IntroductionWelcome| 00:04 | Hi! I'm David Schultze, and I'd like to
welcome you to Rhino Essential Training.
| | 00:08 | In this course, I'll show you how
Rhino's powerful, yet intuitive 3D
| | 00:11 | modeling tools can be used to create
anything, from a tiny toy robot to a
| | 00:15 | full-sized aircraft.
| | 00:18 | You could even have models you
build in Rhino prototyped by a 3D
| | 00:21 | printing service bureau, like
this arm from the toy robot we'll be
| | 00:24 | building in this course.
| | 00:25 | First up, we'll take a visual tour of some
common 3D terminology with specific examples.
| | 00:31 | After that, we'll cover the Rhino 3D workspace.
| | 00:33 | We'll see where everything is located
and more importantly, why it's located
| | 00:37 | there so you can find things quicker and easier.
| | 00:40 | Later, we'll start building things
using Rhino's three primary entities:
| | 00:44 | the curve, the surface, and the solid.
| | 00:47 | Then we'll see how each is
closely related to the others and why.
| | 00:50 | So, whether you're brand new to 3D or
an experienced 3D designer, this course
| | 00:54 | will give you what you need to
start designing and modeling with Rhino.
| | 00:57 | So, let's get started with
Rhino Essential Training.
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| Using the exercise files| 00:00 | If you're a premium member of the
lynda.com Online Training Library, or if you're
| | 00:04 | watching this tutorial from a DVD-ROM,
you have access to the Exercise Files
| | 00:08 | used throughout this title.
| | 00:10 | I've downloaded my
Exercise Files to the desktop.
| | 00:14 | Each of these files are saved from the
beginning of the movie so you can just
| | 00:17 | double-click to open. And if you're a
monthly subscriber or annual subscriber to
| | 00:21 | lynda.com, you don't have access to
these Exercise Files, but you can follow
| | 00:25 | along from scratch with your own assets.
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| Recommended hardware| 00:00 | Hi! I'd like to take a couple of minutes to
talk about some recommended hardware for
| | 00:03 | products that I use everyday with Rhino.
| | 00:06 | First up is my mouse.
| | 00:08 | You can see here, also on the screen
or at the Microsoft web site. This is
| | 00:12 | the SideWinder Mouse.
| | 00:13 | It's actually designed for gaming,
but it's got a lot of great features,
| | 00:16 | which work well in 3D.
| | 00:18 | It is an optical mouse, and that'll
give you accuracy in tracking, but almost as
| | 00:23 | important is the third
button, which is also a wheel.
| | 00:25 | It's the wheel that's used for zooming,
and it's also used for clicking for pop-ups.
| | 00:31 | Next up is the video card.
| | 00:33 | I'm going to recommend the Quadro FX
line from NVIDIA and depending on your
| | 00:38 | budget, we have the high end here.
| | 00:39 | This is the Quadro FX 3800.
| | 00:42 | Now both of these cards I'm going to
show you are OpenGL workstation-class video
| | 00:47 | card accelerators, and that's important.
| | 00:48 | Some people think that gaming cards
can do just as well, and that's not true,
| | 00:52 | especially for larger,
more complicated models.
| | 00:55 | This one here, the FX 3800, is about 900 bucks.
| | 00:58 | If that's not in your budget, you could
also try the FX 580, which runs about $150-160.
| | 01:05 | The cool thing about some of the
technology is this card would have been top of
| | 01:08 | the line and over thousand bucks only
about two to three years ago, and now you
| | 01:11 | can get it for under 200
for the same performance.
| | 01:15 | And finally, I'd like to
talk about 3D navigators.
| | 01:19 | This is the SpacePilot PRO made by 3D
connection now owned by Logitech, and
| | 01:24 | this is a six-axis controller, which
allows you to zoom, pan and rotate, all
| | 01:29 | with one input device.
| | 01:31 | Normally, in Rhino, that would take
three different keystrokes and mouse
| | 01:34 | commands to accomplish.
| | 01:36 | This is their top of the line one
with the LCD screen and kind of the mini
| | 01:39 | keyboard that lets you do a lot
of custom commands and macros.
| | 01:42 | The one I use is this guy, the SpaceNavigator.
| | 01:46 | This one is for anywhere between 60
and 90 bucks, and it's nice because
| | 01:50 | it's pretty portable.
| | 01:51 | You can bring it with you.
| | 01:52 | Now let's take a look at how the
Navigator works inside of Rhino.
| | 01:56 | I've got mine right here. So, we have
six axes of control, so that means we can
| | 02:02 | zoom by pulling forth and back.
| | 02:04 | We can rotate by turning the knob
and we can pan by pushing side to side.
| | 02:09 | Let's see how it works.
| | 02:10 | At first, I'm going to zoom in and out,
back in, try a little rotate, and then
| | 02:20 | we'll try to pan side-to-side.
| | 02:21 | So, the cool thing about this
controller is that you can do all three at once,
| | 02:30 | which is not possible with the keyboard.
| | 02:35 | Now, none of the products I've
mentioned are absolutely mandatory; however,
| | 02:38 | they're a huge boost to your productivity.
| | 02:40 | So, if you use Rhino everyday,
it's definitely worth the investment.
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1. Basic 3D TerminologyUnderstanding the three types of entities: curves, surfaces, and solids| 00:00 | In this video, we'll take a 3D
tour of the fundamental entities that
| | 00:04 | comprise the Rhino universe.
| | 00:06 | There are technically four Entities,
but the Point Entity doesn't really count,
| | 00:10 | since it's used mostly as a reference,
or a marker, and not at all for modeling.
| | 00:14 | That leaves us with three, the
Curve, the Surface and the Solid.
| | 00:18 | It's easy to keep these clear if
you just look at the menu and see them
| | 00:21 | organized one after the other,
Curve menu, Surface and Solid.
| | 00:26 | Let's start the tour.
| | 00:28 | I'm going to zoom in.
| | 00:30 | Here's our basic Point Entity.
| | 00:33 | You can find that on the main
toolbar right here, first position.
| | 00:38 | Here's a couple of different kind of
Curves. Even though some are straight and
| | 00:43 | some are free form, these all
are technically defined as Curves.
| | 00:47 | We have open variety and closed.
| | 00:49 | One fundamental aspect of Curves is you
can turn the Control Points on, so I'll
| | 00:53 | just light those up.
| | 00:54 | I'm using the F10 shortcut.
| | 00:57 | It's important to know.
We'll discuss later.
| | 00:59 | Next up is Surfaces, so we have just the
flat plane here that would qualify as a
| | 01:04 | Surface, and this more organic
shape qualifies as a Surface as well.
| | 01:09 | Doesn't matter the shape. We have two kinds.
Surfaces can be trimmed with holes punched out.
| | 01:16 | There is the flat plane, and here
is the more of a Freeform shape.
| | 01:21 | And any of these can also have control
point curves turned on as well, so I'm
| | 01:25 | going to go ahead and do that,
using the shortcut key, F10.
| | 01:29 | This just means with the Control Points'
ability to turn on, they're still editable.
| | 01:33 | We can move things around.
| | 01:36 | That's in direct contrast to a Solid,
which is no longer editable, at least
| | 01:41 | with the Control Points.
| | 01:42 | So, we here have a couple of basic primitives.
| | 01:45 | This is a cylinder, and
that's a cube, pretty obvious.
| | 01:49 | Those are considered closed Solids.
| | 01:52 | That's important too, because once
an object is closed you can then make
| | 01:55 | a prototype from it.
| | 01:56 | It's interesting that some open Solids
still are considered technically a Solid,
| | 02:00 | because you can do some commands on them.
| | 02:03 | For example, we have this shape
here, and it's got one face opening.
| | 02:09 | This is a good opportunity to discuss the
relationship between Curves, Surfaces and Solids.
| | 02:14 | You can build one from the other but
also extract, or go backwards to the prior
| | 02:19 | Entity shape, and in this case, we
have an almost fully closed Solid.
| | 02:23 | I'm going to go ahead and just do a
quick cap on that top, cap the planar holes,
| | 02:31 | select the object, right-click.
| | 02:34 | So, now it is converted from a Solid
that was open to a Solid that is closed.
| | 02:38 | Okay, now here's another pretty open Solid.
| | 02:43 | It's got a couple of faces missing, and
just as a quick example, we'll use some
| | 02:49 | commands that are specifically
designed for Solids, but they work on this
| | 02:53 | object, even though it is just a
group of surfaces joined together.
| | 02:56 | So, let's do a quick demo out of Fillet,
select that edge there, and just do one
| | 03:05 | more Fillet the other direction, type in
a smaller number, select these edges in
| | 03:12 | sequence, right-click to accept.
| | 03:17 | So, there is a Solid Fillet command
that's been actually performed on a Solid
| | 03:20 | that was not fully closed.
| | 03:25 | And then we have this Single
surface that forms a Solid, because it's
| | 03:29 | been wrapped and closed.
| | 03:31 | So, here is an example of one
of those, a Sphere and the Torus.
| | 03:36 | So, there's only one surface there,
but there is no openings, so it's kind of
| | 03:40 | the rare animal that is a Single
surface but also a Solid at the same time.
| | 03:44 | Let's take a look at the Multiple part Entities.
| | 03:49 | So, anytime a Curve is joined to
another Curve, whether straight or arced or
| | 03:54 | Freeform, those are called Poly-curves.
| | 03:56 | So, here's a couple of straight-edged examples.
| | 04:00 | Here's a combination with an arc, here's
a combination with a Freeform Curve and
| | 04:05 | a couple of straight-edged.
| | 04:05 | Now remember, you can always go forward
or backward, so we could use these to
| | 04:11 | create a Surface, or break them
apart and work on the individual segments
| | 04:15 | and then rejoin them.
| | 04:18 | Next up is the Poly-surface,
pretty simple definition.
| | 04:22 | We just have more than one Surface
joined and has to be at the edge.
| | 04:26 | So, if they overlap any other way, it
will not be possible to join them together.
| | 04:30 | Okay, here's another example with the
Freeform Curve, which has been extruded to
| | 04:35 | a Freeform Surface, and then to flat
planes, all joined together as long as they
| | 04:40 | share a common edge.
| | 04:41 | And another more involved example
| | 04:45 | with the Freeform Curve, some
straight sections, we have some openings that
| | 04:50 | have been trimmed out.
| | 04:56 | One final note on the Poly-surfaces:
after a Multiple Surface has been joined
| | 05:02 | you cannot turn on those Control Points.
| | 05:05 | So, if I were to select any one of
these and hit the F10 shortcut or the turn
| | 05:09 | Control Points on, it's not allowed.
| | 05:12 | You can see here at the command line.
| | 05:13 | We cannot turn them on.
| | 05:14 | Not a problem, still you could detach
those from each other, and then turn the
| | 05:17 | individual Surface Control Points on if needed.
| | 05:22 | So, those are the Entities that can be set to
be the foundation of all the Rhino modeling.
| | 05:26 | This 3D tour is critical to the
understanding of how all Entities are closely
| | 05:30 | related to each other, and by related,
I mean you can quickly draw a Curve and
| | 05:34 | then extrude it into a Surface, and
then when Multiple Surfaces are completed
| | 05:37 | and have no openings, they
can then be joined into a solid.
| | 05:41 | Conversely, you can also go backwards
at any time and explode a Curve into
| | 05:45 | individual segments, or explode
a Solid into individual Surfaces.
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| Comparing Bezier curves, B-splines, and NURBS objects| 00:00 | In this video, we'll take a look at
the foundation of organic modeling, the
| | 00:04 | B-spline, and compare to it's far more
well known cousin, the Bezier curve for
| | 00:09 | which it is often mistaken.
| | 00:12 | The Bezier is the curve widely used
in 2D applications like Illustrator and
| | 00:15 | Photoshop, and let's you draw or edit
using points connected to handlebars,
| | 00:19 | which are then used to
adjust the shape of the curve.
| | 00:22 | Let's first take a look at a Bezier and note
the handles that make it easy to draw and edit.
| | 00:27 | So, Bezier curves, first and foremost, are
formula-based for infinite smoothness.
| | 00:33 | It has the handlebar controls, which
we've mentioned, which are connected via
| | 00:36 | center point, and the two
end points of the handles.
| | 00:39 | It's also extremely useful for 2D, like
Illustrator and Photoshop as mentioned,
| | 00:43 | but not so much for 3D.
| | 00:46 | Let's take a look at the B-spline.
| | 00:49 | Again, this curve is also formula-
based, and generates infinite smoothness.
| | 00:54 | However, it doesn't have
handlebars on the curve.
| | 00:56 | It uses a control cage.
| | 00:59 | That cage is outside of the curve.
| | 01:01 | It only touches at the very end points.
| | 01:03 | This curve was invented specifically for 3D for
which it's excellent, but not so much for 2D.
| | 01:10 | Now, let's take a look at the B-spline in 3D.
| | 01:14 | Here is a Freeform Curve
that has been drawn in Rhino.
| | 01:17 | You can see the control
points are highlighted there.
| | 01:20 | So, if your curve does not display the
control points, you can easily turn them
| | 01:23 | on with the Control Point icon or
using the F10 keyboard shortcut.
| | 01:28 | You can see the cage, which allows editing.
| | 01:29 | So, these can be moved back and
forth changing the shape of the curve.
| | 01:33 | So, I am going to zoom out and let you
see that we have three of these curves.
| | 01:38 | Those were used to generate a 3D surface, so
here's the resulting surface from those curves.
| | 01:46 | This is the term you might have heard
called N.U.R.B.S. The technical definition
| | 01:50 | is Non Uniform Rational B-Spline,
so that's what the B.S stands for.
| | 01:55 | It means surfaces that have been generated
from these Freeform Curves called B-splines.
| | 02:00 | The surface has the advantage of
being editable, just like the curves were.
| | 02:04 | So, I am going to select the surface.
| | 02:06 | Let me turn on the
control points for the surface.
| | 02:10 | Here is a similar pattern from curves to the
surface, as far as the location of these points.
| | 02:16 | I am going to grab a couple of these
guys and just pull them in one direction
| | 02:21 | and see what happens.
| | 02:23 | So, just like the curve that this
generated from, this surface is infinitely smooth.
| | 02:27 | I'll try one more little tweak here.
| | 02:36 | Check it out from the back side.
| | 02:38 | So, this hopefully illustrates why we
don't use the Bezier curves from 2D.
| | 02:45 | Any handlebars that were on this
surface would be way too difficult to
| | 02:48 | navigate or manage. You would have
| | 02:50 | not only the center point, but also
both of the handlebar ends, which would
| | 02:53 | then need to be both moved and rotated,
which would be extremely difficult.
| | 02:57 | So, note that these control
points for the surface, can only move.
| | 03:01 | There is no really rotation about them.
| | 03:03 | We can also move them in groups and scale them.
| | 03:09 | So, the word B-spline does sound
familiar to Bezier, but B-splines are mandatory
| | 03:13 | and superior when you start working in 3D.
| | 03:16 | B-Splines, with their cage of
control points off of the line, do take a
| | 03:20 | little getting used to, especially if you
have loads of experience with 2D and Illustrator.
| | 03:24 | But here is the good news.
| | 03:26 | You can import an illustrator file,
drawn with Beziers, and easily convert them
| | 03:30 | to B-splines to generate 3D
surfaces, as we have just seen.
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| Comparing isocurve surfaces and mesh surfaces| 00:00 | In this video, we'll define and review
the visual terminology relating to NURBS
| | 00:04 | surfaces, which includes the especially
confusing term Mesh, because it is used
| | 00:08 | to describe two totally different things.
| | 00:11 | We'll also define an Isocurve,
and where it is communicating to us.
| | 00:14 | So, to get started, I've taken the
NURBS surface form the earlier video, and
| | 00:19 | built this lovely boat.
| | 00:21 | Notice that we have curves on the surface,
and these curves always cross at 90 degrees.
| | 00:26 | These are the isocurves.
| | 00:27 | They are used as a visual feedback,
and are controlled by a Display setting.
| | 00:33 | So, I can turn on this sail form, and in
the Properties dialog on the right side
| | 00:39 | here, you just crank up the density.
| | 00:41 | So, we get more isocurves on the
surface, but is the exact same surface with
| | 00:48 | no more complexity.
| | 00:50 | To find its true complexity, you can go
back down to the Density of the default,
| | 00:55 | which is 1, so most
objects are created and displayed.
| | 00:58 | So, remember, just like in NURBS curves,
the NURBS surface is infinitely smooth.
| | 01:05 | It can be said that there is an
infinite number of these isocurves on there.
| | 01:10 | We don't need that many to get to visual
feedback; just a few are enough to do the job.
| | 01:15 | Also, what we are seeing is a
representation of the surface, such that the video
| | 01:20 | card can show us this Shaded view. I want
to contrast it with the Wireframe view
| | 01:25 | here, right-click on the View port label.
| | 01:29 | So, without shading, this is what all
of our surfaces might look like, and it
| | 01:32 | wouldn't be nearly as fun,
or helpful to work this way.
| | 01:36 | So, we will be typically in Shaded
view, and why I mention this is the
| | 01:41 | software and video card are showing you a
representation of the surface, but that's overkill.
| | 01:47 | We don't need to see an
infinitely smooth surface.
| | 01:48 | So, we are actually going to see a
Screen Mesh is what it's called, which is
| | 01:52 | on approximation that will be good enough
for us to be able to move around in space.
| | 01:57 | That Screen Mesh is where the confusion
kicks in, because there is another Mesh,
| | 02:01 | which is more of a Geometrical Mesh,
and this is an entity that comes in from
| | 02:06 | typically other software or file
formats when they've been converted.
| | 02:10 | Let's take a look at a Mesh surface.
| | 02:13 | Here, you can see that
difference, right off the bat.
| | 02:15 | We have individual facets
connected on their edges.
| | 02:20 | Typically, we'll see a lot of
rectangles or triangular polygons, and this
| | 02:25 | surface is technically editable,
although I probably wouldn't try.
| | 02:30 | Let me show you exactly why I say that.
| | 02:32 | I'm going to turn on the control
points for both of these entities.
| | 02:36 | Here is the NURB surface, and the Mesh.
I'm going to use the control point, turn
| | 02:41 | them on, or you can hit F10.
| | 02:45 | Let's start with a NURB surface.
| | 02:46 | We'll grab a couple of these points here
at the top, just going to lift them up.
| | 02:50 | To move the control points, I'm going to use
the Alt+any of the four arrow keys to move.
| | 02:56 | Later on, I'll show you how to change
that default setting, so you can use
| | 02:58 | just those arrow keys.
| | 02:59 | Maybe I even nudge them out to
show some wind blowing, great!
| | 03:05 | Now let's try to edit the Geometrical
Mesh, grab a couple points there and do
| | 03:11 | some similar movements. And check it out!
| | 03:15 | We've got basically a big disaster.
| | 03:18 | That is not anything that you can probably use.
| | 03:20 | And if you would have tried to smooth
it, that would be a big waste of time.
| | 03:25 | So, this Geometric Mesh is typically
used for reference, when people have
| | 03:29 | exported file formats, and you just want to
model around them or rebuild then in a NURBS format.
| | 03:33 | Let's also talk now about
Isocurves, and their density.
| | 03:39 | I mentioned that the surface is
infinity smooth, and the isocurves don't always tell
| | 03:44 | you about the complexity, but sometimes they do.
| | 03:46 | So, we have an example here of a
surface with a lot more isocurves.
| | 03:50 | The reason is we have generated them from
curves that had a large number of control points.
| | 03:57 | So, I'm going to go ahead and
select the curve, turn those on.
| | 04:00 | We'll turn everything off
first. Select these two.
| | 04:05 | Turn the control points on.
| | 04:07 | And you can see along this edge it was
obviously built from a curve that was
| | 04:13 | extremely complicated, and
unnecessarily so, because it has these points are so
| | 04:17 | tightly spaced, it makes it fairly unusable,
| | 04:20 | when this four points along the
top edge does the job just fine.
| | 04:25 | So, the Isocurves show you the level
of surface complexity, especially at their
| | 04:29 | default setting of 1.
| | 04:31 | That's always a good thing to check
for when you first generate the surface.
| | 04:34 | Ask yourself, 'Does it look too dense?'
If so, always make sure that your
| | 04:38 | surface is as simple as possible,
| | 04:40 | which means, was it created from the
fewest number of curves and control points?
| | 04:45 | When dealing with NURBS and
curves, simpler is always better.
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| Setting measurement units and tolerance| 00:00 | In this video, we'll define the
two terms, Units and Tolerance, and
| | 00:04 | explain their relationship.
| | 00:05 | Unfortunately, some people start
modeling and forget to check these two critical
| | 00:09 | settings for a new project, or
when using someone else's file.
| | 00:13 | You can then end up with
serious accuracy problems later.
| | 00:16 | Sometimes, these errors can be so
intrinsic that the project really needs to be
| | 00:20 | remodeled with more appropriate settings. Yup!
| | 00:23 | Sorry to tell you, but
sometimes you do need to start over.
| | 00:25 | Let's start off by examining Units first.
| | 00:29 | We access those from the Tools options.
| | 00:32 | It's actually an icon that looks like a yellow gear.
| | 00:34 | We can click that as well.
| | 00:36 | I'm going to select, under Document Properties,
Units, and right now we are in Millimeters.
| | 00:42 | So, that's actually a pretty handy unit
to use and is valuable for like product
| | 00:46 | design whereas feet or meters would
work better for large-scale projects.
| | 00:51 | Let's take a look at some
of these units we can set.
| | 00:54 | So, here is all the familiar ones,
Millimeters, the Kilometers, all the way down
| | 01:01 | to Lightyears and Parsecs.
| | 01:04 | I haven't done a project that big yet.
| | 01:08 | The good news about this is you can
set the Units upfront and then actually
| | 01:11 | change them anytime, multiple times
during the course of a project, although
| | 01:15 | you probably wouldn't want to, but Rhino will
react by asking you if you'd like to scale the file.
| | 01:21 | That can take a lot of problems away
right off the bat, at least for changing Units.
| | 01:26 | Let's now talk about the tolerance.
| | 01:29 | This can be a little difficult to
understand, but probably the best way to look
| | 01:32 | at it is the accuracy of the file.
| | 01:35 | So, in this case, we've got three
decimal places, and in general, a smaller
| | 01:39 | number with more decimal
places means more accuracy.
| | 01:44 | A larger setting means lower accuracy.
| | 01:47 | So, I've got a demonstration prepared;
| | 01:49 | hopefully, it will make this even more clear.
| | 01:51 | So, this file was generated with a high
tolerance of three decimal places, and
| | 01:58 | I decided to go ahead and put
some thickness on this sail.
| | 02:03 | You're seeing a radius of 0.4 units around.
| | 02:07 | Let's come up to the corner.
| | 02:09 | This is where you usually have
problems, but this is nice and clean.
| | 02:13 | So, the 0.4 radius that ran around
the entire perimeter, works fine with a
| | 02:19 | tolerance that was far more
accurate than it needed to be.
| | 02:22 | Let's take a look at some low
tolerance issues and how to identify them.
| | 02:26 | In this case, I lowered the tolerance
to 1, pretty high, and then ran a Fillet
| | 02:33 | of 0.4, actually the same size.
| | 02:35 | So, see, we have a tolerance
level of a differential of about 1,000.
| | 02:40 | Let's see what happens.
| | 02:44 | So, here is the result.
| | 02:45 | We cannot generate
geometry accurately or reliably.
| | 02:50 | That's smaller than the tolerance.
| | 02:52 | So, that's probably the biggest
reason to have the tolerance as high as you
| | 02:55 | possibly would need,
although we have to be careful.
| | 02:58 | You don't want to have the tolerance too high.
| | 03:00 | It can add so much additional
calculations to the software that it can slow down,
| | 03:05 | especially with larger files.
| | 03:07 | That's kind of the relationship
between Units and Tolerance, and I'm going to
| | 03:10 | tell you now the best way to start a
brand-new file, if you have this option.
| | 03:14 | I'm going to go to File > New.
| | 03:20 | When we get to this Template File
interface, Rhino actually is organizing the
| | 03:26 | units and tolerances together, in pairs.
| | 03:29 | For example, we have Small Objects -
Millimeters, which is what I've done in this file.
| | 03:34 | This note will tell you
exactly where it's best suited.
| | 03:37 | For example, this says a small
object millimeter is best for using
| | 03:42 | objects smaller than a truck and
for objects which must be built to
| | 03:46 | manufacturing tolerances.
| | 03:47 | So, these are pairing up the units and
tolerances into a logical connection.
| | 03:54 | This is probably the best
way to start a brand-new file.
| | 03:57 | However, if you get a file from
someone else, you definitely would want to
| | 04:00 | check what units you're working in and the
tolerance thereof before you do too much work.
| | 04:04 | I'll go ahead and cancel out of this.
| | 04:10 | Units and tolerances often get
confused or ignored, and they're really not
| | 04:13 | that hard to understand.
| | 04:15 | I suggest use the Templates via the File >
New command and just go with Rhino defaults.
| | 04:20 | However, if the project is expected
to have intricate details, then by all
| | 04:23 | means, increase that
tolerance by a factor of 10 or so.
| | 04:28 | One final tip: even though you can
change the tolerance at any time in Rhino,
| | 04:32 | that's not a good solution and can
easily make problems much, much worse.
| | 04:36 | A changed tolerance only affects
objects created from that point forward, so it
| | 04:41 | does not fix older objects.
| | 04:43 | Then you actually have the far worse
problem of different pieces of geometry
| | 04:47 | with different tolerances,
definitely a situation to avoid.
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|
|
2. NavigationIntroducing the viewport| 00:00 | In this video, we'll introduce Rhino's
use of the conventional four Viewport
| | 00:04 | layout, and how each Viewport relates to
each other as well as the geometry you create.
| | 00:10 | As reminder, we have two
basic types of Viewports:
| | 00:12 | Orthogonal and Perspective.
| | 00:15 | Ortho Viewports is typified by
the Top, Right, and Front Viewports.
| | 00:20 | These are viewed straight on with no distortion.
| | 00:23 | The Perspective Viewport, by contrast,
shows your model in a more realistic
| | 00:26 | real-world 3D manner.
| | 00:29 | So, the Ortho Viewports are best
used for accurate measuring or
| | 00:32 | alignment, while the Perspective
Viewport is best used to get a realistic
| | 00:35 | feedback on your design.
| | 00:37 | Let's take a look. We have some labels here.
| | 00:40 | The one that is highlighted is your
current view, and that will be important to
| | 00:43 | know for some of the commands coming up.
| | 00:45 | So, only one viewport can be current at a time.
| | 00:49 | We can then double-click on those labels to
maximize the view, and get more room to work.
| | 00:54 | And then double-click another time to get
back to the original starting four Viewports.
| | 00:59 | We also have options under these labels.
| | 01:02 | We can change many of the settings.
| | 01:04 | Right now, I'm just going to split
the view here, just as an example.
| | 01:10 | Another example of splitting is to go
the other direction, and then once you
| | 01:16 | have a new viewport, you can switch them to
the opposite side, which would be the Left view.
| | 01:23 | That way, you can add or subtract
views until you get exactly what you need.
| | 01:28 | However, it's quite easy, as you move
these around, to end up with openings or
| | 01:33 | blank space in the interface,
which definitely looks kind of weird.
| | 01:36 | So, this quick way to reset all the
viewports back to the original starting four
| | 01:40 | is with this icon up here.
| | 01:41 | This is the 4 Viewport, Refresh mode,
and that's back to the original positions.
| | 01:47 | Also, you have the ability to save views,
and this is especially useful in the
| | 01:52 | Perspective Viewport.
| | 01:53 | So, I'm going to go ahead
and give this a saved name.
| | 01:57 | Again, like all the other
Viewport commands, you right-click.
| | 02:00 | This is called the Set View, and
here is where we would switch to another
| | 02:04 | view or give it a name.
| | 02:05 | So, that's called Named Views.
| | 02:08 | We'll give it a name and close it.
| | 02:15 | So, note that the label
changes to the words that I typed in.
| | 02:19 | And what I've done is added this
position of the camera to memory.
| | 02:24 | So, with the view saved, I'm going to
make some changes. Even though we haven't
| | 02:27 | talked about zooming and rotating,
| | 02:29 | I'm going to go ahead and do those
just so these views are little bit
| | 02:32 | different, and we'll talk about
zooming, panning and rotating a little bit
| | 02:36 | later in this chapter.
| | 02:37 | Now, let's say I need to get back to the
other view. Here is where it's available.
| | 02:42 | You right-click, and it's the same
location, set the view, and the name we just
| | 02:47 | gave it now appears on the list.
| | 02:49 | So, it'll jump back.
| | 02:50 | This is extremely handy when you have a
specific view, and you want to maintain
| | 02:54 | that throughout multiple
sessions of using Rhino.
| | 02:59 | So, Rhino allows for total
customization of any single or combination
| | 03:02 | of multiple viewports.
| | 03:04 | This customization includes the
viewport size, location, its name, and the
| | 03:09 | view of your model.
| | 03:10 | However, the basic 4 Viewport mode is
a universal standard for a good reason.
| | 03:15 | So, it's probably best to stick with
this convention during your initial
| | 03:18 | introduction to the software.
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| Using construction planes to anchor model design| 00:00 | In this section, we'll review the
construction plane capabilities and
| | 00:03 | logic inside Rhino.
| | 00:05 | Note that Rhino refers to the
Construction Plane as the CPlane for shorthand,
| | 00:10 | but either term means the same thing.
| | 00:12 | So, what is a CPlane and why do we use it?
| | 00:15 | Well, without the use of the CPlane, you
might not be able to model very much of
| | 00:19 | anything, so that's how important it is.
| | 00:21 | The CPlane is where all geometry is
created by default, and that reason is important.
| | 00:27 | Without a CPlane, Rhino would not know
where you were clicking, because a point
| | 00:32 | or object when viewed from the top-
view might be at Z = 0, or Z = amillion.
| | 00:37 | So, let's take a look and build the
few simple objects to demonstrate.
| | 00:41 | So, just like the real-world,
the Rhino interface is in 3D.
| | 00:45 | We have three dimensions:
| | 00:46 | X,Y and Z, and that is why we
have three construction planes.
| | 00:51 | These construction planes are
marked by the grid on the screen.
| | 00:55 | So, there is a CPlane for the Front
Viewport, another for the Left or Right side
| | 01:00 | and the third for the Top Viewport,
which is also shared by the Perspective.
| | 01:04 | So, remember, you can only see one
CPlane at a time in each Viewport.
| | 01:09 | That's important, so the software
knows where the objects will go.
| | 01:13 | The CPlane is your default location
for all functions like geometry creation,
| | 01:17 | unless - here's the rule -
you have a Snapping Override.
| | 01:21 | For this first demo, I'm going to
draw a freeform curve in the top view.
| | 01:25 | We'll talk about curves
in the 2D Geometry chapter.
| | 01:29 | So, I'm going to select Freeform curve, and
I'm just going to click some random points.
| | 01:37 | So, you may want to check the Perspective View.
| | 01:46 | Note that it's perfectly flat and planar,
and so that is the construction plane
| | 01:52 | governing where all the points go,
flat in the construction plane.
| | 01:56 | Now, I'm going to make another
freeform curve with one difference.
| | 02:01 | I'm going to turn the Snaps on.
| | 02:03 | These are covered in modeling aids, so
I'm just going to turn on the End Snap.
| | 02:07 | Draw another freeform curve on the Right view.
| | 02:11 | So, note in Perspective that it is flat
on the Right construction plane, except
| | 02:23 | where it finds some geometry.
| | 02:24 | I'm going to go ahead and turn this
Perspective View around a little bit,
| | 02:33 | highlight the curve. And you can
see how it's flat in some areas and
| | 02:39 | then deformed in other.
| | 02:40 | So, even if we drew this in the
Right view, a side view, the curve may
| | 02:45 | look exactly as needed;
| | 02:47 | however, it's deforming in other
directions as we've seen here.
| | 02:51 | So, the best way to flatten that back
out is to use another CPlane command
| | 02:54 | located on the Transform menu, Project to CPlane.
| | 02:59 | Note that this command works best when
the Viewport is highlighted, so in this
| | 03:03 | case, we've got the Right Viewport
highlighted, and we want to answer, Yes,
| | 03:07 | delete the Input Objects.
| | 03:09 | Now, note in the Perspective View,
that line is now perfectly flat.
| | 03:16 | So, this is a good solution to keep
objects flat and planar if you want them,
| | 03:21 | but then snap to other
things forward and backwards.
| | 03:23 | I'm going to go ahead and maximize the
Perspective View here, and we're going to
| | 03:28 | make some changes to the CPlane.
| | 03:32 | The starting positions of the
CPlanes are just the file defaults.
| | 03:38 | We can make changes to the CPlane at
any time by right-clicking on the Viewport
| | 03:41 | label, go to Set CPlane and we'll switch
this view from where it is currently at
| | 03:47 | the top to the Right view.
| | 03:49 | We could now build geometry on that plane.
| | 03:54 | Besides the three default positions of
Top, Front and Side, we can also align to
| | 03:58 | geometry in the scene.
| | 04:00 | So, I'm going to go ahead and do that with
this square here, floating at a funny angle.
| | 04:05 | Set CPlane, and I'm going to select To Object.
| | 04:08 | So, notice how the construction plane
flips over, and that will now allow me to draw
| | 04:13 | a geometry at that same
angle, as if it were flat.
| | 04:18 | So, this square is probably a good example.
| | 04:19 | I'm going to show you a bad
example. Here's the circle.
| | 04:23 | It doesn't really have an edge.
| | 04:25 | So, if we were to use that for alignment,
set the CPlane to the Object, then it
| | 04:32 | goes off at some strange angle.
| | 04:35 | Probably the best object you can use
for setting CPlanes is just a small
| | 04:39 | plane in the scene.
| | 04:40 | Here, I've got a piece of planar geometry.
| | 04:42 | I'm going to set the CPlane to that, To Object.
| | 04:47 | And now I can work up at that level.
| | 04:49 | So, this is probably the best way to
reset your CPlane just by having some
| | 04:55 | geometry in the scene that you can
visually see, and then it's perfectly
| | 04:59 | aligned the way you want.
| | 05:00 | So, the CPlane is one of the most
fundamental modeling aids in any 3D software.
| | 05:05 | Rhino allows you to change a location
and orientation of the CPlane for any view.
| | 05:09 | But remember, you can only have one - no
more, no less - CPlanes active per view.
| | 05:14 | So, if the idea of moving or
customizing the CPlane is a little too advanced for
| | 05:18 | your comfort level, but it's always
a good practice just to build objects
| | 05:21 | centered on the origin. Then you can
use one of the Transform commands to get it
| | 05:25 | into its final position.
| | Collapse this transcript |
| Changing the way a model is viewed using shading modes| 00:00 | Now let's take a look at the variety
of Display modes for each Viewport.
| | 00:04 | Like in many Rhino commands, you can
access these in several ways, as well as
| | 00:07 | using keyboard shortcuts.
| | 00:09 | The menu location is under View at the
top of the interface, but you probably
| | 00:13 | want to focus on the Viewport label
for quick access, so let's start there.
| | 00:17 | All of these Shading modes are
accessible via the Viewport label, right-click,
| | 00:22 | and they are all located at the top.
| | 00:24 | Right now, we are in Wireframe view.
| | 00:26 | This is probably the most common view,
doesn't provide a lot of feedback, but
| | 00:30 | this will be extremely helpful when you've
got enormous scenes and want a quick refresh.
| | 00:34 | Let's switch it over to Shaded mode.
| | 00:36 | This gives you flat colors and lines, and in
this case, the color is coming from its layer.
| | 00:43 | So, I am going to go down to the layer
option here at the bottom and we can see
| | 00:48 | that the cylinder is on a blue colored layer.
| | 00:51 | Everything else is on a black layer.
| | 00:52 | So, it's going to appear as a shade of gray.
| | 00:54 | We'll cover more about
layers in the Workflow chapter.
| | 00:58 | Next mode up we'll take a look at is Rendered.
| | 01:02 | Now here, the color of every object in
the screen is going to be based on its
| | 01:06 | material it's been assigned.
| | 01:08 | But since we have assigned no materials,
we're just going to get this neutral, flat gray.
| | 01:13 | The next mode is Ghosted,
| | 01:15 | one of my favorites.
This allows you to see through objects.
| | 01:19 | It kind of highlights the surfaces but
also shows edges and curves pretty clearly.
| | 01:24 | So, this is extremely handy when
you have objects or geometry with
| | 01:28 | internal components.
| | 01:29 | You can verify that things will fit
and parts don't poke outside where they
| | 01:32 | are not supposed to.
| | 01:33 | Okay, and then closely related is the X-
Ray, and this is just more flat surfaces
| | 01:39 | with emphasis on just edges and curves.
| | 01:42 | So, it's a little more abstract.
| | 01:43 | Finally, the next two options
are more of toggles than modes.
| | 01:48 | So, we're going to click on Flat Shade,
and that takes the last mode and just
| | 01:51 | flattens everything out, and we can see that
demonstrated here in this flattened sphere.
| | 01:58 | Rounded objects become very faceted so
it's probably something that doesn't look
| | 02:02 | too good, but it does increase the
speed for large complicated scenes.
| | 02:05 | So, let's turn that toggle back
off and check the final toggle.
| | 02:10 | This is called Select Objects Only.
| | 02:12 | And this can actually be a little
confusing if you don't realize you've selected it.
| | 02:17 | Everything looks like its in
Wireframe mode, but actually, you're in a view
| | 02:20 | where only those objects that
are selected will get shaded.
| | 02:23 | So, you have to select them for them to show up.
| | 02:25 | Probably want to turn that back off, and
I recommend actually keeping Shaded mode.
| | 02:34 | This seems to me to provide the best
feedback for visualizing a 3-dimensional scene.
| | 02:39 | I further recommend that you have all
the layers typically as black so that we
| | 02:43 | get a nice, neutral gray.
| | 02:44 | I think that's a great way to be more
focused on the form, and therefore your
| | 02:49 | design, as opposed to being distracted by colors.
| | 02:52 | We'll cover more on layers, including
changing the colors, in the Workflow Basics chapter.
| | 02:56 | So, the Viewport Shading modes can
be a huge aid in speeding workflow
| | 03:00 | and avoiding errors, even though you
will probably settle on just two or
| | 03:03 | three preferred modes.
| | 03:05 | Keep in mind there are also free plug
-ins that can customize these modes
| | 03:08 | even further.
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| Navigating the viewport with pan, zoom, rotate, and reset controls| 00:00 | In this video, we will learn how to
navigate the Viewports via panning,
| | 00:04 | zooming and rotating.
| | 00:05 | Two items to note first; Number one:
| | 00:07 | Ortho Viewports can only pan and zoom,
| | 00:11 | while the Perspective Viewport can
pan, zoom, and rotate. Number two:
| | 00:15 | these navigational skills
are surprisingly important.
| | 00:19 | If you consider that the interface is
only showing you a 2D representation of
| | 00:23 | a 3D model, it is critical to understand
how your project will look in the real world.
| | 00:28 | And the best way to do that is by
constantly changing your view, whether it's
| | 00:31 | for visualization or just
to work on different parts.
| | 00:33 | We will start up by panning in the Right
view - several ways to do this like most
| | 00:38 | of the Rhino commands.
| | 00:39 | We've got a View menu, and there's the Pan,
Zoom and Rotate right up close to the top.
| | 00:46 | We've got some icons for Pan, Rotate and Zoom.
| | 00:50 | We've got the same commands when you right-
click on the Viewport: Pan, Zoom and Rotate.
| | 00:56 | Then you have to go down a bit. But we are
to focus on the keyboard shortcuts that
| | 00:59 | will be most effective for your workflow.
| | 01:02 | So, to Pan in the Right view, I am
going to hold down the Shift and my
| | 01:05 | Right Mouse Button.
| | 01:06 | You're going to hold and
drag to move them around.
| | 01:09 | Okay, we are going to do same operation
here in the Perspective Viewport, Shift
| | 01:15 | and Right Mouse Button, and you can
Pan 3D Perspective Viewport side to side.
| | 01:19 | Okay, next up is zooming.
| | 01:23 | If you have a three-button mouse with a
scroll wheel in the center, just scroll
| | 01:27 | the wheel in or out, works
the same on the Ortho Viewports.
| | 01:31 | Or the keyboard shortcut
is Ctrl+Right Mouse Button.
| | 01:36 | Okay, now let's focus on the Rotate, which
is the last way to manipulate the Viewport.
| | 01:46 | This keyboard shortcut is Ctrl+Shift+
Right Mouse Button, and you can rotate around.
| | 01:54 | You cannot, or should not do the
rotation in any of the Ortho Viewports.
| | 01:58 | I'll show what happens.
| | 02:02 | You have really screwed it up,
| | 02:04 | so we are going to have
to show you the quick reset.
| | 02:06 | We are going to right-click on the
Viewport label > Set View and just re-select
| | 02:11 | the same name that's already
there, which is Right view.
| | 02:14 | It'll straighten it back
out to as in Ortho Viewport.
| | 02:16 | I want to maximize the Perspective
Viewport here by double-clicking, and show
| | 02:21 | you another common problem is when you
zoom out and do a few rotates, you get
| | 02:28 | almost completely lost.
| | 02:31 | A great way to fix this is just to
select any object, and then there is a Zoom
| | 02:35 | Selected button. That not only brings
it front and center, but that is you new
| | 02:39 | center of rotation, so it
does two things at once.
| | 02:41 | Now if you zoom in and want to get
back out quickly, that same button with a
| | 02:48 | Right Mouse click will zoom
back to the extents of the scene.
| | 02:53 | So, those are the conventional
methods to do Zoom, Pan and Rotate using the
| | 02:57 | keyboard and Right Mouse button.
| | 02:59 | But if you have a 3D navigator, like the
SpacePilot, you would be able to do all
| | 03:03 | of those motions much more smoothly.
| | 03:07 | So, the sooner you can master the
basic Viewport navigational skills, the
| | 03:10 | sooner you will be more comfortable with the
software and productive with your modeling.
| | 03:14 | Remember, all three navigation
commands are implemented via the Right Mouse
| | 03:18 | Button and a combination of
Ctrl, Shift and Ctrl+Plus+Shift.
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| Exploring help options| 00:00 | For this next section, we will navigate
the excellent Rhino Help system, which
| | 00:04 | actually has several
separate and distinct parts.
| | 00:08 | All are available to use at all
times, but Rhino has a real-time system
| | 00:11 | called Command Help.
| | 00:13 | It is unique and extremely useful
for beginners, but we'll start with the
| | 00:16 | standard help everyone is familiar with.
| | 00:18 | We find this under the Help menu
> Help Topics, or the shortcut F1.
| | 00:23 | So, this contains pretty much every command or
operation you ever would want to try in Rhino.
| | 00:30 | We are going to focus on one, just for
an example here, Extrude curved surface.
| | 00:36 | We'll cover this in more detail
when we get to modeling 3D surfaces.
| | 00:39 | So, I want to call your
attention here to this image.
| | 00:42 | A lot of people don't realize
it's actually a miniature movie.
| | 00:45 | You just click on the Play button, and
it will walk you through the steps of
| | 00:48 | selecting and generating the command.
| | 00:50 | You have also got the Steps numbered
down below, and you also have Options.
| | 00:55 | And when you start a command, you
get the Options on the command line.
| | 00:58 | But if you want to understand what they
do first, you can select here, and this
| | 01:01 | will give you description or
sometimes even another video.
| | 01:07 | Another nice feature here is it will
show you the icon that you might see on the
| | 01:10 | interface, or where to
find that command on the menu.
| | 01:14 | And then if there is any additional
material below that, it's related commands.
| | 01:18 | There's quite a few.
| | 01:20 | Okay. Let's take a look at Rhino's real-
time help system, which is fairly unique
| | 01:26 | in most 3D softwares.
| | 01:27 | This is called Command Help.
| | 01:29 | And we get a little dialog window here,
and I'm going to go ahead and dock this
| | 01:34 | so we are to drag this over to the
side until it locks into position.
| | 01:38 | And that'll keep it from
getting in the way of the Viewport.
| | 01:42 | So, I'm going to go ahead and do that
same command again, where I select the Curve.
| | 01:45 | I do the Surface Extrude, and there is
that same help section from the menu, but
| | 01:54 | now it is monitoring what I do in
real-time and giving me feedback and
| | 01:57 | information along the way.
| | 01:58 | A few more help areas available:
we've got the Command List available in
| | 02:07 | the same area under Help, and this
gives you all the commands, one by one, in
| | 02:10 | alphabetical order.
| | 02:11 | So, if you're not sure where to look for,
you could just actually look here for
| | 02:15 | its name first, type in search terms,
find something closely related to the
| | 02:21 | command you're looking for.
| | 02:22 | So, we will close that.
| | 02:26 | The final Help area I want to
point out is the Help on the Web with
| | 02:31 | additional web sites, newsgroups and all sorts
of training newsletters you can sign up for.
| | 02:38 | So, compared to other 3D software,
Rhino is extremely focused on modeling.
| | 02:42 | Regardless, any 3D software, it can
occasionally be overwhelming during the
| | 02:46 | early learning stages.
| | 02:48 | Fortunately, Rhino has provided a
wide variety of support throughout the
| | 02:51 | software, to help guide you along the way.
| | Collapse this transcript |
|
|
3. Introduction to the InterfaceUnderstanding Rhino's command philosophy| 00:00 | In this video, we'll highlight the
flexible nature of the Rhino interface.
| | 00:04 | This flexibility means that you
have the ability to run commands any of
| | 00:08 | several different ways.
| | 00:09 | So, this gives you considerable freedom,
although it can sometimes add to your
| | 00:12 | initial intimidation, or even confusion.
| | 00:14 | So, at a bare minimum, you have four
different ways to start any command
| | 00:18 | and then two additional methods you
can use to repeat those commands and
| | 00:21 | really speed things up.
| | 00:22 | So, for this example, we are
going to use a circle each time.
| | 00:25 | I am going to zoom in.
| | 00:27 | And we are going to find it
via the menu. It's under Circle.
| | 00:32 | And I am going to select the Center,
Radius version, although you can see there
| | 00:36 | is like six or seven
other ways to start a circle.
| | 00:39 | So, we click to these
points that are already set up.
| | 00:42 | I will just drag out any radius that looks good.
| | 00:45 | So, that's the circle via the menu command.
| | 00:48 | Now, you have probably seen all these
little icons on the side of the interface
| | 00:51 | and since the circle is the
most common, it's in there also.
| | 00:54 | So, I am going to start with a
button click, Center, Radius.
| | 01:01 | Third way is via Popup. Assuming your
mouse as a center button or scroll wheel
| | 01:06 | that can depress, you are going to
click that now. And this is a fully
| | 01:10 | customizable Popup menu of
any command that you want.
| | 01:14 | Right now, it's got some of the defaults.
| | 01:15 | So, I am going to drag the circle onto
this little interface, put it over here.
| | 01:19 | By holding down the Ctrl key, you can
drag any icon that is visible anywhere in
| | 01:23 | the Interface from its
original position and make a copy.
| | 01:26 | I am going to do it one more time,
Ctrl+Drag. Now, we have two.
| | 01:33 | The reason I did that is I want to show
you how to remove a button if you have
| | 01:36 | an extra or just want to rearrange these.
| | 01:38 | You hold down the Shift, and that will move,
and therefore delete, if you pull it outside.
| | 01:42 | So, be careful that you don't use Shift
to remove these interface buttons that
| | 01:47 | really need to stay there.
| | 01:48 | I am going to close the Popup now for a
second, just so I can bring it back up
| | 01:51 | here, close to where I need it.
| | 01:52 | There is the circle. Notice that the
Popup, when it disappears that saves you a
| | 01:57 | lot of screen space.
| | 01:59 | And the final way you can do a
circle is via the Command line.
| | 02:02 | This is this text area at the top.
| | 02:04 | I am going to type in the first letter
of the command and notice we have a lot
| | 02:08 | of matches, more than a full, screen full.
| | 02:11 | So, you just type as many characters
as it needs to zoom in and narrow down.
| | 02:14 | There is the Circle command.
| | 02:15 | You can just hit Enter.
| | 02:17 | It will fill in the rest of the letters.
| | 02:19 | Notice the Command line
gives you all the options too;
| | 02:21 | we will get into those a little bit later.
| | 02:23 | And I can draw a circle from the Command line -
a little a bit old school, but it always works.
| | 02:28 | Now let's get into Repeating Commands.
| | 02:32 | As long as I am not in the middle of a
command, I can right-click on the mouse,
| | 02:36 | and that repeats the exact
command that was previously done.
| | 02:39 | There is our Circle.
| | 02:41 | Now for jumping around and doing a
circle, square and another shape and then
| | 02:45 | back to circle, square, we have the
option to go up to the Command line and
| | 02:49 | click in a blank area, right-click, and that
gives you the last 10 things you have done.
| | 02:54 | So, you can go back to 2,
3, 4 Commands, pick them
| | 02:57 | and save yourself a lot of time.
| | 02:58 | So, I'll just pick that Circle one last time.
| | 03:00 | None of these four methods that can be
used to start a command are inherently
| | 03:05 | better than any of the others.
| | 03:07 | So, as the course progresses, you'll
see each of these entry methods used.
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| Using toolbars and docking buttons to a toolbar| 00:00 | In this movie, we'll spend a little
more time on the toolbars and how they can
| | 00:03 | be easily customized for enhanced workflow.
| | 00:06 | So, a toolbar is simply a grouping of
related commands that are illustrated with icons.
| | 00:10 | Use of these toolbars will make those
commands you use most often that much
| | 00:14 | quicker to find and use.
| | 00:15 | Let's look at some of the toolbars that
are already open and docked here on the top.
| | 00:21 | So, the tooltips is merely the
explanation of what each icon does with options
| | 00:26 | for left and right mouse buttons.
| | 00:27 | It may take a bit of a delay on
your system, but you can modify.
| | 00:31 | You can also note a little white triangle
in the lower-right corner of those icons.
| | 00:35 | That means there is more options below.
| | 00:38 | So, I am going to click, and then I
can select one of the probably twenty
| | 00:42 | plus different ways to select entities. For
example here, Curves those will highlight.
| | 00:47 | Let's turn that off.
| | 00:48 | That was a little bit
buried and awkward to find.
| | 00:51 | So, the next step here
is I am going to click -
| | 00:53 | instead of selecting one of the icons, I
am going to click on the border at the
| | 00:58 | top, and drag that out.
| | 01:00 | Let me take a little bit of practice.
| | 01:02 | It sometimes wants to
close off all the other action.
| | 01:04 | So, that's the Select toolbar.
| | 01:08 | I recommend a second
toolbar to open is under the Move.
| | 01:13 | Here is all our Transform
commands, quite a few there.
| | 01:16 | So, I am going to click on
the border at the top, drag it.
| | 01:20 | Now, these will stay in the screen until
you move them or close them with the X.
| | 01:25 | I will get that back open.
| | 01:28 | But the purpose of this movie
is to show you how to dock these.
| | 01:31 | So, we are going to scoot them over to
any of the four sides and when they get
| | 01:35 | close, some space should
open up, and they pop in.
| | 01:40 | And then you can scoot them around.
| | 01:41 | They don't always go exactly where you
want, so you may have to move them later.
| | 01:45 | Next up is the Popup toolbar, which is
accessed via the middle mouse button or a
| | 01:51 | scroll wheel, if it can be pressed.
| | 01:52 | Here is the basic set of icons.
You can add or subtract to this set very
| | 01:57 | easily just by selecting and dragging one
of the other icons that are already visible.
| | 02:03 | Be careful. A lot of these icons, you
don't want to lose, so you want to hit the Ctrl
| | 02:08 | button, then click and drag to copy.
| | 02:13 | Now if you hit Shift,
you'll be moving and deleting.
| | 02:17 | So, you have got to be very careful
you don't delete something from the
| | 02:20 | interface that you'll need later.
| | 02:21 | I am going to open up two more windows,
because I think they are important enough
| | 02:26 | that you are going to use on a regular basis.
| | 02:28 | Those are the layer dialog and the Properties.
| | 02:32 | So, these I am going to dock on the right
side because they'll need quite a bit more room.
| | 02:38 | Once you open and dock any of these
toolbars, they will remain with your
| | 02:42 | installation of Rhino so the next
time you turn on your computer, they will
| | 02:44 | be in exact same spot.
| | 02:45 | They are not saved with the file, so
when you send it to someone else, they
| | 02:49 | will not see the same arrangement.
| | 02:51 | Just as a brief refresher,
| | 02:53 | I am going to go look at the tools and
our Options. So there is two types of
| | 02:59 | settings that get incorporated into Rhino.
| | 03:01 | We have got those that are included with
the Document, listed up at the top, and
| | 03:06 | those that are included
with the software installation.
| | 03:08 | They are always there at
that particular computer.
| | 03:12 | So, the toolbars can be a great way
to get started, but they are only as
| | 03:15 | helpful as your ability to remember where you
docked them and what each command does.
| | 03:19 | The Popup, when fully customized, may
be a better way to go, but it makes more
| | 03:23 | sense to leave it alone until you
reach a comfort level with the software.
| | 03:26 | So, for the remainder of these videos,
we'll avoid using the Popup so we can
| | 03:29 | learn where things are located and why.
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| Navigating the geometry menus using a "department store" analogy| 00:00 | In this video, we'll review the
organizational structure of Rhino's pulldown menus at
| | 00:04 | the top of the screen.
| | 00:06 | This is actually a great place to
find and learn new commands, but also
| | 00:09 | understand their logical
relationship to each other.
| | 00:11 | I have this interesting thing that
I call The Department Store Analogy.
| | 00:16 | With this, we classify each of the
Rhino three entities or categories is being
| | 00:21 | located in departments.
| | 00:23 | So, we have a department for curves,
we have a department for surfaces and
| | 00:29 | a solid department.
| | 00:30 | Now this is further organized by levels.
| | 00:33 | So, at the top of any of these
departments we have, create new ones,
| | 00:38 | generate new geometry.
| | 00:40 | At the lower levels, we have edit
existing things that you already made earlier.
| | 00:45 | So, all three of these menu
sections are organized the exact same.
| | 00:49 | We'll go ahead and do a few
demos, just to further explain.
| | 00:53 | We'll be making new geometry
here of the three different types.
| | 00:58 | For the curve, I'm going to select Rectangle.
| | 01:02 | Now just a note: a curve is basically any
type of line, whether it's straight or smooth.
| | 01:08 | So, I'm going to pick the Center to Corner.
| | 01:12 | With a little bit of snapping,
we have a brand-new square.
| | 01:16 | Now let's make a brand-new surface.
| | 01:18 | Surface menu. For the next two examples,
we're going to extrude these shapes
| | 01:23 | into a third dimension.
| | 01:25 | Now these are something we'll
cover in more detail in a later movie.
| | 01:29 | So, I'm going to select these curves.
| | 01:33 | So, there we have a new surface.
| | 01:35 | Let's make a new solid.
| | 01:36 | On the Solid menu, top floors, pretty
much in the same general location as the
| | 01:43 | prior one, Extrude Planar Curve > Straight.
| | 01:45 | I'm going to select the curve and
then pick the end, and there we have a
| | 01:52 | 3-dimensional solid from a curve.
| | 01:54 | Those were all at the top section, since
they were new. Now let's explore kind of
| | 01:58 | editing existing geometry.
| | 02:00 | For this example, I'm going to
use Fillets on all three entities.
| | 02:04 | This is another great example where a
command can work on different types of
| | 02:08 | geometry, whether it's a
line, a surface or a solid.
| | 02:11 | So, it's another way that
you can extend your knowledge.
| | 02:14 | First, let's Fillet, the square.
| | 02:16 | We'll choose the Curve, so here's
the Fillet option, located on the lower
| | 02:22 | level, radius of 3.
| | 02:24 | I'm just going to verify that.
| | 02:26 | You can change it by
clicking at any of these options.
| | 02:29 | Click the two sides, zoom in a bit, repeat,
click the two sides, and there is a Filleted curve.
| | 02:38 | We can do the same thing with the
surface, lower-level, Fillet. Let's verify the
| | 02:44 | radius is okay and just pick the
two sides, Fillet at the Surface.
| | 02:53 | Last up will be the solid.
| | 02:55 | It's the same command and the same
general location, Fillet at the Edge.
| | 02:58 | Just pick that top edge here, hit Enter.
| | 03:04 | Now we've got a solid fillet.
| | 03:08 | Many new Rhino users
forget where a command is located.
| | 03:12 | So, with this Department Store Analogy,
you can easily find any command simply
| | 03:15 | by asking, 'What are you making -
a curve, a surface or a solid?
| | 03:20 | And the next question, 'Is it
new, or an edit to an existing one?'
| | 03:25 | This system works really well, even when
you can't remember the name of the command.
| | 03:28 | All you have to do is find the best
department, the level, and take a look
| | 03:32 | around, just like you're shopping.
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| Using the command line and status bar to get feedback| 00:01 | Rhino has a unique way of providing a
variety of feedback information to the user.
| | 00:05 | So, in a way, Rhino is communicating
with you and keeping you informed at all
| | 00:08 | times, even during the middle of a command.
| | 00:10 | So, in this movie, we'll learn where to
look for that feedback and then get more
| | 00:13 | predictable results and increase your accuracy.
| | 00:16 | Now be aware, many of these
commands have multiple steps with options
| | 00:20 | available at every step.
| | 00:22 | So, it's very easy to miss some of those
options or even misread what Rhino is asking.
| | 00:26 | To fix this, we're going to make sure
that our Command area has got enough space.
| | 00:30 | Right now, it's a single line,
which is nowhere near enough.
| | 00:33 | I'm going to drag on the border here, by
clicking and dragging, and then releasing.
| | 00:37 | You typically want to have about three
lines, so that you know what's going on
| | 00:41 | and what's being asked.
| | 00:43 | So, for the first method, which I'm
nicknaming Eyeball, we're going to draw a
| | 00:47 | 16-sided star and just make it look
good and not care about the size at all.
| | 00:52 | So, this star is located in
the Curve menu, under Polygon.
| | 00:58 | We're going to create a star.
| | 01:01 | Check the options here.
| | 01:02 | We've got three of them.
| | 01:02 | I'm going to click on the first one
only to switch from 4 sides to 16, and then
| | 01:09 | it's asking now for the center.
| | 01:13 | Now it needs the first corner.
| | 01:16 | Before I select the second radius, I want you
to take a look down at the Status Line here.
| | 01:22 | This tells me the current X, Y,
and Z position of the cursor.
| | 01:27 | This number here is the most important.
| | 01:28 | This tells me the size of the radius as I move.
| | 01:35 | So, I'll go ahead and pick somewhere where
I think it looks great. There is the star.
| | 01:39 | This is the Eyeball method.
| | 01:41 | We don't know what the
sizes were, but it looked good.
| | 01:44 | Now let's try to build another star,
but this time with more accuracy.
| | 01:50 | So, I'm going to repeat
the command, Polygon: Star.
| | 01:53 | We're going to switch from 16 sides
to 5, and we'll start at the same way by
| | 02:01 | snapping to the intersection.
| | 02:02 | Now, instead of just clicking anywhere,
I'm going to type in its exact size.
| | 02:09 | I want the outer radius to be 24,
so I'm going to type in 24 on the
| | 02:12 | keyboard, hit Enter.
| | 02:14 | Now you'll notice it's kind
of constrained to that radius.
| | 02:19 | So, I can just click in any
angle, if it's important to me.
| | 02:22 | So, I want to maybe have it go out vertically.
| | 02:25 | Now we have the second radius.
| | 02:26 | If you check the Status Line,
you can see things moving.
| | 02:31 | I'm going to have that be exact and type in 12.
| | 02:34 | I'm going to do one more edit to
the star, go ahead and rotate it.
| | 02:41 | This is a transform called Rotate 2-D.
| | 02:43 | So, we'll just select the star. As its center,
| | 02:50 | I'm going to pick here in
the middle of the intersection.
| | 02:52 | Now the first angle doesn't really
matter, because it's all relative.
| | 02:56 | So, I'm just going to pick
somewhere here to the side.
| | 03:00 | Notice the Status Line giving me
numerical feedback, so right now it's about 28
| | 03:04 | degrees, 30 degrees.
| | 03:06 | I'm going to go ahead and type in
35, so that's a 35 degree rotation.
| | 03:12 | It's the exact size with an exact rotation.
| | 03:14 | Now for the next example, we're
going to use kind of a hybrid approach.
| | 03:18 | I'm going to activate something
called the tooltips, where we get all this
| | 03:21 | information right at the cursor
without having to look down below.
| | 03:24 | So, we access this through the Options,
which is the yellow gear on the command line.
| | 03:30 | I'm just going to browse down.
| | 03:31 | If this is not already open, you
want to go to Rhino Options > Modeling
| | 03:35 | Aids > Cursor toolTips.
| | 03:38 | I'm going to go ahead and turn those on.
| | 03:40 | Make sure you have the same three selected.
| | 03:42 | I want to know what I'm snapping to,
the distance I've moved, and the Command
| | 03:46 | prompt tells me exactly what the
command is asking for, or the next step.
| | 03:50 | I'm going to go ahead and do one more star.
| | 03:52 | Go to the command line, right-click.
| | 03:56 | There's our Star Command.
| | 03:58 | Notice now, right by the
cursor, we have a lot of information.
| | 04:03 | It's telling us that we
need to select the center.
| | 04:06 | It's kind of waiting for that.
| | 04:07 | It's also telling what I'm snapping to.
| | 04:09 | So, I'm going to go ahead
and pick the intersection.
| | 04:11 | I can then move away for the other
corner, and that top number is the current
| | 04:16 | radius, so I don't have to look down.
| | 04:17 | So, I can eyeball things or type
in a numerical value at any time.
| | 04:20 | So, it gives you the best of both.
| | 04:24 | Then give it a second radius, although
I'm going to hit the Enter key here to
| | 04:29 | see what this Automatic Command is.
| | 04:31 | So, that makes a perfect geometric star.
| | 04:34 | So, the feedback areas can greatly
aid in the reduction of errors for
| | 04:37 | providing real-time updates.
| | 04:39 | They not only tell you every available
option for the command, but also your
| | 04:43 | current size, distance or angle.
| | 04:46 | You don't need to use these feedback
features near as often when you get more
| | 04:49 | comfortable with Rhino,
but they're always there.
| | 04:52 | It can be a great way to
identify problems before they happen.
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| Modifying the nudge control and setting other preferences| 00:01 | In this video, we will learn where
all of the Rhino program options can be
| | 00:04 | accessed and modified.
| | 00:07 | These options can then be saved with
your Rhino file or inside your computer
| | 00:11 | software installation, so they
remained in effect until changed later.
| | 00:15 | Most of these are personal preferences,
and can change to whatever kind of model
| | 00:19 | you're working on, with one
exception, and that is the Nudge setting.
| | 00:23 | So, let's cover this Nudge setting
first, and get it out of the way.
| | 00:26 | So, first definition. By nudge, I mean
I would like to use the four cursor keys
| | 00:32 | on the keyboard: the arrows
that go up, down, left or right.
| | 00:36 | Currently, I would select an object and
would love to have that just move the
| | 00:41 | object, but instead, by
default, Rhino rotates the view.
| | 00:45 | As I click up-down, left-
right, you see it's panning.
| | 00:49 | That doesn't seem like a big issue.
| | 00:50 | However, when we go to one of the
Ortho Viewports, we get a big, fat mass.
| | 00:56 | This has now totally distorted
the view, and it's unusable.
| | 01:00 | So, I'm going to get this first fixed
by right-clicking on the Viewport, go to
| | 01:04 | Set View, and pick the same
exact name, which is Right.
| | 01:07 | I'll straight it back up.
| | 01:10 | Okay, so let's find out
where the Nudge option is set.
| | 01:13 | We can go to the Option button here,
which is the little yellow gear at the top.
| | 01:19 | As a refresher, we've got two sections,
any changes made to this top-level, go
| | 01:24 | with the file, so other people
will see them on the open-end.
| | 01:27 | And then the Rhino options are with
your installation on your computer.
| | 01:30 | So, the Nudge is located in
modeling Aids under the Nudge section.
| | 01:34 | We just want to make one quick
change, put it back to the arrows.
| | 01:39 | Now we've got some additional
control here, because we can give it
| | 01:42 | three different steps.
| | 01:43 | So, I'm going to do that right now.
| | 01:45 | So, everytime I click on one of the
arrows, I want to have it move one unit, and
| | 01:49 | if I hit the Ctrl key, I want to go a
smaller increment, and if I hit the Shift
| | 01:55 | key, I'm going to go 10 times larger.
| | 01:57 | Now if you're familiar with a lot of 2D
applications, they use the cursor keys for
| | 02:00 | moving things around.
| | 02:01 | So, I like to have that
same benefit here in 3D.
| | 02:04 | So, I hit OK, and now we're
going to watch the difference.
| | 02:07 | I want to select one of the objects,
go back to maximize, and as I click the
| | 02:13 | arrows, it moves around in
the scene much, much easier
| | 02:19 | than dragging something, especially
since I have the increment set, so I can
| | 02:24 | always get stuff back to its original position.
| | 02:26 | I want to give you another example of why nudge
is really handy, and that's for experimenting.
| | 02:32 | So, I'm going to make a copy of this
object, and then let's try something out,
| | 02:35 | and see if it looks any better.
| | 02:37 | So, I'm going to do an Edit > Copy and
Paste, and then just nudge this away.
| | 02:46 | So, let's try a quick Fillet and
see if it looks as good as we think.
| | 02:49 | I'm going to go to the Solid menu, and
just Fillet the edge, and I'm going to pick
| | 02:57 | a couple of those edges there.
| | 03:02 | Right-click to accept, or hit the
Return key, and there is my little test.
| | 03:08 | So, if it looks good, you're done.
| | 03:10 | If not, you can delete the
copy and just do another test.
| | 03:15 | So, we'll use the shortcut keys this time:
| | 03:18 | Copy, Paste, Ctrl+C and Ctrl+V, nudge it over.
| | 03:24 | And a lot of times, I'll make multiple
copies, so I can copy that, paste it, and
| | 03:29 | nudge additional copy over. So, this is 3D.
| | 03:32 | Remember, there is no
charge for extra copies. Okay.
| | 03:35 | Let's revisit the Option, Control
panel again, click on the yellow gear, and
| | 03:41 | this time, I'm going to modify the grid.
| | 03:43 | I am going to zoom out a bit, so you can see it.
| | 03:45 | Now the extents are just actually half
of the grid, so it's from the origin out.
| | 03:53 | So, that would be from this center 100 units.
| | 03:57 | I have got the grid line set to
every 1 millimeter, so if we zoom in,
| | 04:01 | you can see there is a lot of lines.
| | 04:03 | I'm going to go ahead and change this
really quick to every 10.
| | 04:06 | Notice the grid updates pretty quickly.
| | 04:09 | So, whatever you change it to, make
sure your Grid snap is this same number as
| | 04:14 | the grid spacing. Otherwise you'll be
jumping to some point in between it, and
| | 04:17 | you won't be clear where you are.
| | 04:18 | I should've left that open, so we
can continue at the same spot.
| | 04:26 | The next item we'll take a look
at is the colors on the screen.
| | 04:32 | We can change the Background color.
| | 04:36 | It might be too bright for you,
but this gives you a lot of options.
| | 04:46 | After some experimentation, if
you want to get back to the original
| | 04:48 | situation, you can just click on
this Restore Defaults button and that go
| | 04:52 | back to the original.
| | 04:53 | Okay, finally, I'd like to talk about
Units and tolerance, because these are
| | 04:57 | pretty critical to modeling accurate parts.
| | 04:59 | So, we go up to the top here,
part of the Document Properties.
| | 05:03 | Right now, we've got the units set to
Millimeters, and this tolerance is pretty important.
| | 05:08 | It is basically the accuracy of the data.
| | 05:11 | So, here we've got three decimal places.
| | 05:14 | So, that's pretty accurate.
| | 05:16 | Now you can change the tolerance
at any time. A word of warning:
| | 05:20 | you don't want to do it in the middle of
a file, or a halfway through a project.
| | 05:23 | It's always best to set it upfront, and
then you know that all the geometry in
| | 05:27 | the scene is set to the same tolerance,
and the reason is if you do operations
| | 05:31 | from one part to another, if they have
mixed tolerances, you could have lots
| | 05:35 | of serious problems.
| | 05:36 | So, to prevent even worrying about
this, there is a nice new feature.
| | 05:40 | We'll close this, and we
open up a brand-new file.
| | 05:47 | Rhino gives us Template options.
| | 05:50 | It's a brand-new feature.
| | 05:51 | So, we could select, for example,
Small Objects in Millimeters, which is what
| | 05:54 | I'm working on, and it gives
you a great little example here.
| | 05:58 | This is a template file for building
objects to size of a truck or a smaller,
| | 06:02 | and they're going to be build to
manufactring tolerances.
| | 06:05 | So, if it's a hand-held object, this
would probably work with no further
| | 06:08 | changes, and you don't have to
worry about updating the tolerance and
| | 06:11 | causing problems later.
| | 06:12 | For larger objects, like maybe some
architectural projects, you can go to Large
| | 06:16 | Objects - Feet and again,
there is a same example:
| | 06:19 | the size of a truck or
bigger, tolerance 0.01 feet.
| | 06:22 | So, what I recommend is opening up one
of these template files, selecting one of
| | 06:28 | the presets and just work with that.
| | 06:31 | So, the customization of the interface and
settings let you adapt Rhino to your workflow.
| | 06:35 | Except for this Nudge setting we
discussed first, you probably don't want to
| | 06:39 | change much, if anything, to the defaults.
| | 06:42 | Remember that any changes to this
settings in the Document section are
| | 06:45 | automatically saved to the file.
| | 06:47 | Any changes to the Rhino
section are saved to your computer,
| | 06:50 | so those remain fixed
until you change them manually.
| | Collapse this transcript |
| Using the Properties window| 00:01 | In this video, we'll explore the
Properties dialog, and learn how it can be
| | 00:04 | used to provide quick feedback to any
object selected, and then make quick
| | 00:07 | changes if so desired.
| | 00:09 | So, it's not open by
default, but it's so darn handy.
| | 00:12 | We're going to dock this into the
interface, so it remains available at all times.
| | 00:15 | So, we can find the Properties dialog by
going to the Edit menu > Object Properties.
| | 00:21 | It's also quite a bit faster
| | 00:23 | if you just use a little, what I
called the Rainbow icon, pop that open and
| | 00:27 | here's our Properties dialog.
| | 00:29 | Now with nothing selected, to just give
you some feedback of the camera or scene
| | 00:32 | we're looking through,
| | 00:33 | let me go ahead and pick one object here.
| | 00:35 | So, right off the bat, this
will tell you if it's been named.
| | 00:39 | Its type is a polysurface - it tells you
the current layer - and where it's getting
| | 00:43 | this color information from, as well
as a few other things down this list.
| | 00:46 | Let me go ahead and dock this for future use,
| | 00:49 | make sure it's stacked over there, and
we have enough room to read everything.
| | 00:54 | Fortunately, you only have to do this once.
| | 00:56 | It should remain with your
computer installation of Rhino.
| | 01:02 | One thing some people like to change is
the surface visibility of these curves.
| | 01:06 | I'm going to zoom in and take a look.
| | 01:10 | These are called the Surface
Isoparms, got them visible.
| | 01:14 | You can turn them off.
| | 01:16 | But sometimes there is not enough
information for Viewport feedback, so I can just
| | 01:20 | crank that up, another couple of steps, and
you can do with any geometry in the scene.
| | 01:27 | Now just as a reminder,
| | 01:30 | this is a NURB surface,
so it is infinitely smooth.
| | 01:34 | So, we're not adding any
detail to the object itself.
| | 01:37 | We're just showing more
feedback curves on the surface.
| | 01:40 | So, it should remain the same.
| | 01:44 | Now, this solid here is on the solid
layer, and therefore, it's getting its color
| | 01:49 | from that layer, which is
probably the best way to go.
| | 01:52 | I'm going to go up to this
Properties dialog, and change its color from
| | 01:56 | receiving it from the layer it's on to
having its own color, almost an override.
| | 02:01 | So, that's how you would handle that,
| | 02:03 | although I don't recommend doing this,
because a lot of times you can get very
| | 02:06 | confusing if every object has its own color,
and there is no relationship to the layer.
| | 02:11 | So, it's a great way to
get confused very quickly.
| | 02:14 | But there is a quick fix here.
| | 02:16 | We can select this object again,
and we can use the Match button.
| | 02:19 | Once it pops up, it gives us all
the possible properties to match.
| | 02:24 | We'll just leave them all selected.
| | 02:27 | Hit OK, and then a next object that
we select will be the one that governs.
| | 02:31 | So, we've now switched to all of the
exact same object properties to the
| | 02:36 | second object selected.
| | 02:37 | Let me go ahead and pick this curve.
| | 02:41 | This description contains all the
technical information, most of which you don't
| | 02:44 | want to know, but can be
extremely handy for troubleshooting.
| | 02:47 | I'm going to go ahead and close that.
| | 02:49 | So, when you're in the middle of a
complicated project, it can be very easy to
| | 02:51 | forget which objects and
which layers are being used.
| | 02:54 | So, by keeping the Properties dialog
visible, you have a quick way to see where
| | 02:58 | things are and then make quick changes.
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| Opening and saving files | 00:00 | In this video, we'll look at the
different ways to Open or Save as well
| | 00:04 | as Import and Export.
| | 00:05 | Along with this, we need to plan a
little bit ahead, or at least be aware of a
| | 00:08 | file's file size and required Tolerance.
| | 00:11 | Fortunately, the latest version
of Rhino makes this much easier.
| | 00:15 | Let's take a look at the File menu
and look at some of the options here.
| | 00:19 | I'd like to recommend you start with
File > New, because of this excellent
| | 00:24 | interface here. We have Template Files.
So, instead of worrying about the objects,
| | 00:29 | units and tolerances, they are already
preset here in these Template Files.
| | 00:33 | I'll mention this in just a little
bit about how you can create your own
| | 00:36 | Template Files as well.
| | 00:37 | Next step is your basic Open.
That would for Rhino files.
| | 00:42 | Save everyone is familiar with.
| | 00:44 | Save Small is a great little feature of Rhino.
| | 00:46 | I want you to take a look at the
Viewport here, and this surface information
| | 00:51 | is actually occupying space. It's the
fact that you can see shading instead of a
| | 00:56 | Wireframe View. It's occupying approximately
half or even up to three quarters of the file size.
| | 01:03 | You don't really need that shading
information except it's nice to see.
| | 01:05 | So, if you are worried about
sending a large file to somebody,
| | 01:08 | you could actually go to File > Save Small.
| | 01:11 | It'll throw away that shaded information,
and then when you open it up on their
| | 01:14 | end it regenerates it.
| | 01:16 | So, many times you can e-mail
files it would otherwise be too large.
| | 01:19 | Next step is Incremental Save,
which is a great thing to know about.
| | 01:24 | As your file gets larger and
larger, there is always the chance of a
| | 01:27 | corruption or a crash.
| | 01:28 | So, instead of saving as a new version
every half hour, let's say, you could
| | 01:33 | just use this command, Incremental Save.
| | 01:35 | It'll take the current version of
the file's name and index it by one.
| | 01:38 | So, if you are working on city scene and you
use Incremental Save, it will be City Scene 02.
| | 01:43 | The next time you do it,
it'll be 03, 04, 05 and so on.
| | 01:47 | So, this can make a huge difference
if there was, for example, the power
| | 01:52 | went out, and the file you've been
working on for many weeks got corrupted
| | 01:56 | when Windows crashed.
| | 01:58 | So, you don't have to worry about that anymore.
| | 01:59 | With Incremental Save, the
current version could get corrupted.
| | 02:02 | You just restart Rhino when the power
comes back on and open up the prior version.
| | 02:07 | So, if someone's backing up with
Incremental Save every half hour you've lost, at
| | 02:12 | most, 29 minutes worth of work, not the
month you've been working on the project.
| | 02:16 | So, we have to Save As just for
changing name, and then here is the Template
| | 02:20 | option I discussed earlier.
| | 02:21 | So, this includes not just the units
and the tolerances, but it could also
| | 02:27 | include the same geometry
you want have in every file.
| | 02:29 | For example, you are working on a
project, and you need a title block or a 3D
| | 02:34 | geometry in the same spot in every file.
| | 02:36 | So, that's why you save it as a template.
| | 02:38 | Next up, we'll talk about the Insert
command. This brings in some 3D geometry from
| | 02:44 | an external file and then lets
you place it wherever you want.
| | 02:47 | So, in this example here, I've got a city scene.
| | 02:50 | I am going to bring in a new building that
someone maybe worked on the next desk over.
| | 02:55 | There is a quick preview of what it looks like.
| | 03:00 | For placement, I am going to go ahead
and type 0, so that it will register its
| | 03:06 | origin with my origin.
| | 03:07 | And there it comes in exactly as
it was created in the other file.
| | 03:14 | So, we'll do one more here.
| | 03:16 | Insert, pick the second one, hit OK.
| | 03:21 | This gives you the option to put it
anywhere you want just by dragging or snapping.
| | 03:25 | I am going to go ahead and type 0 one
more time. Zoom back out.
| | 03:29 | So, there is file data from external files
perfectly synchronized into like a master file.
| | 03:37 | You can Export the entire
file or just one object selected.
| | 03:40 | Let's go ahead and do that.
| | 03:42 | Pick one of these
buildings. File > Export Selected.
| | 03:48 | So, a tremendous amount of options here.
| | 03:50 | We can export in earlier versions of
Rhino and then pretty much every 3D file
| | 03:55 | format ever created is available here
including, some of their 2D file formats.
| | 04:00 | I recommend using STEP or step file format.
| | 04:03 | That will maintain the full NURBS
accuracy, and that will be fully editable
| | 04:09 | in the other software.
| | 04:11 | IGES is probably little more
common but much older, and that has some
| | 04:14 | limitations. A lot of things that are
joint end up being unjoined or exploded and
| | 04:19 | much more difficult to work with.
| | 04:20 | So, go with step if you
communicate with other people doing 3D.
| | 04:25 | So, all these features and options for
Import and Export will definitely be more
| | 04:28 | than you'll ever need on the average project.
| | 04:30 | But it's great to know you can
conceivably share your work and collaborate
| | 04:34 | with anyone else, regardless of the
software they are using. But tell them to
| | 04:37 | get Rhino.
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|
|
4. Workflow BasicsCreating basic objects: curves, surfaces, and solids| 00:00 | In this movie, we'll be exploring some
of the basic types of geometry, starting
| | 00:04 | with Curves and Lines, doing a few
samples of surfaces, and then ending with a
| | 00:09 | few different types of Solids.
| | 00:10 | It's just for practice.
| | 00:12 | Let's begin by going to a brand-new file,
File > New, and I am going to select
| | 00:19 | the Small Objects - Millimeters.
| | 00:21 | I'm going to do a lot of my work
in the Perspective Viewport.
| | 00:24 | Let's go ahead and maximize that by
double-clicking the label. Zoom out a bit.
| | 00:29 | Start off with one of the straight lines.
| | 00:32 | We have a Polyline and Line Segments.
| | 00:34 | So, let's try right-click to do Line
Segments. Take a look here now. This shape
| | 00:47 | has individual segments that are
touching but not joined, so that's the
| | 00:52 | definition of a Line Segment.
| | 00:53 | Let's go ahead and do a similar
version called Polyline, which is the
| | 00:59 | left-click option here.
| | 01:00 | Now when we select this one,
notice that all the segments are joined.
| | 01:11 | That's the only difference
between Segments and Polyline.
| | 01:14 | One nice feature is you can go ahead
and join those together with a joint
| | 01:18 | command, and it would become a
Polyline or on the Polyline version explode
| | 01:22 | those, and they'll become a bunch of
individual segments - something to note
| | 01:26 | because a lot of Rhino entities
can be converted to another type.
| | 01:30 | Let's do one of the built-in shapes.
| | 01:32 | I am going to try an Ellipse.
| | 01:34 | So, we are just going to define two axes.
| | 01:37 | That's one of the preprogrammed shapes.
| | 01:40 | Now let's try one of the Polygons.
| | 01:44 | So, a couple different kinds of Curves.
| | 01:47 | Let's try some Surfaces next.
| | 01:48 | Let me pick this first one from the menu.
| | 01:51 | This is an Option to select
either three or four corner points.
| | 01:54 | I am just picking randomly, so after
several points, it builds a surface across them.
| | 02:02 | Let's try to build them with three points
| | 02:05 | and just pick the original one you
start it with. How about I click on this
| | 02:12 | button and try one more type,
and that's two point Plane.
| | 02:17 | So, this will make it a little
more clean and square. All right.
| | 02:21 | Next step: we'll make a few different Solids.
| | 02:23 | I'm going to go over here and
select the box, so we define the base, two
| | 02:29 | opposite corners, and then just go up.
It'll automatically calculate a vertical
| | 02:34 | edge and you just press Enter. There is a box.
| | 02:39 | We'll try one more. I feel like
making a cone, so I select that object.
| | 02:44 | Start off with the center, and if you
are confused about what Rhino is asking
| | 02:47 | for, always check the command lines.
| | 02:49 | We've got to several
different ways to get started.
| | 02:51 | Right now, it's asking for the base.
| | 02:53 | So, we are going to click on the center.
Define a Radius. Again, it looks the
| | 02:58 | construction plane and forces us
to go vertically automatically.
| | 03:01 | So, that's an example of how to create
each kind of entity directly by itself.
| | 03:08 | Let's talk a little bit now about
converting, because that's really the power of Rhino
| | 03:11 | when we take a Curve and convert that
into a Surface. A quick example of that
| | 03:17 | would be a surface from a Planar
Curve, or otherwise, curves that are flat.
| | 03:22 | We now have two entities there.
| | 03:25 | There is a Surface, and there
is a Curve along the edge. Okay.
| | 03:29 | Let's extrude this surface into a Solid.
| | 03:32 | So, select it, go to Solid > Extrude
Surface and just select the first option.
| | 03:39 | So, here you can see the difference
between creating any one of the entities
| | 03:46 | directly or from another type.
| | 03:49 | Let's complete this demo with showing
how a Solid could be converted back to its
| | 03:54 | constituent parts of different planes.
| | 03:56 | We could use the Explode command,
so now they are basically separated.
| | 04:04 | So, it's very easy to create geometry,
and just as easy to convert one type of
| | 04:08 | geometry to another and back.
| | 04:10 | So, we'll cover each type in greater
detail in the following sections, but remember
| | 04:14 | that Solids are very simple to create in a
simple step, but you usually would want
| | 04:18 | to start with a Curve for
greater control and ability to modify.
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| Performing basic transformations| 00:00 | In this video, we'll get some extra
introductory practice with our basic
| | 00:04 | geometry of performing some basic transformations.
| | 00:07 | Keep in mind this is just a brief
demo, but we'll cover each of these
| | 00:09 | transformation topics in much
greater detail in upcoming sections.
| | 00:13 | So, first up, I am going to grab this
polyline and just move it with the drag by
| | 00:17 | clicking, holding, and dragging.
| | 00:19 | That's kind of a random movement,
| | 00:22 | so I prefer nudging it with
the arrow keys on the keyboard.
| | 00:26 | We have four of the Cursor keys.
| | 00:28 | Let's go ahead and check those
settings and make sure the defaults have not
| | 00:30 | been switched back.
| | 00:31 | So, I am going to click on the
yellow gear to access Options.
| | 00:34 | I am going to go to Rhino Options >
Modeling Aids > Nudge, and make sure it says
| | 00:40 | arrow keys or change it.
| | 00:42 | Now when we revisit the geometry, we
select it, and using the four arrow keys, it
| | 00:47 | will move around a predictable amount
each time in a predictable direction.
| | 00:52 | Now let's visit the Rotate.
| | 00:56 | We have an icon here on the
main toolbar. We'll just to do a simple,
| | 00:59 | two-dimensional rotation.
| | 01:01 | I am going to select this surface here.
| | 01:06 | It asks for a Center of rotation so
that could be anywhere inside or out.
| | 01:10 | And then we start with a reference
angle, which means you can click anywhere,
| | 01:15 | and a second click after that
is the differential rotation.
| | 01:18 | So, I'd stop it rotating by clicking again.
| | 01:23 | That's a simple rotation. Let's try Scale.
| | 01:25 | I am going to use the Scale icon here
for a three-dimensional Scale, which is
| | 01:29 | the left-click button.
| | 01:30 | I am going to select this box, and
we can pick any origin to scale from.
| | 01:37 | It can be a point on it or off of it.
| | 01:39 | Let's start outside, and again, we have a
reference beginning, which is one point
| | 01:45 | and then the second point.
| | 01:46 | If you go farther away, it gets bigger.
| | 01:47 | If you move in closer, it gets smaller.
| | 01:52 | Let's do some copying and
pasting to make additional copies.
| | 01:55 | I'll start off with this hexagon here.
| | 01:59 | We can make an additional copy
by the Edit menu > Copy command.
| | 02:04 | So, we've copied one to the Clipboard.
| | 02:06 | We need to paste it to
get it back into the scene.
| | 02:08 | So, now we should have two
hexagons there and we do.
| | 02:13 | So, let's move one of them away.
| | 02:14 | We can do the nudge, to go to the side,
| | 02:17 | but I am going to show you a new little trick.
| | 02:20 | We are going to go nudge vertically so
this will go perpendicular to the Z
| | 02:24 | axis, and we use the keys Page Up or Page Down.
| | 02:27 | So, I am just going to click it five
times to get into five-unit separation.
| | 02:32 | I am going to go ahead and repeat this
a few more times, and we'll get a whole
| | 02:35 | bunch of hexagons, Copy-
Paste, Page Up five times:
| | 02:41 | two, three, four, five, Copy-
Paste, two, three, four, five.
| | 02:51 | If you do something you need to
reverse, for example, you've moved this
| | 02:55 | surface over aways.
| | 02:58 | There is a simple undo with Ctrl+Z. So,
creating objects goes hand-in-hand
| | 03:03 | with the ability to transform them,
whether it's moving, rotating, scaling,
| | 03:07 | or just making lots of copies, you'll
almost always spend far more time editing
| | 03:12 | than you do creating.
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| Selecting objects| 00:00 | In this video, we will talk about how to
select any object, or a group of objects,
| | 00:04 | for the purpose of editing or organizing.
| | 00:07 | Like most other operations in Rhino,
we have more than one or two ways to get
| | 00:10 | the job done, so feel free to
use whatever works best for you.
| | 00:13 | The simplest way to select now is just by
clicking, and the object will highlight.
| | 00:18 | We can also add objects to the set or
selections just by hitting the Shift
| | 00:22 | key and picking them.
| | 00:23 | And if we pick too many objects, we can
hit the Ctrl key and recollect them, and
| | 00:29 | they get subtracted from the set.
| | 00:32 | Turn those off. We can also use what's
called the Box method, basically drawing a box.
| | 00:38 | I'm going to go from left to right around some
objects, and notice only those objects that
| | 00:43 | were completely inside are able to be selected.
| | 00:46 | So, this entity here wasn't included.
| | 00:49 | If you want to use the other kind of box,
which is called the Crossing Box, we
| | 00:52 | just go the opposite direction -
| | 00:53 | Right to Left. Notice that the Marquee is
actually some dashed lines instead of a solid line.
| | 01:01 | Now anything that is half way in or
less will show up as part of the selection.
| | 01:05 | So, you can even mix and match.
| | 01:07 | If I hold down the Shift key and draw
another box, I could continue to add
| | 01:11 | more things to that set.
| | 01:13 | I can then hit Ctrl and individually
subtract them, one at a time, from that set.
| | 01:18 | There are other ways to select objects.
| | 01:21 | We can go to the Edit menu > Select
Objects and here it lists every single
| | 01:28 | possible way you might want to select an object:
| | 01:31 | By its Type, By its Layer, By its Color.
| | 01:33 | You can even give objects names.
| | 01:34 | This is actually a pretty handy way to
do stuff, but this is not that convenient.
| | 01:40 | So, I'm going to go ahead and use this
dialog pop out for selection and here are
| | 01:45 | all the same options.
| | 01:46 | So, you can select on the
title bar to pull it out.
| | 01:52 | You can work this way or like any
tool bar, move it to one of the sides.
| | 01:56 | And it should dock.
| | 01:57 | So, now we may want to select just all
of the line entities or curves in the
| | 02:02 | scene, those will highlight.
| | 02:05 | We can select all the surfaces or a
Polysurface, which means it is joined together.
| | 02:11 | Notice how each time we click it
just adds those to the prior set.
| | 02:14 | One of my favorite features from
the Edit > Select Objects is this last
| | 02:20 | option, Duplicate Objects.
| | 02:23 | So, let's demonstrate how that works.
| | 02:24 | Let's say I were to make a copy of this.
| | 02:27 | I'm going to use the Ctrl+C and then
paste Ctrl+V. Now when I click it, this
| | 02:31 | window pops up automatically
to indicate multiple items.
| | 02:35 | And let me select, so now there are two
of those surfaces in the exact same position.
| | 02:40 | Now, if you were to right-click or
hit the Enter key or Spacebar even by
| | 02:45 | accident, it's going to repeat that last command.
| | 02:49 | So, you could very easily have lots and
lots of copies where only one is wanted.
| | 02:55 | So, in the past you had to select each
one and delete, select one and delete
| | 03:02 | until you get back to the original one.
| | 03:04 | Now with this Edit > Select Objects >
Duplicates, it picks all of them except for one.
| | 03:10 | So, if I hit the Delete key now, those are gone.
| | 03:15 | Let's reselect just to verify, and I
don't get any other options, so there's
| | 03:18 | only one remaining - great little feature.
| | 03:20 | So, selecting objects is critical
to your workflow in any 3D software,
| | 03:25 | and selecting objects one by one only
works while the project is in the early stages.
| | 03:30 | Later, you'll need to start using some
of these advanced techniques, but you can
| | 03:34 | always mix and match your
preference for selecting.
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| Organizing a project using layers| 00:00 | In this video, we will review the
primary functionality of layers.
| | 00:05 | Proper use of organized and clearly
labeled layers can enhance your workflow and
| | 00:09 | perhaps just as importantly,
help reduce errors and confusion.
| | 00:13 | If you have used 2D software like
Photoshop or Illustrator, good news.
| | 00:16 | The layers work in the exact same way
but with lots of nice little additions.
| | 00:21 | One thing I would recommend before we
start is try to avoid creating a lot of
| | 00:25 | geometry on one layer.
| | 00:27 | It can get really confusing really quick.
| | 00:30 | So, by default, we have these
groups of layers in every Rhino file
| | 00:36 | with just a couple of minimal amount of
settings. The Light Bulb indicates off or on.
| | 00:39 | We've got the Padlock to lock the
layers so things cannot be moved.
| | 00:44 | Each layer has its color.
| | 00:45 | The checkmark indicates
whether that's the current layer.
| | 00:49 | Current is important because that's
where all the geometry will go when it's created.
| | 00:53 | It goes to the default current layer.
| | 00:55 | So, we can make quick changes here,
but it's quite limited, so I'm going to
| | 00:59 | close this down and then right-click on
the same spot and up pops the Full layer
| | 01:04 | dialog where we have a lot more control.
| | 01:06 | This is pretty important and extremely
useful during the course of your project.
| | 01:10 | So, I'm going to go and dock this.
| | 01:11 | I'm going to leave it open as much as possible.
| | 01:15 | So, if I want to change the name of a layer,
| | 01:16 | I'd left-click Slow twice and the name
highlights, and I can type in a new name.
| | 01:22 | Let's say I wanted to add a
sublayer for organizing subentities.
| | 01:27 | There's an icon at the top here.
| | 01:28 | Give that a quick name.
| | 01:31 | If you change our mind and didn't want
that, there is a Delete layer option.
| | 01:34 | A lot of these options are also available
through the right-click on the layer name.
| | 01:39 | So, we can give them new names,
rename them, delete them, select them.
| | 01:43 | We're on the Default layer
right now. The color's black.
| | 01:46 | Let's try a little color change on this.
| | 01:49 | Try a bright green.
| | 01:50 | Nope, don't like that, so let's change it
back to another color. That looks better.
| | 01:57 | We can switch layers by
moving the checkmark down.
| | 02:02 | Entities that were on the Default layer can
be locked so they cannot be selected anymore.
| | 02:07 | This is great for when you're bring in
reference geometry or have something you
| | 02:10 | don't want to accidentally move or change.
| | 02:12 | Let's go and unlock that back.
| | 02:13 | For this next part, I want to move
objects from one layer to another layer, so
| | 02:19 | we do that by just first selecting them.
I'm going to right-click on layer 04, and
| | 02:23 | say Change Object layers.
| | 02:27 | So, they will go to the layer that I
have just selected and turn green because
| | 02:32 | that is the color of that layer.
| | 02:34 | With half the geometry on layer 4,
which is green, and the other half on the
| | 02:38 | Default layer, which is gray, we can
now demonstrate how you can turn layers
| | 02:42 | off, so just a click of the Light Bulb.
| | 02:45 | Organizing your layers may seem
like unnecessary work, especially at the
| | 02:50 | beginning of a project, but it really
saves you a tremendous amount of pain as your
| | 02:53 | file size and complexity grows over time.
| | 02:57 | Probably the biggest single advantage
is when you share the file with someone
| | 03:00 | else or don't work on it for a while.
| | 03:03 | You can take more time to clean up a messy
file than actually update a simple change.
| | 03:07 | So, plan for those changes
because you know they will happen.
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|
|
5. Drawing: 2D GeometryUnderstanding lines and polylines| 00:00 | In this video, we will review the wide
variety of ways in which you can draw
| | 00:03 | with 2D lines, of which
there are stunning variety.
| | 00:07 | But first, it is important to note the
difference between a line, also known as
| | 00:10 | a line segment, and a Polyline.
| | 00:13 | A line is simply a separate line or
segment that is not joined to another line,
| | 00:17 | while a Polyline indicates two
or more lines have been joined.
| | 00:22 | A cool aspect of this process is that
you can easily change from individual
| | 00:25 | segments to a Polyline via a Join command.
| | 00:29 | And of course, you can go the other
way and convert Polyline to a group or
| | 00:32 | segments via the Explode command.
| | 00:35 | Let's see where they are located.
| | 00:36 | It's on the Curve menu, Line and we will
start off with just a Single Line,
| | 00:42 | where all we're inputting is two
end points and we are done.
| | 00:46 | Let's try the Line Segments,
Curve > Line > Line Segments.
| | 00:52 | Let's draw a simple shape.
| | 00:59 | Right-click or hit Enter when you're done.
| | 01:01 | Let's check these out.
| | 01:03 | So, even though they are sharing end
points there is no connection whatsoever.
| | 01:08 | Let's try another version of this called
a Polyline, where they will be joined.
| | 01:12 | I'll draw a similar shape, and highlight
it to take a look and note that they're
| | 01:23 | all joined together, because they
share one end point at each line.
| | 01:27 | I'm going to further demonstrate this
how the joining works. I've got two lines here.
| | 01:34 | They cross, so there's no
end point showing whatsoever.
| | 01:37 | So, if I try to select both of them
and do the Join command, the shortcut
| | 01:41 | button over here is the icon
that looks like a puzzle piece.
| | 01:44 | They will not join.
| | 01:48 | Here's another example,
where we have got four segments
| | 01:52 | all sharing one end point there in the
center. So, I just told you earlier you
| | 01:57 | can only have two lines connected
where they share one end point, so let's
| | 02:00 | see what happens here.
| | 02:01 | So, I'm going to use the Join command.
| | 02:04 | And the command line tells me that four
curves have been joined into two open curves.
| | 02:09 | So, let's see what's going on by selecting.
| | 02:11 | So, we were not able to do any more
joining except for one line and one end point.
| | 02:16 | I'm going to go ahead and open up
this Polyline icon, so we have some more
| | 02:24 | options here and just leave it
open, and zoom into this area.
| | 02:27 | So, in addition to the Straight Lines
and the Polylines and the Joining, we have a
| | 02:32 | lot of other operations.
| | 02:33 | For example, we could draw
a line from its mid-point.
| | 02:37 | This is very handy for doing construction lines.
| | 02:39 | So, wherever select is the middle, and
then it draws lines out both directions.
| | 02:44 | You can hold down the Shift key so it
stays in a 90 degree ortho fashion. One
| | 02:50 | of my favorites is the Line
Perpendicular from, so let's try this on the arc.
| | 02:56 | We just pick anywhere on that arced
curve then draw away, and it maintains this
| | 03:04 | perfect, perpendicular angle at all times.
| | 03:07 | There are a lot of line commands
where you can connect two entities.
| | 03:12 | For example, we have got Tangent and
Perpendicular or Perpendicular to Two
| | 03:17 | Curves, so let's try that with the circles.
| | 03:20 | Pick on the first circle, second circle,
and then it connects exactly where the
| | 03:25 | perpendicular angles are.
| | 03:27 | One more demo here:
| | 03:28 | let's do tangent of both of those curves.
| | 03:30 | So, it asks for the first curve roughly near
the tangent point and then the second curve.
| | 03:37 | So, it's a pretty accurate calculation,
and you don't have to do any math at all.
| | 03:41 | There are lots of more options available,
so feel free to explore the tool bar.
| | 03:46 | The ability to start drawing without
extensive preplanning is my favorite
| | 03:49 | feature of the Rhino software.
| | 03:51 | The ability to convert one type on
entity to another type and back, repeatedly,
| | 03:56 | with no loss of accuracy is a huge
boost to learning the software, not to
| | 03:59 | mention your modeling
efficiency and project workflow.
| | 04:03 | This fluidity is one of the
hallmarks of Rhino and is almost always
| | 04:06 | available when constructing
other types of entities as well.
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| Building rectangles and polygons| 00:00 | In this video, we'll explore the use
of Rhino's preprogrammed 2d shapes,
| | 00:05 | focusing on the polygons.
| | 00:07 | The generation of these shapes is
very similar to building them manually,
| | 00:10 | except that Rhino automates their creation by
combining every option into a single command.
| | 00:14 | For example, a square might require
steps for each side, a join and then a
| | 00:19 | move to get it centered.
| | 00:20 | The preprogrammed square
does it all in one command.
| | 00:24 | Since this instructor is recommending
that you build 2D curves first and then
| | 00:28 | generate surface through solids second,
your familiarity with the range of
| | 00:33 | Rhinos built-in 2D shapes is a huge
boost for both accuracy and productivity.
| | 00:38 | Fortunately, they are all extremely well-
labeled and organized. So, let's begin.
| | 00:42 | I'm going to go ahead and maximize the
Top viewport by double-clicking on its
| | 00:47 | label, so we'll do most of the work there.
| | 00:49 | For the first example, I'm going to
the Curve menu > Rectangle and just draw a
| | 00:55 | simple Corner to Corner.
| | 00:56 | First click is one corner:
| | 00:59 | second click is the opposite.
| | 01:03 | Let's try to do that again
with a little more accuracy.
| | 01:05 | So, I'm going to repeat the
command by using a right-click anywhere.
| | 01:09 | I'm going to select one corner.
| | 01:12 | Now before I picked the second one,
let's use the numeric input to get more
| | 01:16 | accuracy here. I'm going to go
ahead and type in a width of 15.
| | 01:22 | Now check the cursor.
| | 01:23 | It is constrained to that 15-unit width,
and it is waiting for the other dimension.
| | 01:29 | So, I'm going to go ahead and type
in 25, and there is now a rectangle.
| | 01:33 | It is exactly 15 x 25 units.
| | 01:36 | I'm going to try this command one more
time to show you a really nice option.
| | 01:39 | I'm going to right-click and before I
start, I'm going to go ahead and pick the
| | 01:43 | Center and Rounded, two options
that will save a huge amount of time.
| | 01:48 | So, now we can click on a point, and
that is the center of the geometry.
| | 01:51 | I can type in numbers, but for this
example, I'm just going to click randomly.
| | 01:56 | Now as I move, it's automatically
generating Fillets on all four corners and with
| | 02:03 | this feedback, I can tell exactly how
big the are, so I can click anywhere to
| | 02:07 | eyeball it or type in an exact number
with the keyboard 4 and get a four unit
| | 02:14 | radii on all four corners.
| | 02:16 | Let's switch to Polygon. You'll
find these on the Curve > Polygon.
| | 02:22 | I'll just pick the first one, Center, Radius.
| | 02:26 | I'm going to try a 8 sided polygon or
hexagon, so I'm going to select 8 and just
| | 02:30 | draw it here anywhere.
| | 02:33 | Notice it comes out to one of the vertexes.
| | 02:39 | So, if I hold down the Shift key, it will go
out to 90 degrees or up at 90 degrees,
| | 02:44 | but I may want to have that
flat edge facing the 90 degrees.
| | 02:48 | So, let's try the next
option, right-click to repeat.
| | 02:52 | We're going to select Circumscribed.
So, I'm going to pick a point anywhere here.
| | 02:59 | Now as I come away, it is
in the center of the edge.
| | 03:02 | If I hold down the Shift key to make
it Ortho, it keeps it 90 degrees. Okay.
| | 03:09 | Let's try a Polygon that's shaped
like a star, Curve > Polygon > Star.
| | 03:15 | I'm going to change the Number of Sides
here to make something a little more interesting.
| | 03:19 | Let's go ahead and double that to 16.
| | 03:20 | So, I'm going to just select an empty
spot for the center and we have an option
| | 03:26 | for two different radii.
| | 03:28 | We have the Corner, and the next
click will be the inside of that Star, so
| | 03:37 | that's a lot of lines and a huge timesaver.
| | 03:39 | I'm going to go back and switch to the
Perspective viewport by double-clicking
| | 03:43 | on the Top view and just double-
clicking on the Perspective viewport.
| | 03:47 | I want to start the Polygon command
one more time. Curve > Polygon > Center,
| | 03:56 | Radius and let's take a look
at some of these options here.
| | 03:59 | We've changed the Number of
Sides. We know what Circumscribed is.
| | 04:03 | Let's try the AroundCurve
option and see what happens.
| | 04:07 | First, we're going to
select one of these curves.
| | 04:09 | We're going to pick a point at
random to start the Center of the polygon.
| | 04:15 | That is now centered on an angled
curve and drawn exactly perpendicular.
| | 04:22 | Let's try it on a curved line and
repeat the command with a right-click.
| | 04:25 | Let's go back to maybe 8 sides, select
the AroundCurve option, so I can place
| | 04:35 | it anywhere along here.
| | 04:36 | I've got a point that happens to be there
so I'm going to snap to that. Come out.
| | 04:40 | I can now type in a radius. 8 Sides is
okay. Click to accept, so there are two
| | 04:51 | polygons drawn Around Curves
but perfectly perpendicular.
| | 04:56 | The huge variety of shapes are
powerful and yet pretty darn easy to use, but
| | 05:00 | too often people, forget all of the great
options because they don't look at the Command line.
| | 05:05 | In the case of the rectangle command,
it's especially helpful to center the
| | 05:08 | shape and then round all four corners at once.
| | Collapse this transcript |
| Creating arcs, circles, and ellipses| 00:00 | In this video, we continue to explore
the use of Rhino's preprogrammed 2D shapes,
| | 00:05 | but focus on the curvy ones, which
includes arcs, circles and ellipses.
| | 00:09 | The generation of these shapes is,
again, fully automated, but the difference
| | 00:13 | from the polygons is you would rarely
want to build these manually, and they do
| | 00:16 | not explode into individual segments.
| | 00:19 | It's worth noting that in this section,
there are options for every possible
| | 00:23 | variation, but they're probably
only a few that will make sense to you.
| | 00:26 | I'm going to start off by opening several
toolbars here, so I'm going to use the
| | 00:30 | commands for a bit. So again, we click
on the icon and then next click on the
| | 00:37 | title bar there and drag, so it just
stay open. And open up the Circle, click,
| | 00:43 | drag and move and the Ellipse. Zoom in here.
| | 00:52 | Start off the basic Arc, which is just
from your Center. Define a start point.
| | 01:00 | I'm just going to eyeball this here.
| | 01:01 | I am going to hold down the Shift key
to constrain it to 90 degrees, and then
| | 01:06 | rotate around to look at any angle or
again, type it in at any time, 65 degrees.
| | 01:13 | Next Arc will be this Tangent to several
Curves, very handy. So we're going to just pick
| | 01:20 | the curve, and it's anywhere at first,
and I pick the second curve anywhere,
| | 01:24 | and then we can pick the points where
it's intersecting and notice that there
| | 01:27 | are several solutions. It can jump around
inside and out, or even flip the other way.
| | 01:32 | So, I'm just going to move up here.
| | 01:36 | It's asking for a Third curve we can snap to.
| | 01:39 | We don't have to do that and we can also
type in a radius at this point as well.
| | 01:43 | So, you have to go over to
the Command line. Click Radius.
| | 01:46 | I'm going to just type 15.
| | 01:51 | Arcs also give you several solutions
here. It could go both ways, so right now
| | 01:55 | it's just waiting for me to
click on one side or the other.
| | 01:58 | so this is the tool you'll probably
use the vast majority of the time.
| | 02:04 | One more variation is this three-point
Arc here, so we're going to just start
| | 02:07 | off by clicking on two End points and
then without even worrying about the
| | 02:13 | Radius, you just pick somewhere along
that curve for its maximum variation from
| | 02:18 | the other two, or you could type in radius.
| | 02:22 | That is always available.
| | 02:23 | Let's take a look at some of the Circles.
| | 02:25 | I'm going to zoom over here. The most
common Circle creation method is with the
| | 02:31 | Center, Radius, just snap that
intersection, just eyeball the first one,
| | 02:37 | pretty straightforward.
| | 02:39 | Now let's get a little tricky.
| | 02:41 | I'm going to create a circle
that's Tangent to 3 existing curves.
| | 02:45 | So, we'll pick anywhere along these three.
| | 02:49 | By the time you pick the third
one, there is only one solution.
| | 02:53 | So, that's Tangent to 3 curves,
one is a circle, two are arcs.
| | 02:57 | Let's try with some
straight lines - same commands.
| | 03:00 | I'm going to right-click, pick these
guys anywhere and again, there's only one
| | 03:07 | solution. And here is kind of a
specialized circle creation method, but it's
| | 03:13 | pretty cool, the way it works.
| | 03:14 | This is called Fitting Points, so
you have to have points in the scene.
| | 03:18 | Now if I want to snap to this End
point, I'm going to have to go ahead and
| | 03:22 | create a point there, so that's
pretty straightforward to do.
| | 03:25 | I am going to go over to the main
toolbar here, select that Point entity and
| | 03:30 | just snap one there to End
the line. It's that easy.
| | 03:33 | So, I'm going ahead and start this
command one more time. Fit the points, just
| | 03:38 | select those group and when I'm done, I
hit Right-click or Enter, so it's taken
| | 03:44 | the common center, that's the center of the
circle, and then average the distances away.
| | 03:48 | Let's check one more way to create
some circles around other curves.
| | 03:55 | We just did this recently
with the Polygon command.
| | 03:58 | However, with Circles, you will probably
be doing these far more often than Polygons.
| | 04:03 | For this, I'm just going to stay with
the standard Circle command, which is the
| | 04:06 | one you'll see here on the main
toolbar, and it's not just buried and
| | 04:09 | customized as the other guys.
| | 04:11 | I'm going to explore some of these
options though, so we've got what looks like
| | 04:14 | 5 or 6 different ways to create it.
| | 04:16 | I'm going to select AroundCurve,
select this straight segment, and we'll
| | 04:21 | just snap to that point. We can draw out.
| | 04:24 | I am just going to click randomly for radius.
| | 04:28 | And so that's pretty nice.
| | 04:29 | It figures out the exact
perpendicular angle, which actually is pretty easy
| | 04:32 | for a straight line.
| | 04:33 | Let's try it on that curved
segment, Right-click to repeat.
| | 04:36 | Circle command, select the
AroundCurve option and select this arc over here
| | 04:45 | and start anywhere.
| | 04:47 | Notice my cursor tooltip is giving me
dynamic feedback, so you can kind of
| | 04:52 | eyeball and get close.
| | 04:53 | But if for some reason you have to
match another dimension elsewhere in the
| | 04:55 | file, you could type I need 5.5, typing
that in the Command line in top, Enter.
| | 05:01 | So, that's a specific diameter.
| | 05:02 | We'll do one more Circle.
| | 05:04 | We're going to select the Tangent to
3 curves that show how you can use it
| | 05:08 | with only 2 and get some extra options,
so I'm going to select this arc here,
| | 05:15 | this curve line there.
| | 05:16 | Now it's asking for a
Third curve somewhere else.
| | 05:21 | Instead, I'm just going to hit Enter
to use the first two, so let's undo that
| | 05:25 | with Ctrl+Z and try it one more time.
| | 05:27 | I'm going to select the Circle,
Tangent to 3 curves, pick the first one,
| | 05:35 | second one, and you can
dynamically move around or this time,
| | 05:40 | I'm going to type in an exact radii.
| | 05:42 | You have to check the radius option,
type in the new number, and there's the
| | 05:50 | solution. So, you're using the Fit to 3 curves but
only having two, and then you type in a radius.
| | 05:57 | Let's check out some Ellipses.
| | 05:58 | I'm going to zoom over.
| | 05:59 | I'm going to start off with the most
basic ellipse command, which is from the
| | 06:05 | center, and then to edges. Start off
with the center, one of the axes and then
| | 06:10 | define the second axis.
| | 06:12 | That's the most common.
| | 06:13 | A lot of times, you will probably have
a opening where you need to fit a shape
| | 06:16 | like an ellipse into, so we
can define it by the corners.
| | 06:19 | So, we just snap it the opposite
corners and then, finally, may have an
| | 06:23 | area available where you know just
one of the diameters, not the other, so
| | 06:28 | you can select those.
| | 06:29 | You can snap to it.
| | 06:30 | I'm going to hold down the Shift key,
so I constraint that to 90 degrees and I
| | 06:36 | just select anywhere or,
again, type in an exact value.
| | 06:40 | At this point, it's worth mentioning
that there is a common mistake that
| | 06:43 | will happen many, many times as you
learn the software, and that's when
| | 06:47 | you've unexpected results.
| | 06:49 | It just means you probably forgot to
read the options available on the Command
| | 06:52 | line, so do a quick undo with
Ctrl+Z and start the command over.
| | 06:57 | This technique is very simple and may
include just going a little bit slower and
| | 07:02 | reading it another time.
| | 07:03 | It sounds easy but will serve you
extremely well in most situations.
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| Drawing freeform curves| 00:00 | In this video, we will review the four
different kinds of Freeform Curves in the
| | 00:04 | reverse order that they appear on the menu.
| | 00:06 | So, we can highlight the differences
and end up with the one Freeform Curve you
| | 00:10 | should be using whenever
possible, the Control Point curve.
| | 00:13 | However, before we start, just a reminder
on the importance of Freeform curves.
| | 00:17 | Their construction and editing
are essentially the foundation of 3D
| | 00:21 | N.U.R.B.S modeling.
| | 00:22 | When you build a clean
curve, you get clean surfaces.
| | 00:25 | Let's start off by going to the Curve menu.
| | 00:28 | We have a Freeform, and
here's the four varieties.
| | 00:31 | I'll start off with Sketch.
| | 00:32 | Then we have the Handle Curve,
Interpolate Points and the Control Point Curve.
| | 00:37 | Let's do the Sketch first.
| | 00:39 | Now, we have to click and drag.
| | 00:44 | We don't have a lot of accuracy here.
| | 00:46 | It's random almost.
| | 00:49 | Then right-click when you are done.
And so there is the Sketch curve.
| | 00:53 | Let's, try the next
Freeform curve, the Handle Curve.
| | 00:57 | So, before we start, this would be
very similar to what you'd have in a 2D
| | 01:01 | application like Illustrator.
| | 01:04 | Curve > Free Form > Handle. I'll zoom up here.
| | 01:07 | Now, each time I draw, I
am just defining the center.
| | 01:12 | Then I can control the angle of that
curve by dragging, clicking and dragging.
| | 01:18 | If you want a sharp point here,
you hit ALT, and then go ahead and
| | 01:30 | right-click to complete.
| | 01:32 | So, not as accurate either, so
we'll move on to the next variety,
| | 01:36 | the Interpolate Points.
| | 01:38 | This is the kind of curve where the
points instead of Handles or random
| | 01:42 | drawing of sketching,
| | 01:44 | we have points that are on top
of the curve. Curve > Freeform >
| | 01:48 | Interpolate. Scoot over here.
| | 01:54 | So, there is no real dragging needed.
| | 01:55 | It's doing all those calculations for you, but
notice you are, again, losing a bit of control.
| | 02:02 | It's actually going backwards a few
segments and changing that to make sure that
| | 02:06 | all the points stay connected.
| | 02:08 | When you are done, you can just snap to
the end point or just use the Close options.
| | 02:12 | Remember, there is options
available doing these commands as well.
| | 02:17 | We'll end up with the Control Point
Curve, Curve > Freeform > Control Points.
| | 02:22 | Then I'll explain why this is probably the
best way to draw all these types of curves.
| | 02:25 | So, these points are defining a cage,
which you don't really see quite yet.
| | 02:31 | I'll show you that as soon as I am done.
| | 02:32 | Let me go ahead and close it.
| | 02:36 | I am going ahead and turn the Control points
back on, so I am going to select the Curve.
| | 02:43 | On the menu, we have this
option here, Control Points On or Off.
| | 02:46 | We use the shortcut: F10 to
turn on, F11 to turn off.
| | 02:50 | Let's get those back on.
| | 02:52 | So, notice when we want to edit one
of these Freeform curves, we're almost
| | 02:56 | always doing with the Control Points.
| | 02:58 | So, it makes the most sense than
to build it with Control Points,
| | 03:01 | because that's the way
you are usually editing it.
| | 03:03 | I'll drag a couple of these around.
| | 03:07 | This is actually a big part of the workflow,
where you do a quick outline of a rough shape.
| | 03:12 | Then move the Control Points to
kind of tighten it up, and get a close
| | 03:16 | representation of what you are after.
| | 03:17 | It's pretty simple to get more detail.
| | 03:20 | You just put these more closely spaced.
| | 03:23 | I'm going to go ahead and extrude this into
the third dimension, so I can explain
| | 03:29 | one more concept here.
| | 03:31 | Control Points off with F11.
| | 03:33 | I am going to select and go to Surface >
Extrude Curve > Straight, just to bring
| | 03:37 | this up in third dimension.
| | 03:38 | Now, since we had a single curve
and we made a single surface from it,
| | 03:45 | we have the ability to turn Control
Points on for the surface as well.
| | 03:48 | So, I am going to hit the F10 button
here, so even though you can draw curves
| | 03:53 | multiple ways, you are typically
editing them with Control Points.
| | 03:57 | But with a surface, you're always
editing them with Control Points.
| | 04:00 | There is no other way to do it.
| | 04:01 | So, I am going to grab a couple of
these and using the Nudge key, just move
| | 04:07 | off to the side, and you
can see the deformation.
| | 04:09 | Now that we have reviewed the four
kinds of Freeform Curves available, you
| | 04:21 | should know that you can construct
curves in any of the four methods you prefer.
| | 04:24 | But you always have the option to
convert to another method for further editing.
| | 04:28 | And count on editing time, because
editing is mostly what 3D modeling is about.
| | 04:33 | You usually spend more time tweaking
a curve than you spend building it.
| | 04:37 | Remember, most, if not all of your the
3D surfaces will start as 2D curves, so
| | 04:42 | the construction of clean and simple
curves will result in clean and simple
| | 04:46 | 3D geometry later on.
| | Collapse this transcript |
|
|
6. Modeling: 3D SurfacesComparing different types of 3D surfaces| 00:00 | In this video, we'll take a 3D
tour of the most common types of
| | 00:04 | Surfacing Commands.
| | 00:05 | We'll see how they can all look the
same and then with minor tweaks, how they
| | 00:09 | can look quite a bit different.
| | 00:11 | This will help to illustrate which one
type of Surface Command will work best
| | 00:14 | for you in your project.
| | 00:15 | I've also purposely kept the examples
pretty simple, so the before and after will
| | 00:19 | be much easier to see.
| | 00:20 | Let's start off with the CASE A,
where all the surfaces that I am going to
| | 00:25 | generate will look at the same, even
though we are using 5 different commands.
| | 00:29 | Just for reference though, I am going to go
ahead and do this one Extrude and do it Straight.
| | 00:34 | So, this is the Surface > Extrude
Curve > Straight, select and then
| | 00:43 | right-click to Enter.
| | 00:44 | Then I am just going out to the end.
| | 00:46 | Well, this won't look the same as the
others, but I want to use it for reference,
| | 00:49 | because the next command is
Extruding (Along Curve) is very similar.
| | 00:53 | So, let's find this up on the Surface
menu > Extrude Curve > Along the Curve.
| | 00:59 | First, you select the curves to extrude and
| | 01:01 | then when you are done, you press right-click
or Enter, and then you select the path curve.
| | 01:07 | So, let's zoom in and take a look.
| | 01:10 | So, it has basically taken that one
profile and extruded it along the curve.
| | 01:15 | We'll examine that a little more
closely when we finish the others.
| | 01:19 | Let's now do a 1 Rail Sweep,
Surface > Sweep 1 Rail.
| | 01:24 | Now, this is where you have to kind
of pay attention to the Command Line.
| | 01:27 | It first says, "Select the rail." Then
it asks you to instantly select the
| | 01:34 | cross-section profiles, of
which that can be more than one.
| | 01:38 | So, therefore, when you only have one, you
have to Enter as soon as you are finished.
| | 01:41 | So, I am going to do that by right-clicking.
| | 01:42 | I am just going to accept the defaults.
| | 01:46 | Now, I am going to try the 2 Rail Sweep,
Surface > Sweep 2 Rails, and pick the 2
| | 01:53 | rails, one after the other.
| | 01:55 | Now, note it doesn't asked me
to hit Enter when I am done.
| | 01:58 | So, I want you to be aware of this
because it knows you selected a 2 Rail command.
| | 02:02 | There are only 2 rails that can possibly select.
| | 02:06 | So, the next option up, immediately, is select
the cross section curves. Now, we are done.
| | 02:11 | We have to hit Enter.
| | 02:12 | I'm going to Accept the defaults.
| | 02:17 | A few more curves here.
| | 02:18 | Let's do the Surface Loft.
| | 02:22 | Note, there is no rails for this command,
which makes it extremely powerful in
| | 02:26 | many situations. We just
have the three separate curves.
| | 02:29 | So, they're Lofted together with a
minimal surface they can connect them.
| | 02:35 | Finally, we'll end up with
this Surface from Curve Network.
| | 02:38 | This is about the most powerful
surfacing command in Rhino, but we are going to
| | 02:42 | keep it pretty simple for this demo.
| | 02:44 | Surface > From Curve Network.
| | 02:45 | I am just going to rotate my view
here and select all the curves at once.
| | 02:51 | Hit Enter when done.
| | 02:52 | Again, there is a lot of options here.
| | 02:54 | I am going to go ahead and Accept the defaults.
| | 02:56 | So, let's take a look.
| | 02:58 | The surfaces are all identical, but
some are more complicated than the others,
| | 03:01 | so that's one key difference.
| | 03:04 | I want to switch the top view and
show you another difference here.
| | 03:06 | Ok. I'm going to zoom in.
| | 03:16 | Note, that the Extrude here on the left
doesn't bank or angle the profile, whereas
| | 03:23 | the Sweeps do angle or bank the profile.
| | 03:26 | So, as the curve arcs,
| | 03:28 | it will bend that profile with it.
| | 03:30 | We'll see that more
pronounced in the next examples.
| | 03:32 | Let's go back to the Perspective viewport.
| | 03:35 | Then look at the same group of five
Surface Commands with slight modifications
| | 03:41 | to each of the curves and
totally different surface results.
| | 03:43 | So, this would be CASE B.
| | 03:46 | Now, the modification here is just noted
with the number one, so not much difference.
| | 03:53 | So, let's go ahead and do the Surface >
Extrude Curve > Along Curve. It looks very similar.
| | 04:05 | Now, we should start getting
into some variations here.
| | 04:07 | I'm going to do the Sweep 1 Rail, selecting
the rail first, then the cross section,
| | 04:15 | right-click to Accept.
| | 04:17 | And accept the defaults.
| | 04:20 | Now notice on the 2 Rail Sweep,
| | 04:22 | I am taking the 2 rails and
moving them out of alignment.
| | 04:27 | One rail is a little bit limiting,
because that profile is not going to change
| | 04:30 | too much, because it's only
following one rail along the bottom.
| | 04:33 | 2 Rail Sweep is where you can
start getting some major variations.
| | 04:38 | Just go ahead and execute that
command, Surface > Sweep 2 Rails.
| | 04:42 | Select each rail, cross section, right-click.
| | 04:46 | So, you see a much bigger
difference, is that profile -
| | 04:51 | we only had one - is morphed as it goes
down the 2 rails as they diverge, so it
| | 04:57 | is actually stretched and scaled as it goes.
| | 04:59 | Now, in the Loft situation, I
have made some changes to each of the
| | 05:06 | three profiles there.
| | 05:07 | This one is in the center here is much taller.
| | 05:09 | Let's try that command.
| | 05:13 | Surface > Loft, select the curves,
right-click to finish, hit OK.
| | 05:23 | Notice, once again, we've got a minimum
surface connecting all the profiles that
| | 05:29 | were generating the surface.
| | 05:30 | Finally, we have the Surface and
Curve Network, where I have made major
| | 05:35 | changes to the profiles.
| | 05:37 | Notice that this profile is actually
going inwards this way, out for the second
| | 05:43 | one and completely different for the third one.
| | 05:46 | Furthermore, we have got the rails
diverging quite a bit from the top to the bottom.
| | 05:51 | Let's try that command, Curve > Network.
Select them in order, going in the two directions.
| | 06:07 | When I'm done I am going to accept the defaults.
| | 06:10 | So, it's a very powerful command that
can generate very complex, or even simple
| | 06:15 | forms, but from a wide
variety of curves for input.
| | 06:19 | I am going to zoom back out, take a look.
| | 06:25 | So, in the first CASE A, I have kept
all the input curves such that the
| | 06:31 | resulting surface would be identical.
| | 06:34 | In that slight variations, we get completely
different results, in the CASE B scenario.
| | 06:41 | So, I have a handy rule,
and this is how it goes.
| | 06:44 | There is always two or three ways to
model the same shape, sometimes four,
| | 06:48 | and occasionally five.
| | 06:49 | So, you should focus on which edges
then need to be exact, or you can focus on
| | 06:54 | a resulting surface simplicity, or you
can just use whatever command you prefer.
| | 06:59 | Sometimes, I'll even get totally
unexpected results, and I like it better than
| | 07:02 | what I was planning.
| | 07:04 | So, you can then decide to change the design.
| | 07:06 | The key is to remain flexible
and use whatever works for you.
| | Collapse this transcript |
| Extruding surfaces to create features in a model| 00:00 | In this video, we will take a look at the
Extrude command and explore some of its options.
| | 00:05 | We are also going to introduce to
additional commands: the Offset and the
| | 00:09 | Surface and Planar curves.
| | 00:11 | These are two of the most useful
commands and boy, they are so darn handy.
| | 00:15 | We will be using them regularly in
conjunction with other surfacing commands.
| | 00:18 | I am going to start off by working
on the eyes and mouth of our robot.
| | 00:22 | To do so, I am going to jump to
the Front viewport and maximize it,
| | 00:25 | double-click on the label, and I want
to give some thickness to these eyes
| | 00:32 | before we extrude them.
| | 00:33 | So, I am going to start off with that
Offset command I just mentioned. Okay.
| | 00:38 | Anytime you see this selection menu
popping up, it's Rhino saying there is
| | 00:41 | multiple items in close proximity. So, I
will go ahead and select the Curve, and
| | 00:45 | the selection menu will close.
| | 00:47 | Go to the Curve menu to find the Offset, and
it defaults to whatever value was used last.
| | 00:55 | Looks like it's 1.
| | 00:56 | I am going to change this to the
ThroughPoint option, which basically means
| | 01:03 | any number you select.
| | 01:04 | So, I can kind of move it around, and
this is a great design technique, so if
| | 01:09 | you don't know that something is
supposed to be 1 or 2.5, you can just do what I
| | 01:14 | call the Eyeball approach.
| | 01:16 | So, whenever it looks good, you click,
and now we've got a copy that is offset
| | 01:21 | exactly whatever that number was.
| | 01:23 | So, here is another cool
part about this Offset command.
| | 01:25 | I am going to do it over on the other eye
by selecting and then repeat the command.
| | 01:33 | Notice it is defaulting to the
prior number I set, which was 2.001.
| | 01:39 | So, I probably want them to match.
| | 01:40 | I will just go ahead and right-click to accept.
| | 01:43 | So, there we have the exact
same offset on both of those eyes.
| | 01:48 | I want to go back to the
Perspective viewport now. Maximize.
| | 01:55 | I am going to zoom in to make this work
a little bit easier, and I am going to
| | 01:59 | select both of these curves at the same time.
| | 02:02 | I am adding to them by
holding down the Shift key.
| | 02:05 | We would then go to Surface > Extrude
Curve > Straight and again, we could type
| | 02:13 | in a number at any time.
| | 02:14 | I am going to go ahead and type in 2.
| | 02:21 | See how that looks.
| | 02:22 | Now, it looks like it went the wrong way.
| | 02:25 | It's actually inside.
| | 02:26 | So, you got to be careful about the direction.
| | 02:30 | So, I will Ctrl+Z, undo
it and repeat the command.
| | 02:35 | You can do that by right-clicking in
the white area at the top command line.
| | 02:40 | Extrude those same two curves again.
| | 02:47 | This is a good opportunity to
mention this little tooltip here.
| | 02:51 | It's telling me the exact dimension,
and I should have noticed that.
| | 02:54 | Right now, it's -2.
| | 02:55 | So, the +2 that I typed in just
went the other way, which was inside.
| | 02:59 | I will just go ahead and eyeball that
again, so now we can use that setting,
| | 03:05 | whatever it was, for the other eye.
| | 03:07 | So, I am going to select the curve,
Shift to add the other curve, right-click to
| | 03:16 | repeat, and then instead of typing a
number or eyeballing it, I am just going to
| | 03:22 | hit the right-click to enter the prior value.
| | 03:26 | Okay, we have got both eyes,
already offset and then extruded.
| | 03:31 | Now here is a very cool tip.
| | 03:32 | This is my personal favorite
command; I hope you agree.
| | 03:36 | This is the Surface from Planar Curves.
| | 03:38 | So, this is a great way to finish off
surfaces when its face is in a single plane.
| | 03:45 | So, if that doesn't make sense, it will
soon. Go to Surface > from Planar Curves,
| | 03:51 | and I am going to pick those two edges and
right-click to accept, so check this out.
| | 04:01 | We have got a surface that is essentially
capped, and it wasn't built from two curves.
| | 04:07 | It was built from the edges.
| | 04:09 | So, it's important to note that Rhino,
many times, if there is a clean, defined
| | 04:12 | edge, you don't have to have a line
there. Many commands will look at edges or
| | 04:17 | lines, and they are both treated the same.
| | 04:20 | Another thing to note here is the
ISO Curves we discussed earlier, these
| | 04:25 | lines across the surface.
| | 04:26 | We've got one going this way and
the other going the opposite way.
| | 04:30 | That's telling you something.
| | 04:31 | This surface is as simple
as it possibly could be.
| | 04:34 | So, that's another great
reason use this command.
| | 04:36 | It's always just going to close it off
with the simplest possible surface, and
| | 04:39 | that's always the goal.
| | 04:40 | Okay. Let's repeat it again, Surface > from
Planar Curves, and pick the two edges,
| | 04:50 | right-click and we are closed off.
| | 04:55 | You might want to follow up here by
selecting the three new surfaces and just
| | 05:00 | joining them together.
| | 05:04 | The Join command is over here on main
toolbar, so it's a personal preference.
| | 05:08 | You can do it anytime or at the very
end of the file. It just may keep things a
| | 05:13 | little more organized. All right.
| | 05:14 | Let's jump back to the Front
viewport for working on the mouth.
| | 05:24 | Before I do this same Offset command, I would
like to put a radius around all four corners.
| | 05:28 | So, I am going to select that and go to the
Curve menu, and I am going to Fillet Corners.
| | 05:33 | This is a nice command, and it's similar to
Fillet Curves but corners will do all four at once.
| | 05:40 | I wanted one.
That's the default.
| | 05:41 | I will go ahead and accept.
| | 05:44 | Nice; all four are done at one time.
| | 05:46 | So, that's the difference between
Fillet Curves and Fillet Corners.
| | 05:50 | If there's a hundred corners, it will
find all of them. Fillet Curves is just a
| | 05:54 | single intersection.
| | 05:56 | Fortunately, the commands are located right
next to each other, so if you forget, you
| | 05:59 | can find them pretty easily.
| | 06:00 | Let's go ahead and Offset
this to give it a thickness.
| | 06:03 | To do this, I am going to use Curve >
Offset Curve, and go ahead and just match
| | 06:08 | that same size of the eye and we
will switch back to Perspective,
| | 06:17 | double-clicking to maximize.
| | 06:19 | Now, instead of a Straight Extrude, we
are going to try a little variation called
| | 06:24 | the Tapered Extrude.
| | 06:25 | So, I am going to start off with this
outer curve here, Surface > Extrude >
| | 06:33 | Tapered, and you can see a subtle
angle here that's controlled by the
| | 06:38 | DraftAngle option here.
| | 06:40 | And I will type in 10 to make it little
more pronounced, and that looks great.
| | 06:47 | It can go both directions. But actually, I want it to
taper that opposite way going out, no problem.
| | 06:55 | I don't have to type in -10.
| | 06:55 | I can just go up here and Click
FlipAngle, so that does the same work.
| | 07:02 | So, I am going to go out -2.
| | 07:07 | This time, I will type the number just for practice.
| | 07:11 | So, there is an extrusion
| | 07:12 | that is straight linear, but
with the exact angle that I used.
| | 07:18 | Let's do that inside of the mouth
with the next curve. Surface > Extrude >
| | 07:30 | Tapered. You actually want to go the
opposite direction here, so I am going to
| | 07:37 | flip the angle one more time.
| | 07:43 | Now, it could accept the prior dimension,
but let's say you didn't know what that was.
| | 07:46 | So, I will just demonstrate here. We can
snap to one of these corners. Just turn
| | 07:53 | on Quadrant Snap, and it will find the corners.
| | 07:57 | So, now, I've matched that distance, if
I didn't happen to know the exact number.
| | 08:04 | So, I am just showing a couple of
different ways to do the same end result.
| | 08:08 | And now we will close this off with
my favorite command, Surface > from Planar
| | 08:14 | Curves. Select the edges, right-click,
until it is undone, and there we have the
| | 08:23 | mouth tapering in both directions about 10
degrees each, for a distance of 2 and capped.
| | 08:30 | Even though the Extrude command will
generate very linear forms, including when
| | 08:33 | tapered, it is still one of the most
frequently using surfacing commands due to
| | 08:37 | the variety of forms you can create.
| | 08:39 | Of course, the quality of any
surface is only as good as the curve or
| | 08:43 | curves that generate it.
| | 08:44 | So, make sure your curves are very
simple and ideally flattened Planar.
| | 08:48 | I also showed you how to create
additional surfaces using the Curved Offset
| | 08:52 | command and then close it off
with a surface from Planar Curves.
| | 08:56 | So, remember those.
| | Collapse this transcript |
| Creating surfaces with lofts| 00:00 | In this video, we'll build a robot leg and
a few other things with the Loft command.
| | 00:06 | Along the way, we'll also explore some of
my excellent tips to get better results.
| | 00:10 | Fortunately, the Loft may just be one
of the most forgiving and easiest-to-use
| | 00:14 | surfacing command in Rhino.
| | 00:16 | But before we address that leg, which
is very mechanical, let's take a look at
| | 00:20 | some organic lofting examples.
| | 00:22 | Go ahead and turn on our organic
lofting layer, and so here is tip number one.
| | 00:30 | You can loft between any two or more
curves, but they must be either closed or
| | 00:36 | opened, but not both.
| | 00:37 | So, here is an example of a
series of open curves that we'll loft.
| | 00:41 | You could actually loft 50 or even
100, but that would probably be counter-
| | 00:46 | productive and too much trouble.
| | 00:48 | So, always try to keep the fewest number
of curves to describe the form you're after.
| | 00:53 | I'm going to start off by selecting
all of these curves except for one.
| | 00:59 | You will see why in just a minute.
| | 01:03 | So, we're going to Surface > Loft.
| | 01:06 | Not too many options, so I'm just
going to go OK to accept the defaults,
| | 01:11 | and note the result.
| | 01:12 | It is extremely clean.
| | 01:15 | We can tell that by the
number of isocurves here.
| | 01:18 | We just got pretty much one, going
down the middle, and several others right
| | 01:22 | where the curves were.
| | 01:23 | So, what that gives us, when we turn on
the Control Points, is a shape that is
| | 01:28 | very smooth, clean, and very easy to
continue editing, if we choose to do so.
| | 01:35 | So, I'm going to nudge a few of these
control points for the surface around.
| | 01:38 | Okay, turn those off.
| | 01:41 | I'm going to throw this surface away,
select and just hit the Delete key.
| | 01:44 | And now I'm going to use all of the curves.
| | 01:48 | So, I'm going to select the whole
batch, Surface > Loft and Accept.
| | 01:54 | Now you'll notice right off the bat
that there is more isocurves, and therefore
| | 01:59 | more complexity on this resulting shape.
| | 02:03 | So, here is the culprit. All these
curves that are used for the first one,
| | 02:06 | if you turn the Control Points on
with F10, had three points on the entire
| | 02:13 | curve, basically the minimum amount possible,
except for this one curve here in the middle.
| | 02:17 | Now select it and hit F10, and
you'll see that it has 16 Control Points.
| | 02:23 | So, as easy as the Loft is to use, it
will only be as simple or complicated as
| | 02:29 | the most complicated curve in it.
| | 02:31 | So, here you can see every one of
these control points pretty much radiate
| | 02:35 | complexity throughout the
entire surface generated.
| | 02:39 | And if I select the surface and turn
its Control Points on with F10, that's a
| | 02:44 | lot more control points to edit and move.
| | 02:49 | And the result is not quite
as pleasing as the first one;
| | 02:52 | we have some sharp edges there.
| | 02:55 | Still smooth, but probably not
as smooth as it could have been.
| | 02:59 | I'm going to turn all the control points off.
| | 03:06 | The shortcut key is F11, and delete the
surface, and talk about the work around
| | 03:11 | when you have different curves.
| | 03:15 | So, I'll call this tip number two.
| | 03:18 | So, instead of using a complicated curve,
like this one, what I'll do is I just
| | 03:23 | draw a one with the bare minimum of
control points, then copy it and paste it,
| | 03:27 | and move it to wherever it's needed.
| | 03:30 | Adjust it many times, but try to have
each curve as simple as possible, and
| | 03:35 | with the same number of control points.
And that's very easy to do when you
| | 03:37 | just make a copy of it. Those were open.
| | 03:39 | Let's take a look at
lofting with some closed curves.
| | 03:43 | You'll notice that all the Control
Points in these set are the same, at least
| | 03:48 | per those numbers I had left. You
can turn on the Control Points, and I did
| | 03:54 | that exactly the way I just described.
| | 03:56 | I made one of these shapes, adjusted the
Control Points, and then copied and move
| | 04:00 | them over, adjusting each one as I went.
| | 04:02 | So, not only do they have the same number
of Control Points, they are actually in
| | 04:05 | a nice, organized pattern.
| | 04:07 | You can see them kind of lining up.
| | 04:10 | Okay. I'm going to turn off the Control Points.
| | 04:14 | Select the curves, and repeat Surface > Loft.
| | 04:18 | Here is one of the differences in
options here is we have seams now.
| | 04:21 | Because these are closed.
| | 04:23 | I don't need to know where the
beginning and end point are occurring on each of
| | 04:27 | these, because they may
not always be this similar.
| | 04:30 | So, before I accept that, it actually
guessed exactly right. Let's kind of mess
| | 04:34 | this up a little bit.
| | 04:35 | Move one of those around just to see
what happens. I'm going to click OK,
| | 04:40 | and let's take a look.
| | 04:41 | So, it went ahead to made the surface,
but you can see some serious twisting
| | 04:47 | there towards the end,
definitely not what you wanted.
| | 04:50 | Let me go ahead and delete that,
and let's rebuild it one more time.
| | 04:58 | Surface > Loft. Seams look okay.
| | 05:02 | So, since this was built from a series
of curves and is one simple surface,
| | 05:09 | again, we can turn the Control Points on
and continue to edit, if you so choose.
| | 05:13 | I guess I'll turn off
| | 05:15 | those pieces and get the robot a leg.
| | 05:21 | I'm going to switch to Wireframe mode here.
| | 05:24 | And we can see all these
shapes that I have previously built.
| | 05:28 | I've got actually four profiles here.
| | 05:33 | Notice they are a little bit
mechanical. That's fine. He is a robot.
| | 05:36 | Go ahead and select these,
do the Surface > Loft.
| | 05:42 | In this case, the seams are a
little bit out of the alignment.
| | 05:45 | So, I'm just going to move them to a
similar position on each of those curves.
| | 05:55 | You can also move them away, if
you're not sure, and then come back.
| | 05:59 | Make sure that it snaps.
| | 05:59 | So, those are the quadrant
points of each of the Filleted Edges.
| | 06:03 | Go ahead and accept.
| | 06:04 | Now I'll probably just switch over to
Shaded View, so you could see it a little bit
| | 06:13 | better, what's going on.
| | 06:14 | And notice my mechanical shapes
have been smoothly blended together.
| | 06:18 | So, that gives me the opportunity
to show you the next option here.
| | 06:21 | There is a default called Normal.
| | 06:24 | But I am going to take
a peek at what's inside here.
| | 06:26 | We also have Straight sections.
| | 06:29 | Let's take a look at that
and do the Preview button.
| | 06:33 | Notice we get nice, sharp
interpolation between each of these curves.
| | 06:37 | So, it's more of a mechanical fit. Even
if they are very smooth curves, you get
| | 06:41 | sharp joints between them.
| | 06:43 | Another option that's pretty
handy sometimes is the Loose option.
| | 06:47 | So, if we do Preview, it smooths things
out, but it only takes like an average.
| | 06:53 | You'll notice here it kind of misses the
middle too, but definitely hits the ends.
| | 06:59 | So, that's one way you
can speed up your workflow.
| | 07:00 | If you don't need these to be exact, you
can get stuff in the rough position and
| | 07:03 | just choose the Loose command.
| | 07:04 | Let me go back to Straight sections. Hit OK.
| | 07:08 | Another thing to note:
| | 07:12 | I'm building as much as possible on the
center at the origin, so that I can keep
| | 07:17 | things organized and stacked up vertically.
| | 07:19 | The plan being to then copy, then move
them apart and maybe do a mirror later.
| | 07:24 | So, if I'm not sure how I want to model
a surface, Lofting is usually the first
| | 07:28 | surface command I'll try.
| | 07:30 | Just remember, you need to have all
opened or all closed curves, and then try
| | 07:35 | keeping the number of Control Points
the same, or similar from curve-to-curve.
| | 07:38 | Finally, if your design is not fixed,
be sure to explore all of the Lofting
| | 07:43 | options, and don't settle for the defaults.
| | 07:45 | There is a lot of cool stuff in
there that might surprise you.
| | Collapse this transcript |
| Using Revolve and Rail Revolve to create surfaces| 00:00 | In this video, we'll cover how to
generate surfaces via the Revolve command.
| | 00:05 | Fortunately, the Revolve command is just
about the most intuitive command going,
| | 00:09 | in the sense that it's very easy to
predict what the outcome will look like
| | 00:12 | before you finish it.
| | 00:13 | So, let's take a look.
| | 00:14 | I'm going to switch over to the
Ghosted View, so we can focus on this neck.
| | 00:22 | Now you notice that parts are going
inside the head and inside the body.
| | 00:29 | That's a completely legitimate way to model.
| | 00:31 | I never worry about where
the intersection will occur.
| | 00:33 | I just make stuff whatever size is
convenient, and I can trim them back later.
| | 00:38 | There is actually two Revolve commands.
| | 00:41 | We'll start off using the standard one.
| | 00:44 | We find it with the Surface menu under Revolve.
| | 00:48 | Now, here's a tip that's pretty important.
| | 00:53 | I make sure that there is an Axis Line.
As opposed to picking the curve itself here,
| | 00:59 | the axis will guarantee that
this will spin and revolve cleanly.
| | 01:05 | So, I'm going to use this vertical axis
and snap to one end and then the other.
| | 01:13 | Notice as I start moving around, it's
asking me what is the beginning angle, and
| | 01:21 | then it will ask me where the end angle is.
| | 01:23 | You can bypass all of those questions and
confusion if you just select FullCircle.
| | 01:29 | So, it will complete it 360 degrees
from wherever it is back to where it is.
| | 01:35 | So, here's the result. It looks pretty clean.
| | 01:42 | Let's try another Revolve up
on this antennae at the top.
| | 01:48 | I've got a profile here.
| | 01:50 | I go to Surface > Revolve.
| | 01:53 | I'm going to select the same axis.
| | 01:56 | I can cheat a little bit. I can click down
here so I know that it is exactly touching.
| | 02:01 | Otherwise, you'd would want to zoom
out and select the opposite end of that
| | 02:04 | axis just to make sure.
| | 02:07 | Then I'll just say FullCircle, and
just to make sure we can visualize this a
| | 02:12 | little bit better, I'll go
back to the Shaded mode here.
| | 02:15 | To access this menu, you would right-
click on the Viewport label and select Shaded.
| | 02:20 | I'm thinking that looks a little too
symmetrical, so let's just get rid of this
| | 02:25 | and try one more variation.
| | 02:26 | I'm going to select and delete,
and you'll see an ellipse here.
| | 02:31 | We're going to use that.
| | 02:33 | Let me try the next Revolve
command called Rail Revolve.
| | 02:38 | You start off by picking the profile.
| | 02:41 | The rail is the track it's going to go around,
and the axis is same as the other command.
| | 02:47 | So, I'm just going to pick the same two points.
| | 02:49 | The result is a nice, clean surface that
is no longer symmetrical on that one axis.
| | 02:59 | It follows the track.
| | 03:03 | Okay, some more tips on the Revolve command.
| | 03:05 | Those were pretty simple examples.
| | 03:07 | We're going to turn on a few more demos here.
| | 03:09 | Let me zoom back out, and if you're
admiring the shoulder design, let me show
| | 03:15 | exactly how it was done.
| | 03:16 | You don't always have to create solids
or surfaces and trim them to each other.
| | 03:22 | You can make some pretty
complicated forms with the Revolve profile.
| | 03:25 | So, let's try recreating this shoulder,
all these various pieces here join together.
| | 03:31 | Surface > Revolve, select the curve,
accept, and let's select the axis.
| | 03:39 | I'm going to hold down the Shift key here,
but I'm pretty sure that I've locked
| | 03:43 | onto that axis line.
| | 03:44 | Go ahead and say FullCircle.
| | 03:48 | So, it's pretty nice, the amount of
complexity you can generate just from a
| | 03:54 | series of very simple
curves or fillets or chamfers.
| | 03:59 | In this case, I've got pretty much everything.
| | 04:01 | Let's delete that and just take a quick look.
| | 04:04 | This is another tip I recommend.
| | 04:05 | I call it the pre-filletize where we
add in fillets, details, grooves, part
| | 04:12 | lines or chamfers, wherever
needed, and then create the Revolve.
| | 04:15 | So, if it doesn't look exactly
like the way you want it - no problem.
| | 04:18 | You throw that one single surface away
and just make the tweaks to the curve.
| | 04:22 | It's a much better workflow than
chopping and slicing larger surfaces.
| | 04:27 | It's very hard to go
backwards when they're so complex.
| | 04:29 | Let's take a look at some other
situations that occur pretty frequently.
| | 04:32 | I'm going to zoom into this with my
Zoom Selected option, and you'll, see right off
| | 04:38 | of the bat, it's not quite touching.
| | 04:41 | This actually happens a lot when you
build stuff a little bit quickly or are not
| | 04:44 | careful with your object snaps.
| | 04:47 | So, I'll take a look at what you
might notice and then how to fix it.
| | 04:50 | I'll just do the Revolve one more time, click,
Return, and I'm just going to select
| | 04:58 | this point and the end for the
axis and then select FullCircle.
| | 05:04 | So, here is one of the two situations.
| | 05:06 | We'll either have an opening, or if
this curve went past the axis, you'd have
| | 05:10 | some sort of balloon neck type
of pinch or pucker - easy to fix.
| | 05:17 | Let's go ahead and delete this.
| | 05:21 | It can be as simple as
turning the control points on.
| | 05:23 | I'm selecting the object, F10, and
just drag and snap to that end point.
| | 05:30 | Turn the control points off with F11,
and just repeat the Revolve command,
| | 05:37 | snapping the two endpoints, FullCircle option.
| | 05:42 | So, even though this was a curve, I revolved it.
| | 05:44 | As long as that curve hits the
axis at both points, that is a solid;
| | 05:51 | you've defined a solid.
| | 05:52 | It's a closed entity.
| | 05:53 | Now one further tip:
| | 05:55 | I'm noticing here this is pretty sharp,
and a lot of the times you'll want this
| | 05:59 | to be a perfectly smooth end.
| | 06:01 | So, many people ask, 'How do you do that?'
| | 06:04 | Over here, you've successfully completed it.
| | 06:07 | You don't see any pinches whatsoever.
| | 06:11 | Simple trick - we're going to
delete this and do one more adjustment.
| | 06:13 | It's a little bit easier
from the Front Viewport.
| | 06:15 | So, I'm going to switch over.
| | 06:18 | You do need to turn the control points on.
| | 06:26 | Here is a condition you need to look out for.
| | 06:28 | Whenever a line hits
perpendicular, you'll have no seam.
| | 06:32 | So, here is your axis, and this is
hitting perpendicular, so it's a nice flat cap.
| | 06:37 | The reason we're getting a pinch is the
last two control points are at an angle.
| | 06:41 | One quick way to do this
is draw a Construction Line.
| | 06:44 | I'm going to snap it to the end,
and I could just draw anywhere.
| | 06:48 | It's not that important.
| | 06:51 | Then drag this over and
snap it. That's the key.
| | 06:55 | The last two need to be in a line.
| | 06:58 | Switch back to Perspective Viewport; Ctrl+F4.
| | 07:02 | Control points off with F11, and I'm
going to repeat the Revolve one more time
| | 07:06 | to see how it looks. We'll select the
Curve, Enter, Revolve Axis at same two points and then
| | 07:15 | FullCircle option, so if you come
back around to inspect, that is a perfectly
| | 07:19 | smooth, continuous surface form.
| | 07:22 | So, the Revolve commands will generally
work their best when using an Axis Line,
| | 07:27 | so try to get in a habit
of creating that Axis first.
| | 07:31 | It's only a single straight line, so no excuses.
| | 07:34 | You can then use the Osnapping modeling
Aids to verify that your profile curve
| | 07:38 | hits the axis exactly where you want it to hit.
| | Collapse this transcript |
| Using Sweep Rail to create a 3D claw| 00:00 | In this video, we will
investigate the Rail Sweep commands:
| | 00:04 | the One Rail and the Two Rail Sweeps.
| | 00:06 | Both kind of sweeps can create surfaces
that are either mechanical or organic.
| | 00:11 | Mechanical surfaces have sharp edges
and flat surfaces, while organic surfaces
| | 00:16 | are very smooth and flowing.
| | 00:18 | So, we'll take a look at both kinds of
surfaces for each of the Rail commands.
| | 00:22 | Since our robot is mostly mechanical,
we'll take a little short detour and demo
| | 00:27 | some of the sweeps that are organic.
| | 00:28 | Let me maximize this Perspective window,
turn on some organic lines, and let's
| | 00:38 | check out, first of all, the One Rail Sweep.
| | 00:40 | I'm going to use this curve as the
rail and the other curve as the profile.
| | 00:45 | We find it underneath
Surface menu > Sweep 1 Rail.
| | 00:50 | Let's select the rail and then the
curve, right-click to enter, hit OK.
| | 00:59 | We'll take a look, so it's a pretty
organic shape from two simple curves,
| | 01:06 | but you know that the shape is somewhat
limited because it has to follow that 1 Rail.
| | 01:11 | So, it's almost like the second edge along
the top is an exact duplicate of the one below.
| | 01:16 | So, to avoid that situation, there is
the Two Rail Sweep, where each of the
| | 01:21 | rails could be completely
different, and I didn't mentioned before -
| | 01:27 | we can have multiple profiles along
there, that are also of different shapes.
| | 01:30 | Let's start the Two Rail Sweep under the
Surface menu, select the rails, then the
| | 01:38 | Profiles. Hit Enter.
| | 01:41 | I'm going to take a look here.
| | 01:45 | So, it's a much more organic shape, with
a lot more power and control involved.
| | 01:52 | However, if you think that this is
going to be a little too complicated,
| | 01:55 | judging by the isoparms on the surface,
we can go ahead and say make is Simple,
| | 02:01 | and then hit the Preview.
| | 02:03 | Notice those isocurves are far fewer.
| | 02:05 | So, what's happening is that it's
following the constraints of the Rails and the
| | 02:11 | Profile curves, but kind of
simplifying and averaging the surface in between.
| | 02:17 | So, if it looks petty close, as I've
mentioned before, Simpler is always better.
| | 02:25 | Okay, now on to the Mechanical Sweeps.
| | 02:28 | We are going to start off
by working on the antenna.
| | 02:31 | I just got a memo from the antenna
department that our prior design was
| | 02:35 | not passing the tests.
| | 02:37 | So, they've had to take this
enclosure and raise it up vertically.
| | 02:40 | We're going to have to make up the
difference with this profile here.
| | 02:43 | Now for lot of zooming and
panning sometimes you'll need to reset.
| | 02:46 | So, the way to do that is select
an object and go to Zoom Selected.
| | 02:51 | That will bring it back and
recalibrate everything, okay.
| | 02:54 | We've also mentioned before that we can use
an edge, wherever it appears, as if it's a curve.
| | 03:01 | So, let's start the
command and see how that works.
| | 03:04 | Surface > Sweep 1 Rail.
| | 03:05 | I'm going to select this edge and
in this cross section, hit Enter.
| | 03:11 | It's pretty straightforward.
There's not too many options.
| | 03:15 | I'm going to go ahead and hit OK.
| | 03:17 | And we'll kind of zoom around here
and make sure it worked all right.
| | 03:20 | This is another reason I like to
work in the Perspective Viewport.
| | 03:23 | So, it looks like it went around nice
and clean, and there is no twisting or
| | 03:27 | pinching that can sometimes happen.
| | 03:28 | You will also note, if I select
this surface, it goes through.
| | 03:34 | So, that's another technique I practice.
| | 03:37 | You can always trim things back.
| | 03:38 | I don't try to make it exact the first time.
| | 03:40 | So, you'll notice that goes
way inside, very easy to trim.
| | 03:44 | We'll worry about that later. Next up:
| | 03:47 | we have the Claw.
| | 03:49 | This will be built in the center just
to make it easy, and once this shape is
| | 03:54 | complete, we'll move it over to one
of the sides for the hand and then
| | 03:56 | mirror the other copy.
| | 03:59 | Now I got another memo.
| | 04:00 | It looks like these
washers, or caps were on sale,
| | 04:04 | so they have bought quite a few.
| | 04:04 | I'm going to have to use those to
build this next piece of geometry.
| | 04:08 | So, let me go back to the four
Viewports. We can talk about this shape here.
| | 04:14 | Turn the control points on with F10.
| | 04:16 | If we zoom in, you can see
how that was constructed.
| | 04:20 | Notice anytime two control points or
more are close together that's an
| | 04:23 | area of higher detail.
| | 04:25 | Farther part tends to be smoother.
| | 04:28 | So, that was drawn from the Right
viewport, and if you look to the Front
| | 04:33 | viewport, we just made a slight
rotation of it because you can tell it has an
| | 04:37 | angle, and then it mirrored the other side.
| | 04:40 | Turn of the Control point with F11.
| | 04:41 | We're going to go back to the
Perspective and maximize it.
| | 04:46 | And we'll start off with the simplest shape here.
| | 04:48 | There is a straight line.
| | 04:49 | I'm going to use that just to see how it looks.
| | 04:52 | Surface > Sweep 2 Rails.
| | 04:54 | We've got these two profiles here, a Cross
Section curve there, Enter, just say OK
| | 05:03 | and we'll take a look here.
| | 05:06 | So, it's a pretty involved surface.
| | 05:08 | We could also cap that closed with
another command, but I'm going to save that
| | 05:14 | for the next step here.
| | 05:15 | I'm going to get rid of this, hit Delete.
| | 05:19 | Direct your attention to
these curves, top and bottom.
| | 05:23 | So, I've talked about this
before, but it's worth mentioning.
| | 05:29 | This is what is called the Prefilletize.
| | 05:31 | I've added some corner radius already built in.
| | 05:36 | So, that adds some detail right, off the bat.
| | 05:38 | We don't have to go back later
and fill its surfaces or solids.
| | 05:43 | Another way look at it is we have a kind of
backup plan, if it doesn't look the way we intend.
| | 05:49 | So, I'm going to repeat the Surface >
Sweep 2 Rails, then I'm going to pick both
| | 05:58 | of these cross section curves.
| | 06:01 | Starting and ending just to gain a little
more control, hit OK, and let's take a look -
| | 06:07 | so, a much more sweet-looking shape here.
| | 06:12 | Now I talked about Capping that. So, let
me show you what I recommend on this.
| | 06:15 | We have an edge and a curve both, right
along there, and it defines a flat plane.
| | 06:22 | So, we've visited this command before.
| | 06:25 | Let's pay one more visit,
Surface > from Planar Curves.
| | 06:29 | So, I'm going to select this edge
here, closing edge there, hit Enter.
| | 06:41 | So, you can tell, as we've discussed
before, we've got isocurves, one each going
| | 06:46 | in each direction, meaning the surfaces
as simple and clean as possible. Okay.
| | 06:52 | We'll save the other side for later.
| | 06:54 | I'm going to do one more Two Rail Sweep,
using the same technique where we can
| | 06:58 | use an edge in place of a curve.
| | 07:02 | Surface > Sweep 2 Rails, so here is the
first rail or edge, second and then the
| | 07:11 | cross section curve
| | 07:12 | is basically these several segments
and arcs connected together. Hit Enter.
| | 07:20 | I answer OK and then zoom back.
| | 07:22 | So, that's an excellent way to close
off forms and use geometry that was given
| | 07:29 | to you by others, or there are
constraints that you need to work by.
| | 07:32 | So, as you can see, the one and
two rail sweeps can do quite a bit.
| | 07:36 | Remember, even if you are building
mechanical geometry, you still want to keep
| | 07:40 | all of the curves
involved as simple as possible.
| | 07:43 | Also, keep in mind that you can always
add extra profiles if the surface is not
| | 07:47 | generating as expected.
| | Collapse this transcript |
| Creating complex surface shapes using Network Surface| 00:00 | In this video, will cover what
I've nicknamed Rhino's Killer Command.
| | 00:05 | By that, I mean if you just met a
caveman and could only tell him one thing
| | 00:08 | about Rhino, you would want to show him the
command called Surface from a Curve Network.
| | 00:14 | So, yes, it's pretty amazing, but as
you might have guessed, there are some
| | 00:17 | requirements we'll have to cover.
| | 00:18 | We will also the revisit those very
handy commands, the Offset and Surface from
| | 00:23 | planar curves that we've used previously.
| | 00:25 | So, let's get started by looking at
this set of a curves for a robot shoe.
| | 00:35 | Notice that I have built these off of
the construction plane, which is up
| | 00:39 | quite a bit higher.
| | 00:41 | So, what I did was move the
construction plane down to this level.
| | 00:45 | Let me go ahead and turn on this one object.
| | 00:49 | So, this is just a simple, flat
plane that I've used to move the
| | 00:54 | construction plane down and we
access that by Set CPlane > To Object, and
| | 01:01 | you can see the grid snaps.
| | 01:02 | So, that's the way I recommend that you
draw on a different level other than the
| | 01:06 | construction plane; just move it
down to wherever you need it to be.
| | 01:09 | I am going to turn that back off.
| | 01:13 | Another tip is I've drawn a, what I
call Construction Box, just to make things
| | 01:20 | a little easier to work within and snap to
as I am constructing these sets of curves.
| | 01:26 | They are additionally helpful because
this frame allows you to rough out the
| | 01:30 | shape and then gives you corners and
edges and surfaces that you can snap to.
| | 01:34 | Now if we look at the set
of curves I drew previously -
| | 01:37 | we will go ahead and highlight those -
| | 01:42 | you'll notice that they are going in
two general directions. So, why is that?
| | 01:50 | Well that's how the NURBS surface works.
| | 01:52 | You have Iso Curves that flow in two
directions, so that is exactly why we are
| | 01:56 | building curves flowing in
two directions to build the surface.
| | 02:01 | Now another requirement is that you
have boundaries that are typically open,
| | 02:07 | that would be these ones along the
outside, but other profiles can be closed.
| | 02:12 | We'll see examples of that in just a minute.
| | 02:15 | Let's go ahead and start the
command Surface > Curve Network.
| | 02:20 | I am going to select these.
| | 02:23 | It looks like there is five.
| | 02:29 | Now when this dialog pops up, that
basically means that you have enough curves
| | 02:34 | for a proper solution.
| | 02:35 | We have some options here.
| | 02:36 | Let me go ahead and accept the defaults.
| | 02:41 | So, there is this surface from a
network of curves, but I am going to try it one
| | 02:46 | more time with one other option.
| | 02:48 | I am just feeling like this is a
little too complicated, possibly,
| | 02:52 | so let's explore one other option.
| | 02:54 | I have got that selected.
I am going to hit Delete.
| | 02:56 | I am going to restart the command,
select those five curves again, and now I'm
| | 03:07 | going to switch to Loose.
| | 03:11 | The A,B,C,D gives me
conditions at several locations.
| | 03:15 | I am going to switch from match to
position exactly to keep it loose, which
| | 03:19 | almost every case will make the
resulting surface much cleaner and simpler.
| | 03:23 | I am going to hit OK, and as you can
tell right off the bat, its two or three
| | 03:28 | times less Iso Curves on the surface.
| | 03:30 | So, that is a smoother, cleaner surface,
which will greatly minimize any future problems.
| | 03:36 | Now before we do any more work on
this foot, I am going to show you another
| | 03:40 | example with a similar set of
curves that are almost completely closed.
| | 03:44 | This is just a partial
surface with an open bottom.
| | 03:48 | Here is a set of curves I generated earlier.
| | 03:51 | Let me see how they turn out.
| | 03:54 | Surface > Curve Network.
| | 03:56 | You can see when there is more curves you
have less options to go with Position or Loose.
| | 04:01 | So, we will select OK to accept.
| | 04:05 | So, it's a little bit more complicated
than the first one, but it is one single
| | 04:12 | surface, and it is as smooth as possible.
| | 04:15 | We can verify that by turning on the
Control Points icon on the menu bar.
| | 04:19 | I am just going to pick a group of points,
and you can continue to edit in that manner.
| | 04:33 | I'll turn the Control
Points off. Close that layer.
| | 04:39 | I am going to go back to the original foot.
| | 04:41 | I am going to select the surface, do the
Zoom Selected to make this a new center
| | 04:50 | of the screen and the center of rotation.
| | 04:52 | Now here is a great technique.
| | 04:54 | A lot of times, I build a surface,
and then I am going to start using its
| | 04:58 | edges to then build additional surfaces
so I don't have to build curves all the
| | 05:02 | time for every single surface.
| | 05:04 | So, I am going to start by selecting this curve.
| | 05:08 | I am going to have to jump to another Viewport.
| | 05:09 | So, I am going to go to the Front and
we'll take that curve and create an offset.
| | 05:20 | I am going to offset a
distance of just 1 to make it easy.
| | 05:27 | I am going to switch back to the
Perspective Viewport here and notice that the
| | 05:34 | offset comes off 90 degrees from every point.
| | 05:37 | But that actually drops it
down a little bit too low here.
| | 05:40 | I want to have this have a
flat detail on the ground.
| | 05:43 | So, we can just do a quick trim and
use this frame I constructed earlier -
| | 05:48 | it's a cutting object - and then just
select those little points that overlap
| | 05:55 | to get rid of those.
| | 05:56 | I am done with the frame. I am going to
select it and the center line and just
| | 06:02 | hide then temporarily to get them out of the way.
| | 06:05 | Now, this first curve for the network
surface and the offset are on the same plane.
| | 06:11 | So, you guessed it.
| | 06:11 | We can make a surface from those planar curves.
| | 06:14 | However, we have got an
opening right here at the bottom.
| | 06:16 | Let's go ahead and close that
off with two straight lines.
| | 06:24 | Now I think we are ready for the
Surface > from Planar Curves, pick in the edge,
| | 06:32 | Straight Curve, the
offset and the opposite edge.
| | 06:36 | Right-click when you are done, and
now we've built a nice clean cap there.
| | 06:41 | I am going to go ahead and continue
working on this to show a few more tricks.
| | 06:45 | I am going to have this do a little recess.
| | 06:46 | So, I am going to go to
Surface > Extrude > Straight.
| | 06:51 | I am going to select that curve.
| | 06:53 | I want to go in 1, so I am just going to
type it on the keyboard, Enter, and now
| | 07:06 | I am ready to cap that off.
| | 07:09 | So, as we did earlier on the front
lip, I am just going to draw a straight
| | 07:13 | line, corner to corner.
| | 07:16 | I have got my End Snap on, so I
know that that's going to work.
| | 07:19 | Go to Surface > Planar Curves,
select that edge and that curve.
| | 07:27 | The Robot shoe is capped and closed.
| | 07:37 | Now I probably would finish this off
by creating a bottom and then taking the
| | 07:43 | leg and shoe and moving them to one side
or the other and then mirroring them so
| | 07:47 | it is equally symmetrical on the opposite side.
| | 07:49 | But we will skip that for now and wrap up.
| | 07:51 | So, the Surface from curve
network has many, many variations and
| | 07:55 | endless possibilities.
| | 07:56 | But these few examples should
give you an idea of its potential.
| | 07:59 | So, if organic modeling is your area
of interest, it is well worth the time and
| | 08:03 | effort to practice and seek out other
tutorials on this method of modeling.
| | Collapse this transcript |
|
|
7. Modeling: 3D SolidsIntroducing solids| 00:00 | In this video, we'll review the three
different ways to create solid geometry
| | 00:05 | mostly from existing entities.
| | 00:06 | Rhino calls these resulting objects
solids, but you may also be familiar with
| | 00:10 | the term primitives from other 3D
software apps, which I'll use interchangeably.
| | 00:15 | A reminder on the terminology:
| | 00:16 | a solid created using these
commands ideally results in a finished and
| | 00:20 | completely closed entity, but you're
always free to build a solid one curve
| | 00:25 | or surface at a time. Okay.
| | 00:26 | Let's spin around the backside here
and take a look at some of the setups.
| | 00:32 | We're going to build a jet pack starting
with curves then some surfaces and some solids.
| | 00:41 | Let's take a sneak preview
at what the jet pack might look like.
| | 00:44 | So, there's our twin engine rocket pack.
| | 00:49 | Let's turn that back off.
| | 00:53 | We'll start in reverse order.
| | 00:55 | I am going to end up with the solid
from curves, which is actually the
| | 00:59 | recommended method, and you'll
see why in just a minute. Okay.
| | 01:02 | And let's go to the Solid menu
and select Cylinder and I've got my
| | 01:11 | Intersections snap on here. That's a no snap.
| | 01:14 | So, we can go right to the center of
those two lines, and I am going to type in
| | 01:20 | some numbers here just so
everything kind of looks consistent.
| | 01:23 | So, I am going to type in for Radius 10
and then of course, you can always move
| | 01:30 | it up and eyeball the final height.
| | 01:33 | I am going to go ahead and type 40.
| | 01:38 | So, we've just made a cylinder primitive.
| | 01:41 | That's the quickest and easiest way but
also is the most restrictive as far as
| | 01:46 | going backwards in time.
| | 01:47 | Let me show you a quick example what
might happen if I were to delete this or
| | 01:51 | make a change to it later.
| | 01:53 | Unless I had remembered the radius and distance,
I could not regenerate that and resume work.
| | 01:59 | So, that's why I recommend that you
start from either a curve or a surface.
| | 02:04 | Let's check those out.
| | 02:07 | This is a flat plane
that happens to be round.
| | 02:10 | So, we'll check out Solid >
Extrude Surface > Straight.
| | 02:14 | I want to just click that one surface,
hit right-click to enter and go up,
| | 02:22 | again typing in 40, just the old match.
| | 02:25 | Now one quick note here. That surface,
which used to be separate, is now joined
| | 02:31 | and we have an additional
copy of it on the bottom.
| | 02:36 | So, let's try it with another
surface that is not flat on the
| | 02:42 | construction plane.
| | 02:45 | Solid > Extrude Surface >
Straight and I'll type in 40.
| | 02:50 | You notice that it works just as well,
the key being here that the original
| | 03:01 | surface was on a flat plane, so it can
only be extruded forward or backwards in
| | 03:06 | a single direction but not a problem.
| | 03:09 | Here is where it gets a little bit tricky.
| | 03:11 | I want to pick a deformed surface.
| | 03:14 | It does look like a circle from the top view.
| | 03:17 | Let's repeat the command again, Solid >
Extrude Surface > Straight, and now since
| | 03:24 | that originating or generating
surface was bent, Rhino is just defaulting to
| | 03:29 | the construction plane, so the extrusion just
goes up vertically, and I'll type in 40 again.
| | 03:35 | Let's see what we get.
| | 03:39 | So, it does close it off, but
that cap is not attached.
| | 03:45 | All right. Let's look at the final
case where we create from curves.
| | 03:52 | This is the recommended approach.
| | 03:53 | Let's take this curve here, highlight
it go to Solid > Extrude Planar Curve >
| | 04:00 | Straight, type in 40.
| | 04:02 | So, now we have a completely enclosed
solid form and notice we have the curve
| | 04:10 | still there separate.
| | 04:11 | It's not included in the set.
| | 04:13 | It's not joined together.
| | 04:14 | That is ideal if I ever make any
changes to this or throw it away and start over.
| | 04:18 | I've got that curve and so I don't
have to remember what its exact radius was.
| | 04:22 | I just have the existing
geometry there as reference.
| | 04:24 | It's always the way to go if possible.
| | 04:27 | I'll just do one more Extrude Planar
Curve > Straight, not a problem since it
| | 04:37 | was on a flat plane, but here is
our bent shape just for comparison.
| | 04:44 | So, I've got a seam on there.
| | 04:45 | Let's see what happens.
| | 04:46 | Solid > Extrude Curve > Straight.
| | 04:51 | It said planar curve, but it looks like
it's still working. However, when I go up
| | 04:55 | to 40, I wasn't able to cap it.
| | 04:58 | So, you can see the difference here.
This was a single flat surface, and
| | 05:03 | that's just not possible
since this curve is bent.
| | 05:06 | It would actually be two.
| | 05:08 | So, the best it can do is go up
vertically from the construction plane and
| | 05:12 | then it ends up being open, so you
would have to manually close that off.
| | 05:15 | So, the Solid commands are very
simple and fast to work with, but they can
| | 05:18 | quickly introduce limitations if you're
concerned about the ability to reverse
| | 05:22 | or undo multiple complex steps or
simply just explore multiple design options.
| | 05:28 | So, if that's the case and you still
prefer to use solids, then try to build
| | 05:32 | from curves, since you have a record
of your construction geometry, and then
| | 05:37 | you can quickly regenerate your forms
if there's a change. And you know it will change!
| | Collapse this transcript |
| Making solids with primitives| 00:00 | In this video, we'll take an exciting
tour of the built-in solid commands, which
| | 00:04 | allow you to build primitives
directly or via a single command.
| | 00:09 | Examples of primitives include
spheres, cones, boxes, and many others.
| | 00:14 | Using these commands, the result is geometry
| | 00:16 | that has the primary
characteristic of the solid, closure.
| | 00:20 | In other words, it is entirely
closed and we'll have no openings or gaps.
| | 00:26 | To get started, I am going to zoom in on
couple of the solids we are going to build.
| | 00:30 | I'll now open up the toolbar for solids,
which is right here on the main toolbar.
| | 00:35 | So, I am going to click and then drag it out.
| | 00:38 | I'll start off by building a box.
| | 00:41 | And I've got the snapping points here,
so make sure if you are following
| | 00:45 | around that your Point snap is on.
| | 00:47 | That would critical, so we
can snap to these points.
| | 00:50 | Otherwise, you'd be snapping to
other geometry or typing in dimensions.
| | 00:53 | So, I am going to start off with the basic box.
| | 00:55 | I am going to snap from one
corner to next and to the last.
| | 01:01 | So, that's the basic box.
| | 01:03 | One variation I might recommend is to
start off the box and notice that there's
| | 01:08 | a Center option in there.
| | 01:09 | A lot of times, you want to have this
in a specific location based on its center,
| | 01:13 | not the corners that I just did.
| | 01:14 | So, remember, even though this has
multiple boxes inside of it, there we have four,
| | 01:19 | a lot of times you will have
further options inside the command line.
| | 01:23 | So, always be sure to check that
command line during any command.
| | 01:26 | Okay, let's take a shot at creating a
sphere and notice there, it looks there are 6
| | 01:33 | or 7 ways to do that.
| | 01:35 | I just pick the Default, snap to the
center, and we'll just eyeball it this time.
| | 01:40 | It doesn't matter how big.
| | 01:41 | I'll try an ellipsoid.
| | 01:46 | Basically, it's a sphere that's been
elongated in one, two, or three directions.
| | 01:50 | It's always best to start off with the center.
| | 01:52 | I prefer personally to make
the first axis the longest one.
| | 01:58 | Here we are snapping, but if you are
wanting this to be specific size, you would
| | 02:02 | then make a mental note here of
exactly how far you are going over.
| | 02:06 | For example, this is 5.
| | 02:09 | If I want to have the final axis up
vertically to being a matching number,
| | 02:13 | that would very helpful.
| | 02:14 | Oherwise, you'd just be guessing.
| | 02:16 | So, I am going to just type in five,
even though there is a snap point there. Okay.
| | 02:19 | That's enough building.
| | 02:21 | Let's just take a look at
some other ten primitives.
| | 02:24 | You have got your basic cone.
| | 02:25 | I'd think the pyramid probably has the
most variations because we can start off
| | 02:31 | with a three sided.
There's a four sided or five sided.
| | 02:36 | It's really unlimited.
| | 02:37 | But after about 30 or 40 sides, it starts to
look pretty much like a cone, so not as useful.
| | 02:42 | Then we have the truncated or tapered
cone, the cylinder, which we're familiar
| | 02:47 | with. The tube allows us to have wall
thicknesses and so this is another one of
| | 02:53 | those commands where you
have to check the command line.
| | 02:56 | There's a lot of prompts as
you build this part by part.
| | 02:59 | So multiple options, always helpful to
slow down and read that command line and
| | 03:03 | finally, that torus also as the doughnut.
| | 03:07 | So, let's get these out the way.
| | 03:09 | And we'll start off by building a
couple of parts for the backpack.
| | 03:15 | Just take quick look that
the final will look like.
| | 03:20 | So, there's our completed, flying
jet pack for him, and I am going to turn it
| | 03:24 | back off, and let's quickly just
make one cylinder for his tank.
| | 03:29 | Just use the Solid menu this time.
| | 03:31 | Solid > cylinder, and I am going to use
my snapping points, just so I don't have to
| | 03:35 | worry about where everything is going.
| | 03:39 | Pretty straightforward.
| | 03:41 | Let's make the other tank, and
this is extremely helpful to be in the
| | 03:48 | perspective viewport. Notice it's
trying to snap to other points as it sees them.
| | 03:53 | So, I prefer working perspective whenever
possible just so I can the hit points that I want.
| | 03:58 | Now I just build those two tanks one at a time.
| | 04:02 | Of course, we've going to over mirroring,
and that would include just building
| | 04:06 | one section or half and then
mirroring it to other side of the axis.
| | 04:08 | Let's finish this tank top off with a sphere.
| | 04:13 | Back to Solid menu > Sphere command,
I am just going to pick the very first
| | 04:17 | one, Center and radius.
| | 04:19 | Let me turn off this Point snap
just to show another little alternative.
| | 04:23 | I am going to go with center.
| | 04:25 | That's kind of interesting here.
| | 04:27 | If I am clicking around, it's not
finding that point. I turned it off.
| | 04:31 | It's not finding anywhere really.
| | 04:33 | Until I go to the edge. Then it says,
"That's an arc, or a circle," it's got a
| | 04:39 | center, and it snaps directly to it.
| | 04:41 | So, this command is very similar to
the way it works with the lines.
| | 04:45 | So, let me go ahead and click to start
there, and I am just going eyeball this.
| | 04:49 | Another tip about snapping is if it
trying to grab other points and you don't
| | 04:54 | want it to do that, you can hit the Alt key
to temporarily to turn those off. Okay.
| | 04:59 | Let's make the other one.
| | 05:00 | I am going to show you another little tip.
| | 05:02 | I'll right-click to repeat, snap to
the center, and now I am now back where I
| | 05:08 | was here with not knowing how big.
| | 05:10 | But notice in command in line, it says Radius.
| | 05:13 | That was the last number that I
picked, building the first sphere.
| | 05:17 | So, I can just stop right here
and either hit Enter or right-click.
| | 05:21 | It will match with prior
dimension, pretty handy.
| | 05:25 | So, the solid primitive commands make
it very easy to build quick and clean
| | 05:29 | geometry, but you probably
want to avoid stopping there.
| | 05:32 | I recommend continuing and adding more
detail like fillets, chamfers or part
| | 05:37 | lines, in order to make your
model more interesting and realistic.
| | Collapse this transcript |
| Extruding curves to create solids without primitives| 00:00 | In this video, we will explore a few of
the more common ways of creating solids
| | 00:04 | without the Primitive commands.
| | 00:06 | We will focus on three commands I like
to use: the Extrusion, the surprisingly
| | 00:10 | powerful pipe and the Text command.
| | 00:13 | A remainder regarding the other commands.
Anything can be used in a sequence or
| | 00:16 | alone to create a valid solid.
| | 00:19 | The requirement had been that you follow
simple rules of creating a closed volume.
| | 00:23 | Let's continue work on the jet pack.
| | 00:25 | I'll start off by doing some
extrusions. We've got a few profiles here internally.
| | 00:30 | We can use those to create some
brackets and connect the tanks together.
| | 00:34 | So, I am going ahead and go up to Solid
menu > Extrude a Planar Curve > Straight.
| | 00:40 | And there is pretty much what we'd
expect that comes out, going one direction.
| | 00:45 | I am going to switch one of my options here
and show you the alternative, Both Sides Yes.
| | 00:52 | So, now we don't have to worry about symmetry.
| | 00:53 | Let me just go ahead and we are going to
end up trimming these with some Boolean
| | 00:57 | operations a little bit later.
| | 00:59 | So, a good way to work is just to have
things overlap in a generous manner, not
| | 01:03 | worry about how close or
far from the intersection.
| | 01:06 | We have another bracket part here.
| | 01:09 | Let's try a little variation on that extrude.
| | 01:13 | Solid, Extrude Planar Curve.
| | 01:15 | Let's try the Tapered option.
| | 01:17 | So, this can go out, looks like its
getting smaller, so we are going to use
| | 01:22 | the option Flip Angle.
| | 01:24 | So it's getting larger. I am going
to turn off some of these snaps here.
| | 01:27 | Jump in quite a bit.
| | 01:28 | And that looks like that angle is 10 degrees.
| | 01:33 | That looks about right,
but that's easy to change.
| | 01:37 | And once again, I am going to
just go in farther than needed.
| | 01:40 | We will trim back later.
| | 01:41 | Now, to make the other side, we can't
taper in two directions simultaneously.
| | 01:46 | So, I'd finish this off by
just making a quick mirror.
| | 01:49 | So, let's switch to the front viewport and
zoom back to where that bracket was, just
| | 01:57 | to quick Transform > Mirror.
| | 01:59 | I am going to use my snaps again for
the axis line to make sure that this
| | 02:06 | is exactly symmetrical.
| | 02:07 | So, if we switch back to the rear, you
can see we've got this bracket complete
| | 02:13 | and symmetrical, going both directions.
| | 02:15 | Now, let's check out some Pipe commands.
| | 02:18 | So, you're probably wondering how did
he get that spiral around that curve.
| | 02:23 | That looks like a lot of work.
| | 02:25 | So, I need to ask that question.
| | 02:26 | So, let's take a brief detour,
before we create a pipe from that curve.
| | 02:30 | Show exactly how this was done.
| | 02:32 | This is a Curve command called
Helix, located in the Curve menu.
| | 02:36 | Typically, you would start off
by just identifying two points.
| | 02:41 | And it would draw around a straight axis.
| | 02:44 | Pffft! That's the boring way.
| | 02:45 | I am going to escape out of there
and show you how to wrap it around any
| | 02:48 | curve and any shape.
| | 02:49 | You can get some amazing
complexity built in for little or no charge.
| | 02:53 | So, I am going to right-
click to repeat the command.
| | 02:56 | This time I am going to select the
AroundCurve option and use this arc here,
| | 03:01 | zoom in a bit.
| | 03:04 | So, we have options for the specific
diameter, number of turns that's going to
| | 03:09 | occur, even the complexity.
| | 03:11 | That's the number of points per turn.
| | 03:14 | That's kind of low.
| | 03:15 | I want to keep a simple curve.
| | 03:16 | So, whenever it looks good, just go
close enough. Select that and zoom in, so we
| | 03:23 | check out some of the details.
| | 03:24 | So, your second question probably is
well okay, how did you get it to close in
| | 03:28 | on the end and terminate on that center?
| | 03:31 | Easy, we just do the control points,
and I turn those on with F10 shortcut.
| | 03:36 | And it's a simple click and drag,
click and drag, they snap over there.
| | 03:42 | And if the transition is not as clean
as you'd like, all I did was just pick
| | 03:46 | the last one or two and just delete them.
| | 03:48 | So, that's a much more
cleaner transition in there. Okay.
| | 03:51 | That's how you built the Helix
around a curve, to get the form started.
| | 03:55 | Let's go back to the original. We're going to
visit the Solid > Pipe and select this Helix.
| | 04:06 | And it's a little tricky here.
| | 04:07 | This radius - we don't want to be too big.
| | 04:11 | We can easily self-intersect and
get way too complicated, so that first
| | 04:16 | radius being displayed.
| | 04:18 | That's the default of one.
| | 04:20 | Let's just cut that in half
at. I am going to go at .5.
| | 04:22 | Of course, we can always
undo this and try it again.
| | 04:25 | We have an option to hit
another radius on the other end.
| | 04:28 | I am just to hit Enter to
accept the first one, so they match.
| | 04:32 | Now you can also add additional
profiles along the way and get really crazy.
| | 04:36 | I am just going to leave
those as it is. There you go.
| | 04:37 | There's the pipe, which
is basically like a loft.
| | 04:42 | The addition being we have got caps at each
end, so that's why it's in the Solid menu.
| | 04:49 | Pretty amazing!
| | 04:52 | Let's finish off this antenna.
| | 04:53 | So, let's do a quick pipe with
this straight line here, pretty easy.
| | 04:58 | I am just going to do a diameter of one, and
let's try a taper just to see how it looks.
| | 05:05 | Nope, don't like it at all.
| | 05:09 | Let's do a Ctrl+Z, Undo.
| | 05:11 | So, that's a good reminder that a lot
of times the numbers that you type in or
| | 05:15 | the sizes you select just by
eyeballing them don't work.
| | 05:19 | So, that's one of the reasons we are in 3D.
| | 05:21 | Just always feel comfortable
backing up, by trying another size.
| | 05:24 | Just repeat the command.
| | 05:26 | I am going to type 1 for both radii.
| | 05:28 | Of course, we are using the Solid
menu, so it's Caps. We need one more.
| | 05:34 | I am going to put a sphere at the
end of there. Just eyeball that.
| | 05:39 | There you go.
| | 05:41 | Nice-looking antenna.
| | 05:42 | So, my final pipe, I am going to create
a detail here on the front of his torso
| | 05:49 | that we're going to later trim out.
| | 05:51 | But I need to get a line
directly on that surface.
| | 05:56 | So, I have already got one prepared.
| | 05:57 | It's floating right here, and we are
going to use a command called Project.
| | 06:02 | Now the critical part about this
command is it's very easy to use.
| | 06:05 | You have to be in the appropriate viewport.
| | 06:07 | Right now, this would not work.
| | 06:09 | Our construction plane here is flat
and if we project it, it would just
| | 06:13 | basically get squashed on to the
ground and never hit the robot.
| | 06:16 | So, I am going to switch viewports
to the Front and do then do the Curve >
| | 06:25 | From Objects > Project.
| | 06:28 | Now the curve is already selected, so
it's now asking me, what surfaces do you
| | 06:31 | want to project on to?
| | 06:33 | So, I am just going to select the
robot body, right-click because I am done.
| | 06:36 | Let's switch back to Perspective
viewport and check out what happened.
| | 06:40 | It actually projected all the way through.
| | 06:42 | So, we can get rid of the one we don't need.
| | 06:45 | I am going to Ctrl+Select this one in the front.
| | 06:49 | That's the one we want to
keep and then just hit Delete.
| | 06:51 | So, this is a great way to get any
shape or form or detail onto a surface,
| | 06:55 | no matter how complicated that surface is.
| | 06:59 | So, the whole point being we're just going
to do a quick pipe on that. Solid > Pipe.
| | 07:03 | I am going leave it the same size, 1.
| | 07:08 | And we will use that a little
bit later to trim out the details.
| | 07:11 | So it looks like a panel joint.
| | 07:12 | Okay, the final Solid command I'd
like to show you is generating some text.
| | 07:18 | We need a logo on his jet pack.
| | 07:19 | So, I am going to start off by
going to Front viewport. Maximize.
| | 07:23 | And we can just use the
text here on the main menu.
| | 07:26 | It's located in a couple of different areas.
| | 07:27 | We have got the logo already typed in,
Zoom Pack, but note we have the ability
| | 07:32 | to change it from Bold or Italic.
| | 07:33 | Definitely, we want to make sure it says solids.
| | 07:37 | You can create it with just surfaces or
outline curves easily, but another thing
| | 07:41 | I like to do is group them.
| | 07:43 | I have no idea if this is the correct size.
| | 07:45 | I am going to leave it as is, and we will
just give it a try and see how it looks.
| | 07:48 | I am going to
Perspective view to check this out.
| | 07:52 | And if that logo is supposed to go on to
this bracket here at the back, it's way too big.
| | 07:56 | Let's go back to the Front
viewport and start it over.
| | 08:02 | I am going to right-click
over here, Text Object.
| | 08:06 | I think it probably needs
to be about half as big.
| | 08:08 | Yeah, that'll probably fit much better.
| | 08:13 | So, I would probably finish this off
by doing a sequence of moves and rotates
| | 08:22 | and get that to align right on that bracket.
| | 08:24 | We'll save that for later.
| | 08:25 | So, solids can be created many different
ways, but I personally recommend one of
| | 08:30 | the extrusion methods as your best bet.
| | 08:32 | The reason that's the curves serve is
critical backups in case of a design
| | 08:35 | change or mistake fix.
| | 08:38 | In any modeling project, you want the
ability to either start over or make
| | 08:41 | mid-course adjustments. That's the primary
reason you are using 3D software in the first place.
| | 08:46 | So, those changes are much
more difficult with a primitive.
| | 08:50 | If we use the curves plus extrude
method we reviewed here, then you
| | 08:53 | could always regenerate the solid
whenever needed, without having it's
| | 08:56 | dimensions memorized.
| | Collapse this transcript |
| Creating unique shapes with the union, difference, and intersection Boolean operators| 00:00 | In this video, we'll focus
on the Boolean operations.
| | 00:03 | If you've never heard the word Boolean,
it's not a Cajun dish, but it's better
| | 00:07 | described as math with solids.
| | 00:10 | This process involves taking two or
more solids and then either adding them
| | 00:14 | together, subtracting them or differencing
them to get a new resulting single solid.
| | 00:20 | It's really as simple as subtracting
equals punching holes and addition equals
| | 00:23 | welding stuff together. Let's take a look.
| | 00:26 | I'll switch my viewport here to Ghosted
so we could see all the intersections of
| | 00:31 | the various geometry.
| | 00:32 | I am also going to turn off the robot.
| | 00:35 | I am going to focus all of our
attention on to the jet pack at first.
| | 00:38 | Okay, the location of the Booleans,
it's on the Solid menu and note that it's
| | 00:43 | here down towards the bottom.
| | 00:45 | That means it's going to be using
existing geometry to create these final surfaces.
| | 00:49 | We can also find it on the main menu here.
| | 00:52 | So, we will just slide that out and dock it.
| | 00:56 | Let's start off with some Boolean addition,
and merge some of these forms together.
| | 01:00 | I am going to select Boolean Union.
| | 01:03 | I am going to pick just these three shapes.
| | 01:09 | And then you hit Enter
or right-click when ready.
| | 01:12 | You'll notice it happens pretty quick.
| | 01:14 | So, we have merged all of these
shapes together--no overlap anymore.
| | 01:19 | And it is all close together,
one single shape with no openings.
| | 01:23 | Let's try that again with this bracket.
| | 01:26 | We made this earlier and we
ended up mirroring the two halves.
| | 01:30 | Let's go ahead and select both of those
and then do a union to see what happens.
| | 01:35 | So, notice it's taken that face they
had in common and merged it together,
| | 01:41 | so that the resulting
overall form includes both shapes.
| | 01:44 | I am going to do a few more and
what's really nice about this command is we can
| | 01:49 | pick a lot of stuff.
| | 01:58 | Okay. Let's see if that works.
| | 02:01 | Right-click to accept, and
there's the resulting shape.
| | 02:05 | I am going to switch quickly
back to Shaded just so we can see.
| | 02:09 | So, no more intersection and there
is still one clean shape, so that's the
| | 02:14 | union or addition Boolean.
| | 02:17 | Let's take a look at the Boolean
subtraction where we remove one part from the other.
| | 02:21 | I am going to focus on this text.
| | 02:24 | I'd like to have that punched into the surface.
| | 02:28 | So, we will go ahead and
select the Boolean Difference.
| | 02:35 | Now it's really easy to pick this in
wrong order, so I developed a memory aid,
| | 02:39 | and I call it the Mother Bites the Baby.
| | 02:42 | So, what I mean by that is pick the
part that's larger and you want to keep first,
| | 02:47 | then pick the part that's
going to be subtracted second.
| | 02:51 | It doesn't always have to be the biggest
and the smallest, but the first one you
| | 02:54 | select should be the one you want to keep.
| | 02:57 | So, I am going to select the overall
tanks here as the first, Enter, and then the
| | 03:04 | second will be the text.
| | 03:06 | Select right-click to accept.
| | 03:09 | That's the way to get it to work.
| | 03:11 | And we have a nice little deboss there.
| | 03:14 | Now at this point, people think that
you can put one surface inside of another.
| | 03:20 | That's not the case.
| | 03:21 | You'll notice in every single situation so far
| | 03:24 | we have had overlaps, and that's critical.
| | 03:26 | Let me show you an example.
| | 03:28 | Turn on Demo layer.
| | 03:29 | I am going to come around here and
go back to our Ghosted viewport mode.
| | 03:37 | I am going to select this
object so we can zoom in.
| | 03:41 | This is a Zoom Selected.
| | 03:43 | So, here's what a lot of people try
when they first start with Booleans is to
| | 03:47 | have a smaller copy inside of the other one.
| | 03:50 | However, since there's no overlap
or intersection, this will not work.
| | 03:54 | So, the process you want to look
towards doing is cutting them and then
| | 03:58 | resulting with two halves or shells.
| | 04:02 | If you think about it, this is
the way things are manufactured.
| | 04:04 | So, it's actually got a basis in reality.
| | 04:06 | You would never manufacture
something this way because it is
| | 04:10 | completely enclosed.
| | 04:11 | However, this whole process is called Shelling.
| | 04:13 | We'll cover this on a later chapter.
| | 04:15 | Let's take a look at the final example.
| | 04:19 | This is called the Boolean intersection.
| | 04:23 | Probably the least useful,
but we'll take a look.
| | 04:25 | I am going to pick the surface's first set,
right-click, second set, right-click.
| | 04:30 | So, we end up with only those
volume that was common both parts.
| | 04:36 | So, it's a little abstract way to
think and so I rarely use that, but it's
| | 04:39 | definitely an option if it works for you.
| | 04:41 | Now, there's a final twist that let's
you cycle through all of the options,
| | 04:45 | whether it is union,
subtraction, or difference.
| | 04:49 | So, I am going to turn robot back on,
and then I am going to select this pipe,
| | 04:57 | and then Zoom Selected.
| | 04:58 | So, we could difference it the way
we have done the text on the back.
| | 05:05 | However, it's a very tricky to pick
because this is a pretty small piece of
| | 05:08 | geometry and we'd have to pick it
somewhere internally, and it'd be very
| | 05:13 | challenging to do so.
| | 05:15 | So, I am using a command called Boolean
2 Objects, which is a right-click here.
| | 05:20 | Also located on the Solid menu there.
| | 05:23 | This just allows to cycle through all the
Boolean options with a visual display of each.
| | 05:29 | So, we just pick any two objects.
| | 05:32 | So, I am going to pick that pipe and the box.
| | 05:36 | Now, it's gone ahead and done one of
the Boolean operations. Here's the Union,
| | 05:40 | and you can read this in the command line.
| | 05:43 | If that's what you want, you'd just
right-click or return to accept. However,
| | 05:46 | I am going to hit the other
click to show other options.
| | 05:50 | That's definitely not it there.
| | 05:52 | This is the one we want. This is A-B.
| | 05:54 | Let me cycle through one more time.
| | 05:57 | And there's B-A, so actually it's
just four completely unique solutions.
| | 06:05 | Inverse intersection, there's the first
union, intersection, and this is the one
| | 06:10 | we want, so I am going to right-click to accept.
| | 06:13 | If we go back to Shaded
mode, we can check it out.
| | 06:17 | It's a great way to get details on almost any
shaped surface, from almost any shaped curve.
| | 06:23 | So, these Boolean operations almost
always work great on shapes that are simple,
| | 06:30 | clean and closed, but you will
probably run in the limitations with these
| | 06:33 | commands, especially as your model
becomes more organic or complicated.
| | 06:37 | It's best to think of the Booleans as
an early or even interim process for most
| | 06:41 | modeling projects, unless of course
you only want a sphere or a cube.
| | Collapse this transcript |
| Troubleshooting solids and Booleans| 00:00 | In this video, we'll review common
situations and problems that occur when
| | 00:04 | working with solids and Booleans.
| | 00:06 | I'll also introduce a few extra
solid editing and creation commands
| | 00:10 | that will make it working with these
solids much easier, and hopefully fun.
| | 00:14 | We'll start off by looking at
these two solid objects here.
| | 00:18 | We have a sphere and a box.
| | 00:20 | So, I want to bring up a command
located here on the Solid menu called
| | 00:25 | Boolean Two Objects.
| | 00:26 | Now this will kind of cycle through
all the other options, and give us a
| | 00:30 | visual representation.
| | 00:31 | So, it's really nice if you're not
exactly sure what will work the best.
| | 00:35 | So, the command line asks
us to selects two objects.
| | 00:39 | The first process is called Union.
| | 00:40 | You have to look up here on the command
line to see what it's currently showing you.
| | 00:44 | And each time you click, it's going to
cycle through, so that's Intersection.
| | 00:48 | That's pretty obvious.
| | 00:49 | And when you're subtracting, of
course, there are two directions to go.
| | 00:52 | This is A minus B. That's B minus A.
Here is an Inverse intersection.
| | 00:58 | It looks actually like a Union, but what
it's giving you is two separate pieces,
| | 01:02 | and that intersection is not included.
| | 01:05 | Back to the originals.
| | 01:06 | Let's go ahead and accept those.
| | 01:07 | So, we've cycled through quite a few
options and it really helps to get
| | 01:10 | the visual feedback.
| | 01:13 | Let's talk about the co-planar problem.
| | 01:14 | We've got a series of cubes over here.
| | 01:16 | We can go ahead and just union
these together and see what happens.
| | 01:20 | Let's select them, and I will just select
that Boolean Union right off the main menu here.
| | 01:27 | So, it looks like it completed, but
you probably are noticing, these are
| | 01:32 | overlapping surfaces.
| | 01:36 | It's not 100% clear.
| | 01:37 | I'm just seeing thicker lines along those edges.
| | 01:41 | So, a quick way to get surfaces out of a
joined solid is to use the Explode command.
| | 01:47 | So, let's try that and see what happens.
| | 01:48 | So, it'd located right here in
the main menu, right next to Join.
| | 01:52 | So, it's almost like its opposite, the Explode.
| | 01:55 | I'm going to select this new unioned
solid, hit Enter, and let's take a look.
| | 02:03 | So, sure enough, it has got
a lot of fragmented pieces.
| | 02:06 | Technically, it solved the problem,
but this is not a clean solution at all.
| | 02:10 | And in fact, you would have
problems if you wanted to prototype.
| | 02:12 | Let's undo that with Ctrl+Z. Here is a
more surgical way, if you will, to get
| | 02:20 | these surfaces extracted.
| | 02:22 | Go to the Solid menu and it's
called Extract Surface, so instead of
| | 02:27 | exploding everything into separate
pieces, you get to select which parts are
| | 02:30 | removed individually.
| | 02:33 | So, I'll just go through
here and pick these pieces.
| | 02:35 | I can actually speed things up if I rotate
my view and just draw a box around those.
| | 02:40 | I'm going to right-click, and I want to just
scoot those all the way with the Nudge command.
| | 02:46 | So now, we've removed all those
complicated overlapping pieces.
| | 02:56 | This is still joined together, so we
can cap that off in one single command now as
| | 03:01 | long as it is a flat planar hole that remains.
| | 03:03 | Go to the Solid menu > Cap Planar,
and now if we check it out you'll see our
| | 03:11 | good friends, the single isocurve,
going in one line each direction.
| | 03:15 | That means it's a simple solution as
possible, but that still leaves the bottom.
| | 03:20 | We've got the same situation
as the top, a lot of overlapping
| | 03:25 | interconnected pieces.
| | 03:26 | So, we can fix this in one command.
| | 03:28 | It's located on the Solid menu, kind of
buried, Edit Tools > Faces > Merge All Faces.
| | 03:36 | I'm going to click here on the object,
which is still all joined together, and
| | 03:42 | right-click when done. Check it out.
| | 03:44 | It actually found all the overlaps,
removed them, and put in one single
| | 03:48 | clean surface there.
| | 03:49 | So, it gives you a couple of options to
proceed when surfaces are not Booleaned
| | 03:55 | cleanly, like our first try.
| | 03:56 | Okay, so we have been doing the Boolean
operations with lots of different solids.
| | 04:02 | Let's extend our capabilities here a bit,
and see if they will work with surfaces.
| | 04:06 | So, we've got a curve here
intersecting this Boolean Union shape.
| | 04:09 | I'm going to go ahead and extrude
that, Surface menu > Extrude > Straight.
| | 04:16 | Always make sure you've got plenty
of clearance so it overlaps cleanly.
| | 04:19 | I'm going to come around here, so I can
pick these appropriately, and I'm going
| | 04:25 | to go to the Solid menu and do a Difference.
| | 04:29 | So, we're going to use the old mnemonic,
"mother bites the baby." First set we
| | 04:33 | want to keep, right-click, second set
will be the subtracter, right-click, and
| | 04:39 | we get the exact opposite of what we wanted.
| | 04:41 | I wanted to keep the bottom and trim it
with this curve, but it's kept to top.
| | 04:45 | So, just go ahead and undo this,
and examine a little further.
| | 04:47 | Now, all solids have this property of
closing volume, and therefore having
| | 04:53 | an inside and outside.
| | 04:54 | We can verify this with this command over
here called Analyze Direction on the main menu.
| | 04:59 | I'm going to turn that on.
| | 05:01 | These are also called Surface Normals,
and they typically point out to tell you
| | 05:05 | which way is the outside of a closed entity.
| | 05:08 | Now, in a solid like this, it's obvious
which is inside and outside, whereas for
| | 05:13 | a surface, who's to say which is up
and down, or which is inside and outside.
| | 05:17 | It's not really
enclosing anything at this point.
| | 05:20 | I'm going to turn on the Surface
Normals, and notice that they are pointing out.
| | 05:23 | That kind of gives us a clue
that that is the side that was used to
| | 05:27 | subtract. Not a problem.
| | 05:29 | We can just click on the surface
anywhere and each time we click, it will flip
| | 05:34 | them back the other way.
| | 05:36 | Here is the way we started.
| | 05:37 | The other way to do it is just click
on this Flip option in the command line.
| | 05:40 | Then when you're done, you would
want to right-click to accept that.
| | 05:44 | So, we've change the
direction to the exact opposite.
| | 05:48 | Let's try that Boolean command one more time.
| | 05:50 | Solid > Difference, here is the mother,
right-click, and then the baby, right-click.
| | 05:56 | Ah! It worked.
| | 05:57 | So, if you experience difficulties with
the Boolean operations, definitely check
| | 06:03 | those surface normals, see which way they are
pointing, and flip them. It's a quick step.
| | 06:06 | Now, the final Solid command is pretty cool.
| | 06:10 | We've got a surface here almost completed.
| | 06:12 | I've got a polysurface there, a couple
of flat planes defining the other edges.
| | 06:18 | And I'm going to go ahead and complete
this roof structure here by selecting
| | 06:23 | three curves, and just make a Surface > Loft
to close them off. You can accept all the defaults.
| | 06:29 | The trick here for this command to
work successfully is you have to make sure
| | 06:34 | there's 100% overlap on all of
these planes, whether you four, five, six,
| | 06:40 | seven, or as many as you want.
| | 06:42 | And it looks like we're in good shape.
| | 06:43 | It's under the Solid menu and it's got
kind of a vague description, Create Solid.
| | 06:52 | So, we're going to select all of the
intersecting surfaces, or polysurfaces, and
| | 06:57 | then it will hopefully,
automatically trim them and join them.
| | 07:00 | So, let's pick those top
surface, flat plane, flat plane.
| | 07:08 | Another reason I'm in Perspective,
I can always verify everything is
| | 07:11 | selected, and no surprises.
| | 07:13 | Right-click to accept, bingo!
| | 07:18 | That was a lot of extra
steps we didn't have to take.
| | 07:21 | And you also note that I have generated
this entire surface, each face that is,
| | 07:26 | with curves so if there were any
changes or revisions you could easily
| | 07:30 | regenerate them,and do that one command again.
| | 07:33 | A final note - this is a great little
tip to verify that this is in fact closed.
| | 07:38 | Now, it's simple enough.
We could just assume it is.
| | 07:40 | However, if you've done a lot more work
to a surface and need to do a quick check,
| | 07:44 | I'll show you where to locate that.
| | 07:45 | We're going to go up to Analyze >
Mass Properties, and then select Volume.
| | 07:51 | So, I really don't care what the Volume is.
| | 07:54 | I'm just verifying that it gives me a number.
| | 07:57 | And it does give me a number. That
means it's enclosed, even though it doesn't
| | 08:00 | directly stipulate that.
| | 08:02 | So, if I were to repeat this one last
command, extract a single surface from
| | 08:07 | the top, get rid of it, and try that
command one more time, show the Volume,
| | 08:14 | you get the error message,
| | 08:15 | "objects are not closed."
| | 08:17 | And so, it will try to do an
approximation, but this is your warning that there
| | 08:20 | is some part, possibly even invisible
or around the backside, that is not
| | 08:24 | closed, and therefore you
need to go address that.
| | 08:25 | So, the use of Solid commands with
surfaces greatly expands their usefulness.
| | 08:32 | However, you need to be aware of the
inside versus outside situation, which can
| | 08:36 | cause unexpected results, especially
on these highly edited objects where the
| | 08:40 | normals can be flipped.
| | 08:42 | When those problems do crop up, start
your investigation using the Analyze
| | 08:45 | Direction command, and verify objects
are both closed, if they are supposed to be,
| | 08:49 | and that the normals are pointing
outward, or the direction you want them to be.
| | Collapse this transcript |
| Editing with the solid edit tools| 00:00 | In this video, we will cover two of
the three Solid Editing tools, focusing
| | 00:04 | on edges and faces.
| | 00:06 | These command allow us to move, rotate,
and scale either a face or an edge, but
| | 00:11 | as you might have guessed by now, these
work best on simple solids and become
| | 00:15 | limited on more complex forms.
| | 00:17 | But you'll be able to create some pretty
cool if warped forms in just a few steps.
| | 00:22 | I'm going to zoom on the
Perspective viewport here.
| | 00:25 | I'm going to start with this box here,
and see how close we can get to this
| | 00:30 | referenced deformed box back there.
| | 00:33 | First focus will be on faces.
| | 00:35 | I'm going to open up the Solid Editing
Tools here, not quite there as a submenu,
| | 00:43 | and so we're going to pull these down.
| | 00:44 | So, here is where we'll find all
the Solid Surface and Edge tools.
| | 00:48 | I'm going to start off by splitting
this top-face, so that I can make some
| | 00:54 | extrusions and moves.
| | 00:55 | So, I'm going to Split planar face.
| | 00:58 | I'm going to select the top.
| | 01:00 | Now I need to give it an axis on
which I'm going to be splitting on.
| | 01:04 | I want to go down the center here.
| | 01:06 | So, I want to make sure
my midpoint is snapped on.
| | 01:09 | Turn off anything else.
| | 01:11 | That should find a midpoint of the edge there,
and the same midpoint in the opposite side.
| | 01:15 | It should be ready for an extrude.
| | 01:17 | Let's extrude that face that
has been split out of the top.
| | 01:23 | Select it, right-click, and move it up.
| | 01:26 | And let's snap back to this other
geometry, so we can get as close as possible.
| | 01:31 | So, that only extruded this
half, because it was split.
| | 01:34 | You'll see the seam running down there.
| | 01:36 | So, those could be joined later,
or left alone if you want to do
| | 01:38 | more modifications.
| | 01:40 | Let's split this top one more time
but maybe a little closer to the edge.
| | 01:45 | So, in this case, I'm not going
to be snapping to the midpoint.
| | 01:48 | I'm going to use the sometimes dangerous
Near snap, and I'll also do Perpendicular.
| | 01:54 | So, let's start the Split planar
face, select the top face, Enter.
| | 02:01 | I'm going to pick a point right on here.
| | 02:03 | Now if we don't have Near, it probably
is not going to find this edge and I am
| | 02:07 | going to be moving out in space.
| | 02:08 | You have to have some snapping on there.
| | 02:11 | So, I'm going to use Near.
| | 02:13 | I probably don't want Near for this
other side. Perpendicular, although Near
| | 02:18 | would let you although.
| | 02:19 | I'm not going to go that direction,
because it gets very limiting.
| | 02:22 | So, we are going to try and keep this
rectilinear for as long as possible.
| | 02:26 | Another split was done.
| | 02:27 | Let's extrude that split face upwards,
select, right-click, and I'll just try
| | 02:33 | to snap it to the background object.
| | 02:36 | So, that covers splitting and extruding.
| | 02:40 | Let's try to move a face and see the
difference between a move and extrude.
| | 02:45 | Come around here. Now since I have
merged these all together, they have the
| | 02:48 | seam, so I can actually
move this one face down here,
| | 02:52 | and leave the adjoining face is
alone, and that will be critical.
| | 02:53 | So, I'm going to select the Move Face.
| | 02:56 | We've a lot of options here.
| | 02:59 | And then most of these icons look very
similar, and so feel free to move around
| | 03:03 | and let the tooltips pop-up
and tell you. Let's Move Face.
| | 03:10 | Select and then Return.
| | 03:11 | I want to be a little bit careful here.
| | 03:14 | I'm going to first select the point
to move from, and we can get out of
| | 03:19 | alignment pretty quick.
| | 03:20 | This actually probably wouldn't work.
| | 03:21 | It's too distorted.
| | 03:22 | So, I'm going to hold down
the Shift, and move it out.
| | 03:26 | Shift will be constraining
it to an orthogonal direction.
| | 03:30 | So, that worked just fine.
| | 03:31 | You'll see the surface just extended.
| | 03:34 | This got bent and that got
extended with a new angle.
| | 03:37 | So, that's the difference
between a Move and Extrude.
| | 03:40 | The Move tends to pull other surfaces with it.
| | 03:43 | The Extrude is a little bit more limited.
| | 03:46 | Let's explore some edge commands.
| | 03:48 | I'm going to select the
Move Edge command over here.
| | 03:54 | So, this will be an edge that is
connected to those two faces but also onto the
| | 03:59 | other two on the sides.
| | 04:01 | And so this is a little bit tricky.
| | 04:02 | In Perspective, it may not even work.
| | 04:04 | So, I'm going to switch over to make
this move in one of the Side viewports.
| | 04:09 | The point to move from, I'm going
to snap and then I kind of angle out.
| | 04:14 | And notice it's snapping to things beyond.
| | 04:17 | So, I don't want that.
| | 04:19 | I'm going to hold-down the Alt and the Shift.
| | 04:22 | The Alt will turn off all the snaps.
| | 04:24 | The Shift will keep it moving orthogonally.
| | 04:25 | So, you're perfectly free to mix and
match some of these Override Snaps.
| | 04:32 | Go back to Perspective, so we've just
moved that edge which is connected to two
| | 04:37 | surfaces but also the two sides.
| | 04:40 | Let's finish up with an edge scale.
| | 04:42 | Here is the Scale edge.
| | 04:46 | We're going to pick this top edge here.
| | 04:48 | Before I go any further, I'm going
to double-check some of my snaps.
| | 04:50 | I'm going to deselect Near.
| | 04:53 | Because I want to be a little more
precise and go to Mid with the End.
| | 04:56 | Okay. I'm going to hit right-click to accept.
| | 05:00 | I'm going to start in the center.
| | 05:02 | That's the midpoint, and then the first
reference point I'm just going to snap
| | 05:07 | on the Eed, and then as you move
inwards it's scaling down. As you're moving
| | 05:13 | outwards it scales out.
| | 05:14 | Well, it can definitely cause some
problems if there is too much complexity
| | 05:18 | along the other sides.
| | 05:19 | So, let's make them a little bit narrower.
| | 05:21 | So, finally, if you're complete now,
we have a lot of co-planar faces in this
| | 05:30 | model, especially these
two I'm seeing right here.
| | 05:32 | We could merge them together.
| | 05:34 | That command is accessed via
the Merge all co-planar faces.
| | 05:38 | So, that prevents us from having
to go around and find any two pairs.
| | 05:41 | It will find all of them for us in one command.
| | 05:43 | So, select and right-click, and it looks
like it's cleaned up just a little bit.
| | 05:49 | This is now one much cleaner, simpler
surface, although we have lost the ability
| | 05:53 | to move the parts above and below separately.
| | 05:57 | So, sometimes you want to keep
them split to allow for that.
| | 05:59 | But this method of solid modeling is
both fun and unfortunately pretty limiting.
| | 06:04 | It does work great if you need low
detailed blocks for relatively simple forms,
| | 06:08 | like a mass model for a city scene.
| | 06:11 | But you also rendered the problem of
editing faces before the model gets very
| | 06:14 | complicated, as the constraints
of the interconnected faces will prevent
| | 06:18 | major modifications.
| | Collapse this transcript |
| Creating and transforming holes in solids| 00:00 | In this video, we'll cover the third
of the three Solid Editing tools, Holes.
| | 00:05 | Rhino has a host of tools that will let us
punch holes, move holes, and delete holes.
| | 00:09 | The standard hole is a circle by
default, but I'll also show you how to make a
| | 00:12 | hole literally any shape you can draw.
| | 00:15 | First though, we'll start
with a round default option.
| | 00:17 | Now remember, this is a
quick visualization technique.
| | 00:20 | It's typically not done
towards the end of a project.
| | 00:24 | Let's start off by finding
where the Hole commands are located.
| | 00:26 | It's in the Solid menu,
under Edit tools, under Holes,
| | 00:31 | here is all of the commands here.
| | 00:32 | Now it's buried quite a ways so we are going
to skip that, and it pop open the Holes toolbar.
| | 00:37 | Now all of the toolbars in the
application can be accessed, even if they are
| | 00:41 | not visible, by right-clicking in a
blank area here and then just scrolling down
| | 00:46 | until you see the toolbar in question.
| | 00:48 | I am going to click on Holes.
| | 00:49 | It pops up and just select
anywhere to close that back down.
| | 00:53 | And this will stay open unless we dock it.
| | 00:57 | Let's start by trying with some round
holes and we select a target surface and
| | 01:03 | note how it kind of tracks
perpendicular to the surface.
| | 01:06 | Let's go and select somewhere and
then right-click because you can add
| | 01:10 | additional ones. So I am going to
say I am done by right-clicking.
| | 01:14 | Now, this is a solid command, but I had
a surface there so I get kind of a weird
| | 01:18 | artifact that this hole keeps going down.
| | 01:21 | This next hemisphere is closed.
| | 01:23 | Let's see how it works
with the same example hole.
| | 01:29 | Right-click. So that's the result you are after.
| | 01:31 | Where it goes through both sides
and is nice enclosed and clean.
| | 01:35 | So, when I select this object,
it's all still closed together.
| | 01:38 | So, make a few more holes on some
more planar surfaces and notice this is a
| | 01:49 | little bit warped, but it's
still tracking perpendicular.
| | 01:51 | I am going to make several holes here in a row.
| | 01:54 | So, you can make multiples until you're done.
| | 01:56 | They are all temporarily placed.
| | 01:58 | When you finish, you are going to
right-click, and then they're punched through.
| | 02:02 | Now, there is also a way to
reverse by using the Delete Hole.
| | 02:08 | So, let's pick one of the
edges and they close back up.
| | 02:12 | Now, let's make a few custom
holes and get a little bit tricky.
| | 02:16 | I've created this shape in the letter H.
Escape to finish the last command.
| | 02:22 | I am going to select this letter H,
which stands for Hole, and then select the
| | 02:26 | second icon and do the Make Hole.
| | 02:29 | So, any surface I select, it wants
to project through and I can actually
| | 02:35 | change the depth here.
| | 02:37 | We'll do that later, but I am just
going hit Enter to go all the way through.
| | 02:41 | So, let's verify that. It looks good.
| | 02:45 | Let's try a couple of other tricks.
| | 02:46 | I am going to move this hole.
| | 02:47 | This is the Move Hole command here
and just selects one of the edges.
| | 02:54 | We have to give it a point to move
from so I am just going to click on that
| | 02:58 | corner and move it to the side, and then
we'll try something else. A little rotate the hole.
| | 03:05 | So, I am going to select it same way,
pick a rotation center, snapping to the endpoint.
| | 03:18 | There is the
rotated hole after we've moved it.
| | 03:20 | Now, let's try generating a hole
that doesn't go all the way through.
| | 03:25 | So, I am going to come over to this
hexagon. I am going to use the Create or
| | 03:32 | Make Hole command right here. I'll select
the surface and this is probably best
| | 03:40 | viewed on one of the side viewports.
| | 03:42 | So, I am going to come over to the right and
just make it go about a third of the depth.
| | 03:46 | So, it's extremely handy.
| | 03:51 | It does not go all the way through.
| | 03:53 | And now to finish this off, I am going to
make one more hole inside of the other hole.
| | 03:59 | So, I am going to start with a round
hole, pick that surface there, right-click
| | 04:05 | to accept, and there you go, a double hole.
| | 04:10 | So, the various Hole commands allow
for fast and easy creation and editing.
| | 04:14 | Just make sure to create back up
geometry in case you want to revert to
| | 04:17 | multiple steps in the past.
| | 04:19 | Remember, the Undo command does not
work after you save and close Rhino.
| | 04:23 | So get in habit of saving backups
internally prior to major changes.
| | Collapse this transcript |
|
|
8. Modeling AidsUnderstanding Rhino's modeling aids| 00:00 | In this video, we'll explain how important
modeling aids are by showing two examples.
| | 00:05 | The first model uses clean and simple
curves, thanks to the use of various
| | 00:08 | modeling aids, so that
their accuracy is guaranteed.
| | 00:11 | The second model was built
without the modeling aids.
| | 00:13 | We'll see just a few of the kinds of
problems that can crop up early and only get worse.
| | 00:18 | So, our goal here is to create
clean curves and close curves.
| | 00:23 | Let's take a look at these two examples.
| | 00:24 | I'm just going to select
them both, and then hit F10.
| | 00:28 | It's a shortcut, but we're just
turning on the control points.
| | 00:31 | So, in our good example, you'll note
that the control points are nicely spaced
| | 00:36 | and are a bare minimum of
those needed to define the form.
| | 00:39 | Let's take a look at the bad example.
It pretty much looks the same overall, but up close,
| | 00:46 | there's some serious problems.
| | 00:49 | Now I want to get even tighter here,
so I'm going to do a little trick.
| | 00:52 | I'm going to highlight these three
control points, and then use the Zoom
| | 00:56 | Selected command, so I can really pull in.
| | 00:59 | Now here you see a little kink,
which is going to be a problem later.
| | 01:03 | So, let's leave that alone for a minute,
and the other problem we have on the
| | 01:08 | opposite side is a gap.
| | 01:10 | These are both very easy mistakes to make.
| | 01:12 | So, let's see what kind of problems
they cause a little bit later, and
| | 01:17 | then we'll do the fix.
| | 01:18 | I'll zoom back out, turn the control
points on, and for example, I'm going to
| | 01:24 | make a solid out of both shapes, which will
be capped and a fillet placed on the edge.
| | 01:30 | So, I am going to select the shape, go
to the Solid menu > Extrude Planar Curve >
| | 01:34 | Straight up, go ahead and type in 50 ,
and looks like we have a nice clean solid
| | 01:41 | as a result, just double check here.
| | 01:43 | I'm going to go ahead and Fillet the edge,
so same menu Solid, lower level, Fillet Edge.
| | 01:50 | I am going to select that edge along
the top and type in a Radius of 2,
| | 01:55 | hit Enter, a little bit of a preview, hit
Enter one more time, and it looks very clean.
| | 02:02 | So, we've got a solid which
is closed, no gaps anywhere.
| | 02:07 | Let's try the same command with the
bad curve. Now select it, go to Solid >
| | 02:12 | Extrude Planar > Straight,
type in 50, notice there's no cap.
| | 02:19 | It cannot be capped with
these two problem areas.
| | 02:22 | We have a gap and the loop.
| | 02:25 | So, let's go ahead and undo this. I'm
just going to delete the surface, select,
| | 02:28 | hit the delete key, turn the control
points on, see if we can do a little
| | 02:32 | cleanup work on here.
| | 02:33 | I'm going to select them and
Zoom Selected, so we get in close.
| | 02:40 | Now on most curves we can go ahead and
select the points and just hit the Delete
| | 02:44 | key to get rid of them.
| | 02:45 | So, we basically simplify the curve,
which is our ultimate goal, and it is so
| | 02:49 | close, so good news.
| | 02:53 | The other problem area where we had the
gap, a couple of ways to close it, but I'm
| | 02:56 | just going to drag and snap to the other side.
| | 03:00 | The Rhino knows that this is closed
everywhere else, so when I have the two
| | 03:03 | endpoints connected,
it is now closed everywhere.
| | 03:06 | Hit F11 to turn control
points off. I'm going
| | 03:10 | to go ahead and try to make a
Solid out of it. Type in 50.
| | 03:18 | Looks good.
| | 03:19 | Let's try the Fillet. Select the edge.
| | 03:24 | If you select the wrong edge, you can
just hit the Ctrl+Click to deselect and
| | 03:29 | then pick another curve.
| | 03:30 | That happens a lot, right-click to accept,
and it looks like we've fixed the problem.
| | 03:38 | So, the quality and accuracy of your
curves directly affects the model for a
| | 03:41 | long, long time afterwards, actually forever.
| | 03:45 | So, it's always worth to slow down a
bit and make sure that every point is
| | 03:48 | connected to where you
assumed that it was being connected.
| | 03:51 | A few minutes of care upfront using
the modeling aids will potentially save
| | 03:55 | hours of repair work later on the final model.
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| Working with the Grid Snap modeling aid| 00:00 | In this video, we'll review the
first of Rhino's modeling aids, in order of
| | 00:04 | location on interface, called Snap.
| | 00:07 | It's important to note that this
modeling aid is snapping to the grid, so
| | 00:11 | actually it might have been better called
Grid Snap, but it's not and don't ask me.
| | 00:17 | The point is, do not be confused
between Snap to the grid and the Osnap,
| | 00:22 | a couple of options down.
| | 00:24 | That is snapping two objects,
which we'll cover a little bit later.
| | 00:27 | We're also going to check the control
panel, and see where you can make changes
| | 00:30 | to the grid's appearance.
| | 00:31 | Let's start off by
maximizing the Front viewport.
| | 00:36 | I'm seeing a lot of extra grid lines here,
so I'm going to modify those settings
| | 00:40 | by going to tool's options, and we
have the minor grid lines set to 1 unit.
| | 00:46 | I'm going to change that to 10. The grid
will automatically update. A little tip here:
| | 00:52 | you want to have the Snap spacing the
same number. Otherwise it's snapping to
| | 00:56 | lines you cannot see. Hit OK to accept.
| | 01:00 | I've got some reference geometry in the
scene to help guide me building this robot head.
| | 01:05 | So, let's start off with a Polyline
command, and I haven't turned the Grid on,
| | 01:10 | so I'm not able to Snap to
any of those intersections.
| | 01:14 | Let's turn that on.
| | 01:14 | We can go down to the toggle, and if
it's bold, it will now Snap to those
| | 01:21 | points. The shortcut for that is F9.
| | 01:24 | I'm just going to draw the head, so
this should end up being symmetrical if we
| | 01:31 | count an equal number of grid
spaces each direction of the axis.
| | 01:34 | Now note we can still do
further editing if we highlight it.
| | 01:39 | Turn the control points on with F10 and
| | 01:43 | just drag those two other points on
the grid, put it back to the original
| | 01:48 | position, turn it off with F11.
| | 01:51 | Let's continue with another
polyline and draw the robot mouth.
| | 01:58 | So, we've only drawn few lines, but
we've made several important first steps.
| | 02:02 | First, we know how big the model is,
since we set each grid square to 10 units,
| | 02:06 | as opposed to some other number.
So we've avoided surprises later.
| | 02:11 | Secondly, we made our symmetry
accurate since we just counted equal number
| | 02:14 | of grid units to each side of the
origin, and finally, we created geometry
| | 02:19 | that's clean and closed.
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| Using the Ortho modeling aid| 00:00 | Next up, we'll review the second of
Rhino's modeling aids in order of its
| | 00:04 | location on the interface called Ortho.
| | 00:07 | The Ortho modeling aid or Ortho Snap
is simply an angle constraint that is
| | 00:12 | used to verify that any geometry being
created or moved is done so along a specified angle.
| | 00:18 | Let's take a look where it's located.
Here is the label Ortho.
| | 00:21 | We click it to activate it and click it
again to turn it off, so it's just toggle.
| | 00:27 | You can also use the shortcut F8 key.
| | 00:29 | It's the same result.
| | 00:32 | I'm going to leave the settings from
the file to file and go ahead and just try
| | 00:35 | to draw lines and see what happens.
| | 00:36 | So, I'm going to go over here and draw
a Line Segment with a right-click, and
| | 00:41 | I'm going to check one more
setting over here at the Osnap.
| | 00:45 | I want to start it at this point, so
I'm going to verify that that is currently
| | 00:50 | set to a Point object snap, which
we'll discuss later in the chapter.
| | 00:54 | So I am snapping to the point.
| | 00:59 | Since Ortho is not on,
I can freely draw at any angle.
| | 01:04 | I'm going to hit the F8 key to turn it back on.
| | 01:07 | Now I'm snapping every 90 degrees,
and that's the default setting.
| | 01:11 | So, I'm going to escape out of
this command and go change that.
| | 01:13 | I'm going to go to the Options Button,
and under Modeling Aids, you can see the 90.
| | 01:20 | I'm going to change that over
to 45 degrees, see if that helps.
| | 01:26 | Go back to Line Segments,
which is a right-click.
| | 01:28 | We're snapping to the point.
| | 01:32 | Now as I go up it's constrained to
vertical and jumping every 45 degrees,
| | 01:37 | so that can go in any direction.
| | 01:40 | I'm still not happy with that angle.
| | 01:42 | I'm going to escape out of this
command and go one more time back to the
| | 01:45 | Options, type in 30, hit OK, and
then do one more line segments
| | 01:59 | That looks about right.
| | 02:00 | Now you could additionally change that
to a smaller increment, which would be
| | 02:06 | very tempting, such as every five or
ten degrees, but I don't recommend going
| | 02:10 | any smaller than about 30 because
it's way too easy to make a mistake.
| | 02:13 | 20 degrees will look almost like 25 degrees.
| | 02:16 | You won't notice it till much later.
| | 02:18 | One more shortcut tip. I'm going to
draw another segment, just as a test,
| | 02:25 | turn the Ortho snap off.
| | 02:29 | Now I can activate it any time just
by holding down the Shift key.
| | 02:33 | So notice it activates
without going down to click on
| | 02:39 | the Ortho button, and escape out of that.
| | 02:42 | So, the Ortho Snap is a great example
of a very simple and sometimes easy to
| | 02:46 | forget modeling aid that's often overlooked.
| | 02:49 | Another nice feature of the Ortho Snap is
you don't even need to turn it on when needed.
| | 02:53 | Similar to many 2D programs, you can
always hold down the Shift key when drawing
| | 02:57 | or moving and the Ortho Snap will
be enacted just for that command.
| | 03:01 | It's a nice shortcut that
will greatly speed your workflow.
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| Using the Planar modeling aid| 00:00 | Next up, we'll review the third of
Rhino's modeling aids, in order of location
| | 00:04 | on the interface, caller Planar.
| | 00:07 | It's important to remember that all
geometry is created on the construction
| | 00:09 | plane, unless you are
snapping to another entity.
| | 00:13 | So, what happens if you need to draw
off the construction plane and there
| | 00:17 | is nothing to snap to?
| | 00:18 | Well that's when you use the
Planar modeling aid or snap.
| | 00:21 | Let me show you where it's located first.
| | 00:23 | It's right here along the bottom,
labeled Planar, and when you click it once
| | 00:28 | it bolds to mean it's on and since it's a
toggle, you click it again to turn it off.
| | 00:32 | I'm going to go ahead and leave that
off just for this first part of the demo.
| | 00:35 | I'll maximize Perspective viewport,
by a double-click, and we're going to draw
| | 00:40 | a short line segment.
| | 00:42 | We'll use the Polyline command.
| | 00:44 | I'm going to go ahead and
do one more setting here.
| | 00:48 | Going to Osnap and just give it somewhere
to connect to, one of the end points.
| | 00:53 | Okay. So, I'm going to snap to the corner
of the robot's head, just going to draw a
| | 01:00 | short distance, and click.
| | 01:02 | So, it looks like everything worked fine,
except with Planar off and nothing to snap to.
| | 01:07 | You'll note that it goes way back in
the distance to the nearest construction
| | 01:13 | plane point it could find.
| | 01:14 | That's not what we wanted.
Just go ahead and delete that.
| | 01:18 | I'm going to turn Planar back on,
repeat the Polyline command, snap to the
| | 01:24 | corner, and now I'm forced to the
same exact height of wherever I started.
| | 01:31 | So, the Planar snap is very handy
in situations where you need to draw
| | 01:38 | elements off of the construction plane,
but it's definitely the least used of
| | 01:42 | the four modeling aids.
| | 01:43 | More often, you might find it easier to
draw or build geometry directly on the
| | 01:47 | construction plane where you have more
control and can use the grid and then move
| | 01:51 | the finished geometry to its final location.
| | 01:54 | Alternatively, if you're going to be
doing extensive work, then you'd want to
| | 01:58 | move the construction plane up to
the level it is needed and avoid using
| | 02:01 | Planar all together.
| | Collapse this transcript |
| Incorporating the Osnap modeling aid into your workflow| 00:00 | In the fourth of Rhino's primary
modeling aids, we'll review the most important one,
| | 00:04 | the Osnap or Object Snap.
| | 00:07 | I've mentioned that the goal is to
make our curves clean and accurate.
| | 00:11 | So, by far, the best way to
do that is by using the Osnap.
| | 00:15 | Yes, there are 10 different settings
we can use, but fortunately they are all
| | 00:19 | clearly and intuitively labeled. Even
better, you should only need to use a few
| | 00:23 | at any one time during the course of your work.
| | 00:25 | So, I'm going to be working on this
robot's neck and I'm going to explore
| | 00:29 | couple of different design options by
building construction or practice curves.
| | 00:32 | We'll actually pick the final design
later and trim and join the curves together.
| | 00:37 | Another note, these Osnaps will work
on any kind of geometry, which includes
| | 00:41 | curves, surfaces or edges of solids.
| | 00:43 | But for this chapter, we'll stay focused
primarily on curves with maybe one snap
| | 00:47 | to a surface at the very end.
| | 00:49 | Our Osnap toggle is located here at the bottom.
| | 00:52 | I'm going to go ahead and click
on it and here's all the options.
| | 00:55 | Now this is so critical.
| | 00:57 | I'm going to keep this open and dock it,
so I grab the title nar there, move it
| | 01:01 | towards one of the four
sides, and you can position it.
| | 01:05 | Now if you are counting, you would notice
there are ten different types of Object Snaps.
| | 01:09 | End point, Near, Regular point,
Mid point, Center point, etcetera.
| | 01:15 | However, the last three are
more like settings for the snaps.
| | 01:20 | We have Project, Smart Track,
and Disable, but probably an easier way to
| | 01:26 | disable is just by hitting the
shortcut Alt key in the middle of a snap.
| | 01:30 | Let's start by drawing a line
using the End and Center snap.
| | 01:36 | So, I'm going to click on End
to activate that, and Center.
| | 01:40 | I'm going to maximize the Front
viewport, double-click on the label, and I'm
| | 01:45 | also going to turn off the Grid here.
| | 01:46 | So, it's little less clutter.
| | 01:47 | That's the F7 shortcut key.
| | 01:49 | I'm going to draw a Polyline and
just draw it from one of the end points.
| | 01:56 | I'm going to zoom in here a bit and
notice how it jumps to the center of the
| | 02:02 | circle but not when I'm in the
center. Only when I'm close to the edge.
| | 02:07 | It's actually for your benefit,
because if you have a lot of circles close
| | 02:10 | together, you may pick the wrong center point.
| | 02:12 | So, by selecting the center by going
to one of the edges, it jumps to the
| | 02:17 | mathematical center for you.
| | 02:18 | Okay let's draw another
line with two different Osnaps.
| | 02:22 | I'm going to pan out,
turn off End. Turn on Mid.
| | 02:28 | So, you should have only Mid
point and only Perpendicular.
| | 02:33 | Start the Polyline command one more
time, and I'm going to just kind of
| | 02:37 | eyeball the center of this.
| | 02:39 | Make sure you see the word pop up
anytime you do an Osnap, so it says Mid, and I
| | 02:43 | can now click safely, and it's
exactly on the line, and coming over to the
| | 02:47 | center line here, and
there is the perpendicular.
| | 02:49 | So, that line is now exactly touching
from one side at a midpoint and on the
| | 02:55 | other side to an exact 90 degree perpendicular.
| | 02:58 | Let's try another two options.
| | 03:00 | I'm going to turn those two off.
| | 03:02 | And we are going to go from
Point object to a Tangent.
| | 03:07 | Another Polyline, so
here is a Point object here.
| | 03:14 | So, we are going to get close so that
Rhino can determine where that tangent is.
| | 03:20 | So, we actually have two
locations of tangent on any circle.
| | 03:24 | We can go to either side,
and then you click to accept.
| | 03:28 | I'm going to turn those two
Osnaps off and try another set.
| | 03:35 | This will be using the Int for
intersection and my least favorite Osnap,
| | 03:42 | the Near, which is very handy but also
very dangerous and I'll show you why.
| | 03:45 | I'm going to go ahead and start the
Polyline and let it find the intersection.
| | 03:51 | That's pretty handy and now it's drawing
a Near snap to anywhere along that curve.
| | 03:57 | So, it's exactly going to touch, but
it's not that accurate as far as the angle
| | 04:01 | or if it's perpendicular.
| | 04:02 | So, that's the good part of the Near.
| | 04:06 | Here's the bad part. A lot of times
people forget, leave this on, and they end up
| | 04:10 | with a lot of inaccuracies in their file.
| | 04:12 | They think they are snapping to an End
point or Midpoint, when it's actually
| | 04:15 | using Near and just getting kind of close.
| | 04:18 | So, be careful. If you use Near you
want to turn that off pretty quickly.
| | 04:22 | So, for the last Osnap example, I'm
going to turn on Knot and Quadrant.
| | 04:29 | So, a Knot is just a factor of surface
geometry where there is a seam or an edge.
| | 04:36 | Go ahead and draw the Polyline, and
we'll click to the tip of this cone, and
| | 04:42 | there it found the seam at the top.
| | 04:44 | And then we'll go back to the circle
here in the middle and notice that since it
| | 04:50 | was drawn correctly it's got
quadrants at four different intervals.
| | 04:57 | Finally, I'd like to show you some of
these same settings available inside geometry.
| | 05:02 | Go to the Curve menu, select Line,
and then select Tangent to 2 Curves.
| | 05:09 | So, here we can draw a curve and have it
be tangent to two other curves, and not
| | 05:14 | have to worry about the snaps at all.
| | 05:18 | Reading the command line, I'm going to
select the first curve near where I want
| | 05:21 | it to be tangent, and then the second
curve, and it calculates the solution.
| | 05:29 | Take a look at all of the
many types of lines here.
| | 05:32 | You might want to explore this a little
bit further because there are a lot of
| | 05:35 | options to draw accurate curves
from a lot of different situations.
| | 05:39 | The use of Osnap is critical to the
creation of simple and clean lines.
| | 05:43 | In fact, you will probably lose all
accuracy without Osnaps, and since we are
| | 05:48 | building surfaces from most of these
curves, it becomes even more important to
| | 05:52 | get the curves just right.
| | 05:53 | Even if you are building quick study
models it's still worth the effort to slow
| | 05:57 | down just a little bit and use your Osnaps.
| | 06:00 | A few seconds here and there as you
are designing and building can save many
| | 06:04 | hours of problems towards the end of a project.
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| Understanding the Project and Smart Track modeling aids| 00:00 | In this video, we'll continue to talk
about the final three options or modes
| | 00:04 | that appear in the Osnap toolbar, which
we will keep open and docked for the
| | 00:08 | remainder of these lessons.
| | 00:10 | The reason I'm calling them modes is
that they work in conjunction with the ten
| | 00:13 | other Osnap options.
| | 00:16 | In fact, if you don't have any Osnap
option selected, then neither the Project or
| | 00:20 | Smart Track are of much use.
| | 00:22 | So, we are closing in on the final
design for this next shape, so there is less
| | 00:26 | geometry in the way.
| | 00:27 | I'm going to draw the first
curve here, using the Project option.
| | 00:31 | So, this works by searching for an Osnap
anywhere and then forcing that point to
| | 00:37 | be drawn flat on the construction plane.
| | 00:40 | Let's start by making sure the End
point Osnap is selected, which it is, and
| | 00:46 | we're going to draw a Polyline from
this intersection, and I want to, in the
| | 00:53 | Front viewport, just draw
to that perceived center.
| | 00:56 | So, notice that it is
searching for an intersection.
| | 01:00 | It goes to the back end of that line.
| | 01:02 | It looks fine from the Front viewport,
but in the Perspective viewport, it's not
| | 01:07 | exactly where I wanted it.
| | 01:08 | So, I'm going to hit Delete, and we're
going to select the Project option and do
| | 01:13 | the exact same line from the same two points.
| | 01:16 | Polyline from the intersection here,
and then when I click on this point that I
| | 01:23 | prefer, notice what the
Perspective window is doing.
| | 01:26 | It's finding the End point snap but
then flattening it back out to the Front
| | 01:30 | view construction plane.
| | 01:34 | Next up, we'll talk about the Smart Track.
| | 01:37 | I'm going to maximize this Front view
by double-clicking the name, and here
| | 01:41 | is the final geometry.
| | 01:42 | We'll just take a look for
reference before we build our own.
| | 01:44 | Notice how comes down from the end
point and that it aligns with this reference
| | 01:49 | geometry here, and the final
edge aligns with the mouth up above.
| | 01:53 | That's what we want to recreate.
| | 01:54 | I'm going to go ahead and hit Delete.
| | 01:59 | Turn on Smart Track, so this
creates a series of construction lines
| | 02:05 | that fly out in several different
directions looking for intersections to align to.
| | 02:08 | Let's get this geometry out of the way.
| | 02:11 | I'm going to select and hit Delete.
| | 02:12 | I'm going to go to the Polyline command,
and just start form this End point.
| | 02:20 | Now it's going to search for typically
Ortho's, which are at every 90 degrees.
| | 02:27 | Without clicking just come
over here and have it take a peak.
| | 02:31 | By that, I'm just pointing it, the End
point lights up, and I come back and now
| | 02:36 | I found an intersection that's got an alignment.
| | 02:38 | So, let's do it one more
time. I'm going to move.
| | 02:41 | I've clicked, and I'm
going to continue over here.
| | 02:44 | Just found an angle.
| | 02:45 | Now I'm going to go do the same thing
up here and just let it rest without
| | 02:49 | clicking to indicate that's my Reference point.
| | 02:52 | So, I'm going to come straight back down.
| | 02:55 | It will find the Ortho
projection from those last two points.
| | 02:59 | So, I can click again and then
complete it here at the bottom.
| | 03:04 | Right-click to exit.
| | 03:05 | Now I'm going to turn off Smart Track
and just to explore little bit of
| | 03:10 | a free form neck shape by using
the Control Point Curve over here.
| | 03:13 | I'm going to go ahead and turn on
couple of these object snaps, probably way
| | 03:19 | more than you ever would.
| | 03:20 | But just to demonstrate that we can
draw shapes and not have everything snap to
| | 03:27 | Perceived Intersections or Osnaps.
You can do that one way by clicking Disable
| | 03:31 | button, and as I draw, it
will not find any of those.
| | 03:37 | It's probably not as helpful because
I couldn't start from anywhere accurate.
| | 03:40 | So, I'm going to go
ahead and escape out of this.
| | 03:43 | Deselect Disable and try a better way to do it.
| | 03:46 | So, I'm going to restart the Free Form Curve.
| | 03:47 | I do want to snap to this point
here, so I'm going to use that.
| | 03:53 | Now if it ever pops up again, I'm just
going to hold down the Alt key and it'll
| | 03:58 | ignore any Osnaps in the vicinity.
| | 04:00 | So, I've got the Alt key pressed.
| | 04:03 | Then I can just release
and let those turn back on.
| | 04:09 | Alt key is back on, so it's going to ignore,
ignore, and then release, so I can snap.
| | 04:15 | So, the wide variety of Osnap options
use in conjunction with Project and Smart
| | 04:19 | Track will provide quick and
efficient means to keep your curves where
| | 04:23 | you want them to go. A final note:
| | 04:25 | all of the Rhino provided modeling aids
are there to help you, but you are never
| | 04:28 | forced to use any of them.
| | 04:30 | Some people actually prefer to bypass
the features of Smart Track and
| | 04:33 | Project and draw their own construction lines.
| | 04:36 | But if you prefer to see the
construction lines, then by all means use whatever
| | 04:39 | method that makes the
most sense for your project.
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| Setting cursor constraints| 00:00 | In this video, we will review
what's called cursor constraints.
| | 00:04 | These are simply modeling aids using
keyboard shortcuts, for which no button or
| | 00:08 | menu selection is provided.
| | 00:10 | They are used in conjunction
with Osnaps and are typically done
| | 00:13 | dynamically, which means during a
middle of the command, such as drawing a
| | 00:16 | line or even moving an object.
| | 00:18 | I am going to start work on the Front
viewport, and I am going to focus on this neck.
| | 00:24 | Go ahead and maximizes this
by double-clicking on the name.
| | 00:28 | I have got a change order here for
completing this neck detail, so they
| | 00:34 | can Revolve it later.
| | 00:35 | It needs to align with the
edge of the head for some reason.
| | 00:40 | So, I need to actually take that angle
and somehow project it down below and
| | 00:44 | that would be the edge of this flange.
| | 00:46 | So, what I will do is I
will start drawing a polyline.
| | 00:49 | I have got the End snap on. Let's verify that.
| | 00:53 | So, I will just start from the top.
| | 00:56 | Now, before I click on the bottom,
I am going to hit the Tab key.
| | 01:01 | And basically, that's going to let us
continue drawing from that same angle.
| | 01:06 | And I am not going to click til I get
past this point of intersection here.
| | 01:11 | Click and then right-click to enter.
| | 01:14 | So, that's now just a construction line,
but it matches the angle of the head.
| | 01:18 | Let's go ahead and draw the
other construction geometry.
| | 01:21 | So, we will turn the Smart Track back on to
save a little bit of time, and the Intersection.
| | 01:28 | This will just be a very simple polyline.
| | 01:29 | So, we will start by clicking on the
intersection of that construction line.
| | 01:35 | Going up, but I am going to take a peek
over here and come back without clicking.
| | 01:41 | So, hold down the Shift key, so that's
aligned those two up, and I snap to the end.
| | 01:50 | Just double check our work here in
Perspective, by double-clicking here and
| | 01:54 | double-clicking on Perspective.
| | 01:55 | So, now we can see we have aligned
this neck flange with the exact angle
| | 02:03 | duplicated from the head.
| | 02:04 | So, you can go ahead and delete that.
| | 02:06 | Lot of times you make construction
geometry just for purposes like that,
| | 02:10 | aligning things.
| | 02:11 | I am going to kind of work ahead here and
just pick these curves and use the Join command.
| | 02:17 | So we can see what it looks
like when it is finished in 3D.
| | 02:22 | So, this will be a Revolve from the
Surface menu, and we just pick two points
| | 02:30 | on an axis to revolve.
| | 02:32 | And I will just click the FullCircle option.
| | 02:35 | All right, very nice neck detail.
| | 02:38 | I have to agree with that one.
| | 02:40 | Next up, we will talk about the
Elevator mode, which uses the Ctrl key.
| | 02:44 | This is best used in the Perspective
Viewport and allows vertical or off the
| | 02:48 | construction plane alignment.
| | 02:50 | The key here is it is vertical, going
away from the construction plane, either
| | 02:56 | perpendicular up or perpendicular down.
| | 02:58 | I am going to draw a line from one of the
corners, over here on the body and go straight down.
| | 03:05 | There is nothing to snap to, and
I am off the construction plane.
| | 03:08 | So, that's where this
command will come in very handy.
| | 03:10 | I am going to select another polyline.
| | 03:13 | I am going to find the intersection
there, but now if I want to go down
| | 03:16 | vertically, there is nothing to snap to.
| | 03:19 | So, this is a little bit of a trick.
| | 03:20 | I am going to hit the Ctrl key,
go back up and snap to myself.
| | 03:26 | Now, the next point I select is going to be
perpendicular, and so you click to accept.
| | 03:34 | Let's try that with a Move command.
| | 03:37 | I'll turn Smart Track off.
| | 03:40 | Come around here, and I just
noticed that my nose is out of position.
| | 03:44 | It is overlapping the mouth.
| | 03:45 | I am going to do a Transform move and
use the Ctrl key Elevator mode to get
| | 03:50 | this up vertically.
| | 03:51 | I am going to select the nose,
go to the Transform move.
| | 03:55 | I am going to snap to the endpoint.
| | 04:01 | Now, with nothing to snap to,
| | 04:02 | I am going to use that same trick,
hit Ctrl, click on myself actually, the
| | 04:07 | endpoint there, and then go up vertically.
| | 04:10 | Now, I don't like the line.
| | 04:11 | I probably want to type in an exact number.
| | 04:13 | So, dynamic display is telling me how
far I have moved, but my robot boss has
| | 04:18 | indicated 5.5 is the correct dimension.
| | 04:21 | So, these two cursor constraints are
very handy little tricks that will make
| | 04:24 | your modeling work go a lot faster but
have the added benefit of working best in
| | 04:28 | the Perspective viewport.
| | 04:29 | The reason that is important is twofold.
| | 04:32 | For one, a complex model can make some Osnaps
difficult to use just from one Ortho viewport.
| | 04:38 | Number two, they work especially well
in the Perspective viewport, which I
| | 04:41 | personally recommend spending the
majority of your modeling time using, since it
| | 04:44 | will give you the best real-world
approximation of what your model will
| | 04:48 | ultimately look like.
| | Collapse this transcript |
|
|
9. Editing and Transforming ObjectsEditing corners with Fillet and Chamfer| 00:00 | In this video, we will explore fillets
and chamfers and how they can be used on
| | 00:04 | literally every type of entity,
from curves, to surfaces, to solids.
| | 00:09 | If you are not familiar with the
difference between the two, a fillet is a
| | 00:12 | rounded or curved corner and a chamfer
is a straight or angled corner, wherever
| | 00:17 | two curves or edges meet.
| | 00:19 | So, let's get started.
| | 00:20 | We have got this head profile already
prepped for an extrusion, but I am going
| | 00:25 | to recommend that we fillet the curve first.
| | 00:28 | This is a concept I call "prefilletize."
| | 00:32 | So, we are going to go to the Curve
menu before we extrude and fillet those
| | 00:38 | corners to round them off.
| | 00:39 | Notice we have lots of options, but
we will leave those alone for now.
| | 00:43 | I will start picking a couple of the corners.
| | 00:47 | I am going to highlight this fillet, so
you can see that it has not been joined,
| | 00:49 | and it's also not quite the size I like.
| | 00:51 | So, I am going to hit Ctrl+Z to undo it
and start over with a different number.
| | 01:00 | Curve > Fillet Curves.
| | 01:02 | This time after I change the Radius
to 7, I am going to go ahead and put
| | 01:07 | Join=Yes, so I won't have broken parts.
| | 01:10 | I am just going to click the two sides,
and it now fillets them to the new
| | 01:17 | radius and joins it together.
| | 01:19 | So, it's a nice little trick.
| | 01:20 | I am going to go ahead and right-
click on the mouse to repeat and just
| | 01:24 | continue all the way around. Click each side.
| | 01:27 | So, that's prefilletize.
| | 01:32 | Let's go ahead and extrude this into a
three-dimensional shape using the Solid
| | 01:36 | menu, so that we get caps on both ends.
| | 01:40 | Solid > Extrude Planar Curve > Straight,
select and hit the right-click to accept.
| | 01:46 | I am going to go ahead and
type 30 to get it as a precise distance.
| | 01:52 | So, now we have got something with
fillets in one direction but not the other.
| | 01:59 | So, let's go ahead and use the Solid
Fillet now, because it is part of a solid
| | 02:04 | entity, and fillet this edge.
| | 02:08 | One thing to look out for is to make
the second fillet smaller than the first,
| | 02:13 | going the other direction.
| | 02:15 | This fillet was 7, so that is our new maximum.
| | 02:18 | I am going to try doing a larger
one, just to show you what happens.
| | 02:21 | I type in 8, which is bigger that 7.
| | 02:25 | Select the edge, right-click to
accept, and let's see what happens.
| | 02:30 | This is why you can't be larger
that the radii you are going around.
| | 02:33 | You get crazy geometry.
| | 02:37 | I am going to hit Ctrl+Z to Undo.
| | 02:40 | Repeat this command again.
| | 02:41 | Solid > Fillet Edge > Fillet Edge, and now
we are going to use a number that is smaller.
| | 02:47 | I am going to try 3, definitely smaller than 7.
| | 02:51 | Select the edge, right-click twice to accept.
| | 02:55 | So, this is guaranteed success every time.
| | 02:58 | Do the first fillet with the curve,
the second fillet smaller, and you should
| | 03:04 | never have any problems.
| | 03:05 | I am going to continue and
fillet the back edge of the head.
| | 03:08 | So, right-click to repeat, select,
and then hit right-click or Enter.
| | 03:19 | And it's pretty clean and tight.
| | 03:21 | Let's explore chamfers.
| | 03:22 | We are going to make some
adjustments to the body here.
| | 03:27 | I would like to have chamfered
corners there, so let's explore the Curve
| | 03:32 | menu > Chamfer Curves.
| | 03:37 | With Chamfer, we have two dimensions, so
let's go ahead and make the front the same.
| | 03:41 | I am going to change this from 1, 1 to 5, 5.
| | 03:46 | Select Join=Yes, so we don't have to do
that later, and then pick the two corners.
| | 03:52 | I am going to try that on the other front.
| | 03:58 | If I select them, it's all one
piece, because Join was set to Yes.
| | 04:02 | Let's go ahead and try it on the
back with two different numbers.
| | 04:05 | Curve > Chamfer Curves.
| | 04:08 | I am going to select the
Distances now to change it.
| | 04:11 | And it's helpful to remember first versus
second, so I am going to go 5 first, 10 second.
| | 04:17 | Why that's important is I want to make
sure that the 5 dimension is along the
| | 04:22 | side and the 10 is along the back,
so I have to pick it in the exact same
| | 04:25 | order that I entered it.
| | 04:27 | So, 5, 10, and you can see the difference there.
| | 04:30 | It's very easy to pick them in the wrong order.
| | 04:32 | So, I am going to right-
click to repeat, 5 and 10 there.
| | 04:38 | Let's go ahead and extrude this into 3D.
| | 04:41 | I am going to zoom out a bit.
| | 04:44 | Select, going back to the Solid menu
and Extrude Planar Curve > Straight.
| | 04:53 | Now we will use a Solid Chamfer option.
| | 04:57 | This is a little bit buried.
| | 04:58 | It's under the Solid Fillet,
and there is the Chamfer option.
| | 05:01 | I am going to pick a new distance.
| | 05:04 | Instead of 1, I am going to type in 2.
| | 05:05 | Remember, 2 is smaller than the 5 here,
and then we have 5 and 10 going the
| | 05:12 | other direction in the back.
| | 05:12 | So, you can pick the edges one by one.
| | 05:16 | A lot of times I like to rotate the
view and just draw a box around it.
| | 05:21 | Right-click to accept.
| | 05:26 | And there you have it.
| | 05:28 | Let's talk about filling now with a surface.
| | 05:30 | We have done curves and we have done
solids and I also discussed the relationship
| | 05:35 | between surfaces and solids and
how it's actually a fluid state.
| | 05:39 | So, this copy of the head, which is
about halfway done, is a solid, because
| | 05:43 | it has got multiple surfaces joined
together, so you would use one of the
| | 05:47 | Solid commands on it.
| | 05:48 | I am going to go ahead and
convert it to a group of surfaces with a
| | 05:51 | simple Explode command.
| | 05:53 | So, now we have three
separate pieces of geometry:
| | 05:56 | the front, side, and back.
Go ahead and delete the back.
| | 06:02 | We don't need this for the test.
| | 06:03 | We will do a Fillet along this
edge but using the Surface menu.
| | 06:09 | Surface > Fillet two Surfaces. Radius is 3.
| | 06:13 | So, I will change that.
| | 06:16 | And then just pick the two
surfaces that are in the vicinity.
| | 06:19 | Note that the two surfaces
were filleted but not yet joined.
| | 06:23 | I am going to undo that.
| | 06:25 | Note that we have the back open and the front.
| | 06:32 | Just to show the relationship between
surfaces that are unjoined versus joined,
| | 06:35 | suddenly becoming solids,
and you can use those commands.
| | 06:39 | So, I am going to pick the front and top,
use the opposite of Explode, which is Join.
| | 06:44 | They are now connected along that edge, so
when I select the whole thing lights up.
| | 06:49 | And let's try to do a solid.
| | 06:50 | Even though the back is open, you have
multiple surfaces joined together, so you
| | 06:54 | have satisfied the definition of a solid.
| | 06:57 | Solid > Fillet Edge > Fillet.
| | 07:01 | It's currently set to 3,
which we will go ahead and use.
| | 07:04 | Right-click to accept.
| | 07:06 | There you can see, the Solid command
works on a group of surfaces joined, which
| | 07:10 | are therefore polysurfaces,
but it's not entirely closed.
| | 07:14 | The Fillet and Chamfer tools are very
easy to use, which is nice since you
| | 07:17 | will likely be spending
a lot of time using them.
| | 07:19 | Remember the two practice tips
and things will go much easier.
| | 07:23 | Number one, try to prefilletize,
meaning make the fillets on your curves first.
| | 07:28 | And number two, when filleting solids
with corners, create the bigger fillets
| | 07:33 | first and then the smaller fillets
later, so they flow over the first ones.
| | Collapse this transcript |
| Trimming and splitting with curve Booleans| 00:00 | In this video, we'll explore
two critical editing tools:
| | 00:03 | the Trim and the Split.
| | 00:05 | First, the definitions. Both commands are
looking for where geometry is intersecting.
| | 00:10 | A Split will break it apart
leaving all of the pieces remaining.
| | 00:14 | A Trim will create a break and
then delete the leftover parts.
| | 00:18 | And like many other editing commands in
Rhino, both commands work the same way,
| | 00:21 | whether you're working on curves or
surfaces, or even a mixture of both.
| | 00:26 | Let's start off by doing a Split first.
| | 00:28 | I'm going to go to the right view
and maximize it, and we've got some
| | 00:33 | construction geometry for this robot arm.
| | 00:36 | First, I'm going to split the
circle to the two rectangles.
| | 00:39 | So, here is the Split command on the main menu.
| | 00:43 | It says, "Select objects to split."
| | 00:47 | I'm going to select the circle.
| | 00:48 | Hit Enter when I'm done and then select
the two cutting objects, and hit Enter
| | 00:54 | or right-click when done.
| | 00:55 | So, now we've split them apart
with all the pieces remaining.
| | 00:58 | We can continue and do another split,
this time splitting the two rectangles.
| | 01:06 | So, we select both and then hit right-
click, and then you have to pick the
| | 01:10 | pieces that have intersections,
so that's multiple pieces now.
| | 01:13 | So, at this stage, we have
leftovers that are no longer needed, and you
| | 01:18 | can select and delete.
| | 01:20 | So, there is the robot profile
with one way to do it for his arm.
| | 01:24 | Let's try a little bit
quicker method called Trim.
| | 01:28 | Here is the Trim icon on the toolbar.
| | 01:32 | We're going to select the circle to cut,
Enter when you are finished selecting,
| | 01:37 | and then pick the pieces to be removed.
| | 01:41 | But repeat that now going backwards.
| | 01:43 | Selecting the two rectangles as
cutters, right-click to accept, and then the
| | 01:48 | parts to be removed.
| | 01:51 | You might notice that there
is a lot of extra clicking.
| | 01:53 | So, Rhino is set up so you can Trim or
Split two or three or more entities
| | 01:58 | to another two or three or more.
| | 02:00 | So, that's why they always ask
you for the right-click to accept.
| | 02:03 | So, it doesn't make a lot of sense when
you're splitting or trimming one curve
| | 02:06 | to another single curve.
| | 02:08 | It makes more sense when you have
larger groups, so keep that in mind.
| | 02:11 | Now I'll show you a great little
shortcut for doing a lot of these steps faster.
| | 02:15 | It's kind of a buried command.
| | 02:18 | It's called Curve > Curve
Edit Tools > Curve Boolean.
| | 02:22 | So, this is asking you for
an input group of curves.
| | 02:26 | You can just draw a box around them.
| | 02:28 | Enter when done selecting or right-click.
| | 02:31 | Now, we're just going to define some
regions, but before I do that, I want to
| | 02:34 | say Delete the Input, All.
| | 02:37 | I only want the end result.
| | 02:39 | So, we start clicking inside these
regions and you'll notice how they
| | 02:44 | highlight or shade.
| | 02:46 | When you're done with the regions you
want to keep, you can always subtract some.
| | 02:50 | I'm going to right-click now, and
it found all the intersections and
| | 02:56 | removed all the extra pieces in one command.
| | 02:59 | Let's talk about same
commands with curves and surfaces.
| | 03:02 | I'm going to switch back to All
Viewports, and maximize Perspective.
| | 03:09 | So, here I have got a backup head copy
with some surfaces joined and then a
| | 03:15 | curve that happens to be sitting on the surface.
| | 03:18 | Let's see how this works.
| | 03:19 | We're going to use the Split
command. Objects to be split.
| | 03:24 | I'm going to click on the solid, right-
click to accept, cutting objects will be
| | 03:31 | the curve, right-click to accept.
| | 03:34 | Now you'll see where this
surface has been spliced out.
| | 03:38 | Even though the curve was on
top of the surface and not really
| | 03:42 | technically intersecting it.
| | 03:43 | So, this is a great command for little details,
where you might want to move this face back.
| | 03:50 | I'll just click the Nudge key a couple of
times, and you can build a surface on the edge.
| | 03:59 | Let's try a projection type command.
| | 04:01 | Now if you have a simple enough
surface here and a simple enough curve,
| | 04:06 | they don't even have to intersect.
| | 04:07 | It will actually calculate the
intersections by projecting through the
| | 04:10 | construction plane, which is down below.
| | 04:12 | Let's try to split it, objects to
split is the head, right-click to accept.
| | 04:18 | We can pick one of the circles, right-
click to accept, and so it has done a nice
| | 04:24 | projection vertically, and split that right out.
| | 04:27 | I'm going to go ahead and undo.
| | 04:34 | If you have more complicated geometry,
then it's just one additional step.
| | 04:38 | Let's take this Surface command,
extrude one of those circles straight.
| | 04:45 | Right-click to accept.
| | 04:46 | So, this is an extra step, but it's a
guaranteed way to find the intersection.
| | 04:54 | So, we'll go ahead and split that
head, select, right-click to accept.
| | 05:01 | Cutting objects is a cylinder, right-click
to accept, or I can just throw that away now.
| | 05:09 | So, we've made that cut.
| | 05:12 | Use of splitting or trimming or even
curved Booleans depends as much on your
| | 05:17 | specific project as it does
on your personal preferences.
| | 05:20 | One good tip to try.
| | 05:21 | As your model gets more and more
complex, you might want to begin using the
| | 05:24 | Split command over the Trim command.
| | 05:27 | On more complicated models, Rhino
sometimes cannot find the intersection, so by
| | 05:31 | using Split, you're giving yourself
the opportunity to use the different two
| | 05:35 | sides to find the intersection.
| | Collapse this transcript |
| Moving and rotating objects with the Drag and Nudge tools| 00:00 | In this next video, we'll review how to
move and rotate objects. Sounds boring?
| | 00:06 | It's not.
| | 00:07 | The ability to move and position any
object or group of objects will be a huge
| | 00:11 | boost to your accuracy, workflow and
ability to explore different design options
| | 00:15 | all in the same workspace.
| | 00:18 | Furthermore, if you know how to
accurately move and position objects in the
| | 00:21 | scene, you can be a little
looser when you build stuff.
| | 00:25 | Let's start out with some moving.
| | 00:26 | I'm going to go ahead and maximize the
Perspective viewport by double-clicking.
| | 00:31 | The quickest way to move stuff and
also the least accurate is the Drag mode.
| | 00:35 | So, I'm going to highlight this, hold
down the mouse button, and just move it.
| | 00:40 | So, it's definitely quick and easy,
although I have no idea where it started,
| | 00:44 | where it ended, or how far it went.
| | 00:45 | But it's pretty handy to
get things out of the way.
| | 00:47 | Let's get a little more accurate.
| | 00:50 | I'm going to use the
Transform Move command next.
| | 00:52 | Click the button over here on the
main toolbar. Select the object.
| | 00:56 | I have got the End snap on.
| | 00:58 | So, I can pick a specific point,
and then I can now type in a distance.
| | 01:05 | I'm going to use 30 on the keyboard,
Enter, and this will actually position it
| | 01:11 | 30 units away on the construction plane,
or since I have got the End point snap
| | 01:18 | still set, it can go seek the nearest
point, and get you 30 units closer along a
| | 01:27 | line that continues.
| | 01:28 | So, I'm going to hit Escape.
| | 01:31 | Another accurate way to move stuff
is using coordinates. Zoom back out.
| | 01:38 | Repeat the command Transform Move.
| | 01:42 | Select the objects.
| | 01:43 | We're going to pick a point, snap to the end.
| | 01:48 | Now instead of snapping somewhere,
I'm just going to type in the X, Y, Z values
| | 01:51 | of where I would like to end up.
| | 01:53 | So, I have got the one already noted
there, -100, -100, and if the last value or
| | 02:01 | last two values are 0, you can just omit them.
| | 02:03 | So, I'll go ahead and hit Enter.
| | 02:04 | So, now I know exactly where it ends up.
| | 02:07 | So, it is accurate although not
as useful some of the other ways.
| | 02:11 | Let's check out the most
useful way to move objects.
| | 02:15 | Let's first talk about moving this arm,
so that the center of the arm is snapped
| | 02:21 | to the end point here.
| | 02:23 | So, we can snap to one of these
Midpoint edges, but I want to be in the center
| | 02:27 | of a surface, so there is no
snapping ability there. No problem.
| | 02:32 | Let's draw a quick line from opposite corners.
| | 02:35 | I'm going to turn on the Midpoint snap,
and now when I move it, I can seek that
| | 02:41 | position and I'll wind it to that point.
| | 02:44 | So, let me do a quick
crossing window right to left.
| | 02:48 | Start the Move command, snapping
from the Mid, and snapping to the End.
| | 02:55 | So, now it's perfectly aligned.
| | 02:58 | I don't know the distance.
| | 02:59 | I don't know the angle, but
it's exactly where I want.
| | 03:02 | Let's try that one more time with the head.
| | 03:04 | I'm going to make this a little bit easier.
| | 03:06 | I'm going to change to Wireframe mode.
| | 03:08 | I have got a line here and I want to
move the head so it's centered, from this
| | 03:15 | midpoint to the center of the axis, so
the head will now align over the body.
| | 03:19 | I like working in the Perspective
viewport, so it's much easier to pick objects.
| | 03:25 | I'm going to select the head and geometry.
| | 03:30 | Now I don't want to select some
of these antenna objects up here.
| | 03:33 | So, I'm going to
deselect them with a Ctrl+Click.
| | 03:35 | I'm going to leave those where they are.
| | 03:39 | It looks like I got everything
selected, do the Transform Move. Point to go
| | 03:46 | from would be that midpoint, I can zoom around
here, and point to end up is the end there.
| | 03:54 | Let's deselect and go back to
Shaded view to check it out.
| | 04:01 | Head is now perfectly aligned over the body.
| | 04:04 | And the final way to move
objects is with the Nudge.
| | 04:07 | I'm going to zoom back into the arm.
| | 04:09 | That looks a little bit out of alignment.
| | 04:12 | So, I'm going to select the arm.
| | 04:14 | Using the four arrow keys, I can
just click it several times to nudge it
| | 04:18 | into final position.
| | 04:21 | Also, we have additional nudge keys
to go vertically up or down using the
| | 04:27 | Page Up and Page Down.
| | 04:29 | Let's try and click on those.
| | 04:30 | So, you can go all three
dimensions using the keyboard nudge keys.
| | 04:36 | Let's talk about rotation.
| | 04:39 | We're going to do a 2-D rotate first.
| | 04:41 | So, I want to go into a 2-D viewport.
| | 04:44 | It's a little bit tricky to do a 2-D
rotation in a 3-D viewport like Perspective.
| | 04:48 | So, I am going to go back to all four
viewports by double-clicking, and we're
| | 04:52 | going to maximize this Right viewport.
| | 04:56 | So, I have the arm selected,
and we turn off Midpoint snap.
| | 05:01 | And we'll start the 2-D
rotate over here in the main menu.
| | 05:05 | Now, it should find the
end of that line up there.
| | 05:09 | I'm going to draw down.
| | 05:12 | You can eyeball this whole thing, or
holding down the Shift key it will seek
| | 05:15 | out an ortho second point that you can
rotate at any angle, or you could type in a value.
| | 05:21 | We're just going to kind
of do a random number here.
| | 05:24 | I'll show you how to get it back
into position here in a minute.
| | 05:27 | So, we have rotated it some unknown
angle and a lot of times you get geometry
| | 05:32 | from other files, or even accidentally
rotate things an unknown distance, and
| | 05:36 | we want to get that back perfectly vertical.
| | 05:38 | So, we're going to use a
little bit of extra snapping here.
| | 05:41 | I'm going to select Perpendicular
and start the 2-D rotate one more time.
| | 05:48 | The arm is already selected.
| | 05:49 | We're going to use the same center
as the end-point of the shoulder axis.
| | 05:56 | And depending on the object, you
want to change your snaps. Perpendicular
| | 05:59 | works perfectly here.
| | 06:00 | So, I'm going to select that point.
| | 06:02 | Now I have defined the starting angle.
| | 06:03 | I don't know what that is and by
holding down Shift, I can snap and get things
| | 06:08 | perfectly aligned, where they
were at some unknown angle earlier.
| | 06:12 | We should definitely be in
the Perspective viewport.
| | 06:15 | I'm going to double-click twice, get back here.
| | 06:17 | I highly recommend that you have some
axis there, instead of finding points
| | 06:25 | on the object itself.
| | 06:26 | So, the center of rotation
should be defined by an axis.
| | 06:29 | To have that set up, I'm going to
go back to the Transform Rotate and
| | 06:33 | right-click to get the 3-D option.
| | 06:36 | Select the object, right-click to accept.
| | 06:38 | Now we define the axis.
| | 06:40 | There are a lot of steps here, so don't
forget to be checking the command line at the top.
| | 06:43 | So, we can just pick any
two points on that axis.
| | 06:48 | Now we want to do the reference angle again.
| | 06:50 | So, I'm going to hold down the Shift
key again, so we get some ortho snapping.
| | 06:56 | Here we can rotate it on whatever plane
it was on, every 30, 60, 90 degrees, or
| | 07:02 | again release the Shift, and
just eyeball it until it looks good.
| | 07:06 | The ability to quickly and accurately
move or rotate objects is an essential
| | 07:10 | complement to any Rhino modeler skill.
| | 07:13 | We've discussed it's usually much
easier to build geometry directly on the
| | 07:16 | construction plane and centered on the origin.
| | 07:19 | So, it's mandatory to understand a
few techniques get objects into their final position.
| | Collapse this transcript |
| Copying and pasting objects| 00:00 | Next up, we'll take a look
at the use of Copy and Paste.
| | 00:03 | These two functions will work as you
might have expected on any type of entity,
| | 00:07 | which includes points, lines,
surfaces and solids, including any number or
| | 00:11 | combination of the above.
| | 00:12 | One aspect to be aware of, the pasted
geometry will be located in the exact
| | 00:16 | same position or right on top of the originals.
| | 00:19 | This can appear initially as if
nothing happened, so we'll review the best
| | 00:23 | practice to avoid any confusion.
| | 00:25 | Copy and Paste is a huge timesaver,
but it's actually more than that.
| | 00:28 | It can be a design strategy for exploration.
| | 00:30 | I'll give an example here.
| | 00:32 | We're going to select this robot arm.
| | 00:34 | I'm going to copy with the keyboard
shortcut Ctrl+C, paste with Ctrl+V.
| | 00:41 | As I mentioned, it's right on top, looks
like nothing happened but go ahead and
| | 00:46 | use the nudge technique with
the arrows on the keyboard.
| | 00:49 | We go ahead and adjust the count,
so I have three spaces over.
| | 00:53 | So, there is the exact copy.
| | 00:56 | I'm going to do it one more time, Copy,
Paste, and then just count one, two, and three.
| | 01:00 | The only reason I'm counting is so I've
equal spacing, and I can get them back to
| | 01:03 | the original position.
| | 01:06 | So, with these extra copies,
I can do some design explorations.
| | 01:08 | I can try fillets on this one, maybe
some chamfers on that edge, or I can make
| | 01:14 | more copies and try other experiments.
| | 01:16 | I'll make some extra
copies to show a common problem.
| | 01:19 | So go ahead Copy, Paste.
| | 01:23 | Since we're outside of the command,
anytime you hit the right-mouse button,
| | 01:27 | the Spacebar or the Enter key,
it's just going to repeat that.
| | 01:30 | So, I could accidentally
hit the Spacebar a few times.
| | 01:35 | Looks like nothing is happening, but
when I go back to select this object, I've
| | 01:40 | got like nine or ten different
versions right on top of each other.
| | 01:44 | This happens all the time.
| | 01:45 | So, a great way to get rid of
these is this kind of hidden command.
| | 01:49 | I'm going to go to the
Edit menu > Select Objects.
| | 01:54 | There at the very, very
bottom is Duplicate Objects.
| | 01:57 | Now, Duplicate Objects is defined by the
exact same geometry in the exact same spot.
| | 02:03 | Go ahead and select it.
| | 02:04 | It doesn't apply to the earlier copy
since they're in a different position.
| | 02:07 | Also, it will include all of the duplicates
except for one, which it assumes you want to keep.
| | 02:14 | So, it's already selected, according
to the command line, eight duplicates.
| | 02:17 | I'm going to go ahead and hit Delete.
| | 02:19 | Again, looks like nothing happened,
but I'm going to try to select it.
| | 02:21 | Since there are no options, that means
there is only one object in that position.
| | 02:26 | We got rid of the extras.
| | 02:27 | I'm going to zoom back out here.
| | 02:30 | I'm going to talk about copying
and pasting now between Rhino files.
| | 02:34 | So, this would be in a situation where
you're running Rhino from a separate instance.
| | 02:39 | So, I'm going to switch over.
| | 02:41 | Here is a file where I've been
doing some arm design studies.
| | 02:52 | So, I've got some fillets on this
first one, chamfers on the second, punched
| | 02:58 | a hole in the third.
| | 03:02 | So, this is the winner.
| | 03:03 | I'm going to copy this guy from the
current file back to the first file.
| | 03:08 | So, let's just hit Ctrl+C.
Now let's switch back to the original.
| | 03:17 | I can go in here and before I paste,
we're probably want to get these out of the way,
| | 03:19 | or I can just delete them, and then
hit Ctrl+V. Before I do that, I want you
| | 03:25 | to take a look at the layers.
| | 03:28 | When something is pasted in from
another file, it'll come in on the exact
| | 03:31 | same layer as created.
| | 03:32 | So, if that layer doesn't exist in
the destination file, it will be created
| | 03:36 | just for this object.
| | 03:37 | I will hit Ctrl+V to paste.
| | 03:40 | There is the arm from the other
file on the layer it was created.
| | 03:43 | So, Copy and Paste is more than
just making extra copies to save time.
| | 03:47 | It's a great way to take design
detours to explore other options and see how
| | 03:51 | they look for immediate feedback in 3D.
| | 03:54 | Just remember to always keep one extra,
unmodified copy before making major
| | 03:58 | changes, in case you want to go back
and try other options. One final note:
| | 04:02 | if the geometry was built with curves,
which is usually the case, then always
| | 04:07 | keep a copy of those original curves.
| | Collapse this transcript |
| Understanding how Rhino uses Undo and Redo| 00:00 | In this movie, we'll review two commands
that are probably the easiest to use in
| | 00:03 | Rhino, the Undo and its
exact opposite, the Redo.
| | 00:08 | These will work equally well on any
command like Extrude, a transformation like
| | 00:12 | Move, and even deleting
objects or changing layers.
| | 00:16 | As you can correctly assume from
other software, the Undo command goes
| | 00:19 | backwards in time, and the Redo goes
forward in time, although of course it
| | 00:23 | cannot go into the future.
| | 00:24 | In that sense, it's probably better
described as a way to undo the last undo.
| | 00:29 | Before I start the demo, let's check some
options which you might not think about.
| | 00:33 | I'm going to go to the gear
here to access the options.
| | 00:38 | Under Rhino Options > General, we've got
the default set to only 1 as the minimum number.
| | 00:43 | Of course, this can vary depending on
the file size and the amount of memory you
| | 00:46 | have in your computer.
| | 00:47 | But in any regard, one is too low.
| | 00:51 | Let's just go ahead and type 20 as a
bare minimum, and that should be fine.
| | 00:55 | So, if you're ever run into problems,
this is the first place to check if
| | 00:57 | you're finding yourself unable
to go back more than a few steps.
| | 01:01 | I'm going to demonstrate some of the
Undos and Redos by just moving the arm
| | 01:06 | around, but as I said earlier, it
works equally well on building geometry
| | 01:10 | or editing geometry.
| | 01:11 | So, I'm going to go ahead and just
move it a couple of different times.
| | 01:16 | Now if it's too far, I can go backwards.
| | 01:21 | Ctrl+Z is the shortcut for Undo,
and each time I press it, it reverses
| | 01:27 | backwards in history.
| | 01:28 | Now I can hit Ctrl+Y if
I want to undo that undo.
| | 01:32 | A word of warning though. This Undo
and Redo does not carry over after you've
| | 01:40 | closed the Rhino session.
| | 01:42 | Also, I don't recommend that you use
the Undo or Redo to go way, way back to a
| | 01:46 | much earlier version, like
let's say 30, 40, 50 steps.
| | 01:50 | In those situations, what I recommend
doing instead, just make a copy of the
| | 01:55 | geometry and place it on a layer
that is turned off for future retrieval.
| | 01:59 | So, let's do that now.
| | 02:00 | I'm going to select the arm and do a
quick Ctrl+C to copy, Ctrl+V to paste.
| | 02:06 | There is now two on top of each other.
| | 02:08 | I've already created the storage layer.
| | 02:10 | You'll notice this is turned off.
| | 02:11 | So, I'm going to right-click on
that layer name and just change it.
| | 02:16 | So, we now have one copy here on the
current geometry layer, and a second backup
| | 02:20 | on the storage layer.
| | 02:21 | So, let's proceed to do some edits.
| | 02:25 | Let's say I worked on it for quite
a while, and I've changed my mind.
| | 02:29 | That is no longer what I want.
| | 02:30 | So, going back 50 steps would
take actually a lot of time.
| | 02:35 | So, in those situations I recommend
just select the object, deleting it.
| | 02:39 | Let's turn the storage layer back on.
| | 02:41 | There is the original in its original position.
| | 02:44 | So, you can just make another copy,
paste it back to the current work layer,
| | 02:50 | geometry, and then turn the storage back off.
| | 02:53 | Probably an even better tip, if
you're going to do extensive design
| | 02:56 | explorations, is to be saving the
file on a regular basis with a new name.
| | 03:00 | So, you do that by Save As.
| | 03:04 | What I'd used to recommend is you
would save it as robot10, then robot11.
| | 03:08 | That's unnecessary now.
| | 03:09 | With the Incremental Save feature,
it'll do automatically, adding numbers and
| | 03:12 | indexing them each time you use this command.
| | 03:15 | My suggestion is to do it every 30 minutes.
| | 03:17 | So, no matter what happens, you've
only lost at most 29 minutes of work.
| | 03:23 | 3D modeling is all about using
digital tools to explore new directions and
| | 03:26 | experiment to get the best results.
| | 03:29 | Part of that experimentation is two-
fold, to build the comfort level with the
| | 03:33 | software, but also knowing that
anything you do can be reversed.
| | 03:37 | So, the use of the Undo and the
Redo helps build that comfort level.
| | Collapse this transcript |
| Grouping objects| 00:00 | In this video, let's take a look at the
Group command and how it can be used to
| | 00:03 | organize your geometry.
| | 00:05 | If you've used other editing software,
either for 2D or 3D, then you should be
| | 00:09 | familiar with this command and how it works.
| | 00:11 | One nice addition is that Rhino lets
you add objects to the group, subtract
| | 00:15 | objects and even give the group a name.
| | 00:17 | So, let's take a look.
| | 00:19 | Most of the Grouping commands are
available through the Edit menu and Groups,
| | 00:24 | although there's a few options missing.
| | 00:26 | So, let's skip that and then say
we're going to go over to the Group icon
| | 00:30 | in the main toolbar.
| | 00:32 | I'm going to click and hold to get the
flyout and then drag the Titlebar over, so
| | 00:37 | we'll see a few extra commands this way.
| | 00:39 | I'm going to go ahead and group all of
the objects into the head, from the neck up,
| | 00:44 | so I am just drawing a box around it,
click on the Group icon, or I can hit
| | 00:52 | Ctrl+G for a shortcut.
| | 00:53 | Now let's go ahead and give it a name as well.
| | 00:58 | We'll call this the head.
| | 00:59 | I'm going to go ahead and select the
rest of the objects below the neck, group
| | 01:06 | them, click on the Name button, call them body.
| | 01:09 | And I have just realized I don't want to
include this antenna inside the head group.
| | 01:17 | So let's remove those from the set.
| | 01:19 | I'm going to select Remove from Group,
and we'll just pick each object one at a time,
| | 01:27 | hit Enter when done or right
-click, so those are now removed.
| | 01:33 | And if I select on the head anywhere,
you'll notice that the antenna objects are
| | 01:38 | not included in that group,
everything else is and remains that way.
| | 01:42 | Let's try to use our group
names to select it that way.
| | 01:44 | I am going to go to Edit >
Select Objects > By Group Name.
| | 01:50 | It will give me as default
the last group name created.
| | 01:55 | I'm going to type in head and notice
the head group now lights up. Okay.
| | 01:59 | I'm going to go ahead and undo both
of those groups, so I can just select by
| | 02:05 | clicking on them, and this icon here is for
Ungrouping, and I can select on the body group.
| | 02:14 | To ungroup, I can use this shortcut,
which is Ctrl+Shift+G. So, I'll just to
| | 02:19 | double check I'll select them
in separate items. Those are now all
| | 02:23 | individually separated.
| | 02:24 | I'm going to show you my
favorite use of this command.
| | 02:27 | I'm going to zoom out, select everything,
put them into one group, and then do
| | 02:35 | a Copy/Paste with Ctrl+C, Ctrl+V, take
that extra copy and move it away, and do
| | 02:42 | a quick rotate, and it rotates exactly
180 degrees. Maybe just scoot it back a bit.
| | 02:51 | So, what I like about this command is
I'm able to share both the front view
| | 02:57 | and the back view of an object, either finished
or in progress, and share that with other people.
| | 03:02 | So, grouping is one quick and easy way
to organize objects in the scene, but
| | 03:05 | in my opinion, it works best
for only short-term operations.
| | 03:09 | Like the example of the
quick copy and move we just saw.
| | 03:11 | If I need some geometry to be
separated from the rest of the 3D scene,
| | 03:15 | it usually makes more organizational
sense to me to put that same bunch of stuff
| | 03:19 | on its own layer.
| | Collapse this transcript |
| Scaling objects| 00:00 | In this video, let's take a look at how to
scale objects in one, two, or three dimensions.
| | 00:04 | As usual, Rhino lets you scale
just about any object you can select.
| | 00:08 | However, if you stop to think about it,
a straight line can only be scaled in 2D
| | 00:13 | because it doesn't yet have a third dimension.
| | 00:15 | Likewise, the point
object can't be scaled at all.
| | 00:18 | And when we have a solid or
polysurface object, it can then be scaled in any
| | 00:22 | of three dimensions.
| | 00:23 | So, let's take a look at that first situation.
| | 00:26 | Now, a general rule:
| | 00:27 | all scaling is going to require you
to select an origin. That's the center
| | 00:31 | where all scaling will be calculated from.
| | 00:33 | We have just got the latest leg
design from the Robot Leg department and
| | 00:37 | we have got a problem.
| | 00:39 | This is way too close to the
arm that we created earlier.
| | 00:41 | So, we are going to scale this arm back down.
| | 00:44 | Step one will be to create an origin
somewhere on this arm to scale around.
| | 00:50 | I don't have a point
located where I might want one.
| | 00:52 | So, let's create one right now.
| | 00:54 | Let me go ahead and turn on
Intersection and I am just going to create a
| | 00:58 | one Point object from the menu here
and pick this Intersection location.
| | 01:04 | That's where I want to scale it from.
| | 01:10 | The Scale commands are located here on the
main menu or under Transform > Scale > 1, 2, 3.
| | 01:17 | I'll just go ahead and open up the icon.
| | 01:22 | Click and drag to fly it
out and leave that there.
| | 01:23 | Let's scale the arm in three dimensions.
| | 01:25 | I am going to start by
selecting. Click the 3D Scale button.
| | 01:30 | The first question is, please define the origin.
| | 01:34 | Let's turn our Point snap
on, so we can now find it.
| | 01:38 | This is why it's a good reason to work
in the Perspective viewport so you don't
| | 01:43 | pick the wrong spot.
| | 01:46 | So, for all scales, we are going to
pick a starting reference point and then
| | 01:50 | an ending reference point.
| | 01:51 | And this could be any two
points that you select.
| | 01:53 | So, I am just going to start
outwards, and I'll move in to scale down.
| | 01:59 | Conversely, if you move away from the
original reference point, it's going to scale larger.
| | 02:03 | So, it doesn't really matter what that is if
you are just going to do an eyeball reduction.
| | 02:07 | So, that's looks about right.
| | 02:10 | I will click again to accept.
| | 02:11 | So, we saw that engineering situation where
we have the intersection of the arm and leg.
| | 02:16 | But I am now noticing that this
arm looks a little too skinny.
| | 02:21 | So, let's try the 1-D scale, and this
is where it's really handy to be in the
| | 02:26 | Perspective viewport.
| | 02:27 | I want to make this 50%
wider instead of eyeballing it.
| | 02:31 | So, I need to pick an edge where there
is 2 points along the same axis. I want
| | 02:36 | to scale only in 1-D for thickness.
| | 02:39 | We'll select the 1-D scale command
from the toolbar. Pick the object.
| | 02:46 | Hit Enter since we have no more to add.
| | 02:48 | Select the origin as one of the
endpoints and instead typing a second
| | 02:53 | reference, I'm just going to type in the
scale factor. Notice what the command line says.
| | 02:58 | So, I'm going to do that by entering 1.5
and that will be a 150% increase in width.
| | 03:03 | Now, it will start scaling
automatically, but it's asking for the second
| | 03:06 | reference point to give it a direction.
| | 03:08 | So, I am going to click on that second point.
| | 03:10 | So, let me zoom back out.
| | 03:13 | You can see it's 150% thicker only in
that one axis, one-dimensional scale.
| | 03:19 | Let's explore 2-D scaling.
| | 03:21 | And for that, I'm going to turn on
another layer for some Robot 2-D geometry.
| | 03:27 | Here we have a gear with a very specific size.
| | 03:31 | Note that it's 19 units across, so that
gives us a measurement of 9.5 for the radius.
| | 03:38 | I have just been told we need to
upsize this gear so it's 24 across.
| | 03:43 | So, that will be a 12 units radius.
| | 03:45 | I don't know the exact percentage, but
I don't need to with the next method of scaling.
| | 03:50 | We will start with 2-D
scale here on the toolbar.
| | 03:53 | I am actually going to pick the
dimensions as well. Enter when done.
| | 04:01 | Select the origin.
| | 04:03 | Intersection is selected
so this will work just fine.
| | 04:05 | And I'm going to pick the first reference
point, so I want to make sure I'm very precise.
| | 04:11 | Pick the edge that is currently 9.5.
| | 04:12 | And you can see as I move
around randomly it grows and shrinks.
| | 04:18 | I am going to type in an exact number that we
want to hit, which would be half of 24 or 12.
| | 04:26 | So, the dimensions have updated to verify that.
| | 04:28 | It's now 24 across or 12 for a radius.
| | 04:31 | These text labels are Rhino
dimensions, which are able to be dynamically
| | 04:36 | updated, and we will
discuss those a little bit later.
| | 04:38 | So, it's just another way to get things
larger or smaller with exact precision.
| | 04:43 | Let's take a look at a few more objects
and do some 3-D scaling and 1-D scaling
| | 04:48 | and point out some potential problems.
| | 04:50 | Okay. We have got this bracket here with
some fillets already done on these inside holes.
| | 04:55 | Those fillets are running in three dimensions.
| | 04:58 | So, we have got to be careful about this.
| | 05:00 | If we scale in three dimensions, we are fine.
| | 05:02 | So, let's go ahead and do that.
| | 05:03 | I'll pick the 3-D scale, select the
bracket, right-click, origin point.
| | 05:11 | For this example, I am going to type in 0.5
so we will get half the size of the original.
| | 05:16 | Now, since I scaled in three
dimensions, the fillets still look fine.
| | 05:20 | So, that's the good case.
| | 05:22 | Here is the bad situation. We have a copy.
| | 05:24 | I am going to scale this in one
dimension, and then we'll take a look.
| | 05:28 | 1-D scale, select the
object, right-click, origin.
| | 05:34 | First reference, I'll just click on this corner,
and I'll type in 0.5 so it'll be half as thick.
| | 05:38 | If we take a look, this are
probably not what you want.
| | 05:44 | These fillets have been completely
squashed, and they are no longer a
| | 05:47 | uniform radius everywhere.
| | 05:49 | So, the workaround to avoid that problem
is to do your fillets last whenever possible.
| | 05:57 | Pick this corner as the origin.
| | 06:02 | Scale factor 0.5 to be half as thick.
| | 06:05 | I will just make sure I've picked
second point in alignment so it goes
| | 06:10 | the correct direction.
| | 06:11 | So, here everything looks fine, and
now I can add a fillet to finish it out,
| | 06:15 | and the fillets will be perfectly scaled for
the exact size I want without any problems.
| | 06:21 | Scaling objects is very straightforward
and only occasionally tricky, but this
| | 06:25 | gives you three different
ways to determine the final size.
| | 06:27 | So, you've got the eyeball method just
for looks, the percentage method where
| | 06:31 | you know the increase or decrease,
and then you have the size method where
| | 06:35 | you input how big it should be when
you are done, and not need to worry about the
| | 06:38 | math percentages.
| | Collapse this transcript |
| Duplicating objects using the Mirror command| 00:00 | Next up, we will talk about the
Mirror command and how best to use it.
| | 00:03 | This command is ideal for any
symmetrical geometry, whether it's a curve,
| | 00:07 | surface, or even a completed solid.
| | 00:09 | It's also a big time-saver, since you
only have to build half or even a quarter
| | 00:13 | of the geometry and let Mirror do the rest.
| | 00:15 | Even better, it provides complete
accuracy since you know that each side
| | 00:19 | matches the other side.
| | 00:20 | We will just start off by making a
mirror copy of the robot arm, but it's
| | 00:24 | important to have an axis setup.
| | 00:26 | So, in this case, I have
got this line down the center.
| | 00:30 | Let's go ahead and maximize the Front viewport.
| | 00:32 | I am going to start the Mirror command
by finding it under Transform > Mirror.
| | 00:39 | Objects to mirror are the arm. Enter.
| | 00:43 | Now, we are going to have to snap the two
endpoints of that line or axis down the center.
| | 00:48 | So, make sure your snappings are correct.
| | 00:50 | I have got Endpoint, which
will work. I'll snap here.
| | 00:53 | And if I don't have another
endpoint to snap to, it's very easy to
| | 00:57 | let something misalign.
| | 01:00 | So, let's snap to this endpoint.
| | 01:02 | So, I know that this is copied,
flipped over and exact equal distance on the
| | 01:06 | other side of that Mirror plane.
| | 01:07 | Let's do it one more time with the leg.
| | 01:09 | I will just select.
| | 01:10 | I am going to right-click to repeat the
command and just define the Mirror with
| | 01:16 | the same two points.
| | 01:21 | Let's check out the Mirror command on some
curves and see how it works differently.
| | 01:24 | I'm going to go to the Top viewport,
maximize that, zoom out and then hide
| | 01:32 | some curve geometry.
| | 01:34 | I'm going to select this curve and do a
quick Mirror command and then talk about
| | 01:39 | some potential problems.
| | 01:40 | Just snap the two endpoints, and
notice we get a kind of a pinch here.
| | 01:48 | I will show you the reason why
that can happen and how to fix it.
| | 01:52 | The last two control points are
not perpendicular to the axis.
| | 01:56 | So, anytime that happens, you can end
up with a situation where it'll pinch or out,
| | 02:00 | and you'll probably want it to be a
smooth flowing transition over the top.
| | 02:04 | So, let's delete this other
side and I'll show you the fix.
| | 02:09 | I have drawn a construction line
from one of the control points going in
| | 02:13 | perpendicular to the axis.
| | 02:15 | We just grab the last
point and make sure it aligns.
| | 02:18 | So, I'm going to drag and it
should snap to the endpoint. There.
| | 02:22 | Now, these two are in perfect alignment.
| | 02:24 | We will zoom out and repeat the command.
| | 02:27 | I am going to turn control points off with F11.
| | 02:31 | Start Transform > Mirror.
Object, right-click to two points.
| | 02:40 | So, those should now flow perfectly
smoothly as if you've drawn them in this one
| | 02:44 | single curve all the way through. Okay.
| | 02:47 | Let's show the next logical step
| | 02:48 | where we have taken the curves and we
are going to extrude them into a surface.
| | 02:51 | I'll show you another tip.
| | 02:53 | I go to the Perspective viewport
and zoom in on these two curves.
| | 02:59 | I am going to select them both and do a
quick Surface > Extrude and talk about
| | 03:06 | some potential problems.
| | 03:10 | Notice the thick edge here.
| | 03:11 | These are two separate surfaces because
they were generated from two separate lines.
| | 03:16 | So even if we join them together,
which they will, they will still have a
| | 03:20 | little bit of a kink, as small as that may be.
| | 03:22 | I'm going to show you an improved method.
| | 03:24 | After a Mirror, it's one extra step,
but it prevents this problem from having.
| | 03:27 | Okay, so after the Mirror has been
completed, we are just going to join the two lines,
| | 03:33 | the Join command here on the main menu.
| | 03:36 | I am going to turn the control points on.
| | 03:38 | So, this is now one curve.
| | 03:42 | You can even delete this point in the
center that is shared from these two sides
| | 03:49 | with only a minor modification of the surface.
| | 03:51 | Let's turn the control points off and ere-
extrude that one more time and check it out.
| | 04:00 | So, notice no seam and that should
much smoother for the final project. Okay.
| | 04:04 | Let's talk about a related command
which is called Symmetry, which does
| | 04:11 | pretty much the same thing as Mirror
but lets you continue to tweak it and
| | 04:14 | update the other side.
| | 04:16 | I am going to start the command
here by selecting the object, going to
| | 04:22 | Transform > Symmetry.
| | 04:24 | It's right next to Mirror.
| | 04:25 | Now, in this command you need to
turn on what's called Record History.
| | 04:30 | It's very easy to forget.
| | 04:33 | So, you can do that before or after the
command starts, and I am going to define
| | 04:36 | the plane with two points.
| | 04:38 | Now, it looks like that same
things has happened, nothing different.
| | 04:41 | However, when I select the curve,
F10 to turn on the control points,
| | 04:47 | the other side updates.
| | 04:52 | Occasionally, you can't really visualize
how the whole thing will look with only
| | 04:54 | half the points selected.
| | 04:56 | So, this will update both sides.
| | 04:58 | We can even do the same thing with
the surface in this next example.
| | 05:03 | I have got it off with the plane
just to show how powerful it can be.
| | 05:07 | Start the command, Transform >
Symmetry, turn on Record History.
| | 05:13 | Select an edge of this surface or curve
and then define this plane one more time.
| | 05:20 | We are going to snap to both points.
| | 05:22 | Notice how it flows across and
maintains perfect smoothness.
| | 05:30 | Let's verify that by highlighting the
finished surface and turning the control
| | 05:35 | points on and see what we can do.
| | 05:36 | I will grab this point here
and just kind of pull it around.
| | 05:43 | You see the other side update.
| | 05:44 | It might be easier if I
grab some points back here.
| | 05:47 | I am going to use the arrow keys to nudge them.
| | 05:50 | It will continually update both sides
and even move other points as necessary to
| | 05:55 | maintain that perfect smoothness and continuity.
| | 06:02 | Now, one word of warning.
| | 06:03 | As soon as you move either the axis or
the surface, you have broken the relationship.
| | 06:10 | You can actually go work on other
parts of the model and come back here.
| | 06:13 | And as long as the relationship has
not changed, it will continue to update.
| | 06:19 | So, the Mirror and Symmetry commands
are both ideal ways to build symmetrical
| | 06:22 | geometry quickly and with guarantied accuracy.
| | 06:25 | The Symmetry command does give you the
extra ability to continue tweaking while
| | 06:29 | seeing the final result, but remember,
once you move the part away from axis,
| | 06:33 | the Symmetry connection is lost.
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| Making copies and structured sets using arrays| 00:00 | Next up, we'll learn how to make
copies in structured sets called arrays.
| | 00:04 | There are several kinds of arrays, but
we'll focus on the three most common,
| | 00:08 | Rectangular, Polar, and Along a Curve.
| | 00:11 | The first array we'll look at is
called Rectangular, but the name is just
| | 00:14 | indicating that each copy is a linear
distance from its neighbor and forms a rectangle.
| | 00:19 | Basically, you're creating a one, two or
three dimensional grid or matrix of copies.
| | 00:24 | I'd like some extra bolts.
| | 00:25 | I'm going to zoom in here.
| | 00:27 | I'm going to select this one bolt and
go to the Array command under Transform >
| | 00:35 | Array > Rectangular.
| | 00:37 | We need to input a lot of options here, so
you need to slow down and read the command line.
| | 00:43 | For X direction, I'm going to type in 4
bolts, Y direction, type in 4 and for Z,
| | 00:49 | I'm going to type in 4.
| | 00:50 | I'm going to use the same spacing for
all these just to make it easy, so 10
| | 00:55 | units apart, 10 units apart, 10 units.
| | 01:00 | So, here is the array.
| | 01:03 | Notice we have 4 X, 4 Y, and
4 vertically in a Z. So, that's 64 copies.
| | 01:09 | I'll just change mine.
| | 01:11 | I don't need quite that many.
| | 01:13 | So, right now, we're in Preview mode.
| | 01:15 | We can go ahead and change
the number in a Z direction.
| | 01:17 | Let's go from 4 down to 2.
| | 01:19 | So, again, still in Preview, to
exit the command and accept the current
| | 01:25 | number, you hit Enter.
| | 01:27 | So, there we are. We have 32 bolts. Okay.
| | 01:31 | Let's take a look at a Polar
Array, which only works in 2D.
| | 01:38 | Polar Array is just basically
making copies around a common origin.
| | 01:41 | I'm going to start off with this shape.
| | 01:43 | I'm going to use this point
here, which is an Intersection.
| | 01:46 | So, make sure that is on.
| | 01:47 | We'll go to Transform > Array > Polar.
| | 01:53 | Center of the pole is
that intersection I just mentioned.
| | 01:55 | I want to make 20 copies.
| | 01:58 | Now here, it gets a little interesting.
| | 02:00 | I can define the zone, like a starting
angle and an ending angle, and all the
| | 02:06 | copies will go in between.
| | 02:07 | I'm going to undo that and instead,
we're going to change this to 360 degrees,
| | 02:11 | so to go completely around it. Undo.
| | 02:15 | I'm going to right-click to repeat,
reselect the center. 20 items is fine.
| | 02:21 | It's in the default, so
I just hit Enter to accept.
| | 02:23 | There is the last angle I
defined already in the prompt, 55.9.
| | 02:26 | I'm going to type in 360,
so we go fully around the circle.
| | 02:31 | Let's try that one more time with this shape.
| | 02:37 | Right-click to repeat. Define the center.
| | 02:41 | I'm going to this time only do 11 copies, and
I want to go half way around the circle, 180.
| | 02:47 | Let's take a look at the last type of
array, which is Along a Curve with a
| | 02:52 | couple of really cool examples.
| | 02:54 | I created this helix from the Curve
menu, right there, and then I created a
| | 03:00 | solid cone and just aligned the tip
at the very beginning of that helix.
| | 03:04 | Let's start the command by going
to Transform > Array > Along Curve.
| | 03:11 | Objects to array, just that one cone,
Enter, and then select the path.
| | 03:16 | I'm going to pick 45 as the number.
| | 03:20 | There are a couple of
options here for orientation.
| | 03:22 | Let's try No rotation and see what happens.
| | 03:25 | So, notice we get all those copies, all
45, pointing in the exact same direction.
| | 03:29 | So, it has created them equally
spaced along the curve, but it's not really
| | 03:34 | respecting the curvature or rotation.
| | 03:37 | So, I'm going to undo that
and try it one more time.
| | 03:40 | Right-click to repeat,
objects, path, same number.
| | 03:46 | This time I'm going to select Freeform.
| | 03:49 | Hit OK, and now notice how each one
is banked according to the curvature of
| | 03:54 | the circle it's on.
| | 03:57 | The next example is a little more realistic.
| | 04:00 | I've created a rivet for our robot.
| | 04:03 | There is a curve on the surface right here.
| | 04:05 | We use that curve to create an array
around the outside of the robot head.
| | 04:09 | I'm going to zoom out a little bit.
| | 04:14 | Transform > Array > Along Curve, objects,
Enter, curve, and I'm going to go down to 24.
| | 04:26 | Now in this case, we're dealing with a sphere.
| | 04:28 | So, the rotation is not really important at all.
| | 04:30 | I'm going to go ahead and accept the defaults.
| | 04:33 | There are 24 spheres equally spaced,
regardless of whether the line is
| | 04:38 | straight or curving.
| | 04:40 | The Array commands work great
whenever you're dealing with more than three
| | 04:43 | or four copies, and you need those extra
duplicates to be precisely placed or spaced.
| | 04:49 | And don't forget these
commands have many, many steps.
| | 04:52 | So, try to take your time and
read every input along the way.
| | 04:55 | If it still doesn't turn out as expected,
remember you can just do a quick Undo
| | 04:59 | or a Ctrl+Z and try again.
| | 05:02 | You probably need to work this way as
you figure out how these commands work.
| | Collapse this transcript |
|
|
10. Analysis and DegreesUsing the Analysis toolbar to understand characteristics of a model| 00:00 | In this video, we'll take a quick
look at some of the commands found on
| | 00:03 | the Analysis toolbar.
| | 00:05 | These are very helpful when receiving
a new model from someone else, and you
| | 00:08 | need to check or match some of the sizes.
| | 00:10 | However, the Analysis tools can be
just as available for own models.
| | 00:14 | For example, when you haven't worked on
the project in a while and forgot what
| | 00:16 | you did in certain areas.
| | 00:19 | Take a look up here at the menu.
All the commands will be found under Analyze.
| | 00:23 | I am going to go ahead and open up
the Analyses toolbar and dock it.
| | 00:27 | So, we are going to by
right-clicking on a blank area.
| | 00:29 | These are all the toolbars
available. Select Analyze.
| | 00:34 | And then just go ahead and dock it, just
to make it a little bit quicker and easier.
| | 00:37 | Another reminder along the way.
I always keep the curves that have generated
| | 00:42 | all the surfaces in the file.
| | 00:44 | You can always move them to another
layer later, but these are extremely helpful
| | 00:48 | for checking sizes or regenerating geometry.
| | 00:51 | So, there is no need to get rid of them.
| | 00:52 | Let's maximize the Perspective viewport,
and we'll start of with the Analyze Direction.
| | 01:01 | We've talked about this previously.
| | 01:02 | This is very helpful when you
have problems with trimming or even
| | 01:05 | Boolean operations.
| | 01:07 | So, it will tell you which is the inside
direction and the outside direction.
| | 01:10 | So, let's pick a couple of
objects, right-click to accept.
| | 01:16 | And that's as expected, so everything is
working fine there. And right-click to finish.
| | 01:21 | Now, let's switch over to the front view.
| | 01:25 | We'll double-click that and maximize by
double-clicking again. I'll go in Wireframe.
| | 01:32 | I am curious about the angle between
these two antennas, so we'll go up to
| | 01:36 | Analyze toolbar and determine the angle.
| | 01:39 | Now, it wants the start of the first line.
| | 01:43 | It's a little bit helpful to make
it consistent between the two line.
| | 01:45 | So, I am going to snap to that endpoint.
| | 01:48 | It'd probably be better to turn everything else off.
| | 01:50 | So, just the End snap.
| | 01:53 | So, there is the first point, and
the end point is up there somewhere.
| | 01:59 | The second line, I try to keep it
consistent, so I'll go back to the
| | 02:02 | same beginning origin.
| | 02:07 | It tells the angle is
59.9682, just as I was guessing.
| | 02:12 | Here I am going to jump
back to the Perspective view.
| | 02:15 | I want to try and look at
some radii on this model.
| | 02:23 | This is especially important if you
have a detail that has already been done,
| | 02:26 | and you need to match.
| | 02:27 | For example, what is the radius here?
| | 02:29 | I have another object that needs to
be in the same set of products, so
| | 02:34 | we'll check the radius.
| | 02:36 | It's pretty good about
finding any curve out there.
| | 02:40 | You can see the actual number right there
by the cursor, at 7.0, go ahead and click.
| | 02:43 | Then it gives us the
diameter and radius up at the top.
| | 02:48 | Let me try that again.
| | 02:50 | So, we can snap to almost any arc that
it can find, including parts of a sphere.
| | 02:57 | So, it looks like it's snapping around the
midline, giving us instant feedback of a radius of 2.
| | 03:02 | Now, the next radius check
is probably the best trick yet.
| | 03:08 | Many times you are trying to match
certain details and it was very easy to
| | 03:12 | snap to these curves here or
the edges of the eye there.
| | 03:17 | But how do you determine
the radius on this shape?
| | 03:20 | There is no curves, and the
edge is going along the other way.
| | 03:23 | We don't have anything to
calculate the radius from this direction.
| | 03:28 | So, we are going to do one more command here.
| | 03:29 | I'll go to the Curve menu >
From Objects > Extract Isocurve.
| | 03:36 | So, as you know the surface is
technically infinitely smooth, and there is
| | 03:41 | isocurves pretty much everywhere.
| | 03:43 | So, we can just make a copy
of one of those at any time.
| | 03:45 | So, I am going to select the surface.
Looks like I have picked the wrong
| | 03:50 | surface, try it again. There we go.
| | 03:55 | So, this is coming up in the correct
direction. If it wasn't, you just flip
| | 04:00 | the toggle option here.
| | 04:02 | You can see you always have
two directions in any surface.
| | 04:06 | It's kind of a guess which is the U
Direction and which is the V Direction.
| | 04:08 | So, that's why you have a
toggle in most of these commands.
| | 04:11 | So, we can just extract this anywhere.
| | 04:13 | I don't need to snap it anywhere particular.
| | 04:15 | Right-click when we are done.
| | 04:16 | It's still selected.
| | 04:17 | I can go back to Radius and instantly
it tells me that there was a Radius of 3
| | 04:23 | units and Diameter of 6.
| | 04:26 | Okay, one more analysis. To do this
we are going to zoom down to the feet.
| | 04:31 | This next command works the best
on organic and curved surfaces.
| | 04:35 | This is under the Curvature Analysis.
| | 04:38 | We are going to select Environment Map.
| | 04:42 | So, it wants us to select a couple of objects.
| | 04:43 | I am just going to pick everything
down here in the viewport. Right-click.
| | 04:48 | So, what we get is an environmental
reflex map, meaning it's as if this is a
| | 04:54 | shiny object in an environment
reflected by the picture you have selected.
| | 05:00 | But we can change the image
pretty quickly and easily.
| | 05:02 | There is one called Tru-Sphere.
| | 05:07 | This is very popular with car
designers or boathull designers, where they need to
| | 05:12 | get tremendous amount of detail and feedback.
| | 05:14 | Why this is so useful
is you can see discontinuities.
| | 05:18 | You can see the surface change
direction abruptly, and that will tell you that
| | 05:22 | it's not as smooth as you thought.
| | 05:23 | So it's an Analysis tool
| | 05:25 | that helps you make surfaces smoother or
find flaws before you go much further.
| | 05:29 | And of course, it's fun to look at.
| | 05:33 | One nice little factor here is we can
add objects by selecting this button.
| | 05:37 | It just puts more objects in the reflection set.
| | 05:41 | Like I said, it's more effective on the curved
surfaces, not that useful on the flat surfaces.
| | 05:52 | Hopefully, these Analysis commands
will reduce or eliminate your concern
| | 05:55 | when modeling quickly.
| | 05:56 | Too often, beginners will slow down as
they worry over the size of each component.
| | 06:00 | With the Analysis commands, you are
free to design and model with more focus on
| | 06:04 | the form and proportions, and
less on the actual dimensions.
| | 06:08 | These dimensions can be derived at
anytime, so no need to stress unless you
| | 06:12 | like to stress.
| | Collapse this transcript |
| Defining degrees of curve and surfaces| 00:00 | In this video, we'll define and explore
the meaning of degree and why it is so
| | 00:05 | important to NURBS-based modeling.
| | 00:07 | The concept of curve and surface degree
may sound a little technical, but it's
| | 00:11 | actually very straightforward and
absolutely mandatory to understanding and
| | 00:14 | controlling your designs.
| | 00:16 | The simplest explanation
I can give you is smoothness.
| | 00:19 | Why do we care about smoothness?
| | 00:20 | A couple of reasons.
| | 00:21 | It's for editability,
elegance and the underlying math.
| | 00:26 | I think elegance, to me, is one of
the more important ones because we want
| | 00:29 | surfaces that are clean and error-free.
| | 00:33 | So, for true NURBS-modeling, we need
to always have a degree 3 minimum curve.
| | 00:38 | Let's take a look at a couple of
examples of degrees 1, 2, and 3, and see
| | 00:42 | the attributes of each.
| | 00:43 | I am going to zoom in on this degree 1 curve.
| | 00:46 | This was created by the polyline
command, but you could also edit it
| | 00:51 | individually by segments that were then
later joined. Both would form a polyline.
| | 00:55 | I am going to turn the control
points on by selecting it, hitting F10.
| | 00:59 | We can see sharp corners wherever lines meet.
| | 01:02 | So, if I were to pull one of
these around, it stays sharp.
| | 01:07 | That's degree 1, pretty simple.
| | 01:08 | It's just a sharp corner
with multiple straight segments.
| | 01:11 | Let's take a look at degree 2.
| | 01:13 | It's almost like a hybrid.
| | 01:15 | This is constructed with
straight lines and arcs.
| | 01:19 | This would be the result of a fillet operation.
| | 01:22 | So, let's hit F10 to turn the control points on.
| | 01:24 | Now, it technically looks
smooth in its current state.
| | 01:27 | But we'll find out pretty quickly,
| | 01:29 | if we grab one of these
corners, there is a kink.
| | 01:32 | So, it's no longer smooth, so
that's why it's classified as degree 2.
| | 01:35 | Put that back into place with Ctrl
+Z. Now, let's check out degree 3.
| | 01:43 | This could have been constructed with a
control point curve or several segments
| | 01:48 | joined with the Blend command.
| | 01:50 | So, let's select the curve
and turn the control points.
| | 01:53 | Notice as I move these around,
no kinks will appear, no matter what I do.
| | 02:00 | Even have it go around in circles,
and it will still stay smooth.
| | 02:09 | Another attribute of degrees is
the ability to reduce itself to
| | 02:14 | individual components.
| | 02:15 | We've talked about this
being individual segments.
| | 02:17 | If we hit the Explode button,
it's now broken in individual pieces.
| | 02:23 | Same as a degree 2. You can see
it has got individual components.
| | 02:26 | They can explode into individual pieces.
| | 02:30 | The degree 3 cannot be reduced.
| | 02:32 | So, when we explode it, we basically
get an error message here at the top,
| | 02:35 | "cannot explode a single curve segments."
| | 02:38 | We would like selecting one of
these and try to explode that.
| | 02:40 | So, I am going to undo those last two
explodes and make sure these are joined back up.
| | 02:46 | Okay, now let's create some surfaces.
| | 02:48 | That's why we are modeling with
NURBS in 3D, the ability to create surfaces.
| | 02:52 | So, we'll do a quick Extrude
and see what the result is.
| | 02:55 | I am going to try to turn the control points
for this surface by selecting and hitting F10.
| | 03:07 | It looks like we have an error message.
| | 03:08 | I can't turn on points for poly surfaces.
| | 03:11 | Because of these individual components
joined at the edge, it's no longer editable.
| | 03:15 | So, that's another shortcoming of the
degree 1 curves, and therefore the surfaces.
| | 03:20 | Also, since the curve could be
exploded, we can select this and explode
| | 03:23 | those individual faces.
| | 03:26 | Let's try it again with the degree 2.
| | 03:27 | We'll do a quick Surface Extrude.
| | 03:31 | I am going to turn the control
points for this surface with the F10.
| | 03:37 | That lets him come on, so this is
barely meeting the minimum requirements.
| | 03:41 | But let's try that same problem corner.
| | 03:44 | I am just going to use the nudge key here.
| | 03:47 | Sure enough, we have generated
a very sharp kink in the surface.
| | 03:50 | So, it's no longer got the
characteristic of a free-flowing surface.
| | 03:55 | Let's go over to the degree 3 surface.
| | 03:57 | Now, I could extrude this,
and it's very tempting to do so.
| | 04:00 | But if we stop for a moment to think,
that would be going up in a straight line,
| | 04:04 | which would be degree 1.
| | 04:05 | It would actually be
generating a mixed degree surface.
| | 04:09 | It would be degree 3 in one
direction, degree 1 in the other direction.
| | 04:14 | So, when building surfaces from degree
3 curves, you got to be careful which
| | 04:17 | surfacing command you use.
| | 04:18 | In this case, I am going to switch
over to the Surface > Sweep 2 Rails.
| | 04:24 | Both of these rails are
degree 3 curves as is the profile.
| | 04:27 | So, I can select this.
| | 04:32 | This should not explode
according to the command line.
| | 04:35 | If I turn the control points, I should be
able to edit this until the cows come home.
| | 04:39 | I'll grab a couple of points
here, just using the nudge.
| | 04:43 | So, no seams will occur.
| | 04:46 | I'll show you one further analysis tool.
| | 04:50 | I'll turn the control points off,
so I can select the entire surface.
| | 04:54 | Control points on is F10,
control points off is F11.
| | 04:57 | Let me select the surface.
| | 05:00 | Now, we have kept this Properties
window over here in the right side dock.
| | 05:03 | Here is a great reason why.
| | 05:05 | If I select the details, it's going
to give us a very technical report, and so
| | 05:09 | there is a lot of math in there.
| | 05:10 | But I want to direct your
attention to the U and V.
| | 05:13 | These are just the Isoparms or
Isocurves going in the two different directions,
| | 05:19 | which is the
characteristics of all NURBS surfaces.
| | 05:21 | It's telling us it is degree 3 in one direction.
| | 05:25 | Let's call it U. And degree 3 in the
opposite direction. Let's call it V.
| | 05:28 | So, that's another way to verify
| | 05:32 | we have got a surface that is fully
editable and degree 3 in both directions.
| | 05:38 | So, there is your scary technical
background to curve and surface degrees, which
| | 05:42 | is hopefully not all that scary.
| | 05:43 | One more caveat to add for degree 3 curves.
| | 05:46 | You need to have a minimum of 4 control points.
| | 05:49 | That's to satisfy the mathematical requirements.
| | 05:52 | A degree X curve always
needs X+1 control points.
| | 05:56 | This is never an issue with degree 1
or 2 curves, but now as you know, always
| | 06:00 | plan to have 4 control points for
curves if you plan on building editable
| | 06:03 | NURBS surfaces from them.
| | Collapse this transcript |
| Using Rebuild and Change Degree| 00:00 | In this video, we'll build our knowledge
of curve and surface degree by changing
| | 00:04 | the degree of various entities.
| | 00:06 | As I've mentioned before, the simplest
explanation of degree is its smoothness.
| | 00:10 | For proper editing of curves,
we'll need a degree of three.
| | 00:13 | For surfaces with their two directions,
we require degree of three for each of
| | 00:17 | those two directions.
| | 00:19 | These directions are labeled as U and V
by Rhino and are visually represented by
| | 00:22 | the Surface Isocurves you
can see when in shaded mode.
| | 00:25 | So, we'll start off by exploring two
new commands, Rebuild and Change Degree.
| | 00:30 | When I zoom in on to this degree 1
polycurve that has six control points and we'll
| | 00:37 | select it and these two commands we'll
be discussing now are right together.
| | 00:42 | This is Edit > Change Degree.
| | 00:45 | Not too many options here.
| | 00:47 | It just says currently it's
degree one and Deformable = No.
| | 00:50 | So, we want to make sure that the new
version will be deformable, so we would
| | 00:53 | say Yes, and then I'll type in 3. Hit Enter.
| | 00:57 | Notice the curve change.
| | 00:59 | I'm going to hit the F10 and there
is the control points, so it's now a
| | 01:04 | completely degree 3 curve
with no kinks. Pretty handy.
| | 01:09 | Now let's mix it up with the second
command we're going to be looking at
| | 01:13 | called Edit > Rebuild.
| | 01:14 | We'll do this on the degree 2 curve.
| | 01:17 | I'm going to select it, go to Edit > Rebuild.
| | 01:22 | Now, I have quite a bit more options.
| | 01:24 | For example, it tells me that the
Point count is 19 and the Degree is 2.
| | 01:28 | That's why they are in parenthesis.
| | 01:30 | We can then change either of those.
| | 01:31 | I'm going to just leave it as
let's say 12. Degree 3 is okay.
| | 01:39 | You would probably want to
delete the input every time.
| | 01:41 | We don't need the original.
That's why we are rebuilding it.
| | 01:43 | And then the Preview option is very handy.
| | 01:45 | It will show us again the Maximum deviation.
| | 01:48 | That's 1.7 and it's
occurring in right this position.
| | 01:50 | So, that degree 2 polycurve is now
degree 3 and fully editable with a new
| | 01:57 | number of control points.
| | 02:00 | And finally, in a third case,
let me select this degree 3 curve.
| | 02:04 | I go to use the command Edit > Rebuild, and
you'll notice here that it's got 30 points.
| | 02:13 | I'm going to cancel out of this and hit F10.
| | 02:17 | You'll see exactly what's going
on, and this is pretty bad news.
| | 02:20 | However, this happens fairly often and
especially when you get geometry from
| | 02:23 | other software applications, you'll
end up with a ridiculous amount of
| | 02:26 | control points here. That's okay.
| | 02:28 | We're going to need to change them,
but as long as you remember the general
| | 02:31 | rule, the fewer the points the better.
| | 02:33 | So, make control points off F11, go
back to Edit > Rebuild, select the curve,
| | 02:40 | and I'm going to use the same
numbers as earlier. Degree three.
| | 02:45 | That's not changing.
| | 02:46 | It's just the point count
that's changing. We'll preview it.
| | 02:49 | Here's your maximum deviation.
| | 02:50 | I'm going to hit OK.
| | 02:51 | Now in these situations-- let me
turn the control points back on.
| | 02:56 | If it deviates too much, not a problem.
| | 02:59 | There is always a little
bit of tweaking involved.
| | 03:01 | You can push and pull back so that it
gets closer to what your wanting, or you
| | 03:06 | can actually delete the
control points whenever needed.
| | 03:08 | They can be deleted anytime and the
curve just gets a little bit simpler.
| | 03:14 | I'm going to switch over to surfaces.
| | 03:20 | I have another layer here.
| | 03:21 | I'm going to turn that on and zoom out.
| | 03:23 | When you start off with a
common primitive, the sphere.
| | 03:30 | You may not realize this, but
it is not degree three by default.
| | 03:34 | In either of the directions.
It is degree two and two.
| | 03:38 | And I want to prove this by turning on
the control points and just dragging them
| | 03:44 | a little bit, and you can
see we have a very sharp seam.
| | 03:47 | I think the reason for this being
degree two is it that it's generated
| | 03:51 | internally by Rhino as being an arc
that is somehow rotated but so an arc is
| | 03:57 | a degree two curve.
| | 04:00 | Let's take another sphere I've just built
| | 04:03 | that is also degree two and two by default.
| | 04:07 | Place the Edit > Rebuild
command to change the degrees. Okay.
| | 04:12 | We've got now point counts in two directions.
| | 04:15 | Those are represented by the isocurves.
| | 04:18 | I'm not sure which is which.
| | 04:19 | It doesn't really matter.
| | 04:20 | We are going to keep this symmetrical.
| | 04:21 | I'm just going to go with six
and six for the point count.
| | 04:27 | Degree in the U and V is three and three.
| | 04:29 | That looks good. Go ahead and say OK,
and you notice the isocurve has changed,
| | 04:35 | but the real proof here is
turning on the control points.
| | 04:38 | It really had to seam in the earlier one.
| | 04:41 | I'll nudge these over.
| | 04:44 | We have no seam here.
| | 04:46 | All thanks to degree three.
| | 04:47 | Let's try this again with the Extrude example.
| | 04:51 | Now this is an odd mixture.
| | 04:53 | We've got a surface that is degree 1 and 3.
| | 04:55 | Let's analyze how that could happen.
| | 04:57 | I'm going to select this
curve that generated it.
| | 05:00 | Turn on the control points and we can
see that's obviously a degree curve there.
| | 05:04 | It's very smooth, but then we extruded
it in one direction, which is actually
| | 05:09 | a straight line.
| | 05:10 | So, that is your degree one in that direction.
| | 05:14 | So, if we wanted to generate maximum
editability, we can do a quick rebuild on this as well.
| | 05:19 | I'll select the surface, Edit >
Rebuild, and here you see the differences.
| | 05:26 | U and V are 3 and 1.
| | 05:28 | We can change the point count.
| | 05:30 | Let's just add a few more.
| | 05:34 | Take a look, and it's pretty close.
| | 05:36 | I don't see much deviation there.
| | 05:39 | Hit OK, and that should now be a
degree three in both directions.
| | 05:43 | Now you'll notice that edge looks
straight and just like the degree one.
| | 05:48 | However, it's degree three and can be
completely deformed in any direction.
| | 05:52 | Meaning I can turn on the control points.
| | 05:54 | I can select one or many and
just nudge them up, and it should be
| | 06:02 | maintaining perfect smoothness.
| | 06:06 | Okay the final case is a Revolve.
| | 06:08 | This is another unexpected result from a built-
in commands with Rhino. Just like the sphere
| | 06:14 | was degree 2 and 2,
this ends up being degree 2 and 3.
| | 06:18 | So, we have a seam.
| | 06:19 | If we turn on the control
points, you can already see it.
| | 06:22 | I've pre-deformed it.
| | 06:24 | So, if we move those over, that's a problem.
| | 06:28 | We've got a sharp edge.
| | 06:30 | We get around this by looking for
an option in the command for Revolve.
| | 06:34 | So, it's under the Surface menu > Revolve.
| | 06:37 | It's asking for the axis, so this
is pretty much the same way we do it.
| | 06:41 | Usually I'm going to stop right here,
and this is where people blow right by and
| | 06:45 | forget to check the options.
| | 06:48 | We have the Deformable, and
that's something I mentioned earlier.
| | 06:51 | We are going to select Yes.
| | 06:54 | Now we can select the beginning and ending.
| | 06:56 | I just say FullCircle.
| | 06:59 | The one other option you want to
be aware of is the Point count.
| | 07:01 | That's how many increments
around. That's defaulting to 10.
| | 07:06 | Let's just try eight.
| | 07:08 | Let's get this selected right on
those hyperlinks, type an 8 now.
| | 07:15 | So, we have Deformable = Yes,
Point count = 8, just click FullCircle.
| | 07:20 | That will prevent you from having to
enter the beginning and ending angles.
| | 07:23 | Okay it looks pretty much the same.
| | 07:26 | I do see a different number of isocurves.
| | 07:30 | It looks like it's eight as I requested.
| | 07:31 | Let's turn those control points on, and
zoom above the top, and a little nudging.
| | 07:45 | And what do you know?
| | 07:46 | It stays perfectly smooth.
| | 07:48 | So, if you didn't notice it before, all
NURBS surfaces - no matter how simple or
| | 07:52 | curvy - will have two
direction and only two directions.
| | 07:56 | These can be seen via the surface
isocurves, which always cross at 90 degrees,
| | 08:00 | thus confirming the whole two-direction idea.
| | 08:02 | So, whenever converting either a
curve or surface to another degree,
| | 08:06 | remember these two commands.
| | 08:08 | Change degree, which will keep the
same number of control points, while the
| | 08:12 | Rebuild command provides additional
options for modifying the number of control points.
| | Collapse this transcript |
|
|
11. File Documentation and CollaborationMeasuring and labeling values on a model using dimensioning| 00:00 | In this video, we will talk about how
you can coordinate with other parties
| | 00:04 | using the Dimension commands.
| | 00:06 | This method of collaboration works best
when dealing with people who don't have
| | 00:09 | access to 3D software and still
require technical information.
| | 00:14 | So, to access the Dimension
commands, we go to the Dimension menu.
| | 00:17 | They are all located here, but I am
going to just open up the toolbar by
| | 00:21 | right-clicking on a blank area and
selecting Dimension and just have these open.
| | 00:26 | I am also going to go ahead and dock those by
dragging, and they pop right into interface.
| | 00:31 | I am going to take a quick overview
by looking at the Perspective view.
| | 00:35 | And just a heads up.
| | 00:37 | I have got lots of curves still on
this model, in a lot of locations.
| | 00:41 | These are all used to generate the
form, and I have kept them there.
| | 00:44 | So, this is actually very handy, not
only for workflow, where I may need to go
| | 00:48 | back and regenerate them,
but also for dimensioning.
| | 00:50 | I will be able to snap two points
on those curves for the dimensions.
| | 00:54 | I am also going to go ahead and
turn on a lot of the snaps here.
| | 00:59 | That should be plain.
| | 01:00 | That's most of them.
| | 01:01 | That will help me connect two points
and then pull the dimensions off of those.
| | 01:05 | I want to switchback to one
of the Perspective viewports.
| | 01:08 | I think I will start here with the Front view.
| | 01:09 | And another note is we probably don't
need to dimension everything on here, just
| | 01:15 | a few overalls will be enough
to give people the rough idea.
| | 01:18 | After all, we are modeling
this in 3D to high accuracy.
| | 01:22 | So, when the model is finally complete,
we will give them an export of the data.
| | 01:27 | This is just an interim report.
| | 01:28 | So, I am going to start up
here with the Vertical Dimension.
| | 01:31 | Now, I can snap to one of these
points on the head, and I will snap to
| | 01:37 | the bottom of the shoe.
| | 01:38 | This will be a good first overall,
and just pull it off to the side.
| | 01:42 | I will probably do another one on the
other side to get the overall height,
| | 01:45 | including the antennas.
| | 01:49 | So, it has found the quad and mid.
| | 01:51 | We can zoom in to make sure,
and back out. Any point is fine.
| | 01:57 | This is just to give people a rough idea.
| | 02:01 | Now, you are probably noticing that the
dimensions are pretty small and it's hard to read.
| | 02:06 | Let's take a look at where
those options are controlled.
| | 02:09 | I am going to go to the
Options, which is yellow gear.
| | 02:14 | And then under Dimensions,
there are a couple of controls here.
| | 02:17 | We have the overall scale set to a default 1.
| | 02:20 | Let's just multiply everything by 4.
| | 02:25 | Additionally, I want to go
inside and check one other setting.
| | 02:28 | I am noticing that the 136.00 is
probably more information that people might need,
| | 02:33 | so I am going to go ahead and lower
the Precision from 2 decimal places, just to 1.
| | 02:37 | You can also do the same thing with the Angle,
which we are going to do here very shortly.
| | 02:42 | So, I will just hit OK.
| | 02:45 | Notice this will jump larger.
| | 02:47 | It's actually four times larger, and
then we have one less decimal place.
| | 02:52 | So, it still is accurate as the
overall file tolerance, but we can reduce the
| | 02:56 | perceived tolerance visible in the
dimensions by adjusting that one setting.
| | 03:02 | Let's continue dimensioning,
maybe do a Horizontal Dimension here.
| | 03:06 | To get the size from side to side.
| | 03:12 | Let's try an Angular Dimension.
| | 03:14 | Let's move up to the head.
| | 03:17 | Now, if I were to dimension the
angle inside here, we couldn't see it,
| | 03:19 | because of the 3D geometry.
| | 03:20 | So, I have drawn a couple of
construction lines, so feel free to get creative
| | 03:24 | and add lines were needed.
| | 03:27 | So, the dimension for angle is right here.
| | 03:29 | We can just select these lines pretty
much anywhere, and you will see how the
| | 03:36 | dimension location goes either side.
| | 03:38 | So, I will just click
right there, so it looks good.
| | 03:42 | Now, let's try some radius dimensions.
| | 03:45 | That's located here on the
toolbar, Radial Dimension.
| | 03:51 | I am going to start off with the
curve there that we pointed out earlier.
| | 03:54 | And notice that as I am going around
the flat parts, the radius would be 0, so
| | 03:59 | only on the curve do you get the
radius dimensions. That's 7 units.
| | 04:03 | I will try one more.
| | 04:05 | I am going to right-click to repeat, and
pick a curve there on that eye, but you
| | 04:11 | can pull it out in any direction.
| | 04:13 | Just line up with the one right before.
| | 04:18 | Another nice feature of
dimensioning is what's called Leaders.
| | 04:22 | So, we can throw quick notes on there if
we want people's attention to be called out.
| | 04:25 | So, I pick the Leader option there, and
I am going to let them know that this is
| | 04:32 | the latest version of the shoulder.
| | 04:33 | So, we can continue drawing, but
I am just going to draw one more point.
| | 04:38 | I am going to hold down the Shift key
to keep it constraint ortho, and then
| | 04:42 | right-click when you are done, and then
you have an opportunity to type in the text.
| | 04:46 | So, I will just say Shoulder rev 12, so
they know they better stop changing it.
| | 04:56 | So, with a few key dimensions and/or
notes, you will be able to quickly and
| | 05:00 | efficiently communicate to anyone
regarding the size of the project.
| | 05:03 | You are probably asking yourself, "Hey,
you just said the other party does not
| | 05:08 | have 3D software so how do I share it?'"
Well, there is a convenient method for
| | 05:11 | doing just that with a screen
capture, whereby Rhino exports any of the
| | 05:16 | viewports to a common image format, like JPEG.
| | 05:18 | We will cover exactly how to
do that in the very next lesson.
| | Collapse this transcript |
| Creating screen captures for quick proofs| 00:00 | In this video, I will show you a very
cool technique to not only capture your
| | 00:04 | Screen viewport but also stage the
entire scene from maximum effect and more
| | 00:09 | efficient communication. So, don't worry.
| | 00:11 | This is more about art and impact than
it is about learning any new technical
| | 00:14 | commands or procedures.
| | 00:17 | First off, I want you to make sure we
are in an appropriate and logical stage in
| | 00:20 | which to share the design.
| | 00:22 | So, I am going to go ahead and
maximize the Perspective view.
| | 00:25 | What we are about to do is going to
significantly increase your file size, so I
| | 00:30 | suggest you make an additional
layer, and we're going to call it copy.
| | 00:33 | I have already got it set up there.
| | 00:34 | Now, I am going to do a
couple of short steps here.
| | 00:38 | I am going to just select everything.
| | 00:40 | I am going to copy that data with Ctrl+C.
It's a lot of stuff, so sometimes you
| | 00:46 | have to wait a little bit,
depending on the model. Ctrl+V to Paste.
| | 00:50 | Once it blinks, that usually means it's done.
| | 00:53 | Now, we have two copies on top of each
other, so carefully, without deselecting,
| | 00:57 | I am going to hit Ctrl+G to group
them together, just the new stuff.
| | 01:01 | And then I am going to take that
group and we can just drag it over.
| | 01:04 | So, I have got two copies of the same robot.
| | 01:09 | Let's switch over to the Top
view and make another change.
| | 01:11 | I am going to place this copy on to the
copy layer, just to avoid any problems.
| | 01:22 | Now, I am going to go ahead
and rotate this copy robot.
| | 01:26 | You can pick any point inside of them.
| | 01:28 | It's not that critical, and then I am
just going to type in the command line
| | 01:31 | 180, to flip him around.
| | 01:35 | Maybe scoot him up, not quite
back to back, and a little offset.
| | 01:38 | You will see why here in a second.
| | 01:39 | I am going to go back to Perspective viewport.
| | 01:44 | So, here is the general idea.
| | 01:45 | We are going to be documenting the
model and its progress by seeing copies of
| | 01:51 | two different views.
| | 01:52 | So, we get the idea of how all the
design looks from almost every angle.
| | 01:57 | Now, before we do a screen capture,
there's several things we definitely
| | 02:00 | would want to change.
| | 02:01 | Right now, we have kind
of a light gray background.
| | 02:04 | We have a grid that's kind of in
the way, and a few other things.
| | 02:07 | So, let's go through four steps.
| | 02:09 | A lot of times layers will be multiple colors.
| | 02:12 | For example, that copy layer might have
been bright green. That would be bad.
| | 02:16 | We want to have everything
if possible just be black.
| | 02:18 | This would give people a neutral view
of the model, so they can focus on the
| | 02:22 | design and not be
distracted by layers or colors.
| | 02:24 | The next step is I am going to make sure
our camera here, which is a perspective
| | 02:29 | camera, is a little bit on the wide angle side.
| | 02:33 | So, the place we check is by
right-clicking on the viewport.
| | 02:36 | Last option is Viewport Properties,
and here's the default lens size.
| | 02:42 | It's 50 millimeters.
| | 02:43 | That's kind of a neutral lens.
| | 02:44 | We are going to exaggerate this
just a bit by typing in 30 and hit OK.
| | 02:47 | Now, it looks like we jumped back.
| | 02:51 | Actually, we didn't jump back.
| | 02:52 | We just got a wider angle.
| | 02:53 | I am going to turn the grid off.
| | 02:56 | The shortcut for that is F7.
| | 02:59 | Get that out of the way.
| | 03:02 | Finally, you want to get the background
color to be white, so that when we place
| | 03:06 | this on the document, we don't see a
big square rectangle around the objects
| | 03:10 | we are supposed to be focused on.
| | 03:11 | So, we are going to check on the
tools options or click on the yellow gear.
| | 03:18 | Under the Appearance > Colors,
we have Viewport. Background.
| | 03:23 | That's the medium gray we
are looking at right now.
| | 03:24 | So, let's click on that
swatch and select white.
| | 03:27 | I am going to maximize this perspective.
| | 03:34 | I usually like to get somewhere
about mid-height on the project.
| | 03:39 | So, we are looking up at the top and
down at the bottom, usually more dramatic.
| | 03:45 | That's not quite as interesting.
| | 03:47 | So, zoom in, rotate as needed.
| | 03:50 | Now we are ready to capture.
| | 03:53 | So, we do this by right-clicking on the
viewport label and this works for any
| | 03:57 | viewport, by the way.
| | 03:59 | Select Capture > To File.
| | 04:01 | I am going to call mine capture 02.
| | 04:04 | So, we have now made a snapshot of the
entire screen viewport, and we will be
| | 04:13 | able to bring that into another
document or just send it as is via e-mail.
| | 04:18 | Switch over to Word and take a look.
| | 04:21 | Here we are in Word.
| | 04:22 | This is an earlier screen viewport
capture, and we will pop the new one in right
| | 04:27 | here at the top, and then
kind of compare and contrast.
| | 04:30 | So, I am going to select the Picture >
Insert, capture 02, scale this down a bit,
| | 04:37 | and check the wrapping.
| | 04:39 | So, now you can see the difference.
| | 04:44 | We have got this very clean image, which
we can then crop further, expand or shrink.
| | 04:50 | You can put some text next to it.
| | 04:52 | So, the focus really is on the object
with any nodes and compare that to another
| | 04:58 | screen capture, with all the
defaults. Not nearly as compelling.
| | 05:02 | So, with the Rhino Screen Capture
command, you can now collaborate with
| | 05:05 | colleagues or just show off your Rhino
modeling and robot designing skills with anyone.
| | 05:10 | Just follow these four short steps,
and you will be able to tell a more
| | 05:12 | compelling story in a few pictures.
| | Collapse this transcript |
| Creating 2D views of a 3D model| 00:00 | In this video, we'll continue
with a new technique for sharing and
| | 00:03 | collaborating with others.
| | 00:05 | This interesting command is called Make 2-D,
and it's closely related to dimensioning.
| | 00:10 | This might be considered overly
technical and borderline unnecessary, but
| | 00:13 | sometimes you will be asked to
generate a set of 2D layouts or blueprints.
| | 00:17 | If that's the case, you'll love how this works.
| | 00:19 | The Make 2-D command is located on the
Dimension menu right here towards the bottom.
| | 00:25 | We are going to select everything in
this scene and we just draw box around
| | 00:30 | all the objects, right-click.
| | 00:33 | Now there is a lot of options here.
| | 00:35 | I am going to recommend you just
stick with the standard 4 View.
| | 00:39 | I am going to turn off all these other options,
and it's going to generate some new layers.
| | 00:43 | So, I am just going to go with the defaults here.
| | 00:45 | Now, this also will take a
bit of time to calculate.
| | 00:48 | It's going to generate a Top view, a Front
view and a Side view as well as a Perspective.
| | 00:55 | Since that's the case, you want to
make sure that your Perspective view is
| | 00:59 | exactly what you would want to
export and share with others.
| | 01:01 | So, I am just kind of move around
and get a nice representative angle.
| | 01:05 | I definitely don't want to be straight
on because that's covered by the Front
| | 01:08 | viewport, likewise on the sides.
| | 01:10 | So, this is called the 3 quarters perspective.
| | 01:12 | I like to look somewhere around the
middle of the object so let's just select all,
| | 01:17 | that's Ctrl+A, go back to the
Dimension > Make 2-D, and accept these
| | 01:23 | defaults we've just discussed.
| | 01:25 | This will take a while, so we'll
cut into the completion. Okay.
| | 01:31 | This is a pretty fast computer.
| | 01:33 | It only took a few minutes.
| | 01:34 | So, your results may vary.
| | 01:37 | We've got these curves generated.
| | 01:39 | Note that they are on their own layer.
| | 01:41 | Over here, we've got a brand
new one called Make2D visible.
| | 01:43 | I am just going to click somewhere to turn
off the highlights, and let's check these out.
| | 01:50 | These are extremely accurate.
| | 01:51 | For example, I could
actually put dimensions on here.
| | 01:54 | I am going to do one
quick one just to show you.
| | 01:56 | I will just dimension from the
width of the robot's head and there.
| | 02:04 | So, you get total precision.
| | 02:06 | However, there may be occasional gaps.
| | 02:10 | You'll see that right here off the
bat there is no arc around there.
| | 02:14 | You don't have the eyeballs and
then on the Perspective view generated--
| | 02:19 | That's why we posed it.
| | 02:20 | We are not seeing a lot of the surface
intersections. For example, I am going to
| | 02:24 | select this and zoom in a bit so you can see it.
| | 02:29 | There is an intersection between
this collar and top of the torso and
| | 02:33 | nothing appeared there.
| | 02:35 | That makes sense, because in the 3D
model they actually go through each other.
| | 02:38 | There is not a curve there or an edge.
| | 02:40 | So, I am going to show a little hack or
two that will fix some of these problems.
| | 02:44 | I am going to do it one more time.
| | 02:46 | Another little tip though is if the
item is missing are minor, you can go ahead
| | 02:50 | and just manually connect the couple of lines.
| | 02:53 | It's probably an easier way to go.
| | 02:55 | So, I am just drawing a
little polyline, snap, snap.
| | 03:00 | Go back to the original model.
| | 03:01 | We will start off with the last one I
mentioned, and that's the intersection
| | 03:06 | between the neck and torso.
| | 03:09 | I am going to select both of those
and introduce a new command here.
| | 03:12 | This is called a Curve From
Objects, generates an intersection.
| | 03:18 | So, I have already got them both
selected and here is the result.
| | 03:21 | Now we'll get an actual curve there.
| | 03:23 | This is for visual reference only.
| | 03:26 | This is not needed for modeling or any
other reason, but a lot of times it will
| | 03:30 | help the screen captures or
this command work better.
| | 03:32 | So, I am going to go ahead and do
with maybe the antenna and the head.
| | 03:37 | Let me go up here and right-click,
and repeat it, and maybe the eyes.
| | 03:44 | I'll actually pick all three of these
objects and the head, both eyes and the head.
| | 03:48 | That's three, right-click, Intersection.
| | 03:54 | Finally, the last hack I'll mention.
| | 03:55 | If the Front view didn't really
capture those corners there.
| | 03:59 | So, I am going to take this curve and
make a copy of it Ctrl+C and then paste,
| | 04:05 | Ctrl+V, and just scoot that forward a little bit.
| | 04:09 | I want to make sure it's not hidden or buried.
| | 04:11 | So, from the Front view, I get that
to show up right there on the edge.
| | 04:16 | Finally, I have one more
intersection I want to make sure shows up.
| | 04:22 | I am going to pick both of legs
and both feet, right-click, and
| | 04:27 | select Intersection, okay.
| | 04:31 | Now I am going to go ahead and get
rid of that prior Make 2-D command.
| | 04:35 | So, instead of selecting everything, I am
just going to go ahead and Delete that layer.
| | 04:45 | There is a couple of lines.
| | 04:46 | I am going to get rid of those as well.
| | 04:47 | I'll re-pose, looks good.
| | 04:56 | Ctrl+A to select, go to Dimension > Make2-D,
and we will be back when this is finished.
| | 05:07 | All right. We are back.
| | 05:08 | We have got the improvements done.
| | 05:11 | Let's check them out first on the Perspective.
| | 05:14 | So, here we can see some of the
intersections that I generated earlier on the
| | 05:18 | neck and on the feet.
| | 05:20 | So, that's a big improvement there.
| | 05:22 | However, this is not perfect.
| | 05:23 | So, you are going to have to
probably do some additional tweaking.
| | 05:26 | I did get the eyes though
so that was kind of nice.
| | 05:28 | You can calculate the radius
and just do a quick fillet.
| | 05:32 | Now the final step here would
be to export this information to
| | 05:36 | another application.
| | 05:37 | For example, Illustrator or a
drafting program like AutoCAD.
| | 05:40 | One word of advice, make sure you are
in the Top viewport when you do that.
| | 05:44 | Also, the quickest way to get
into trouble is select some 3D
| | 05:50 | geometry accidentally.
| | 05:52 | So, you definitely don't want to do that.
| | 05:54 | So, I just want to select all
these objects that I've just generated.
| | 05:58 | What you can also do, by right-
clicking on the Make2D visible layer, select
| | 06:03 | those objects and go to File > Export Selected,
and you have an option here for Illustrator.
| | 06:12 | I am not going to give it a name,
but that would be the process.
| | 06:18 | So, once again, make sure you are in
the Top view, because Illustrator does not
| | 06:22 | understand perspective angles.
| | 06:24 | That will cause a corruption.
| | 06:25 | Also, don't pick any 3D geometry.
| | 06:27 | That will cause the same problem.
| | 06:29 | So, to make 2D drawings, not for
everyday use, to be sure, but if needed, it's
| | 06:33 | an enormous time-saver.
| | 06:34 | Even if your final goal is only a few
rendered images or prototypes, I would
| | 06:38 | still recommend generating these views
with the view dimensions as supporting
| | 06:41 | material for your documentation.
| | Collapse this transcript |
| Rendering a project| 00:00 | In this video, we'll raise the bar a bit with
our visuals and generate our first rendering.
| | 00:05 | Keep in mind renderings can take a long time
to set up and dozens of tests to get just right.
| | 00:11 | No matter how experienced you'll get,
you still spend a ton of time testing,
| | 00:14 | tweaking, then retesting and retweaking etc.
| | 00:18 | So, in interests of time, I've
already assembled most of the scene.
| | 00:21 | I will start off by going
to the Perspective viewport.
| | 00:25 | Here is our robot primary.
| | 00:27 | I've made some additional copies, so
I'm going to turn that layer on right now.
| | 00:31 | So, briefly I want to discuss just
the staging. These were copies that were
| | 00:36 | then been grouped together to keep the
geometry together and then just moved and/or rotated.
| | 00:41 | One of my philosophies here is it's
very difficult to make a single object very
| | 00:46 | interesting, so I've got a
combination analogy and bad joke.
| | 00:49 | While comparing it to painting when you
have a still life, it's pretty unusual
| | 00:54 | to see just one fruit or one vegetable.
| | 00:57 | Typically, you'll have multiples together,
so this is a great opportunity to add
| | 01:00 | interest to the scene by having copies
and also rotating them around so you can
| | 01:04 | get different views and different angles.
| | 01:06 | It's a great little trick.
| | 01:09 | Additionally, we have the backdrop.
| | 01:10 | I'm going to turn that layer
on now. Pan it out here.
| | 01:14 | This is just a curve that has been extruded.
| | 01:18 | So, we want to make sure that it goes
underneath the objects and then up out
| | 01:21 | of the viewport, so we have a nice clean
environment, much like a photography studio.
| | 01:26 | Finally, we have some lights.
| | 01:28 | I'll turn that layer on now and if you
go to the Top view, you can see we've got
| | 01:32 | all three of rectangular lights.
| | 01:34 | We've got one on the top. That's
usually the biggest, with a gentle glow.
| | 01:39 | I've got it about three times
the height of the characters.
| | 01:43 | One in Front. That would be the key
light and then a little bit of fill light so
| | 01:48 | that it gets no dark shadows along the edges.
| | 01:51 | Key lights usually are about
double or triple of the fill light.
| | 01:55 | I want to make a quick light for you.
| | 01:58 | We'd go up to the Render menu >
Create Rectangular Light.
| | 02:02 | Instead of multiple steps of clicking,
just make a quick one here in Right viewport.
| | 02:06 | So, I'm going to find a rectangle,
and typically, you want to hold down the
| | 02:09 | Shift key and then hit the other edge.
| | 02:13 | That typically also it comes out on the
origin, so it will take some maneuvering
| | 02:18 | to get it into the scene and at the right angle.
| | 02:21 | I'm keeping this simple. The three that
I'm going to keep here are just every 90
| | 02:25 | degrees and since the light is coming
out pretty much from all directions on
| | 02:29 | these lights you don't have
to worry about the exact angle.
| | 02:32 | I will get rid of that last one.
| | 02:34 | One thing also to check is the camera.
| | 02:38 | By default, Rhino will start the
Perspective viewport at around 50 millimeters.
| | 02:42 | That's kind of a neutral lens.
| | 02:44 | I'd like to exaggerate the Perspective a bit.
| | 02:46 | So, I'm going to right-click on the
viewport and go to Viewport Properties and
| | 02:50 | switch that lens to about 30, so it's
going to be a little bit more wide angle.
| | 02:53 | And notice it looks like the camera jumps back.
| | 02:57 | It actually has got wider, so I'm
going to have zoom back in a bit. Okay.
| | 03:03 | Let's check some of our options.
| | 03:05 | We're going to go to the tools and
check under Rhino Render. The defaults here
| | 03:11 | typically go to the viewport size,
so I'm going to make a change to that.
| | 03:14 | I want to pick a custom size.
| | 03:17 | I'm going to type in 900x600.
| | 03:21 | It gives us a nice widescreen look,
with a ratio of 1 1/2:1 width to height.
| | 03:27 | I'm going to go ahead and just leave
the Antialiasing by default. Briefly the
| | 03:31 | ambient light is just the
color of light in the room.
| | 03:34 | If it's black, it's none.
| | 03:37 | The background we're not going to even see.
| | 03:38 | We've got this backdrop, and I'm
just going to go ahead and leave all
| | 03:41 | these options checked.
| | 03:42 | We'll see how it looks, and then
we'll adjust them later if needed.
| | 03:45 | I'm going to go ahead and say OK.
| | 03:47 | Now the rendering will be on
whatever viewport is selected.
| | 03:52 | So, make sure you've got the
Perspective selected and then click on this icon
| | 03:56 | here to start the render.
| | 03:58 | We'll probably cut back here
| | 04:00 | as soon as it's completed.
| | 04:06 | All right. The rendering is complete,
and it will take a bit of time.
| | 04:09 | It all depends on the complexity of
your scene, as well as your computer power.
| | 04:13 | So, looking at the rendering I'm
noticing right off the bat a couple of things
| | 04:17 | we definitely want to fix.
| | 04:18 | First of all, the backdrop should be
continuously and we shouldn't be able to
| | 04:22 | see the background anywhere,
so we'll have to scoot that over.
| | 04:25 | The other thing I'm noticing is
we've got the isocurves showing up.
| | 04:29 | This is supposed to be a
rendering on the screen capture.
| | 04:31 | It does look kind of cool so you may
want to keep this option for some renders.
| | 04:34 | I want to remember to turn that
off when we revisit the options.
| | 04:38 | And then also if these isocurves
weren't here, I'm noticing that the highlights
| | 04:43 | or the reflections in some
areas are just blowing out.
| | 04:46 | We probably won't be able to
see the edge of this robot at all.
| | 04:48 | He is so close to background color.
| | 04:50 | So, we need to adjust the materials.
| | 04:52 | One thing to note, without assigning
any materials, everything is pretty
| | 04:56 | much default white and in that case it will
just blow out any lights in the scene.
| | 05:01 | Okay. So, I'm going to close this
rendering and start on the fixes.
| | 05:07 | First of all, let's get
the backdrop scooted over.
| | 05:10 | So, I'm just going to use the nudge key to
scoot that over so we don't see any of it.
| | 05:17 | I'll just drag it from one of the
other viewports, and I might need to rotate
| | 05:31 | the camera just a little
bit of pull in. Next up,
| | 05:39 | let's fix the materials.
| | 05:41 | I'm going to select some of the geometry here.
| | 05:43 | I want to pick all of the robots.
| | 05:46 | We can do that by right-clicking on the
layer that's currently on and select the
| | 05:50 | objects and then go to the copy
layer and select those objects.
| | 05:54 | So, now all of them have been selected.
| | 05:56 | Now, we'll go to the Properties menu here.
| | 05:59 | These items are all selected.
| | 06:01 | I want to go down to Material.
| | 06:04 | We're going to select the Basic material here.
| | 06:07 | So, the default may be different on your screen.
| | 06:09 | We'll click on color.
| | 06:10 | Here's the white I mentioned, which
is basically no material assigned.
| | 06:15 | And with the color wheel, I'm going to pick up
a medium gray, but just to be totally accurate,
| | 06:20 | I'm going to type in 128.
| | 06:24 | This is halfway to 255, which
will give us a perfect 50% gray.
| | 06:29 | Okay, so the robots and the material changed.
| | 06:33 | We can now switch to the Rendered
view, giving it a little bit of a
| | 06:36 | real-time preview here.
| | 06:37 | So, you can kind of see the material
color and a little bit of lighting, not the
| | 06:41 | final but just a little bit.
| | 06:42 | I'm going to select the
backdrop and fix its material.
| | 06:47 | It's also got kind of a white default,
which means none and we'll just pick kind
| | 06:51 | of a light gray there.
| | 06:52 | That should be fine.
| | 06:54 | Just a word of warning. You don't have any colors
in the rendering close to zero or close to 255.
| | 07:00 | Those are just unnatural.
| | 07:01 | So, I would stay away from 0 and select
somewhat between 20 and 30 and likewise
| | 07:07 | stay away from 255 and be
around 230, 235, hit OK.
| | 07:13 | Now let's go back to the settings and check
those, right before we start the next render.
| | 07:16 | Okay, so I'm going to up the Antialiasing.
| | 07:20 | I noticed some of the edges were a
little bit jaggy, and then I'm going to turn
| | 07:24 | off all these options.
| | 07:26 | We don't really need the curves,
or any text, or any edges. Okay.
| | 07:29 | So, it's always good to do a double-
check here before we start the rendering,
| | 07:32 | since it's a bit of a time investment.
| | 07:34 | So, we've got 900x600, with the
Perspective viewport still active, we're uping
| | 07:40 | in the Antialiasing, which is the edge, and
then all those options have been adjusted.
| | 07:46 | Notice that the isocurves are not
showing anymore, so this update is fairly
| | 07:50 | accurate although not final quality.
| | 07:52 | I'll go ahead and start
the Render button. Okay.
| | 07:58 | The render is complete, and let's take a look.
| | 08:01 | I see a bunch of improvements along
the edges that was fixed by the aliasing.
| | 08:07 | The material is now really popping
out, and the backdrop has no gaps.
| | 08:11 | One note here. If you like this, and
it's ready to share or display, you can
| | 08:16 | go ahead and save it.
| | 08:17 | So, make sure you do the Save As command.
| | 08:19 | This render will not be
saved with the Rhino file.
| | 08:21 | When you open it back up, you'll always have
to regenerate the rendering if you didn't.
| | 08:25 | So, save it as a JPEG or
your favorite file format.
| | 08:29 | For additional practice, I highly
recommend continuing to work on this scene.
| | 08:32 | I might move the camera some more and
then focus on the materials, such as
| | 08:35 | adding colors and reflectivity
to further enhance the realism.
| | 08:39 | The use of 3D rendering can be a
powerful sales tool for any idea or product and
| | 08:44 | skill in this area is extremely valuable.
| | 08:46 | However, the built-in render
capabilities of Rhino are nowhere near some of
| | 08:49 | third-party plug-ins.
| | 08:51 | My personal favorite is called V-Ray
for Rhino and is produced by ASGVIS.com.
| | Collapse this transcript |
|
|
12. PrototypingPreparing a model for prototyping by confirming that all gaps are closed| 00:00 | In this video, we are hopefully 100%
complete with our design and modeling work,
| | 00:04 | and ready to export for prototyping.
| | 00:07 | Now, a prototype is a three-dimensional
printout, which is to say a physical and
| | 00:11 | real-world part you can hold in your hand.
| | 00:13 | The prototype is typically fabricated
with a high-tech machine, which uses your
| | 00:17 | 3D data exported from Rhino.
| | 00:19 | As soon as you've built your model
carefully, cleanly and accurately, you might
| | 00:24 | be the one person who
never needs these strategies.
| | 00:26 | But for everyone else, I've developed a
series of quality checks and fixes that
| | 00:30 | can make this somewhat
stressful stage much easier.
| | 00:34 | Now as a reminder, the key for any
prototyping process is to export a closed solid.
| | 00:39 | We're going to focus on the arms.
| | 00:41 | I'm going to turn off the robot layer.
| | 00:42 | I zoom in here, and upon first glance,
it looks closed, complete and finished,
| | 00:48 | but that's actually no guarantee.
| | 00:50 | So, let's try a quick check of the
volume, which will tell us right off the bat
| | 00:55 | if there is any openings anywhere on this model.
| | 00:57 | I'm going to Analyze > Mass Properties > Volume.
| | 01:02 | Select the entire arm, right-click, and
unfortunately, this is telling me that
| | 01:07 | it's not closed, because otherwise it
would just give me a number of the volume.
| | 01:11 | So, let's just go OK, and
it will give you an estimate.
| | 01:14 | It'll try to assume that if there is a
tiny opening, it's closed there and give
| | 01:18 | you a rough volume measurement.
| | 01:19 | We can see that up here in the command line.
| | 01:21 | Let's do a quick inspection. Oh!
| | 01:25 | I see one problem right off the bat.
| | 01:27 | We've got an opening here on this shoulder pin.
| | 01:30 | Okay, pretty easy to fix that,
assuming this is a flat plane, which it looks
| | 01:35 | like since that was probably an extrusion.
| | 01:37 | Let's go to Surface menu and one of
my favorite commands, Planar Curves.
| | 01:42 | Whether or not there is a curve there,
we can use the edge, so I'm just going to
| | 01:44 | select it, right-click to accept
and we've attached the surface there.
| | 01:50 | The next step is just to join it.
| | 01:52 | This is as simple as picking the new
surface, the rest of the model and just
| | 01:55 | doing the little puzzle piece here.
| | 01:58 | That's the Join or Ctrl+J would be the shortcut.
| | 02:00 | Okay, now you can also check on the
Status Line, instead of running that command
| | 02:05 | again, and it says it's
still an open polysurface.
| | 02:09 | So, that's another little tip that
you might need to continue working.
| | 02:13 | So, I'm not going to do the Volume this time.
| | 02:16 | I'm going to try another advanced
command, which will tell us exactly where
| | 02:19 | the problem might be.
| | 02:20 | So, we find this command under the Surface menu.
| | 02:24 | It's under the Edge Tools, and
we're going to Show all edges.
| | 02:28 | So, I'm going to pick this object, Enter.
| | 02:32 | Now it looks like everything is
lighting up, but that's because the default
| | 02:35 | typically is to show all the edges.
| | 02:37 | That's kind of where we'd expect them to be.
| | 02:38 | However, we're concerned about naked edges,
and that just means edges that are not joined.
| | 02:43 | So, when I switch over to there and
also check the command line, we
| | 02:47 | notice that 188 of those edges are gone.
| | 02:50 | We turn that off, and
only two naked edges remain.
| | 02:53 | So, that is pretty good news.
| | 02:54 | We always hope for zero, but two is pretty low.
| | 02:57 | Here is a problem right off the bat.
| | 02:59 | We can see that this surface or
actually polysurface wasn't joined to the
| | 03:04 | polysurface next to it. I can close that.
| | 03:08 | That's another simple operation.
| | 03:09 | I'm going to select the two
polysurfaces. Ctrl+J to Join.
| | 03:14 | Now, it says it's still one open polysurface.
| | 03:17 | We've got some more edges to go check out.
| | 03:20 | Hopefully, we're getting close.
| | 03:21 | Let's repeat the Surface
> Edge Tools > Show Edges.
| | 03:27 | Select the object, and there
is the interesting situation.
| | 03:32 | I'm going to go ahead and zoom in here a bit.
| | 03:33 | I select that surface and then do Zoom Selected.
| | 03:37 | This is a common problem.
| | 03:41 | We have a gap there.
| | 03:43 | It looks like it's joined on
three quarters of the circle here.
| | 03:47 | It's just somehow peeled apart, probably
because we've got a little bit sloppy,
| | 03:52 | or didn't notice that.
| | 03:53 | So, we definitely have to close that up.
| | 03:56 | Fortunately, there is a command
exactly for just such situations, and it's on
| | 04:01 | the same menu, Surface >
Edge tools > Join 2 Naked Edges.
| | 04:06 | I'm going to select these two edges on
opposite sides and this feedback will
| | 04:13 | tell you hey, they are about 0.04 units apart.
| | 04:16 | That's just in case that they are a lot
farther apart, then you feel comfortable
| | 04:20 | with your tolerance.
| | 04:21 | In those situations, you don't
want to go ahead and join it.
| | 04:23 | You might want to just remove one of
the surfaces and rebuild it much cleaner.
| | 04:27 | I'm going to go ahead and say Yes.
| | 04:29 | So, it looks like those two
edges are now merged together.
| | 04:33 | Let me go back to our Volume
check here. We can close this.
| | 04:41 | Select the object, Analyze >
Mass Properties > Volume. Bingo!
| | 04:48 | We have a number.
| | 04:49 | We have no warning, essentially
saying to us that it's a one completely closed
| | 04:54 | polysurface, otherwise known
as a solid and ready for export.
| | 04:57 | So, there are a few basic strategies to verify.
| | 05:00 | You have a closed solid, find openings,
and finally, join or close them together.
| | 05:04 | Of course, these are problems that
can be eliminated 99.9% of the time by
| | 05:09 | building clean curves using Osnaps to
make sure they connect and then generating
| | 05:13 | clean surfaces from those clean curves.
| | Collapse this transcript |
| Using the "shelling" technique to create wall thickness| 00:01 | In this video, we'll focus on creating wall
thicknesses, which is also called shelling.
| | 00:05 | Whether you're in prototyping or
manufacturing, a big concern is maintaining a
| | 00:08 | uniform wall thickness.
| | 00:10 | But up until this point, we've
focused all of our efforts on design, form,
| | 00:14 | proportion, and generally making
something cool, but now it's time to make it real.
| | 00:19 | This process of shelling can get quite tricky.
| | 00:22 | There can be as many shelling
strategies as there are designers and designs.
| | 00:26 | However, I've picked the shoe as a
representative sample, so we can review a
| | 00:30 | few common strategies.
| | 00:31 | Now notice that I've made
an additional copy here.
| | 00:34 | That's always a good idea
when exploring a new direction.
| | 00:38 | So, I'm going to work on that and leave
these alone, just in case something goes wrong.
| | 00:42 | I have the originals as backup copies.
| | 00:46 | Turn off the robot layer.
| | 00:47 | I'm going to zoom in here on the shoe.
| | 00:51 | Now we'll notice that if we flip
it over, it's all joined together.
| | 00:56 | It also has no wall thickness.
| | 00:58 | We can identify that by
this has a single surface.
| | 01:02 | It's defining a perimeter.
| | 01:03 | It's also open on the
bottom, another major problem.
| | 01:06 | It's currently joined.
| | 01:07 | Let's go ahead and explode all of those
pieces, so we can work on them more easily.
| | 01:12 | Tip number one here.
| | 01:13 | I would leave the bottom
edge open until the very last.
| | 01:17 | Tip number two is we're going to work
on the outside and inside separately,
| | 01:21 | because it can get quite confusing.
| | 01:24 | Tip number three is we're going to
do some Offset Surface commands to get
| | 01:28 | those wall thicknesses.
| | 01:29 | I'm going to start with this
primary curved surface here.
| | 01:33 | So, I'm going to Surface > Offset Surface.
| | 01:36 | Now these surface normals are
pointing in the wrong direction.
| | 01:40 | I'm going to offset to the interior, so
I'm just going to click to flip them inwards.
| | 01:45 | You have an opportunity to change the dimension.
| | 01:49 | I just so happen to want to offset at
one, so I'm going to leave the default,
| | 01:52 | and I'm going to right-click to accept.
| | 01:55 | So, we've made the first interior surface there.
| | 01:59 | Let's get the wall thicknesses on the two ends.
| | 02:02 | We'll notice that these are perfectly flat.
| | 02:04 | So, we can do the Offset command, or
we can just copy them and move them.
| | 02:08 | It all depends on the model.
| | 02:09 | I'll try it both ways.
| | 02:10 | Let's go to Surface > Offset Surface.
| | 02:12 | I'm going to go in, looks
like the unit is still set to 1.
| | 02:17 | So, I'm going to right-click
and we'll look inside there.
| | 02:21 | It worked as expected.
| | 02:23 | Now we'll just do the copy-paste on
this edge. Ctrl+C to copy, Ctrl+V to paste.
| | 02:29 | I'll just use my Nudge to move it in
one unit, and I'll verify all this one
| | 02:36 | more time.
| | 02:38 | So, here are the roughed out interior walls.
| | 02:42 | We're not going to worry
about that perimeter edge.
| | 02:44 | We can do that at the very last.
| | 02:45 | Now I mentioned we're going to break
this apart at least visually, so we're
| | 02:50 | only going to work on the
outside or the inside one at a time.
| | 02:53 | So, right now, I'm going to pick the outside
surfaces and we're just going to hide them.
| | 03:04 | So, you've got the inside there, so I'm
going to use Ctrl to deselect and then
| | 03:09 | Shift to add the top.
| | 03:12 | Hide command is this light bulb icon here,
or you can use Ctrl+H and get rid
| | 03:17 | of it just for a little while.
| | 03:19 | Any longer than that, I typically would move
those entities to another layer and turn it off.
| | 03:24 | So, plan here is to trim these to each other.
| | 03:27 | You're probably noticing well,
how to trim them to each other?
| | 03:29 | They don't intersect.
| | 03:31 | So, we're going to go ahead
and just scale these up a bit.
| | 03:34 | It's not going to be critical as
long as this face maintains the same
| | 03:36 | position and orientation.
| | 03:38 | We can scale it up and down.
| | 03:39 | Then the trimming will be that much easier.
| | 03:41 | We'll go to the Scale tool. Select the face.
| | 03:44 | I'm going to snap here to the Midpoint,
so that is an edge even though there is
| | 03:50 | no curve there, and just start
and scale it out. Doesn't matter.
| | 03:56 | We just want to make sure we go well past.
| | 03:58 | The same thing on the other side, right-
click to repeat, Midpoint, snap on the end,
| | 04:05 | and make sure it's really easy to
stop short, no charge for extra scaling,
| | 04:12 | make it bigger than needed.
| | 04:14 | Another item here you're probably
noticing is, well, how do I trim these to
| | 04:17 | each other? There is an exact overlap here.
| | 04:19 | So, what we're going to do is we're
going to slice the bottom, so that we have a
| | 04:24 | uniform bottom edge.
| | 04:26 | That is the same and
then the trimming will work.
| | 04:27 | So, I'm going to switch over to the
Front viewport, and you can see right off
| | 04:32 | the bat, by virtue of those offsets,
we've come out at 90 degrees and things
| | 04:38 | kind of undulate up and down.
| | 04:40 | So, this is another one of my tips.
| | 04:42 | Whenever you have a surface that's
getting a little complicated, always make
| | 04:44 | it bigger than needed.
| | 04:45 | Then feel free to just trim it back,
and then you have to maintain a
| | 04:48 | perfectly clean edge.
| | 04:49 | So, I'm going to just draw
a quick straight line here.
| | 04:54 | Hold down the Ortho or Shift key, make it la ot
bigger, and that's probably too much trimming.
| | 04:58 | So, I'm going to scoot that
down with a couple of Nudges.
| | 05:02 | That should do the trick.
| | 05:04 | In most situations, a curve can trim
a surface if both are fairly clean.
| | 05:09 | Otherwise the backup plan would be to
take that curve and extrude it straight and
| | 05:14 | then trim with a plane,
but let's give it a shot.
| | 05:16 | So, I'm going to use Trim command here.
| | 05:19 | Cutting objects is the curve, accept,
and let's see if we can get lucky.
| | 05:23 | I'm going to trim some of
these surfaces. First one worked.
| | 05:26 | Here's the back plane and here
is the shell. That's curved.
| | 05:31 | Picked the wrong side. Ctrl+Z to undo.
| | 05:35 | This is where it gets little tricky.
| | 05:36 | You might want to zoom in, make sure
you're picking the right part. There, got it.
| | 05:40 | I've another one over here as well.
| | 05:45 | The purpose of that is that they now
share a bottom edge, and they can be
| | 05:50 | trimmed to each other.
| | 05:51 | I'm going to show you a technique.
Instead of just trimming them apart,
| | 05:55 | sometimes it's a good idea to do a Split.
| | 05:58 | You can verify that both shapes will
trim to each other first, instead of
| | 06:02 | trimming one and having the second one fail.
| | 06:04 | It's a great way to have
the built-in backup plan.
| | 06:06 | So, objects to split, I'm going to pick
a curved shell, Enter and then use these
| | 06:12 | two as the cutting objects.
| | 06:14 | So, I just want to verify that those broke off.
| | 06:19 | If they didn't, I could use other parts.
| | 06:22 | So, that's the built-in
backup plan. So, they worked.
| | 06:25 | Let's split again.
| | 06:26 | I'm going to split this face, Enter.
| | 06:30 | Now I can pick either side if
there is any problem or both sides.
| | 06:33 | I'll just pick this larger side,
Enter, looks like that worked.
| | 06:41 | Let's repeat it for over here,
cutting objects, shell. Okay.
| | 06:48 | Once the Split Split technique has
worked, next up is the stage called just
| | 06:53 | throw away the garbage, pick
the extra pieces we don't need.
| | 06:56 | Don't forget, we're still
working on the inside here.
| | 06:59 | That's the reason I turned the outside off.
| | 07:01 | It would be very confusing if
everything was upside down or inside out.
| | 07:06 | Let's unhide the exterior. There it is.
| | 07:08 | Let's take a look at how
things are coming along here.
| | 07:11 | So, we have a nice clean interior shell there.
| | 07:17 | We do have to close off that wall thickness.
| | 07:20 | Let's flip over to the Front view
here, and let's switch viewports.
| | 07:25 | Notice that it is longer and
extended beyond the inside shell.
| | 07:30 | So, that's why we'll use
this to trim one more time.
| | 07:32 | So, hopefully, everything will trim out.
| | 07:37 | I'm going to zoom in just to avoid any problems.
| | 07:55 | They should now share a common flat
bottom. It looks like we missed one edge.
| | 08:01 | We'll go back and do that - this
happens a lot - because we're seeing them
| | 08:04 | straight on.
| | 08:10 | Easy to miss. Back to Perspective, and this
is why I like working in the Perspective viewport
| | 08:14 | as much as possible.
| | 08:15 | It's an opportunity to constantly inspect
the surface and catch mistakes as they crop up.
| | 08:20 | So, that looks pretty clean.
| | 08:22 | So, all we have to do now is cap this.
| | 08:24 | Unfortunately, we can't use the Cap
Solid command, because these two surfaces
| | 08:27 | are no longer connected.
| | 08:29 | They're completely separate.
| | 08:30 | They don't touch anywhere.
| | 08:31 | However, we can join all the
pieces together pretty easily.
| | 08:34 | So, I'm just going to select all these objects.
| | 08:38 | I'm going to hit Ctrl+J
for Join. Let's take a look.
| | 08:43 | Inside shell all joined, outside all joined.
| | 08:48 | So, now we're going to use this
cutter to create a surface, and that will
| | 08:51 | be used to cap those.
| | 08:52 | Again, we can't use the Solid Cap
command because they're not touching anywhere.
| | 08:58 | We'll just do a simple Surface > Extrude.
| | 09:02 | This happens a lot too- especially
when we're working with Perspective,
| | 09:04 | it goes the wrong way.
| | 09:06 | That's because it typically goes
perpendicular to the construction plane unless
| | 09:09 | the curve is rotated. Not a problem.
| | 09:12 | We just say new direction by clicking
this option and all it's asking here is
| | 09:17 | just for two points.
| | 09:18 | I'm going to click there.
| | 09:19 | Holding down Shift, pick the second
point in the direction we want to create the
| | 09:23 | Extrude, selected the BothSides, Yes,
and make it way bigger than needed.
| | 09:30 | Now we have a flat cap just
about ready to split or trim.
| | 09:34 | Let's start the Split command.
| | 09:38 | Objects to split will be this flat plane,
Enter, and we'll select the two surfaces.
| | 09:44 | Don't forget, you have to get the interior.
| | 09:45 | The outside will light up first.
| | 09:47 | There is the inside, hit Enter.
| | 09:51 | If everything is going as planned, it'll tell
you one surface was split into three pieces.
| | 09:56 | That's actually a good visual check.
| | 09:57 | Let me zoom over here and notice we
have an outside and inside and that lip.
| | 10:02 | That's the three pieces.
| | 10:04 | So, again, we can throw away
the garbage. It looks good.
| | 10:09 | We still have to join them.
| | 10:11 | So, here is the new edge inside plus outside.
| | 10:15 | I'm doing Shift, add, Ctrl+J or Join,
cross your fingers, and this is the-- hallelujah!
| | 10:24 | Command line prompt.
| | 10:25 | X number of surfaces or polysurfaces
joined into one closed polysurface.
| | 10:31 | So, that would be ready to prototype.
| | 10:33 | It's clean and it's closed.
| | 10:36 | So, there you have at least
one way to shell a robot shoe.
| | 10:39 | These few tips will hopefully get most
of your shelling needs streamlined, but
| | 10:42 | it's also worth noting that some
smaller thin parts may not need shelling as
| | 10:47 | they sometimes can be built solid.
| | 10:49 | With that in mind, we'll tackle
the arm next and prepare it for
| | 10:51 | prototyping exporting.
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| Exporting to the STL format for 3D printing| 00:00 | In this video, we'll take our robot
arm and review the steps required to send
| | 00:03 | out a file for prototyping.
| | 00:06 | Our goal is to export the 3D data to
a file format called STL, which stands
| | 00:10 | for Stereolithography.
| | 00:12 | This term is used for both
the machine and the process.
| | 00:15 | This is a very cool machine.
| | 00:17 | It will build your model
using a laser and liquid resin.
| | 00:20 | A quick recap, a NURBS model
is by definition very smooth.
| | 00:24 | This is great to edit and design and
visualize, but it's not intended for prototyping.
| | 00:30 | Instead, we're going to create a
polygonal mesh and then save that mesh in
| | 00:34 | the STL file format.
| | 00:36 | Now Rhino has a direct way to do this
via the File > Export Selected, which will
| | 00:42 | generate a mesh and export it, but
I feel that you lose too much control.
| | 00:46 | So, I'm going to add one extra step.
| | 00:48 | We'll kind of do a quality control,
review the geometry before it goes out and
| | 00:53 | then save it, of course, if it passes the test.
| | 00:56 | Let's turn off the robot. Focus on the arm.
| | 01:02 | Now another reminder here.
| | 01:03 | We've already verified that this
entire model is closed and clean via some of
| | 01:08 | the strategies discussed earlier. Okay.
| | 01:11 | Let's take a visit to a brand-
new menu. It's called Mesh.
| | 01:14 | There are lots of options here.
| | 01:15 | We're going to just pick the first
one available. Mesh > From NURBS Object.
| | 01:20 | We're going to select this entire
object here, right-click and switch over to
| | 01:24 | Simple Controls, which is usually the default.
| | 01:27 | So, this process, just to make it a
little more clear to understand, I'm
| | 01:30 | going to crank it down.
| | 01:31 | We can do a preview.
| | 01:33 | Sometimes, it's hard to tell what's
going on because this mesh is generated
| | 01:37 | right on top of the NURBS object.
| | 01:39 | I'm going to leave it as acceptable and hit OK.
| | 01:43 | Now to analyze this, we're
going to have to select the mesh.
| | 01:46 | I'm just going to nudge it over a few
places and we'll take a look at what we got.
| | 01:51 | Right off the bat, you can probably tell
that's not what we're wanting to do here.
| | 01:55 | This has got a lot of large facets.
| | 01:57 | There are also some problem areas
here as circle is turned into a square.
| | 02:04 | We've got all sorts of pinching and
puckering all over the place, but this is
| | 02:08 | good to check out the difference
between a NURBS surface and a polygonal mesh.
| | 02:16 | This is not all that editable.
| | 02:18 | In fact, we probably wouldn't want to touch it.
| | 02:19 | However, you can't turn control
points on, as you can quickly see,
| | 02:25 | there is nothing you'd want to mess with.
| | 02:29 | So, we're going to go ahead and
turn the control points off, delete it.
| | 02:31 | We're going to do this one
more time in higher setting.
| | 02:34 | So, I'm going to select
the object one more time.
| | 02:36 | Go to Mesh > From NURBS.
| | 02:38 | We're going to go quite a
bit higher to the opposite end.
| | 02:42 | Check the Preview button.
| | 02:44 | This is actually looking much better.
| | 02:45 | I'm going to go a little bit further.
| | 02:46 | I'm going to select the mesh.
| | 02:51 | I'm going to nudge it over for inspection.
| | 02:53 | I'm going to use the Zoom Selected button here.
| | 02:57 | Now we can see that this is much more round.
| | 02:59 | You don't have any
pinching on these interior spots.
| | 03:04 | That's still round, to have--- nope!
| | 03:07 | That looks pretty good.
| | 03:08 | So, the question always arises,
how dense should I make the mesh?
| | 03:12 | Well, if it's going to appear solid
black in your viewport, that's too dense.
| | 03:16 | At some point, you've got to remember
that the tolerance of the machinery, the
| | 03:19 | Stereolithography machine, it can
only builds things to a certain size.
| | 03:22 | If you've way below that, you're just doing
unnecessary detail that it cannot capture.
| | 03:29 | Let's say that this has passed the inspection.
| | 03:31 | I'm going to mention one more thing,
just in case there were any problem areas.
| | 03:35 | This is where you'd catch that.
| | 03:36 | Occasionally, we'll see surfaces or polygons
flipped, turned inside out, or just missing.
| | 03:42 | So, that's your opportunity to fix
that file, in which case, I recommend just
| | 03:46 | throwing this whole mesh away and
addressing whatever part was causing the
| | 03:51 | problems, and then just
building the mesh one more time.
| | 03:54 | It's ready for export.
| | 03:55 | I'm going to select.
| | 03:56 | I'm going over to the File > Export
Selected option. Call this the robo arm.
| | 04:06 | One great thing about Rhino is it has
got a million formats you can export to.
| | 04:10 | For this, we're going to pick
Stereolithography, go ahead and click Save.
| | 04:14 | I'm just going to accept the defaults here.
| | 04:17 | So, if I were to skip these steps of
generating the mesh and reviewing and
| | 04:22 | regenerating, I might have missed
some error, because what happens is that
| | 04:25 | mesh would get exported all in one step,
and I'd be left just with this NURBS surface.
| | 04:30 | Any problems would be in an external
file that I might not catch, and that could
| | 04:34 | be a potential problem if
you're on a tight deadline.
| | 04:36 | I'm going to jump over to the folder and
do another couple of recommended steps.
| | 04:43 | Here is my exports folder.
| | 04:44 | Here is the Rhino file.
| | 04:46 | Notice the size gets considerably smaller.
| | 04:48 | That's because the polygons
don't have that much data.
| | 04:50 | It's a lot of points, yes, but since
it's no longer editable, it does tend to be
| | 04:54 | quite a bit smaller.
| | 04:56 | However, this is a critical
step I'm going to mention.
| | 04:58 | I'm going to go ahead and ZIP this.
| | 05:00 | If you're going to send this out to
a prototype service bureau, you can
| | 05:03 | potentially have errors creeping into the data.
| | 05:05 | So, it wouldn't make a difference on
most file formats, but this you might
| | 05:09 | actually have a seam open up or have
a problem which would prevent it from
| | 05:13 | being built at all.
| | 05:15 | So, it's simple to solve just by
compressing it into a ZIP format.
| | 05:19 | Notice the file sizes get
considerably smaller each step.
| | 05:23 | So, this is almost 7 megabyte Rhino file
| | 05:25 | is under 1 megabyte.
| | 05:27 | It's a third of that size when we ZIP it.
| | 05:29 | So, that is ready to be sent out.
| | 05:33 | So, here is the custom robot arm we
just finished modeling and exporting.
| | 05:37 | For something of this size and
complexity, the service bureau would print it
| | 05:40 | out within a few days.
| | 05:41 | Parts like this will be used for
testing or reviews prior to manufacturing.
| | 05:45 | However, many prototype
parts do not get manufactured.
| | 05:48 | They're used to find problems before a
million parts are made or just to make a
| | 05:51 | single custom paperweight for your desk.
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ConclusionGoodbye| 00:00 | Well, that's it for the lynda.com
course Rhino Essential Training.
| | 00:04 | This is Dave Schultze saying, thank
you for watching this all the way through
| | 00:07 | to the very end. I hope the material
we covered gets you comfortable enough
| | 00:10 | with Rhino, so that you too
can create some beautiful work.
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