Autodesk AutoCAD Masterclass: The Ultimate Guide to AutoCAD

1. Intro to AutoCAD Masterclass Training Series: hi and welcome to our auto cad masterclass training course on this course I'm joined by, my colleague wrote, Who is an exceptional cab designer and instructor. World will take you from knowing nothing about AutoCAD to a level where you can tackle pretty much any cat project. There is no doubt that auto Cat is the best and the most popular technical drawings off their out there today, And on this course you'll learn how to navigate the ultra cat interface, draw basic and complex shapes and plans some off the most useful commands. Work with layers at dimensions, print and publish your project. This course will also prepare you for the official certification exam for also can, which will give you the competitive edge when you apply for AutoCAD jobs. Even if you are an existing AutoCAD user, this course will give you the extra skills to speed up and optimize your workflow alongside the training videos. You will also have access to the training files used during the course so you can follow along at your own pace. So if you're ready to learn AutoCAD, let's get started 2. Welcome: Hi. Welcome to our AutoCAD training videos. I'm really pleased you've decided to join us on the journey into or card, which is the leading CAD software anywhere in the world. Order. Cat has millions of users across the globe. Wherever you go, cad jobs ask for AutoCAD experience. Architects, engineers and designers all recognized the importance of water Cat on the ability to exchange data easily and freely. That makes economic sense on business. Loves it. If you have all declared on your CV, you're halfway there. 3. Why AutoCAD: you may ask, why auto cad? That is why I oughta cad in particular. Well, that's an easy question to answer. AutoCAD has been going for close on 40 years. The software has millions of users worldwide. The program is refined regularly and updated every year. It's easy to use and it's reliable, and I'm gonna show you how to get really good at using the world's favorite CAD package. 4. Download Files: So we've produced a series of videos to help you journal to cut on. We've also made drawings for you to follow at your own speed. So if you have a copy of or cat, have it open and you can work along with me, download the drawings and have them ready. Practice is a great thing, and we'll help you build up your kinetic muscle memory and improve your speed of operation and get you really good at order. Cad. So when you're ready, let's get going. 5. Version 2019: So I'm using AutoCAD 2019. Yeah, and, Ah, that's certainly the current version available right now. But you could also have a work alongside me using version 2015 or 16 or later on. There would be little appreciable difference. There might be some minor changes to the interface on graphics on the buttons, but that's about it. So let's press on. 6. Tips About the Interface and Keyboard Shortcuts: So I want to tell you how we're going to use and learn order, Kid. During these training videos, we're going to mainly rely on the command line than that's down here. This is the command line here. Now, some of you may have an interface where the command lines being moved and you can move the command line around and you can accidentally close it down. So don't don't do that about mainly, the command line appears at the bottom here. We're gonna be relying on typing in air commands at the keyboard on Whenever you type in a command, you have to finish with the enter key. So if the command was copy, you do copy, Enter. Now, of course, What we could do is we could use all of these buttons up top here. Okay, But really, all days do is to issue the command that weaken issue at the keyboard on The reason for that is the AutoCAD was designed before Windows was even available. So Windows came in around about 1990. Auto cad came in about 1980. So you can imagine Alter cat was around and designed before windows, so these buttons at the top here are just a convenient way of issuing the commands. Now, yes, there are a little bit more to the buttons than just the commands that we can issue. But in the main, the fastest way of using AutoCAD is through the keyboard. Now on the top Here, we've got a whole bunch of menus on. If I click through here, you can see that the ribbon changes as I go through. Of course, what that would mean is that you have to remember every single instance of every single but and every single menu. Now, of course, you could do that and you could go through and you could have a look at all of these extra pull down items. But really, once you know what the commands are, you can go for the commands on the keyboards very easily and very quickly, So that's the quick way of using AutoCAD. So I'm going to teach you what the commands are so you can hear the commands. The commands are in English so that they make sense so you can understand the logic. Most commands have a short cut so that you don't have to worry about typing errors. Okay, so, for instance, move is m okay. And it raise is E. So they're really easy. They're not really difficult shortcuts. And what we need to do is we need to take those short cuts on board, because typing in em for move avoids typing errors. Okay? And it also reduces time. And if you know what the command is and you get straight to it, it speeds up your drafting inside order card. Okay. So you could be quick and fast and accurate if you learn the keyboard. 7. BC Getting Around the Interface: so looking at the interface inside AutoCAD right the way across the top. Here, this is the button bar. As we said before and over here on the top left hand corner. We've got two tabs on these tabs. Allow us to go to the start menu and this is the start drawing menu. These are previously Lee used drawings and this is your online presence on any of the other drawings that you've got open Appear in a tab across the top here. And over here on the right is the properties dialog box. Now, you probably started order card without this. Actually, um, where this properties dialog box wasn't open. Probably like this on DA The Properties dialog box is a fantastic dialog box to have open. And it's just easy to get hold of the properties dialog box You've got Ah, right click menu here. So you can select Properties dialog box here, Onda, we're gonna be talking about that later. How you access it, how you use it and why it's important. And down here on the right hand side, there's a whole bunch of buttons here. You can see them. Some of them are turned on some of the grey graze turned off. Okay, Now I'm going to suggest that you don't fiddle with these buttons at all because these buttons alter the way in which order cared operates on Until you know what these buttons do , you could be turning on or off something absolutely fundamental. So I'm going to suggest that you don't change these buttons, Atal, until we've discussed them on duh, you know exactly what's going on. So there's a whole bunch of things that you could do Great. There's all sorts of little menus that you can access. Uh, but when you know what those menus are on, why you're going for them? Brilliant. But until that, avoid those buttons down in the bottom, right hand corner completely. And over here on the bottom left hand corner, we've got some buttons and tabs that allow you into paper space. So here we've got the A four layout and you've got a a one lout. So I'm just gonna open up each of those just by clicking on the tabs. Those tabs are a little bit like the tabs that you might find in Excel, for instance, if you know, excel on that just allows you to separate pages. Okay. And then this is paper space on. Then we can go back to model space. Okay, Now, paper space is used for printing and saving. Okay, So you could save out to pdf, for instance, or you could print out to your printer, and we're gonna cover all of that in a later video. But, um, if we come back to model space, okay, Right at the bottom. Here. We have something we mentioned earlier. The command line. Okay. Now, this is probably the most important area off water card. And this is how you talk to order card and how autocad talks to you. You type in at the keyboard and press enter, and that's your way of talking toe order cared, and it appears in the command line. And then AutoCAD responds. So what you want to do? Great eso, for instance, if you typed in a raise, great. Enter that. We are. There's theories command in the command line. And then auto card says Okay. Would you want to do please select some objects game so we'll do that was select some objects. And then when you finished selecting you just press enter okay on the objects of being erased. So that's a pretty straightforward way of operating. Okay, now, you can also get all of that stuff back, right? Don't worry about the fact that you've just done something. If you've made a mistake you can undo on, there's a lot of different ways that you can undo. For instance, you enter. So that's the you on the keyboard. The letter u ah percent and that's under You've got control said that which is a standard Windows command. That's undue. And up here in the top left hand corner, can you see this button that's pointing over to the left? That's also undo Brilliant. So you've got a lot of control over what's going on, okay? And auto cad has got around about 20 undoes that it could remember. I think you can alter in preferences, I think, alter how many undoes it could go back through eso. There we go. That's the interface on that. That's how we're going to be using water kids. So quick. Summary. Okay, Although these buttons air useful, we're not going to be using very many off them the properties dialog box is absolutely essential. Once you get used to it, it's brilliant. So we're gonna have that open on the right hand side. Don't touch these buttons down here until we've discussed how to use them. And right in the middle of the command line, we're gonna be typing our commands in at the keyboard. We're gonna be using short cuts on DA When we find out what those shortcuts, I'll tell you as we go, then learning the short cuts will make you more efficient. Okay? And avoid things like spelling mistakes. Okay, great. So that's the way we're going to be using AutoCAD in these tutorials. 8. Zooming and Panning: Hi. This is video number five, and it's all about zooming and panning. So if you've downloaded the drawings we've made to accompany this video, then open up drawing number five zoom and pan, and you can work alongside me. So this is all about zooming and panning around the drawing so that you can get the most out of your drawing experience. So if you're ready, let's have a look at your mouse. First at the center wheel in the middle of your mouse button is zoom, so if you want to scroll the center wheel, you can zoom in and zoom out of your drawing very easily. Okay, have a god that, and then when you're ready, the same button is also ah, hold down button so you can click with this button and hold it down so the middle button becomes pan, and you can see that by the little hand that appears on the screen when you hold down the middle button, and that means that you can then pan you're drawing side to side and up and down. Now you can do both of those operations together if you practice so you can scroll and hold down the button at the same time, which is pretty cool. Trick on. That means that you can get around your drawing really easily now, depending on where you are. Okay? Just get yourself into a nice place, okay? And depending on where you point with your mouse, that will affect where you zoom in. Can you see on pointing towards the word sheet and then I'm moving away, and then I can choose somewhere else. I'm point of these machine heads and zoom in and then assume away. So where your pointing controls, where you zoom in to on where you zoom away from. Okay, Have a practice with that. Okay, We're going to practice the pan command a bit. Mawr. Okay, so hold down your middle button and put it over to one side on. Then we're going to scroll away, hold down the middle button and pull it to the other side so you can see that all of these operations are very fluid. And when you need to get around your drawing, you need to be really fluid with your mouse. So being out of click straight into pan is brilliant. Now, if you've got the same interface as me. This is version 19. You'll see. We've got a little button bar at the side here as well, so you can see that we've got pan as a command here so you can left click that command on that, then becomes pan also, so that's a different way of getting into your pan command. And if you have a look at the same little floating button bar here, you've also got zoom extents. Okay, so if you click on that button, that's the same as typing into zoom extents, so zoom and pan on the mouse can be considered to be invisible commands. In other words, you can actually be doing something else in AutoCAD like copy or move, for instance, and you can use your mouse to usual zoom on pan. So, for instance, you might be selecting something over here to copy it over to here, and therefore you need tohave zoom and pan operating in the middle off your copy or move command on. That's fantastic, because whilst it's invisible, that means you're using it without interrupting your copy. All your move command, and this will just become instinctive after a little while. So just practice a bit more so that you feel that zooming and panning it is no big deal. Now, let's just zoom away from your drawing so just a little bit so that your, um, drawing is around about the size of a postage stamp. Now, this time, we're going to use the mouse to zoom extents with a double click on the middle button. Okay, so let's try that. So that's a double click on the middle button. And that is the same as the zoom extents option that we looked at over here. So Simic senses, let me see the whole drawing on. That's something that we do all of the time when you're working away and you're doing some details and you finish during the details and you think yourself. Okay, Now I want to see what I've done and what I've still got left to do. You can double click your middle button, okay? And that's zoom extents. Now, we can also use thes Zim command at the command line. So the command line down here, if you remember, and what we need to do is to type the commanding at the keyboard. Zed double o m. Okay, so if you just type in, said Debelo, I m like that and press enter. Then you'll see that whilst you're speaking toe order card, the command line speaks back to you. Have a look down here to see what it says and the command line says, Yeah, you can zoom. These are your options, All center dynamic extent. You can read them yourself across there all the way across to really time so you can see that you've got a number of options. So we're gonna type in P for previous on impress enter and we go to the previous zoom Whatever that WAAS and you can also type in, Zoom said. W m enter and e for extents. Enter on that soon. Extents. Now we can short cut all of those commands so we can do zoom previous just simply by typing in said into a p enter. So let's do that Zed inter p enter so that soon previous and we can short can't zoom extents as well by typing in said in tow E enter so you can see that the keyboard is extremely efficient in giving you those zoom commands now We've also got a further command that we want to look at, and that's called zoom Window. Now, zoom window allows you to choose or select on area of the drawing that you want to zoom into. It is very simple and very useful. So we're gonna short cut it again so that zed enter W and, uh, that soon window said enter W enter on Auto head is now expecting you to define a rectangle with two clicks. So here we go one corner and then the other corner. Okay, so two clicks to give you the two opposite corners of your window. Let's try that again, said into W enter on. I'm gonna zoom in here. Click, click. I'm a guy. So zoom window is a fantastic way of selecting the area that you want to zoom into. Okay, So have a practice with all of these commands on get used to him. I'm familiar with um, particularly at the keyboard. Let's go through a couple zoom extents said in tow. Ente zoom. Previous zed and P enter and assume window zed enter w enter and therefore define the rectangle that zooms you into the area that you want to look at, okay? And then I'm gonna do my zoom extents again to come out said in tow E enter so I can see the whole thing. Now the reason I've come all the way out is because I want to show you what really? Time zoom looks like, Uh, you probably saw on the command. I'm do that again, said Enter on the command line. The Zoom command says, Yeah, you can do all of this stuff. And at the end, it says, there's this thing called real time. Now when it's in those little triangular brackets, that means you can have that option just by pressing. Enter want s'more That puts you into real time zoom. And that means that left mouse click puts you into this lovely, smooth zoom, which is actually much more accurate. It's not like using the center wheel on your mouse button, and this is a lot cleaner and easier Teoh to use. Okay, so have a little play with zoom real time now, when you're finished with zoom real time, you need to right click and choose exit to come out. OK, so have a little girl that eso the short cut for zoom. Real time is zed enter. Enter. That puts you straight into real time zoom. And that means you can then practice your real time, Sam. Okay, Have a little play with that Now. You can access the pan command also while stool, uh, in your drawing, we just see him away a little bit so you can use your, ah, patent command. Okay. At the keyboard, which then produces a left mouse button pan. So if we type in p a n enter, that puts you into the pan command, which allows you to move your drawing around in exactly the same way as using the middle button of your mouse. But it's now a left mouse button operation on this particular command is not invisible. Because if you're issuing a command, then a command, the command line, uh, will override anything else that you're doing. Okay, so here we are. We've got Pan now with the left mouse button feature on toe exit that you need to right click and choose exit from this little menu here. Okay, so we've got a lot of things that we can do, haven't may. So we've got zooming in a zooming out on the mouse. We've got panning on the mouse. We've got the panning here at the side, and we've got zoom extents at the side that you can practice. We've also got the keyboard commands. PRESUME, which is zed. Enter E enter for extents. Zed enter p enter for previous. That's do said Enter P and tough a previous okay and zoom window, which is said into W. Enter so I can choose an area to zoom into. And then we've got a real time zoom, which is said into enter on left mouse click to give yourself this lovely, smooth, real time. Zoom. Okay, toe exit, right click and choose exit from the menu. Now, if at any time any of your commands get stuck or there seems to be something going wrong, press escape twice on the keyboard. Okay, have a look for your escape, but normally on the left hand top corner of your keyboard and escape is like a get out of jail free card so you can use escape to get out of any command that might have gone wrong on highways. Press it twice costs. Sometimes commands have to levels eso I get into the habit of just pressing the escape button twice. Okay, So whilst you're here in this drawing, have a little play with the zoom commands. Get used to typing in. Get used to those short cuts on DA. Then you'll be really ready to go, and, uh, we can then move on to the next video, which is all about selecting and erasing. So once you've practiced, you're zooming and you're panning Join me in the next video for selecting Andy raising. 9. Selecting and Erasing: so welcome to video number six, which is all about selecting and erasing. If you've downloaded the drawings that we prepared, then if you'd like toe open up drawing number six, select any raise on that's going to mean that you can work along with me. Okay? And if you're ready, we're gonna try and select something on screen. So just take yourself into fresh air somewhere on click. Okay, Just click once with the mouse and drag out and click again, and you'll see that we end up selecting some stuff on screen on they get these little blue grips. Now that is a particular way of selecting. That's a pre select, and we're not going to do that quite yet. But I want you to know it exists on I want you to know how to get out of it. So if you end up pre selecting anything and getting these little blue grips or want you to press escape twice, Okay, Escape is your get out of jail free card. Andi. So escape is something that you need to be able to be doing, you know, any time anything goes wrong, but something messes up. Put the command line or you You're not sure what's happening or you get into a bit of a tangle, escape twice and start that bid over again. So blue grips are very useful, and we will be covering those blue grips. But pre selecting is not the way to start off. We want to issue the command first on, then we want to select objects. Okay, so this is the way we're going to do it. We're going toe issue. The rays command on the shortcut for that is e enter. Okay, that's pretty quick. Isn't e enter for a raise and then the command line says, Yeah, you could do that, but please go and select some objects. Now, this way we're selecting after issuing the command. Okay, so we're gonna do exactly the same as we did before. We're gonna find some fresh air. Click once, bring a mouse across and click. OK, Now those two clicks means that we've issued a special type of selection window are crossing window. That means that anything that green window crosses over it will select. And you can see that now there's no blue grips, but we have ah highlighted or grade out version of our drawing so that we know what we've selected. And in fact, you can continue using your selection method to build up a selection set. That's what Autocad calls it when you've selected a number of objects ready to do something with in this case, a raise. Okay, now there's lots of different ways of selecting eso. For instance, you can just click onto objects, onder so you can actually build up your selection set just by clicking. And there is a blue window. We've just seen what the green window looks like. And now we're gonna test out the blue window. I'm gonna go over to the left hand side of my drawing click and pull over towards the right on this time I get a blue window. Okay, so ah, blue window is different to a green window. Let me just show you the green window again. Okay. This green window means that it will select anything that it touches. But when I do a blue window, it will only select something that is entirely inside the blue window. Okay, so the blue window is called on in closing window and the green window is called a crossing window. So we got crossing window there but the blue window. If something doesn't completely fill up that blue window, then it's not going to select it. I would have to go down a little bit further. There we go. There's another item that's jumped in to our blue window because now it's completely inside the blue window, as opposed to partially inside. So that's brilliant. And when we've selected these various things and we're ready to press enter, okay, it raise will take away everything that you've selected. Now, don't worry, because we're going to use the undue command to get everything back. Okay, here's the undue command. Click on that once. That's the button up in the top left hand corner with the arrow going over to the left. And, of course, you know that we've got other undo commands as well. So the windows undo commanders, control said, and the keyboard command is you enter so U for undo, enter. Now we're just gonna go a little bit further with the selection. Okay, there are different ways of holding down your mouse button, so let's start with the arrays. Command again. E enter on this time, instead of clicking for our green window, that's the green window. Then you click. OK, we're going to drag now. That's a bit different, isn't it? So left buttonholed down drag and you get this last sue. Okay, so this time you can put a last sue around the objects that you want to pick up. So if you've got an awkward shape that you need to pick up, L. ASU's brilliant. You can get a last Sue in green and blue. And so if I go to the left hand side and pull to the right, you can see I can get alas, ooh, over here on the left hand side as well. So if I want a blue window, I pull over from left to right. If I want a green window, I pull over from right to left. Okay, good to see that. That needs a bit of practice to get your head round. So there's two types of window the square window that's click and click and the last suit, which is drag and drop. And, of course, depending on whether you go from right to left it, see the green or it's blue Okay, Have a little practice on that. And when you're ready, press enter. Okay? And that will activate the rays command. There you go. And again to come back. Okay. We're gonna do and undo this time. I'm gonna do a keyboard. Undo, which is you. Enter. So that's the auto cad you enter for Undo the rays. Okay. Now, one of the things that we often find is that we get into selecting stuff and then realize that we've accidentally selected something we really didn't mean to select. Okay, so I'm gonna issue the rays command, enter. I'm gonna put a big green crossing window over here I go are no rubbish. That's picked up all this stuff in the middle. I really didn't mean to select that. So we can issue a remove command. So whilst we're still in a raise weaken type in our enter, which puts us in to remove mode, and then I'm going to use a blue window just to go over the stuff in the middle of those circles, and I've removed them out of my erasing selection set. If I then wants Okay, Good. I've saved that. Now I'm gonna add some more stuff back into my selection set to erase. I can just type in a for ad. That's a enter and I can continue adding stuff to be erased. Okay? And so I could just work around the drawing, adding stuff, and it doesn't matter if I want to use a blue window or a green window toe ad. They just behave in that different way so you can see me in selecting all of that. Okay. And then when we're ready, we've got everything exactly as we want it enter and you re raise the staff around the center. Good, good. And then just do one under here, just come back so you can practice. Um, And once you've got the hang of how those windows work, that's going to help you enormously when you're drawing stuff inside. AutoCAD being able to tease out one or two little things with the blue window is fantastic . And ah, so I'm gonna do e enter and tease out some of that stuff. Okay? So if I'm really, really careful, what I can do is I can put a blue window around here, okay? And you'll notice that I'm overlapping some stuff with the green window, and it's selecting it. I don't want that. I want to be overlapping with the blue window. Look at that. You see, Andi, Although I'm going over the big circles, they're not going to get selected. I'm only selecting the stuff in the middle. Okay, Enter toe. Activate the rays command. So I suggest a few minutes just practicing that and getting used to it so that you're completely comfortable with the way in which selection works and when you're comfortable. Okay, Then we can move on to the next video. Okay, So join me in number seven when you're completely happy with selecting and erasing. 10. Setting Units: Hi there. Welcome to video number seven on this is all about units and setting up the units within the drawing so that you know exactly how the drawing is gonna get put together. So we're gonna type in the units command at keyboard, you in I T s units, and then press enter. I am. We get this dialog box now, this dialog box is going to tell us a lot about auto cad. We're going to first check the insertion scale here, right in the middle on make sure it's set to millimeters. But before we move away from that, I'm gonna open up this list so you can see what the choices are. And you can see that I'm highlighting inches at the moment. And then we got all of these options from millimeters centimeters meters on all the way down, and you can read all the way down to the amazing light years and things like that. So it's just incredible what you can draw in AutoCAD and the units that you can apply to your drawing. However, I'd like you toe have a look at what's immediately above inches and you'll notice that you can select unit Lis on this is going to tell us a lot about Water Cat. You see, AutoCAD is a database, and in order for AutoCAD to know how to draw the items on the screen, it's got to know how to interpret the numbers that you type in. So if you have to type in 500 or 200 or 600 it's got to know that you mean millimeters. Otherwise, it would have to assume that it was a unit list roaring. You could still draw it at 600 millimeters, but it wouldn't associate it with anything. It could be MILLIMETERS. Or it could be light years or anything in between. So we've got to make sure that we get that correct. Now, the other thing it tells us is that this particular selection that you're making here is only mentioned once in the whole database right at the beginning of the database. Okay, so if you've selected millimeters, it's basically saying all off the information that comes after this is in millimeters, okay? So that when the size of an object is selected and then recorded in the database, it doesn't say 450 millimeters. It says 450 because it's already made that statement. First of all, of the top, all of the following is millimeters. Okay, so that saves a lot of space in the database, so it doesn't have to continually repeat the the unit format that you're using. Um, so not only does it save ah space, but it also makes the whole experience faster because the size of the database is directly proportional to the speed the AutoCAD reads the database. So when you suddenly get a really big drawing, if you've just got it mentioned once at the top, you can fly through the dimensions. But if it was included with the dimensions away through centimeter to centimeter, centimeters, whatever or light years all the way through, of course, that's filling up the database and taking space up in your date in your database, which is unnecessary. So once we've selected our insertion scale, do not change it halfway through, because auto cad doesn't re scale your drawing. If you've drawn in millimeters and then you suddenly change this two centimeters, it just assumes that the whole drawing is in centimeters, so you might have drawn one millimeter, and then suddenly you change over and then that one becomes one centimeter. So that's obviously wrong. So don't do it, so you choose it and you stick to it on. My advice is that once you've chosen millimeters, for instance, field Waring's, then stick with millimeters for all of your drawings so that you can easily use some of the drawings that you will make us symbols and therefore the size of those drawings that you're going to be inserting into AutoCAD will still be a predictable size. Okay, the other thing that we need to do here is we need to look at the decimal precision. Okay, so in the top left hand corner here, it does say that we're using decimals. That's true. So we're using MILLIMETERS on the precision here. The default precision is set 24 decimal places. Now you might say, OK, you know, I'm an engineer. I will probably want four decimal places, or or maybe a few more for my precision. But if you're on a building site and your builder has got JCB on a shovel, you might think that four decimal places for a millimeter is just a little bit too much, and I would agree with that. But what I'm going to suggest is this. What you need to do is you need to decide on the precision that you want on, then add two decimal places to it on, then choose that. So, for instance, on a building site, I might say, 0/2 a millimeter is plenty enough. Okay, So if I said my piece of wood was 12.5 millimeters thick, Okay, that's a far as I need to go with my timber sizes, and I can say that I've got one dismal place. But for a building site here, I would argue that you need to change this to three decimal places Now. The reason for that is error checking. So let's just say you were drawing your piece of timber and you wanted it to be 12.5 millimeters, 12.5 OK, but during the drawing process, it accidentally ended up as being 12.36 Now, if you had it rounded up to precisely one decimal place, it would actually round that up to 12.4 and Ugo, that's 12.4. I need toe. Maybe tweet that a little bit. Okay? But if you've got it set to three decimal places, you will see precisely that it says 12.360 and therefore, your girl all I actually is nowhere near what I really meant. I'm gonna have to redraw. So you've got this way of having self era checking. And in fact, if you don't have any decimal places at all, if it rounds it up to the nearest millimetre, you can have all sorts of errors hiding underneath. Um, and you need to know about those while still drawing. So three decimal places is my favorite. And also for angles as well. Three decimal places because it's really get easy to get to 11.25 because that's half of 22.5. And, um, so my own preference is for three decimal places on both when I'm doing architectural or interior work just to help me see if there's any errors creeping in. Okay, so once you've got all of that set up, you can then say OK, so down here, we're gonna click, OK? And that's our units set up. Okay. Brilliant. So if you've got your drawing correctly set up, then that's great. Otherwise, just revisit that Units command on when you're ready. Joined me in video number eight where we're gonna learn how to draw some straight lines. 11. Drawing Lines: Okay, so welcome to video number 84 drawing lines. And this is obviously a key issue as far as what cats concerned. So if you'd like to open up your drawing number eight feet below eight draw line so you can draw along with me and let's let's do this together. So what we need to do is issue the line command. It's very easy. Type the command in press enter. So l i n e and, uh, and the command line at the bottom response That's his water card saying Okay, what's next? So, lion, specify first point. So here we are. We're gonna go and specify some new points along here. Just come clicking along here to draw some lines. Okay? It's very easy. It's not difficult to or you just click and click. So you couldn't do that. But look, what happens as you draw a line, Okay? Go horizontally and you see you get this green line that comes out here. This is polar tracking. This is polar tracking, saying, Oh, I can see what you're doing. We're going horizontal. Okay? And then if we come south, you get another green line at 270 degrees south on if you come across here to the west. Yeah, water cad can see what you're doing and tries to anticipate. Now, of course, it doesn't matter if you go diagonally. You just need the dent, the length and the direction. Oh, angle. And, um but if we come back here horizontally, immediately order. Cad sees that polar tracking. Now, if you're not getting this green polar tracking popping up, let's have a look in the bottom right hand corner of these buttons down here. Okay? There's a whole series of buttons. Don't click on them randomly, but we're gonna have a look at this button here. This button is polar tracking. Okay, It looks like a clock set to 10 past three Onda. It should be blue, and it's on. If you click on it in its grey, that's off. But we wanted to be on. And when it's on, it sends out this green line which dictates, um, whether we're horizontal or vertical on the course. That's a great thing to make sure that we've got this digital set square working on our behalf. Okay, Now press enter, and that finishes the line command off. But of course, we want to be in more control than that. So we're going to do a quick undo, so that's controlled said. And we're gonna come back and we're gonna draw another set of lines. We're gonna try and draw this rectangle on the side here, So Okay, this 800 by 600 rectangle, and we're gonna do that by issuing the line command and starting over here for the bottom left hand corner. And we're gonna go horizontally, first of all. Okay, we're snapped on two Polar tracking at zero degrees. We're gonna just type in the lengths that we need Here is 800. Enter and then we're gonna come north, and we're going to do that again. But 600 this time, so make sure you got the green line sticking out and type in 600 Enter. Okay, We're on the third side now, so come back west again. Look for the green line. Okay? If you can see the green line, that's polar tracking. Giving you a digital set square. So 800 and toe, and then we're gonna come back. We're going to finish this off now. There's three ways of finishing this off. The first way is just to do 600 with polar tracking. The second way is to snap using endpoint. But the third way is just a type in close. So the autocad closes the loop. So C is your short cart. See? Enter closes the rectangle off for you. Okay, so now that we've done that, let's have another go at this diamond. If you need to practice that rectangle a bit more, just pause the video and repeat the little exercise. And then we're gonna have a girl this diamond so you can see this diamond is drawn at 45 degrees on the sides of the diamond measure 600 millimeters. So we're gonna follow that lead. Here we go. Line command. The short cart for line is l. L enter gets you straight in on the line command and we're going to click on drag roughly in the direction that we want to go for the first side. We're gonna type in 600 tab 45 enter, so that tab moves across to the number of degrees. Let's go for side too side to here we are. And bring your mouse over. So you've got a rough indication for AutoCAD to know what you're intending, and we're gonna type in 600 tab 135 Enter. I'm so the said aside because we're below the horizontal, we come type in exactly the same thing. So 600 tap 135 on. Then we're gonna come back. We've got the same three choices. We can either type in 600 tab 45 or we can use the endpoint to close or weaken. Do see. Enter on that closes the diamond off forests. Okay. And then we're gonna have a go at this other diamond. This second diamond is slightly different. The sides are still 600 but the angle is 60 degrees. So this is just going to get your brain's working a little bit harder in order to work out the angles involved. Okay, so we'll start the line command l enter. We're gonna click down here for the first point and move our mouse in the right direction. 600 tab 60. Enter. Bring your mouse up for side, too. And we're gonna type in 600 tab form 20 and then down with exactly the same command because we're underneath the horizontal 600 tab 1 20 and then again weaken clothes off in any of our three chosen methods. So I'm just going to use endpoint snap here and in time. So that's our introduction to the line command. And of course, you'll find out later that there's obviously more things that you can do with the line command. But that's the basic essence off it. Okay, you've got to make sure that you know the direction that you're going in and you issue the length. And if you need to add an angle, you tab across to the angle command. Okay, So have another go at practicing that because once you practiced enough, it becomes part of your kinetic memory on that helps you. Overall, with your learning of auto cad, the more you can do it without having to think the quicker and the better you're gonna be OK. Remember the last thing the short cut key for line is l. That's all you need to type in at the keyboard 12. Snapping: Well, here we are in video number. Line on this is all about snap settings. So in order, cad, you're allowed to snap onto elements within your drawing. And they were going to investigate that. We're gonna go beyond just the defaults, and, uh, we're gonna open up drawing number nine. So if you have a look for your drawing number VW nine, snap settings, VW nine snap settings. Get that open and it should look like this, and we're gonna have a little go at testing out. Let's snap settings So the default settings are pretty basic. We're gonna have a girl finding those down here on the right hand side. You'll see that we've got a number of buttons on highlighting the snap settings. Here. It's a square box with a little dot in the corner. You can turn them on and off by clicking on them. Blue is on, and you can right click. This little list shows you what's already currently available and turned on. And at the bottom objects snap settings gives you a dialog box that allows you to have a little look at the details. Okay, so let's have a look of these details. We've got two columns of settings, some of which detect and some of which are not. Now your first instinct might be, well, let's have them all ticked. But I can tell you now that's not a good idea. That would be too messy. What we need to do, really is we need to have the ones that we need most of the time ticked on those ones that are too powerful. We have UnTech. So let me give you an example on the left hand side, Let's go down what's available endpoint. And that's the end point off any line or the end point of an arc or a poly line. Okay, so you can find endpoints and all sorts of things. Mid points, same sort of thing. You can find a midpoint in a line or an ark or a region and a spine, all sorts of things. Okay, you can find a midpoint online, and then we've got center now centers, not the same as midpoint, because the center is the center of the circle or the center of the ark, and below that we have geometric center. So we've got a geometric center that you can apply to things like rectangles that don't have a proper center. A radi ist center. A node is a point in space on this is a point the water cad makes toe hold a position on X Y said position in space. We've got a node up here now. Quadrant is quite an interesting one, because that will allow you to select Ah, position on a circle or on arc on. That would be 12 o'clock three o'clock, six o'clock or nine oclock and then below that we have an intersection, a position where any one object into sex with the mother. So we've got some intersections here and here and here. Okay. And where two arcs cross over each other, it could be in our Coraline or align anarchist matter. Any two objects crossing over each other will give you an intersection. And then on the right hand side, we have a special snapped. This is quite an interesting one. Will practice that later. This called extension. It's a bit like a delayed or an offset position. So we're gonna have a look at that together. Insertion point. This is for text or blocks or attributes. They all have insertion points, then we've got perpendicular to. So if you want to draw a line which is perpendicular to another, you can use the perpendicular. You know, that's probably you probably realize that's 90 degrees to the object. Tangent is for linking a straight line onto a curve or a curve onto a curve to make it 10 gentle. Nearest is the most powerful of all on. It's too powerful, almost because it's any point near to your cursor any point on object near to your cursor, so it tends to override any of the other settings. The apparent intersection. So that is a perceived in section in three D. So it's not for two dimensional work is for the reader three dimensional work. And from the point of view of the screen at the time that you're doing the apparent intersection, it's where two lines cross over each other on the last one is quite easy. It's parallel. Okay, so parallel. Obviously, it's like railway lines. Okay, now we've got to choose what we're gonna turn on on what we lay. What we leave turned off on what I want you to do is have a look. It down the left hand side first fall. And as we look down the left hand side weaken, Turn on most of these on DA. We're gonna turn all but node. You don't have to have no turned on because no doesn't use that often. Andi note is found at the end of things like dimension lines on. Unless you're specifically putting nodes in, you're not gonna need a node. Now you'll notice I've no ticked any of thes on the right hand side except for extension on . The reason for that is that they can actually get in the way wall stored roaring. So, for instance, nearest is so powerful that you will get nearest before you get anything else. So it's sort of tends to override endpoint in mid point because the nearest point OK is gonna be the point nearest to the object you're pointing out. And, ah, the other items like, for instance, tension and perpendicular can also jump up when you're expecting to find things like endpoints and midpoint. So it's a little bit difficult toe. Have those turned on as well as everything else. So it's a great idea toe only call up the ones on the right hand side when you need them and you can call those up with their 1st 3 letters. For instance, P er gives you perpendicular tiene gives you 10. Jim, Any a gives you nearest onda. That's actually brilliant, because when you call up those particular shortcuts, what you're gonna find is you only get the one that you've called up. You don't get any of the others. So if you look at your drawing, you think I must get that whatever it might be that say it's a node and you want to call it up and O. D the only thing you get is a node. And even if you've got something ticks like center of circle, you can choose to type in CE n toe force auto cad toe only. Look for a center of a circle and in a busy drawing, of course, that makes the whole thing a lot easier. So let's just check out tick boxes, make sure there as we have here on, then we can say, OK, when we can start using, uh, our snaps by drawing some lines. Okay, We're gonna have a girl, a line command with all of these snaps turned on. So if we start the line tool L I N e at the keyboard percenter and we hover over one of these circles as you hover over this a conference, you'll see that we get a little cross in the middle that shows us where the center of that circle is, and then we can hop over to the next circle and you'll see another little cross that shows you where the center of that circle is. So we do center to center. But now we're gonna go for some endpoints. Okay, here we are. We've got endpoints here. That's a little green square that you can see when you find the endpoint using Just wonder from endpoints endpoint Connecting together. Now here, you'll see that didn't quite work. So we'll just do you enter, make sure we're gonna haul the right over the end point. I mean, click. So now we're gonna go for into section now. In fact, if we go over here, you'll find that not only do we have an intersection, but we also have a midpoint at the same place. So, in fact, midpoint shows up first here. So we can click on that. We can come across and we're gonna find another intersection is to ox the insect. So we're gonna click on that. You'll see that the intersection is a green cross up here. We've got both an end point and a quadrant. Now the endpoint shows up before the quadrant. OK, but over here, we've only got a quadrant. Can you see? It's a green diamond So we're gonna click on the green diamond But you can come back in section and then we can come back over here toe into section Now we've also got the geometric center off a rectangle that you can see here We've got a rectangle And we got a star in the center for geometric Center where you can click on that Then let's see if we can get a tangent to this circle Okay, Now we want a force A tangent with ta en in tow tiene enter. There we go. We found the tangent critical mass that you can see. The tangent is not quite at the same place as a quadrant. Okay, on the circle, that's just a little bit out from there. So this shows us that our snaps are working. Well, we can go for a midpoint here on this line on a midpoint here. Okay, so let's have a little think as you're going around, let's see if we can get ourselves a perpendicular to Okay. Now, if we start to go perpendicular to this line, we only get intersection. But if we try perpendicular to that one, we're gonna need to force perpendicular, which is P e. R. In tow. And then, as we go for particularly in, see that little green right angle triangle. Then we go and click onto that. So have a little one around, See if you can find any other little snaps you want to snap onto. So here we are. We got a node in o D enter and it will pick up the node. Let's pick this one up over here as well. So you can see and a d enter we go is your node, and you've got plenty of opportunity to pick up all sorts of different snaps on this busy drawing. So I give it a little play and then see what you can do. Okay. Now, while still drawing most of the time the snaps will be a good thing. Onda. We can start drawing and pick up, let's say, a quadrant. But there are times when, for instance, you're trying to draw Ah, horizontal line. You're relying on polar snapping off polar tracking that you don't want any accidental overrides from any snapping. So whilst you're doing that, you compress F three F three temporarily terms off your snap mode. You can see we're not snapping on toe anything now when we can just draw our ordinary straight line. And then if we want to come back to snapping with press F three again on that terms, they're snapping back on. You can see now that we're getting snapping, okay, popping up there so F three is an invisible command. In other words, you can do it whilst you're in the middle of something else. So f three and you'll see on the command line. It says Snap off and then f three. It's a snap on, so that's enormous little toggle that you could do in the middle of drawing lines or circles or squares or what have you want to do? Okay, give that a go. Have a bit of fun 13. Drawing Rectangles: So you may have guessed from the name off this section rectangle that that's the auto cad Command, which we're going to be using to create a rectangle So we'll do some practice. Freehand rectangles, first of all. Okay, we're gonna type in the short cut R E C on the you'll see on screen. We've got our e c brackets rectangle so you can see the shortcut on Did you can see the whole command press? Enter Andi literally by clicking in the bottom left hand corner on, then the top, right and corner opposite corners. You can draw a free hand rectangle. If you press enter, you can repeat the command. And that's true for any command. So enter will repeat the last command you did. So we can then do opposite corner tow opposite corner in tow, opposite corner tow opposite corner. Okay, so it's pretty easy drawing freehand rectangles on. You can practice that as much as you like, and then we're gonna do some undoes. So I'm using controls. Ed controls their control, said, and now we're going to draw some rectangles with a bit of control. We're gonna draw the 1st 1 okay. On the left hand side. So, Ari, see, Enter is your speed key. We're gonna go for here to draw the rectangle, and we're gonna type in the two dimensions the 601st coma and then the 1200. So 600 comma 1200 enter. Whenever you finish typing, you must press enter because otherwise, autocrat doesn't know that you finish typing. Andi, if you're doing horizontal dimensions, okay, you do the horizontal first, followed by the vertical because it's the X axis first, which is left to right, followed by the Y axis, which is up and down. Okay, so that's a pretty straightforward, easy rectangle to draw. So we're gonna try the 2nd 1 Okay. Different dimensions bar. You follow the same rule you always do. The horizontal dimension first, followed by the vertical dimension, so exacts its first, followed by y axis. So let's try that again, Ari. See, enter. Click for the bottom left hand corner. Moved the mouse so you can see roughly what you're gonna get 1000 comma. 600. Enter now. I made a typing mistake there, so I didn't get the full 600 did I? So s o. I didn't get the full 1000. I'm gonna do a control, said Ari. See, I'm gonna try again. Click May've 1000 comma 600. So that's a common mistake, really, That I've just made there. When you're typing in a number of zeros, just check the number of zeros that you've used because you get a little bit but of bounce on the keyboard and you think you've typed in three and you might only have two or you might have four. Now, course, if you are making errors, you want to self era check. So I'm gonna show you how to check the size of your rectangle after you've drawn it. If you just click onto the rectangle and you hover over the top left hand corner, you'll see the AutoCAD reports back to you the size of the rectangle you've drawn on. There we go. That's fantastic. To get rid of those blue grips, move your mouse away, press escape twice and we're back into drawing. Okay, lets try the thin the long thing rectangle at the bottom. Gay that 1600 by 66. And remember, the same rules apply. The 1600 comes first and the 66 comes after a coma, So we'll type in the short cut Ari, see enter, click for the left hand, bottom corner and pull away. We're gonna type in 1600 comma 66 enter. And there we are. We've got the rectangle that we wanted. Okay, Last little exercise. Here we go. This is a portrait arrangement as opposed to a landscape, but the same rules apply. Ari. Si. Click pull away. 401st coma. 1400 inte. Okay, It's pretty straightforward is now. Now, you can also draw rectangles that go down as opposed toe up. But when you have the dimension in the Y axis going down, it must be a minus different dimension. So we're gonna hook the next rectangle onto the top right hand corner of the rectangle that we've just drawn using endpoint snap. So here we go, Ari. See? Enter. Find your end point. Snap and click on it. Pull down in the direction. You're expecting this to go on. We're gonna have a rectangle which is 600 by minus 600. Okay, so 601st coma minus 600. Enter. Okay. So you can see this square because it's 600 by 600 goes down from the point that you clicked as opposed to up from the point that you clicked on. So it's a minus y Okay, so of course, you could also do minus X and minus y if you wanted to. So let's try that. We're gonna do 600 by 600 again. So, Ari, see? Enter and we're gonna come over into this corner, click and pull down in direction. You're expecting minus 600 comma minus 600. Enter. And you could see the direction now of the rectangle relative to the point that you clicked . Okay, that's great. So we've got a nisi way of drawing rectangles. We've got a protocol which means X axis first, followed by the Y axis. We can decide whether the rectangle is going up or down by which of the two dimensions we decide are gonna be minus, and they can both be minus. The other thing we can do is self error checking so we can select the rectangle hover on the corner, and AutoCAD declares the size. So that's good on the last thing that you need to know is that once you've golden rectangle , you can hover onto the corner of a rectangle and order. Cad will tell you what it is, and this one is made with a poly line. All rectangles are made with poly lines. And if you hover, you can see that might well, hovering right on the edge. And this means that the whole rectangle is one object. So that makes it very sensible. Easy to use, easy to copy, easy to move. And, uh so we're to expect the all rectangles as they're constructed our poly lines. Now, we haven't done much with poly lines, but we're going to in some of the future videos so we can cover that detail. Have a little girl drawing some more rectangles. If you like. On once you've got the hang of it, we can move on to the next stage. That training 14. Drawing Circles: So here we are in video number 11 and this is all about circles. So you might want toe open your drawing V 11 circle. Okay, let's get that open, and you can follow me. Good. So what you'll notice is we've got some examples at the bottom, and we've got some squares at the top of some rectangles atop toe. Help us with drawing circles every time we add. Ah, detail into our drawing were making it relative to other things in the drawing. So we're using some rectangles to help us make the circles relative. Okay. And, ah, we're going to be drawing a simple circle first. Okay, on the left hand side, we're going to use the command, which you can guess from the title off. This video is circle, so type in C i r c l e enter. And we're going to use the center of the cross here on the left hand side. So find there's a endpoint in the middle, click and then pull out for your radius. Now, you could make this circle any size you like. Really? But if you have a look at the example underneath, we've got 475 is our radius, and all you've got to do is type that number in 475 Enter. And there we are. We've got a circle That's the same radius is the example below. Okay, circles pretty easy on me. But there's a number of different types of circle that you can draw. Okay, They're all circles, but you can construct them in different ways. So if you look at the title at the top here, we've got a two p a three p and a TT. Are these Airil different methods for constructing and we can have a look at those different methods by starting the circle command. Your short cut for circle is see, So that's a nice, easy shortcut to remember and then have a look at the bottom here where we've got the command line. Okay, you may have your command line somewhere else because you're allowed to move it around the drawing, but at the bottom of the drawing here it says circle specifies CenterPoint, which is the 1st 1 we did or three p two p. T tr. Okay, so a three point circle is one that where the circumference is defined by three points. A two point circle again is very similar to a three point circle. But because it's two points, it must be the diameter on. Then the last one is T tr, which, as you can see, is tangent, tangent radius. And that's a nice special circle. And we'll have a look at how to draw that. So the first circle we're gonna attempt is called two P. So that's two points on. We're going to use the midpoint on the top of the rectangle and the mid point at the bottom of the rectangle to define the diameter off our circle. Okay, so here we go. We're going to choose to pee. I'm gonna type that in to pee enter. We're going to go for the top middle point on a rectangle click and then the bottom middle point on a rectangle, and you can see we've got a circle. It's designed to fit that rectangle. The diameter is 600. Therefore, the radius is 300. Okay, so now we're going to do a different circle using a similar size rectangle. This time it's gonna be the three point circle. So we issue the command in the same way that see enter. But then we follow up with three p enter. So the AutoCAD knows our choice. And we can choose any three corners on this rectangle to define the circle that fits precisely to that rectangle. So you're doing an endpoint snap on each corner just to make sure it fits perfectly good. So that's a two piece circle, a three piece circle. And now we're gonna do a T t r. So this is easy again. See for circle enter. Then type in T T t o. And we're gonna pick up the tangent on the left hand side, off a rectangle kick on that and then the tangent at the bottom on the bottom of that rectangle. Click on that. Okay. And then it says on the command line, what's the radius? And we're gonna answer 300. Okay, so it's worked out where the circle would fit onto the two lines that you clicked. Now, we could do that in a slightly different way. OK? By changing which two lines we choose, the circle will move. So let's try that as well. Okay. We're gonna do it again. See enter t enter, click on the top and click on the right hand side on. Then type in 300 and you can see the circles moved. Now we're gonna have a little bit of extra fund because if I tell you that water cad remembers the radius of the circle that you've just drawn right, we can use T tr in one of the other rectangles that we've got here. And instead of having to type in the 300 when we get to the radius bit or we've got to do is press the enter button. So let's give this one a go see enter T enter on this rectangle. We're going to click on the bottom and on the right hand side and then just press enter. So remembers that the circle radius was 300 and it draws a circle to fit the parameters that you've defined. Okay, so that's the end of our little session on circles. Onda, we're going to move on in the next video on, have a look of arcs. So see in the next video 15. Drawing Arcs: Well, welcome back to video number 12. This is about arcs. And so if you want toe, grab the drawing that we need. Okay, you'll find that it's a V 12 drawing number V 12 arc. Get that open and you can draw along with May, and we can find out how it really works. The Ark Command. As you can see, a r c, we can just type in here i r c enter and weaken stopped by clicking any way you like on three clicks produces on arc. Of course, we need to be a bit more in control of that. So I'm going to do an undue using controls ed on on the left hand side. I'm gonna copy this arc we've got on the lower left hand corner and we're going to use this rectangle that we've got to help us control the position of the Ark. As you could see at the top here it says three p and that's the default setting. Three points on the Ark controls where the art goes. We're gonna try that with a shortcut. The shortcut for Arc is a so that's a enter and we'll start here on the left hand side. Click up to the top, find the endpoint click and then come down here. Okay, Find the endpoint. Okay. Brilliant. And that's created a three point arc. And if you want to check your work, you could hover all of that. And it says, Arc, you can click on it and then hover on one of those points there and you'll see that we've got of 475 millimeter radius. Okay, just check on that. You get 475. His brilliant escape escape. Okay, the second dark we're going to do is called center start end on. This is the construction methods. So here we are sent to start in. So we're gonna draw the ark in relationship to this rectangle here, and we're gonna issue the short cut A for arc. Okay, that's a enter and then on the command line, have a look in brackets is says one of the alternatives is center. Now, that's what we want. So we type in c enter, go for the mid point on the left hand side here, look for the green triangle and click on it. Come down to the bottom left hand corner. Okay, click on that. And as you start to draw, can you see the ark is developing as you move your mouse over the to the top left hand corner. Click on that and we've created the next arc. So as this construction method says, you can see it's his center. Start end. That's what we chose. Okay. To remind you of the way in which we got there was a for arc. Enter. See for center. Enter. Click for the midpoint. Click for the start. Click the end. Now that was pretty straight forwards. But what I want to point out was something else. When you constructed the Ark as you constructed it from start to end, the drawing of the Ark was anti clockwise. Yeah, Antico eyes. Now that's because auto cad decides to draw the Ark anti clockwise first. That's its default way of drawing. Now, if we wanted to switch that around, we couldn't do that. Okay, so let's have a go. Let's repeat the same command. I enter, See? Enter. We're gonna do it on this side of the rectangle. We're gonna click the midpoint. Okay? We're going to go down here to the start point. But of course, we want the direction to go in the opposite direction, so I'm gonna hold down the control. But this means that I then start to draw my arc clockwise, Click on the end point, and then I can let go of the control. Okay, so now we've got a method of drawing arcs in either direction. The default is anti clockwise, but control allows us to draw clockwise. So let's move across to the third method. The third method, as you can see here, is center start angle. And in this case, we're going to use the angle of 56 degrees basically, because it's quite random. Okay. Okay, here we go. We're gonna do this together. You ready? Yeah. Good. A enter for arc, see? Enter to start with our CenterPoint, click in the bottom left hand corner. That's our center point for the ark. Okay, then here we're going to choose. The midpoint of this line is our starting point. And as we come up, you can see the line is getting drawn anti clockwise. But all we've got to type in now is the angle. So that's 56 degrees. Enter on. There is our arc. Okay. And the radius of the ark is controlled by the distance between the center point and the midpoint, which was 500 in this case on the lens of our ark is controlled by the angle, which in this case, was 56 degrees, or whatever angle you want to type in. Now there are many different arcs that you can draw so many different arcs. It's just unbelievable. And I want to show you that up in the top left hand corner here we have a list of all the different types of arcs. Well, not even all of them. Some of the different types of arcs that you can draw with Water cat, starting with the three point arc, which is the default. Okay, that way we tested out here. And then, of course, the 2nd 1 which is start center end, which we've already tested out. But then have a look down. This list on this isn't the whole. This isn't the end of it, okay? There's all sorts of different ways of drawing your ox. So what I'm gonna suggest you do is have a little play withdrawing ox. But down in the corner here, I just want to point out one thing. You can't draw an arc, which ends up being a circle. Okay, if you try to draw an arc that starts where it ends, an AutoCAD goes now. So if you want to draw a circle, you've gotta draw a circle. Okay? If you want to draw an arc, which is part of a circle, then choose the Ark Command. All right? So brilliant. I enjoy having a little play with this Onda. We'll meet up again in the next video. 16. Drawing Polygons: So here we are in video number 13 Polygon. So if you like toe open your drawing and we can work together on this. Okay, Uh, and you can see that the AutoCAD command is called polygon. Polygon is like a hexagon or an octagon or a triangle or a square. So let's have a go at drawing some of these. Each of the operations is based, assuming that you're going to know the radius off your polygon. So we're using a circle toe. Help us to understand how that works. Okay, so we've got a serious of red circles top here, and we've got some examples at the bottom. So we're gonna do the very obvious one first, 26 sided polygon. So all we gotta do is inside AutoCAD. We're gonna type the command P o l. Why on as your typing, Polly, you'll see that you get various options. So let's continue, G uh, n polygon. Okay, enter and then enter the number of sides. Have a look at the command line. Every time you issue a command and press, enter the command line, speaks back to us and says, what? What? God needs next. So enter the number of sides on we're gonna say six. Enter and then the command line says, please specify the center off the polygon. Okay, so if we hover on the radius off our circle on the circumference of the circle, we get a little white cross in the middle over there. The green snap. The circular green snap says we're in the center. Click on, then answer the next question. So the question is, is this inside the circle or outside of the circle on AutoCAD Says, is this inscribed or circumscribed? Okay, so they're the mathematical terms, but my term is is it inside circle or is it outside the circle? So we're gonna go for inside the circle, and then as we move our mouse, you can see we've got six sided polygon. Okay, Is it? So you are that standard hex head screw and a bolt, and we're gonna go to the 12 oclock position and click. Okay, So there's our standard six sided hexagon and ah, it's pretty straightforward, isn't really once you see how the command works. So let's move on to the next one and eight sided Octagon. So we'll start the same command Okay, so you'll notice that the short cut key is p o L for polygon ente. Choose the number of sides, which is eight in this case. Find the center of your circle and click Choose, inscribed or circumscribed. OK, so we're going to do this one outside of the circle. So here, we're gonna choose circumscribed outside, and then we're gonna go back to the 12 oclock position and click. Okay. Very straightforward. Says now. Okay. Hover over the edge of your octagonal your polygon, depending on how you want to describe it, and you'll see that it's a poly line. Okay, click on it. And AutoCAD reports back the size off each lentz off the polygon. Great. So we're not getting a radius. In this case. If you want the radius, we can select the circle, right? And the circle radius will be given to us. Hey, escape escape to get out of that, let's try this triangle. Okay, So the triangle, um, is the drawing said inside and circumscribed. Okay, So here this swamp inscribed is gonna be the smaller triangle. And the circumscribed one here is gonna be the bigger triangle. Can that strike again? So p o l. Ente Number of sides three. And we're gonna pick up the center. This one is inscribed, and we're gonna pick up here we are and go around and decide. I'm gonna pick the three oclock position on DA. That's pretty easy on The big difference is if you choose a circumscribed triangle. Great, that's outside. So we'll press enter to repeat the last command will press enter to accept three sides again. That's because old cat can remember what you were up to. We'll find the center of the circle and choose circumscribed. And this time we're gonna choose the nine oclock position and you'll see how easy it is to draw, um, a triangle using the polygon. Okay, so let's do a couple of undoes and practice that. So control said controls. Head control said Control said, Okay, we're gonna work through that again together, so p o. L. Ente number of sides six. Enter. Find the center Click inscribed 12 o'clock. Click. It's pretty quick, isn't so. Let's repeat. Enter right and, uh, find the center click circumscribed on this one. Okay, again, find the 12 o'clock. So there's our octagon. Enter three sides inscribed Okay, so answer three. Enter. Find the center inscribed. Okay, We're gonna choose three o'clock, and then we're gonna do the last one again. Enter. To repeat, enter for three sides. Pick up the center. Here you go. Answer the question. Circumscribed. Okay? And we're gonna go to nine o'clock and click a guy. So if you wanna have a little bit more practice and choose different sides to your polygon , you could do four sides. You could do 12 sides like a new pound coin. You could do 147 sides. If you really wanted to know. I'm recommended it, but it's possible you choose the number of sides. Okay? Have a little guy enjoy myself, and we'll see you in the next video. 17. Drawing Elipses: and we've arrived at a video number 14 on this is all about the lips. So open up your drawing, which should be number 14 v 014 lips. Okay, We're trying to make it easy for you to follow this and you can work alongside. So the command that water card is expecting, as you can imagine, is a lips. Okay. So, weaken, type that in. I'm gonna type in e l. And you'll see on screen that e l is the short cut for ellipse. So that's a nice, easy shortcut to remember. Press, enter and follow the command line. Phillips, specify access endpoint. Okay, now, on the left hand side, we're going to use a rectangle first of all to help us to draw our lips, and we're going to start at the midpoint on the left hand side. So we click on the midpoint of the left hand side, come right the way across to the right hand side in the mid point on the right hand side as well, and then we're gonna come up to the midpoint at 12 o'clock if a rectangle can have 12 o'clock. Okay, so there we go. So that was just midpoint. Midpoint, midpoint and our lips fits our rectangle perfectly. It doesn't have to be a landscape. You can do a portrait version of that. Let's try that again. E l Enter. Start at the top, come straight to the midpoint of the bottom and then come out to three o'clock. And then we are. We've got our ellipse, and it's one of the most beautiful things that autocad drawers of its own volition. So that's one way of drawing your lips by incorporating into a rectangular a control box. But that's not always available. So I want to show you what happens or how you can control your lips eyes with just having the access and the endpoints. So we're gonna draw this again, E l. All right, and have a look on the come online on. One of the options is center, so to see and then presente, here's the center. We're going to click on it, then you'll see it on the command line. It says, Where is one of the main access endpoint? So we're gonna go to the end point here on the last one is Where's the other access endpoint? Then we're gonna come up here and click. There we go. So that was pretty easy to now. At the moment, all of our ellipses have bean either horizontal or vertical. So you might be forgiven for thinking that's the any type of ellipse you control. But it's not. Any angle is acceptable, so we're gonna just try exactly the same as we did just now. But at this cranky angle or it So that's e l enter. See for center. We're gonna come to the center point here up to the end point and then over to our second endpoint. Quick. Okay, that we got four different ellipses, okay, on all associated with existing geometry. So you'll recognize now that all of these complicated shapes need a bit of construction, which is why you end up putting your construction lines in. And then obviously, if you want to erase or hide your in your construction lines at a later point, then that's perfectly all right. So why don't you do a few undoes on practice those ellipses so that you can feel totally confident And then I'll see you in the next video 18. Intro to Polylines: Okay, So welcome to a new video about Poly Lines. This is video number 15. So if you'd like to go on, open up your drawing V 15 y p line. So Polly lines are amazing and poly lines by the name are many lines joined together. Poly many lines, many lines on their joined together. So, for instance, if we had to have a look at this rectangle, okay, and I'm going to click on it, you'll see that the whole rectangle is a solid rectangle. So that's four sides. Four lines joined together. But if we were to have a look at something else we've got circles, arcs and lines all joined together. So you can see Here we go. We've got a more complicated Polly line and then down over here, we've got on open poly line. In other words, one face, one edge is no connected up. Okay, Now you can have arcs on parts of circles in your poli line, but also, you can have a more interesting shape of mathematical shape. This called a cubic curve, and we're gonna go have a look about that in a minute. But in the top left hand corner. Let's have a look at this one. We've got a industrial application here. This is a cam on a follower. So this is the follower up here on down below. Here, this is the cam. This rotates around our central access on the follower follows the top edge of the camp where it touches. So as this turns around, we can have a different distance from the center for the cam to follow on. These red lines represent the distance at a particular angle. And therefore, if you join these up and I'm just going to select the poly line here, you can see that we've got the poly line connecting up those points. And we have a particular mathematical solution that runs all the way through that. Okay, so we'll be discussing how to create, uh, curves that run through points. If we have a little look down here, this is ah, more simple arrangement. But if we started off with a shape like this every time we offset it internally, it creates these shapes. And AutoCAD works out the changing radius as we go in closer and closer. So I'll just show you that one. We're gonna do an offset through. I'm gonna select this one. If I was to go in far enough, it would lose the radius and you see that radius start to lose. And as we come out a little bit further, we start to get a bigger radius going depending on where you decide toe offset to what you click on as to where the offset sets or resides. Okay, so that's nice way of using poly lines. This one shows you that you can fill it Upali line and get all of the corners in the poly line. Fill it'd at the same time. So that's a pretty neat trick. Saves you, but a time. And then over here we've got a way of offsetting and again it follows the shape. Now this one is all neat and tidy. But up here, you can see that I've offset so far that we start to break up. Let me just show you with this one, we do an offset and through as you start to get in. Can you see? It starts to break up. AutoCAD will guide on arrange exactly how that's gonna work. Okay, It's pretty neat. Is that so? good. So order card and poly lines on offset and sickness, as you could see. Or as AutoCAD calls it, the wits of the line. If I have this one selected, I just make sure it's got grips on. We get in the properties of the side here, we can see start segment with 50 end segment with 50 global with 50 global with 50 is the thing that's changing and altering this particular line at so five, for instance, changed the global with 2 25 You can see it would be sinner. Good. Okay, so I'll just press escape and then zoom extents. So that said, Enter. Enter on. We're back to the beginning. Good. So have a little look at those poly lines. Hover over the lines and you'll see that there poly lines click on the lines and you can see the grips that hold them into place. Okay. And then we're gonna find out how to make poly lines. Onda how Toe edit Polly line. Okay, so when you ready, we'll see you in the next video. 19. Pline and Pedit Commands 1: So here we are in video. 16 all about poly lines and using the the line command and the Pettitte command. Okay, so there's two ways of making poly lines. One as we're gonna have a look at here. We've got very simple lines, just ordinary lines that we have drawn before. This is three of them here, one to three. Okay. And we joined them up to make on overall Polly line. Okay, so there's one object here called Upali Line, and we use the Pettitte commanders. We've got written down here to join ordinary lines together. Okay, so we're gonna have a little girl doing that. We're going to start off with the water cat command Pettitte P e D. I t enter said typing on the keyboard. And we'll select one of these lines. And then AutoCAD says, Do you want to turn it into one? In other words, you want to make a poly line out of this? Yes. We get this little menu. So now that we've got this little men you were going to say, join everything together, that here we go. We're going to join this one to that one, and then that one press. Enter on, enter to finish. Now. If you hover, you'll see it's one object, and it's now a poly line. That is pretty simple, wasn't it? And this is an arrangement. This is, ah, command that we use a lot. So it's worth getting hold of this particular skill. Okay, and we're gonna repeat it. But this time you will see in the example down here if we hover, it says it's a poly line, and it's a closed polly line. But this shape is an open rectangle, but one side missing, so I'll show you how to use Pettitte to close it off. So P E. Is your shortcut on press center. Select the 1st 1 This is not a poly line. Do you want to turn it into one? Yes. Press center. Join. Select the parts that you want to join together. I'm Press Center now. This time, when we look down here, one of the options right at the top here is close. Pick on that. It's closed the whole thing down. Press enter to come out and there we are. We've got a poly line and it's closed. No, over here, you'll recognize this maybe from the last video that we were in. We've got a poly line here with the wits and it's got Phil. It'd corners. So we're gonna go through not only the Pettitte command here, but we're also going to go through the Philip Command just for this. We're gonna do fill it again later. But just because it's interesting and it's relevant to what we're doing, we're gonna go through the Filic unplanned as well. So here we go. P E is your shortcut for Pettitte. So p e on the keyboard and enter pick up one of the lines that we're going to create. Do you want to turn into one? Yes, Percenter, join them together just like we did before. Select all three and in tow. And now this time we're gonna change the wits. So we're gonna choose the wits option on type in 25. So that gives us a global wit and then press enter to come out of that. So we've use Pettitte to create the basic shape. But now we want the corners rounded off using the Philip Command, and you can see from the notes we use fill it, then set the radius to 90 on. Then tell order card that it's a poly line with the P. Okay, so let's do this. Fill it. F I double l e t in tow. Now, the radius by default would normally be set to zero. So we're gonna have to type in our enter 90 enter to set it to 90 and then because fill it isn't yet expecting a poly line. We have to type in p enter to say, this is gonna be a poly line. Hover over the edge here, and you can see both corners will be Phil. It'd at the same time. Good. Now, up to now, we've used existing lines with the Pettitte Command to create a poly line. But you can draw a poly line from scratch using the P line Command P L i N e. And we're gonna trace over this ghosted line here. Click, click, click, endpoint to endpoint. Okay, on entered to finish. So now if we hover over this one, you'll see it's a poly line on. We can edit this Polly line with the Pettitte command. So the short cut for Pettitte is p e enter. We can click onto the poly line to select it on down here, you can see that we can choose to make it into a spine and enter. So there we are. We've got a spine, reflects what we've got as an example below. But if you select, that's plein down in the properties that you may have open. If you haven't got it open, then I'll show you how to do that. Right Click and then properties, Okay, that opens your properties Dialog box on the bottom. Under miscellaneous, you've got your curve style, so none would put it back to where you started. The fit curve is pretty crazy. That allows the curve to point to run through the points that you'd delineated with your straight lines. The quadratic is one particular type of mathematical solution. Uh, which is 10 gentle at the center point of each of the scent segments on Cuba is a different type of mathematical solution which runs through the center points off each of the segments , except for the first and last. There we go. That's the poly line. That's a great introduction on will be doing more work on poly lines later 20. Pline and Pedit Commands 2: Okay, Welcome to video number 17. Still talking about Polly Lines because poly lines, that's so important. So if you'd like to open up your drawing 17 p line on, then you'll see what I can see. So Polly lines are really important. And that's why we need to get a grip off the whole command. And we're gonna have a look on the left hand side as to how to draw that camp follower. First of all, if you look at the one below you'll see, we have this shape, the egg shape, which is a two D polly line running all the way around. Following those guide points, the red end points on these lines. Okay, so we've set up the construction here, and we just go through the important bit. We're going to use the P line Command on the shortcut for that is pl so type P l enter on your keyboard. We're going to start at six o'clock. Click on the endpoints. Be very careful as you're going around to make sure you get endpoint, make sure it's in the right place. Okay. And then when we come around to this point here, we're not going to finish off. We're not gonna close off the poly line. We're going to just leave it at that. So enter to finish with that open section. And the reason we've left one section open is because we're going to use the Pettitte command to close that off. So we're gonna type in the short cut for Pettitte, which is p e. Enter. And when it says select Polly line, we're gonna click onto the Poly line like this, and then we're going to choose the clothes feature which closes the poly line. Okay, so now we've got all the 123456 sides. Now we want to make sure that the curve fits als the endpoints, So we're going to use a fit curve. And there were There's our egg shape and enter to finish. So the important thing here is that not only did we start by drawing the poly line, but we didn't close off the last segment. I'm We used Pettit to close that off to make sure we had a continuous mathematical solution running around the whole of the camp follower. Okay. Over over the top here just to make sure It's a polygon. Obviously, is going to be, But they are too deep Ali line. And that's a camp follower. Now, in the next, um, example down here, you can see we've got a whole bunch of rectangles which were drawn again up here. But you can see that we've got varying widths. And if you were to select them, you'd see the wits in your properties. Okay? Global with 50. Now, I've listed the wits that we're gonna go for up here. Pettitte Wits. 50 for the out 1 25 and one. Okay, so it's 50 for the outer 1 25 and one. So we're just going to use the Pettitte command to do this ped enter. Click on the outer rectangle. Wits 50. Okay, enter to finish. Now, if we use the enter button immediately after the Pettitte command, it will jump straight back into Pettit. So that's like a repeat command. Click onto the line. And again, we're going to do wits, okay? And the wits is gonna be 20 and to to finish enter to start it again, click onto the line wits five, enter and to finish and just start Pettitte again. Click on the line. Wits one. Enter. Enter. Now. Depending on the quality of your screen, you'll notice that there is a difference between no wits and a width of one. And you'll see that, particularly when you start to zoom in. Right. Good. Excellent On. Then. Let's have a look at the way in which offset affects your polly line. So at the top here, we've got one Polly line all ready to go, and we're going to use the offset distance of 90 toe offset. This so we're gonna type in the command offset at the keyboard. Okay, Odubel F s C T press, enter, and then it says, Please specify the distance. We've suggested 90 here, 90 enter. Click onto the poly line and then just come outside and click again and you can see that Easy to get an offset. Now we're gonna go on, do an internal offset as well. So click on the original Polly line on, Come inside the shape and click and you can see how AutoCAD works out The new internal, uh, shapes and radius is let's do it again. And this is where order card starts to cut off the various shapes. Oh, isolate on da again. We'll do another 90 offset. And you can see it works out this beautiful arrangement based on the original poli line that we had. Good. So enter to finish that command. And you're starting to get to be Polly line experts Have another go at those commands. Maybe work through the exercise once more. It's just so that you've got, uh, the idea firmly in your mind, okay? 21. Exploding Polylines: Okay. Welcome to video number 18. This is all about exploding poly lines. So if you want to open up your drawing number 18 p line explode on, then you'll see what I can see, and you can work along with me. Good. Okay. So you know already by the videos that we've already done that when you make a poly line, you can make it from ordinary lines and curves and arcs and things like that Bring them together on May Kapali line. Now you can do the opposite. You can take the poly line apart with the explode, but you can just explode it back to its original components. But sometimes the components don't go back exactly as you might expect on de, so you can get some solutions which aren't quite so obvious. So let's have a look at some of those now. We're going to use the command explode Onda. It's pretty easy to use, but I want to show you the results off the explode so that you can see what we're going for . So up the top here, this looks very much like the poly line that we've got at the bottom, but it's No, it's actually on exploded. Polly Line. And if you zoom in here, you can see that the poly lines made up of little bits. Whereas down here, the original Polly Line guy is as we would expect so the top section are exploded poly lines. So have a look down here on the circle instead of getting a circle. We've got a number of quadrants. Okay, that Allow us to see the poly line exploded. Okay. Again, you can see that. We've basically got, uh, on arc. Okay. If I select each one, you can see it. An eighth of the full circle. So there we are. Holly line there is actually exploded into a number of little arcs on in the middle here. We've got what? Waas, a thick line with a radius Great on that's being exploded into single lines on arcs. Okay. And then we just have a look here again. We've got a complete rectangle which has bean, Phil. It'd on all four corners, and here it just series of lines and ox. Okay, good. So let's have a go at the command. We have a short cut for the explode command and the short cut is just the letter X on the keyboard. Okay, so that's X enter. We can click onto the example of the bottom, which we know is a poly line presente. It doesn't change very much, but when you select it, you'll see that it's now a Siris of tiny arcs. So let's go and check the rest out the next one. Here, you could hover onto it, and it's a poly line. We can type in X, enter, click on to it and press enter on. Once we then check it out. It's back to its constituent parts, just like the example at the top here. Okay, what about the one with the wits? Let's have a guy x and toe. Okay, select it and press enter. And there we go. It's lost its wits and it's lots of different bits. Okay, It's now segmented into various different parts. Okay, the last one looks like a circle, but in fact, what it waas was Upali line drawn as a square and then converted into a fit curve. And because it was a square, each side now is exactly the same size curve. So therefore it looks circular on. We're going to explode it. So that's X. Enter on the keyboard and enter, and you'll see that Here we are. It's made up now of Little Arc SEC segments and is two per quadrant. Therefore, there's eight for the whole circle. Okay, have a little play with those. And if you want to reload the drawing, you can have a go exploding them all over again just so that you get confident with selecting and exploding. Okay, well done. And we'll see you in the next video. 22. Polar Tracking: Okay, So welcome, Teoh. Video number 19 all about polar tracking. So if you want to go and check out your drawings on open number 19 polar tracking Okay, then you can work along with me and we're gonna have a look at polar tracking. So the first introduction I want to give you is that polar tracking is a new feature within AutoCAD. When I say new, I don't mean a week ago, I mean 15 years ago And that's in the context of the fact that order card is now over 30 years old. Eso It's relatively new as a concept and ah, some people who were aware of auto cad previously, um, would realize that there was, ah, function called also mode which allowed you to control left, right and up and down on whether you were snapping toe horizontal or vertical. But the new version is called polar tracking, and it's by far my favorite way of doing things. It automatically recognizes what you're trying to do in terms of left, right on, up and down, and you can also put some of your own settings in between. So it's really, really useful, very flexible on extremely easy to use. We're going, Teoh, have a look at the way in which order cared uses angles first. And it might feel a bit odd because if you think of a compass, a new started nor, uh, north is normally not on their four East is normally 90 degrees. But I'm unfortunately in cad. None of that matters. Okay, so we have to learn a new way of measuring degrees east. Is zero okay on the reason East zero is because the X axis always comes first. So the horizontal for the X axis from zero across is zero degrees. And therefore, if you rotate through 90 degrees to get north, not only you're going anti clockwise, but you come to north first and then 90 degrees further is west. That's 180 degrees. Still going anti. Clockwise on south is 270 degrees. So you might want to get a piece of paper and just write that stuff down just so that it confirms into your mind that east is zero North is 90. West is 180 south is 270. So once you've got that in your brain. You can understand my little exploration on the left hand side. So that's what we're going to be working with. And we're gonna be creating that on the right hand side in terms of the lines that we're going to be drawing. So first of all, we're gonna find out where polar tracking is on the interface and its down here on the bottom bar. On the right hand side, it looks like a clock on its got two hands on it and it looks like 10 past three. So if that's blue, it's on. And if it's grey like this, it's off. And, of course, if you turn it off, the command line also says polar off. So if I turn it back on polar on, polar off, polar on, polar off alone good. You can also use F 10 toe toggle lack back on and off so you can see I'm just pressing F 10 F 10 F 10 F 10 on. That's a great way of getting to polar tracking. No, you can accidentally use polar tracking and also mode together at the same time they are mutually exclusive. So if you have also turned on. You can't have polar tracking. And if you have polar tracking turned on, you can't have also on. What it means is that if you're in the middle of a drawing a new turn, also on it will turn off polar tracking. So be aware off that. And I would say just for a moment, if you're new to auto kid, don't try turning also on because turning also off doesn't immediately turn polar tracking back on. Okay, you can have a drawing where both the turned off. So be aware as to where polar tracking is and make sure it's turned on. Okay, it's turned on right now. So we're gonna draw a line from the center of the circle on the right east, and we're gonna make the length of that line one meter, 200. Okay, so we're gonna do l for line over here on the circumference, find the center of the circle and click. Then we're gonna come out horizontally, and you can see now the green line extends out. That's the polar tracking. I'm gonna type in one meter, 200 press enter and then enter to finish. Okay, so there's our line already in place. Okay, on. That was pretty straight forwards, wasn't it? So now we're gonna go for a line that's not so straight forwards. Okay, what about 36 degrees? Now, if we want polar tracking to control that for us, we're gonna have to turn it on inside the polar tracking settings. So we place Emmaus on top of the button that we found earlier, right? Click and choose the tracking settings here. So here we are. We're inside the drafting settings on. We're on the tab called Polar Tracking on. I want you to find this extra tick box. At the moment. It's on ticked A ticket, and we're gonna add our own additional 36 degrees. So we're gonna go here new 36 enter now we want to more settings as well. We want 138 degrees, and we want 245. So we're gonna go new 138 typing on the keyboard, and then we're also going to say 245. So new 245 enter. Okay, So once we've done all of that, we can click. OK, Let's see if those angles turn up. L for line. Start in the middle. There we go. Almost immediately. Jumped straight in on 36 degrees and we're gonna draw a line here on the length of airline is going to be one meter, 200 on end to finish. Let me die. Good. Let's try the 138. So we're going to start the line command again. L enter Start at the beginning off the center of the circle and come out here. It's pretty easy to find is not. Make sure you don't sit on other piece of geometry over here Whilst you're trying to type those commands in because you need Teoh, give alter cad the mouse position to know that you're picking up on the polar tracking. And it's only when you get that green line shooting out. You know that the polar tracking is active. Okay, so it's 138 degrees. We're gonna type a line of one meter 200. So that's 1 200 on the keyboard. Enter on, enter to finish. Okay. Which is gonna finish off with the last one now? 245. So that's going to be l enter. Click on Come down here. That we are. It jumps straight in. Okay, you could argue that this has a negative angle or a below horizontal angle of 115 which is also true, but in terms of our 360 degree compass angles Okay, we've got 245 as well. This line is also gonna be one meter 200 long, so just type the end at the keyboard. Want me to 200 on enter to finish. So it's pretty straightforward, isn't it? And ah, so you can rely on auto cad to guide you with polar tracking only if it's turned on. And only if you look for that green line that pops out to say that polar tracking is active . Okay, have a little place. If you can dream up some other angles on make some other settings on DA. Come and join us in the next video. When you're ready 23. Polar Tracking Off: So we've just done what happens when polar tracking has turned on on. Now we want to have a look at polar tracking off. So let's just check First of all that you've got your drawing open. So open your drawing number 20 polar tracking. And then we're gonna have a look in the bottom right hand corner of these buttons here, and you'll see that the polar tracking Batten down here That looks like a clock set to 10 past three. Okay, just make sure that's the gray version, not the blue version. Blue is on Grey's off, and as you turn it off, the command line should also report polar off. Okay, so we're going to start drawing some lines just like we did before using the line command l enter. We're gonna choose to start drawing from the center of this circle, so make sure you pass over the circumference and pick up the center on this time as you turn your mouse around 360 degrees, we're only getting the dynamic input. That showing you what's happening? We're not getting polar tracking snapping out. Okay, so I'm gonna bring my mouse over here, and you can see that it's not at all horizontal, But I can still draw a horizontal line because I'm going to say it's at zero degrees east zero. So I'm gonna type in 600. Is the length on tab to move myself across to the degrees on? I'm gonna type in zero. Enter and there we are entered to finish. I've now got a line. I can select it. That is 600 long and at an angle off zero. And you can check that up over here on the right hand side in your properties dialog box. Lentz 600. Okay, angle zero really escape to get out of that. So we're gonna draw another line north guy now enter. Click in the center, and then we do get a green line that pops up, which is nothing to do with polar tracking. Okay, this line is to do with oh, snaps on its understanding where we came from, that end point, and it makes an assumption. Do we want to draw north? And of course, the answer is no. So I'm going to ignore it. And in fact, I'm not even gonna try to get my line pointing North. Okay, But so long as I tell auto cad that it's gonna be drawn at 90 degrees, I can type in 600 tab 90. Enter, enter to finish. We go. Let's check that. That's true. Select the line. So it's got blue grips on. Have a look in your properties dialog box on. We should have lent 600 angle 90. So next we're going to try drawing an intermedia angle on. Of course, the 1st 1 we did earlier was 36 degrees. So we're gonna have a go at doing that. We're going to start with the line command, go back to the middle of our drawing and pull out approximately in the right direction and type in the length 600 tab. The angle, which in this case is 36 enter and to finish. There's our line with the right length on the right angle. Let's double check by selecting it. Have a look in Properties 600 at an angle of 36 degrees. Okay, so now we're getting good at this. Let's do the other one. Let's do the 138. Okay, line, enter. Click approximately the right position we're above the horizontal. That's why I'm saying, if we go down below the horizontal dynamic input could accept a clockwise, uh, angle. So we're not gonna do that so above the horizontal. And we're gonna type in 600 tab 138 enter and to finish. So there's a secondary intermediate angle again. We select it, check it in the properties 600 at an angle of 138. Okay, let's do that one that's underneath the horizontal now because dynamic input will switch around the direction of the angles. L enter click. And, as you can see as we come round and down, then all of a sudden, dynamic input is declaring 90 degrees is pointing south on. So if we want 115 degrees, we just put it approximately in the right place. Type in the length 600 tab and in our case, 115 enter and to finish on what you'll see when you select that is that it says the right lengths. Yes, but the angle is true to auto cad, as opposed to dynamic input. So there therefore it reports back 245 which is the same as 100 15 because 115 plus 2 45 is 360. So there we go. Escaped twice. Onda have a play with polar tracking turned off. See what other lines you could draw. See if you can predict where to place your mouse to make sure everything looks correct and is correct. Check it in the properties by selecting on looking at the details just to make sure that you're correct. All right, we'll have fun. Um, we'll see you in the next video. 24. Copy Command: So this next series of videos are all about The transform commands were in video number 21 called Copy on De. So if you'd like to open up your drawing that relates to this video on your drawing was also called 21. Copy. We're gonna learn how to copy some stuff around. Okay? And you can see I've already been playing with some of these rectangles. Onda, I'm gonna show you how I'm going to copy this rectangle from here straight up on polar axis 90. So I'm gonna issue the command. First of all, on the command in order card is C o P Y enter the command line says select objects. So I'm gonna put a blue window from the left hand side of the screen towards the right all over my rectangle. T pick it up. Once it selected, I press enter on the base point. Now is the next thing we need to choose. So if you look at the command line, it says specified based point, I'm going to choose the top left hand corner off my rectangle click. I moved directly north, and as I get up here, I'm gonna type in one meter, 200 enter. And because we were on polar axis, Okay, it's copied it up precisely the amount that we've asked. And if you want to just double check that we can use a measuring tool, which is up here, which is just this Rula. And I'm gonna measure from my base point to my second point, and it says one meter to hunt. Okay? And escaped. Come out of that now. I'm going to actually now do an undue on. The reason I'm going to do an undue is because copy will repeat more than once. So I'm gonna show you what I mean by that. I'm gonna use my ordinary control said to undo. Okay, so I'm gonna use the copy command, and in this case, I'm gonna use the short cart, which is C O C. O on the keyboard and presenter. Then copy the objects with a blue window. Anto, the base point is the top left hand corner click move straight up on polar 90 degrees and we're gonna type in the length, which is one meter 200. And there we are. We've got our copy, but we're still going. So let's do one over here on the left hand side. Make sure your snapped to 180 degrees will type in the distance on meter 800 enter. And that we are. We're still going. So we're gonna try something up here at a distance of two meters at a angle off 135 degrees . So that's gonna be 2000 tab. 135 degrees. Enter and end to finish. So you can see now that first of all, copying is straightforward. All you gotta do is select the object and decide on the direction and the distance. And, of course, you've also got the fact that it repeats itself. It continues copying until you say I've finished, which is presenter. And so we've copied up. We've copied sideways, and we've copied at an angle. Okay, so that's great. Now, down here on the right hand side, you'll see that we've got a copy, okay? And, ah, we can copy randomly. Let's have a little go at copying randomly. So we get a feel for what's going on. So here we are. We're going to say C O, which is a short cut for copy. Select this small circle. We're gonna pick it up in the middle, and we can put it down wherever we like. Okay? And as many times as we like, so you can be as random as you like. And as you notice, if you've got polar tracking turned on, you can snap onto polar tracking a swell, great and enter now in the bottom right hand corner. We can show that we can do a linear array with the copy command. I'm just gonna talk you through that, Okay? This little heading to gives you a bit of an idea as to what we're gonna do. We're going to do the copy array. We're gonna do four in the copy, we can counter circles. 1234 at 600 millimeters apart. So we're gonna type in copy and select this circle on its own and press enter. We're gonna pick up the center as a start point and pull in that direction. But if you look at the command line now, you'll see on the command line. One of the options is array. So we'll just use the capitalized letter for that. A enter How many items in the array. Four. Enter what's the distance in between 600 and toe and enter to finish? Good, so that's pretty cool as well. So have a little play with those ideas and practice them until you're good and then come and join us on the next video, which is all about moving objects around. 25. Move Command: Well, we're already on video number 22 which is all about moving. And so if you want to open your drawing number 20 to move and you can work alongside May. Okay, so the move command is very straightforward, Very much like the copy command. But you're going to get one go at moving your selected objects. So here we are. We're gonna move the desk on the chair in the middle, okay? And we're going to issue the move command, So that's M O V E on the keyboard. Enter. We're going to select the objects, and I'm using a green crossing window to select them. You can use any message you like to select. You can click on things you can use a blue window around the chair, for instance. It's really easy to do a green crossing window here. Press enter wants the objects are selected. I'm going to use the center of the chair as my base point. I'm gonna move directly north, and in moving directly north, I'm gonna type in the distance, which is gonna be 900 enter. Okay. So because I was snapped onto my polar access, I only had to type in the distance. I want to move. But if you want to move it an angle, we can do that too. Let's do this one on the left hand side. I'm going to use the shortcut for my move. Command, which is m enter. Select my objects and press enter on, then pick up the center of my chair and then move over in the direction I want to move, and I'm going to say that I'm gonna move a distance of 400 Tab 1 25 So the angle was 125 degrees. It's proof. Practice that on the other side I m enter, select and, uh, click on them type in the distance. 400 tab 55. Enter. Pretty straightforward is now on. If you do that a number of times, you'll get a feeling of the flow of the command. You know, it has a rhythm of its own, and ah, so give it a go. Maybe do a couple of undoes on, then repeat the exercise from the original off from the start. Okay? Because when you're in order card, you're gonna be doing a lot of moving. And if you're really confident at it, then, that you're going to speed up the whole of your operations elsewhere as well. Okay, Good. Right. See you in the next video. 26. Rotate Command: So this is all about the rotate command. So open up your drawing number 23 rotate. If you want to work alongside now we're gonna try the desk and the chair in the middle. First of all, you'll see it top it says rotate 180 degrees. Andi in red in the middle, It says Use the geo center off the chair as the base point. So we're gonna issue the command first of all, so that rotate r o T A t e. You know, we'll type at the keyboard r o T a T e enter. We're going to select the objects. I'm going to choose a green crossing window cause it's really fast in tow. Used the geo center of the chair and click. And as you start to move, you'll find as you get to each of the polar tracking points, which is north, south, east and west. It snaps into position. Okay, so you can feel it. Get to 180 degrees and snap. So just make sure your mouse is on the green line. Click and you've achieved your first rotation. Well done. Now, of course, if it doesn't snap, Then you're gonna have to type in the degrees. So let's use the one on the left hand side and you'll see that we're going for minus 45 degrees. The short cut for rotated are Oh, so let's type that in at the keyboard. Aro, enter. Select the objects and, uh, click start to rotate minus 45. Enter. Great. Fantastic. Now, of course, minus 45 goes clockwise. So if you want to go anti clockwise, you use positive degrees, and over here, we're gonna try that. So over here, we're going to do the right Take command on the right hand side. So that's our enter. Select and, uh, click start to move 36 degrees. Enter. I'm a guy. So we've done a rotate 180 degrees. A rotate clockwise minus 45 degrees. Onda rotate anti clockwise. 36 degrees. Okay. So well done for completing your first set of rotates. And ah, if I were you, I'd just take a little time to repeat the exercise just so you get in the swing of it. Remember the rhythm of the command so it's rotate. Enter, select. Enter Base point Number of degrees. Okay, so it's got a rhythm to it. And ah, what you'll also remember is that positive degrees or anti clockwise and negative degrees are clockwise. So have a play and join us in the next video. 27. Scale: So this is video number 24. All about scaling eso. Let's open up the drawing to go with this video number 24 scale. Good. So we've got three different types of scaling here on the left hand side. We've got a scale up to a new size in the middle. We've got a scaled down to a new size Onda on the right hand side. We've got a scale relative to an existing object. Okay, so let's start with the left hand side. You'll see that we've got a base point annotated here, So we're going to use these based points that we've got chosen and I'm gonna type in the scale Command first fall. Okay, a scale S c a l e ente. I'm going to select the white box and press enter. I'm going to choose the base point here on the bottom left hand corner. And as I move my mouse, the scale goes a bit crazy. So I'm just gonna type in three enter, which basically means three times the size. Okay, that's pretty easy. Sensible way of organizing your scale command. So now that we've got scale up, let's do a scale down Okay, You can see from the example of the bottom. We're gonna go from a big box to a small box and we're gonna issue the scale Command first . The shortcut for scale is SC. Enter select the box Ente, click on the base point and then type in the scale factor, which you can see Here is 0.330 point 33 enter. And there we are. We've got a box which is now 1/3 of the original size. So that's not too bad. Now let's have a look at the third exercise on the right hand side. This is a bit more complicated. So if I were, you jump up and down, shake yourself a little bit and concentrate on this one. We're gonna issue the scale command, and we're going to select the smaller white box and time. We're going to specify the base point in the bottom left hand corner. But then look at the command line at the bottom and it says you have the opportunity to use reference as an option. Okay, we're going to choose that. So are enter. Our reference length is the short bottom edge of the white box. So we're gonna click left to right, Left hand side first, right hand side. That's a reference length on. Then, as we increase with the mouse, you can see the white boxes getting bigger relative to the red box. We get to the end point of the new box and click. Okay, so the now the white box is exactly the same size as the red box. Let me do that again. I'm going to do a control, Zed to come back and just talk you through that one again, cause it's bit more complicated, isn't it? So SC is the short cut for scale. Select the white box Empress. Enter. Click on the base point. Choose the reference option, which is our enter Andi. Choose the reference length from left to right. So we're going from the base point to the end of the reference length. And then as you move your mouse away, click for the end point here. Good. Okay. Now, that will need some practice, and you'll just need to have the confidence that the command line will lead you through it . So have another play with the scale command and, uh, see if you can get confident at that. Once you are join me in the next video on. I'll see you there. 28. Mirror Command: Okay. This is a video all about using the marital. So video number 25 mirror. Let's open the drawing to go along with this video, which is drawing number 25 mirror. So let me talk you through what we're going to do. We've got some desks and chairs here which we're going to mirror, and we've shown the mirror line with a red line. You can put a construction line into your drawing if you want. Um, it's there just for convenience. When you get used to AutoCAD, you may not need a construction line, but we have a construction line just for our convenience here, okay? And we're going to mirror the one on the left hand side, first of all, and we're gonna mirror from left to right, So we've got to issue the mirror command M I double r o r. Enter. I'm going to select the two objects and press enter. My first base point is on the X, and I'm gonna come up to the top of the line, find the end point and click on it on reply. It raised source objects. No. Okay, so that's your first mirror, and you can see, we've flipped the desk and made a copy at the same time. Good. So let's go to the center. Example. This one. We're going to just flip down using the horizontal mirror line. It's exactly the same process. It's just repeating in a different way. Tonight. We're going to use the short cut for mirror, which is M I. Enter Emily Sameera. Select the objects and press enter. Pick up the base point click. I'm go to the end and click No, to erase the sore subjects on this one. Good. That's pretty straightforward is now so we can do vertical and horizontal. How about if we do one at an angle? Good. It's exactly the same. Same rhythm, same everything. Okay, let's just try the short Cut em. I enter select and, uh, base point click en pointe. Click. No. Okay. Pretty straight forwards. So since it's got a nice little rhythm to it, and it's always gonna be that rhythm if you stick with command first and then select and ah , just have another go reset the during. Try the tutorial again on get really good at using the mirror command 29. Command Rhythm: Hi. Welcome back into our next video, which is video number 26. And it's all about the rhythm of the commands and the card line. So one of the nice things about Water Cat is that it follows the same rhythm every time for each command. It has its own little rhythm. Andi, you'll get to learn that the more you practice it and a lot of it is Connecticut memory because the more you do it, the more your body and your muscles remember how you did. It's bit like riding a bicycle. Okay, so if you wanna open up your drawing command 26 on have a look at what we've written here, or just watch this on screen because this one, you don't actually have to do anything necessarily. Um, but I'm going to show you how the commands have got a bit of a rhythm going to it. So if we look at the move command first. Okay, The move Command just requires you toe enter the command at the keyboard or by choosing one of the buttons up here. You see, you got move. Copy, stretch, rotate mirror scale up here. But to be honest if you go and take your eyes off the screen and look for buttons rather than just typing in M. Enter, a mentor for move is so quick that you don't even have to think about looking for button. Plus, of course, it's all part of your kinetic memory. And if you keep it within your commit kinetic memory, then of course it's, Ah, whole Siris of movements that you do with your hands rather than moving your eyes on. Then finding a button to click on on a button to click on with the mouse doesn't develop kinetic memory in the same way. So I'm gonna press escape twice. I'm going to start the move command again. Here we go. M enter the command line says Select objects. So that's easy. Then the command line says, Are you still selecting objects? So in order to finish selecting objects, you must press enter and then the command line says specified base point. So that's the first point of displacement, and then that's the second point of displacement. But if we analyze the command, what you'll notice is that we have what we've got written up here, okay, which is move. Enter select objects. Enter base point click. Second point click. Okay, so that's an easy rhythm to remember is now. So command, enter select. Enter base point click. Second point click. So I'm just gonna go through the move command again in that way. So m enter. Select and, uh, based point click. Second point click. Okay. It's got a rhythm to it has now. Okay, let's try that again with the copy command. Joey. Great. So it's copy. Enter, select. Enter based point click. Second point. Click. Next point. Click. Because you can keep clicking as often as you like with copy. Okay, so copy, Enter select Enter based point click. Second point click. Next point, click. Next point. Click. No fuego. Good. So if you've got the drawing open and you want to practice that, give it a little go. Because once you realize there's a rhythm to it, then you might feel a little bit more comfortable about the commands and carrying them out . Okay, Good. Give it a go on. We'll see in the next video. 30. Dynamic Input: So here we are in video number 27 all about dynamic input. Dynamic input is something that happens in the background almost invisibly. And you probably won't realise that you've bean watching the results of dynamic input. And this is also true for objects Snap tracking on polar tracking. It makes our drawing life a lot easier. And it's very simple and straight forwards on This is the method that we've been using without realizing it for drawing the lines. This is what we've already practiced on. I'm just gonna point out precisely the way in which it works with the line command. We're going to use the line command. The short cut is l enter. Start in the center of the drawing at this small red circle on click. And then as we come out horizontally, we're going to type in 600. Enter and enter to finish. There we are. We've got a 600 millimeter line that's easy to put in very quick. Okay. It's horizontal on. We can rely on it. Let's do another one. Let's do one to the left. Okay. And also, if you're aware of the compass settings on old head at an angle of 180 degrees. So we're going to repeat the line command, which is enter. Click into the middle of the red circle. Come over here. Keep on polar tracking 600 anto and enter to finish. Now that's really, really simple. Now let's have a look at the way in which the dynamic input is interacting with us at the time. Let's try and draw a line going directly north. Okay, l ente click into the middle off the circle, and as we go north, you'll see on the left hand side in blue. We've got the length of the line. That's the dynamic input on. On the right hand side, it says it's 90 degrees, which is also part of dynamic input. The Green Line is part of the polar tracking and the snap tracking and so all good. So everything's fine and it works really easy. So let's type in 600 enter and enter to finish. Now, we've been supported in our drawing by these three extra features, but what happens if we turn them off? Okay, so I'm going to use control, said to go back three steps and then I'm gonna come down to the right hand side of my interface, and I'm gonna to find out those items which we're going to turn off here. Festival. We've got polar tracking. We can click on that on when it's great. It's turned off here. We've got object snap tracking, and we're gonna turn that off on. I've got my dynamic input baton turned on. You may not have your dynamic input button turned on as it's not turned on by default. Okay? And so if we go right to the end of this panel right in the bottom, right hand corner, click on the customization tab and you may want to turn it on up here. Okay? So if you find dynamic input appear, if it's not ticked, click on dynamic input to ticket the button should then appear here. And of course, you can turn it off. So with all of that turned off, we're going to try the line command again, and we're going to draw a line from the center of the circle over to the left, which is west on. We're going to use this format here on the keyboard. We're gonna type in for the second point shift at 600 at an angle off 180 degrees. Okay, so we're gonna start the line command in the north of the ordinary way l enter. We're gonna pick up the center of the circle in the ordinary way and click. But this time you'll notice that because there's nothing to support us, then we've got no polar tracking, no dynamic input, etcetera on. We need to tell water can what precisely were going to be doing. So we'd hold down the shift button and at 600 at an angle off 180 enter and enter to finish . So you'll notice that the keyboard entry for angle is the brackets that look like on arrow beside the M just above the space bar. It's not the arrow buttons that we use for navigating in VR. It's the arrow bracket that certain just near to the question mark in the M on the keyboard . Okay? And don't rush the shift. Okay? Don't hang about on the shift too long, either. Otherwise, you might activate a Windows command, but shift and then at Okay, 600 at an angle off 180. So let's try at 90 degrees. Okay? We're gonna try the same command l enter Start in the middle of the red circle and we're gonna type in shift at 600 at an angle off 90 and, uh, enter to finish. Okay? And then we're gonna try this one over here, which is the 45 degrees. It's the same procedure l ente click for the first point of the start point, and then we're gonna type in shift at 600 at an angle off 45 and, uh okay, so it's not too frightening, is it? Move and copy work in exactly the same way. So we're going to copy this desk and chair. So we're gonna type in CEO, enter select with desk and chair ente, click for a base point, and then we're gonna type in shift at one meter, 200 at an angle off 45 degrees, enter and enter to finish. No, I'm gonna make a recommendation here. My recommendation is that you keep dynamic input on you. Keep polar tracking on and you keep objects. Snap tracking on. Okay, 99.9% of all of the time. Maybe 100%. But you might argue that there is a reason for turning off those those assistance, and the reason it might be is that you want to actually draw to riel coordinates as opposed to relative coordinates. So the way in which dynamic input and put a tracking helps you is that you don't have to know the coordinates of the drawing that you're in for you to make your lines or your copies, because all of the movement and positioning is relative to the first point that you click. However, if we were to draw a line, let's just say over here and you decided that the line wanted toe end up at the X y Zed Center. The origin off your ex wife, said coordinates that origin has a corner off zero comma, zero comma zero. So when the command line says specifies the next point, with all of this turned off, you could respond as if you were entering a coordinator. And so I'll try that zero comma zero comma zero enter and you'll see that the line goes to the origin. So there we have it. Two different ways of working on the most simple way of working is to leave. The defaults turned on with dynamic input turned on objects nap, tracking, turn on and polar tracking turned on. If you get to a point where you become a super expert, obviously you might like to know Maura about that. And it's worse practicing eso maybe undo your changes here and, uh, reload the drawing and go through this little, uh, tutorial once again and see if you can master all of these black arts okay on, then we'll see in the next video. 31. Properties: Okay. Welcome to video number 28 Properties. This is a whole new aspect off. What a cat on de. So I suggest we get the drawing started and opened, and we'll have a look at properties. If you open up your drawing number 28 properties, you can work along with me. Here we go, then. Every object in order card has a property on DA. I've got my properties dialog box open outside on the right hand side. Now, I consider this to be a really good idea to have the properties dialog box open. Okay, Pretty much all of the time on. So I leave it up here on the right hand side. Now, if I closed my properties dialog box down, okay? This is probably the arrangement that you've got on screen. At the moment on. I'm gonna show you how to get your properties dialog box in place. Okay, I'm gonna select any one of the objects from screen, then right click. And at the bottom of this menu is an item called properties. Click and you get the properties dialog box open. Now it's possible that you might have it open somewhere over here. where it's just floating around. But if you grab it at the side, see, there's a bar going down the side here called Properties. If you grab it a side drag all the way across the right hand side on. When it starts to disappear like this, drop it and it will park itself on the right hand side of your drawing on. This is a brilliant asset to auto cad. Now I want to explain what's going on here because the properties dialog box displays the properties of your drawing or the properties off the selected object. Okay, now this is brilliant because it means that you can inspect a selected object. For instance, here's this line and I'm going to select it. And in the Properties dollar box, it tells me it's a line and then gives me all of the details that belong to that line. Okay, so if I do an escape, I can then select, for instance, a circle. And there we are. We've got a circle on in the Properties dialog box. It says it's a circle and one of the items down the bottom. Here under geometry, it says Radius 450 diameter, 900 circumference and that sort of thing. So that's fantastic. And we get lots of feedback. I'm just pressed escape to come out of that and to de select my circle. Right. So the Properties Dialog box will also show us the properties of the drawing if we have nothing selected. So just make sure that you've pressed, escaped twice, and there's no grips on the drawing. What we see here at the top under properties is no selection, which is great. And that means anything it shows. Here are the properties off the overall drawing. Okay, which means, in general, that the settings are completely standard here at the side. Now, this may not mean a nor ful amount to you right now, but I'll give you an example. At the moment we are drawing on layer zero, and this tells us here that our current layer is lair zero. And if we check in the properties also, it says that the current layer is layer zero. But if we wanted to, we could actually open up this look down the list and switch over to a different layer. Okay, so now the current layer as you can see now up here is dimensions. So you've got control over your drawing through the properties dialog box. Now, this brings us to another subject, okay? Because this teaches us the auto cad isn't just a brilliant drawing package. It is also a database. The engine that drives auto cad behind all of the lovely Goering's that we see is a solid database on If we have the properties dialog box open, we can actually get access to that database. And we can change stuff about the database. And I'm going to give you a really good example. We have a circle right in the middle of our drawing, and if I select it, you go to the properties Donald box and you'll see it says it's a circle. Brilliant. The geometry says it has a radius of 450. So if I highlight that and I changed it to 250 the circle in the drawing changes. Okay, so this is really amazing stuff. It means that if we've done something and we've changed our mind, sometimes we can actually go to properties and fix what we've changed. Instead of having to redraw it. Let me give you another example. I'm gonna press escape twice, and I'm gonna highlight the text here. Onda. It says here the text is 200 millimeters high. And if I go into my properties Donald box, it says text the contents. It says text 200 millimeters high. Okay. And down here on the height, it says 200. Now I'm gonna change not only the contents, but also the height. So I'm gonna type in new text and presenter, and you can see it changes in the drawing. And I could go to the height and Aiken type in 300 presenter on again. It changes in the drawing. So that's fantastic, because it means that again, we have mawr control. We don't necessarily have to delete stuff just because it's different to the way in which we imagine. Okay, now, if I press escape and I select this chair here, we'll find something else very interesting. Properties block reference. Okay, but under miscellaneous, we can see the actual name of the block. Well, I understand the details a bit more about it. Okay. Now, as far as we're concerned here, we can go on through all of the objects within our scene, just picking them up on finding out information, which is a good thing. But we can also manipulate things that we've drawn a little earlier. Let's have a look. This series of lines that we've got at the bottom. We have a yellow dotted line, and if we select it, the database tells it like this. It's a line. The color is by layer, and that color happens to be yellow and the layer is hidden, so it doesn't mean we've hidden the layer. It means it's called Hidden. That's the name of the layer. And if we open up this list just like we discovered a minute ago, we could put this onto a different layer. So if we go to dimensions you can see in preview, it's gonna turn red. If we get a furniture, it's gonna go like blue, and if we go to zero, it's gonna go white. So that's brilliant, isn't it? Because that means that we can actually change their minds about which layer we have drawn on. Okay, so we can switch that one over to the dimensions layer, press escape and select the one that was on dimensions and put that over onto hidden. So we just swapped the whole to over having me and just changed our minds completely. Okay? The other thing they will see is the third line down from the top. If we select it, it's not a line. It's a poly line, okay, so subtly different. It reports back exactly what's going on and down here. We've got all sorts of information about it, and we can find the global wits of that Polly line at the moment is nine again. We can change your mind. Let's say it's 18 in tow and you can see that the line has got thicker. So it's fantastic, isn't we've got lots of control just because we've got this Properties dialog box at the side. Let's even go to the word that we've got the title for our drawing program here. Properties will select it on down here, it says. Text in the contents. It says properties, and then the height. It says 200 so we could change something about that. How about changing the rotation that's changed the rotation Tu minus 90 and you can see that the properties text has changed on screen. Onda, we might say, Well, hang on a second. That's a bit mad. I don't want it to be like that. Let's have it at plus 90. Okay, great. Even more bizarre, but still, at least you can do it. That's the point. Okay, and I could reset that back 20 So it means that once you've discovered the properties dialog box, there's a whole bunch of things that you can do. Let's move this box here that we drew on. Let's move that from Layer zero to lay hidden. So changing layers is one thing, but we can also change the global wits off this rectangle because it's a poly line and we can put in 12 for instance, is a global wit so that you can see also, we can change our mind about the sickness of the line if we want to. We press escape twice, perhaps on this rectangle we would change that over onto layer dimensions and escape, and we could change this circle over onto layer furniture and escape so you can see that there is a huge amount that you can do just to change the way in which you see or perceive your objects within auto curd and being able to change your mind at once you've actually drawn something is fantastic and saves you having to delete and redraw. So the properties dialog box. Once you've mastered it and you know where to find it, keep it at the side. Keep it there all the time, and that means that was speed up. Your overall drawing experience make you more efficient and perhaps also because you've got the properties of the side. There you can inspect the properties and see if there's something that you would like to tweak because it shows you the potential as well as the things that you know about. 32. Quick Properties: Onda Finally, uh, AutoCAD also provides you with quick properties, as you can see from the title of this video. Uh, so if we select on object, we can right click and we can choose quick Properties and you could see that we get this little dialog box pop up with just minimal information about the object that we've got selected. So it tells us that it's a line. It tells us that it's using the by layer color Onda. It's on layer dimensions Onda. Just this little item here about the line type and the length. Now this changes with every object that you pick. So, for instance, it would give you a different type of quick properties for Upali line. Okay, here we go. So color layer lying type global wits on whether it's closed or not. So just the most important part off the bits of information that we want to know about Polly Line. But to be honest, all of this is available in your main properties dialog box. So if you're using quick properties, then that's fine. That's a very simple thing. You can only get you quick properties if you've selected something. For instance, this circle and then right click, and it's at the bottom of this menu. But the contents off Quick Properties is no different to your properties over here on the main properties. Don't Box, of course, has got more detail rather than the small amount of detail it's available in quick properties. So the choice obviously, is up to you as to which one you want to use. And, uh, it says Quick properties. And, of course what it means. Is it short list? Because if you have the main properties Donald Box open, of course, that's quicker than actually opening a dialogue box every time. So my preference is to stick with the big Properties dialog box permanently, uh, positioned at the side of the during choice is up to you, but both of those options are available. Okay, so maybe you'll need to go back to the beginning. And just to go through this video once more so that you're completely familiar with the Properties dialog box, how to get hold of it and what it contains Ah months, you are. We'll see you in the next video 33. Layers: So here we are in video number 30 layers. Andi, if you'd like to get your drawing number 30 open as well. Not be great on. Then we can work along together. So if you don't know what layers are, it's a way of digitally organizing your drawing on. So we're going to discuss the concept of layers and how they work. Andi, uh, I'm going to show you a little part off the interface, which you're probably notice up here. We have a pull down menu on this pull down menu allows you to control existing layers. Okay, What you're allowed to do is you're allowed to turn things on and off, so you can see that just by clicking on to some of these buttons we can hide all reveal layers. So that's the big thing. Really? So let's have a look at joinery. Okay? You can see that little blue line turns off there or look further up center line. We could decide to hide the center line. We'll reveal it on DA. Everything on centerline is green. And as we turn off this, you can see and identify the centerline more easily. Can you? So first and foremost, it helps with visual recognition. So if you're on screen and you know that your center lines a green, then you can pick them out a little bit more easily. But also it's a way of revealing mawr information. So, for instance, as you zoom into a drawing, if you're gonna print it out at a very small scale, then you might want to have only a little bit of information turned on. But as you zoom into detail, for instance, you might want to reveal mawr information so that you can print out. And if you zoom in even further, you want to turn on even mawr information that you can reveal as you zoom in. Great. So this is a way of controlling the amount of data in your drawing at printing on plotting time. Of course, the whole point of doing on auto cad roaring is to communicate to somebody else your ideas , and therefore it has to be effective communication on the printing and plotting, even if its only to save our pdf will be a fantastic way of just bringing your information , your ideas to somebody else or another group of people. So layers allows you to organize your drawing both in color Andi in the way in which the lines are displayed. So, for instance, on the center line we've got a long dash in a short dash on on the hidden layer, the yellow hidden layer. We've gotta Siris of short dashes, but all of the other lines are continuous. So all of this information is associate ID with each object. For instance, a line, and you'll see that if I select one of these lines here at the bottom in the properties dialog box that we've got at the side, it says that the color is associate ID by layer. In other words, it's controlled by the layer command. And if we were to say for layer zero, what's the color escape? We can go into the layer dialog box. I'm we can find out. So let's go into the next video aunt. Have a look at the layers dialog box 34. Layer Dialogue Box: getting into the lead Dialogue boxes easy. We just type in the command layer l a y e r presente And here's the layer dialog box. Let's have a look at the layer zero. And there we are. It's color is white. Now I know you could have predicted that about the important thing is it's controlled by the layer dialog box. Okay? And if we were to change our minds, we could click onto the word white, Choose a completely random color. Okay? And now you can see that all of the objects drawn on layer zero are now this magenta color . I'm gonna put that back to white. That's a bit random is now. So there we go. We're back on the lam onto layer zero, and the color white now, color white is also color. Number seven on this is the only color that has some special properties. So this color will be white on a dark background and black on a white background. Okay, let's have a look inside the color dialog box again. Okay, so I'm just left clicking onto the word white. Here's the color dialog box on number seven. Yeah, number seven is white, and it says white down here. But you'll also notice that down here we have color number 255 which also appears to be white. But it doesn't call itself why it only calls itself 255. So what's the difference? Color number seven automatically changes depending on the color of the background. But color number 255 does not. Okay, The same is true for this color. Here it looks black. Okay, it's color number 250. But this color doesn't change either. Only color number seven changes dependent upon the color of your background. So that's good. Because if on a black background your main outline appears to be in white, when you switch over to printing, then the main outline appears to be black. Now, there's also another reason for being careful about choosing your color. And I'm going to show you what that the reason is going to be. I'm gonna close down my color box and I'm gonna close down my layers Dialog box on in the main pull down menu from the top left hand corner. I'm going to open up print. I'm gonna hover here on print on then on page set up. This is your page set up, Manager. I'm gonna come across on in the page, set up manager. We can have lots of different page set ups. But the most important thing is I want to modify my page set up. I could do that with the modify button here on the right. And I get this panel on This is Ah, this is a dialog box which you're going to get used to in the end, because you'll see this every time you go for printing and plotting. What I want to show you is this pull down list in the top right hand corner notice. It's called plot star table pen assignments. OK, it's the pen assignments that I want you to log into your subconscious. Okay, on. If we open up this list, there's a whole bunch of presets for organizing your pen assignments. When you print on your notice, that gold got different names, but they end up with a dot C TV on the DOT CTB tells us it's a color table there. In other words, the pen assignments are dependent upon the color that you choose in your layer dollar box? No, that's very interesting, isn't it? Now there are two different ways of setting up you're drawing. It's using either the C T B way of doing it or STB. STB is a completely separate style table that uses names to describe the styles on is set up in a different way. And in fact, what you have to do is you have to choose right at the very beginning of your drawing exercise which template you're going to be opening up on. One set of templates have STB files on the other set of templates have CTB files and in fact, you may not have seen this before, So I'm gonna cancel this out, and I'm gonna close down my page Set up manager on this tab here on the top, left hand corner is called Start on. You'll probably recognize this from when you started. It says, Start drawing here, and we've got a little pull down menu here to show you what templates are available. But have a look. The first temporary I've got the top of my list, says named plot styles. And if I go down a little bit further. This one says color dependent plot styles. I come down to the one that I normally use. This also says normal international metric drawing template uses color dependent plot styles. And if we look down a little bit further to maybe one of the tutorials, this doesn't say, But I can tell you it's an STB, which is named plot styles as opposed to CTB. So you can see from this page that's called Start that you have to choose at the start of your drawing exercise which template you're going to be using. So let's get back to our layers. Our layer dialog box will allow you to choose the colors that you associate with your pen assignments. I'm gonna show you how it works. If we type in l a toe, open up the lead Darlow box and then, for instance, we're going to choose center line here, and at the moment it's green. But I'm gonna change that. We're going to change that for a good, logical reason. Okay, Now we are liberty to program any color to do anything at print time. Okay, now, that's pretty daunting, because not only do we have 255 colors here. But we also have the ability to choose true color in this panel and also colors from color books or round tables. Onda. That's amazing. So you're Pantone's and Raoul colors also things. But let's sir, just concentrate on the true color for a second true color. How many choices of you got? Well, you got RGB, And in each channel you've got 255 different choices. So with each channel red, green and blue, that means 255 times 255 times 255 which is 16.7 million different choices. Now you don't want to go. You don't want to have to go and program, you know, 16 million different colors just for plotting out purposes. Onda. That's not the whole point. So be careful not to go a bit random on that. Okay, but back in the index color, you can see the first tab here Index color. We have a number of colors that have been put aside on the 1st 7 In fact, the 1st 9 up here, including these two grays. But the 1st 7 are the most important because what Europe liberty to do is to say that the 1st 7 will print out black as opposed to the colors that they appear on screen. Now, if you think about a traditional drawing, most of the outlines and the details are drawn in black, and it's only occasional that you get some colors popping in tow highlights special things . So here's the way in which it's intended to work. If you only have to program seven colors, you can make the 1st 7 black, and then you can associate a different pen thickness with each color. And, of course, traditionally because this goes 1234567 you could start with your thinnest on red and your thickest pen on white on progress evenly in between. Okay, so color number one could be potentially a 0.1 millimetre pen Color number two could be a 20.2 millimeter pen. Okay, you see where we're going with this point 34 green 340.4 for science 0.5, the blue 0.6 from a gente 1.7 for white. So this fills the normal criteria for using pens on a drawing board or in one of your beautiful drawings that you're going to be doing now that your expert at auto cad And if you use this protocol, what also happens is that after a little while, you get used to seeing colors on screen, and therefore you can interpret what those colors might mean. So if you see a green pen, you know that it's gonna be printed out at about 0.3 of a millimeter. Or though there are thereabouts, depending on what you set up on dumb. If you happen to see a red color, you'll know it's one of the sinister ones. Now I want my center lines to be a thin line, so I'm going to choose in index color number one, which is different to this red up here, which is index color number 10. Okay, 10. Obviously, you can program that in exactly the same way as you can. Program number one, but again, traditionally, index color number 10 will just print the color that you've chosen. So if you wanted something to be read, you would choose color number 10 as opposed to color number one on a random. If you wanted something to pink toe print out green. You choose one of these colors. Yeah, so you can see that the rain goes got a fantastic Siris of color choices. So that's brilliant in itself, and they're very straightforward to choose. But if you are going to stick with this idea of a black ink at print time, choose one of these colors on, then program it later in the CTB file that will have a look at it in another video. So I'm gonna choose index color number one for my center line and say, OK, knowing that the center line is a sin pen and when I come up to the top here, you can see that my centerline has now changed color to red. Okay, so the layer dialog box is able to control all of the elements within your drawing so long as those elements are set to behave by layer. Now you can override that in the properties. But I'm going to suggest to you that you don't want to do that because if you leave everything by layer, then you can control them here. So the whole off the center line layer he's going to be read, okay. And therefore you can rely on that. My dimensions also, for instance, I would want to choose Red, cause that's a nice thin line. Onda my furniture. I might switch over onto a green layer because that's just a little bit sinner than the scion layer, and therefore I could get more detail into that. It's also true for my joinery. This might be too sick for my joinery, and I might use yellow, for instance, because I want some detail in that. Andi, if I have a look at my lighting, maybe I don't want my lighting on magenta. Maybe I want by lighting to print out a color on that wanted to be very obvious, so I would go and choose color number 10. Okay, and you can see it says color Top number 10. Here. Even though it is red, it's gonna print out red on the printer because I haven't chosen color number one right? Sounds a bit random, doesn't it? Now, if I look at my hidden layer now, you can see that 50 and yellow are the same color, and just to allow myself some latitude on screen, I want to choose a color that is obviously not the same on screen is yellow. So I could choose, for instance, on orange. Or I could choose, do anything. I like to be honest. And I could choose this color here, and therefore, it doesn't collide with anything else that I might have on screen. Okay, so once you're happy with those ideas, we're gonna have a little look at adding our own new layer. 35. Making New Layers: So we're using the same drawing that we used a minute Go, which is drawing number 30 layers on. We're going toe open up our layers Dialog box. Now we're going to use the short cut key, which is l. A enter and we're going to get the layers dialog box open. Now you can open the layers dialog box with this button here as well on the top Ah, section of our ribbon that says layer properties. That's not a problem, so you can use either method. But of course, once you know how easy is to use the l A short cut, then it's easy to get hold of your layers at any time you like. Now we've already got some existing layers already made in this example. If you were to open a completely blank drawing, the only layer you would have is layer zero. But we've added some extra layers here and that we're just gonna find out now how to make our own layers across the top of the layer list. Here, we've got four buttons. So have a look for these four buttons and the 1st 1 if you hover over that, it says new layer case of this little tool. Tips are always helpful. Click on this button. Here. I'm we're gonna add a brand new lad in Now this layer is gonna be called outline. That's O U T l I N e. Make sure you get the spelling right. A news. A capitalized letter to start with. Now there's no rules as to how you should type this in. You could use all capitals. You could use all lower case and the course. You can choose your own spelling or invent your own language, but that's not really going to help anybody. What would be a good idea is if you use the conventions dollar in place. So capitalize your first letter and the rest is lower case. We'll know about passwords that way. And, of course, if we use the wrong spelling in a password, we get rejected Now in Auto cad, we're often merging different drawings from different places that we could use a drawing from one plant on. Mix it in with a supplier from another place on. We'll have other people's spelling incorporated into our drawing because layers brought across when you bring in another drawing and Of course, you could end up with not 10 of your own layers, but you could end up with 100 of other people's layers on. If we all use random spellings. Then, of course, we're gonna have some duplications, which are unnecessary. A really good example of that is, of course, centerline. There's so many different ways of spelling centerline that we could all get into a real pickle over how maney center lines we have. There's the English and the American sell it spelling off center, which is E R R E. And of course, you could decide centerline is one word or centerline is two words. Andi. You could also decide to have sense line just a in the drawing mode, which is CEO. So if you have a look out engineering drawings, sometimes the center line is indicated with the letters C L. Um, so there's lots of different ways of spelling, and we don't want to get too fussy about this. But it's a good idea to sort out your spelling before you start adding in your new layers. Okay, so here for outline, we're going to go for a color of magenta because it's a nice, heavy, sick pen on. Then we're going to add another new layer in. Okay, This one's going to be called boundary B O u and D a r Y boundary. The color is gonna be quite dominant. So we're going to use a blue. Uh, that gives us a nice chunky pen, but we're gonna change it from our continuous line type. So if you left click onto the word continuous Okay, down in this new box that appears we can load in a new line time. So this button here called Load we'll click on that on, then. Have a look down this list of all the different line types that you can load in if and we've got this fence line here, so we're gonna use this is our boundary. So fence line circle. Okay. And then before we leave this dollar box, we must choose the fence line, toe adit or associate it with our layer click. Ok, so now we can see that boundary has the line type fence, line one. Let's add another new laugh back to the bus in here and we'll click. So this time this new layer is going to be called dotted. The color is going to be yellow because it's gonna be a nice thin pen on a very light dotted line on. It's going to be using a dotted line type, so we'll click onto the line type here for dotted. Click on load, go down to find dotted. Okay, so here's the dot line Time Carrie, to that. Make sure we've selected it in this style of box before we say OK, and now we've got dotted associate ID. With this line type on. The color is yellow. We're gonna add another new layer called text for annotation. So we're gonna call it text and no so new layer t x t space a double in Oh, and this time we're going to choose a green go green for text on we're gonna change the line. Type two continuous. Good. Now we've got a green pen for standard annotation and we're gonna have a sick up in for our title. Okay, so we're going to put text title, and they were gonna choose a sick a pen. And so I'm gonna choose Cyan here, Kate, and make sure it's a continuous line. We're gonna put another new layer in called Vieux Port. So up to the new layer button, click V I E w p O R t or one word. But then we're gonna choose a non standard color for our view ports. And the reason we're doing a non standard colors because we don't want it to print out black. We want it to be non printing. So if we choose ourselves a color, which is going to be very obviously different. Okay, so there's a nice color here. Number 211 and then in the plotting column, we'll click onto the printer icon on, make sure it says do not print because the view port you're gonna find out is a rectangle. You can have circular view ports if you want, but normally rectangles and you don't want them to print. You want the contents to print? Yes, but not the outline. Okay, so that's good on. Then. We're going to have I lost layer. This is going to go in, and this is gonna be called no print. And for the same reason, we're going tohave no printing, and we're gonna have another different random color. I'm gonna choose orange now the idea of having a no prints layer is so that you can leave your construction lines. Or you could put notes or annotation which are intended for either yourself or your colleagues, but not for printing out. So you could leave a note on a drawing to say this area hasn't yet. Bean agreed or approved. Or you could put some notes in there, some annotation in there that reminds you of some of the decisions that you made. Okay, so it's always good to have layer, which you can rely on to store the stuff that you don't want to delete. But you don't want to print. Okay, that's good. So now we've got these extra layers in, we're gonna close down our layers dialog box, and we're going to check out these layers. I'm going to select one of these white layers, and as you know that you can go to the properties dialog box if you like, and you can change over the properties off your line type so you can go to layer here. This is what we want to do, and we want to see what the boundary looks like. Okay, we are. We've got the boundary. That's one of the new layers that we put in and you can see from this representation here. It's circles of straight lines, which is a good way of showing your posts on your fence line escape. Now we can do this in a different way as well. We can select a line that we want to effect, and we can use this pull down list here, which is probably a little bit quicker, and we can choose our different layers here to switch over to. So let's come down a little bit further and we're gonna find out line that we put in as outlined. Click on the word outline. Don't click on any of these other buttons because they're actually active. Buttons click on the word outline. And so what was a line on? Layer zero is now a line on their outline and see it reflected here. The properties. You can see it reflected here as well. That's press escape twice. To come out of that will select the next line down, and we're gonna use this quick pull down menu to switch our layers over text annotation goes green escape. Select the next one down. We're gonna come down to text Title goes to the science color this Skype. Next one down, we're gonna go for view ports. There's a view port color and escaped. And you can see I've chosen a color which isn't quite the same as this one up here. Okay, this one is on Lehrer outline, and it's magenta. Number six on this one is a sort of a sort past early version of that. And I'm gonna select this one for no print, print and escape. And then this last one, this is gonna be our dotted line. So we're gonna go down, find dotted. We get this guy. And that means if we want this circle in the bottom right hand corner to go on dotted as well, we can select that pop this circle dotted on this guy. Okay, so we've made ourselves some new layers. Okay, we've given it some names on. We've been careful about the spelling on the names because we don't want wasted or duplicate layer names. Just because we've merged databases on we've spelled differently. One of the things that you might want to consider is that to get over this problem of duplicate layer names. If you're working in a group or you're working with colleagues in your office, agree a layer protocol early on in the project. You know the words. Sit down around the table, have a discussion, get a spreadsheet, type up what layers you're going to use. I agree the spelling on the colors that you're going to use for the layers on. Then make a template in auto cad with exactly those layers already pre made. And then you don't have to make them again. You don't have to worry about other people making spelling mistakes later on, and it all works out really nicely. 36. Bylayer Explained: Okay, so here we are in video number 33 called by Layer Explained on. If you'd like to open up the drawing number 33 By later, explained Onda, we'll have a little chat about this phrase that AutoCAD uses by layer Andi. It's a very simple concept, but when you see it, it makes a lot more sense and have a look at the drawing that we've got open in front of us so you can see that the majority of the roaring is in yellow. And some of the details that we have here are in reds and blues on white, and we're gonna find something out about that. If we hover over the colorful detail, you'll see that we have a block reference. Yeah, but this is made into a block. And over here these machine heads are also a block reference. So what's going on with the other stuff? Let's going float over top of the other stuff. Well, Polly Lines and it says the color is yellow. And if we float over something else, it says that Polly line the color is yellow. Now. This is non standard, because when you draw things normally the color will be by layer. So the standard settings, the default standard settings in order card are that everything you draw should be by less so that the layer controls the color. In other words, all of the colors are set in the layer dialogue box. Now this drawing has bean drawn where, unfortunately, the layers don't actually show the color, and the color has bean overridden in the properties dialog box. So let's just check out what's going on. I'm gonna choose one of thes lines here ons you'll see here it says color yellow in the properties dialog box. And it also says line type on DA, even though we have a layer here called Sent No. One. Now, if we go into the layers dialog box l. A and we find sent one. Okay, it says that the line type is center on. If you have a little look down this list here, you'll see this whole bunch of layers, which are various different colors on those colors, don't seem to be showing up. So let's close down the layer dollar box. What we can do here is on our layer that we had selected on a line that we had selected. We can just check out the line type and it says continuous. But in fact the default is no continuous so much as by layer. And if we switch over the line type toe by layer, then suddenly we reveal the line time that we've got set up in the layer dialog box. So the correct way of normal working is toe have everything set by layer. Okay, let's check out different colors as well. Because if we do a global select, in other words, we're gonna select absolutely everything in the drawing. If we look at the properties dialog box, the two thing that you notice varying big time okay of the line types which should be by layer. Okay. And at the top here, yellow is the predominant color. What? We noticed that. But it shouldn't be that yellow is the predominant color. It should be by layer on Suddenly, if we reveal the by layer information. Suddenly everything takes on what looks like it's proper colors because the layer dialogue boxes now in cut in charge because the color is by layer. Okay? No, it's a weird concept, but once you get used to this idea of by layer. Then suddenly everything makes sense, and you realize that the layer dialogue box should be in control. Of course, if it's not in control, then of course, it makes the management of the drawing much more difficult. So I would suggest that you adopt using the default protocol for everything which is color by layer and line type by layer. Okay, you've also got the line weight by layer on. We're gonna come over to that later, but we've got a number of things that we can rely on. So if you think that the default setting should be by layer, then that's a great idea on DA. It's probably not a good idea until you're an expert to vary that on only in some exceptional circumstances. So that's the by layer explained. And so if you want to review this video again, just go back, otherwise will meet you in the next video 37. Adding Colours to Layers: So here we are in video number 34. And this is all about adding colors. Why? We should add colors, how to ride colors and that sort of thing. Okay, so if you like to open up your drawing number 34 you can work along with me here, we've got a picture off camera, front view and back view, and all of the detail has been drawn on our default layer. Layer zero. We can just check that out. Weaken, select everything right The way across on putting a big window around everything you could use a blue window or a green window just to remind you a blue window is an enclosing window on a green window will select anything it touches. Okay. And that's called a crossing window. But once you've got everything selected, we can check out in the properties dialog box, and it says here layer zero, which means that everything you've got selected is on layer zero. Okay, good. So we're gonna come back into the drawing with our mouse press escape twice on, then we're gonna have a look at the dialog box, so l a enter and you can see here. We've got a number of pre made layers, but if we look down the colors there a lot point. So let's go through our layers. I Let's see what we've got. We've got buttons, centerline detail, lens, logo, outline and screen. So let's have a think about what colors we might like to use. Let's choose centerline first. The center line needs to be a nice, thin, crisp line. So using our color protocol that we discussed in a previous video, we would go over to where it says white and click and choose color number one and OK, and we can have a center line which you can see is dash longer. Short dash locates that. So let's see how we would apply that in the during. Now that we've got it set up and we know that it's red and dotted, we're gonna find the center lines now round by our lens. We've got four cent lines, so I'm gonna select those, and I'm going to switch everything over from layer zero to layer centerline. We can do it in the properties using this drop down box here, or if we want, we could use this drop down box as well to do the same thing so we can see very clearly that we now have read center lines, right? So that's pretty easy. Is now good now that we've sussed out how the whole thing works, if we go back to our layer dialog box, L. A. We can start making other decisions. So, for instance, the outline Let's just say that we're gonna have a nice, chunky, thick outline. We could choose Magenta because that's on the thick side. Remember all of our pen. Start thin and work up in size towards number seven. So magenta for an outline. And then we could have a detail. For instance. Let's go for the detail. Now, This wants to be a nice thin pen. Okay, so we could go for a yellow on that and still on the colors. Let's have a think about what color we want. Our buttons that here's our buttons. Click onto the white color in the button column on DA. We're gonna choose Green and then on the lens. We want some more subtle detail here, so we're going to choose a number eight. I'm for the logo. We want that to be quite striking, and we also want the logo to print in red. So I'm gonna choose color number 10 and we're going to go for an outline on the screen. That's the screen on the back of the camera, and I'm going to choose a science. So once we've agreed, those colors weaken. That goes through our drawing and weaken, switch the objects over onto those layers. So let's close that down and have a look at some buttons. Okay, his buttons on. We can switch those over onto layer buttons. Of course they go green. So it's gonna be quite easy now for you to go around select. Okay, we can put lying around any of the buttons, and if you want to check out where the outline is going to be going, we can make sure we de select anything that we've got selected here so we can choose shift de, select anything that we've accidentally selected, and then we can switch over two buttons on Skype. And here's some detail we can put that onto layer detail on escape is a bit more detail. We're gonna put that tell, as you put it onto the different layers. It takes on the different colors because everything's by layer. Now, let's have a look at our lens. We're going to select these two lines here. I'm gonna put those two on layer outline because their dominant and then I'm going to select these ones here. I'm gonna put those onto layer lens and they become less dominant. Here's our logo, and I'm gonna put that onto layer logo and I'm just gonna work around the outside of my camera. This is going to go onto the outline layer. I'm just gonna grab that all the way around using a little crossing windows. So if I miss anything out, go back onto that. The crossing window is a really easy way of selecting. And it might be worth practicing that a little bit, because even though not everything is gonna pay easily selectable, we need to make sure that we could get hold of it and select it. My sneezy. Okay, I'm gonna put that onto layer outline. Good. So the dominant information is on there. Outline is a little button I left there, so I'm gonna put that on lap. Okay. We got a bit of detail here in a bit of detail here that goes onto there detail. So you can see how quick it is that once you've got the whole bulk of your drawing drafted on land zero, then just sorting out which layer they're going to go on to is an extraordinary quick way of, ah, changing layers, for instance, using this pop down menu. So at the back here, I've got a screen. I've got a rectangle that road sense represents the screen. Like I'm just Pope all of that onto the screen. We've got a whole swathes of buttons here which we can pick up. So I'm gonna put all of these buttons onto the button there, and I can put all of these all at once onto layer button press escape. And then if I've accidentally picked up anything that should be on detail, I can just select it again and switch over until a layer detail on the same is true here for this little bit of detail here, I could use a crossing window to pick up. Should be. All of that's gonna be on detail. There it is. Being super careful is to make sure that accidentally pick up anything green. So this is a nice way of exploring or cat. Okay, This guy on detail, I'm escape so you can see that it's a very easy and quick method of making sure everything ends up being the right color. So as long as you're organized and you've got your layer protocol in place, okay. Switching over layers that you've drawn on layer zero to any other layer and just organizing your layers very quick. Very easy. Very simple. All right, so have a little play with this drawing and see what you can do to get the whole thing sorted. Okay, Make it. Making sure it looks nice on once you're happy with it. Save it and join me in the next video. 38. Adding Linetypes: So this video is all about adding line types Onda, Although that we've touched on it in previous videos. We're just going to go through the detail of it here so you can dip in a dip out. And if you want to open up the drawing number 35 adding line types, uh, we'll give this a go. Okay, great. So we're assuming at our line, types are all controlled by the layer dialog box so that we've got all of our standard settings, which means that all their lines and line types are by layer. We're gonna type in the lead command, and I'm gonna use the short cop here. Okay, a shortcut is l A. And, uh and here's my layers dialog box. You'll see. I've prepared a few layers already. Okay. And center line dash dot Ignore death points because that's an automatic or to cattle air dotted gas hidden, etcetera. And we're gonna go in and have a little practice adding these line types. So, first of all, with centerline, we're gonna follow this across to a column called Line Types. And instead of a continuous line, we're gonna go and find center from this dollar box. So centres already being preloaded, which is great that we can just click on it here and say OK, we've associate ID center with centerline. But let's have a look at dash stop because this one hasn't bean preloaded. Let's go to the continuous Andi, have a look down here now if it hasn't already been preloaded, we have to load it into the drawing before we load into our layer dialog box. So we're gonna click on load and we're going to scroll down here and find dash dot Select it and click OK, and then back here in this line type selection box, we gotta find dash dot highlighted on, then say OK, so effectively, what we're doing is we're loading it into the database and then once it's in the database, we select it for use with the current layer, okay? Or the selected lab. So let's try that again with dotted is the dotted layer. Okay, we're gonna click on line type continuous, and we're going to load in dotted so we can come down to the load button and scroll down the side here until we find dot and you'll notice that we've got 23 different types of dot We've got the standard dot we've got dot to, which is half the size. And we've got times two times two, which is twice the size. So you've got a bit of variation in the sizing. Okay to it. There, pick it up here and OK, and then we're gonna go to the gas layer. Now, this is a very slightly different type off line type, so let's come across to continuous and click on it. Find the load button and click on that on. Then we're coming down here to find gas, and you'll see that gas line has the word gas written in it. Okay, so just click on that. Choose it from this preview box on. Okay, so now gas has gas line. Okay, let's keep going Hidden. Click on continuous. Andi, we've got hidden already loaded, so we can just select it here on day. Okay, we've got hot water, which is bit like gas line. Click on continuous click on load, find the hot water, and OK, make sure it's selected in the preview box. Andi. Okay, here we are. Horse. Baltar is now in place. Then we've got insulation. No, insulation is a little bit different because it's called batting. And so if we load and we go down and find batting, you'll see in a minute why it's called batting. Okay, um, so we're going to select the batting and OK, and them six egg. So we've got a load six again. So load, this is a Loy at the bottom. Is executive bottom okay to that? Make sure it's selected in a preview box before you say OK, good. So now we've got all of our line types loaded and that means that we can close down our current layer box. So here we go. This is the surprise. Really? Because now we can see exactly what's going on. Center line is very obviously a center line. He is our batting. So this is the insulation that we were talking about. And it's this lovely little smooth Stop him down. I was going to call it sick said, but better not call its exact because we do have exact later on here. We've got dash dot and hidden on dotted on gas line. So let's start changing some of these into the other layers. So we'll select this one uses pull down menu on instead of gas. Let's use hot water because you can see the difference there between gas and hot water. And I'm going to zoom in here so you can see it look better. Okay, there's a gas in or how hot water that's continue down and we've got dotted already got dotted in place. Let's change that to six sec so you can see what's going on now. Okay, so we've got all of these different line types and if we want to, we consume into this circle. You can see how gases repeated all the way around the circle. Notice how intelligently the words are flipped, depending on which direction you're going in. Okay, so that the words are always left to right. We can see a hidden line which is just the dashing. If I zoom away. One of the things that you're immediately realize is that it's not so easy to read the gas on the hot water. So we need to be able to change that relative to the other line types so we can select these two and in the properties we have a line type scale. And if I just type in to their they get twice as big on this is now a relative change to the overall line type scale. We have a hidden command as well. So autocrat is full of hidden system variables. And if we type in lt s LTs means line type scale. Casey might want to write that down. Grab a pen, piece of paper, line type scale and you'll see that currently in this drawing, the line type scale is set toe eight. Now, by default, it set toe one. If I set it back to one, you can see that the line types are really, really small, almost invisible in terms of line time. But if we increase the line type scale and we're going to call this now 20 they're massive . And you can see that Pap said just a little bit over the top on. So we need to find something in the middle. Okay, so that's why I chose eight. And eight seems to be reasonable for this particular drawing. Now, of course, every during will be different Onda, depending on the scale that you're gonna be printing out, you'll probably want a different line type scale. And then when you get into paper space, there will be other decisions to be made as well. Because some of your view ports will be different scales on. We need to be able to change our line type relative to the view port. Okay, good. So if you want to continue investigating line types, you've got a few more lines here that you can play with. Or you can just do whatever your heart desires in terms of changing. Six. Act to dotted or dashed or batting or whatever you want to do. Fence line. So there's so many there. Have a play. Enjoy yourself on DA. When you ready, come and join me in the next video. 39. AutoCAD 36 Adding Lineweight: Hi. Welcome to have video number 35 which is called adding line. Wait and ah, you might like to open your drawing number 35. Adding line. Wait s so you can work alongside me. Okay, Now, we're gonna make this short and sweet really easy, because the layer dialogue box allows you to control the line weight of each layer. So we're gonna type in L. A, which is the short cut for laugh. Okay, Ready? L a ente, and this opens the dialogue box. And here we have a column that allows you to change the line, Wait for each layer. Now it's possible, and I'm gonna show you how to do it. But I'm going to suggest to you that you might like to leave it at the default. We'll have a look at how to do it, and then we'll discuss why it's good to do it on why it's not good to do it. So, first of all, let's find a layer called outline. The outline of anything could be nice and thick and chunky, and therefore you might want the line wait to be sick and chunky. So if you click on to the word default inside the line. Wait column. It opens up this style of box, and you can see that we've got various different line weights displayed in millimeters. Okay, and we're going to choose a one millimetre line. Wait, so that's relatively quite sick. We're going to say okay to that. And you can see it's represented here by a heavy line, and it tells you it's a millimeter thick. And if you need a scale by which to compare most lines, if you were doing a sharp pencil, might be point to. If you were doing a hairline, it might be 0.1, and if you were doing something on on average during that was quite chunky, it might be a 0.7. So very rarely do we put in lines that are one millimeter thick unless there purposefully extra heavy to bring attention to something. Okay, so now that we can see that we can do it, should we do it well, the answer is depending on how you're going to arrange your plotting at the end of your drawing, because it works like this. If you open up a drawing that uses the color tables, then you're going to want to set your line white at plot time, using a default, pre selected or pre prepared file, which I'm going to show you how to make in another video. Bit later, however, there is also the opportunity at the start of the drawing to select a template that allows you to use named plot styles where again, you would choose your pre saved template for your plot style, and your line waits at plot time. This is 1/3 way, but has some disadvantages. This third way allows you to associate a line weight with every single layer. Okay, but here's the problem. You need to know the impact of that line weight on the scale that you're going to be plotting your drawing out at. And if you plot it out and you suddenly find that you've used line weights, which are too heavy, then the line weight might be so thick that it obliterates the detail within your drawing. And then conversely, if you change paper size, then you're gonna want a different Siris of line weights. So if you've set this up for a large during like, say, on a one or an a O put and you've chosen your line weights and then somebody says, Or could you plot out that out for me at a four? All of a sudden, you've got to change all of your line weights because they're gonna be too thick. What works for a one isn't necessarily gonna work for a four. So although it's a great idea to have your line waits here, there are some issues that you need to be aware off and some decisions you have to make. So let's just work through some of the decision making, as if we were going to set this up for plotting on a one paper. Okay, a one papers quite large. It's about 841 millimeters wide, so that's pretty pretty large. Let's go and have a look at our center line are sent. Lines are normally really important, and that means that we could choose a line width of something like 0.15 on the plotter, which means zero point wife five millimeters on paper, Okay, as opposed to in the drawing. So then let's have a look down it. Ah, dash dot now dash dot could be just a Zim Porton a center line. Or it could be just to show a piece of furniture may be hidden underneath a work top on. Therefore, I would choose something like a 0.3. Okay, Dimensions are also really important. And because they're so important, then I would choose a a 0.15 millimeter and okay to that dot it now, we don't want to get too thin with dotted. So I would choose a 0.2. Because if it just happens to be a little tiny Siris of tiny black dots, you might actually lose the impact of the line, and you might miss it. Now, the next layer is called gas. And if you're going to choose a line, wait for gas, then remember, there are words in the line. Wait. Okay, so you don't want to go choosing some massive heavy pen that's going toe? Obliterate the detail off the A or the E in the words gas line? Yeah, that's an interesting one. Is that okay? So I would choose maybe a point to or maybe 8.18 because I'm earning on the side of caution because I don't want to lose those words now hidden. This could also be a nice thin line on again. I would choose something like a 0.25 for hidden hot water supply is the same for May as gas line. Okay, so once we've got the hot water supply loaded, the sickness should be about 0.18 No insulation that can actually have a slightly heavy a pen if you've got a chunky, ah, bit of insulation going in. And so I would be quite happy to use a 0.3 on that and then outline Now for illustration purposes, we talked about one millimeter, but, you know, one millimeters, actually a very thick line, so I would be tempted to push that back toe a 10.6 point seven. I'm gonna choose 70.7 here, and then we're gonna come down to text now text again. You've got to be careful just like hot water supply. But normally, the text within your drawing is going to be a little bit bigger than gas line or hot water supply. And you're in a bit more control. So here I would choose either a 0.25 or appoint three so I'm gonna go for 0.3 on this and then the last one zigzag Well, zigzag is actually quite detailed. You don't want to miss out on the detail of that, but again, it's quite a robust shape. So a 0.25 my point to or or put 0.0.25 would be quite all right. Now all of that is OK. As far as an a one sheet of drawing. He's concerned. But I tell you what. If somebody wanted this printed out of a three or a four, those are too thick. All of those line weights would have to be changed. So here's my argument. It's great. I love the fact that you can set up your line weights in your layer dialog box. But the truth is, I leave all of that alone at default, and I only set my line weights in my plot dialog box at the time that I'm gonna be plotting , because I can choose a preset file that I can make very easily and very quickly for a four paper, a three paper, a two a one a Oh, and I can make all of the different colors varying in my line weights because I use color dependent plotting tables. Okay, now other people will use named plot styles. But I tell you what. I find those a little bit awkward because when you're offered the opportunity to name a plot style, you can choose to type in any name you like. Now you might say, Well, that's great. That gives me lots of freedom. Yes, it does, but it also gives lots of opportunity for confusion where somebody comes along and says, Oh, I just try to plot your thing out But I can't find the plot style for Sorrento. I can't see what you've done to this layer or that layer, so it just makes confusion, whereas the color will. That's in your face, isn't it? You can see the color involved, and you know the rules. The rules about color are that the 1st 7 of your colors 1234567 ah, Black with added line weights and they start the sinister read on. They finish white at the sickest and you're in control off that, and that makes a lot of sense to me. So anyway, have a little play, maybe continue toe. Add some of your life own line weights and we're going to close down a dialog box here. And then we're gonna look at a system variable. Okay? The system variable we're going to, uh, look at is to display line weights. It's called L W Display, which is line Wait display on. We're goingto bring that up as a command now, so L W D is on effective short cut line. Wait display and you'll see that by default. It's turned off. Now, when you turn it on, don't expect to see a massive difference in your drawing, because when you're looking at a drawing like this, you're not looking it at it at a scale of 1 to 1. And the line weight can only possibly display if I zoom in here at a scale off 1 to 1 relative to the drawing. So here's our outline, which is set 2.7 of a millimeter. So if I zoom away far enough, then the weight of the line just doesn't matter anymore. Now course, when we come toe printing, that's a different thing, because was in your printing, you're probably printing the drawing out at a scale off 1 to 50 or want 100 compared to the drawing. Okay. On paper, it might be at this relative scale, maybe 1 to 100 and then the weight of the line used by the plotter, Okay, is a paper scale as opposed to drawing scale? Yeah, that makes the difference, doesn't it? So you have to be really aware off this particular feature and therefore have a good long think about it before you use line waits as opposed to color dependent tables. At what time? Okay, have a little review of the video, and then we will see you in the next one. 40. Quick Access to Layers: Welcome back. This is a video number 37 quick access to layers. Of course, we've done quite a lot of work over the last two videos looking at layers on how to control details. But when you're working in a drawing, particularly if this is a drawing you've never seen before, then you're gonna need some tools that allow you to access layers quickly, Aunt, to get to grips with what's going on. So if you'd like to open up drawing number 37 quick access to layers, then let's get going together. So the top of the ribbon, this is the ribbon at the top here. Okay. At the top of the ribbon. We know we've already had a look at this particular pull down list that gives us access to our layers, and we're gonna have a look at that, first of all, so this is a quick way of getting access to and finding your on off buttons your Friesen thought buttons and your lock buttons as well as the colors. So all of those features are active. So let's go and see if we can turn off some bits and pieces. We're gonna choose freeze and Thor on the windows. And as you do that, the window there freezes. Click it back on on the window, comes back. Okay, so if we go down two dimensions, we'll do the same thing. Find your dimensions and freeze the dimensions disappear. Click once again on the dimensions of back. Now, this means that we've got really quick access to turning things on and off. We won't necessarily know in a new during what the layers are called. So what we can do is just place our mouse over the top of one of our objects that we want to know, and we'll get a tool tip. And immediately, this tells us that this layer is a walls. Okay, so that's a really fast way of finding out what the layer is called before you even have to select it. You only have to hover over the top so you could go around and inspect various things. Okay, here we are, on the sink. We've got a layer called fit 02 Yeah, and on the kitchen, we've got a layer called Khar No one. So that's a really quick way of finding out what's going on and If you need to make some corrections, I'll show you how to do that. He is a light fitting on when you compare it to the other light fittings. You'll see it's a different color, so that obviously tells us there's something going on. We're going to select the light fitting on at the moment, we can see that this pull down menu displays layer zero. Now layer zero when you have something selected means this object is on. Layer zero is residing on layer zero on. We want on layer lighting. So we've got our electrical stuff here on a layer for electricals. It's the right color, and so we can click here and immediately. We've got our, like, fitting on layer electrical. If you want to, uh, you can check the other light fittings. There we go. Electrical 02 this one electrical 02 So everything's fine. So let's just pretend we didn't know what the layer waas up here. We've got a match layer but changes the layer off a selected object to match the destination layer. Okay, so let's try there slits for in this dimension here. Okay, it's on layer elevation. That's wrong. So we're gonna match and click onto this one here. Okay? And immediately this dimension is now put on, too. Add dimension layer because we pointed other dimensions. Now we've got a whole bunch of buttons that help us like that. If you have a look at these buttons here, we've got a button with a light bulb which is on or off on immediately below that we have about which is turning on all layers. Okay, so you can turn things off and turn things on with these, we've got freeze, so you can point at individual layers and freeze them. Let's get rid of all of the dimensions ago. Is the dimensions okay? We're going to freeze the dimensions. Great. That's easy on. Then escape to finish. And if you want to turn the more back on underneath there, you've got sore or layers click on there and all of their layers have come back on, so you can actually make things really quickly. Now, you've also got a button here which is quite handy called make current. In other words, the layer that you're gonna be drawing on next would be the current layer on. Let's say that you want to draw some of these kitchen cabinets in you click make current click onto the kitchen cabinets, and we're now on caucusing. 01 so that the next thing you draw could be a kitchen cabinet. Okay, so this is quick access to your layers. It might be worth having a little play, but I just remind you that a lot of this information can also be found in your properties dialog box just down here, which is just a case of selecting the object and checking out what's going on down here. Okay, so there's a lot of information that can be gleaned from your drawing very quickly. Both with this pull down menu. These buttons here on the properties dialog box. Okay, Have some fun on. Join me in the next video. 41. Fillet: Okay. Welcome to video number 38. This is our editing section, Andi. We're going to be dealing with Fill it first. So if you like to open up your drawing number 38 fill it. Well, get on with it and you can work alongside May. Okay. The command that we're gonna look at first is called Fill it on, DA. This is this very straightforward, easy to use to command. And it does a lot of work for you. Does all of the tidying up now, we could easily apply on our core a circle, two parts of this construction. But when we do that, we would have to tidy up circle, and we'd have to tidy up the rest of the drawing to make sure all of the endpoints matched up. Whereas with Philip Command, AutoCAD does that for us. So it's a timesaver. It's really quick and easy. So let's go going on the left hand side. You can see the first job that we're gonna do is issue the Philip Command and set the radius to 200. So I'm gonna show you how you do that. Okay. Inside order card. We're gonna type fill it f I double l e T enter and the command line says, OK, select first object. Or do various things like set the radius so we can type in our enter for radius and then 200. We are 200. That's what we want for our first exercise. And now we've got to do is select the two lines that are nearest to each other where you want the Philip toe appear. So that's a click click. And there we are. Autocrat has added the fill it for you. We compress enter to repeat the command on the Philip Command remembers the radius you set up just now, and so we can click and click for the next corner. Good, until let's keep going, click and click and toe. Click and click. Okay, so there you go a radius of 200. Very easy. It's very straight forwards, and of course, it could be any radius you like, so long as it fits the geometry that you've created. Then it's unacceptable radius. Now, in our second example here, you'll see that we've got Phyllis Fill it, Radius zero on. The wonderful thing about that is that you can fill it the corners. And as you can see here in this example, they're starting off no touching. And in the final result underneath, they're touching there nice and neat and tidy, and they're touching endpoint. So let's give that one ago. Okay, fill it is your command. Enter set the radius. 20 sets are enter zero enter. And just like before, we could go to each of these corners. Click and, uh, click. Click and, uh, click. Click and click. Click. Okay, so there we are. We've got the fill it radio set to zero, and it gives us nice, clean, sharp corners with no radius at all, just in case you'd forgotten. By the way, if anything goes wrong, press escape twice. That's always get out of jail. Free card. Now, in the next example, you'll see that here, we've got overlapping lines. So in exactly the same way as we use the Philip Command before, it doesn't matter if the lines don't touch and it doesn't matter if they do touch, and it doesn't matter if they overlap. Okay, so we're gonna set our Philip radius to 300 and we're gonna be out of Philip this shape. No problem at all. The short cart for Phil, it is F. So I'm going to use the fill it short cut. I'm going to set my radius that are enter 300. Enter and then I'm just gonna work around the corners. Here we go. Click, click, enter, click, click and, uh please click Enter. Okay, good. Now, obviously, you're not gonna be as fast as me, and you might have to pause the video, but that's fine. You'll get there very quickly in the end. And then the last example is not a standard set of lines. These are poly lines now, and you can see by the sickness of the line that it must be a polar line, cause any poly lines can have this sickness. So here, what we're going to show is that not only can we fill it Upali line, but we can fill it all four corners at the same time by telling fill it. What we're gonna be editing is a poly line, and I'll talk you through it. We're gonna use the short cut, which is f enter. We're going to set the radius, which is our enter 200 enter. Then we tell fill it that we're going to be editing Upali line P enter right, click onto the poly line. And as you do that, you can see a wolf. Four corners go at the same time. How could he sound? So that's one to practice. And that's one to remember. That's a good one. Because if you're using a lot of fillets on a lot of poly lines, you can save some time. Now, the last little feature I'm gonna show you is what they call undocumented features. One of those that's not so obvious. Unless somebody's told you that this works, you're just not gonna No, it and you're probably not going to be out of guess it either. I'm gonna show you on the first example how this works. Did you know you can fill it? Parallel lines. I know that's pretty crazy. Is that how can you sell it a parallel line? Well, let's go over here. I'm going to use the arrays command, and I'm just gonna take away the top and the bottom here. I'm just gonna leave two parallel lines Now, there's only one way you conjoined two parallel lines together with an arc, and that is half a circle. So in fact, fill it is an advantage here on the advantage of fill. It is that there can only be one solution, because the distance between the two parallel lines is the diameter off the half circle. So we don't even have to set the radius for this one. All we have to to his type in f enter and we go to the top of this line and click on the top of that line and click. How good is that? Enter again? We can do the bottom half click on the bottom of the line here on the bottom of the line there, and there we go. And there's my creative cloud telling me I've got some updates. How handy is that? Good. So have a play with Philip Command and see you in the next video 42. Offset Command: welcome to video number 39 were in our editing section on DA. In this video, we're gonna be looking at offset. So if you'd like to grab your drawing number 39 offset on, you can work along with me. So here we go. The offset command Absolutely fantastic. Works on straight lines, Arcs. Radius is circles, poly lines, all sorts of things on is a brilliant way of setting up the construction on your drawing on DL. Obviously other details that you might require using offset for We've got some examples here to play with Onda. Uh, here we go. Let's get into it. So at the command line, we're going to select at the command offset. So we're gonna type that in O double F S C T offset. Enter Andi. We're going to set the first officer up here on the left hand side for 150 eso We look at the command line it says specify offset distance. So we're gonna type in 150 enter, click onto the upper line and then click north of that and you can see it offers a line at a distance of 150 you can keep repeating that. So click on the same line that you've just offset on income north and click. That's. Repeat that again. Click onto the line that you just drawn and come north and click Good. So that's pretty easy, isn't it? Enter to finish. And don't forget I get out. Get out of jail free card, which is escape if anything goes wrong. A command line during this press escape twice on you gotta clear command line so you can start again. It's essentially you have a clear command line because whenever you type in your short cuts , of course, if you're in the middle of some other command order, cad won't understand what you're asking it to do. But clear command line and we can start with the offset command. So the shortcut for offset is Oh, and then we're gonna have a look at this example. Down here on the left hand side, we're gonna choose an offset of 75 now, so we're type in 75 enter, click on the outer line, and as you come up, you'll see the auto cad loses that last line there because that last line is actually 75 millimeters long. So when you do the offset, there won't be another offset around this corner. Try offsetting inside the shape from the inner line and you can see that this line grows in length. Because, of course, as you offset in to the shape, then of course, the overall shape gets bigger. And so this idea of working out precisely what the offset means order caddies really good at Have a little play with that. That's fantastic. From I'm presented to finish. Now we're gonna have a look at Poly Lines. Poly Lines. Brilliant. Pretty obvious, really. But you can offset Upali line in exactly the same way as you could offset any other line. So this one here in the middle of the top, we're going to set out offset to 55 on off, set inside the frame. Okay, so oh, for offset. And then it says, What's the distance? And we're gonna reply 55 enter, click onto the inner Polly line and then come inside and click, and you can see a predictable offset. We could do that two or three times. Click on click inside. Okay. Makes a nice, neat, tidy job of the corners, keeping the wits consistent. There we are. Good. Now let's have a look at the example underneath this time we have a poly line with Phil. It'd corners. And, of course, or two cats can make a brilliant job of this too is now. But let's have a go. Let's just see what water can does over offset 60 Anto for the offset dimension. Click onto the poly line right on the edge of the pollen. Always picks it up. Best kick north, and there it is. Let's do that again. Right on the edge of the poly line. Click. I'm coming. ALS Good press. Enter and you can see all of the radius is increase with the offset to make the drawing. Perfect. Now, what about this squiggly line? Okay, this is one of those crazy lines, which is a poly line, but also a special mathematical Polly, Line and order cad can draw what we know as a cubic line that passes through the center of these control lines. Okay, Now, what does it do for an offset on a crazy line like this? Okay, let's have a look. Oh, for offset. We're choosing our 100 as our distance enter. Click on the line on up and you'll see it misses out this radius because it's now become a sharp corner. We'll go down and it starts to harden up some of these other corners as well. So it maintains the distance from here off 100 millimeters and enter to finish. Now that's one sort of crazy shape that we can offset. But here's another Polly line, which is also a bit crazy. You can see that it's a poly line by hovering over the top of it on DA. This is the outline to one of those lovely little kidney shaped swimming pools, and it's just big enough to dive into on have a little rest on a nice, hot, sunny day. But it's a pretty crazy shape. Onda, we're going toe offset This Okay, so first of all, we're gonna offset it. 90. So here we go. Oh, offset! 90 when we're gonna click on the edge and make it bigger, okay? And this could obviously be the tiles running around the outside of us with people. But what makes this interesting is what happens to order cared as you make this smaller. Okay, How does order can't handle this Polly line. So if we click on it and we click inside the first one's pretty predictable click and bring it in the 2nd 1 you can see how the circle is starting to close in on itself. Yeah, and here as well What happens on the next one? Ah, look at that. Autocad isolates the selection. And now this item is an interpretation of what happens when the circle closes down. Look at this water cat can't make this angle any tighter, so it's put a radius in for us. And we're gonna upset this one months more. And here we go. This is almost predictable. Now, now that we've seen the solution for this one over here, we can see what the solution might be over here. So we've got quite an amazing way for auto cad to resolve the offset as faras are. Polly Line is concerned now, in the last one, you'll see that I've written down here, offset T. So instead of having an actual distance, we have the ability to offset through an existing point on our drawing. So I'm just gonna zoom in here so you can see that we've got some straight lines here, and the first officer has passed through the end point over control line. So what happens when we try and do again? We're gonna go over, offset. And instead of typing at a distance, we're gonna type in t enter. So that gives order cared. The idea that we're not going to define a specific length, but we're going to go through on endpoint through something on our drawing. Okay. And here comes the offset. You can see it getting bigger and smaller. But if we line it up with an endpoint here and click we go, it's passed through the end point. When we can repeat this, we can click here and pass it through this endpoint as well. So we don't have tohave necessarily a known mathematical offset. We only have toe have a position within the drawing that the offset will pass through. Okay, I'm gonna do is zoom extents here on See the whole solution. So here we are. This is a fantastic way of using the offset command. And if you can master all of these, then you are well on the way to some fantastic editing. Okay, I'd spend some time here just rehearsing the command on getting used to it. And when you ready? I'll see you in the next video. 43. Trim and Extend Commands: so welcome to video number 40 which is called trim and Extend. And this is all part off editing section. So trimming and extending Ah, very important commands within the editing side of water Cat Onda. We can use both of these in various different ways, so I'm gonna show you from this drawing. So if you'd like to open up drawing number, fourty trim and extend So we're gonna start with the trim command first. Great. So when you're ready, we're going to start to type in tr I m enter and trim requires us to select a boundary. So I'm gonna select this line up here as a boundary first. Okay, then we're gonna press enter now we can trim off anything that's the other side of the boundary. Okay, so we can click, and you can see that little Red Cross means that that's the bit that you're going to get rid off and press enter to finish. So trims pretty quick. Way off, taking things out. So we've converted this circle now to a large arc. We're gonna have another go at Dream Command, just so you get used to the way in which it works tr enter. We're going to select this line as the boundary and therefore weaken. Get rid of the drawing underneath the line. So press enter and click on this half circle on this one over here so you can see if we present a. That trim uses a boundary against which it can cut the object so you always select the boundary first, and then obviously you operate on the objects you won't get rid off. So let's have a look at two intersecting circles we're going to select. This circle is the boundary and we're going to take out the internal half circles. So here we go. Let's go tr I m in tow. Here's the boundary press enter And here's the two items that we need to take away and ends up. So it's pretty simple and straightforward solution so long as you remember the order that you're working in. Okay, trim, enter boundary, click and then click onto the object that you want to get rid off. Now I'm gonna show you on the left hand side here that you can use trim carefully, but also automatically and automatically means that autocad will find boundaries for you So let's have a go at this one. Let's do t R for trim. That's the short cut version. But then press enter twice to put it into automatic mode. Once you're in automatic mode or two, CAD will find the boundaries so that you don't have to select a boundary in advance. And I'm using a green crossing window toe. Help me to select the items that I want to delete. So you can see that because we're in automatic mode, we're getting on quite a lot quicker, and we're revealing the shapes within the design a lot quicker, okay, and enter. So if you want to practice that on the right hand side, I'm gonna talk you through it. So we're gonna start over here. We're going to use automatic trim, and we're going to use the short cut to get there so t r enter. Enter and you click or use the green selection window, okay to select the items that you want to delete. So if you just follow what I'm doing here on you, select on the same items you can do more than one item at a time. You can put your green crossing window through a number of items, and it will take them all out at once. You just got to be careful about what you do. Click on because obviously order cads finding boundaries for you. Let's try an automatic boundary in here. Recon select parts of circles and you can see that it confined the boundaries for itself. Okay, so the trim command is brilliant because you can help you tidy up your drawing really quickly because you can use the green crossing window during the selection process. It makes it even faster. Now, what about the opposite of trim? What about extend Will extend allows you to use a boundary, and then you can extend your lines through other objects to find a boundary. So let's just say over here on the left hand side, we're going to use this object as a boundary, okay and escape. And we're going to issue the extend command so you'll notice the short cut for extend is E X will select this Polly line and press enter Now. We just need to select the line that we want to extend and you can see by hovering over it . You can see where it's going to extend to, and I can click on that. And I can also get it to extend again by clicking on it again so I can get it to extend right the way across. Now, once you've done that, press enter to finish on will try on the other side. So over here on the right hand side, e x, enter and then select your boundary, and, uh, click here and then here, and we've extended it over to the right hand side. Now, what about on automatic extent? What about if we weren't Walter can't to work it out for us, okay? So we can have an automatic selection for a boundary with the X Enter enter. So let's have a look here in the center. We can go e X and to enter and using the green crossing window. Just run across here and you can see how autocad immediately finds the boundaries. So it's run across this arc down this arc and then up to this art. And if we want to continue, we can just do these two as well. Let's do it at the bottom. As long as we run across the bottom okay, It finds the nearest boundary. And of course, it uses this line on then this straight line. So if we want to extend beyond the straight line, we could just put a crossing window over here and it finds the curve. Okay, let's do that again on this side and see how it handles the text, right? Run across here. And of course, it doesn't care for the text at all. It doesn't assume the Texas boundary. Just jump straight past. And then we can just do this bit down here. So automatic boundary finding is absolutely brilliant in order card and hopes this pic of one too many there, huh? So trim, very powerful. Extend very powerful. The manual mode is good for selecting your own boundaries. The automatic mode is great for water cared selecting an appropriate boundary. So let's do a manual boundary first again just to remind you of the way in which it works. So we're going to start with tr enter. That's the manual version, and we're going to select this Polly line and this line enter on. We can take out the bid in between percent of the finish. Let's practice that on the other side. Same thing. Tr enter. Select the two boundaries and toe. Select the item to be deleted and toe. Now let's practice the automatic trim, okay? And this one's really quick and really easy. Tr enter. Enter. We can put a green crossing window straight down here. Andi Water card immediately recognizes those boundaries, and we can do the same thing of the bottom straight down here. And you can see the way in which auto cad manages to understand what it is that you're trying to do. It finds the nearest boundary. That's its first objective. Okay, now, if we do and extend, we can do a manual extend and we can do an automatic extent. Let's try the manual first, so e x, but we're gonna pick up this polly line over here. Press enter and then click onto the item that you wish to extend and you'll see it jumps over geometry because you've already defined where the boundary is. Okay, enter. Let's do that over this side E x, enter. Select the boundary, enter and then click onto the line and you can see it jumps over boundaries. But of course, automatic doesn't jump a boundary until you've clicked beyond the boundary. Okay, so let's have a look down here. Let's see what happens. We're going to do an automatic extend of this line, and it's gonna try and find a point over here. Okay, So e x in tow. Enter and then we go. Can you see it jumping across when we confined on automatic extend over here and then we're done. 44. Break and Join Commands: So here we are again in the next video video number 41 break and join so still in a editing section, and we're gonna have a look how to use the command break and the command join going to start with break on, we're going to kick straight in with the command. So at the keyboard, type in B R E a k and so when we're gonna select this line up top here, you'll see it's a poly line that we're breaking that polly line and then we're gonna move across to a second point, and as we click it breaks it at the two points that we dictated. Now, of course, that wasn't very mathematical, so we're going to have to make sure we break at the right point. So let's type in break again, Okay, you'll see that BR is our shortcut for break and, uh, and will select this. Ice him down the side here. Now, once we've got it selected, something will happen on the command line and you'll see that we have an option called first point, which we're going to take, So we're gonna say f enter and I'm gonna click here for my first point and then on the command line. It says, please specify the second point, and so I can come back here and click. So now we have bean very clear about where we're breaking the line. So instead of breaking it in two random places, we can break it at specific places. Great. So as long as we can either snap onto it or we can grab hold of it, then we can dictate where we're gonna break. Now we compress enter, that's going to repeat the command. And I'm going to select this circle. So that's gonna be what I'm gonna break and you can see that it's asking for a second point . But I don't want a second point. I wanna first point. I'm gonna do f for first enter and I'm gonna choose 12 o'clock, and then I'm gonna come around for my second point, which is at nine o'clock on break. Okay, so now those two break points are bang on 12 o'clock and bang on nine oclock. So we break broken the line between those two points. Okay, so break is nice. Easy command to practice on. We're gonna just practice it once more on the right hand side. Okay? And we're gonna break between this upper point here and this lower point down here. Okay, so br enter Click on the line F for first start here. I'm finished here. Okay. It's that easy. Good. Well, so far, we've done two very unique objects. We've done a circle. Yeah, and we've done a poly line here. Now, the reason that we've done the circle on the poly line will come obvious in a minute. But we're going to do another break on some of the straight lines that we've got in this pattern here. So I'm gonna type in, break beyond and select on this slide type in F first and start here on Go through to this point. Yes. We've broken the line here, and I'm gonna do something similar on the other side. Enter for break. Select the line F first click on the intersection There on. Come across to this intersection here. Okay. Now, the reason that we've done ordinary lines and circles and poly lines is so that we can compare what happens because there's some important rules here. We're gonna start join on the ordinary lines Okay, so we're gonna type in J O I n enter on on the right hand side. I'm going to select these two lines that point at each other. And as we do that, we'll see that there's some poly lines that get in the way. So I'm gonna zoom over to this part of it. I've selected the first part here on the select second part here. Press enter, and they've joined up. Okay, so that's easing up on on standard lines we can rely on join. Let's just repeat it over here on the left hand side, press enter to repeat, Here's the first section. And here's the second section and enter they've joined up on. The important thing is, not only have they joined, but they're now one object, Okay? As opposed to two objects that point to each other. Now, if it works on ordinary line, what about Does it work on a poly line? Okay, so this is the poly line that we broke. Wasn't Okay, So have a look at the Joint Command now. It's different. J o enter, we're gonna select the first line. But if you look at the command line of course, it's saying, Select the other object. OK, select objects to join. And of course, we wanted to join to itself and it wouldn't do that. Okay, it's his night. I can't let you do that. So we've got two options. The first is to explode the poly line, join up the side, and then once it's all joined, remake the party line. Or we could just do Pettitte, which we've done before P E Select the Poly line and shoes clothes. So now it's a closed Polly line, and everything's hunky dorey. So you can imagine now that the clothes feature is a very powerful feature that worked okay on the right hand side. But over here we've got two breaks. And because join doesn't work on a poly line, we're gonna have to explode this Pauline and this one. So by selecting the two together, we can type in explode or the shortcut, which is just the letter X. Now that it's exploded, we can use the joint facility that J o click on the 1st 1 pick of the 2nd 1 press, enter on, repeat and click on the 1st 1 GIF of a 2nd 1 and uh, and if we wanted to make that back into a poly line, just used the Pettitte command as we've learned before, so that covers straight lines. Now, what about this section here? Well, this is on arc now. It's one arc. It used to be a circle and join. Just doesn't join together. Arcs into circles, just doesn't do it. Okay, so whilst we might want to be able to join it all back together again Okay, The easiest thing, because drawings circles is so easy. All we need to do is to draw, see for circle. Okay, pick up the center of the circle, which is right in the center here. Okay? And we should be out to see the center of the circle where all of these lines come together . Okay, use the same radius. And then obviously, we've got an arc here underneath a circle here so we can do any free raise if I put a crossing window over both of them. The command line says to found, and then I'm gonna do off. Remove. I'm going to select the circle and remove it from the selection set. So when I press enter, we've got rid of the ark. What? We have left the circle. So that's break and join and have ah practice with those two commands. Practice in particular the first and second point on break on. Then when you're ready, come and join me in the next video. 45. Stretch Command: Well, I hope you enjoyed the last little exercise on DA. We're now going to concentrate on this stretch command. So this is video number 42 stretch. And if you'd like to open up your drawing number 42 stretch on, then we can work along side together. Stretches, Uh, really amazing command. It's more powerful than you would imagine. On DA we can take this square on. We can convert it into a rectangle by stretching the right hand side on as we do so you'll see the dimension change. So we start inside order cared with the command S t r E T c h Santa on. We use a green crossing window to pick up the corners off the object that we want to move. So I'm only selecting the right hand side of my square, okay, with a green crossing window and click, enter to tell or to cut that we've finished selecting, and then I'm gonna pick up a base point. In this case, it's gonna be the midpoint here. Click and pull over to the right, and you can already see the dimension changing. Now we don't want to accidentally go off on one. Okay, You could go diagonally. Okay. I'm not intending to do that. I want to stay on polar. I pull in the right direction, make sure I'm on polar, but I'm gonna add 800 millimeters to the size off my stretch. Okay, so I'm gonna add 800 here, type in 800. Enter on the overall dimension increases to two meters. 300. Okay. It's pretty easy, isn't it? Now, we're gonna just practice that one small, because I want you to get it clearly in your mind. So I'm gonna do a control. Said as an undue We're gonna go through it in a slightly more speedy way s enter, which is stretch select and, uh, base point click and then 800. And, uh okay, so have a go at that. Pause the video and repeat the same command. Okay. See if you can get that right. And then once you've got it right, we're gonna try something else. We're gonna try a zoom extents if you remember. What zoom extents is that said, enter E enter and you'll see that we've got a building here that we want to change the parameters on. So if I zoom in a little bit, you can see I've got a kitchen extension and I want to make my kitchen extension longer. I don't wanna have to redraw all of that, but I want to make the whole thing longer by 600 millimeters. So I issue the stretch Command s enter. I use a green crossing window over the sections that I want to move. And I'm just gonna pick up this portion here. This is what I want to move. Click Ente. I can click into fresh air and start my move and drag in that direction. I'm going directly north. Keep on polar and type in 600. Enter now. Although I might have to do a little bit of editing on the kitchen cabinets. I've basically got the whole off my kitchen now extended and you can see the The mention here has extended to five meters. 600. Let's see if I can do that on the side of my house here. We've got the side of the house is two meters away from the kitchen war and I want it four meters away. I'm just gonna assume far enough away to see the whole wall. I'm going to issue the stretch. Command s enter. I'm gonna make sure that when I click, I'm making sure that I could do a green crossing window through all the bits that I want to extend. Click and toe. I want to extend by another two meters. Pick up a base point in fresh air. Pull over towards left type in my two meters. Enter. Now you can see I've got four meters here. Fantastic. Everything that we want. We've made the whole drawing bigger. We haven't had to redraw it. That stretch Command has come to the rescue. Fantastic. You might want to have a go stretching some other stuff. There's plenty of walls you can practice on. Or you might want to rewind the video on start again and just re practice right from the middle. Okay, Good luck. And we'll see you in the next video. 46. Explode Command: Okay, so welcome to video number 43. This is all about the card called Explode, and you could explode all sorts of things. So let's get that drawing open. Okay, Open up. Drawing number 43 explode. Let's work on this little project. Okay? Explode is obviously very powerful command on. You don't want to use it in advisedly. Okay, so obviously with care. So we're going to find out how to explode an object. And I've got Upali line here. We're gonna work on this Polly line first. Okay, The one on the left hand side. We're gonna leave that one on the right hand side until later. So we're gonna type in explode as a command. E x p L o D a. Enter. We're going to select this Polly line and press enter now. Immediately. You can see that we've gone from a poly line toe ordinary objects because only poly lines can support that width. And as soon as it's exploded, it's obvious now we can also tell that it's separate items you can select. Um, and you can see that they're all made up of separate bits. So again, you can tell it's no longer. One object I Apollo line, but lots of separate bits. So if I hover here what a cat tells me this is an ordinary line. And if I hover here, it's an ordinary arc. Okay, so we've exploded the poly line into its separate bits. The bits that make it up in the first place. Now what else can you explode? Well, you can explode blocks. So if we have a look at this chair, I'm We hover onto the chair. You can see it's a block reference on This is one of the powerful tools within auto cad that you can make symbols or objects into blocks on. You can give them a name, and that's fantastic. And you can repeat the insertion of those objects many times. There's a little phrase in auto cad that says, Never draw the same thing twice. You don't have to. So what you do for this chair, for instance, you'd make it once make into a block, given a name chair, for instance on. Then you can put 46 chairs into your drawing easily. But what happens if you want to change some details about one of your chairs? Okay, So we're going to explode one of their chairs so we can get rid of the casters. Great. That's the project. So we're gonna zoom in, we're gonna issue the command, and we can use a short cut for explode. By the way, on the short cart is just the letter X so that X enter Select the block and press enter. Now. It doesn't look very different, does it? But we can check by floating over the edge. See, it's a poly line now, and it's no longer our block. Um, circles and lines and all sorts things. Okay, so now that it's separate, we can use theory, raise command, and we can take out any of this stuff that we don't want. And I'm just coming tidy up those little bits there. Good. So now we've got a chair, and it's very different from this one. OK, we've got a swivel chair here. We've got a standard conference chair here. We've got a desk here. Great. On on the desk is a monitor. Now we want to take the monitor off. Just this one, so you can see we can't edit the block and just edit one version of the block. We've got to explode it. So we're going to use the shortcut X enter. Select that and enter. Check that We've exploded it. Okay, It's no longer a block. It's a poly line, and we're gonna erase the monitor from the desk. And there it goes. Okay, so these are meaningful edits that were making toe are drawing just to update the details so explode could do poly lines on blocks. Now what else can it do? Well, it could do word groups like this. Yeah. So it's a leader. This one's got a leader with some text added to it on dso If we issue our explode command X , enter select the word group and press enter. You'll now find that it's words on its own, as in a multi line text group. Skype on here. Just separate objects the lines on an arrow at the end. So we've exploded it into it. Constituent parts now, funnily enough, multi line text can also be exploded into single line text. So at the moment, the multi line text is one object. Yeah, If we issue the command X enter and select this all of a sudden, it goes from multi line to single line. Okay, so this is actually quite a useful way of editing. And you can imagine that perhaps if you didn't want the second item, I just wanted to take that out the rise. And you can edit this thing. Just say use geo center. Okay, good. Now we're getting a bit of a hang as to how powerful explode could be. And now we're going to come across too, as promised, this Polly line that we've got on the right hand side. Okay, now explode last means the last thing that you drew. Now we're gonna We're not going to explode this one. But what you'll find is that the last thing that we operated on was part of that desk. So in order for me to be able to explode Ah, Papa, Polly line with explode last. I've got to make it the last thing. And so I'm gonna do a copy CEO, select this Polly line on. I'm gonna move it into the center of the during. I'm press enter to finish. Okay, So I'm now going to issue the command explode last, and the last item in this drawing is this one here that I've got the blue window around. Okay, Now explode Last means I don't have to select the object. I only have to tell it to explode. The last item that we drew so we can use the X short cut for explode presente, and then the l short cart for last and press enter. So let's see what happens when we do this. We're gonna press X enter l enter Extend toe l enter, Enter to finish. There we go. So we didn't have to select it. We just said it was the last thing we drew. So explode last. If you want to write down the rhythm is X Enter l enter. Enter. Okay, The last entries to finish the command. Good. So I have a little play with explode. You've got lots of things that you can explode if you want to. Or just rewind the video or reload the drawing and have some fun 47. Array Command: So this video is all about the array command. So welcome to video number 44 the array. Ah, so let's get going with opening your drawing number 44 and we'll have a look at how the Array Command works. So we've got to particular array types that we're gonna be studying here rectangular array and polar array. And we're gonna jump straight in with the rectangular array, which is this one here, and we're going to use this circle on. We're going to create a rectangular array of our own. Okay, so we're going to start off with a clear command line. So press escaped twice, just in case. And we're gonna type in this new command a double r A Y array, enter. It's this little circle that we're going to use, so we'll select it first and press center or to caddie immediately asks what type of array your gun want on. We're gonna say rectangular, and you can see immediately. Auto cad gives us a default array. Now, have a look up here on the ribbon at the top on it says four columns by three rows with 300 between, and that's what it says up here. Okay, so that's a default starting point. But we could change that. We don't have toe have four columns. We could have three columns. Oil type in three. Okay. And there we are. We've updated to three columns. We don't have toe have three rows. We could have two rows, and there we are, Were updated to two rows. We don't have to have 300 millimeters in between. We could have 400 and on the other one, we can't have, Let's say 500. So you can see you can alter three array very easily, using the controls that have now appeared up on the top Ribbon on. When you're happy with what you've got in the rectangular array, Just use this green tick here for closing. The array on the array is one object now. Okay, so we've just done the explode command. So the only way you can edit this separately, okay, is with the Expo com. But if you wanted to change the array, you could click back onto it. The details come back up onto the ribbon and you could sail. No, I've changed my mind. I actually wanted three rows at a distance off 120. Okay, so on whatever you wanted to do, OK, so that's great. I'm gonna change that to 240 presente and then tick close array. So that's the rectangular array on then. Below that, we've got the polar array and you can see in the example that we've got six boxes rotated around a center object. And here we've got one object Onda center object. So we're going to use these two here to create a polar array. So we're gonna type in the array command, and the short cut for array is a are enter, select the one objects. Now we're not gonna select the circular objects in the middle because that's the center point that we're just selecting the brick on the outside presente answer the question. What sort of array is this? It's a polar array. So I'm going to click on that on the command line, says OK, where is the center? So we find the center of the circle and click and the default solution, as you could see here, is six times at 60 degrees. It's changed up on the ribbon at the top here. Six items at 60 degrees in between. And of course, the total Phil is 360 degrees because it's a full circle so we can change the number of items. Let's change it from 6 to 3, and so we've only got three items. Now, let's change it from 3 to 5, I got five on Let's change it from five to 10. Okay, so you can now organize how many in your polar right on. Because if you want to mawr than one poll array, you've got the number of rows and the distance in between. So we could say to Rose if you wanted to. And now we've got some extra details as to how we organize that. The distance in between can be controlled from 162. Let's say to 200. So you've got lots of control over your polo array. Fantastic. I'm gonna come across to my clothes array, but now and click on that, then I'm gonna zoom away a little bit and you can see that we've got a desk onda chair here . Now I'm gonna do a polar array on this desk, a chair and I'm going do myself on examination room layout. Okay, so we're gonna do a are for array and select both the desk and the chair and press enter. It's gonna be a rectangular array that will answer that question. And here the desk and chair go all over the place and all over existing drawing. And that's because it's not the incorrect number of columns and rows, but it's the incorrect distance. Okay, so we're going to change the distance between columns, and we're gonna change that to three meters. Enter Andi. We're gonna change the distance between rows toe minus three meters, so it might take a second or two toe update. But as you can see now, we've got ourselves minus three meters, so I'm going to say yes. I'm gonna close that. I'm pan this down here. So you knew can now see my new layout, find my examination room, and so you can array, blocks, objects, poly lines, almost anything that you can pick up. You can array, text anything. Okay, So the array command very powerful. And if you change your mind about what you need and you need, for instance on extra row in place Let's just grab that and say We wanted an extra row for percenter. There you go. Close the array. So brilliant. There's theory. Command. It's very powerful practice that get used to it. Okay, rewind the video and reload the drawing and have some fun. 48. Intro to Blocks: Okay, so welcome back to video number 45. The title here is blocks. And why on within AutoCAD you can group objects together and make a block. On those blocks can be furniture or symbols or objects that you want to bring to one homogenous named objects. So I've got here some desks and chairs, and if we go and select one of those, you'll see that the chair is one object. So why don't you get your drawing opened? Drawing number 45 blocks and why? And we can go through this together. Okay, now that you're working alongside may, I want you to select one or two objects and see what turns up. So we are. We've got a desk selected in the properties. The whole box, it says. It's a block reference on under miscellaneous. It says the name is desk plus. You'll notice we only have one grip on that grip we can pick up, and we can move the object around, and that's a pretty neat thing to be able to do. We don't have to have an instruction to do that. We don't have to issue a command. You just click on the grip and we can pull it around. I'm going to do a couple of undoes to get it back to where it waas, okay, And we're going to start having a look at why blocks? So there's some rules inside or to card on any cat package, but it mainly in outside what occurred? The rule is never draw the same thing twice. Okay, so you have a rule like that to remind yourself to take advantage off what water caddies good at on. One of the things that would caddies good at is storing data on the other thing is copying . So if you've got one chair and you never want to have to draw it again Doric carefully make it into a block, give it a name and store it. So that's the big thing. Now, once it's stored, you can call it back up. You can use the insert command to bring up the chair, and you can say, OK, thanks very much. I'm gonna pop it down somewhere new so you can grab that immediately on you cause you can do the same thing with a desk. Now there's some other things that you need to know about blocks because that's very simple in itself is no. But blocks go a little bit beyond just that. What you can do with blocks is that you're allowed to put blocks on two separate layers. So here we are. We've got a block that I've just inserted, and I've inserted it on till 80 because zero was the current layer at the time. I did the insertion, and we want to have a look in the properties here is says layer zero. And if I was toe open this chair up on, have a look in this list, I can actually change the layer the the furniture Sit song. Now, obviously, the obvious thing is to choose layer furniture, and as I do so, you'll notice something subtle happens with the chair that it takes on this blue color a way through the block, whereas elsewhere it's white and light blue. But if I was to select any of the chairs that I've got a moment you'll see there also on layer zero. So I'm gonna select all of my chairs. Andi, I'm gonna select them and switch them all over to layer furniture. And so you can see here that now they've all taken on that scion color. So there's an interesting thing about blocks where you can get the blocks to take on the properties off the layer onto which there inserted, and we'll talk about that more in a minute. Now, if I select a desk, what we can have a look at is putting on to a different layer. And if I come down to perhaps admin, for instance, we can proposed the subject off the desk. Okay. In other words, who does it belong to? And we can give that a layer. And because we've given that layer of color when we print out, because that color is above number 10 this is the color that the desk is gonna print out. So therefore itself identifying. And we know that this desk belongs toa admin because we'd have a key somewhere on the drawing that explained what that meant. So instead of having a desk for admin on a desk for planning and a desk for finance, I can have one desk. But when I put it onto its appropriate layer, part of it terms this orange color or blue, red or whatever color you applied to that layer, and you can visually identify what part of your organization the desk belongs to. And of course, we could do that for the chair as well. So if we select the chair that belongs to admin and instead of on furniture layer, we put that onto the admin layer, you can see that both the chair on the desk match each other. So I'm going to do that here as well in the middle. I'm going to do that for layoff finance. So there we are. We would a chair that belongs to the Finance Department and I'm going to do on here for a church are Okay, so we've got a desk and chair that belongs to H R. On. Let's see what we got left. Admin finance HR and planning Great. Here we are. Plenty. So we've bean able now toe identify the use of the desks in the chair by the color. So of course, that's really fantastic. But how does it work? We want to be in control of that. So what has changed and what hasn't changed? So if you look back to the desk and chair that have now been left in one place. I'm gonna put this chair back home to layer zero, and we're gonna be able to spot something one layer zero, the desk and chair take on the white color in the main, and it's only the white color that's changed throughout the other blocks. So that dotted hidden line hasn't changed and the casters on the chair haven't changed. So there must be something about the way in which that block has been drawn that allows some of the colors to be adopted into the new blocks. So let's have a look inside the desk. Okay, so we'll select the desk and then we'll double click when you double click a block, AutoCAD says. Yeah, let's open up this block definition dialogue box and it tells you the block it's going to be opening up. It's called Desk. I'm going to say Okay to that. I'm within desk. If I select the outer perimeter of the desk and check inside properties, it says it's on layer zero. But if I escaped that and I choose the dotted line, this is the one that isn't changing. This is on layer hidden. So what we can assume is that anything drawn on layer zero has special properties on this is true. So when we're drawing blocks in the main draw everything that's important on the one you want to be able to use in this special way draw everything on layer zero, make the block, and then you can insert the block on toe other layers on, and the block will take on the properties off the layer onto which it's being inserted. Now, I'm gonna illustrate this by selecting the monitor. Okay, here and here's the monitor. Now, at the moment it's drawn on layer zero, and I'm going to take that and I'm going to go right to the bottom of this list, and I'm gonna put it onto the I T equipment. I'm press escape twice. So what I'm expecting now is when I saved this block, it's gonna update all of the other blocks. The monitor is going to stay green because that's mighty equipment. The drawers underneath the desk are gonna stay yellow and dotted because that is the layer hidden. Okay, so you can see that there. But all of the rest will adopt the color off the layer onto which the block has been inserted. Let's see if that's true. Close the block editor. There we go. Save the changes and let's have a look. The monitor has turned green. Okay, The hidden is still yellow, dotted. And what was on the white layer. Okay, which is Layer zero is still the layer color onto which the block has been inserted. So let's check this once more. We're going to select the chair on a double click. It is the block editor. Check that. It's on the chair and say, OK, now, everything in the chair is going to go on to layer zero. So we've selected everything in the chair. We're gonna put it on two layers. Zero on here in the editor. Of course it goes black press escape to de select everything. Once you've got it switched over until 80 and close the block editor. What we're going to expect to see is the whole chair now will take on the color of the layer onto which the chair has bean inserted, save the changes, and there we go. So the moral of this story is that the block has its own database so that every single version of this block in the drawing is a repeat of that one database. So if you alter the database, then the repeats of that block are also updated. And if you make the block out of layer zero, the color of the block will change when you change the layer onto which that block has been inserted. So let's just check that. That's true. Let's take this desk and chair that we haven't mucked about with yet on. We're gonna put that onto a different layer. We can use this pull down list or, if we want, we can use this pull down list Inside properties. They both do exactly the same thing. And I want, ah, two sets of chairs in our admin department. Okay, so here we go. We put them on admin, and you can see that the color of the desk and the chair is taken on the color that belongs to admit Fantastic. Now that's really a big bonus, and you can see that it's easy to make those blocks, and it's also very easy to put them onto other layers. So let's just go over the benefits of blocks it conforms with the requirement. Never make the same thing twice, so that's a really good thing. They're easy to insert once you've made them. They're easy to identify because they've got a name. If you make them on layer zero, then the block will adopt the color or properties off the layer onto which it's being inserted. And so there's lots of benefits. The final benefit is that if you modify it, then it will update all of the chairs or the desks, all the doors, windows. And one of it is that you've decided to make in the drawing. So if you edit one block, it updates all of the blocks. Okay, so that's a good start as to blocks and why. And we're gonna practice that, and we're gonna make our own blocks, and we're gonna have a look at the requirements and implications. Okay, good. So good luck 49. Door Block Exercise: So this is all about making blocks. And in this video, we're going to make ourselves a door, which means we're gonna make the door the door frame the archaea trades. Because if we go along with that mantra that we talked about earlier, never draw the same thing twice. So if you're gonna put doors windows into your Doering, draw one door and copy it many times and if we maketh e door into a block, then it will be much more efficient. Now, in order to draw this door as a block, we're going to start in a blank drawing. And that means that we've got to start here with the template. And so if you find your start menu so you might want to switch over here to your start tab on, then choose templates. Have a look down here. Now, I want you to find a template cord. A cad. I so dot dwt. Now, if you're using lt to follow this, that's fine. Use the one called a cat. So lt don't dwt on click onto that template Now. The reason we're using that template is because the units are already set up in metric and we're gonna check on that, you and I t s enter. Here we go. We've got decimal units on decimal degrees, and the insertion scale is millimeters. Now, it says that the reporting precision here for the drawing units is three is four decimal places. We want three. And on the angle, we want three as well. Once you're happy with what you've got, we're gonna say, OK, and we can start drawing, and we're gonna start drawing on layer zero. That's the default layer. It's the only layer that we've got in here a moment, cause this is a template drawing and empty drawing start with no layers apart from layer zero. So we're going to start with the rectangle command. Okay, Ari, si enter and I'm gonna draw myself a rectangle like this and the size of my rectangle. He is going to be 38 comma 1 50 Enter. So for me, this rectangle is going to represent a door lining or the doorframe you might call it. So this is a section through on plan, and my door is going to go on the right hand side of this and I'm gonna draw myself a line that's going to go from this bottom right hand corner across. And this is going to show the width of the door on did the clearance that we need for the hinges on the lock and everything else. So a standard door is 762 millimeters 762 and the clearance is three millimeters each side . So that's an extra six millimeters overall, So the length of this line is gonna be 768 millimeters. So while some on polar I can type in 700 and 68 at 768 enter. Okay. So enter to finish that command and escape escape to make sure you've got a clear command line. Now we've got one doorframe or door lining on the left hand side. Now, we're not going to put anything on the right hand side yet because we're gonna finish the left hand side. Once we finish the left hand side, we're going to use the rule, never draw the same thing twice, and we're gonna mirror everything on the left, over to the right hand side. Okay, so here we are. We're going to stay on the left hand side and I'm going to draw myself. Another rectangle on this rectangle is going to represent the architect rave on de. So we're going to draw the rectangle on the size of it is gonna be 45 coma 14. Okay, that's a fairly standard arc trade size. And if you want to be reminded as to how to draw a rectangle, I'm gonna do a control Said that's one step back. I'm gonna type in r E C enter for rectangle, Click for the bottom left hand corner and I'm gonna type in 45 comma 14. And there's my architect Rave. No, I'm gonna put a little bit of detail onto that. I'm gonna draw a line that starts in the mid point here and finishes on the midpoint on the right hand side and enter. And I'm going to use my automatic trim facility tr and to enter to get rid off the two lines in the top right hand corner. Okay, that's a green crossing window over the two on that automatic trim takes out those two lines. Now I want a fill it between this line on this line on a moment this line is a poly line. Andi, I want to explode it. So I'm gonna type in my short cut key for explode, which is just the Letter X. And, uh, click onto my poly line and enter. So I've sorted that problem out. Now I want a little bull nose. Fill it here. I want five millimeters. So I'm gonna type in f, fulfill it and, uh, offer Radius five, and then I'm just gonna click here on the right hand side and around the corner, and I've got my nice little bull nose, Philip. So that's gonna make up my Arkestra, Eva, Because I want to keep my architect rave as one object. I'm gonna type in P E for Pettitte. I'm gonna select one of these lines here on order. Card says, don't Do you want to turn it into one into a poly line and I'm going to say yeah, is the menu that allows me to join things together. I'm gonna click on the joint facility. I put a big blue window around all the bits or to join together presente and presented to finish. So this is now Upali line, and I'm gonna place this arc. It rave on to my door lining. I'm gonna move it twice and you'll see why in a minute. And I'm going to issue the command move last last, Because the arcade trade is the last thing the I drew. So m enter l enter. Enter is moved last. You might want to write that down. Okay, so I'm gonna pause for a second whilst you grab yourself a pen and a piece of paper and go move. Lost is m enter L. And to enter what cut then says specify the base point. And we're gonna pick up the bottom right hand corner as our base point click and then the second point of displacement. Where's it going to when we're gonna go to the top? Right hand corner, please. Now, if I zoom in, you'll see that the nose off the R key trade is dead in line with the door lining Now. Actually, it's not like that. It's either six or nine millimeters back, depending on what the architect requires. Traditionally, six, but sometimes nine. So I'm gonna move it back nine millimeters and I'm gonna use the command move last again so you'll remember that from a two seconds ago. So that's m enter l enter Enter, that's selected the are contrary ready to go. And I'm going to use fresh air up here as my base point. I'm gonna click, and I'm gonna pull along polar axis just to make sure I'm only moving horizontally and I'm gonna type in nine. Enter. So I've moved my architect rave back away from the corner of my door lining by nine millimeters. Okay, now, if I come out, I can see the whole of my door lining on. I want this arcade, Trey, not only on that side, but also on this side. The other way around. In other words, mirrored. So I'm going to use my door lining to control the mirroring off my architect wave. Right, So here we go. We're going to use the mirror command. M. I is the short cut for mirror. I'm going to select the R key, Trey Viv, and enter. Use the midpoint on the door lining and click drag horizontally, making sure I'm on polar. I'm gonna click on the green line and answer the question. Do you want to erase the source objects? No, We don't. Okay, so that gives me my architect raves. My door lining. Now I need a door stop. Now I'm gonna walk you that my door is positioned on the top edge of this lining and that my door is 32 millimeters thick. So I've got to allow for my door lining and my door stop on my door frame all to meet but the right point So I'm gonna draw my door Stop with a rectangle r e c Click for the bottom left hand corner and type in 25 comma 25 Enter. That's my doorstop. Then I'm gonna move it into place, and I'm going to use that move. Last trick that we did before M enter l enter. Enter What? A cat then says, Where's the base point? So I'm gonna pick up the top left hand corner and match it up here with the top right hand corner of my door lining. Now, that's not where it's going to stay. I've got to move it. 32 millimeters down south. Okay? The reason for that is to allow the door to finish flush with the door lining. So I'm going to say move last. You remember that one now? Didn't you move and enter? L enter enter click into fresh air and pull down south keeping it on Pola 32 millimeters enter. So that gives me a great lay out. Now I consume away here and I could see the lining. The architect Raise the door. Stop, Andi. Then we can employ that idea that we discussed at the beginning. We're going to say never draw the same thing twice. In other words, everything on the left hand side can now be flipped over to the right hand side on. We're going to have all of our linings doorstops, market raves. Just with one command. Now the mirror command m I enter. Select everything here on the left with the blue window press enter. Pick up the midpoint here. Click Ample straight up. And whilst we've got this in place, you can see Click onto the green access and answer the question. Erased source objects? No. So now, fantastically, we have our door linings, arc drives and endorse stops on. We now want to put our door in place. Now our door is going to take on a slightly different position because our door is 32 millimeters thick, but it's positioned three millimeters away from either side. So here we are. We're gonna draw a rectangle, Ari, See? Enter. I'm going to click and bring out the door. I'm gonna type in the size 762 Coma 32 enter. So that's the door leaf. But of course, it's not yet in the right place, so we're gonna have to moves to get it in the right place. So the first move is moved last em into l enter Enter. I'm gonna pick up the top left hand corner, click and bring it down to the top right hand corner of my door lining and click. Now it's in line with the top edge, but there's no gap in between. So I'm gonna do my move last again. I move it over to the right by three millimeters. That's m and toe L into enter. I'm gonna click into fresh air, pull it over to the right type in three, enter There's my gap and because I've got the same gap on the other side, my door is now century positioned on. We're ready to go. No, my door open on because I want to open. I want to go to where? The hinge. He's going to pay Onda in this drawing. I'm gonna argue the hinge is right on the corner off my door frame and my door. So if I zoom in here, I can put in a notional position, I could draw a circle, and then I can say it's a two point circle. So to pee, the first part of the diameter is here the second point of the diameter there, and I could argue that my point of rotation is in the center of that circle. Okay, that's where my hinges going to sit. So I'm going to rotate the door. Now if I get to the point where you can see the hinge and the door, I can tires in the road, take command. So I'm gonna type in our oh, and, uh, select the door and, uh, select the center off the circle and you can see my doors starting to rotate, and I've got to retake through minus 90 degrees. So I'm gonna type that in minus 90. Enter. Good. I don't need the circle because I don't need to see the hinge. So I'm gonna do a raise on the circle. There's my door open in the correct position. Now, some designers like tohave a line between the door and the door frame that indicates the opening of the door. Some people use on arc all sorts of solutions here. I'm gonna put a straight line in cause it's easy and quick l I'm gonna connect onto this endpoint on. I'm gonna connect on to that point. So that's our door symbol. I don't need this line in the middle. I can delete that. That was just for setting out the width off my door. And now I can make this into a block. So now that I've made the drawing, I want to give the drawing a name so that I don't accidentally throw it away So I can say far save as. And I can put that onto my desktop, for instance, or into a folder where I can always find it right. And once I've got my drawing saved, I can then think about making this into a block. So I'm gonna type in the command B l o c K and I get this dark. This dialogue box popped up. I want to give my door a name. I don't want to give it a sensible name. And what I do is I put the word door in first. So the almost my doors, if I've got a list of all my blocks, all my doors, that together and then I'm going to say it's an internal door. So capital letters I n t space. So this is a door internal, And then I want to say it's an ordinary 32 millimeter standard door. Okay, so STD standard 32 millimeter spice and then I want to say that it's an ordinary 762 millimeter wide leaf. Okay, so it's 762 millimeter space capital l. Okay, so I've then defined my my door. Now you don't have to define it like that. But the point is, I put the dimensions at the end because I've started with door and you've got to think about the convention that you're going to use with this particular convention. I could have door into fire and then instead of 32 millimeters like I have 44 millimeters and still have a 762 millimeter leaf. Okay, once I've got the door name correct, I've got three columns that I need to pay attention to in this dialog box. The 1st 1 is based point. So the base point is my point of insertion into the drawing. And normally that's on the hinge side of my drawing. So when I do pick point, I'm gonna zoom in to where the lining meets the war here on the hinge side and click. So that's defined the insertion point in the middle. It says, select objects And so I can zoom away and put a big window around all of the objects. Press, enter. And at that point, I get a little some nail here. Okay? Have a look at that thumbnail. It gives you an idea as to what you've selected, and immediately underneath that you'll see three radio buttons on. We've got convert toe block. So that's good news, too. On the right hand side, the behavior or we've got to set is scale uniformly so that we don't accidentally misshapen the door. Okay, on, distorted with the scale command Andi, also take the allow exploding so that later on, if you needed to. You could explode the door editor and maybe even make a new door out of the old door. Lastly, we've got a free form description that we can put in here, and you can type anything you like in here as a description for the door So you could leave notes to yourself as toe the sort of door that you were going to be selecting. So I might say, flush door plywood veneer ash by on then my supplier's name. Eso That might be Crosby. Then I might put in a catalogue reference number. So whatever that might be 1234 and then at the bottom of my ad, a date. Now, the only reason I put a date in is because if in a couple of years I look back on this and I go away, that was 2018. I better check to see if this store is still available. You know, if I am specifying a catalogue reference number, I need to give myself a chance of checking that the manufacturer is still supplying the same door. Okay, so I might put in, you know, the date, uh, June 2018 and OK, so if we just double check here, there's the door. I'm we've made it and it's a block, and it's a block reference. Okay, so that's fantastic. So we can use that later in another drawing. Okay, so well done. We finished that little exercise we're gonna move on on, do another exercise where we making a window, and then we're gonna bring all of these things together, okay? 50. Window Block Exercise: All right. So welcome to video number 47 which is our window block exercise. And I'm showing you a moment the picture off the blocks that were going to make. Okay, Now, I want you to make this in your own drawing fresh drawing. But I'm just going to explain what we can see here. We've got the two window reveals at the side. We've got the window frame right here. So this is the window frame and in the middle of the glass on on the outside edge, we've got the window sill, which overlaps a little bit on on the inside. We've got our window board, which also overlaps our window reveals a little bit. Okay, so that's what we're going to make. And in order for us to make it, we need a fresh drawing. So I'm gonna come back to my start menu. So this tab up top here on the left hand side called to stop, and just like we did before, we're going to come to our start drawing and our templates, and we're looking down here for a template cord order. Cad, I So? And if you're using lt it's gonna be ordered Kate. I so lt. And you'll see from the description that comes up when you hover that it's using color dependent plot styles, and that's what we want. So once you've clicked on that, you get a blank drawing. There's nothing in this drawing, and there's only layer zero. All we need to do is check the units U N I t s. You'll see it's MILLIMETERS. So right in the middle here, we've got millimeters. But we're going to set the precision to three and three, just like we did before. So the round up on the dimensions is going to report back to us three decimal places on the length and three decimal places on any angles that we might use. So this is just a good habit to get into on what it might make you think about is making your own template. Because if you want to keep things in your drawing template that you're going to use on a regular basis and have this sort of thing set up so you don't have to change it, then, of course, what it's gonna do. Is it going to save you some time? And we all like that way. So I'm going to say okay to the drawing units. I'm going to start drawing here on layer zero. The first thing I'm gonna draw a rectangle. So that's our e c. Enter. I'm gonna click the bottom left hand corner and pull away. On the size of my rectangle is one meter, 360 comma, 360 Enter. You might say that's a bit of a random size for a window. And of course I would agree. Basically, it's the wits off a brickwork opening. So that's one meter, 360 and the debt from the front of the brick work to the back of the brickwork. In other words, it's allowing for external brickwork, internal cavity, insulation and block work on maybe some plaster on the inside. Okay, now, of course, all of these things will vary dependent upon the project that you're working on. And so this is just an example. So we've just drawn ourselves. A rectangle haven't on this rectangle is a poly line. And you know that if you hover over your rectangle, we've done this a number of times having me. So here we are Polly Line. Now we want to edit this. So we're going to explode the poly line, and I'm going to use the explode. Last command, which is X Enter l enter. Enter. Okay, The last thing we drew was the poly line. So here we go. This try this out. X, enter l enter. Enter, that's exploded the poly line. And if I hover across the top end, you'll see I only get one side of the rectangle selected, and I'm told it's a line, so that's fantastic. That's exactly what we wanted. The first thing we're going to do is tow offset. This top line into our window by 100 millimeters on the speed key for offset is oh, enter, That's offset. And then we type in the distance 100 enter, select the top line and click below. And as you click below, you get the offset. We're gonna repeat that officer with a different dimension. So press enter to finish and then enter again to start so enter is like a repeat, okay? And we're gonna type in 80 millimeters this time. 80 enter. Click onto the line that you just offset and bring it down. So we've now got three lines here on entered to finish. Now at the top, we're going to want a 50 millimeter offset. So over offset. 50 enter, click, and then click above. So this offsets the sill at the top edge on end to finish. And at the bottom, we want 38 millimeter offset. But whilst I got 50 set up, I'm going to take advantage of that. I'm gonna draw a line in at the side here just to close off my window at the external sil on because I can type in. Oh, enter. It remembers the offset I used a minute ago. I compress enter to accept that 50 millimeters and the sides get offset at 50 millimeters and to to finish. I'm going to erase my construction line. So I'm gonna be raised this one here. Now, this one here and percent, uh, now we're gonna use fill it with a radius of zero to bring these two lines together. So that's f I l l a t. Fill it. If you want to use a speed key, that's f enter. And we've got to say that the radius is set up to zero. Now, sometimes the radius is already set to zero. But if this is your first time using the Philip Command today, then you may want to check that the radius is set up to zero. So let's just double check that, Okay? And if it is, then that's fantastic. So here it aside, we're going to use the Philip Command and press enter to repeat, and then click on these two lines here. Okay? You probably remember how to use Philip. Come on now. And we're going to raise the line that we don't need anymore, which is this one here and enter. So that's the top edge of our window complete. And whilst we've still got 50 in our offset memory, we're gonna offset the reveals either side of our window frame. So here we go. Over offset. 50. Enter. Click on this. Reveal and come inside and click on this. Reveal here and come inside. Enter. Good. Now we need to tidy up our drawing a little bit, so we're going to use our automatic trim. So you remember automatic trim from last time tr and to enter, and I just use a little green crossing window here just to pick up the bits that we want to get rid off and press enter. Great. We're doing really well. So the window board is the last thing to finish. This line here has to be offset down by 38 millimeters. So that's over. Offset 38 enter. Click on the line on bring your mouse below it and click Enter to finish. We're going to draw some lines like we did with the external cell. We're gonna draw some lines here, the side. So l is your shortcut and click, click and enter to finish. So because we've got 38 millimeter already set up Oh, enter, enter and click on this line 38 millimeters and click of this line 38 millimeters and to finish now we're going to use the fill it command to do what we did on the external sill. So if enter, click onto this line and the outer edge of our window board enter to repeat, click on the bottom line on on the outer edge, that's great. And then we're just gonna raise our construction drawing So e enter. Take this line out, take this line out around this line and enter to finish. Now we've gotta put a line in on our window for the glass, so we'll try in else Align. We might come across here, click and click on the mid points. Okay, So midpoint to mid point on that line. And there is our symbol that we were Jews for our window, including external sil and the internal window board. So now we've got to make this into a block. So we're going to say B is a short cut for block, so you could type in the whole command B l o c k. Or just a short cut be enter. This is the dialog box. And so we're going to put in a description that's going to allow us to understand this window a little bit better. So window space sw for softwood space. And then we're going to put in our glazing 25 millimeter 25 millimeter de g double glazed, okay, and then the overall wit on 360 millimeter space. Okay, now there's all sorts of different ways of putting in your description. You could use catalogue reference numbers. You could use your manufacturers description, but remember, Start off with the word windows so that all of your windows are sat together and use roughly the same format right the way through our finishing with the overall dimension. There's no point putting the dimension first on the word window afterwards cause all of your windows won't sit together. Okay, use the word window first. And the main overall description is window softwood. 25 millimeter, double glazing. 100 on 36 centimeters or one meter. 360 overall. Okay, so based point, this is the insertion point for the block. We're gonna use this pic point button to establish that click on it. We're going to use the top left hand corner off the window. Reveal. Click on that in the middle. We're going to pick up this select objects button, and I'm gonna put a big blue window around everything on press center. Check that my radio button in the middle is convert to block and then on the right hand side with the behavior, we only want scale uniformly and allow exploding ticked in the description. We want to put something helpful that's going to allow us to see what this is all about, so I'm gonna put standard softwood casement, our Crosby and Toe catalogue reference number 12341 of them that might be on. Then I'm gonna put today's date, as in July 2018. Now you don't have to put any of that information in. There's no requirement before you to put a description in Atal, but it's useful. Sometimes. Just pop something in against the blocks that you're making, especially if it's a unique item on. Do you want to be out of order it for your project? If it's got a catalogue reference number, that's a great thing. The dates also useful because if you're looking back at some point and you go or look drawn that two years ago, you might want to just quickly google your product to make sure that you can still get it. And it's still the same size and all of that, or maybe even an affordable price. So once you've got all of that in place, click okay on there's our block. If you hover over it, it will say block reference and it's all drawn on layer zero, and you know how important that is now from previous videos. So all that's left to do is for us to say save as. And I'm going to save this drawing as number 47 zero for seven window block exercise. Okay, That means that we can refer back to it when we need how months we've saved it. Okay, We can finish the video on Do you conjoined me in the next one? 51. Using and Editing Blocks: welcome to video number 48. And this is using an editing blocks. So not only have we got to be Oto, insert them into the drawing, but we've also got to be ableto edit them if we need to tweak. So if you'd like toe open the drawing that we've prepared, which is number 48 using and editing blocks, it looks like this, But also, you can have more than one drawing open at a time. So I'd also like you to make sure you've got your door that you drew earlier. The door block and also your window block. Okay, Have those prepared this well because you can open those up at the start menu if you want to. You can use your recent documents in the middle or you can open by name. Okay. Using the pull down menu in the top, left hand corner open. Okay. And drawing. I'm go them Get them off your hard drive. So once you've got them all open, you've got the window, the door and this latest drawing that we've got and we're gonna have a look at how to insert blocks. So there's lots of different ways of dealing with blocks. And because we've got them in separate drawings, we're going to use one method which is come paste into memory on to your clipboard because we're using windows. So we're going to go first of all and pick up Ah, window block. When? Here it is. So we can highlights it. Control, see into memory and come across too. Drawing. Now, this is number 48 and control V, and we can put that down anywhere we like. Let's do exactly the same for our door block. We're gonna go across here to our door, select it, control, see into memory back into our working drawing and control V. Pop it down here. Okay, brilliant. So there we are. We've got, ah, drawings and our blocks Sort it out. And I'm gonna press escape twice now because we've got our drawings and our blocks inserted into a drawing. They will then become part off the database. And strangely, at this point, I can actually select those two and to eat them. Because whilst you might think I've just thrown all of that work way. In fact, I haven't because they are now part of our database for this drawing and we're going to start with doors and I'm gonna zoom into this little area here so this could be, for instance, a toilet area. It's right beside the living area and the dining area. And so it's the toilet on the ground floor, and I'm going to make sure that we get a door to get in and we're gonna have a door on this wall down here. So in order to call our drawings up from the database, we're going to use the insert command I enter, and we've got a list of blocks in this pull down menu. And here we are. This is the door that we've just designed so you can see a little picture of it here on the right hand side. So that's great. And we know that's gonna work over here. We've got a tick box. The insertion point is going to be specified on screen. That's good. Andi, over here! We've got to decide. Are we going to rotate it on screen? Well, initially, if the answer is no, so we can say okay to that. And there we've got our door following us around. Wherever we go on the end of our mouse on the cursor, and I want to put this in a particular place. So I'm gonna hover on the corner. I'm not gonna click. I'm just gonna hover. And as I pull away, you'll see I get the offset command and I'm gonna type in 250 Enter. So my door is now located 250 millimeters from the internal corner. Let's use the measuring tool just to check to see if I'm correct up here. We've got our measuring. We'll do a distance. Here's the insertion point is the corner of the wall. 250 millimeters. Right and escape. Now, the moment you'll see that we have at our door, all right. And the wall on what we want is we want tohave no wall where our door is. We want to edit the wall and take it out. And there's a number of different ways that we can do this. We can use the brake command, or we can use the trim now because I can locate the outside edge off my, uh, doorframe. I'm going to use the brake command someone a type in BR for break, I'm gonna select the line. I'm gonna break and I'm gonna type in F for first. That's f enter is the first point of my break Click And here's the second point of my break and click and you can see I've broken the wall between those two points. Okay, let's try it again for this line down here. Be off a break. Click on the line. I want to break F for first click on the first point. Click on the last point and I'm done, so that's fantastic. Now the only thing that I've got to do now is I've got to say to order Kate, what layer is my door going to be inserted onto? And if I select my door here, you'll see that it's inserted itself onto the current layer, which is not surprising, really. But actually, I want it on Layer zero. Now, if I press escaped twice that D selects my door, I Nuk unsee that the door adopts the color of the layer onto which it's inserted. Now let's have a look to see what layers are available, and if I have the drawing, uh, off the door, selected first and I go to my properties, I can see that I have a layer called a doors, which I can select immediately. Now there's something wrong with the color for a doors. It's dark blue now, you might say, Well, it's the only problem is that it's a bit dark and I can't see it very well. Font. Remember that the colors are associated with the pen thicknesses on. This is color number five, and that's too thick for a door. What we should have is either color number two or color number three, because that's the right sickness for the pen. So we have some active buttons here that we can take advantage off in this pull down list. This is a quick access to our layer dialog box, and here's the color of the layer. If we click in there, we can come down here and we can say it's gonna be yellow. Click and OK, so I've updated the color off that layer, and it's turned outdoor yellow because that is now the color of the layer onto which it's being inserted. Now, of course, I want you to feel comfortable about that, and normally I wouldn't own put up the layer dialog box here, but I just want to open it up so that you can see he is now the layer doors. And if we follow across in this instance, this door's layer is now yellow. So that's the color we chose a minute ago. Okay, so I'm gonna plays this down, and we can now go along to the next door. Now, if we want to avoid having to move the door onto its own layer, we can make the currents layer layer doors. Okay, A for architectural doors. And that means that we can put another door in, and I'm gonna go to the porch, and we're gonna put an internal door here. Now, the internal door is going to fit here nicely. But I want it to be centrally within this door, um, within this war, so I'm just gonna work out the size of my door. I'm gonna insert my door using the insert command on the speed key for that is I Here's my door. So okay to that, I'm gonna pop it down here. Now the first thing you'll notice is that it's yellow, and that's a good thing. But I want to be able to know where the center of my door is so that I can line it up with the mid point on this line. So just temporarily I'm gonna draw in a construction line and that's going to go from this bottom internal corner cross to this corner, and that's going to define where the midpoint is on this store in relationship to the midpoint on this world. So when I moved the door into place, I could go from midpoint here to midpoint here, and I've got the door in the correct position. So I'm going to use the move command M enter. Select my block. I'm press enter. Pick up my base point, which is the midpoint here and click and then I'm going to find the midpoint here. Now, make sure you get the midpoint are not something like this. The intersection Thean section isn't where it's at. This is gonna be midpoint to midpoint. Click. We can throw away a construction during Zoom in on. We're gonna break thes two lines in exactly the same way as we broke the other two lines. OK, so be our enter Click F for first enter, click up the first point, click on the second point and then to repeat and toe click on the line F and, uh, first point. The second point. Good. Excellent. Now we've got our two doors in place, and we've got 1/3 door toe poppin over here. So we're going to repeat that exercise, Okay? Where we insert it and then use on offset from this corner in the offset from this corner is gonna be 700 millimeters. But you can see that we're gonna need it rotated as well. So we're gonna turn on the road, take feature in the insert. Come on. So I for insert, enter, turn on the rotation feature. So we've got the insertion point selected on the rotation. Select. Okay to that. Here it comes onto the right layer. We're going to hover on the corner, count. 123 Go straight north with the extension and type in the distance that we want. 700. Enter. And then if we move our drawer round by moving the mouse, Okay, the door will rotate with the mouse, and we want an angle. Now, down here. Now, this is effectively 270 degrees or minus 90. Or if you just want to click on to snap, it's the same thing. Good. Now you know how to break these lines. We've done it two or three times already. So b r enter. Select if and, uh, click and click on. Repeat and select If Anto click, click Good that we got. We've got three doors. You know, drawing from what we need now is some windows. Now, we inserted that window into our database, so that's gonna be part of our database now. And we've learned a lesson. And the lesson that we've learned is that we should be on the layer that we want the window to end up on. So we're gonna switch over our current layer to a windows, okay? And we're gonna put our window over here now it's gonna be located away from this corner on . The position is going to be a brickwork. Dimension off one meter, 340. Okay, so we're gonna have one meter, 340 from the edge. So I'm gonna type in, insert open this list up and choose my window from the bottom. I'm not gonna worry about rotation on this case, so I'm gonna unticketed. Okay, here's my window Float on top of that corner. Bring over here without clicking and type in our offset distance. One meter, 300 on 40. Enter And there's our window in place. Now, in order to tidy up the wall, we could, of course, rely on the break command. But I'm gonna show you there is another alternative. We're going to use the trim command in manual mode, So we're going to say TR enter. Now we can use some of the block to define where we're going to trim. So we're going to use this reveal Click on it on the other. Reveal. I'm gonna click on that as well. So we've now got to boundaries selected for a trim command. If I press enter, I can put a green crossing window right the way across the center of my window, and it will take out any of the lines that armed in the block. And so there's ah, window in place. Okay, Those nice, neat and tidy. That's a very easy way of putting that in. Now we're gonna want another window, and I want that other window on this side of my building. And that means equal and opposite, which means I can mirror. So I'm gonna type in m I enter select the window with a blue window. So this window here is an enclosing window on that allows me to select only the objects that entirely inside that window. And in this case, it is only the window that's inside our selection window. Enter the mid point on this wall will allow me to flip the window down here. Click. It raised the sore subjects. No, I've now got two windows in that room and I can zoom in here and use the same trick for trimming that I use before t o enter. Click and click for the window reveals Enter green crossing window, click on click in tow. So that's a nice and tight, isn't it? So we've got to windows in this. Let's call it the dining room and, ah, we're gonna put another window in around the corner. So I want a window in on this side of the building and I want the distance from this external corner. Toby. Two meters, 400. So I'm gonna go back to my insert command. Make sure I've got my window. Make sure I've got the insertion point ticked, but also the rotation. And OK, I'm gonna hold up on this corner on without clicking. I'm gonna go up this wall two meters, 400 in tow, and then you can see if I move my mouse around, I get to a 90 degree rotation or if you're worried about clashing with some of these external walls, Okay, I can type in my rotation, which is 90 degrees on my window. Sits there all nice and tidy. Now, I don't want just one window along that war. Want to, and they're going to be separated by two meters 400. So I'm gonna type in Copy. Last, which is CEO. Enter l enter. Enter my base. Point is gonna be outside here in fresh air, and I'm gonna stretch in that distance north two meters, 400. Enter on. Entered. Finish. So I've now got two windows and I can use my trim facility to trim out the windows tr enter . Click for the reveals. Enter green crossing window. Pinto enter to repeat, click for the reveals and, uh, green crossing window click enter to finish. So there we go. We've got a number of windows in place, okay? And therefore, the only last window that we want to put in here before we leave. This is a window inside the room where we started off, which is a little toilet, and we're gonna put a window in on this external war on the position of the window is going to be measured away from this external corner, and we're going to measure it down here. Um, 450 millimeters. Okay, so we're gonna go insert check. We've got insertion point rotation turned on. Okay to that. Over on this corner. Pull down south. Make sure we've got our extension. Green line showing 450. Enter. Bring it round and you can either snap or make sure you typed in minus 90. So remember, rotation in autocad goes anti clockwise, so if you're coming clockwise, it's minus 90. That's minus 90. There's the window in place. Trim and, uh, click for your boundaries in tow. Green crossing, window, click and click, and Okay, good. So now you're done. You've got your windows in place. Okay, You got your doors in place, and we've used our first blocks. OK, so congratulations. Well done. And that's pretty exciting. Now we've got one extra feature that we want to have a look at on our doors. We've got a strong yellow line which indicates the opening. Now I'm gonna make an argument. I'm going to say I would like tohave a dotted red line from my opening, which is on a different layer. And that different layer is going to mean I can have a dotted line. Okay, on, let's have a look inside our layer dialog box to see what we've got. Okay, we've got hidden on a layer called over, and we've got hidden on a lack called electrical. And where else have we got a dotted line? Well, we haven't got a layer called hidden, so let's make one. Okay, here we are. We're going to go for new layer h all right, d d e n. And because I was on the electrical layer at the time, it's automatically added hidden as well. And because I was on the red color, it's automatically said that my hidden layer is gonna be red, which is a nice thin pen So I've now got my hidden layer I'm gonna close down my layers Dialog box. How do I apply that to my door? Well, I'm gonna open my door in in the block, Editor. So I'm gonna select my door. No, it is Andi DoubleClick. So have a look. Now we've got this little window that says you're just about to edit a block definition when we're going to say Oh, yes, thank you very much. That's what we want. This is the line that we want to change, and you'll see that within this environment here, we've got a block editor. We've got all sorts of things that were already familiar with particularly. I've got my properties side here, and I'm gonna open up this list. This is where I'm going to change the layer over two. Hidden is my new layer hidden. There's my dotted line and I'm gonna close the block editor here also, Cat says, Well, what do you want to do this? I want to save the changes. So I'm going to click on save changes and there is my revised and updated door swing. But notice because it's a block. If I go to my other doors. It's undated, the other doors at the same time. So that's a brilliant feature on. That's exactly what I want. So now we've covered both inserting blocks and editing blocks, and now we're going to have a look good. How to make a library out of our blocks with a command called W Block. And we're going to do that in the next video, so save what you've got. Andi, maybe review the video if you need to go back over it and work on it again, and I'll see you in a minute. 52. Storing and Redefining: Well, welcome back into video number 49. And this is all about storing your blocks in a library. So we're going to stay in the drawing that we were using a minute ago, which was are drawing number 48 using and editing blocks. And the reason we're here is because we've now got had doors and our windows in place. Okay, Now, if you saved the drawing Fantastic. If you haven't yet got it open, let's just get it open now. Number 48 using and editing box. Good. So this is your drawing that you edited and you've got some windows and doors already in place. That's great. I'm just gonna zoom into this window. First thing I want to show you is how to save your block in a library in a sub folder. So where are they at the moment? Well, there in your drawing. But they're not separate as a single object. Okay, on DA. It's a good idea to build up your own library of blocks that you can use. It goes along with that ethos. Never draw the same thing twice, and it helps you get quicker and save time. Now that's all good news. So how do we do it? Well, first of all, start off by selecting the window that you want to save out and then type in w block B L O C k. That's W block bento now w means right. In other words, we're going to write the data out toe a separate database. In other words, we're going to create a new drawing. Okay, Cold window s W d G 25 13 60 away. Now we're gonna put that somewhere handy, and we've got to be out of find thes windows. Any of our blocks we've got to be out of find, and so you can see there's a destination path at the bottom of this dialog box. Now, this destination path you can edit, we've got a button on the side here, and you can choose anywhere on your hard drive as to a place where you're going to be placing your drawings. So I'm gonna place this inside my digital warehouse on. I've got a folder here in my documents called Digital Warehouse. So you might want to make yourself a folder cold your digital warehouse, and I'm gonna save my drawing inside my folder. So the right block now knows the path to where I'm going to save my drawing. It's a block. It knows that it's going to save it as a separate drawing, and it's going to use millimeters as its unit of measurement. Well, I'm gonna click on OK, now it's that quick. It's not difficult at all, is it? So let's go to the door, for instance, on select the door when we're gonna do exactly the same. W is your shortcut for that particular command, and, uh, it selects the door. You can see that the door is listed at the top here. It remembers the same destination. So it's going into my digital warehouse, and I'm just going to say Okay to that. Fantastic. So that's our method for saving out our blocks from within our drawings into our library on I'm calling it my digital warehouse. So the next stage in our drawing is this question. What happens if at some point the manufacturer updates this specifications off the object that we've got in our library on? We need toe update our drawing with new information based on these changes? Well, fortunately, it's easy enough, and we're gonna go through that part off the exercise now to redefine the blocks that we've just saved. So I'm gonna make sure I've saved this drawing. So I'm going to do file save, and then I'm gonna do a file open. So using the open facility here, I'm going to do far open drawing, and I'm going to go into my documents. And inside my documents, I've got my digital warehouse on inside my digital warehouse. I've got my window. Said it. Scroll down until we find window. Here's the window that we've just defined. Okay, I'm gonna open that now. If it seems to have disappeared from view, do not worry. We're gonna zoom. Extents, zed, enter E enter. And there is the window that we drew. Remember, it's on layer zero. So let's make sure we have switched over to layer zero. We don't necessarily want the other layer because that's unnecessary part of our block and so that we can get rid of that. If we type in l A. Select this layer on right click delete layer and close the layer dialogue box. Now, the change that the manufacturers made is that he's placed a central 1,000,000 in the middle, and, ah, there's a specific size at its dead center. So the size that we're going to have for the 1,000,000 is 80 by 80. So in order to put that in, we're going to draw a rectangle. Yeah, 80 comma 80. And that's the center 1,000,000. We're gonna do a move last, which is m into l enter. Enter. But I'm gonna pick up top dead centre midpoint. Well, I'm gonna place it down in the mid point here, and then I need toe edit my drawing. I need to take out this line in the center here. I can do that with automatic trim, which is tr enter. Enter use of green crossing window on end to finish as to a zoom extents to make sure we can see the window and everything that we've specified. So that's the revised window. So the next stage is to save this okay, Back into added to the warehouse. So we just do fall save here. Now that overwrites the original drawing, and we're gonna close this particular drawing down. So just the window drawing. Okay. Using this little Martin here this cross so Now that we've done that, we need to say toe Oughta cared that we want to redefine the window. So I do it with the insertion command I enter. We've got the window here already, but not the updated one. So we have to browse our computer to find the updated one. Okay, we're going to go into add digital warehouse. We're gonna zoom down to where we've got our window stored and the sum now shows us we've got our updated window open that on, then untech the rotation. We don't need that. And OK, so at this point, AutoCAD immediately recognizes this is a drawing we've already got. What do you want to do? And we want to redefine the block so that we are It's updated all of the blocks. And if we wanted to, we've got a spare one here, and if we don't want it, we compress escape. So there we are. We've got our updated redefined block that's just checked that it's updated all of the blocks. Good. And down here. Fantastic. So that's the redefine procedure. Okay, so I'm just going to recap for you once you've got your blocks inserted into the drawing. If there happens to be a need to redefine the block, you open the original library item that you've got saved out. You edit that block, save it back with the same name to your over, writing the original with the revisions and then in your layout, drawing you used the insert. Kamande finds a new edited version on hard drive inserted except the redefine option on then escape. Okay, fantastic. So there we are. We've got a way of storing and redefining blocks Now. This makes a huge amount of sense on anybody who's good. AutoCAD knows how important those particular skills are, So if you're not too hot on them, let's review the video and then we can move on to the next stage. Well done on. We'll see you in the next video. 53. Drawings as Symbols: here we are in video number 50. This one's called drawings as symbols. And if you want to open up drawing number 50 then you can work alongside me and follow along with this tutorial. So the idea here is to think off drawings and our blocks inside those drawings as symbols. So we've just been making some blocks and as we make the blocks, these were a piece of furniture or their doors and windows or whatever it was that we required Onda, we've got some blocks which fit that particular purpose here. So we've got a sink and we've got a hobby in it here. But we've also got a lot of symbols, particularly the electrical symbols. So here we are. We've got a lamp or a fluorescent tube on the ceiling here. We've got a light, but it's fact it's one that goes over the top of the cabinets. And here we've got a double switch soccer outlet, one of the 15 ring main on here. We've got a spur box so you can see that we can have symbols all over the place. And these are blocks is a light switch to a light switch on here is another double switch socket outlet. So have a look at the difference is that we've got We've got, for instance, a double switch socket outlet here, which is red. We've got another one here, which is blue, Another one here which is dotted red. So if we have a look at the whole scheme, you can see that we've got allowed for our electrician's in our kitchen, a new kitchen extension. And we've got all of the details that we require for our electrician's to install the new electrics on. We've achieved this by making some blocks that we can use. Now. Let's have a look at the blocks over here because we've got a key to the symbols. This is part of the drawing so that the electrician's knows what he's looking at, and you'll see at the moment that the blocks that we've got ah white now you can make a pretty good guess that they're all on layer zero and you'd be right. So here's something that we're familiar with the sink and the Hope Unit, and we know that if we change the layer of the blocks, they'll take on the properties of the layer onto which they've been inserted. So we select blocks, and from this pull down list, we can go and have a look down on. Here we are. This is their fittings, layer. So these are the fittings that we're putting into the kitchen on when we press escape, you see, they've taken on the color of the layer onto which they're now inserted. Now, what about the electrical? Well, of course, we could change all of these onto the main electrical air on by the looks of things, that's a blue layer. And if I hover over here, it tells me I'm in on electrical 02 So let's pick up all of the electricals and put those onto layer electrical 02 every day and escape. Now that's all very well. But if we have a look at our double switch socket outlets, you'll see that we've actually got three different descriptions. New 15 amp existing retained Andi existing removed. But we're using the same block for each one. So how can that be? Well, we're just going to use the fact that we can put this onto its own special layer now if we selected at the moment. We see it's on electrical 02 But actually, if we were to put it onto electrical 01 then it looks different. Okay, now, electrical 01 could look red in this story. And then if we select this one here, this is existing removed. And we switched down here and we go for electrical 00 You can see that. Not only is it red here, but it's also dotted. Now, let's have a look at the actual colors being used. If we go to electrical 00 on the click onto the color here at the moment, it's index number one. It's red. Now, that's not correct, because we wanted to print out red in the final print out. So we must choose color index number 10. Because otherwise we'd be in danger of having this turnout black. And we wouldn't be here to see the difference between this one and the new double switch socket outlet on the same is true for this one. Select that. Okay, go for this layer. Okay. Click here. That's 10. And this one also should be 10 is getting hold of that electrically one. No, it is. And that should also be land number 10. Good. So now that we've made those changes, you can see that we've got all of our symbols in place listed in a format which is key to symbols so that the electrician's can understand what he's looking at. They're inserted onto our drawing on because we followed the idea off, never making the same thing twice. Okay, our electrical symbols are now an easy thing to insert, and we've got a standard format. And that means that if we want to, we can use exactly the same symbols time and time again. And that makes that job quicker, faster and more efficient. Okay, well done. So that's our symbols and drawings. Video on DA. If you want to just check over the details, Okay? You can zoom away and have a look and, uh, check out ad roaring 54. The Design Centre: Hi. Here we are in video number 51 it's all about the design center. Now, if you've been making blocks, the design center is perfect for you because that's a fantastic way of accessing your blocks and then incorporating them into the drawing. Andi, In fact, so good is the design center that I try and use it all of the time on the way in which the design center works is that you can open up on existing drawing and you can extract all of the blocks, all of the layers, on the styles out of that drawing and incorporate it into your drawing. No problem at all. Just a dragon drop. Now I'm gonna show you how the design Center works, and we're going to use this storing here. So if you want to open up drawing number 51 and work alongside me, that's great. Okay? And when you're ready, well stopped. Okay. The design center is accessed by the shortcut D c. So let's go and type that in at the keyboard. D C. Enter is the design center. And here we've got a panel that looks like we can access the hard drive on. In fact, that's exactly what we're doing. And I can go and have a look any of my content here. I move around and find stuff on my hard drive. In fact, I've already lined up with my training folder, and we're going to make sure that we can access some of the drawings we've already bean working with. And so we've got a drawing here that we made earlier called Move. And in that drawing was a desk and a chair, and that's what we need for this particular drawing. Here, we need a desk and a chair. So once we found the drawing recon double click it and you can see that the design center says, Okay, there's a whole bunch of things inside this drawing, which we can go and have a look out if you want. We could have a look at the layers, or we can have a look at the dimension styles or the text styles. But what we're interested in is we could look at the blocks, and if I click on blocks here, you can see I've got two little thumbnails that show me the blocks inside this drawing. Now it could be 12 or 102. And in fact, sometimes you can make ah whole library out of one drawing, perhaps just for one special job or one special client. And, um, you can reference those drawings through the design center. Now, I want to bring this desk in, and if I double click it, this will behave just like the insert command. So I'm gonna select and double click. Here's the insert command. There we go. We've got the insertion point ticked. We've got rotation ticked and there's our little some now for the desk So I'm gonna say OK , click down here and turn it round 180 degrees and click to place in I'm gonna grab a chair double click it again. The same insert panel opens. But this time with the chair, I'm gonna pop the chair down in front of my desk. I'm gonna rotate it through 180 degrees on. There we are. We've got a desk and a chair inserted into the drawing. Okay, here we are. We've got the design center closed now, and I can pick up my desk of my chair and I'm gonna pop it over here. I can either use the grips to move the blocks, or I can use the move Command. And I've popped my desk and chair into the reception area. I want to put them onto the right layer. So I'm just gonna pop down here and have a look. Here's my furniture layer and click. Now. Not only do I want a desk and chair in reception, but I want ah, desk and share in my conference room, so I'm gonna type in copy as well. I'm gonna pick up my desk and chair, pop it down here. And in fact, I want a couple of desks and chairs in my conference room, which I'm gonna pop in here and because I want four in the in the conference room, I'm gonna do a mirror, pick up both sets of desks and chairs on Mira here, and then I'm gonna move all of those so they fit properly inside my conference room. So I'm going to say move previous. So the previous command inside move picks up the previously selected set so I can move those into place, and then I'm going to move the others, so m enter. I want to pick up the two chairs. I'm gonna pick up the desks and I'm gonna move days into places. Well, good. So that was easy enough. Was that so? Now I've got destined chairs in my drawing, which I have inserted from the design center. And, uh, you can see that that is a very easy and simple way of organizing yourself. Now, in fact, let's just build on this idea. Let's have a think about the implications, because it means that you can use the design center toe open any drawing that you've got on your hard drive. Now that includes any drawing that you've made and any drawing which your client has sent you or anybody else has sent you. Or maybe some drawings which you've downloaded off of the Internet. Andi, you can inspect the content and select the bits that you want on, Then bring them into either an empty during or ah, half finished during. So this speeds up the creation process, and it means that you never have to draw the same thing twice. So if you keep that little idea in mind, the design center helps you with that in a big way so well done for making this journey into the design center. I think it's a brilliant tool, and I use it all the time. So have a little review of this video. Make sure that you're familiar with the design center, and remember that short cut key D. C. Gets you straight into the design center. 55. Text and Fonts: Hi. Well, welcome to our video number 52 called Text and Fonts. So this is a new subject how to get your text into your drawing and how to control the way it looks. Andi. So let's open up this drawing number 52 on Let's get started. Okay, so this is an introduction. So we're not going to do very much apart from inspect what we've got available to us, and we're gonna go from left to right. So on the left, you can see that we've got a number of different types off text Onda. We've got a particular type of text called single line text, which means that each object is a single line of text. You can put it in in multiple line format, as I have in this paragraph here, but you can see by those little grips that each line is a separate object. Okay, so we've got single line text on. We've got multi line text, So multi line text is much more like a paragraph in a newspaper. The sort of thing that you would expect inside maybe a magazine. So an article on what that does is it wraps the text around you. Define the limits, say the wit of perhaps the piece of paper or the wits of the column, and then you can just type in loads of stuff on order. Card works it a bit like a word processor. The styles are made up from fonts that you've got on your existing machine. Okay, now the fonts that you might have could be the Windows true type fonts. They could be the auto cad fonts. And from this second column here, you can see that I've prepared a number of styles from what I've got in water cared at the moment. And these styles represent a number of different fonts that are available with AutoCAD, these Arad cat fonts. These are Windows true type fonts. This is a special fonts that was loaded for a logo, and this is an original old fashioned auto cad fund, and you can name them and give them properties. You can then select a particular style to be the current style. So here we are. This tells us that the current style at the moment is called logo, and that's fine. The details off each line of text can be seen in your properties dialog box. And so the moment you can see the under text, the contents are the words current and we could change that. Anything else, we can change this. Okay, so you can see that we can change the contents on. We can also change whether or not we're using the current style or another style. Great. We can also change the height, for instance and so you can see the contents here in the properties dialog box reflect what we can see in the drawing. Now if we were to go into the styles command, that's the way in which we make our styles in AutoCAD. So if we type in S t, that's a short cut and press enter. This is the dialog box. What we're going to be using a little bit later to design and set up our own styles. And you can see from this that we can choose different fonts. We can make them the current front, and we can actually create new fonts in terms off the style that we give the front. We used the existing fonts that are loaded on your machine and we give a new name to them so that we can refer to them inside. Also, Cad. Okay, I'm just gonna cancel out on that. And then, of course, the examples On the right hand side, this show issued that you can have all different types of justification on your front left , right and centre off the standard ones on a fit justified fits between two points and I've fitted it into this box. Aligned, obviously, is at an angle and there's lots of other forms of justification. So, for instance, I've illustrated one of them what is called bottom center. So the bottom and center off the text where as you can get middle center and top center and that sort of Okay, so that's my introduction to fonts. And ah, if you want to just go through and select these fonts and look at the properties inside your properties box, you will start to see that there are tons of things that you can do with font, particularly if you look down here in the contents on the styles. Have a look at styles that are available in this drawing. And as you change the style, for instance, you can see the preview changing to whatever is that you're picking up here? Yep. On do you can change the height. Okay. If you wanted to. 65 for instance. And it gets smaller on the opposite way round gets bigger. You can change the rotation off the front. So if you wanted it at 90 degrees, well, you wanted a minus 45 for instance. Do that. Okay, so there's a whole bunch of fun things to play with, Have a little look through, uh, the different fonts that we've got and get used to what's going on on DA. Then in the next video, we're going to make our own styles and make some single line text. Okay, So have a little look around. And when you're ready, join me in the next video. 56. Single Line Text: So this is all about single line text. So if you'd like toe open up the drawing number 53 and we can work together, the idea here is that we're going to set up some new styles, and then we're going to issue the commands for writing single lion text. Okay, so our first job is to create some styles with the fonts that we've already got loaded. So we're gonna type in the commands style and in tow, And this is the dialog box. Okay, Now, you might have seen this before, and you'll see the list off styles that we have created for this exercise. Great. And we've got the AutoCAD style here and the hand drawn style here, the logo style Romans, Standard and Vidana. Great. And each of these styles has unassociated farm. So you can see here in the middle that we've got a font. Associate it with auto cad. Now I'm gonna show you something interesting about the auto cad font. This is a list of all of the fonts I have loaded on the machine whilst making this video, and I can scroll through all of these funds to slopes of them and some of them start T t. But some of thumb start with a little pair of dividers or a compass and end dot S h X. And in fact, the one I have selected here. Mono text dot essay checks is one of those, and that's an auto cad font. So once you've loaded auto cad, you'll find that there's a whole bunch of water. Cat fonts on your machine and thes were developed by Auto CAD before we had access to true type fonts, which are the Windows funds. Um, so if you're going to be looking for a particular font, then obviously, if you've got it loaded on your machine, you'll probably find it listed as T T. But Auto Cad had to make fonts of their own before the Windows platform was available. So, for instance, Water Cad started around about a mid eighties on, and Theo Windows Platform was only really available from the mid nineties, so auto had had tohave fonts before anything else was available. Now the AutoCAD fonts are interesting from one point of view in so far as they are very simple, and you can see the word auto cad is full of square and straight lines. There's no curves involved on. This isn't to keep the amount of data to an absolute minimum. The other thing is that most of the AutoCAD fonts, but not all of thumb are single lines again to keep the amount of data down. And you can imagine that if you had too much data in your drawing becomes over bloated and slows the machine down. So, back in the mid eighties, of course, the machine power was nothing like the computing power we have today, and therefore, this was of particular concern. Nowadays, of course, it's not our concern, but, um, we still have thes auto cad fonts, and some of them are quite nice. So, for instance, the hand drawn font that we've got here is a font the water cat have put together called hand one dot s H X. Okay. And these are the hand drawn style, as you can see here at the bottom, and I've got it listed out here. Logo is different logo. If we come down here, you'll see I've got Century Gothic loaded, and it's this beautiful modern, uh, style, which I like a lot now Romans is also on auto cad font. And you can see from the front name. Yeah. What s H X? Now? I don't like the auto cad font that we have loaded because I've associated the name AutoCAD with this font called mono text on. I don't like it, so I'm gonna change it over. 57. Multi Line Text: welcome to our multi line video. This is where we have a look at the multi line text editor. So this is video number 54. And if you want to work with me, open up your drawing number 54 multi line text. Have a look on the left hand side and you can see that this text is multi line. It behaves like a text editor. Okay, you can choose different fonts and styles within the text editor. It will give you spell checking, and it will give you much more variety than that. Let's just have a look. Here we go. Here is an example column over our text, So if I click it, you'll see it's a complete object, and I can move the whole thing around as one object. And within this we can have a number of different styles. So you can see we can say here that we have a column of text that automatically raps to the pre selected width of the column. It can also spell check your typing and suggest alternatives. Let's see if that's true. If I double click, I'm now inside the text editor up top here. This whole ribbon at the top has changed. Yeah, Andi, you can see any of the typos that I've got here where it's going to suggest some different spelling on the lined in red. I can right click here, and I can go through and check from these suggestions. So thank you very much. And this one, of course as well. Tidying, tipping and tipsy. So let's if it's got typing in here. Okay, well, they again are full, the text editor typing and suggest alternatives. It looks like it's got some sort of American hat on at the moment. So if we go to color, there's the English spelling on. It wants me to change to the American Spelling, but that's OK. I can ignore it, and then I can move on to the next section so you can see we can alter the size of the font mid paragraph. So what did we start off at? We started off a 50 is 50 up here, and if we come down a little bit further, we've changed the front and then we change down here. We can change the style on the size, so we've got 78 on the size here is 121. That's bit random isn't 121.998 I think that was supposed to be 122 but maybe Ah, there's something about that front that goes a bit random. Good. And this one would have been 78. So obviously it's something to do with the front is now eso we've changed the frontier. And then again, we've changed the front again. Yeah. Okay, so it's a bit like DTP or a text editor or word anything like that at the top here. We've got lots of control over all of the formatting, and so you've got all of the alignment arrangements here. Justification. And you've got the ability to split into a number of columns if you want to and add symbols . So, for instance, here I could add symbols down here. You can see we've got a whole bunch of different symbols that we can add. Um, we've got the spell checker and we can change the dictionaries that we're using. We can do a find and replace and all sorts of exciting things so brilliant, and to keep our changes, we've got this tick box here, which we're gonna take. Okay, so now we're going to do our own column of text. So the multi line command is MT. Enter. We specify the corner. No, I've put some little red markers down here to help you just to focus on what we're gonna do . Okay, this is the first point we pull out on. This is the second point. Okay, that gives us a column. Wit. We're not too worried about the column lengths, because if we keep on typing, then we're going to go on and fill out that column. Then we've got to decide what size text we're going to start with. So this is 200 millimeters at the moment. I'm gonna change that now, down 2 50 and then I'm gonna keep typing. Okay? This is the new from size, and then we're gonna keep typing, and I'm gonna press end here so we can get onto a new line. Uh, this is a new front style, and I'm gonna select that line. And here where we've got our fonts loaded, I'm gonna go and scroll up to the classic Ariel on here. We've changed over mid paragraph onto a new front and then we can change sighs. So I'm gonna select that line and here I'm gonna put in 100 so you can see what we can do. So then I'm gonna change color and hela, that's the English spelling and color too. So I'm gonna highlight that line. And then here's the color options. Now by layer means obviously using the color of the layer that you're typing on. But obviously, if you want to override that, we can choose a different color from this palette and then choose the tick box. So there's a lot going on, isn't there? In our multi line text on, we can be extremely flexible with all of that. Okay, so what we're gonna do now is we're going to select the column in the middle, and we're going to replace some of the content. Okay, I'm going to double click into their Andi. I'm going to select right to the top. Now, the thing that we should realize is that you can cut and paste from here. So if I was to control sea okay, this can go into a different application. So thanks very much, Andi I can copy, which is control. See if I open up a separate application. So, for instance, I'm gonna open up my note pad and just going type in note pad here and open up my night, Pat. Here we are. We've got no pad open, and I can control V. So I've got exactly the same words, but none of the formatting. Okay, that's just the way No pad behaves and you can see that we've got exactly the same woods here. But also, you can do that in the opposite direction, of course, as well. So you'll find that there's a file that I've included with your drawings. And if I dio file open, I don't want to save those changes, but it's called sample text to cut and paste. Okay, so if I open that, you'll see we've got a whole bunch of sample text, and I'm going to select all of these lines. Control. See on then. Back inside. Auto cad control V paste on. There we go. So we've pasted in all of the text from the other document, and you can see that it's formatted it with the default text and the default front that we've got okay, Excellent. And if I click outside here or I click on the clothes text editor, there's a lot of the stuff that we've cut and paste from the other document. So this has lots of implications. It means that you can tie up your drawing with, ah, specifications, perhaps that you're writing or somebody else's documentation. You can merge the two together, so all of your documents say the same thing. So this is brilliant and, ah, I'm sure it's goingto have a big impact on the way in which you use water, kid. 58. Importing Text: So here we go into the importing text side of our multi line text editor. So this is video number 55 importing text. If you want to open up the drawing number 55 and work along with me. Okay. So what we're gonna do now is we're going to select the column in the middle, and we're going to replace some of the content. Okay, I'm going to double click into their on, and I'm going to select right to the top. Now, the thing that we should realize is that you can cut and paste from here. So if I was to control sea Okay, this can go into a different application. So thanks very much, Andi. I can copy, which is control. See if I open up percent per application. So, for instance, I'm gonna open up my note pad and just going type in note pad here and open up my night, Pat. Here we are. We've got no pad open and I can control V. So I've got exactly the same words, but none of the formatting. Okay? That's just the way No pad behaves and you can see that we've got exactly the same woods here. But also you can do that in the opposite direction, of course, as well. So you'll find that there's a file that I've included with your drawings. And if I dio file open, I don't want to save those changes, but it's called sample text to cut and paste. Okay, so if I open that, you'll see we've got a whole bunch of sample text and I'm going to select all of these lines. Control. See on then, back inside. Auto cad Control V paste on. There we go. So we've pasted in all of the text from the other document, and you can see that it's formatted it with the default text and the default front that we've got. Okay, Excellent. And if I click outside here or I click on the clothes text editor, there's a lot of the stuff that we've cut and paste from the other document. So this has lots of implications. It means that you can tie up your drawing with ah, specifications, perhaps that you're writing or somebody else's documentation. You can merge the two together so all of your documents say the same thing. So this is brilliant, and, ah, I'm sure it's goingto have a big impact on the way in which you use water, Kid 59. Intro to Dimensions and Styles: Well, welcome to our video number 56 all about dimensions and dimension style. So if you'd like to open up your drawing number 56 we'll work together on this one. Okay, So this is an introduction to dimensions, and you can see that we've got a drawing here, there where we've got quite a few dimensions on already. Onda, if we just assume in to some of these dimensions, you'll see that because we're using MILLIMETERS, we've decided to show the dimensions in millimeters a swell. And if we just pan through here, you can see all the different dimensions. Nice up close. Now, if I was to type in the units command U. N I. T s. What you'll see in the units command is that we have a precision in this drawing of four decimal places. But of course, you can't see four decimal places on these dimensions, and that's because you can set your dimensions to a completely different format to the way in which you've set up your units so they're not connected in that way. So what I want to show you is that we can easily draw some dimensions. We're going to assume down to the bottom of our drawing on. We're going to measure the external brickwork to the window opening. Okay, so on the ribbon at the top, we have a linear dimension. I'm highlighting that. But right now, if I click on it, you'll see that the command is dim linear. Andi, we're going to go up to the external corner. Yeah, and click on it once we're going to go to the corner off the window. Reveal aunt, click on it once and we're gonna bring down at the mention here and click. So what do you immediately notice? It's white, and everything else is red. So of course, dimensions deserve their own layer. And if I select one of these existing dimensions, you'll see up here that it's actually on layer dimensions. So if I escape here and I select the dimension that we've just drawn, and we can switch that over onto layer dimensions that we are, and it's taken up the correct color and it's on the correct layer, and you can check that all of your layers are on the correct layer because you can go to your dimensions layer here and use your freeze thaw command, you can turn them all off and you can turn them all back on again with that freeze thaw. Okay, so what its worth, while doing is when you're doing your dimensions to switch over onto your dimensions layer So all of your new dimensions go directly onto the layer that you want. So now Dimensions is our current player, and we're going to repeat the dimension. Come on and again. So we're gonna go back to this button dim, linear, and we're going to stop in the window, reveal to the other side of the window, reveal. And as we pull out, we can snap onto the end of the last dimension to keep our dimensions in line. Okay, so there's just work through here, and as you notice, we're rounding up to the nearest millimetre. So we're going to pick endpoint to endpoint here for the brickwork. Snap on to the end of that line. Pan Sideways and Tim linear click to the window, reveal on both sides and snap onto the last dimension line. Now, of course, that moment we're just doing horizontal. But what you'll see is if you come around the corner that we've got some vertical dimensions and linear will do either. Or so if we start with the linear dimension here, let's do this column, this brick column here and we can put those two. They're together and come out and snapped onto the last dimension there. So let's do the window as well, just so that we can reinforce that linear dimension. Click onto here and then on to the other window, reveal Snap on to the end of the last dimension. And then we go, we've got add dimensions. Now it isn't all a simple as that. That's a nice, gentle introduction, because the other side off the dimension ing thing is to be able to set up your dimensions using dim style. So let's have a look at that dialogue box D I m S T Y L e is the command and here's the dim stall manager So you can see in this particular drawing we've got two different styles, one called ice 0 50 on this one called Standard. The one that's highlighted at the moment is the one that we're using, and we're just gonna have a look at some of the details inside. So we're gonna have a look at the modify button on the right hand side and click it. And inside here, we've got a whole bunch of tabs across the top here that allow us to change all sorts of information about this particular style. So let's have a look. A button in the middle. The fit bun is going to tell us a lot. This style is called ice 0 50 And over here, where it says the overall scale off, we've used the overall scale of 50. So any of the sizes here for the symbols and arrows are increased by a factor of 50 to fit the style that we can see. Now, let's just check on that. If we were to put that style down from 50 toe one and say OK, when we close this down, you can see that you can hardly see an arrow and you can hardly see any text a tall. So we're gonna need to undo that. Okay on. Then we're gonna go back into dim style. So it was still in, I so 50 on. We're gonna modify. I want to come back to the text on what you'll notice about the text is that it's got a height of 2.5 that's also affected. Okay by our multiplication number and on the text alignment were using the I S o international standard. So that starts to make sense now, doesn't it? Let's just have a look at primary units because I told you that we weren't using the same round up as our units are overall drawing units. And although we're still using decimals, Andi, we're using a precision of two decimal places instead of four. We're also rounding this up so that we've got, um, zero suppression. And so you can see that here we've ticked as zero suppression for trailing. So if the number was going to be 3774.0 then the number comes out as 3700 4 3007 and 74. Okay, so that's the Dimension Star Manager Donald Box. We're gonna be doing some more work with that in another video, but we're gonna close this down, okay? And that's a quick introduction. Two dimensions and dim star 60. Dimstyles: so welcome to a new video for Dimension styles number 57 and ah, I suggest you might like to open the drawing and work with me on this one. So dim style is the command that you need to change the way in which you're dimensions appear on your drawing on. So I'm going to start that off immediately now. So D I m S t Y l b and you can see that at the moment we're using a current style off ice 0 25 and we can make some changes to this style Now, Obviously, there are times when you're gonna want to make your own brand new style. That's good, because weaken certainly do that right now. And we can base all of the settings of our new style on these existing style here that we've got. So we're gonna base it on so 25. And when we click new, you'll see that this little box goes new style name. It's a copy of 25. Start with all of the settings in, So 25 and we're going to change this to a name that we can remember. I can't. We're gonna select this and call it training Now. You can call it anything you like, of course. But we're going to select training, so we know what we're dealing with. And here is the dimension style box that we looked at before, and we're gonna go through a lot of the detail. So first of all, we're going to see what the overall scale is, and you can see we're using an overall scale of 10. If we come back to the lines tab, you can now see that we've got some basic spacing which we can understand a bit better. Now, here we've got the dimension lines right on the dimension lines here. And if we want the dimensions lines to take on a slightly different color, we can override the existing color, and we can say, let's have them in as yellow. So you can see here in the preview that they're gonna be yellow instead of red. I'm gonna leave the extension lines, the ones that aside as the by block, which is the same as a bi layer, but for the dimensions. And we're going to have a look at the extend beyond dimension lines dimension. Okay, so This is a little tick at the end, so we're gonna say two millimeters and then offset from origin were also going to say two millimeters and then we're gonna come across to a really interesting one. It's the symbols and the arrows. So we've got some arrows here at the moment and you can see the arrowheads I hear. But when we open up this list, we've got a huge choice of different arrowheads and dots and ticks, and so I'm going to switch over to the architectural tick. I'm gonna leave the leader alone, but I'm gonna go for the architectural tick here on the size of my architectural tick. I'm going to increase very slightly to three millimeters and then on my center marks, I'm gonna increase that from 2.5 25 And if we have to break the dimension line, I'm also going to increase that to five millimeters. So on our text, I want our text to be a little bit more subtle. So instead of 2.5, I'm gonna come down to two millimeters and then we're going to have a look down at the text alignment which we're going to set up to the ice. Oh, International drawing standards. The offset from the Dimension Line is going to be one millimeter. And then we're gonna come across to the fit panel that moment we've got an overall scale of 10. We're gonna check out how that looks in a minute, and then we're gonna goto our primary units. Now, our primary units have a precision at the moment of two decimal places. So that's fine if you're doing engineering work, maybe even three decimal places, if you're looking for a really precise ah dimension to the nearest town of an inch and we're going to say here that the round off we're going to say is to the nearest uh 0.25 and then we're gonna come down and have a look zero suppression on the trailing so you can see that if we were to untech that the numbers change to three decimal places and if we to ticket, they go back to this Randolph on on the angular dimension, I'm going to say that the precision is going to be set to do two decimal places, but also we're going to suppress the trailing zeroes now, I don't want any alternative units on this, because sometimes I think alternative units just make the drawing more confusing. But if you absolutely must do, there's a tick box here to say that you can display alternative units. Say that you could have, for instance, feet, niches or a different form of measuring as well as the millimeters. And if you're into engineering, you can have a tolerance as well. So if you want to do a symmetrical tolerance that was plus or minus a particular measurement, so we could say 0.1 okay, for plus and minus, you could have that also added into your drawing. But for what we want to do, we're going to just do a nun. Okay, so that's quite a lot of detail to take into account. So we're gonna say okay to that set current and clothes. Now, the moment nothing's changed here because all of these dimensions are on a different style . So I'm gonna select everything as far as the dimensions are concerned. And then I'm going to change the style off the dimensions. Okay. What? I could choose a different selection method here. I could actually select all of these dimensions with quick select. But funnily enough quick selectors and always is quick, as we might like to think. Okay, so here in the properties is the dim style. And of course, we've made our own called training and look what happens as soon as we click onto this training alternative. Okay, we get all the van new dim style turn up so you can see it's very dramatically different to the style that we turned off we started off with. Now, of course, doesn't really matter under these circumstances, whether it's better or worse. But what we are showing is that it's dramatically different and so you can make up your own dim styles and impose thumb onto your drawing with your own name. I the style, is gonna have the name that you use, and of course, it's worth inventing a style that you're gonna want to keep. And once you've decided that the style works for you, then you're gonna want to make sure it's in your template. 61. Adding Dimensions: this is video number 58 Onda. Uh, we're gonna be adding some dimensions of our own. So this is a little widget that you'll recognize from a previous, uh, example. And so let's have a go at adding dimensions of our own. We're gonna come up here to linear Dimension button and click it on right at the bottom. Here, we're going to give ourselves a dimension, goes from left to right, endpoint to endpoint and give us plenty of clearance. And there we are. We've got our first dimension in Now. You see, I've refined the style a little bit just to make it a bit more palatable. And ah, so we're going to then move on on add some more minor dimensions in. Now keep in mind that you're gonna want somebody to read this drawing on, understand it perfectly. So let's put in a dimension at the side here. Now I want you toe Hang on to the end point here as your first point off your linear dimension on then here for your second point and if we pull out sideways, you can see the auto cad because it's using linear will only go horizontal or vertical. So now we've got a perfect mention there to the first step, and we want an overall dimension as well. So we're gonna repeat Delaney a command, and we're gonna start from this corner, and we're gonna go right up to the top here. Now, I'm going to choose the center off the circle where it passes through the the overall radius. That that's gonna be the outside edge because I'm pulling over here to the left. It's giving me my vertical dimension. So I'm going to do that on the other side. Okay, I'm gonna start down here. I repeat my linear dimension, and I'm gonna get that little notch. Yeah, and I'm gonna pull this out side plenty clearance, and then I want a complete overall dimension. I'm going to keep that overall dimension up here. I'm going to go from left to right. Right way over to this position here. So linear from left to right, I'm gonna put it all the way up here. Good. Now, because we've overlapped here. Can you see this red line running all the way through here? So that's not good enough. I'm gonna do a control Said if I repeat that I'm gonna pick up just on the edge of this radius. Yeah. Public Back over here. There we go. That's better. Is that that gives you a much cleaner line, particularly around this corner. All right, Now I'm gonna do some of these Radius is I'll do the big ones first. And where we've got the linear dimension, we've got a little arrow we can click on the arrow. We confined different types of dimensions here. When we're going to use this radius, I'm just gonna click onto the circle. Andi, I'm just gonna keep inside the circle at about 45 degrees and there's my first radius can. It's not too hard, is it? Press enter to repeat that. I'm going to start over here. Keep inside my radius around about 45 degrees. Click now I want a radius for this circle is well, and I want to radius for this outer edge. So I'm gonna pick up my radius again. Click on the outrage this time I'm gonna come outside with approximately 45 degrees to give myself a nice, clean, tidy pick up here and for this circle here. I've decided I'm going to use the diameter because this is gonna be a drill. And therefore, I'm gonna change from radius here two diameter, click on my circle and move to a horizontal position. Okay, so I've got my diameter. Now, the last two radius is I'm going to do or up here on over onto the right hand side. So I'm going to go back to Radius, select my radius and again because I want a nice, neat, tidy radius. I'm gonna come over about 45 degrees, enter to repeat this one out and repeat the same. I'll make it look as similar as possible. Now, these t so important. So we're going to use a linear dimension here to set out the first tooth. We're gonna bring that down here and then linear again to pick up the actual wits of this to sup here. And you can see this Bit of a rhythm going on there. Now, you might want to repeat that a little bit further along just to show that they're all the same wits. Pick up that point there and they all line out. Okay, great. So we've applied our own dimensions to this drawing and you can see that a little bit of thought produces a great drawing and some really important and useful information. 62. Continue: Well, here we are in video number 59 this called Continue. And this is a particular style of dimension ing onda. I find it very useful. So I'm sure you're going to appreciate this is well, now it just takes a slightly different approach to the linear dimension that we were using before. In fact, it links in with the linear dimension ing and we want to dimension this little tooth. Ah, bottom to our widget eso. We want to make it a little bit more obvious as to what's happening and these dimensions here of 32 I don't really quite crack it. As far as an engineer would be concerned, he'd want to know a little bit more detail to that. So we're going to put a continuous Siris of dimensions along the bottom here. Now we are going to start off with the linear dimension, first of all, on the left here, and we're gonna put in this one here that shows us that the first notch is 62 millimeters away from the edge. But then we're going to switch over to our annotate ribbon. So you've got your home Ruben up here and we've switched over toe annotate on inside this ribbon, we've got a button called Continue. And if we click onto the continue button, you can see that we're continuing from the last linear dimension that we chose. And I'm going to click here and then I'm going to click here and you can see that as I work along the line, I'm continuing. The dimension of all I'm doing is clicking endpoint toe endpoint until I get right to the end. Fantastic and enter. So that's an amazing way off, putting your dimensions in its very logical, very straight forwards. On best of all, it's very easy. So have a little practice with that, Andi. Then we'll see you in the next video. 63. Multi Leaders: welcome back to video number 60 Multi leader. Now, multi leader is a small refinement to the dimension ing commands. So have a look here. This pointer here is a multi leader, which means that you can put an arrow into your drawing on add some text to illuminate the drawing further on. We're gonna add in a multi leader ourselves here, up the top here on this panel. This is the home panel, and this is the annotation section. We have a button here underneath the buttons that we were using for Dimension in a minute ago. Add ourselves a leader. Okay, well, click onto that and we're gonna add ourselves a little multi leader over here, and I'm gonna pull away and you can see it developing. Click here, and I can add some text. I'm gonna type in something about the way in which this is going to get finished off. So I'm going to say level both Science on return. One millimeter on Oh, external as use grape, ever both sides. One millimeter on all external edges. Now, if I'm not sure that I like the overall layout, I can try putting some extra returns in and take out some of these return so we can just fiddle about with it with a couple of back spaces and enter bevel both sides one millimeter on or external edges. Okay, if I'm happy, then I can click into fresh air on we get that on layer dimensions because that's the layer where going on now a multi leader has a set up in exactly the same way as dimension styles do. So if I start to type in M l multi leader style, okay? And I couldn't do a set up manager on this, I can create my own, or I can modify the existing one, and I'm gonna pop across here to the overall scale. And you can see that at the moment it's eight. It's a bit big, so I'm gonna bring that down to four and okay to that close and you can see we've got a much Tidier form of annotation in exactly the same way as you might alter the overall scale of your dim scale. So let's try that as well. Tim style modify fit overall scale and we'll bring that down to six. And OK, close. There we go. We've got a really nice, neat, tidy drawing and were able to add multi leaders to describe what's going on wherever we like. Okay, you might like to have ah, play and add some extra multi leaders just to make sure you're confident with the way in which they work. Okay, I'm we'll see you in the next video. 64. Paper Space: Okay, here we are in video number 61 Paper space. This is a brand new subject, and this is the way in which you could get your drawings printed out on published. And, uh, paper space is a really important subject. And you've got to know and understand paper space on there's a few videos that we're gonna be producing on paper space. No. In fact, we've got a drawing open here. So if you want to get a drawing number 61 paper space open and you can work along with me and you'll recognize this this is a layout that we've used before. But we've got paper space hiding in the bottom left hand corner on. So if you come with me down in the bottom left hand corner, you'll see there's a couple of tabs. Model space is where we've bean drawing. But the second tab here is called S O. A one layout, and this is paper space set up for a one paper. So if you click on the tab and then we're gonna come over to paper space now you can see it's got a different look to model space. Its white paper with a great border, and it feels and looks completely different. So you're not gonna miss steak paper space? We have a title block here already prepared. And of course, this is just a ordinary block that's made to the rial size of your piece of paper and then inserted into paper space but also hiding here. We've also got a view port. So this rectangle here is like a window from paper space into model space so we can see your drawing. What we can see here is exactly the same drawing as we had in model space. The only difference is, of course, it's got a white background, so it has a different feel to it. Now. If I click onto the view port, you can see the view Port is an entity just like anything else. It's an object. And in the Properties dialog box you can see the properties of the view port, and it says view port here and tells you a little bit about the view port. And here we've got the details that we want to see, and we've got a grid turned on. Now we can turn that grid off because all we need to do is activate the View port and down here on this bottom line you'll see the word paper, and if you click on to it, it activates the view port. And that means that we're now inside the view port. And if we press F seven, we can turn the grid off and turn the grid back on. That's a toggle. So if you want to turn it off that every seven okay, have a play without, and that you'll notice that we've got a couple of buttons that side here. Zoom extents allows us to zoom the whole drawing, and this hand allows us to pan around inside of a drawing so we can decide how much or what of the drawing we're going to be displaying. And if you want to come out of the view port, once you've sorted out your drawing, ready for printing that's exit plan mode. That's right. Click exit at the bottom of our drawing. We have model space, click on model space and it goes back to paper space, and you'll see from the thickness of the View port that view ports now closed down. Onda. We can do anything we like in AutoCAD inside paper space. So, for instance, we can do text in the normal way, and we can draw in the normal way. Okay, So if you need to build up on interesting or a complex title block, that's not a problem. And you can do that easy enough in paper space. So as you can see, we consume in and out of paper space. And whilst we're in paper space, you've also got access to your page set up manager, something we looked up briefly before. But if we go over to the tab that belongs to this particular loud and right click, you've got your page set up manager there. If I click on it, this is the manager. And here's the modify button and that's the page set up. And we look to that before, didn't we? Okay, so I'm going to counseling and close this down. That's a little introduction to paper space, and we're gonna be doing much more on paper space in the next video 65. Viewports: Welcome to video number 62. This is all about paper space, few ports, and you'll remember from the last video that we did. In order to access paper space, we need to come down here into the left hand corner and click onto the appropriate tab. Okay, so let's do that. So here we are, inside paper space. And in the last video, we found out that we had a view port. So this few port here allows us to view the model that we've got inside model space. And, uh, I think I told you that view port is an ordinary object which can be moved, copied and resized. So if you look at the corners here, we've got grips on these grips, which we can pick up. You can click on, and you can resize the few port toe whatever size you require. Okay. So you can manipulate the view port on moving around. You can actually use the move tour, so m enter to pick it up and tow. Reposition it, Onda. You can also select it and delete it. So if it's not the right view port for you, you can throw it away now Of course, that means that we have to be at a draw. Our own view ports, which is very straight forwards. We have a command called M View. Now I m view means make a few port M view, and it's got a short cut as well, which is M V. So we're gonna use this command to draw a simple rectangle freehand. I'm gonna click anywhere I like and then drag out. And there we are. We've created our own view port and immediately Water Cad gives us a view into model space . Now, in fact, you can have more than one view port in the drawing. You can have 3456 Now, to be honest, I've had a drawing where I've had six or seven, and I noticed that the interface starts to slow down a little bit, wants you. You get a few view ports open. But that's okay. If that's what you need, then obviously you've got to go for it. But otherwise, if you can do it with less few ports, then that's a great idea to Okay, Now I want to make this particular view port just a little bit smaller. So I'm going to grab it, and I'm gonna bring my view port just a little bit smaller here, and I'm gonna bring it up from the bottom as well. Okay. On down. Yeah. Now I'm going to change the way in which we see the contents of this people so that now I've got it selected and resized. I'm gonna come down here to where it says paper and click. That takes me into model space. So the view port is now open. And that means that I can access the view port. Now, if you remember from the last video F seven turns off the grid and we've got some controls here, for instance, pan the hand here that allows us to reposition the contents and you'll notice I've got some words down here and a key which I don't want to appear in my view port. Now, I've got rid of the key and push that to one side. But I've still got these letters from the words paper space, and so we can deal with that in a minute. Okay, so we've got our position. Correct. But what about our scale? So the scale within our view ports. Very important. So I'm gonna come out of this command and click exit, and I'm gonna come over to the right hand side off my interface to the button bar at the bottom, and I can see here that I've got some scales that I can use for my view port. Now, let's see if we can find the right scale here. I'm gonna guess around about 1 to 20. Wow, that's too big. So why don't we try a 1 to 50? That's a bit too small. So let's go for something like 1 to 40. Okay, well, that's not too bad. Can we squeeze at 1 to 51 to 30? Let's try that. Okay. So if I adjust the outside edge of my view port just a tiny little bit, then 1 to 30 is gonna fit that view port beautifully. Okay, So in order to keep my scale, I'm gonna click on the word model down here so that it turns off the active. You pull, I'm gonna click onto the edge of my few port so I get the grips and I'm gonna pull the corners out. Just enough to reveal a little bit more of my drawing, so it's all neat and tidy. There we go. So I've got a view port. Now, that is that a known scale, Which means that I can annotate that information in a minute and I'm ready. And I've got space over here toe add a new few port. Now that view port is gonna hold my key. And so I'm gonna press escape twice before I issue the next command, which is my shortcut for making a view port, which is m V enter. I'm gonna click here for my key. That's where I'm gonna place my key, and I'm gonna activate this few port. So if I click on paper here, Okay, we have possibly the opportunity off either of those view ports being active, and I can click between them just by clicking into each one. Okay. And here I want to make sure I'm zoomed into my key. So here's the key. Move it around so I can see it properly. And if I want to adjust my zoom factor very carefully, I could do that. I can type in zed and toe enter. I've got my magnifying glass left, click and drag on middle button pan. Okay, so that's good. Right? Click exit. So I've got my key or sorted out. I'm ready to go and I can click outside the view port. So in order to close this view port down, I've got two different methods. Now, I've got either I can click on model space here, or I can double click into the gray, which is the same thing. So both of you ports are closed down. I'm gonna resize my view port just a little bit by clicking on it, grabbing a grip and just pulling it down and pulling this bottom up. Just make sure it's all neat and tidy. Then I'm going to use the move control M enter. I'm gonna put my key up here in the top corner. We get just by moving the view port, which gives me extra space in my drawing toe. Add annotation and notes. Now, one of the things that we haven't touched on yet is the layer that the view port is sitting on. And if I select the edge of the view port, you'll see in my properties dialog box. It's currently on land zero. But what would re really good is if we had it on its own layer. And so you won't be surprised if we open this up and scroll right to the bottom. We've got our own layer here called Vieux Port, and we can do the same thing on to this other view port. So press escape and select the second view pool. And in the properties dialog box, open up the layer details, scroll down to the bottom and find a few court lamb and then press escape twice so you can see the color is a bit of a giveaway on, and we're going to type in L. A and open up the layer dialog box and have a look at that right down the bottom. Here, we've got Layer Vieux Port in the plus ING column. You can see that it's turned off so it doesn't print. And what I need to do is insure that you understand it's the View poll border that doesn't print the contents of the view Port still prints okay, and we've got a column here for the color, and you can see at the moment it's a color of 211 So that's a unique color. In other words, I've chosen a color which you'll recognize very easily, and you'll see that if you recognize that your view port isn't that particular color, then you know it's on the wrong layer. And if your view port is the right color, you've got a pretty good guess that it is actually on the correct layer. Okay, what? Closed down a layer dialog box. And it's only a print time that the border for your view ports disappear. So there we go. We're gonna put one more Vieux Port into this scene. Okay, so I'm gonna put the View port just here in the space that we've got available. So I'm gonna type in M V enter and I'm gonna place a few pull here. Now, this few port means that I can zoom in to a particular area of detail and I'm gonna activate this. So another way of activating your view port is to double click. So you can see from here. We're now in model space. And if we were to double click into the gray, we're closing it down. Okay, That's just 1/3 way of getting into your view. Port So let's try this again. Double click. I'm going to zoom into a particular detail. The detail that I want happens to be the circulation area. So that's going to show us where the staircases and where the two fire doors are. And I want this at a different scale to this particular areas because I'm zooming into the detail. So I'm organizing what I can see with my pan, and then here I can change the scale. Now, at the moment, I don't know what scale is available. Ah, or suitable. And so I'm gonna try one or two different scales. And there we are. We've got a scale here, 1 to 16 that seems to work very nicely on weaken. Include details about this scale for that pupil in annotation in paper space. So once we've finished this view port, we can come out by double clicking into the grey area, select the edge of the view port and switch it over onto its own layer. Now I'm using the properties dialog box. But for those of you are still awake, you would know that you can also use this pull down menu to do exactly the same thing, and I'm going to tweak the bottom of my view port just a little bit to tidy up the touring me. Que So That's brilliant, isn't it? We've got three view ports in ah, drawing now on escape. Escape on. We're all ready to go. 66. Page Setup Manager: So here we are in the video 63 page set up manager. And, ah, if you'd like to grab your drawing, which is number 63 on work along with may that be great. Now the page set up manager controls all aspects off the printing off. You're current layout. And fortunately, you can set up many different layouts, and we're gonna be covering those in a later video. But the page set up manager is absolutely essential to the way in which you get your drawing onto a piece of paper or out to a pdf. So there are two ways of getting hold of the page set up Manager. I'll show you the first way up in the top, left hand corner on. We're going to click on this menu and come down to print. And if we hover on print, we've got an item here called Page set up. No, I'm not gonna go through page set up manager here, although it's the same thing. I'm gonna come down here and show you the second place for page set up manager. I'm gonna right click onto the tab and choose page set up manager here. So Here's page set up manager, and if I click on the modify button, this opens up my page set up for this particular layout, and what I want to show you is up in the top right hand corner. We have Penn assignments, and if I open up this list, you'll see that we've got a number off different presets, and you'll also if your keen eyed realize that the file type is the STB file. Now you'll remember from an earlier video that I was recommending the CTB file, which you open at, uh, the very first stage from your template. And that means that this is the named plot style here, as opposed to the color dependent. So CTP is color dependent on STB is named plot styles. I'll just show you what that looks like. I'm gonna click onto this button, and here we have the panel where you can set up your named plot styles. Now we're not covering named plot styles in this particular video, because I'm going to say that the way in which I recommend you start off inside order card is with color dependent plot styles, so I'm just gonna cancel this and then I'm gonna go through the rest of the page set up. I'm gonna start on the left hand side and I'm going to say that what you want to do is you want to either pick up your printer here or if you're not going to be printing out to a printer, pick up a pdf, so I'm gonna go for a high quality PdF. Then we won't pick up our paper size, which is a one, and that's fine. As far as I'm concerned. This ice so full bleed, a one is the correct size, and I've got a little picture of what that looks like. If I hover on the picture, I get some details about that. So I get both the paper size and the principal area. So the principal area is just a little bit smaller than the actual paper size. Just allow a machine to grip onto the edges of the piece of paper, and then down here, we've got an area called plot area. What to plot on this pull down list allows you to change your mind about what you're going to be plotting. Display is whatever you've got on screen extents is the full extent of the drawing. Inside paper space layout relies on the's dimensions here, and window is a selectable area that you can choose from. I'm gonna choose extents because it's the most flexible. And I'm also gonna make sure center toe plot is ticked so that I've chosen the full extent of my drawing right to the corners off my title block, and I'm centering it on the piece of paper, and we can check to see if this is any good Weaken. Click on this preview button, and here is a preview of my drawing, and you can see that it's perfectly centered on my piece of paper. And if I'm happy with that, I compress escape to come back into my page, set up manager. Then I'm gonna have a look at the center section here, which is called plot Scale. This must be set to a scale of 1 to 1. If you've drawn in paper space and a one sheet of paper and you're printing onto an a one sheet of paper, that will then guarantee that your view port scales are correct once you've printed. So a scale of 1 to 1 is talking about the relationship off your paper to your drawing and then on the right hand side here, we talked about the pen assignments on whether you've got on STB file or a C T V file, and that's dependent upon the template that you open up right at the beginning of your drawing exercise. And then down here, we just got a few tick boxes that are quite normal. These are the standard tick boxes that you would have so plot objects and plot the line weights that pen thicknesses plot transparency. So if you could transparency turned on, make sure that's ticked as well. Plot with plot styles. Thes the plot styles up here, of course, until you want those and there's no item here that says that you could if you wanted to hide the paper space objects. Now I don't want to do that, so I'm gonna leave that untech right at the bottom. We've got an option to say either portrait or landscape or upside down. This will depend on your printer and how you're printing it out. And once you're happy with that, you can say okay, that saves the details to this particular layout in a page set up manager, we can also say close and that's all of our details for our layout ready for printing. 67. CTB or STB: so welcome to video number 64 where we asked the question CTB or STB. So these two different file types are when you come to plotting. And in some of our previous videos, you'll have remembered that perhaps I've recommended the CTB file because that's color dependent tables. It's easy. It's straight forwards on. It's a great protocol that works really well. STB is named plot styles where you have to name a plot style in the page, set up manager on, set up the details associated with that name on, then associate that name in the Layer Properties manager with each of your layers. So let's have a look at the start menu. So here's the START menu and we can see the inner templates. We have some choices. I'm here of the choices, right at the top. It says AutoCAD named plot styles. And if we hover and it tells us that not only of the is that template using feet nine inches, but it also uses named plot styles. Now that's the style that I don't recommend for wet. Anybody who's starting out. I recommend that you do the standard color dependent, and if we come to the third on my team. Down in this list, it tells us that we're using feet inches but also color dependent plot styles so that subtly different, isn't it? That's the one I recommend for the plot styles, but I don't recommend feet and inches if we want millimeters. So if I come down to this one here, this is called or declared I so dwt. And if I hover here, says International Metric Drawing Template uses color dependent plot styles. So that's the one I tend to use now, just a word of warning. If you come down to any of thes tutorials, these tutorials actually use the named plot styles, which is one that I don't recommend. Okay, so let's come back into our drawing tab, which is this one up here called Video 64 CTB or STB. And you'll probably guess from my approach to this that on recommending the CTB file, and this drawing has CTB far in it, on the way in which we find out is to go to our page set up manager, and this time we're going to use our pull down menu here and print over here and choose page set up. This opens our power page set up manager, and I'm going to click onto the modify button. So here we are inside Page, set up on the area that we need to look out is our plot style table pen assignments. This is what it's all about. And I'm gonna open up. There's less this list off presets. I'm gonna choose AutoCAD CTB. So are we going to assign this plot style toe all out? Yes, we are for the moment so that we can then get hold of this button at the side so we can edit the details. And this makes it really, really easy and straightforward. Toe a sign your different colors and pen thicknesses on screen. So on the left hand side, these are the colors on screen on on the right hand side. These are the properties associate ID with the colors. And the protocol I use is this that for the 1st 7 colors, I choose to print in black, and I also choose to vary the pen sickness from one tense of a millimeter through 2.7 off a millimeter. Now I'm assuming here that we're printing on on a one piece of paper because if you were printing on small sheets of paper, you would want slightly sinner pens on. Therefore, you would vary, uh, this choice. But one of the fantastic parts of this particular set up is that you've got to save as feature. And if I click on save airs, this opens up inside my plot styles folder, which means I can call this a one 10 set up. Okay, So that means that I've now got a set up specifically for a one pens, and I'm gonna then come down here and change my details for color one. I'm going to use black and also for color one, I'm going to change the line, wait down here to 0.1. Then I'm gonna come to color number two. I'm gonna do something very similar, black, but then I'm gonna change the line. Wait. 20 0.2. Okay. See how that works. Color number three, Black and Lauren Wait zero point three. So, by choosing these line weights, they're very predictable, aren't they? So color number four black online weight. Is there a point full all the way down to color number seven which is also black and down here line Wait 0.7. That means that you can guarantee that when you see these colors on screen, you know exactly how they're going to be printing out. Okay, so the 1st 7 colors Airil black. And then from then on it will print with whatever you whatever color you've got on screen. So eight and nine, a shades of gray on then 10 starts with red. So if you want something toe, actually plot out in a red color, you would choose color 10 as opposed to color. One color, one prince black, but very sin. So you might keep that for things like center lines and four dimensions on really important stuff where you need a really accurate fine pen. Now you can see at the top here that we've got the name a one pen set up CTV so we can do a saving close and make sure that it's inserted into this list. Assigned this plot style toe all layouts, Yes, and in a page set up model. But we're going to say OK, he is the page set of manager closed that down. And so now we have now associate ID our pen styles using the CTB format, you might ask me. Okay, so since this video is called CTB or STB, why not the STB? The named plot styles? Well, it's just a little bit more awkward. You have to develop a way of naming your styles so you've got your own naming protocol. You set up each style with pen colors and sicknesses online types on. Then you go to the layer Darla box and you'll have a column that says Named Style, and you can then associate your name. Start with your layers, but if I type in L. A here, you'll see that because we're using CTB in this particular lay a dialog box, there is no opportunity to a player, any styles, any named styles because that doesn't exist in this particular file. Okay, so that's a bit of a hint about the way in which they work. So the question CTB or STB is when you're starting off, stick with CTB and worry about STB later 68. New Layouts: Okay, welcome to video number 65 where we're talking about creating new layouts. Now, we've already got one layout which we created in an earlier video, and you can see in the bottom left hand corner here. This is the one that we're looking at right now. I so a one layout, but often enough, Um, in a particular drawing, You want to issue mawr than one set of details to one subcontractor or contractor. So, for instance, here we've got a layout which is suitable for our electrical contractor. We've got all of the details for the lighting and the heating and the light switches. And we've got a key up in the top right hand corner, which is explaining what all of the symbols are about on DA. We've got the staircase and we've got the to weigh switches there for the electrician's to realize that that the staircase in the circulation area requires two way light switches. But we also want to send out other details. OK, so we're gonna be sending out details to the Brickey, and we're gonna be sending details out to the window supplier as to exactly how the doors the windows and the brickwork work at the reveals, so we might want to have a completely different layout of exactly the same drawing. So what I'm gonna do, I'm going to duplicate or copy this layout. Okay, So I'm gonna do a right click, and I'm gonna choose move or copy. And from this little dialog box, I'm gonna take the creator copy and choose that move toe end option. Okay, That creates another tab, which I can click on, which is an exact copy off my first layout. So that saves me a bit of extra time. And so I'm gonna change this one. Okay, so I'm gonna rename it, and this one is going to be renamed that doors and windows, and then I can click in the gray. Okay, then we want to decide how we're going to adjust our view, ports and the content of our reports. So I'm gonna start with this few port first on what I don't want now is I don't want any of the electrics, So I'm gonna activate this view port by double clicking into it. And each view port can have a different Siris of layers turned on or off So, for instance, if I was to go on DSA elect the dimensions here, I could turn them on or off. Or if I find my electrical, I can turn them on or off. So I'm gonna turn off the electrical here, and I'm also going to turn off the A electoral hidden. So that's the dotted lines from the light switches, and I'm also gonna turn off my heating, my HV heating. Great. When I've done that, I can click back into the grey area and you can see now I've got a nice, clean, tidy drawing that has none of the electrics turned on. So I'm gonna turn my attention now to this few pool, and I want to make this few pour a little bit bigger because I'm going to be bringing a door and a window details in here. So the door in the top right hand corner on a window detail here, I'm gonna double click into the gray so that I'm outside of my view port, click onto the edge on grab a grip and pull it out. So I've got a bigger view port, so I get my door detail in, and if I double click into the view port. I can use my pan facility and I'm just gonna pan across toe where I've got my door now, in this one. Although I've got a lot of detail I want to keep the detail I don't want to keep is the electrical detail and the dimensions. So I'm gonna go back to my pull down menu and I'm gonna turn off my electrical and I'm gonna find my dimensions and turn those off and come back into the great and click And then I've got to decide on a scale that I'm going to be using. So I'm going to come down to my scale and choose Let's see 1 to 10. That's nice. Then I'm gonna pan around Now, be careful when you're panning around, not accidentally scroll as well, because that will change your scale. And just check that we're still 1 to 10. Good. And then we can come down to the next Vieux port. I'm gonna activate it, and I'm gonna pan across to a typical window and again here. We've got some layers that we don't want. I don't want the dimensions showing up here. Okay, so we turned the dimensions off and I don't want the electrical. Okay, Fantastic. And I don't want the heating good so I can click back into the gray. And then again, we're going to decide on a scale. No, I'm gonna keep it the same scale as the detail above 1 to 10. Now, what I can see is that I'm gonna be a bit pressurized on the amount of space that I've got inside my view port. So I'm gonna come outside of my view port, double click into the gray. I'm going to squeeze down the size of this few, poor just so that I keep in my dimensions. And I've created a bit more space back to this few port where I need the extra space. I can pull it out Now. I've got a bit more space. I'm going to double click in here and pan. So I've pushed my window up. I'm gonna come out back into grey and double click click onto my view port and pick up a corner aunt, squeeze it up. So I'm only using the absolute barest minimum but my real estate within the A one layout and then escaped twice. It's just check that this few port is still at 1 to 10. Me, that is my scale. And there's my 1 to 10. So that's good. Escape escape. So there we are. We've created a completely new layout in order for us to issue this particular drawing to Theo the window and door suppliers so that they can see exactly where the windows the doors are going to go. We've manipulated the layers so that we've got a clean drawing and everybody can see precisely what's going on. So good, well done. And of course, it doesn't matter how Maney layouts you choose toe, have you can I've seen drawings where there's 10 15 layouts along here, all for different purposes, and that means that they can will have different paper sizes. They can have a different view ports, and they can have different scales on different layers turned on and off. So it's really flexible, and it goes along with that, saying that we repeated to ourselves a number of times during the earlier videos. Never draw the same thing twice 69. Viewport Scale: So welcome to video number 66 on this is all about Vieux Port scale. If you'd like to open up your drawing number 66 we can work along side each other. Um OK, so if you've got that open now, I want you to come over to our paper space. So come over to the layout tab here on the left hand side and click on it, and this brings us into paper space. You'll recognize this now, and here's some view ports that we need to sort out. So we've got three view ports on DA. We've got specific details in each one. So here we are. We're going to have a look in the one on the right hand side. First of all, I'm going to select the outside edges that you can see which one I'm looking at. And I want to make sure that I've got my overall layout for my kitchen and my dimensions visible in this particular lout on. I want it at a scale I can use easily. Now, of course, I can zoom in and out of paper space, but if I've activated the View port I consumed in and out off my view port. So I'm gonna double click into my view port and you can see that I can now zoom in and zoom out off the view port Over on the right hand side, we have a series of buttons and whilst we've got this view port selected and active, we have some few ports scales that we can choose from here. But I'm going to choose 1 to 20 on 1 20 is a reasonable size for me, and I'm also going to choose to pan around within this few port. Now, here's a word of warning. You gotta be a bit careful when you're panning around. You can see that What I've chosen to do is I've chosen to use the pan facility aside instead of using the middle button on my mouse because the middle button is also scroll, which would actually ruin the scale that you've chosen, even if you're panning around and you think that you've come back to approximately the right scale, have a look down here and you'll see we've lost our 1 to 20 scale. So if I read, select my 1 20 scale and I only use this pan. Yeah. When I'm panning around, I don't lose the scale. So I could just adjust this until it looks good, right? Click exit and then double click into the gray. So I've kept my 1 to 20. Now, let's have a look at the island unit down here. I'm gonna want my island unit, and I can zoom in and zoom out off paper space. But then I've got to be careful. I want to zoom in and zoom out of my few port so I'm gonna double click into it. You can see that it's active now, and I can zoom around and I can pan and get approximately what I want to see in my few port . But then I need to check out the scale that I'm gonna be using. So let's see if 1 to 10 is going to work for this island, you know? So that's pretty good. I'm happy with that. I'm going to use my pan just to make sure I've got precisely the island unit that I want. I'm gonna bring it down a little bit here on just There we go. That's what I want to show right? Click to come out of pan and then double click into the gray. Okay, so that's too few ports set up without scales. Now we're going to have a look at the third Vieux Port. Now here. I want to be showing some detail around the reveal of the window, and I want to come in a little bit closer. So I'm gonna activate my view port. That's double click, and I'm gonna come in to my window reveal now I'm not sure what scale is going to be suitable for this. So I'm going toe, have a little look, and I'm going to see he's 1 to 2 suitable. Wow, that's fantastic. And I'm going to use my pan command just to make sure that I've got exactly what I want to show and exit. Now the reason I have zoomed into my window reveal is to show the construction off the external leaf and the internal leaf and the window because I've got some layers which I want to turn on. Now you'll remember perhaps, from my earlier discussion that interview port. Your layers are independent of each few port, so let's have a look at how we can easily turn those on. Whilst we've got this few port active, we're going to come to our pull down list and we're gonna have a look down for our insulation land, which is frozen at the moment which I can turn on and my hatching layer, which Aiken turn on Good click into the great. Close that down and you can now see the extra detail, which makes much more of the detail overall. So you can see we've got the brickwork hatching. We've got the block work hatching on. We've got our special insulation at the side of the window to stop the cold bridging in that place. Okay, so there we've got that turned on and you can see in my other view, port that it's now appeared as well. And of course, I don't want that toe appear here. So I'm gonna go back to my other other view port. And in this few pool, I'm gonna come down to where I've got my hatching. And then we are I've taken off the hatching and the situation so are to view ports have got the same data, but we've manipulated what we can see by turning off layers and therefore both information . Both a few ports show different information pertinent to the scale. So back in this'll pupil in the top left hand corner. You'll see I've got some electrical information here which I don't want in this pupil. And it's on layer elect go to so I can go to a lair electro too. And on this button freezing Thorin current view port, I can click on that. And I also know that I've got some over detail which I want to freeze off. There we go. So now we've got a nice, neat, clean and tidy Vieux port. So if I double click into the gray and then I do a zoom extents we are, I've set up the view port scales and we've got all that neat and tidy. Now I'm just going to click onto this detail here on show you down here, the View Port scale. We've got a number of scales all down here, and of course, there's quite a lot of choice. But if there happen to be a scale that you couldn't find right at the bottom of this list, you've got the ire, the option off customizing the list so you could add in your own custom scale. And then it would appear up here and then you could obviously change your few port to accustom scale. Good. So I'm going to escape twice. That's all nice and neat and clean and tidy. And I'm gonna save my during on. I'll see you in the next video. 70. Viewport Layers: This is video number 67 all about Vieux Port Layers Onda. I know that we've talked briefly about Vieux port layers on how you can switch them on and off in different view ports. So that's a really fantastic concept. And that means that you can have two different few ports that show exactly the same thing with different information. Now that's important when you want to just hide stuff. Eso that you're not confusing. Ah, particular drawing. And ah, of course, that makes the flexibility of your layouts even more impressive. But I want to show you something in model space and then compare it to paper space. So I'm gonna come over to our model space here, and we're gonna type in L A for layers Press center. Now, you might be familiar with this, so I'm just gonna open up so you can see it. Okay, This is our standard layer properties manager, where we can turn things on and off and freeze and thaw my preferences for freeze and thaw . We've got locking and plotting on color online tarp, etcetera. Now that's fantastic. But you'll notice a difference when we go into paper space. So Let's close this down and we'll go back into paper space. So when we're in paper space when we type in the L A for layer, you'll notice that we've got a whole bunch of extra columns in here, which might seem a bit surprising, but it's because you can do mawr inside paper space. And if I open up some of these you can see there's two columns for color, one column for the standard color in your drawing and another one for colors within your view port. We've also got the ability toe lock, which you know about, but here we've got the ability to frieze within the view port. All right, so that's great. And you can see all of these different columns can be expanded so that you can read the heading a little bit better a little bit further on. If you see any of these columns that start off VP, That's because you can change the line type in this instance in the few port, so that makes your view ports even more flexible. So we've got different line types, different line weights, and here we've got the ability to change the transparency and of course, here. Plot style. If you happen to be using named plot styles now, just for the moment we're using color dependent plot styles. So that's just not something we need to worry about right now. So if I close this layer dialog box down now that you can appreciate a little bit more, let's go into one of our view ports here. Okay, we're gonna double click to make it active, and then you'll see that from this view port drop down list of layers. This third column is the button that you used to turn on and off your view port layers. So if I find Hatch and the third button in, I can turn off the hatching in my overall. But of course I've kept it in my detail, so that's fantastic. And if I come across now to this view port and double click, I've got some lines, which I just don't need. I've got some hatching here, which I want to keep, but I've got some dimension lines, which I don't. So within this few poor, I can go to my dimensions and choose the Third column and turn off my dimensions, which makes things a lot easier now. I've got some text here that you can see and if I click on to it, you can see here is called text 60 and I want to hide that in this view port so I can come down here, find it and hide it in this view port. But of course, it's still available for me in my main layout. So the way in which you think about layers now has to be expanded. So have a think about how the layers work in model space. Have a think about how they might work in paper space and have a think about each separate detail that you might be incorporating into paper space so that you've got some extra layers that you can turn on or off and freeze and thaw to make your details even mawr clear . Oh, our communicative off, whatever it is that you're trying to express in that particular view port. Okay, so that's something to get your head round. And now that you know that the layer dialog box changes just because you're in papers face , it means there's more to play with 71. Text in Paper Space: Well, Hello. This is video number 68. This is called Text in Paper Space. So up to now, all of our drawings have shown text in model space on DA. The only text in paper space has bean in the title block. But I want to expand their thinking about that on. We're going to discuss using text, actually, in paper space instead off using it in model space. Now, why would we not use it in model space? Well, here we are. We've got some text that we can read, and it says, uh, the room uses, like, reception on conference room. And we've also got the key up in the top right hand corner, which is fine. It's readable. But of course, you could also say it's not the same scale. Okay, The size of the text is varying. And of course, if you have different size few ports, your text will get bigger and smaller dependent upon the scale of the view port. So perhaps to make your drawing look neat and tidy and consistent, you don't want to use your text inside model space. So let's have a look. Turning that off. Okay, I'm gonna come over to my model space tab. I'm gonna click on some text and you can see it's on text. Six stopped. Zero. So I'm gonna open up this panel and I'm gonna freeze it. There we go. We've got rid off the text that we don't want to read. And we're going to say, here this paper space title, we can delete that we want text that is basically going to be the same size inside paper space for our titling on their headings. Okay, so let's go over to paper space. Let's open up the layer dialogue box, which is l a enter and we're gonna make a brand new layer just for paper space. Okay, so here's our make new layer button, and it's gonna be called text t a x t space ps for papers, face, and we're going to choose a color which is going to be suitable for printing out in paper space. Okay, so I'm gonna click here, and I'm going to choose my pen size, and so it's gonna be color number three. I'm gonna say OK to that. And down at the side here, I want to make it the current layer that I'm gonna be printing onto or typing onto. So I'm going to double click her down here to move this green tick. I've also got a button up here which is also called Current Layer that I could use set current layer and you can see written up the top here, current layer text ps Good. So we've got all that set up. I'm gonna close down my layers dialog box and check up here and it says I'm on current layer text papers face. Okay, so now I'm going to start my single line text command, and I'm gonna type in d T. I'm gonna stop some text to go into my paper space. So I've click here to justify my text. And then the command line says, Could you specify the height? Now, this is going to be the rial height that the text prince out at. So, for instance, around about five millimeters high would be good for this and then asks for the rotation. Have zero, and I'm going to give this particular drawing a title office layout. So that's office layout. I know. I'm going to do a hyphen scale. One 2 30 that a one into enter. So let's have a little look at that office layout scale 12 30 at a one. So it's important for a drawing like this for us to be able to say what scaled this particular drawing is if printed at a one. And, of course, this particular Vieux port has its own scale. So looking at the overall size of the text in relationship to the drawing, I'd like to change the height from five that toe eight just to make it a little bit bigger . So I'm now going to copy this around. Okay, so I'm going to pan a little bit further, and I'm gonna copy the office layout over to my staircase lout on, edit the text. So I'm gonna type in copy, pick up the office layout, text click for base point, and then I can move it here. Now, you'll notice that I'm actually overlaying the View port. And of course, it doesn't matter in paper space. If I place my text over the top of the view port and I can then select this on double click and change the contents of the text which is going to say a two way lighting detail to way pointing detail. Hyphen scale. 1 to 16 at how you won. Okay, so there we go. And escape escape If I assume away, you can see now that we're all ready to start transferring this text elsewhere. So I'm going to use my copy command and pick up the text from office layout, and I'm gonna pop it up here. This is going to say key, and I'm willing select this text and key two symbols with that. So the drawings looking quite consistent because of the size of the text. So I'm now going to use the same idea for the room uses, so I'm gonna do copy last So that CEO enter l enter. Enter. I'm gonna pick up the last thing we drew, which was key to symbols. I'm gonna pop that down here in my circulation area. I'm gonna pop it down in my conference room. I'm gonna pop it down in reception, and I'm gonna pop it down over here in my a circulation area as well. Good. So now if I zoom in, I can just double click and time reception. This one's conference room is now, uh, is the reception is my circulation Do that I have here is well, okay, Fantastic. So now when we look are drawing, we can see that there's a lot of consistency on our text on we've got that We've achieved the consistency by making sure that our text is in paper space. Okay, so have a little play with that idea. See what else you can do? See if there's something else that you want toe add to the drawing and you can see that this then gives an overall feeling an impression to the way in which the drawing is styled to make it look neat and tidy. 72. Dimensions in Paper Space: Hi. This is video number 69 uh, all about dimensions in paper space. So welcome. And if you watch the previous video that we did text in paper space, then you'll realize a little bit about what we're going to talk about here the size of our text. It was different for the few ports as you change the view port scale. And that's true for our dimensions as well. So, in the different few ports, uh, dimensions are at different sizes. So if you've got your drawing number 69 let's get it open on. We can work together and resolve this situation. Now. The big thing here is that you can do dimensions in paper space on top off your few ports. So that's the concept. And first of all, we have to go back to model space. Here's our dimensions that we've got at the moment. We don't want to see them in have you ports now. So we're going to go to our pull down menu, find our dimensions layer and a global turn off. Okay, so I have dimensions have now gone. We're gonna type in l. A and make a specific layer just for paper space. So here we are, creating new layer. So this is gonna be dims space PS. Okay, I'm gonna choose my pen. I still want this to be printing out in a very thin pen, so I'm gonna choose index color number one that okay, and I'm gonna make it the current layer on double click here. Good. So when we've got ourselves sorted, I'm going to close this down and switch over to paper space. I need to set my dim style up in order for my dimensions to be the right size. So dim style. And, uh, and at the moment we've got on ice 0 30 that we're using in the drawings, I'm gonna edit my eyes. So 25 with a new version. So I'm gonna call this. Ah, S O P. S okay. It's that we are. I say P s continue, and the first thing I'm gonna do is I'm gonna change the overall scale. Okay, so here we go. Over. Well, scale off one. Then we're gonna come back and see how high the text is. The text is 2.5 millimeters high, so that's great. And the symbols arrows 2.5 millimeters. Okay, good. Let's set that to the current dimension style. So click on the button, set current and then close this down. Now I'm going to start my linear dimension button up here. There we go. That's the linear dimension. And I'm going to start by clicking here from left to right and place my dimension off the top here now on video. Of course, it might not look as if it's very big, and you might think, Well, that's a bit small. But for this piece of paper in relationship to the size of the screen you're watching this on. It's perfectly right because we've already checked in our dimension style that we're putting this in a scale of 1 to 1. On the height of that text is 2.5 millimeters Good, and you can see it's got the correct scale because the View port is set to this correct scale, and AutoCAD understands the scale of the view port. So we're gonna work around the corner here, and we're gonna put this wall in, which is five meters, and that's perfect. And we're gonna put an internal dimension in for our kitchen so linear. And we're gonna find the internal dimension here from the left hand side, across to the right hand side. I'm gonna put that in place here on same away. Now, these are the major dimensions that I want to show in my layout. So I can then move across to my island unit again. I'm gonna use linear dimensions, and I'm gonna pick up this bit. Here, pop that down there. I'm gonna continue with linear dimensions and start where I left off. Come over to my quadrant and line up with my existing dimension here. Just make sure the arrows lineup good, Seiken. Zoom in and zoom out whilst I'm doing my dimensions with my mouse. My center button. I want to put a radius. Want to hear? Okay. And so I'm just gonna bring my radius here. That's great. And I'm gonna do that dimension at the side here, linear dimension. So we're getting lots of information now as to precisely how this island unit works in the dimensions behind it. The countertops 600 it sticks out 1600 and the overall size is 1400 confirmed by the radius of 700. And there's a dotted line here to show a pedestal. So I'm going to zoom in there. I'm gonna do a radius on the pedestal as well. I'm just gonna make sure that fits in there as well. Good. Excellent. So we're getting a lot of consistency now with add dimensions. And now I'm going to zoom into my detail. This is my window detail where I've got my installation. My brickwork. Onda, This installation is to stop the cold bridging now, Before, when I had my dimensions in model space, they were so large that I could never have put any dimensions around this section. But now that I've got my dimensions in paper space, then I can actually dimension up this whole detail. Yeah, when I can add in any of the finer detail I want to put in here and it gives me a consistency that of course I couldn't have achieved before. Now there's only one word of warning here. When you're putting your dimensions in, don't try and put them inside the view port. Put them in paper space. Okay, on when you're working on top of your few ports, don't accidentally double click because that opens up the view port. But now, if we have a look at our drawing, we can see that all of our dimensions are completely consistent, and it gives the drawing a much nicer look. It's a more professional look, sir, if your are happy with the idea, we'll see you in the next video. 73. Title Block in Paper Space: This is video number 70 title block in paper space. And if you want work with May, I'd open the drawing that you've got number 70 and you can work alongside me here. Okay, So what we have here in Model Space is a full size or riel size piece of paper off a three . And we've drawn the A three size from external corner to external corner. So if we were to just check the dimensions on this, we can measure using the measuring tool. And from this corner, we've got the endpoint to endpoint. And that's 420. And the height we've got 297 okay and escape on that. So that's a piece off overall, a three paper. And of course, you've got to make sure that the tick boxes that you've got there at the end of the corners are precisely the same size as your piece of paper that cost. That's going to help set up everything. It's gonna position it on the paper. Andi, In paper space. When we use page set up manager, it helps us with using the extents of our drawing in order to determine exactly where Prints on the piece of paper. So including those little ticks at the corners. Very important. Well, then we've set up a margin. No, this is a 10 millimeter margin, so that's okay. You can set up whatever margin you like. And if I zoom in here, you can see I've also set up a little title block. This is copied from on auto cad title block, which they supply with their templates that you don't have to use their auto cad title block. But it could be useful on DA You can save out there title block by selecting it and typing in W block and then saving it somewhere on your hard drive. Okay, so now that we've got ourselves now title block on, we've made it into a block just by using the block command, just like we've done on previous videos, which is B L o c k. Enter a new select all of the bits and remember toe have an insertion point. Now, in this case, the insertion point is down here. And if I click on to it once, the blue grip down in this corner shows us precisely where the insertion point is Okay, so I'm going to press escape on that and we're going to switch over now to paper space. So in paper space, we're going to come down into the bottom right hand corner, and we're going to create a brand new layout using the plus button. And that creates this new layout here, which at the moment is just called loud number two. And it's the wrong size and it hasn't got the details in. And so we've got to Now make sure that it's exactly right for our piece of paper. So we're going to go into the tab on right click and choose Page set up manager, an inside page set up manager. We're going to modify this layout, and we're gonna put into the page, set up all of the details that we need. So I'm going to use my AutoCAD high quality. Pdf on my paper size. I'm gonna change that a three. But I'm going to use the ice. So full bleed version it is. Look for the one that starts off for 20. That gives me my some nail Here. Here's my size on my principal area and then I can decide what I'm gonna be printing. So I'm gonna be printing for the moment my layout until I've put in my title block. And then my origins will change because of other details I'm gonna be putting in. I don't have to alter anything else just for the moment, because I'm gonna come back to this and I'm gonna click. Okay, close this down. And the paper space appears to have changed a little bit. It's no obvious exactly what's going on, because, of course, there's nothing of a really size inside paper space that's going to give us an idea as to how big paper space really is. So I'm going to use my insert command now. I for insert is my speed key, and I'm gonna find the block that we made earlier. Which was I? So a three title block? That's the a three title block that we had in model space. When we're gonna insert into paper space Now I'm going toe untech the rotation and I'm gonna untech the insertion point because I'm going to use 000 as my insertion point. So when it comes into paper space, it's going to come in at the origin I'm gonna click on. OK, and here's my Ah, title block. Now, I'm just going to check the current layer on. I'm gonna switch that over 20 I'm gonna select my title block and make sure that that title block goes on to my layer title block. Okay, I know that sounds obvious, but I'm just going through the different bits and bobs that we need to make sure everything's all nice and tidy. Now some of you may say, Well, hang on a second. My paper, My white paper doesn't line up with my title block at the moment, and that is a possibility that can happen. Uh, but what we're worried about now is making sure that the page manager, I can recognize the extents off our piece of paper. So come with me to the layout, right? Click and click on page, set up manager and modify. Because rather than just using the layout down here, here's the pages set up. So rather than just using this option, Lau, I'm going to use extents and I'm going to tick center the plot Now. The reason I'm doing that is that I want my title block to be accurately positioned on my piece of paper so that I get on even border all the way around the outside when I print okay. And I know I'm sending to pdf. But when somebody else prints from the pdf, we want the same benefit. Check that the paper scale is still at 1 to 1. Okay, And then we're going to go to our plot star penned assignments. Now, you could easily use your STB file or you'll CTB file, and that's up to you as to which one you choose. But my recommendation is CTB okay? And make sure that the appropriate tick boxes are ticked. I'm going to use plot with transparency on a plot with plot styles and plot paper space. Last I'm going for landscape, okay, because of the piece of paper. And I'm going to say okay to that and close to that So everything looks nice and tidy now. Now I'm hoping that if you had this misalignment of your paper space with your title block , that everything is now hunky dorey, because sometimes that does happen, and it's basically setting up the limits off your printing. So that's what happened when we did the extents. Now we can do a preview to make sure everything's OK. And so we're gonna go back to page set up manager, modify and check the preview button here on when we click preview. If everything looks like it fits the piece of paper perfectly, then that's brilliant escape. To come out of that and OK to our page set up and close to our page set up manager. Now, the last thing we want to do is to organize are few port. So for me, I'm gonna make a new view port. You may already have. Ah, Vieux port in your in your drawing. But I would delete it if I were you and start a new one. I'm going to switch over onto my layer Vieux port before I draw my few poor. And I'm gonna type in M V. So that's make view. Okay? And I'm gonna draw myself of you pull that fits inside my title block. Okay, so that's good news. And then I can go ahead and change my scale on the contents on Activate my view Port, for instance. Have just reorganized what I see. Okay, good. So that's getting your title block into your paper space and making sure that it's set up with the page manager to the paper size that you want. 74. Hatching: so welcome to video number 71 all about hatching Onda. Also, cats got a fantastic routine for hatching on its bean. Updated recently on the new version of hatching is called boundary hatch. Which is why I've annotated that in the top left hand corner. So if you want to follow me along and work with me, uh, open your drawing number 71. Let's get going. So we're going to start with this new command called Boundary Hatch and there's a keyboard shortcut to get into it quickly, which is just B H. So bh for Hatch, and we're gonna press enter on the command line immediately. Says, Okay, pick on internal point. So on the left hand side here, we're going to click for our internal point. And there we are. We've found the inside of our rectangle. AutoCAD automatically looks for a boundary, and if it can see the boundary on screen, then it confined the edge of a rectangle. And we're gonna change the pattern from this list here, and I'm going to scroll up to the top of the pattern, and I'm just going to select I n s 31. Okay. And then I'm gonna change, uh, the details about that, because once we've got this in place okay, we're allowed to say that we can have a different scale. And so over here, we've got a scale. What starts off one, perhaps, is too small. Okay, But we're gonna put in a scale of 20 and that's a little bit better. Let's put in 25. There we go. So we've got our hatching in place, Onda. We can click close onto the creation method and there's a hatching. Now it's not quite the same as the example underneath, and that's because of the layer. So I'm gonna click, wants onto the hatching and come over to my properties dialog box, open up the layer option and choose hatch. And so now you can see that we've got a layer called hatch, which has got a unique blue color, which is above number 10 in the rainbow. So let's have a look at that. L a philia. Here's how Hatch layer and I've chosen the blue. That's color number 1 50 And that means that when we get to our printing out, we have the option of leaving it as that blue And so it prints out at that color. Good. So finding the rectangle was a very easy thing. Most on the autocrat immediately recognized the rectangle. But in the middle here we've got an example often unusual shape on what we need AutoCAD to do is to find the shape but also leave the islands in the middle free. So order cat does that automatically. So we're gonna type in BH just like we did before and it says pleased Pick the internal point. So I'm just gonna hold her here, man Click. So the first thing that autocrat does, as you saw last time, it's changed the ribbon on. It also uses the last pattern that you had chosen. So this pattern at the scale that you chose it. But I'm gonna come across too solid and click on that and you can see that immediately. We've updated our pattern to a solid pattern and over here I'm going to select Hatch Lab and then click on the clothes hatch Creation bun. Now, if we look at our third example, you can see that we've got some dotted lines now. Fortunately, water cat understands these lines as a boundary on. Even though there's holes in the boundary, it's going to recognize the lines as the edge as per the example below. So it doesn't matter if you've got different layers involved and talking about layers. Let's put ourselves onto layer hatch before we start the command, which means that are hatching, will go directly onto the right layer. So I'm gonna type in BH. Enter the command line says Pick internal point on. So I'm going over here and click so you can see the AutoCAD respects what's going on on it puts it straight onto the hatch layer, and it uses solid, which is fantastic. So I'm going to click onto my clothes hatch creation button and then I'm gonna zoom extent , which is said Enter E enter. And there we are. We've begun our journey into the boundary hatch Command. Now there's one extra thing that I want to show you. The hatching respects the boundary on. Therefore, if you alter the boundary, the hatching will alter toe match the boundary that you changed. So I'm going to do that with the Stretch command on our example on the left hand side. So I'm gonna issue the Stretch Command, which is s enter on. I'm gonna put a green crossing window only over the edge that I want to change. Okay, so that edge picks up the boundary and enter. I'm gonna pull it over towards the right hand side by 400 millimeters. So I'm gonna click up here in fresh air as my base point. I'm gonna keep on polar axis, and you can see already the dimensions changing, can't you? So I'm gonna type in an extra 400 millimeters and press enter. And as I do that the boundary hatching fills itself in keeping up with the changes in the boundary. 75. Hatch Patterns: So this is video number 72 hatch patterns, and we're gonna have a look at changing thebe patterns. And what sort of selection? We've got something to start off here on the left hand side and click onto my existing hatch and you can see there's a panel up here on the ribbon as it changes over to our boundary hatch details. And I can open up a list now. This is quite an extensive list of patterns, and we've got a lot that we could easily understand. We've got brickwork. Yeah, and we've got all sorts of great little patterns which might suit us Earth. I quite like That's quite a popular one as far as I'm concerned, and we've also got some crazy ones. But what possessed them to do the issue? Patton Onda. We can change the scale of that as well. It is quite nice, and some patterns Ah, at one size or scale and some patents are a different scale. So sometimes when you choose a pattern, it looks fantastic and suitable for everything you want to do. And other times when you choose a pattern, it may look a little bit odd and you wonder what it was all therefore. But anyway, we've got all sorts of different reasons for having patterns and hatching on. Of course, all of our drawings are different scales, so you can see that there's some simple hatch patterns and some more complex hatch patterns . This one here that shows stars pretty cool. That's the American influence on gassing. Now, we got some zigzags, all sorts, things. So there's loads of different patterns that you can choose from. And, ah, so you can close the hatch editor down and switch over to this other pattern that we've got in the middle. So here we can say, instead of solid, we're gonna have something a little bit more regular, and I'm gonna open up my pattern list. I'm gonna choose this. Started on dashed pattern on then. Except that with the cloak with the green tick that is to close the hatchback, we'll do one more. Okay, so over here, we're gonna pick the hatch pattern and open up. I'm gonna have a little look further down on. We've got some strange Grady INTs. Okay, so I'm gonna select this one, and you can see that this Grady in runs from yellow through to blue and then over to yellow again. Now there's a whole bunch of different choices for these ingredients, and you can also see that we've got some ideas about the colors. Eso If I click here, I don't have to have blue. I could have orange and I don't have to have yellow. I could have a green, for instance, so you can edit your hatch patterns on, uh, change the way they appear on screen. Good. So once you've got all that done, use the green tick on. I'm guessing that you're gonna want to have a little play with that, because that's really good fun. So have an experiment with changing the existing hatch patterns or starting something from fresh on, then joined May in the next video. 76. Editing Hatch Patterns: welcome to our video number 73 editing hatch patterns. Now, have you already had a play with the hatch pattern and the boundary? Ah, command. But I just wanted to bring to your attention some extra facilities that we've got within our boundary hatch command. Especially when the ribbon changes. You'll see there's lots of little nice things that you can play with. But some of the things that won't be so obvious are these examples we've got at the bottom of our drawing here, where we can alter the boundary quite a lot and get the boundary hatch toe follow. So what we're going to do here is, first of all, on the left hand side, we're going to stretch the boundary down by 200 millimeters. So we're gonna issue the stretch command, which is a short cut s, and I'm gonna grab the edge of my boundary with a green crossing window. You'll notice that can't be a blue window. It's gonna be a green crossing window. Press enter, grab something in fresh air and start to move it down, and I'm gonna type in 200. Okay, there we go. We've skewed air boundary and the hatch has followed the boundary. So let's have a look at the middle example. We've moved the internal boundaries. Okay, we've moved the island's AutoCAD thinks of thes internal shapes as islands, and we can move them around on the hatch will follow. So let's have a look at this. It's look at this circle in the middle. I'm going to select it. Type in M enter for move. I'm gonna grab the three oclock position with the quadrant and moved over to match up with the three oclock position on this one. When you can see the fill extends across. Now, what about this section in the middle? I'm going to do a move on that M inter. I'm going to use a blue window all the way around because there's three are two or three elements within that, uh, and enter, I'm gonna grab the midpoint here on moving over to the midpoint so you can see we've drastically changed the shape of the position of the islands. Eso boundary is still following on dumb. Then the contents. I can click on that and you can see that these hatch lines of pointing in the opposite direction And so I've got an angle up here which I can change on the ribbon. And I'm gonna type in 90 degrees to switch that around and use the green tick to accept. Okay? And on the third example, not only if we change the size of the internal island, but you can see that they're hatching is now transparent. So let's get on with that as well. We're going to use the stretch command with a green crossing window over only this end of the internal island. I'm gonna show you the green crossing window again. That we are Anto, pick something up in fresh air and we're gonna bring this back now by, uh, 400 every day. Now, let's have a look at the transparency issue. If I click on to the hatching up here on the top of the ribbon, you've got hatch transparency, and you can change how much you can see through the hatch. Transparency and I have typed in 65% here, Hammond, use the green tick box to accept. So of course, you can have a solid Phil, which is quite useful under transparency, to reveal whatever might be behind Andi That's a fantastic way of using the boundary hatch command. Okay, so I'm sure you're dying to have a little play with this. So have a go. Make some extra changes yourself, maybe draw some extra shapes over here and fill them up and see how you get on. 77. Boundary Command: Okay, welcome to video number 74 which is all about drawing boundaries. What? A cat has a fantastic command called boundary which allows AutoCAD to find the boundary or the internal edge and create a poly line. Uh, even around the most complicated of shapes. And I'm gonna show you how that works. We are currently on layer outlined, so anything we do is gonna turn out to be bright yellow. And we're gonna work on the example we've got on the left hand side here of the bottom on. We're just gonna type in B o. Theo is a short cut for boundary. And, uh, Andi, this little box here says, Can you pick points? We've got island detection turned on on. We're going to be creating Upali line. Okay, so I'm gonna click OK and click inside presente, and you can see from the yellow line that we've immediately got a poly line that goes around the inside edge of our boundary and just so you can see that more clearly, I'm going to copy that. So I'm typing CEO, enter L and to enter that's copy. Last click in the fresh air and I'm gonna bring that shape out so you can see it. So it found the internal boundaries based on the outline that we had and produced a poly line. So there we are gonna hover across that on the poly line was drawn on the current layer, which is currently outline. Now that is interesting in itself. But that's not the point of the exercise. We're going to raise that Polly line. It's this shape here that we're interested in, and I'm going to zoom in here and you can see this is a much more complicated shape. But I haven't had to spend an enormous amount of time editing. I've just put some shapes in to construct the whole overall shape of the object. And I'm gonna use my boundary command B o. Here's the dialog box. I'm gonna choose pick points and click here in the middle and press enter. Now, this is where it gets interesting because we're going to do a copy last on this copy. Enter last enter. Enter. My base point is in fresh air, and I can pick this object up and enter to finish. So we're almost there because it's a poly line. The external cross section has a sickness of four millimeters. So we're going to do an offset on this outline of four millimeters that, oh, enter four and, uh, click onto the poly line and pull inside and click on entered to finish. So there you go. One really complicated shape very quickly, very easily using the boundary command. 78. Xline Command: So this video is number 75. And it's all about the special command called Exline Onda. Uh, I'd like you to work along with me. So if you have the drawing handy, number 75 if you want to open that up and we can work on this together great. So we've done ordinary lines. We've done poly lines, but this is a new type of line on Exline on the X Line appears to go on forever. So if we were to zoom away, you can see that no matter how far we zoom away, the X line continues to the edge of the screen. So that's to a zoom extents on. Get back to where we were. Okay, so we'll do said enter E, Enter Onda Region. Okay, now the X line doesn't effect zoom extents because, in fact, what's actually happening, Although we think of it as going on forever, What's really happening is that the line is being drawn to the edge of the current few port . Okay, so if we can actually see it to the top of the bottom, that's how far the line goes. And if we zoom in a little bit then it stops a little bit earlier, and if we zoom away, then it extends to the edge of our screen. Okay, but it's a brilliant way off setting up construction lines of grid lines. So, for instance, if this was a building project and it needed the grid lines for your steel work or you have some other requirement for laying out some lines that are going to be there for it to help you positioning, then the X lion is a fantastic tool, and it's easy enough to draw. So all you need to do is to start the command, which is Exline. And as you can see from the screen now, the shortcut for that is X l. We can start somewhere over here on the right hand side and click, and if we pull straight down, keep on polar. We've now got ourselves vertical Exline, and if we push around and snap to Pola, we've now got a horizontal line, and if we then push halfway around and we can give a notional lengths, not that it matters. 100 tab, 45 enter and to finish the last one was drawn up 45 degrees 79. Ray: This is video number 76 on all about Doering Raise. Now, we've just finished a video all about drawing the X line, and these lines on screen at the moment are all ex lines. So if you want to open up drawing number 76 join me on this, let's work on this together, Okay? So let's just check out what type of line we've got here. I'm gonna select it and look in my properties dialog box on right at the top. It tells me that I haven't Exline. Well, that's good news, because that's what I was expecting. But half on Exline is array. In other words, we can cut off the X line somewhere on screen and the half that's left is called a ray. Let's try and do that. We're gonna use trim tr enter. I'm gonna choose this line. That's my boundary press centre and I'm going to get rid of this half off the line escaped finish on. When I select this lineup here that's being cut. You can see in the properties that AutoCAD tells us that this is a ray now just in the same way as the X line goes on forever or appears to go on forever. So does the ray. So we're doing escape on that zoom extents So that said and, uh, e enter zoom extents on those large crosses are just points in space. So we're gonna type in region r e g e n to regenerate the database and the points resize themselves and we're back to where we started. So let's have a go at trimming some of the other, um, X lines that we've got here so we can do tr into intern That gives us an automatic trim, and you can see that we can cut here space bar. And if I select this line, the bottom it's a ray escape. I select this one at the top. That's also array. So fantastic we've got a marvelous method of converting ex lines into raise. You can draw them from scratch as well, if you want to. So I'm going to draw a line here, which is array. So the command is our a why and, uh, and I can start anywhere alike, but I'm going to start right in the middle of the screen and click, and you can see this raise now following me around so I can put one in horizontally. I can put one in vertically and if I want one at 45 degrees, I can type in a length 100 tab 45 enter and enter to finish. So there we are. Select that one. You see, it's the ray. All right. Why now? What happens when we take ex lines or raise and we chop them off on the other side? Well, they become ordinary standard lines. So let's have a go testing this theory out. I'm going to use my trim command and I'm going to select two boundaries. So that's TR enter and then I can select these two boundaries and press enter. And now if I cut this one off, I've created a ray here. But if I cut it off this side as well, then I've created on ordinary line. And if I select it on I go to my properties dialog box. You can see that that's true. Okay, so a really fantastic extra facility there on brilliant for helping with construction on setting things out and very flexible on very easy to use 80. Templates: welcome to video number 77 about templates. We have a drawing that you can open and work alongside with us number 77. So if you'd like to do that, them will get going. Okay, Templates. Well, templates are a fantastic addition. Toe water, cad. And what I can tell you is this that templates Consejo view a lot of time. The more complicated you make your drawings, the more valuable templates are going to pay. Now, we've been working on a number of drawings, haven't we? Over the last few videos and you'll recognize this as being at office Lamb. Andi, we've done a number of things. We've created blocks, we've created layers, and we've created dimension styles. We've changed our units, and we've done all sorts of things to get our drawing into shape. Now, what if you didn't have to do all of that preparation work every time you start a new during. Well, of course, we know that auto cad provide us with our own templates, templates where we can start knowing what we're going to get. In other words, the template that we were using often was the eso template that allowed us to work in millimeters so that we knew what we were gonna get. And C t b in other words, the color dependent tables that we need for our plotting later on. And in this drawing, of course, not only have we done our drawing on we've attached are symbols, but we've created a little key to explain what's happening here on that key might be useful for future drawings. So this is the idea. What we're gonna do now is we're gonna use all of the good stuff in this drawing. So let's have a little look at some of the good stuff that we've already got. If we type in units we get, we can see that we've got our three decimal places set two millimeters. Great. If we type in layoff, we've got a whole bunch of existing layers all sorted out with our own protocol with our own color. The View port layer doesn't print on all of the other nice little things that we want. If we type in dim style, we've got our own dim styles already set up and ready to go. If we type in style S t Y l e, we've got our textiles already set up and ready to go and so much more. So you can imagine now that this is an ideal candidate for making a template. Let's have a look inside paper space. We've got a one paper space. Lau already sorted out with the title block. So let's put that into the title of our tab. We're gonna rename the tab a one layout. What about lab number two? Okay, well, this is our standard a three layout, so we can put rename a three lamp. So the more detail you have, the more you can tweak the detail And to make sure you've got exactly what you want in your template. Now I'm going to do a file save as here. And when I do my file save as you can see, that I've got a save as drawing template. That's what I'm gonna do. Save as drawing template. It goes straight into my folder called Template, and I'm going to give this a unique and special name. Okay, because this has got a one and a three minute. I'm gonna call this standard drawing a one hyphen a three c t b. So I know I'm using the color dependent tables. Okay. And space. Mm. So I know I'm using millimeters. I'm gonna click, save, and it's going to go into my template folder. And I've got a little description here. I'm gonna put training template, so I know what it waas. And I'm gonna put millimeters and see TV in there as well. Just make sure got spelling, right, and okay to that. So we've got a template here inside, drawing template on. The thing that I don't want is I don't need the actual drawing itself. I'm going to put a green crossing window over that. Delete it. I don't need this bit. That says template. But I do want to keep my key for the use later on, okay? And I'm just gonna move that key in tow slightly more handy position. Okay, Just down here. Fantastic. Now, when I want my drawing toe open, I wanted to open so I can see the majority of my drawing. But I also want to see that I've got a key handy as well. So where you leave it is where it opens. So I'm gonna leave it at this point, and I've already got it named dwt. So up here, I'm gonna do file save. And this is going back into my template folder. I'm gonna make sure it says that it's a drawing template, right? There's my templates. Search out my name. Standard drawing a one template and save. OK, Do you want to replace it? Yes, of course. Okay, so there we are. We've made our template, and we're gonna test to see if it's gonna wear. I'm gonna close the drawing down here. I'm gonna close down my office, lout, and I'm gonna come back to my start menu. Now What I want to do is I want to find my template here. So I'm gonna open up my templates folder, Have a look down for standard drawing a one template on there it is fantastic. Click on it. And there we are. It opens where we left it and it's got all bits inside that we left. So it's got all of our layers. It's called all of our set up. It's got a dim styles at everything. Now I can't underline the importance of a template. Let's say that it could possibly save you half a now for every drawing that you make, and in a year you might draw 200 drawings. Let's say, Well, with my mathematics, that means that's 100 hours a year that I could save myself just because I had a good quality template. That's like going on holiday for a fortnight, isn't it? So practice your template, develop something really useful and save yourself two weeks in the sun, see in the next video. 81. Revision Cloud: Well, this is video number 78. Revision clouds. So if you'd like to open up your drawing number 78 we can work on this together. So the premise is this that we need to be able to mark up a drawing on, let somebody else know about some revisions to bring those revisions to their attention. It's all very well being out. Put a note in the margin says, or a revision a issued on June the 21st. But sometimes we need to bring other people's attention to those specific revisions. Okay, so not only can you draw the revision, but if you want to, you can put the revision cloud onto its own layer. So let's just type in l. A. And we're going toe. Add a brand new Larrin here. I'm gonna call that R a V cloud. I'm gonna give it a unique color. No, it's not because I'm expecting it to print out in black and white, so I'm going to grab our color from this end, okay? And I want it to be obviously different to the standard magenta. Okay, I'm gonna make it the current layer by double clicking here on the left hand side of the name on the layer. Okay? And I'm gonna close down the dark box now we're all ready to go, So we're gonna type in this new command, which is R E v C L U D No rev Cloud Now, first of all, if you imagine you're going to be drawing a rectangle and all you gotta do is put a rectangle around the object that you're going to bring to somebody else's attention. So it's two clicks, one for each corner, and we've got ourselves a little revision cloud. You can also do a free hand revision cloud. So we're gonna repeat that command and you'll see one of the options here is free hand. So that's the option. I'm gonna choose by f enter. And that means that whatever I draw now be a free hand revision cloud. So I'm gonna choose my point on screen and start to draw. Sometimes I come back to the beginning. Everything's hunky dorey. Now that in itself is pretty amazing. But what if we want tohave some style on this? There are two styles We can have the plane style that we can see or we can have a calligraphy style. So let's have a look at that. We're going to repeat the same command on one of the other options here is style. So s enter, and we're gonna choose calligraphy. And then freehand on. This time when we troll our revision cloud, you concede that it's got a a feel of a calligraphy pen. I'm just gonna zoom in on that and you can see a little bit better the style that's we've we've invoked. Okay, Now we can also turn other objects into revision clouds. For instance, a classic one is a circle. So I'm gonna draw a circle. I'm gonna pop the circle round an area that I want to bring to somebody's attention And then I'm gonna type in Rev. Cloud Rev. C is enough. Enter on, Then over object. Click onto the circle and immediately that's converted into my revision cloud so you can see how powerful the revision cloud is. It's a really important part off the whole drawing process to be able to bring somebody else's attention to something that needs approval or that they need to know you've changed . So have a play with revision Cloud on, Then join me in the next video 82. Wipeout: welcome to video number 79. Wipe out. Okay, An appropriate name for drawing with a guitar in it on part of this drawing has been hidden by the command wipe out, and it's intended to obscure part of the drawing at print time so you can print out drawings with information that has been held back. Of course you can if you want to have layers to turn off. But obviously a multilayered that drawing you want might want to show various parts of the drawing, but not all of it. And why power helps you to achieve that. So, as I say in part of this drawing, there's bean, some of the drawing obscured. And sometimes you can find out what that is by doing a pan and a zoom so you can see suddenly that here there's something being obscured by wipe out, and we're gonna find out how to reveal that. So we're gonna type in a special system variable, and that system variable is the wipe out frame, and we're gonna type in W I p E. And as we do that we get two options on one of those is wipe out frame with wipe out frame . You've got a choice of either zero or one. And so we're gonna type in one to reveal the frame. And there we go. That's where our why power is. And that's you being used to reveal the title book. Now, of course, we want to do a wipe out for ourselves. So we're going to issue the wipe out command and we're going to hide the head stock with the lass. Ooh, so we're gonna type in W I p e and choose from the options here we got wipe out, And as I start to put my last Sue, I've just left clicking with my mouse. I come around to the back where we are and enter that we are. We've hidden the objects, but we can still see the frame that we've used to hide the head stock. So I'm just gonna type in white out and pick out frame wipe out frame. I'm going to set the system variable to zero, and now you can't see the edge of the wipe out frame. So if you need to, you can put the wipe out frame onto its own layer so you can turn that on and off, and it will reveal what's going on. And, of course, then you can incorporate or print anything that you've drawn with wipe out Okay said it's hiding some of the detail. Okay, have some fun. Have another go at seeing if you can hide more detail in this drawing using the wipe out command on DA I'll see you in the next video. 83. F2 Data: Welcome to video 80 on This is all about extracted data using the F to function key. Onda, I've got some shapes here in this drawing. So if you want to open the drawing and follow me along, then that would be great. Growing number 80 F two data. Okay, so we're gonna use at the area command to extract some data from the poly line on the left on this Polly line on the left. Obviously has on an area in square meters and it has a perimeter. Ah, we're gonna issue the command area. I r a. And, uh, on on the command line. You can see one of the options is object. So we're gonna use that option. Click onto the poly line. Andi, the answer is down here on the command line. But if we press f two, you can see that we get ah, whole bunch of command line history. Onda. We got about 20 lines of history and the last line down the bottom Here is the answer to our question, which we can highlight and control See into memory or clipboard. And then if we want to, we can open up our multi line text on will compare the data. I'm gonna control V that into my, um, column and we can see here. If we compare, there's the perimeter on, We can just add the millimeters to that and then with the area, we've got to divide that by a 1,000,000. So that's six decimal places. And that means that we've got two meters and then we're gonna round this up so that we've got it rounded up to three decimal places. So that's 362 and that's in meters squared. So we ought to put that in em, too. Good. So you can see now the extracted data from Theo area of the rectangle on the left hand side matches perfectly the information that we've got and that means that you can extract data from almost anything. Um, let's have a little look at this circle. Here's the circle. I've selected it on in the properties. We can already see the information that we want. Okay, We can't get it out off the properties dialog box, but we can certainly issue the area command used the object option. Click onto the circle. I'm press f two. Here we are. There's the area and the circumference in millimeters control see into memory back into data here, which is part of our multi line text, and we can type in Circle Control V in the area is in square millimeters at the moment, so that's 123456 That's where that becomes square meters and then we can round that up. Okay, if we're rounding up to three decimal places, okay, that's fine. And we can then make sure that we're putting in meters squared and the circumference is a lent, obviously in millimeters. Good, Well done course. The last one is a bit more tricky. Eso this could be a boundary. For instance. We want to know the length of the boundary and let's come on close the multi line text down . This is the boundary that we've got. It's a straight line boundary. In theory, it shouldn't be too difficult, but of course, it's gonna be awkward for us to measure and add up. But we can use the area command on the object option, and here we are. The Lentz is then declared, so F two and we're going to select just the length their control see that into memory. Come back to our multi line text, start a new line control V, and we can say that Let's there is in millimeters And there we are. We've extracted the data from F two command line and we've been able to place it into a text document. Now, of course, you can also extract that data from anywhere else you like. So, for instance, if we were to say we wanted the information for purposes of calculation, we can go and pick up the area off our first shape. Yeah, that we've already determined. And that's 2.362 meters squared control. See, let's say we wanted to find a volume, and we knew that this object was also two meters high. We can go to our calculator and control fee that information into the calculator and times by two ecause 4.7 to 4. So that's the volume calculated. So it's pretty straightforward and easy is now. And if we want to close our text editor, we can take information from our drawing on place into something like note pad. So here we are. We've got note pad open and it's ready to receive the data so we can choose. We can either take it straight off off F to command line. So if we have something here, we want to highlight Andi. Put that into clipboard and we can pop that straight into note pad control V or, if we want to extract it from a multi line text double click, highlight the area that we want control scenes, memory and then back to note pad on Control V. So that's great is not. We can exchange data from one app to another, and then we can close down this and save at drawing. 84. Quick Select: So we're in video number 81 called Quick Select. And this is a handy way of making sure you can get hold off multiple items inside your drawing on De. So we're gonna get straight on with this. If you'd like to open up your drawing number 81 on you can work along with May. Okay, So place your mouse anywhere into fresh air and right click, and quick select is one of the options down here on this Donald box is the key to the whole thing. So let's read it down from the top. We're going to search the entire drawing. We're going to look for specific objects. Now, in this case, a block reference, and the properties are going to be the name of the block reference. So here we are. Here is the name. And as we come down here, this is the list of the names that we can look for, and we're gonna come from fluorescent tubes, and it says, search the entire drawing for a block reference, using the name equal to E l fluorescent tube and included in a new selection set. Okay, so there. Oh, uh, fluorescent tubes on up here in the properties. It tells us we've got block references. Brackets four, in other words, full found in the selection set. So that's brilliant. So that's quickly selected air tubes. And then we can do whatever we like with them. We could put Monta a new layer, or we could change their properties in some way. Or we could delete them or just camp. Um, just counting them is a really big issue. Good. So let's try it with something else. So let's say that we want Theo the electrical double switch socket outlets that we have on our electrical air to what we can do is we can do a double select. We're gonna do a quick select here, and we've going to select all of the blocks so entire drawing on, we're gonna select all of the block references that are on the layer equal to E L E C 02 And we're going to include those in a new selection set. Now, of course, we've got more than we want, so we can do and exclude as well. So we're going to say, Quick, select again, and we're going to say we want to get the block reference. And this time we're going to say by name and not equal to. So we're going to say exclude this search off any block reference that's not equal to the double switch socket outlet excluded from our selection set. Andi. Okay, so now we're just left with block reference seven on their all got the same name, which is hell, dear. So 13. Okay, so by doing that double selection, we've been ableto isolate that particular block with a quick, select pH up okay, doing escape. And then let's have a look at something a bit more straight forwards on the quick select. We're going to say that we want to search the entire drawing for multiple objects, everything that resides and is equal to the layer a walls so we can go include everything on a walls in a new selection set. Okay to that. Now, it's not that we want to necessarily count that, but we might want to move everything from a walls to another layer, which we can do no problem at all, which means that we've got away now of consolidating information in our drawing. Okay, Now there's hundreds of different uses for quick, select, and you might want to have a little play so you could pick up all of your dimensions, for instance on, then update the styles, all sorts of things. 85. Intro to Xrefs: So this is video number 82 and it's all about externally referenced files. Onda older cat calls this X ref. So if you like toe, open up your drawing number 82 x ref, and we'll work on this together. The camera that you can see here is an external reference file, and if we zoom into it, you can see that it's slightly grayed out in comparison to what we'd expect to see. And if we select it, you can see it's all one object. And in the Properties dialog box you can see that it tells us that this is an external reference file and ah, we can also have a look down under miscellaneous and you can see that it's got a name and that's a camera. And it has a saved pass on DA. The backslash means that it's in the same folder as the, uh, drawings that we're using here for the tutorial. Okay, on, if we come out a little bit and issue the X ref command ex riff, this command shows us all of the externally referenced files that are available. So here we go. Have a look at that. There is a camera. Okay, on the camera is loaded. Now, if when you opened up this particular file you had an error and it said can't find the camera drawing, it's because the camera drawing is no longer in the same folder as our online tutorials. Okay, so if you happen to have downloaded them somewhere else, okay, that's where they're hiding. And, of course, the X riff past can't find the camera drawing. So there's one rule. First of all, if you're going tohave the camera loaded or if you're gonna have a file loaded and your using X refs, you've got to put the files where the drawing confined the externally reference file. Here's an idea. If they're both in the same folder, then they're always gonna be able to be found. Of course, if you're working on a network and you want to reference files from different folders, then this drawing can only be on your network. Otherwise, somebody else's network won't be a to find the referenced drawing. So you might ask me what's the benefit of having an externally reference to file? Well, the benefit is this that if that file gets updated, then you get notified. And when you open up this drawing, next time you will have the very latest version of the updated file. Now, that obviously requires a certain level of management and thinking through the implications . But basically it's a fantastic way off, ensuring all of the latest information is collected together in the same drawing. So if you follow the rules, then everything gets updated properly. So here's some details. Here are the details of the camera that's being loaded. The reference name is camera two. The type Oh, X ref is an overlay, and we're gonna have a look at those later on his the path. This is where it was found and this is the saved path. Okay, now we're gonna find out how to load our own. So I'm just gonna close down this and do, um, a zoom extents, zed, enter e ente That gives us lots of space. And we're going to place an X ref in here, okay? And you're gonna do this. So first of all, we're gonna issue the Command X ref and and in the top left hand corner, we've got a picture. All the d, w, g and a little paper clip. So click on that picture and open up your online training folder on. Then we're gonna go for the office layout. This is the dialog box that we can check the details in. Uh, we're not going to scale this up all down, so we're gonna leave 1 to 1. The insertion point we're going to say is that 000 and there's two types off X ref that weaken employ on attachment or on overlay. My preferred option is an overlay. It gives us a bit more flexibility. And up here, we've got a pass. We could either have no path for the same folder a relative path for a local folder, uh, or a full path on your network. So just for this one, we're gonna say no path as this is in the same folder. We're going to save the drawings into on here. No rotation on the block units are millimeters. Okay, so if you're happy with all of that, click on the OK button. And here is our office layout closed down your ex ref. And there we are. That's the office layout that we were looking at earlier. And it's come in and we now have it as an external reference file. So if there were changes made to the office layout, then we would know it. Okay, so let's just do a file save. As so we've got this as our own file on, we can refer back to it. It's a very powerful tool, Onda. You may have to use it a lot in order, kid. We're gonna talk about this more in the next video, so I'll see you there. 86. Xref Overlay: Okay, so welcome to video number 83. We're still talking about X refs Onda at this time the overlay facility on DA How we're going to decide how we're going to use extra. It's best. So when we type in our command X ref every attached extra if you can have a choice off details, do you want it to be on overlay or an attachment? Now the difference is very subtle. On attachment means that this would be one of many drawings attached to a master drawing, and you can only attach the same drawing once. However, if you're passing information backwards and forwards between a designer and a supplier, for instance, the supplier might be adding their own detail to their ex reference file, where you send the outline to them and they send their details back to you. What that means is that you can attach their details to your drawing as an overlay, and they can attach your details to their drawing as an overlay. And that makes a really sweet arrangement, and it still means that you can email them updated information on they can send you updated information, so always my preferred type of attachment is the overlay, because if you use attach, you're pretty much locked into once only, and there's not this arrangement. We go backwards and forwards between other people to to share the data so easily. And ah, the other thing I like to do is if I am going to have a saved path. I like it to be no path as opposed to a relative path, and I'll explain the difference on that as well. So if you've got a relative path, it's always going to have a look that your network past. So if you've got it on X drive in a particular series of sub folders, that's the only place it can be for the X ref to be found. But if you say okay, I'm gonna work different system. I'm gonna make sure that my current X ray files are always in my current folder. That means that I can have old extra files sent off to a sub photo somewhere else, all right, and so long as water cad can't see that sub folder, then it's never going to open those old ex refs so you could have a system where you say right. This is my current project folder. All new stuff goes into my current project photo. All of the old stuff gets retired out of my project folder and therefore you can exchange data by email on always load the latest data into the latest project file. That means that your folder becomes the place to find the latest information. Your extra far only looks in this local folder and therefore you always open the latest data. So that's my preferred way off operating Onda. That includes this idea off overlay. Okay, so that's great. And that will close down that, and we'll talk more about layers in the next video. 87. Xref Layers: Hi. This is video number 84 X ray flares and you'll see that we've got a serious on X riffs and this is how important external reference files are. And there's some differences between ordinary layers and extra flares. So if you'd like to open up your version off drawing number 84 and we're gonna have a look at this together, Okay, I'm assuming that you're in there now and will type in L. A for layers and what I want you Tabal aka is the naming Syst system. What I'd like you to have a look at is the naming system on the left here for the office layout. Players know if I open up the name here, you'll see that all of the layers that are associated with the X ref start office layout, the name of the drawing and then the layer involved. So whilst you can still organized and turn on and off those layers, let's find the dimensions, for instance, and we're gonna freeze the dimensions and then thaw them. You can see them coming on and going off. There we go. So all of the X ray flares for the office layout all together and for the camera. All the extra flares for the camera are there as well. I'm we can freeze and thaw those as well. Okay, now we do have another layer called X ref on. What we can do is we can put the whole X ref on toothy extra flair so that we've got one layer that controls the whole thing. So if I select the X ref and I put that onto layer external reference, then we can control the whole external reference file on one layer, and we can control all of the layers within the external reference file. So if we wanted to take out the brickwork hatching, we can do that with l. A. Have a look down for the office layer hatching and frieze those out. Now, of course, there's an implication here, and the implication is that the layers for the X ref are really long. And if you have a really long file name, that will be even longer, so keep the names of your files short. If you're gonna use thumb for X reps, I don't mean, you know, unnecessarily short, but not overly long. And, uh, here we've got the details off our I T service. Okay. On the line. Eastern it. So these are the details that have bean drawn in this drawing. And if we turn off extra flair, you'll see that the only thing in this layer okay is the camera, these words and the design for the Ethernet installation. And if we turn those all back on, then it's only the external reference lab that's controlling the X riff. Okay, that's good. So you might want to study those layers a little bit more, but you can see the external reference files have their own layers and they're all bunched together by the same name off the file. That is the X ref. 88. Xref Detach: So here we are in video. Number 85 on this is X ref. Detach. So obviously the opposite off the attach X ref, and we're gonna have a look at the implications so you can attach and detach any ex refs and we've got to in this drawing, we've got the camera and we've got the office layout. Now, I want you to have a look at what happens when we detach the details. And what I'm gonna do is I'm gonna put a little rectangle temporarily around the external walls off this drawing. Okay? So I'm just gonna open up Alaia. I'm gonna choose to mention so it's red, and I'm gonna type in rectangle. Haouari. See? Start here on finish over here. So we have a red rectangle right on top of the external rules. So when we detach weaken, see the relative position off this office layout. So we're gonna type in X ref, and we're gonna select office layout. Andi, right, click and choose. Detach and then camera and right click and choose to touch. So we've lost both ex refs. The only thing that you can now see obviously is this line that we put in. Which is going to show us a relative position. We've got nothing to show us where the camera was, apart from the fact we know that it was on the right hand side of the word X ref. Now, let's have a go at checking what's left in the layer dialog box. Okay? All of the X ray flares have disappeared yet, and we're gonna make layer zero the current lamb. Okay, we're gonna go back into our X ref command and we're gonna have a go loading the camera. Okay, so we're gonna go attached. D W g. And he is the camera. During and open, we're gonna go through the details overlay scale, insertion point, relative path or no path. Okay, rotation zero block, unit millimeters. Okay, so here we can specify the insertion point on screen. Now, when we bring this in, you'll see that the camera is not exactly on top off the cursor on whilst we can put it down over here roughly. We don't know that this is precisely in the right position, but let's go and have a look. Inserting the office. Okay, here's our office loud, and we're going to go open. Check out the details. Overlay scale, no path. All the same things. But this time, where you going to use an insertion point or 000? Okay. Now, 000 means that the insertion point of this storing and the insertion point off the X ref during. I want both at zero. And therefore there is a way of unifying the two drawings. Okay, let's see what happens. Bang home. So there is unanswered to some questions. Okay, how do you ensure that your ex refs are always registered in the same position? And when you're exchanging data, how can you exchange data? Okay, if you'll know copying something within the drawing to put the location. Well, we're going to use 000 on if you always use here a zero for both drawings. Okay, then they're always gonna line up. Not so with that camera parter perfectly with our office lower. And that's the important one. Okay, so we're gonna close down this extra style of box on. What I'm gonna say is, it's worth practicing and getting your head around the idea of external reference files because they're very powerful and you'll find them a big advantage inside Auto cad 89. Printing and Plotting: Okay, welcome to video number 86 which is devoted to printing and plotting. And so we're going to assume that you've now arrived at your final drawing, which you put a lot of hard work into on. You're ready to share it with the nation. Okay, so at this point, we switch over to paper space. So that's the tab down in the bottom left hand corner that's click on my Good. Here's your paper space. And here's all of the details which you've so lovingly put together Adam and say this is ready to be shared now as a final drawing. So we're gonna type in float P l o t. You can you can type in print as well. And what could probably ask you, Do you want to continue to a single plot? She or do you want batch plot? So we're gonna choose single plot. And here is the plotting dialogue box. Now you'll recognize this as being extraordinarily similar to the page set up. And it is. Of course, it's identical. So let's just check the details that we would have already put in. So we're out putting here to ah, high quality. Pdf And of course, if you've already got your a printer loaded, then you'll be out of find a printer down in this list. Okay, We're going to stick with our high quality. Pdf here's your paper sizes that you've already chosen. Andi, I've recommended that you go extents, plot the extents of your drawing in paper space and center the plot and we can check that everything's gonna be all right With a little preview. Here's a preview. So that's looking good and escape. And then up in the top right hand corner, you've got to load your preset pen assignments. Now, of course, in one file type, this would be the STB file and the other file types. It would be the CTB file. Now I'm going to recommend that you use CTB First of all, on leave the named plot styles until later. Here is some of the options that we can choose. Plotting background means that you can choose to allow the plot toe happen whilst you're working on other things and it will obviously plot slower and just send out the plot file, uh, as and when the computer and the network can cope with it. which is fine sometimes. And sometimes you want to immediately if you want to. Immediately the whole of the machine is held up while the export happens. So whilst the drawing is being exported to a plot file, then your machine is out of out of use. Allow. These tick boxes are quite normal, so we might plot the transparent sees. We don't want to hide paper space objects and we don't want a plot stamp. And, uh, we're not saving the changes to the layout. We could We've got a button here toe apply anything that we want to this lout that we might have changed. We're going for landscape, and we're going for a scale of 1 to 1. Okay, so I'm gonna click, apply, And because we're going out to pdf, I'm going to say, Okay, this is where we're going to save out onto a hard drive. And of course, what you can do is you can have your own file or folder here, which is specifically for water cad. And I've got one here called AutoCAD plot. Pdf and I can put all of my plot p d efs in here, and I'm gonna click save. Now it's pretty quick, and at the moment you can see here is a sample. Pdf from our plot. It's all looking pretty good. So that's our plotting routine, and I would suggest you practice it two or three times, particularly to a pdf to make sure you get precisely what you want, because that's cheap and easy before you start sending it out to a printer and using up any paper. 90. Publishing: Welcome to video number 87. This is all about publishing, so we're going to assume that your drawing is now ready to be shared with the rest off the world. If you want to open up your drawing number 87 on work with me, that's brilliant. So publishing well, this is different to printing. It's sharing your drawing. Elektronik Lee and we have a specific section here on the top of 10 corner just to do with publishing. And it's very simple and straightforward. You can just elect toe, have one of these five services sent three D print service. Okay, so if you got three D modeling, you can have a three D printed object made. And if you set up who you're going to be printing with, you can do it through this channel. You can archive your drawing and all of the associated files, or you can e transmit. So in a way, transmittal is bit like archives because it brings together all of bits and pieces. Associate it with this one drawing, including the plot style table Andi, the plot of configuration file, And that means that you're able to share the drawing electronically you can add notes in here. And if you got other things that you need to think about, then you can set up the bits and pieces for your transmittal. And when you're ready, you can click. OK, All right, I'm gonna cancel that. Then we're gonna go to the next item on publishing E mail. This just attach is your drawing to an email, and that's fine. So then you just nominate whoever you're going to send it to. And, uh, the last one share view this uses the Autodesk 365 service on. If you've got a sign in on the log in, um, a password, etcetera, then you need to use it to share. You're drawing. Okay, So that's the new publishing facility that we've got in AutoCAD. And you can see that we've covered an enormous amount of ground over the last few videos, and I'm sure you're gonna enjoy learning water cared and getting to grips with them. And then you might want to think about getting yourself certified as an auto cad user by auto desk, and we're going to discuss that briefly in the next video 91. Autodesk Certified User Exam and Conclusion: congratulations for completing this course. We hope you've enjoyed the training, and it's been a worthwhile experience. You should not have the skills and knowledge to take the Autodesk certified user exam, which gives you the globally recognized certification for autocrat. The credentials you'll receive after passing the exam will help you get a job or improve the job. You've already gods once again. Thanks for learning altogether with us. Good luck with the exam and see you on the next course.