good
| | 04:36 |
balance, between some bright areas here,
in the window frames and some darker
| | 04:42 |
areas, in this enclosed room.
Okay.
| | 04:50 |
Now, let's make another rendering.
But this time, instead of waiting for the
| | 04:53 |
whole screen to render, I'll open the
render fly-out and choose to render region.
| | 04:59 |
Then I'll drag a window across the screen
here in the shape of a rectangle.
| | 05:06 |
Now, that's the only area that is going
to be calculated.
| | 05:10 |
So it will save us some time.
We can get a more realistic view of that rectangle.
| | 05:16 |
And we don't have to wait for the entire
screen to render.
| | 05:23 |
Now down here this floor surface seems to
be way too reflective.
| | 05:27 |
I can see all of these windows reflected
in the floor, almost like the floor is a mirror.
| | 05:34 |
Let's make an adjustment to the material.
Go to the materials browser and locate
| | 05:40 |
that particular material.
It's square dark grey in this case.
| | 05:48 |
Double-click to open the Materials
editor.
| | 05:52 |
Open the reflectivity disclosure
triangle.
| | 05:58 |
And decrease the direct reflectivity from
66%, which is evidently too reflective,
| | 06:05 |
down to about 3%.
You can see in the thumbnail here that
| | 06:11 |
now we can perceive the individual tiles.
I'll close the materials editor and the
| | 06:17 |
materials browser and make another render
region down here in this area.
| | 06:29 |
Okay.
That's starting to look much better.
| | 06:31 |
I can see the surface of the floor here,
and some reflection in it.
| | 06:36 |
I guess now, I'm ready to go ahead and
commit to the time involved with
| | 06:39 |
rendering the entire image.
You should proceed in this way slowly by
| | 06:44 |
doing a series of test renders until you
are ready to commit to the time involved
| | 06:48 |
in creating the photo realistic
rendering.
| | 06:54 |
I'll open this fly out and click render.
When the rendering is complete you can
| | 07:06 |
see how long the render time took here,
and you can save the rendering by right
| | 07:09 |
clicking, an choosing Save.
You can save in a number of image formats.
| | 07:18 |
I'll save this as a JPEG.
(audio playing)
| | 07:20 |
I'll call it rendering one.
Click Save and then click OK.
| | 07:30 |
In this lesson, you learned how to adjust
exposure, and turn on Global Illumination
| | 07:33 |
to produce a high quality rendering.
| | 07:36 |
| | Collapse this transcript |
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