Transcripts
1. Intro: This is a complete
and expert course for learning modeling
and Rhino software, which is the best software for precise and fast modeling
of various projects. This course being
entirely project based, can equip you with the
necessary skills for modeling various real projects
and lead to your success. In this educational course, we will first get
acquainted with Rhino software and
then learn about different two D and three D lines for
drawing and editing. After that, in
Chapters three to six, we will advance in drawing
various surfaces together. And in Chapter
seven, we will focus on drawing and duplicating different two D and
three D patterns. In Chapter eight,
we will learn about modeling real projects
and solid modeling tools. In the ninth chapter, we
will focus on the tools for object creation and
modeling real projects. In the tenth chapter,
we will learn about the structures of
projects, and together, we will learn about various
outputs in Rhino software, practicing how to output, print, and dimension projects. Then we will move on
to solid modeling. I will be available to answer your questions for 24 hours. With this course, in addition to accessing over 46 hours of
project based training, you will gain access to the complete practice
files of this course. Additionally, by completing
the quiz provided, you can receive the certificate for this course. A
2. Navigating the User Interface: Hi, guys, I hope you
are doing well here. If I want to give you a brief explanation about
the history of Rhino, I should say that firstly, this suffer has
been developed by McNll Brothers in Seattle
United States in 1993, and they claim that this
suffer is capable of design, model, present, analyze,
and realize, and so on. However, some of these
capabilities are proper to the industrial design and
also the jewelry design. Rhino has got many plug ins. Following that, if you search for food for Rhino,
as you can see, then you can get access to
the plug ins of the suffer, and you can get access to
tons of plug ins there. Why food for Rhino? As you know, Rhino is
abbreviated from rhinoceros, which is an animal,
as you are concerned. And the foods and the nutritions refers to the plugins
that you install. I mean, you download and
then install for the softer. I mean, they are
assembled on the softer. Open the website,
then you can see in some groups and categories
for the plugins that you can download them for different kinds of purposes
like architectural energy, jewelry, industrial design,
calculations, and so on. Each of them are developed
for specific purposes. In the future, I will
tell you some of them which are practical in
architecture, and we will teach. As you are concerned
these days Rhino is famous among the architectures
and has got too many fans, and Rhino is being frequently
used in the offices. But here you may come
up with a question that what is the differences between Rhino and the other
older softers Trog Max, sketch up, and so on. And why Rhino is accepted
by the architectures? As you're concerned, today's
designs are more modern than the old days we are dealing with more complex and
organized surfaces, in fact, Rhino is a
software that uses nerves to present
curves and surfaces. And this feature has triggered the
architectures to support Rhino while the older ones used meshes to represent
curves and surfaces. So we consider Rhino as a
nervous modeling software, while other softers
like treat Max, Arocad and sketch up are
called mesh modeling. In the continuation,
I'm going to clarify the difference by
showing you some slides, and then we will go
on First of all, let me explain the
word of nerves. You've got a
definition of nerves, which it means that non
uniform rational bipline. I mean, nerves is the
acronym of this phrase, which is non uniform
rational, psbline. Practically, what does
it mean? Check this out. Here at this image.
The middle geometry, as you can see, is a
mesh modeling surface. While the right one is
the nerves modeling. And as you can see in
this nerves modeling, we got this smoothness. Let us analyze it. Suppose
that we got such a surface. Here if I want to model
this by using treating max, which uses mesh or a sketch up, and then I want to keep on modeling this
geometry or surface. For example, to just modify the form of the geometry or
the surface or the curve, for example, to form something. You will see that if we use mesh representing the surface, it won't give us an smooth
and regular surface. But if you use nerves,
as you can see, this will be the result
in a smooth shape. So if I want to put
it in a nutshell, I should say that a surface
which is created by nerves is smooth and even surface and more organized
surfaces, actually. So we are more capable for designing the complex
and organized surfaces. So this was a brief
explanation about Rhino and the functions and practices
which Rhino focuses on. However, we got Nerbus
modeling intridmx too. In Rhino, we are provided with mesh tools as well as you
can see on the screen. All I want to say that the
Nerbus modeling intrude Max is not as functional
as the rhino. And mesh tools in Rhino
are not dependable, and we can't account on them. But let's talk about
the soft elf and then learn how we can work
with this suffer. Usually, when we want to learn
how to work with suffer, we begin with getting familiar
with the interference. Actually, the
interface, I'm sorry. So let us start. I have opened a
new template file, and here if I save
it as like here, then I assign the
name like test. Then I'm going to show this. After saving the file, the size of the file will be
shown here as you can see, as we move the project forward, the size of the project grows and you can see the
name of the file too. Anyway, here we got the
menu and the items, and at the toolbar, which is common with
all of the softwares. It includes the tools
and the commands. Here we got the command line, as you can see probably
you're familiar with AutoCad, but if you're not
in command line, we define our commands. I mean by typing them. For example, if I want
to sketch a line, I type line by this
as you can see. Then if I press Inter, then it enables me to sketch
a line as you can see. A in command line you can order, and then it will give you
the related command or tool. The next part is
the Dockbll window, which is standard,
as you can see, I move it and place it here. Let me maximize the size. Here, we got standard toolbar. Let me position it at
the default place. In a standard tool bar, we normally have 15 tabs, as you can see,
select, display view, layout visibility, but
just in case if we didn't have access to
one of these tabs, how do we can add
them to the toolbar? For example, during the session, we may want to open
the Select tab, but you can't find Select
tab in your device. So for getting access
to the Select tab? I write click on an empty space, and here in Show or Hi tabs can control the displayment
of each of these tabs. Then we can choose or
customize our Rhino toolbars. For example, if I want to remove Select from the
toolbar or hide it, hereby click and drag, I move it out, and then I close. If I want to show select in
the toolbar, I we click, then in Show or high tabs, then I look for
Select, I scroll down. Then I check Select, then it will be shown
in the Rhino tool bar. As you can see it is
added to the toolbr. And if you wanted to
customize the arrangement, by click and drag, you can change the place
to customize the order. Well done, the next
item is side bar. Let me show it to you
the panel of side bar. As you can see, side bar is regarded as one of the
most useful panels, which is not fixed, but
what does that mean? It is not fixed? For example, if I'm using the standard
tools of the tool bar, the given tools are these. But if I open the curve tools, related tools in the
side bar will be shown. So the tools in the
side bar are dependent to your Um, select a toolbar. As you can see as I choose
one of them or each of them. Sidebar tools changes too. That it should be shown always. At the right side of the
screen, as you can see, we got a panel, which got some specific tabs,
as you can see. Here if I, uh, they associate the
rhinos RRS tab or panel, then we will have it in
a dockable window in which you get some
tabs, as you can see. But here there are some
tabs that I recommend. I mean, I recommend
them, since they are practical or properties, which are the features related
to your selected object, and then the layers, it offers us the layout. I do not recommend rendering, so we can remove it from the Rhinos RS panel
or deductable window, as well as the libraries, click and drag and then close materials is
useful, too, and the help. Actually, help could be
helpful when you are online. For example, when you
are sketching a line, it will give you
some explanations, some guidance about
the selected command or tool and how we can work with then I suggest to have these four dockable
windows in Rhinos panel, just in case if we needed properties and it
wasn't shown there, how do we can return it? I mean, how do we can add
or remove the tabs to the Rhines ins panel here at the right side of the
screen? It's so simple. I click on settings and
then here in these items. As you can see, we got
access to the tabs, then we can choose
the desired one that we want it to
be shown there. For example, property. I click on it to show it in the tabs, and
then it will be. And if you wanted to modify the arrangement by
click and drag, this way, you can
change the place. So these three were the most
important panels in Rhino, which are very practical and
the most functional panels, and you should always
get access to these. But let's check it out. I just in case we didn't
have access to these, how do we can find access to these panels or just add them. So if you agree, let us close them by click and
drag and then cancel, then we will have the
fullest screen view, and then we're going
to check it out and tell you how we can
get access to them. First of all, if we want to
show the toolbar, I mean, if we want to show or
display the toolbars, I open tools, as you
can see step by step. Then I open toolbar layout. Then here in Rhino options
in toolbar layout, as you can see, I
choose default. Actually, in files,
it enlisted all of the installed plugins in if you want to get access to
your standard toolbars, you should click on Default. And then in toolbars for finding
this standard tool loop, I scroll down, and then
right here as you can see, standard toolbar group,
which got 15 tabs, I check it, and then
after clicking on Okay, it will be displayed
on the scene. But right now, I'm going to
teach you how we can move the panels and how to position
them at their main places. So please watch this
part carefully. First of all, if we want to move all of the tabs
or the whole panel, we should use the blue part at the right corner
of the panel, and then by clicking
and dragging, we can move them entirely. By this way, we can position
them at a specific place, and they will be placed
independently there by this way. And for disconnecting them, when the icon of the arrows
were laid by click and drag, I can move them and
disconnect them. I can drag them
from the blue part and then when it
was highlighted, I can release it, and
then it will be replaced. So we can either use the blue part for moving
them by click and drag, and we can move all of the
tabs entirely together. But while moving them, if we hold the
courser of the mouse at only one of these
tabs like display, then I can separate
the tab, I mean, display tab, the toolbar, and then move it individually. Then we can move it
independently to the toolbar. I mean, it is not
grouped anymore. And then we can position it at a specific place and
the scene dependently, which is not considered
helpful, actually. But how do we can
group it again? I mean, how do we can
associate it to the toolbar. Here I can use click and drag. I click on display, and then
I place it on the toolbar, and then it will be
placed in the toolbar, and it is no more dependent.
I mean, independent. Then I can separate it again
by click and drag and move. Then by clicking on the
blue part and then drag it, I can position it at any
specific place independently. Then when it was highlighted, you can release it
and it will be fixed. For returning to the toolbar, click on display and then drag it to place
it in the toolbar. Then from the blue part, click and drag and then place
them at a fixed position. Well done, the next panel is sidebar as you are concerned. If we want to display it
again in tools Tools menu, toolbar layout this time, I open toolbars menu, and then in size and
styles here in visibility, I check sidebar visible. Then I make it
visible in the scene. Okay. But note that
the panels which are composed by only one I mean tab, we got no limitnes for moving
them and clicking and drag. Either choose to click on the
names or on the blue parts. But if we add one more tab to this sidebar panel,
you should choose. I mean, click on the
blue part for moving it. You can drag and
then release it to place it at the
side. And note that. Not that in the sidebar tool, you should have at least
two columns of tools. But if I minimize
it, check this out. So just maximize the
size or just click and drag it in order to get access at least two
columns of tools. By this way, as you can
see in the side tool bar. What about the panel that we had at the right side of
the screen or scene? We're going to have
a review about the tabs in which we had
access to. Do you remember? Could you please name them? I know I can't hear you, but I just want you to
repeat them for yourself. I mean, this is a kind of
self assessment for you. So I want you to tell
the items there. Which were the four tabs in the right panel, right
side of the panel? First of all, yes, properties and the sec layers. And so if I want to learn
them from first properties, layers, materials, and help, but how do we can return them? It was a very simple process. I open a standard tab in
toolbar here as you can see, we got layers in surface
tools and properties. Under surface tools. And here, if I show
the object properties, it carries other I mean, tabs like layers, materials,
and help as you can see. So by showing only properties, we can get access to
the other tabs, too. Or if I show layers, they will be shown up
together, not separately. Then here by clicking on the blue part and
dragon, you can move it. But if you click and drag
on the names and icons, you can separate
them from the list, and for bring it back, click
and drag and then release. Well done, then I position it at the right side of the
scene. Well done. If I want to give you
another recommendation or suggestion about this panel, is that after being professional and a
skill that right now, you'll no longer
need to use help. But to me, I prefer to
remove it from the list. But if you're a beginner, keep it there and read
the help descriptions. But if you want to remove help, I recommend you to
add display instead. Since display tab
could be helpful, but if you need help, you can keep it, no matter. And another point is that you
can choose to hide or show this panel by pressing F
three, as you can see. I mean, F three is considered as a shortcut for displaying
yne service panel. Don't forget that in
some of the keyboards, you have to hold down Fn two. So if you can find
F at your keyboard, hold down F and bottom, then press F three in order to display the rhinoceros panel. But let us get
familiar more with the interface of the Rhino
and the environment. Here, as you can
see, at the bottom, we got four tabs, which are called
the viewports tabs. Here we've got the viewports of perspective, top
front and right. What are the function of
these viewports tabs. For example, as you can see, if you get the viewport
of perspective, then you got top,
front, and right. So four view ports are
available here in the scene, and each of these are
called a viewport. At the four tabs
at the bottom or the viewports that we are
watching them at the scene. Suppose that you are at
the perspective viewport. They'd misceg something
as an example, like a pyramid or pyramid. I just want to give
you an example, so don't matter if you're
not sketching this, I switch to top
then front, right? So by this way, we can toggle
between the viewports. But I will talk about
defunct viewports. But here you may question that. How do we can get access to these tabs if they
weren't visible? So just in case if these four viewports were
not visible at the bottom. You can type it at
the command line, as you can see viewport tabs. Then in the list, you can click on Viewport tabs. But right now the Viewport
tabs are already visible, but let me hide them. Then we're going to
show them again. So in Command line, I search for Viewport tabs, as you can see, and then I
can show them on the scene. Then they will be visible. So by using the command line
and then type your command, you can choose to hide the viewport tabs and even
show them in the scene. But here there is a point
that you should know. Here if I right click on
each of these viewport tabs, here there is an item or option
named Combined Model tab. If I click on it, as you can see, they are
hidden and they are combined. So just in case if
you have chosen Combined Model tab by mistake or accidentally
or whatever, then if you search for Viewport
tab in the command line, if I click on Show, they
are not visible yet, as you can see, because they are combined with each other. They are integrated, but
how do we can fix it. Again, right click and then I
uncheck Combined Model tab. Then we can get access to
the four main viewport tabs. So don't forget this technique. Anyway, let's talk about these items and near
point, met and so on. Could you guess what are these? Actually, the names
are similar to these snaps and near point, MD, send or center intersection. These are the rhino
snaps, just in case, if they weren't
visible at the scene, how do we can bring
them back or show them. At the bottom part of the scene, we got O snap or Object Snap. I click on it to make the
object snaps visible. Then by clicking and dragging, I position it wherever I want. As you can see, we can enable it or disable
it as you can see. If you didn't want to
use them for a while. And the other items are filters. Since we usually have
an object, I mean, a tool in all of the
softwares for filtering our selections. For example, we can filter to choose
only the lines, only the masses,
only the lights, fc and filter or
selection filter. It will be visible. Then we can choose to filter
points, for example, if you want to
select only points, since I only want to
select the points. Actually, we do not usually position the panel
of the filter on the scene because it is not frequently used and
it occupies in space. But just in case if you were eager to display
it on your scene, you can position it somewhere
that I do not agree, since it is not frequently used. Doesn't deserve to be visible
on the scene all the time. So we can enable it
wherever it was needed. And the point is
sometimes you want to move some of the panels
by clicking and dragging, but you might not manage
to move it from its place. At this condition,
we right click. For example, I right
click on this line, as you can see on the scene. Here I right click. Here we got an option
named Lock Duct Windows, which locks the panels or the deductable windows or the windows which are
docked at the scene. If I click on Lock Duct
Windows, check this out. As you can see, I'm not allowed to them by clicking
and dragging. I can just modify the size
of the duckable windows, extend them or minimize. Just in case if you
wanted to fix it, just right click
at an empty space, then uncheck lock Dock windows. Then it enables you to
move deductable windows. After locking them,
the boundary lines will be hidden. Check this out. If I lock them,
the boundary lines between deductable
windows will be hidden. But if I unlock them, you can see the boundary lines. By this way. Sometimes
you may have your deductable windows
unorganized at the scene. Suppose that you have deleted some of the
tools by mistake. So if you were encountered
with such a problem, you can reset your
Duckable windows. Here on the command line, if type reset,
let's check it out. We got toolbar reset,
as you can see. If I click on it,
resetting the toolbar. Then in the message, I
click Okay again Okay, as you can see the
toolbar is reset, then we should close the Roe
and then launch it again. So it takes some time
to reset the tool bars, but then we can get access to the default tools
in the tool bars. Then we can get access to the deleted tabs like
inscape as you can see, which is an install plug in. I had deleted it before, but after resetting the
toolbar, it has returned. But the changes in the Rina series Dockable window are kept. Well, don't let us go on getting familiar with the interface of Rhino and the work environment. So watch this part patiently since these topics
are important, later, I will assign a time for you in order to work
with these items. But an interesting
thing in Rhino is that when we hold the cursor of the mouse and most of the tools, as you can see, if we click on the left cord left bottom
of the mouse, it saves. But if you press the right
bottom of the mouse, it exports the selected objects. For example, the light,
right, click hired objects. I mean, left click.
Right, click Show. Check this example. Just watch it. It is the necessary to learn
how to sketch these. Main point is the differences between the right
click and left click. I select the object, then
I left click left puse, it hides the object. But if I press the right
bottom of the mouse, it shows the object. Let me give you another example. For example, open,
as you can see, you can open by using the
left bottom of the mouse, and you can import by using the right bottom of the
mouse or other examples, Save as I told you before, check out the icon, say even
export selected objects. I mean, most of the tools offer two commands by
using the left and right. Bottom of the mouses,
like Tremen trim or split and split
surface by isocurve. But some of them got only single capabilities like this circular center radius. But most of the tools give us two different kinds of commands by using the left and right
bottoms of the mouse. And as you know, this occupies lesser space because
instead of using two icons, for example, for Tremen trim, can get access to each of these commands a left
and right click. So this have
organized the scene. And at the bottom of the
icons of these tools, as you can see these commands, arrows or some handles that you may know what are
these or what these are. These are some drop down
lists which give you the subgroups or the
related commands or tools, or, for example, the
commands which are related to showing and hiding. Or like they say, we
can get access to the different commands
for sketching a circle, as you can see in the scene, but assume that I'm sketching different types of
circles in the scene, and I don't want to
waste my time in opening the least and then
specifying the command. For example, circle diameter, and then again opening the
least circle diameter. Actually, we can
temporarily reduce the subcategories of each of these commands or tools
that we got them here. Here if I open the list
or the subcategories, and then if I click and drag on the gray part of the
panel or the window, then I can fix it on the scene. For example,
rectangles. I open it, then by clicking and
dragging from the gray part, position it somewhere else. Suppose that in your project, you are sketching
multiple circles or rectangles frequently
using these tools, so you need to make them
accessible and fix them, and then use them
and then close them. For example, for having
different kinds of lines, I open the list of lines
commands and degray part, click and drag,
and then I move it somewhere else to position
in the proper position. Then I can move the
project forward. As you know, you can move it
by clicking and dragging. But let us have a review about the moving of these
dockeb windows. But this time, I want to
do it more accurately. So let's check it out as I was saying about the movement of the Duckb windows that
you got two approaches for moving the dockb
windows from the blue part, for example, then you can dock
the window independently, which is not frequently used or common
between the users and about another
approach for moving the Duckb window is the click on the name
of the Duckb window. Then if click on it, it can be included to
another dockable window. I mean, we can include
it into another panel. For example, if I
want to add line as one of my standard
toolbar tabs, I click on the name, and then I drag it. I release it on the
standard toolbar. Check this out. Again,
I can bring it back. So we use the blue part for docking the
window independently, but we use the name, click and drag for including it into another
panel or toolbar. By this will you bring it
back. So don't forget this. Let me give you another
example the visibility, I position it here to use it, for example, and
then I can close it. But as far as you are concerned, the functional of pressing
the roll of the mouse, I mean, pressing down
the roll of the mouse, usually pans the screen. I mean, we use the
Wheel of the mouse or the middle click to
pan. Check this out. I didn't know when we press down the Wheel of the
mouse or the middle click, a useful panel will show up that we call it pop
up as you can see. Let me fix it, as you can
see the name is pop up. But as I mentioned before, in most of the softers when you press down the wheel of the
mouse or the scroll wheel, enables us to pan. But here and there I know by pressing down this scrull wheel, you can get access
to the pop up. But just in case, if after pressing down
the the scroll wheel, the pop up weren't
showed up on the scene, what should we do to appear it. But some of you may say that
I some of you may prefer to use the viel scroll to pan
the scene, pan the screen. It is okay, but I do
not recommend you this. I will explain the solution, the approach, so you can
choose your own way. So let us check the
pop up settings out. As I mentioned before, as if pop up didn't appear. After pressing the wheel of
the mouse, what should we do? Or what should we do if
we want to pan by using the scroll wheel here in toolbar
layout in Rhino options. So since it is
related to the mouse, I open mouse settings,
middle mouse button. Or the scroll wheel pattern. If you want to get access
to the panel of pop up, after pressing down the
middle mouse pattern, use my recommendation, you can choose pop up this toolbar. You should choose
default that pop up. However, here you got the list with too many objects or items or panels that you
can get access to them by pressing the
middle mouse button. But if you wanted to pan by using the middle mouse
pattern, check my new plate. Manipulate view, actually.
And then pan. Okay. Then you can use the
middle but mouse bottom for pan the screen, and you won't get access to the Pop up panel that I
do not recommend this. Don't forget it.
Since pop up panel is more functional check, okay. Then if I press down the
middle but Mouse buttom, I can get access to
the pop up panel. But what is the basic
purpose of pop up. As you can see in Pop up panel, the most frequent tools I mean, the tools which are the most frequently used
are gathered here, so we can get access
to them easily. So at anytime at any play, we can just press down
the middle mouse button, and you're even allowed
to customize your pop up in order to add
your desired commands, remove the unused commands. But how do we can
add or remove tools from the Pop panel
orinab Window. First of all, you should open your pop up
and then fix it. I press the middle bottom, then I click on degrade part. Then it will be fixed,
as you can see. But how can I customize it remove or add tools
or commands from it? We usually do not keep save, since we can use Control
S as a shortcut, which is more easier. So I hold down chef
for removing it, and then I drag it to delete it. After releasing it,
it will be deleted. For example, or divisibility, which are not commonly used or frequently used while
moving forward the project, since they got simple
shortcuts Control L for lock and control
h for height. So by using Control plus L and we can get access
to these tools, so I delete them
from the pop up. But what about Explode? You are probably familiar
with these from CAT I will tell you the similarities between CAT and the rhino. Droplus I deleted. Join is not frequently used. Also properties.
We do not need it, but to an extent, I
delete it as well. We can use the
short cut instead. But what about these two
remaining tools or commands, which are render preview view
ports and the other one? In the continuation,
I want to talk about the other commands that you need to add them
to your pop up, which is my suggestion
that you can add them to your pop
up if you want it. But if you were
reluctant to this, you can customize
your pop up yourself. And after being master in Rhino, you can consider your most
frequently used tools and then add them
to your pop up. But for now, let's talk about my suggestion for the
added tools in the pop up. In standard and
the tools of Zoom. My first suggestion
is Zoom selected. Talk about the functions and the purposes of
these tools later. Right now, I just want
to tell you this is my first suggestion to
add it to your pop up. And later, we will get
familiar with them. But for adding it,
I hold the control, and then I place
it at the pop up, then it will be copied. So my first suggestion
was selected. The next one is
extrude, extrude curve. Here I can open this
in the sidebar. Then here extrude
close planar curve. I hold down Control. I make a copy, and then I
place it and pop up to add it to my pop up panel or
Dockb window. What is next? I open the visibility,
isolate objects. I hold down Control, then click and drag, releasing the pop
up Duckb window. Well done. From the
graphical tools, we got two of them, shaded
viewports, for example. Let me open this, open the
list of the graphical tools. Here in ghosted viewports. I hold down Control to make a copy and then
release it in pop up. Then I place it next to
another one very well in lines the second one
curve interpolate points, hold down Control, click and drag release to
add to my pop up. Then in select, select
last created objects, click drag while holding down
Control and then release. And then in array
tools, pull Alay array, hold down Control,
click and drag and then release for adding the tool
to the pop up Doable window. Then we can modify the form of the pop up Deable
window, for example. I want to work I'm going
to modify this scale. As we got nine tools, we can have three rows
and columns by this way. I close it, then I show it. Check this out by pressing
the middle mouse button. Then if you wanted to
modify at first fix it, let me modify the scale. By this way. Close. If I show it again, the changes are saved. Then again, I fix it. I modify the arrangement. After setting it, I close it, then the changes will be saved. As you can see, very well, guys, I want you to practice the given lessons
about the interface. You don't have to work
on lines or whatever. So I want you to come up with me step by step in the
process of learning because today's lessons got a key role in learning
how to work with rhinos like the
alphabet letters when you want to start
learning a new language. So watch this part
carefully and patiently and never try to move the
video tutorials for void, since you may skip some of the most important
parts, and later, you may be encountered with some challenges in
your learning process. Since most of the lessons
are related to each other, some of them are regarded
as the prerequisites, just like the first session that you need to know how to
get access to the tools. And I consider the session of Rhino as the
alphabet of Rhino. So please do not rush. Watch all of the videos. I mean, video tutorials, Tild and patiently, don't
forget to take notes. You are not allowed to start the next session unless you have practiced the previous session. So, guys, see you in
the next session.
3. Working with Multiple Viewports: Hi, guys. I hope
you're doing well. Welcome to the second session. I hope you have watched
the first session carefully and patiently and you have practiced the
given lessons. And just in case if
you had any question, we can answer, I would be glad
to answer your questions. I hope I can help you on
your learning process. Anyway, let's start the second lesson or
actually session. As I mentioned before, we call these viewports, top perspective, front and
right. They are clear. I mean, if you have an object, then you can observe your model from different
kinds of viewports, as you can see, for example, here you got your object
from perspective viewport, then from the top,
front and right. Well done, but you may want
to customize your viewpoints, for example, removing right and having the left
viewport instead. So how do we can modify our
viewports and customize them? Here I open the
items and set views. Here the different kinds
of viewports are offered. Then you can assign the viewports some of these
views, for example, left. So I assign this viewport
to the view of left. For example, I may want
to replace B view front. I open it, set views, back. Well done. This is the back view that we
got in the viewport. However, you can we
click on the back instead of opening the
drop down list. Well done. If you want to maximize each of these viewports and have
them in full screen mode, you can double click on each of the names like perspective. Then for minimizing,
double click, then you will have
the four views. And the shortcut
is Control plus M for maximizing your
views or minimizing. Example, the perspective view, I press Control plus M. It maximizes the perspective view. Then we get it in the
fuller screen mode. Then if I want to
tuggle to the top view, we don't have to minimize and
then maximize the top view. Because this is not
the right approach, we got a better way. For example, if I want to
toggle to the front view, it is not necessary to
minimize the top view and then maximize the
front view because we got them in the Viewport
tabs, as you can see. So we can choose which one you want perspective,
top front left. So after maximizing
your viewport, then you can use
these Viewport stabs to tug between the
viewports or views. You don't have to right click. You don't have to press
Control plus since you got an easy access to the
views in the Viewport stabs. Then you can switch
between the view. Can even modify the
scale of your viewports. For example, perspective is frequently used or it is
more useful than the others. Here, I maximize the
scale since it is more significant for me or if I can arrange them by this
way, click and drag, and I do not recommend these
arrangement personally, since you'd better to
have them full screen, and then you can change
them to top for example, so you don't have to
have all of the views in the screen
simultaneously by this way. But if your viewports we
arrange in your scene, and you want to fix them or reset them to the
default mode here in a standard tab in four view ports and
for default viewports, if I click on it, it returns the four view ports to the default mode arrangement. A question about these that I was looking for its answer for a long time was that how we can have more than four
viewport tabs. For example, I may want to
add the left viewport tab since sometimes I may want
to maximize the left view. So watch this part carefully, since it's got a technique. Here, if I open viewports
viewport layout, here we got the option named new viewport
and closed viewport. If I click on it, Left click, then we will be given
an added viewport, an extra viewport on the scene, and the corresponding viewport
will be added to the tabs. But the trick that I use here is to move the top by
click and drag, and then I place it on another one front,
actually, not front. I mean, these two views are
overlapping on each other. And the viewport type
is added to here too. Again, I click on it,
and by click and drag, I move it, and then I place it under perspective
view, put it this way. As you can see, the
viewport tab is added. I can maximize the
view. Full screen mode. But we already had the
top view in the tabs. No matter since I can modify it. Check this out, left view. And for the other top view, I want to assign the
bottom view to this. So I first maximize it, then I open the dropdown list. In set view, I set the
bottom view like this way. So this was a trick
that I used for having more than
four viewport tabs. I I just simply process
process, actually. For example, perspective,
maximize by double click. And just in case if you were
annoyed by the grid lines, as you can see on the scene, or if you were just eager
to hide the grid lines, you can use the shortcut of F seven for disabling
the grid lines. Again, I'm going to remind you
if you press down F seven, and it didn't work out, work out, you'd better
to hold down FN. So this time, hold down FN, and then press down F seven. About the grid lines,
let me tell you a point. Here, as you can see each of these grids are
representing a unit. We're not talking about
project units like meters, centimeters,
millimeters, inches. I'm talking about the unit. And each of these grids
are representing a unit. And when you set your units or specify unit your project
units in righto, for example, it is per meter, then the units will
be perimeters or per millimeters or
centimeters or inches. So note that the grid lines
are representing the unit, a meter, a millimeter or a
centimeters or whatever. That we got them in
the project units. And another point is
that the boundaries of the grid lines are endless or infinite or
infinite, actually. I mean, when we are
using these snaps, these objects snaps, actually, as you can see, as you can see, we got degredes as well here, which shows that we
got degree lines everywhere since they
cover the entire scene. That as I shod you, we can control the visibility
by using F seven. But let's talk about
the graphical style for displaying the
objects in the scene. Here, let me place multiple objects in the scene
to prepare the example. For teaching you the
graphical styles, I enable the object snaps. I sketch another object
and one more object here, as you can see, well done. And then a surface
beneath the objects. And you can use the boxes in these spheres for practicing. Since these are not
that much complex since we haven't
reached the lessons, what about the
graphical modes or the graphical styles for displaying or
showing the objects, let me give you an
explanation and teach them. Here, if I right click on
the name of the viewport, for example, perspective or
just open the drop down list. We will have them at the
top part of the list. The first one is reframe. You're already familiar with
them from other software. Everything will be shown in
lines and the frames and the boundaries are
the most parts of the objects in this
graphical style. They are displayed transparent, but it is not that
much used commonly. The next one is shaded. At this graphical style, the objects are
displayed in colors, and they are no
more transparent, as you can see, and they
are displayed solid. And the third type is rendered. But don't get me wrong. It doesn't render the
objects. Check this out. But the differences
between shaded and the rendered graphical styles is that we won't
have the boundaries, the edges, the lines in the
rendered graphical style. I mean, they will be hidden. In fact, it offers us a preview
of the rendered object. So in the preview of
the objects, I mean, it gives us a big picture
from the rendered objects, a type of representation. But what ghost, which
is frequently used. As you can see, the objects
are displayed like a ghost. As you can see, they
are displayed in color. They are I mean, they are neither
transparent nor solid. We can observe inside
the objects, too. We can use this,
especially when we got some objects inside
the other objects, and we want to work on them. By the envire frame, you are not obscure enough. So they are hard to
be distinguished. If I choose ghost, you are being displayed
at the middle part of the two extremes of
transparent and obscure. We can distinguish each
of the objects carefully. I mean, surely,
next one is X ray. It seems like ghosted. Could you say what
is the difference between ghosted and X ray. Excellent. Here in
ghosted graphical style, we can see the overlapping
parts between the objects. While in X ray, the overlapping parts
are not visible. So lines are highlighted. While in X ray, it
seems like wire frame. However, they are
showed in colors, and the boundaries in the frames are hard to be distinguished, which would not commonly use, but about technical,
check this out. Could you say why it
is named technical? Yes, of course, since the inside parts or the
overlapping parts are displayed in dotted
lines and also the intersections between the two objects
are displayed too, and it could be helpful for two D drawings and
then artistic. As you can see, they are displayed in
graphical appearance, also pen and arctic
retraced check this out. Re traced offers us
the rendered version. In fact, here we are
given the rendered of the objects or the
rendered versions that I will talk about it later. But among these graphical styles of the displayment
of the objects, the first four types are the most commonly or
frequently used styles. Because of this, we have put these tools or these
styles in our pop up too, and I will tell you
the shortcuts, too. I press the minle mouse button. As you can see, this gives us or offer us the shaded and view Wireframe viewports
both pressing left and right buttons
or mouse patterns, shaded by left click and right
click offers us wireframe. So we can find them
two of them there. Then here we got
ghosted viewports and set all viewports display to Ghosted that you can
set it to just one of the viewpot or to all
of the viewports, by left and right click. Check this out
ghosted viewports, and then render
preview viewpoint, which gives us the
rendered preview. And note that for modifying the graphical viewpoint,
do not use this. Do not open the drop down list, unless you wanted to enable the technical or X ray
or other viewpoints, since it is not considered professional while you
got the manure pop up, so all of them are
in hand and useful. About the shortcuts, if
you hold down Alt plus control and then press the first word or
the first letters. For example, via frame is W.
I hold down Alton Control, then I press W or for shaded. Holding down Alton
Control, then pressing S, we will have shaded
graphical style rendered Alt Control
and then by press R, ghosted, which was G. So don't forget to hold down the
buttons of Alt and Control. Together, meanwhile,
you are pressing the first word or the first word cases instead of opening
the dropdown list. Since it takes a long time, it is not professional. Well, D, let us talk about the different zooming that we got them and
use them in Rhino. After finishing the viewports and the graphical viewports, fortunately, all of
them are I mean, most of them are
similar to Autocad. So if you're a
skilled at AutoCad, you already know this lesson. But if you're not
familiar with AutoCad, watch this part carefully. Zoom extend as the first item, fits the whole object in your current scene at
the size of the screen. But just before clicking
on Zoom Extend, let me zoom extend manually
like this to adjust the scene or screen at the
size or scale of the screen using the
shortcut of Zoom extend. Here if I type Z in command line for
enabling Zoom command. You don't have to
type the rest of the words or the
rest of the command. Just press Z Z and then
Enter the extends. As you can see, E is underlined, and then I type E, Enter for getting access to the command of Zoom
extends that Inter Enter, that Inter enter
for Zoom extent. By this way as you can see, you can find it in the
toolbar to Zoomtens. Some users may add
Zoomtens to pop up too, but I recommend you to learn the shortcut instead of
using this in your pop up. What about Zoom selected? Which is very useful and
has got many functions. I play some objects by this way. I just want to tell
you the example. Suppose that if I
want to work on each of these new
objects in the scene, Zoom extent is no more practical here and it
is not functional, so I type Znter since I want to focus
on the selected object. Going to zoom in to
the selected object. I want to use Zoom selected to focus on
the selected object. After selecting the
object, Zoom selected. However, we got it in the
pop up too. Check this out. However, we got it in the
commands of the Zoom. I mean, we can type
Inter as Inter. I selected, that Inter Inter. But since it is frequently used, I have added this
into my pop up. You can select whatever
you want and then pop up, Zoom selected or you
can use the shortcut. In other approach
for zooming ge, use scroll to
scroll will simply, which is coming between
all of the softwares. At first, you should
make decurser of the mouse close to your
object and then scroll, scroll up to zoom in, and then scroll
down to zoom out. But note that the
camera will zoom in and the place that you have positioned
decorser of the mouse. As you can see, wherever I
put decorsor of the mouse, then if I use scroll,
it zooms in there. I mean, the place
of the courser of the mouse determines
the position or the direction of the zooming. So at first, we should specify the target that
we want to zoom on, and then we can use the scroll. Sometimes, while
working on our project, we may need to have
delicate zooming. I mean, at small scales, not large scales,
as you can see, it's such a condition
for small scales of zooming if I hold down Control,
and then I right click. I mean, I hold down Control
and right click As Vl, and then I move the mouse, and I can zoom in and
out in a low speed. While the previous
one, this speed was high, as you can see. So I hold down Control, then right click,
R mouse pattern. Then I move the mouse. I can zoom in and out in low speed in order to
represent the details. Well done. And in
the two D viewports, note that I'm talking
about the two D viewports. Could you please tell me some examples after
the viewports. Excellent, top, front, back, right, left, everything
except perspective. In two D viewports, here fi press the
right mouse pattern. It enables you to pan to pan
the screen as you can see, into the viewports and
using right mouse pattern. But don't forget that
only in two D viewports. But in perspective view, it rotates the view. As you can see, it doesn't pan. Perspective view, you can use
mouse button for rotating deview while you
can pan the view in two D viewports while
rotating in perspective. But if you want to pan the view or screen in the
perspective view, you should hold down Shift, and then by right click or Right Mouse button, you can pan. But if you use right
mouse buttom alone, you can rotate the view. If I hold down Shift, it enables me to pan. But let's talk
about the tips and techniques about rotating
the scene or the view. As I told you before, we can rotate the scene by
using right click. Right now, suppose that I'm working on this
object, for example. I mean here if I
press right click, as you can see, the
scene is rotating. Since the scene is not
rotating about the object, and the pivot point
is not the object. If I try here again, I rotate. As you can see, the scene is not rotating about the object. You may have encountered with this before in other software. I'm going to tell you how we
can specify your determined the pivot point and rotate
around a specific object. You need to select the object and then
click on Zoom selected. After that, the selected object will be determined
as the pivot point. Then we can rotate
around the object. Even right now, we are rotating
around the selected one. But if I select this
one, for example, Zoom selected, then we can
rotate around this object. Since we have determined
mement the pivot point. Let's try again, Zoom
selected and then rotating. And another function
of Zoom selected is suppose that we have sketched
something like this one. Then I zoom in, I focus on it. You're limited to zoom
in to the extent. So when you weren't
allowed to zoom in, you can use Zoom selected, and then you can zoom
in as much as you want. Let me sketch another
thing like this one, a box, I zoom in. Then we will have
some obstacles in zooming in or focusing on it. I select the object, then
I click on Zoom selected, and it enables me to focus on the selected object
or zooming in and out by using scroll
as much as I want. And if you want to practice
this part of the Session two, I want to assign you a homework, just like two boxes,
using rectangle. Like this, you can
sketch some objects. Then you can practice the given commands,
just like zooming. And if you wanted to
work on higher details, you can work on solid
creations like this way, and they are easy
to be sketched. But don't forget to promise
to yourself that you're not allowed to skip the videos or
just moving them for wide. So watch the videos
carefully and don't forget to
practice next session.
4. Understanding Line Types: Very well, after
getting familiar with the interface of
Rino, to the extent, we're going to work on
objects and the way that we use to sketch
them step by step. The first concept or item that I want to explain is
the concept of curve. Actually simply by
saying a curve. What is pop up to your mind? What has come to your mind. Normally, when we hear curve, we imagine an arc shaped line which is not straight or
a line which is inclined. But in Rhino, everything
is different. All of the two D drawings,
lines, rectangles, curves. All of these items are
called curve in Rhino. May find it strange,
but let's check it out. Since everything is different
in Rhino for example, I sketch a line,
a chain of lines. If I select it, we got an
open curve, as you can see. This is the type of this object. But if I sketch a circle, then we will have
a closed curve. Or even if I sketch
a curve or an arc, again, we will have an open
curve, as you are concerned. So all of these
are called curve, even a rectangle which is
a closed curve, well done. We are finished with the
introduction of this session. The continuation,
we're going to getting familiar with the different
types of geometries in Rhino. I have prepared a
file for you image, and then I will explain the
different kinds of geometry according to that or about the different categories
of the objects in Rhino. So wait for a second, please. Well done, as you can
see on this screen, the objects in Rhino are
divided into four categories. Points or, in fact, one
dimensional object. That if I selected,
type is point. Since we got four points
in the first point, the first type is point. The next type is
curve, as you can see, that we divide the
curves into two types open and closed as I exemplified
in the introduction. If I select this,
as you can see, we got an open curve
in the other one, if I select it, you will
see that we've got close, we got a closed
curve. Well done. The next group or
category is surfaces. As you can see in surfaces, we are dealing with three geometry models or
model geometries. One dimensional,
two dimensional and three dimensional in
the type of surface. Here we've got a surface,
and if I select it, the type is surface,
as you can see, let's check each of them. Surface the type in
properties. Well done. In the last group, we got the polysurfaces, which are composed
by multiple surfaces which are associated to each other, creating
polysurfaces. However, we can divide
them into two parts, open and close polysurfaces, and then open polysurface. And then here we got the
closed solid polysurface. As you can see on the screen. Again, closed closed
solid polysurface. Well done, these were the main four types of
the objects in Rhino, which are the points, open and closed curves, surfaces and polysurfaces,
open and closed. That the polysurfaces are
composed by multiple surfaces. But how do we can activate the commands in Rhino
or just enable them? For example, if I want
to sketch a line, what approaches do I have
which provide me with the line or how many approaches I have to activate
the command of line? Here, let me show an image
for starting a command. As you can see on the screen
for starting a command, we got four approaches. As you can see,
according to the photo, let me arrange these
windows in order to have a better view for teaching
you these concepts, and then we will go
through the lessons. Anyway, the first item is menu. We can get access to
the command via menu. So let's check it out. I'm
going to sketch a line. Where should I find the curve
or which one I should open? According to the last
session lessons. Excellent. I should open curve. Since a line is kind of a
curve. It's a kind of curve. I open curve and then a line. Then we got single line line segments normal to surf that I will talk
about them later. This time I sketch a single line to tell you the first approach for getting access to a single line for
starting a command, which was menu from curve. For example, for sketching
a circle, curve circle. And then, for instance,
center radius circle. By this way. And the
next approach is button. I mean, we can get access
to the command by the icon or by the main toolbar,
using the sidebar. We can sketch a chain of lines and then the circles
by specifying a point. And the third one, which is frequently used is
the command line. Just like in AutoCad, we can type command
in command line, the full name or the
abbreviated name. For example, in order to
sketch a line, I type. I and E line Inter, and then single line
or I can type L Inter. Then it offers me
the single line. For example, if I want
to sketch a circle, I type C in the command line, and then I press Inter
command line would be a fast and quickly approach for getting access to a
command or activating it. And the fourth one is pop up. And as you are concerned, we cannot include all of
the commands in our pop up. Just in case, if we have included some of the
commands in our pop up, we can get access
to our pop up by pressing down middle
mouse pattern. For instance, for a curved line, we got the specific
command that we can activate the command
by using the pop up. However, we can
find it in the side Br two and then start
in the command. So all in all, we got four paches for
starting the command. Pop up is the most, I
mean, the fastest one. Then I recommend you
to use Command line, the succeeding ones,
pattern and menu. Well done, these were the approaches for
starting a command. But if you want to repeat
your previous command, which was started before, Hero, we can repeat our
previous command which was started before. For repeating, we
got two approaches. As you can see, Dimag
the first approach for repeating the command,
same as Autocad. For example, if I have
started sketching a line, then I can use Right
click space Ben. Repeat the command again. I mean, in order to sketch
this straight line. Note that right click, spacebar and Inter are similar
to each other in Rhino. So while I was teaching you, if one side told you, right click or
Spacebar or Inter, you should know that all of
these three are the same. I mean, they act
like each other. Or in other words, they are the same. So firstly, you can use right click or Spacebar
or pressing Inter. For example, I press Inter, as you can see the
command is repeated or space bar. Well, done. But one of the points or items which is very
important in Rhino is repeating the ten
or 20 last commands by using right click
in the command line. Let me show you. Here in Rhino, if I right click in
the command line, according to the settings, you can check the
last 20 commands that you have used in your
projects in the Rhino. For example, here I have used a C sketching a C. I
mean C, I'm sorry. As you can see, by right, click on I Command
line, for example, a box then all you
can get access to our last two T commands
that we have been using in the scene
by a right click in the command line since all
of them have been save, then we can use this approach
if we want to repeat them. But how do we can
set a limit for the number of the commands
which were recently used? Here in options in a standard, can either click on option
or type it in command line, OP Inter, and then Rino options. Then I open General. Wait for a second, please. Um, right here, I open General, then in most recently
used commands, pop up menu, we can
set the limit value. As you can see, the most
recently used commands, pop up menu, limit list two, we will have the two most
recently used commands by a right click in the command. Command line,
actually. Well, well, let us begin our drawings by sketching lines which are at
the second type of objects. Curved curves. Since up to this point, we have get familiar with the interface of Rhino
and the work environment. And we're going to work on
drawing tools and commands. But before doing anything
in all of the software, we should adjust
the project unit. So let's see how we
can adjust or set the project unit here
in tools, option. Options, actually. However, I can get access to the options from standard
tab in the toolbar. It does not make difference. I open no options. And then in the options, I open, let me check the top part, the top items, units, and units and tolerances. And here we can specify
the model units. For example, per meters or per millimeters, inches, miles. You may want to
choose centimeters. So at the first step, we have to specify the project
units and the tolerances. And as you can see
on your screen, we got a wide range
of choices in model units in a way that
we got even light years, light years, I
mean, light years. I mean, it covers
all of the units, all of the existing units. And the next one,
which is the I mean, which is significant as
well is absolute tolerance, I have a specified not 0.01. So here as you can see, the lower fractional parts of the value are considered
by the tolerance, like 1 meter and 23 centimeters. However, we can
maximize the tolerance, the value of tolerance
by adding another zero, not zero point double 01, and this is better and the recommended
absolute tolerance. And then for the angle
tolerance, for example, if you are working with
the less than one degrees, you can specify not 0.5 as the angle
tolerance per degrees. However, we usually specify one degrees for the
angle tolerance, and it is enough. Well done. This was
the first step, and then the distance display decimal that we use in
our projects. Okay. So we have set the
unit per meter, and also the
absolute tolerances. So the grid line or the
units are per 1 meter. But another important thing or technique is setting
the Rhino shortcuts. In fact, Rhino is a
CAT based software, so it has many similarities
with autocat Rhino, we are provided with a
capability that we can transfer all of the
shortcuts in AutoCAD, I mean, from autocat to Rhino. I mean, if you have been
using typing TR for trimming, we can type TR in command line for getting access
to the trim command. I mean, we can add the
shortcuts to Rhino. But how do we can do this? First of all, we
need another file, which is auto cat
aliases for Rhino. If I open it the notepad, all of the shortcuts of autocat are defined to be
exported to Rhino. So you need this file
autocat aliases for Rhino, that you will be
given this file. Then you should add add
this file to your Rhino. But how from option then
in aliases Aliases. Here I click on
Restore Defaults, and the customized
aliases will be removed, so the default
aliases are limited. Meanwhile, they are not
matched with AutoCAD. I mean, they are not
similar to each other. For example, what is the
command of O in AutoCAD? Yes, of course, offset, while here we got Earth. So if we want to export the
shortcuts commands to Rhino, we got the file, as you know, we should import the file. Then I browse for the file. Just wait for a second, please. And then I open the LSS. Here, it says that the
LESS C already exists. Do you want to replace it? As you know, it is
possible that we may have some similar aliases. For example, the command
of the C is cell crossing. While we need C for giving
us the command of circle. So I click on SL to replace all of the
commands or aliases. 120 iases found, 120 imported. Well done, we got all of them imported to Rhino
from AutotaD. Okay. So if I type L in command line, we will be provided
with line or C circle. O, Offset, well done. So by this way, we will have some
backgrounds about rhino. So it enhances your
self confidence, since you already master in
parts of commands in Rhino. The first drawing command that we're going
to cover is line. Polyline. I click on it
to start the command. Just like in autocad, for starting a line or strning
command or sketch a line, we should specify the starting
point by just a click. Then if we want to
have a straight line, we have to specify
the second point. And just like in Autocad we
have to enable the ortho. But for those who do not know
autocad you activate RTO, it restricts the movement of the cursor to multiples
of a specified angle from the last point
created actually at four direction left
and right up and down. You can start the
command by using Fe. You can either click
on the icon of RthO or you can press down F eight to specify the angle at which the movement of
the cursor is restricted. When Earth mode is active. I sketch a line at first, we specify length
like 30 meters. Then we press Inter and then we specify the direction
by just a click. The length is already specified. I specify the direction,
then I click. Again, let me specify
the length, 25 meters, Enter, and then the direction, and I click or press
left nouse pattern. As you are concerned, when you are
specifying the length, you are not able to
specify the direction. While, when we specify
the direction in autocad, meanwhile, entering the length, the line will be sketched. But here's the thrent. We sketch the line
in two stages, specifying the length
and then the direction. So this was the
difference between AutoCad and rhino
in sketching lines. Suppose that I'm going to sketch a 50 meters line
to left direction, but the mouse is toward the right direction.
It doesn't matter. 50 inter and then the
direction, and then I click. As you can see, the
line is sketched. Again, third ter, and
then the direction click. By the sw and when I wanted
to stop sketching the line, I pressed left Muse pattern
to cancel the command. All in all in the process
of sketching a line, we got two sketched
stages, actually. First of all,
specifying the length. Then specifying the direction. And then we can press
mouse button while we sketch a line in auto
cat only in one stage. I mean, we specify the length and the
direction simultaneous. When we are sketching a line, if Ortho was inactive, we can activate Ortho
by holding down shift. Actually, this
technique is commonly used when we don't want
to specify the length. Since as I hold down shift, I'm not able to specify
the length of the line. But I can sketch lines
freely like this way. Now I release shift. I hold it down, again, release. I hold it down. Check this
out. This is the result. Or even you can at first specify the length,
for example, four D, and then we can
specify the direction, but the ear tho is inactive, but I can hold down Shift to active D or activate the tho. Is not commonly used, but if you wanted to hold
down shift at first, you should specify the length, and then you should specify
the direction of your line. Very well, but how do we
sketch inclined lines? An angled line, and Earth
should be inactive. However, if it was active, it didn't work out, but you
had better to deactivate it. Anyway, in the process of
sketching the angled lines, we got three stages. At the first stage, we
should specify the angle. Example, I want a angled
line in 30 degrees. I want to track
your attention to the command line.
Watch this, please. At first, I typed
the less symbol. And then I specify
the degree angle, 30 degrees, for example. But note that when we specify
the angle or the degree, for example, 30, that 30 degrees angle is
not given to us. Right now, the specified
angle at which the movement of the course
is restricted is 30. As you can see,
when we rotate it, we got many parts that each
of them are 30 degrees. So at first, we specify
the degree or angle. Then at the second stage, we should specify the
length of the line. For example, for the inter, and you could probably
guess the next stage. Great. Here, we should
specify the direction or one of the 30 degrees
parts or angles. Like this, I click, and then we can
have a angled line. Let's try again. I
hold down shift. I sketch a straight line. For example, I may want to
rotate it in 60 degrees. So at first, the less
than symbol, 60 inter. Check this out. This is the 60 degrees angle,
which is restricted. And then we should specify
the length like 25 meters, inter, then the
direction like this. However, we can substitute stages one and two
with each other. I mean, we can
specify the length at first and then
specifying the angle. Let me give you an
example like having a 50 meters line and 20 degrees for the
specified angle. 50 inter. As you can see, I can rotate it, so I can specify the direction. I mean the angle,
then the less than symbol, 20, watch this. And then always at
the last stage, we should specify the direction. Then we will have the
line by just a click. I click and I click again
to cancel the command. Similar to Autocad in Rhino, we can use atsine and
relative coordinates. For instance, here I can pick
the line, then I sketch it. Suppose that we wanted to move
it along the X and Y axis. So what should we do? At first in the command line, we type atsine then
we hold Down shift. You can hold down Shift and
then press two for asie. And we extend the line
along the x axis, for example, ten units. Then I add a comma. Value along the y axis like 15. Check this out ten, 15, align the X
and Y axis, Inter. Let us try again, for example, I want to move it or extend it 20 units or meters
along the X axis. It is way 20 and then come ten minus five
align the Y axis. Inter. At first, we specify
the first point and then by specifying the position of
the point, the second point, according to the X and Y axis, these two points will be
connected to each other, and then we will have
the by this way, we can sketch out straight
lines and also angled lines. But let's talk about the
snaps, object snaps. As I explained before, we place them here usually. But let us talk about them. I mean, those who are mastering autocad are already
familiar with these. I pick line, and then I
can specify the parts. I mean, a snap gives us some specific points
from the line. I mean, they can
strain the marker to an exact location on an object like the end of the lines or
the intersections, centers. For example, we're
going to start sketching a line
from the end line, so I click on the end, then I start sketching. But note that just
like in Autocad, we do not have the icon snaps or the snap icons, actually. For example, on a
screw for the end, we only have the text. For example, the
midpoint object snap, which gives us the
midpoint of the line. As you can see, the
midpoint is specified, but the icon is not displayed. And then we can start sketching. But let me give you
a brief explanation about the object snaps and point and then near to
Object Snap, I mean, as we get close to the lines, it would be connected to the
line and start the line, the new line from the
nearest line vile If I uncheck or deactivate near. You can see the marker
is not constrained. I mean, we should specify the exact location of
an object ourself. If I zoom in, as you can see, these two lines are not
connected to each other. But if I activate near, it sketches the line exactly
under specified line. At points, it can strain
the marker on the points, as you can see. Take this out. And midpoint object
snap, I explained it. Center is used for the
circles and the curves, and it gives us the
center of them. I enter intersection
object snap. It gives us the intersections. If I schedule a line like this, then we can have
the intersection between these two
lines, as you can see. You do at the midpoint, and I activate intersection like this and then it
can strain the marker. So we can start a
line from there. Sketch the line from
the intersection. Next one is perpendicular
Object Snap. Let me give you an example. I sketch a line, which is perpendicular
to this line. Perpendicular is displayed. Then I sketch the line, perpendicular and another one. The next one is
tangent, quadrant, naught, and others that I
will explain them later. Right now they are not
required to be known. But if you wanted one of these objective snaps to
be activated for a while, like midpoint, unify
right click on mid, as you can see, it deactivates
others, but midpoint. Right now, the only active
object snap is midpoint. We can reset it to the default
mode by a right click. This is very practical. I want to repeat
it. Suppose that I need only one of
these snap objects or object snaps to be active for a while or temporarily
like endpoint. So I write click on Endpoint, maintains the endpoint while
others are deactivated. But if I want to reset this, I again write click
on the endpoint, which returns the changes, or it reset it to
the previous mode. By just write clicking on
one of them like endpoint. However, here we got grid
snap as well as you can see. I explained the grid
lines last sessions, which is an array of lines lying on a portion of the construction
plane in the viewport. Here I activate the grid
snap, as you can see, GID Snap constrains the marker to the crossing
points of the grid, which is used for
moduular designing. And as the unit is specified
to 1 meter, check this out. It constrains the marker to the crossing
points of the grid. Then we can have
Modular designing. What about the points? As I told you before, we got an infinite
array of line here or array of line,
which are endless. However, a defined
value, I mean, only a defined region of it
is visible in the viewpoint. I mean, we got degree lines
everywhere of the viewpoint, but graphically, it is not
visible in the viewpoint. We can extend the
region, I mean, the visible region
of the grid lines, but it is not necessary. So even when the grid lines are not visible in
the viewport, I mean, when the grid lines are not
visible in the viewport, you should know that it covers the whole viewport and
the plane is infinite, and we can deactivate it. We don't want to constrain the marker to the
crossing points. The next one is smart track. Our tracks a system of temporary reference
lines and points that is drawn in the rain you port using implicit relationships
among various tre D points. And we got this similar
option in autogasvill, like, for example, using SmartTrack, then I can extend the
line from the end line. Then I want to sketch
a perpendicular line. I hold the line
there for a second, then If drag it, which is perpendicular on it. As you can see, we got
two parallel lines, and then I can extend it to connect it to
the another point. Undo and I deactivate
the Smart track. Again, I start sketching
by using line. I hold down shift or I
press FA to activate ERthO. This time smart
track is not yet. So how can I sketch a
perpendicular line? As you can see if I turn it on, then I catch the
line perpendicular to the another line and
then complete the curve. Well done, however, we can use smart track more professionally, for example, here and Den
line if I hold the marker. But note that for
using SmartTrack, it is that necessary
to just click, since you just need to hold the marker and then
start sketching. It just gives you the
perpendicular line. Or, for example,
here as you can see, some specific angles are given like the 90 degrees
or perpendicular. For example, perpendicular
on this line, or I can extend the
line and sketch a line, which is perpendicular to this one, as you
can see on this. I mean, it offers us too many capabilities,
sketching curves, which is a system of
temporary reference lines and points that is drawn in the no view port using implicit relationships
among various points and other geometries in space. You can activate it
when it was needed, and don't forget to disable it after getting your work done. And let me give you an
interesting point about this. Actually, it is almost
similar to this, when you are sketching a line, for example, from the
endpoint, until this point, for example, you
want to consider a gap or an offset
between these two lines. Here if I hold the marker on the endpoint without
clicking on it, since if you click, the
line will be sketched. I hold on a press tab, then restrict the direction. So then you can only
control the length. Then you can specify
the length of your lines since
the direction is restricted like twoimeres and
then enter other example, I want to sketch a line
between these two points, so I pick the poly curve. I specify the first point,
but I do not click. I just hold the marker. Then I press tab, as you can see the
direction is restricted, and then I can
specify the length. For example, four D and
then press Inter to finish. If you press tab
twice, it restricted. I mean, it constrains
the length. Let me give you an example. Here, I press tab just for once. The direction is restricted. I press tap once again, as you can see the length
is constrained to, and then we can
sketch the circle. Another example, for example, I want to sketch a line at
this size or at this length, but at a different direction. I sketch it, but I do not click. I hold the marker,
identify press tab, restrict the
direction and length. After that, I can specify
the direction by this way. And I really shift
to sketch the line. So by this way, we
measure a distance, and then associate
it to the line. Let me give you another example. For example, the gap
between these two. I'm going to sketch a line
perpendicular to this line at this size or
equal to distance. So by using endpoint snap, I start the line by this way, but I do not click. Then here if I
press tab for once, the direction is restricted. But if I press that once again, as you can see, the
length is restricted too, and I can rotate the line, and if I enable SmartTrack, I can sketch a line perpendicular to that
line like this way. And as you are concerned, we can use this
way, this approach, this tool or
sketching the doors, since the sizes are adjusted and we don't have
to trim the line. Let me clean up the scene, and then I'm going to
tell you some points. Actually, in Rhino, we
can have our cliques. We can have multiple cliques
in each of the views. For instance, if I
want to sketch a line, I pick polyline. By this way. Then from the end point
I start sketching. At the middle of this process, I can change the view. For example, I switch the front, and then I continue sketching Inter look back to perspective. So there is no limitation
in switching views. I started sketching from top, and then I finished
it in the front view. As you can see on the scene, let me give you
another example in multiple lines since you may use this technique for
some of the commands. For example, you may have to click three
times, once in top. Second ly in front,
and the third one at the top
view. So let's try. I pick polyline, and
then from the end point, I start, then in front view. I specify the second
point, then again, I back to top like this, then back to front. By this way, again,
back to perspective. I specify the point. Then I enclose the curve. Check this out. We have sketched a closed curve in the scene. Don't forget to practice on this since these
are very important. Again, polyline. In top view, I click front view. Then I specify some points like this way back to top view, and by using SmartTrack, perpendicular, and then
I enclose the curve. Let's check it out
in perspective. By this way, this is the result. This can be very helpful during the process
of the project. And the next point is about
the application of control. I mean control button
in sketching lines. Here I pick polyline, and then I start sketching by
this way specifying points, as you can see, they are
sketched on the plane. But here I hold down
Control button. I haven't clicked yet, but I have hold down. I mean, I hold down control. The control is held down. Reify click. Then we can
release Control after clicking. Then if I move the marker
after mouse, as you can see, the point is perpendicular
to the plane to the specified plane that you
have sketched the lines. Look in the perspective
view, let me try again. I hold down Control button,
but I do not click. I mean, I'm pressing
Control button. Then after clicking, I can
release Control button. Then if I move the
marker of the mouse, the point will be sketched
perpendicular to the plane. The movement is
perpendicular to the plane, even we can specify
a length for it. Again, I hold down Control, then I click and type
60 meters, Enter. Then we can have the
curved lines in the scene, as you can see in
perspective view. However, instead of pressing
down Control button, you can just switch the view instead of
folding down control, as you can see in front view. It gives us the access to sketch the line
perpendicular to the plane. However, holding down Control
has got its own application that you can click
to sketch a line and then hold down or press
down Control button. Then you can move the mouse
to specify the position of the point and then click
to sketch it like this way. I got a question for you. Here if I specify a
point in the scene, then secondly, I'm going to specify the point overlapping
and the previous one. I mean, I want to
hold down control, and then I click.
What would happen? Or if I move the mouse. What shall happen?
Let me tell again. I have a specified for
specifying the second point, I move the marker overlapping
the previous point, I hold down Control,
and then I click. If I move the mouse,
what shall happen? Yes, we will have a
perpendicular line to the plane, as you can see, which
is very practical. So don't forget to
practice this lesson. Let me clean up the scene, and then I'm going to teach you the different
types of lines, which are very simple, actually. As I mentioned before, when we are working with specific tool like line
you can click and drag. We can dock the window. Since by this way, we got access to
the lines easily. And wait till now we have
worked on sketching, but some points are left to say. The first one is single line. It offers us just a single line. But the tool that we use, I mean we were
using was polyline, that it allows us to sketch
multiple lines sequentially, so we can keep on sketching
lines until you press into right click and the sketching command will
be finished or canceled. If you are using
polyline, like this way, as you can see on the scene, if you press down
escape scape button, the whole sketching will
be canceled and deleted, and you can't turn
them back by undo, since the changes
weren't saved yet, and you can't turn
them back by undo. Suppose that I'm
sketching these curves, I hold down he chef button, and then by accident, I release sheaf button, and then I need to
edit one of the line. How can I edit this
sketch? What do you think? Exactly, we use if I
type in command line, as you can see, undo, then you can just type in the command line and then
press Inter in order to undo the commands or the
sketched lines and then start sketching
to correct the curve. I press interval done. As I told you before, it is similar to AutoCad. These lines are
connected to each other. And if a cal explode
or excess shortcut, you can separate these lines to each other from each other, as you can see a them are
considered as a single line. And if I select all of
them, by using join, we can connect the
lines to each other or join them and have a polyline, as you can see on the scene. And the next command
is line from midpoint. As you can see, I pick it
to give you an example. If I pick the line from midpoint and then
I specify a point, that would be the
midpoint of the line. Then I can extend the line from the two directions like this
way, I disable SmartTrack. Note that while
you're sketching it, I mean, when you
specify, for example, 20 meters for the length, the specified value will be
multiplied in two because the specified length would be associated to the
half of the line. And I have explained you explain specifying the
angles, for example, 45 degrees and 50
meters for length, at first the list
and symbol 45 inter, then the length the
angle is specified. I specify 15 inter very well. Then I specify the direction, and this will be the result. I mean, the 15 degrees is related to the
half of the line from the midpoint to the top part and to the bottom or
the another end line. I talk about line normal
to surface later. But this thing I want
to talk about line vertical to Ciplne this way, you can, yes, we can sketch
perpendicular lines, but it got two points. As you can see in the icons, we got two axis, the green and the red axis. It shows that the
line is vertical. I mean, this sketch will be
perpendicular to the plane. And the next point is about
the concept of C plane. C plane is the current plane, actually, or the current plane. As you can see,
the previous lines are sketched on the
current work plane. For example, in the
perspective view. This is the current plane
that the grids are displayed. So if I choose vertical
line C plane from C plane, then we will have
a vertical line started from the current plane, current plane or perpendicular
to the work plane. I don't want to talk
about the length since I have talked
about it before. For example, 50 inter, then you can specify
the direction. Then by a click, the
changes will be saved. But here if I open
the front view, and then I use the normal
vertical to see plane. How do you sketch the line? Exactly, the line
is moving forward, and let me show you the result. Here it is. Let us check
it in the four views. Here if you want to sketch
the line in the front view, as you can see the work
plane is in front of us, so the line will be perpendicular to the work
plane or to the front view, as you can see in
perspective view. Here, you may ask what is the
differences between holding down control button and using
vertical line from C plane, since both of them give us a vertical line which is
perpendicular to the work plane. I should say that we can use holding down control in
other commands, too. I mean, you're oblique
to learn both of them. And in the future sessions, you will get familiar. All in all, we got
three approaches for sketching a vertical line
that we should learn them. Firstly, how can we
have a vertical line? Actually, in the first approach, we can sketch the line simply in the front view in order
to have a vertical line. Let's check it out in
perspective. Here is the result. Secondly, we can pick line. We can click and then then
hold down Control button. Then by drag, we can have a vertical line which is
perpendicular to the work plane. And the third approach is using vertical to you play very well. The next item is line
from four points, as you can see on this screen. Firstly, I specify the
first point by a click. Then I click once again. Actually, the first two click specifying the
direction of the line. Then by specifying the third
and the fourth points, we can have our line. Check this out.
Let me try again. So watch this part carefully. I pick line from four points, and then in the scene
perspective view, let me clean up the
scene at first, and then we can sketch
the line by four points. Example, I specify
here the first point, then the second point to
just specify the direction. Then I can specify the length, for example, 40 inter. As you can see, you got
a 40 meters distance, and then the second length, for example, 60 by this way. However, we can sketch
this by holding down tab, but the start point is
different to the other one. I mean, the start button is connected to
the previous one. But if we want to just have a single line in the
scene by four points, the first click, and
then the second one, or to specify the distances, and then the length by this way. Very well. And the next
one is line by sector in order to give you
an example by using bisector here in the top view, if we have a line like this. By using bisector, you can find the bisector
of these two lines. I click on bisector. At first, we should
specify the intersection. By the way intersection. Then start of angle to bis
5. Dividing Geometry Accurately: And the next command that we're going to work on is point. Here it is single point
and multiple points. Let me click and drag the dockb window and
then place it here. Then we're going
to cover points. Here we got the single
point as you can see, and the next one is
the multiple points, which gives you access to
place or at multiple points. What is the application
of the points? What are they used for? Actually, they are
very practical and effective in the
process of modeling. Let me give you an example. But note that you
don't have to work on these examples like
sketching a circle. I mean, as you know, you haven't learned some of
the examples yet. Just want to expose you
with these commands. I mean, we will learn these
later. So don't worry. For example, here
we got a circle, then I place or at a point there by sway in the
perspective view, I can move it upwards, and then I can love thee, love inter, check this out. This is the result. Or, for example, we can have two points. Let's check it out. Then you will see the points offer us too many capabilities. Look, here we got a sphere, here I turn on the record story. I just want to watch
this and take your time since we will learn all of this later after making a loft. Then if I move the point, I can modify the
shape of the loft. Check this out. We
can control it. So we are free to change it. And I wanted to say that
the points are very important and are very effective in the
process of modeling. So please watch this
part carefully. This was one of the applications of points in the
process of modeling, as you witnessed, it shows that points are involving in
the process of modeling. They are practical.
But one of the most important of them is
drive curve by length. Shall I divide that by
using this command, we can divide a line
or a curve by points. Let's check it out in
the following example. At first, let me
sketch a single line. For example, 50 meters as the length of the line or curve, actually, in rhino,
and a straight curve. 50 meters straight line. Here in divide curve by length. I left click to pick the
command or the tool. Then I should specify
the curve to divide. Here it is. I press enter. Then we should specify
the length of segments. And as you can see on the scene, the direction of the arrows shows the direction
of the division. If I specify 20, it starts from the left, left side to right, it divides the line at each 20 meters. Go I specify the curve. It this way inter, and then I can flip
the direction. If I click on it, I can
flip the direction. In the start point
that the division at the dividing
point will change. Then I type 20 for the
length of division. Then it starts dividing the
line from right to left. Well done, but in
the enclosed curves, the divisions will
be a start from the point that you
finish this sketch. Here in the current circle, divide curve by length. Then I specify the curve,
selecting the inter. Then as you can see the arrow, this is the start point of
the division or where we have finished this
sketched and we are not allowed to
flip the direction. I press Enter, then I
can specify the length, the length of
segments, ten inter. Then as you can see the division is started from the
specified point. But here you may ask, how do we can modify
the start point? Actually, we can modify
the start point. Before that, we should cancel the divide curve
by length command. So we do it by using curve SM. I search for it in
the command line. Here there is curve SM. Then we should specify the
closed curve for SM adjustment Inter then by click and drag
before dividing the circle, we can adjust the seam
wherever we want. Even we can flip the
direction, as you can see. And then after adjusting the seam and the
direction, enter. So all in all in the
enclosed curves, division are started
from the seam. If I sketch a circle, then in divide curve by
a length, left click. I specify the enclosed curve
to divide, then Inter. After pressing Inter, we can see the seam point that the division
is going to be started, but right now we can't modify it in the command of
divide curve by length. But we can flip the direction by just a click as you can see, but we cannot modify the
position of the seam. So we have to specify the
length of the I mean, the segments, ten,
and as you can see the division of the segments
is start from the seam. Or I can flip the
direction I press Inter. Then I specify the
length of the segments. Inter, as you can see the direction is
changed by this way. What about the question of the modification of the
position of the seam? Can we modify it?
Of course we can. But divide curve by length
command does not allow us. As I told you before, we should specify a separate command for specifying or adjusting the seam in the enclosed curves, that the command was curve Sam. I typed CRV Sam
here it is CRV SM, so I activate the command. Then I should specify the closed curve
for Sam adjustment. Then I press Inter
when it was done. Here is the SIM point. I can select it, and
by click and drag, I adjust a new position. Or even you can
flip the direction. However, you can flip
the direction in the divide curve by
length command to. So for the sim adjustment, I type CRV SM in
the command line, and I specify the closed
curve for sem adjustment. Then by click and drag, you can adjust your Sam or
the seam of the circle, actually, and then press
Inter when it was done. Then again, divide
curve by length. I specify the curve or
the closed curve Inter. Right now, as you can see, this is the new
position of the seam, since we have modified. We can flip the direction
too, as you can see, then I specify the
segment length and then enter. Very well. Let's talk about the points
and techniques here. I specify the curve or the line. Enter? Well, done,
as I told you, you can enter the
segment's length, and then the curve will be divided by the points
as you can see, at the specified length, but we can move the lines
separately, as you can see. I mean, they are not joined. The points are just
overlapping the line. But what about the options here? Here we got mark Ns. If I specify no for the mark Ns, it does not mark the end
and the start points, but we will have the middle
points as you can see. That we usually specify yes or choose yes
for the mark Ns. The next one is group output. I mean, the created points, eminate groups, de
created points. Since sometimes we may
have too many points, so it engroups the points and we can select all of
the points by click. If we specify group output, yes, then we can select the
group, the group of points, as you can see, then we can
make some changes on them. The significant
option here is split. As you can see that here
I specify yes for split, and then I specify ten
for the segment length. As you can see, there
are no points there, but the line is splitted at the specified
length of segments. And each of the parts are
10 meters, as you can see. So when we specify yes
for a split option, the points won't be added, but they will split the line. In the continuation, let's
check the application of the divide in the closed
curves and by using a split. I specify the curve in there. But note that here there
is a different point when divide curve by number of segments that here
at the first stage, you should specify
the sin point. I mean, we weren't
allowed to adjust the sin point in divide
curve by length, but here in divide curve by the number of the
segments we can. But as you can see, we can dig the sin point to adjust it. But what it is used for, I mean, I mean, why should we
specify the sin point? I place it here, and then
I press Inter six points. As you can see, the division is started from the sin point. This time, I want to change the position of the sin point or adjust a new position for it. Here, for example,
enter six part center. So in the command of divide curve by the
number of the segments, we can adjust the place
of the sin point. And then you will see that
the division is started from the position that you have
specified for the sin point. So, guys, don't forget to practice the given
lessons today. Then as an assignment, I want to assign you
a curve or an object, and I want you to
divide it by using divide curve by length and by
the number of the segments. Here it is. It is
something like a column. It has three sides. As you can see, here
we got the top view and also the front view
and the perspective view. I want you to work on
this as your assignment. But before that, don't
forget to practice. And then after being skilled at, you can sketch this
and then divide. And please do not skip
your process of learning. These stages should
be passed by you, and in the next session,
we will talk about it. Be lucky. See you next time.
6. Drawing Lines Using Divide: Hi, guys. I hope you
are doing well and also have completed the
assignment successfully. So at this session, we're going to work
on the assignment. Here in front of you
snap, Greedy Snap, and then line, I start sketching
from the region point. Like this way, then
I press Inter. Right now, we got a polyline. But here, if I want to
divide curve by length, I mean, I want to use this
command or by number. I select the curve inter, and then 15 segments. Shall we have 15
segments from each of the lines or the 15 segments we considered out
of the polyline. I mean, do you think that Rina considers these two
lines together? Let's check it out.
Okay. Very well. When we got a polyline, all of the lines are
considered as a single line. But if I want to divide each of the lines
into 15 segments, I should explode these
two lines from each other and then divide them
by the specified number. Divide curve by
number of segments. And right now, I can select
these two lines with each other and then divide them no matter if they are exploded. By this way, so put this
point into consideration. And then I want to sketch the lines by connecting
the points to each other. As you can see, to do this, you should activate
the snap off point. But if you are only
dealing with the points, right click on point
to deactivate others, then you can connect
the points by lines to each other by this way. I connect them one by one. Some of you may have seen
such a design or model. I mean, the physical version that we had the nails
instead of the points and the threads instead
of the lines that associated the nails to
each other by the threads. Here is the result.
Let's check out the treaty view by this way. Then for the other
view, for example, right view or top perspective, I start the command, then I open the right
view, right viewport. But I'm not sure about
the length of the line. Let me check it in
the front view. And Nearly 16. So let's in front, top view, actually
right, then 16. Here there is in perspective. So then I divide this line by the specified number of
segments as well like this. And then I want to connect the points by lines
to each other. I associate the
first to the last, and at this time, we can skip these
parts since they are repetitive, or move forward. However, it can be informative
for those who want to review and observe each of
the stages of the project. Since, as you are concerned,
practice makes perfect. So don't forget to practice. Even if you were bored,
let us finish it. And in the mentioned way, we should complete another side. So just in case if you
were not managed to, if you didn't manage
to sketch it, you can watch this part and
move the practice forward. So that you can
develop your skills.
7. Creating Circles and Arcs: Hi, guys. I hope
you are doing well. I'm going to begin this session with other sketching
or drawing commands. For example, circles. I open it, and then I
move the Duckb window. I fix it here. Well done. The first one and
the simplest one is circle center radius. I pick the command, and then in the scene at first, I should specify the
center of the circles. Here I'm going to
give you a point. I recommend you to start your sketching from
the origin point. I mean, while you want
to start your project, consider the origin point
while you start sketching. Another point here
is that if you enter zero and then press Inter, then I mean entering this zero decommand line would select a origin
point in the scene. Check this out. This is the
origin point in the scene, which it is considered as the Center of the circle.
Let's try it again. I pick the circle and
then as you can see, we should specify the
center of the circle. So instead of using
grid snap and zooming, I can enter zero in the command line and
then press Enter. This gives me the origin
point of the scene. So please consider
this point while you want to start your
sketching, like the circles. So what is next the radius? You should specify the radius, as you can see in the top view. For example, 30 meters
inter like this. And the second one
is circle diameter. I mean, by using this command, we sketch the circle
by the diameter. For example, here in the scene, I want to sketch
this, as you can see. The size of the circle is based on the diameter,
not the radius. And when you are clicking, know the points like at sign
or the less than symbol for specifying the angle or the length all of these are applicable to
the circles, too. I press F eight,
and then I want to specify the value
of the diameter, 30, for example, or 25. Then as you can
see, I can specify the direction or end
of the diameter. So the points that I told in last sessions are applicable
to the sketching commands, and you can use them here. And in order to focus
on the main points, I do not repeat them again. Here, you may ask about
the differences between these two circles that were sketched in two
different approaches. The first one by the
radius and the center and the second one by the diameter, I should say that some of these commands got their
specific applications. Let's check it out. And
as I told you before, try to sketch your objects
in perspective view. Here consider that I'm
going to sketch a line, a vertical line perpendicular to the work plane, two lines. Suppose that I'm going to sketch circles from the end
lines of these two lines. Here can I use circle radius
center? Absolutely not. Since it is hard to
find the center point, I should use another line in order to find the center point. But if I use diameter, at first, let me activate the snap of point in order to
enable other snaps. Then if I click on the endpoint, then I can have the
circle as you can see, which is associated to the two vertical lines
in the perspective view. And as I mentioned before, your skill of sketching
the objects in the perspective view or in
the treaty view is required. Since we're working on
these to be able to sketch some organized and some
complex and specific surfaces, so do not focus only on the
top views or to the drawings. So working perspective view to develop your skills in
sketching, actually. So this was one of
the applications of circle diameter that
I wanted you to know. The next item is circle
by three points. If I pick this command, then we can have the circle
by specifying three points. I deactivate a eight
like this way. Check this out the
circulator prepared, which is used in
some specific cases. And if I want to show you the applications of
this type of command, the sketching the circles, for example, let
me sketch a line, a vertical line here, perpendicular to the
work plane like this. Then I pick the
circle three points. Then I can associate the circle to the three lines to the ends. And in the continuation, we will work on other
commands of circle like this. For instance, I can convert the circle into a
wait for a second, please. Perspective view. I search for planned surface to convert it to a surface at first,
and then pipe. Following that, I'm going to associate profiles to
them. Check this out. You're rendered with preview or, for instance, I'm going to
sketch three rectangles here. Consider these objects
or these curves. Then here I need a circle to position it between
these three rectangles. The circle should have three intersections with the midpoint of
these rectangles. So we can use circle
three points. Then I pick midpoints
like this, midpoint. But here I do not
click on the midpoint. Since I want to move it upward, so I hold down control, and then I click
and drag like this. Right now, this circle is
perpendicular to the rectangle. That as I told you before, we can use control
during other commands. I mean, at this condition, we can't use vertical lines, so we hold down control instead to move
the point upwards. Check this out. I
hold down control. I move it upwards and the
next one by this way. And then the third
one like this, then we can have the circle
here I open the top view, it is positioned between
these three rectangles. Don't forget to
practice these cases. So let us go on. And the next one for
sketching a circle is, I just want to work on
the most practical ones. So the commands which I escape, I skip, actually, are not that
much practical and useful. But what about these two? Previously I talked about
the green and red axis, which were related to
the vertical lines. So here in circle vertical to Cplane diameter.
Let's check it out. Circle vertical to the
current plane by diameter. And another one is the circle vertical
diameter by the radius. The device, get the
circle in the front view, we can have the vertical circle. So we can use either
of these ways that these three got their
own specific applications. And the next one is
circle around curve. But what is this?
What do you think? Here if I pick this
command, at first, I should specify my curve, for example, the closed circle or the closed curve, actually. Then I should
specify the center. Then the circle would be like a ring around the
circle. Check this out. This is circular around
curve, like a ring. I specify the curve at first, then I specify the center point, then I sketch the circle
like this, around the curve. Then you can specify the
radius and have the circle. What about the last topic in circles which is
deformable circle. Let me give you some examples. Here, if I sketch ordinary
or a simple circle, this circle deformable, as
you can see on this screen, if I pick this command and then sketch the
deformable circle. Apparently, they
seem to each other. They are similar to each other. But if I select it, as you can see, it is
divided into I mean, by some points that I
will talk about them later while the
ordinary one is I mean, the count of the points are more UV modify the
deformable circle. I will teach you
the modification of the circles in
the future sessions. They will be modified smoothly, as you can see on this screen. But while the normal or the ordinary circles are
not smoothly modified, so because of these, this one called
deformable circle. You got the capability
to be deformed. Well, another one
does not have it. Even you can just
the point counts, as you can see, specified 12. If I click on point count, then I can enter my
desired value eight. Then I sketch the
circle, check this out. Then we will have eight
points on the circle. Let me give you another
example by using point count and
sketching an object, for example, 12, and then
I sketch the circle. I select it. Then I select
some of the points like this, then in perspective view. Then I deform the
circle like this. We will work all of these and all of these in future sessions. Don't worry, guys. And then then I want to
convert it to a surface patch. Let's check it out, guys. By this way. This is
the application of the deformed circles or using deformable circles or another
example by using these. For example, we can have them
like this. Check this out. I mean, we can have
interesting surfaces by using this type
of tool or command. But note that while you are choosing one of the
circles commands, you got some options
here like deformable, vertical, two points,
three points Tangn. I mean, if I choose
the two points, I can switch to deformable, or even I can switch to
three points as you can see. Like this, check it out. Then I can sketch it in
three points, well done. The next command is ellipse, which is similar to the circles. Let's work on it. Example, by the center
point or by three points. I mean, by using diameter,
actually, I'm sorry. Then by using the center points, then the other one that you can sketch it inside a
rectangle like this. These are very simple. You can be skilled at them. By some practices, and we got the deformable
ellipse as well. Check this out. That we
got some points that we can deform them
smoothly like this. That later we will
work on creating surfaces in the future sessions. Let's talk about the arcs, which is a significant
topic here, and we're going to
consider it closely. The first one is arc
center start angle. Let me give you an
example by using this. At first, I should specify
the center of the arc, and then I hold down shift
to restrict the line, and then I can rotate
it by this way. Then this would be the
result. Tack this out. Let's try again. This time, I want to sketch it
from the region point. So I enter zero in the
command line enter. By the sued in for
the start of the arc, we need the length
and also the angle. For example, 30 meters, Enter. If the angle is zero, I can hold down shift or I can press eight and then click. Otherwise, we can specify the angle by using
the given techniques. So this was the
start of the arc. Let me try again by
specifying the value. At first, I should specify
the center of the arc, which is the origin point, so again, zero and then enter, then we should specify the
start point of the arc. I try again. Then the center of the arc as I
mentioned before, I enter zero in
the command line, then I press Inter right now the origin
point is selected. Then I should specify
the radius of the arc and also the
angle of the start point, like 45 degrees and 30
meters for the radius. So I import the
less dense symbol in the command line
for the five inter, and then the radius, which is 30 inter well
down, then I click. Then the start point
will be specified. Then I should specify the
endpoint of the angle. And I told you a point
about the angles, if you remember, about the
positive and negative values. Depositive values resulted
in anticlockwise direction, the negative value resulted
in clockwise direction. For example, for
a 90 degrees arc, if I wanted to start
from right to left, I should specify
a positive value. So the direction
that you move the marker of the mouse
does not matter. I mean, if I specify
90, check this out. Since the value is positive, it will be rotated
anticlockwise. Like this way. Let me
give you another example. Since it is important, R center radius by
the origin point. At first, I specify the
length, there, the inter. Then I can press if eight if
I want it to be straight, or I can hold down
shift and then click. I want to have a semicircle
at the bottom part. So what value should
I enter or specify? I mean, a negative
or a positive value. 100 degree, 180 degree
or -180 degrees. Since it is clockwise, it should be um negative value. So the movement of the
mouse does not matter. Since at any condition, we should type -180 degrees, and then this should be
the result as our arc. Let us fork on some other cases. Suppose that we got a rectangle. So please watch this part carefully and don't
forget to practice it. Suppose that I'm going to have a semicircle in a vertical way, actually in the front view, and here as you can
see, we do not have a vertical arc in
the list of arcs. So we have to sketch
it in the view. Well, at first, I picked
the command of arc. Here I can start sketching
from the perspective view or even starting from top view
right here from the midpoint, in order to make sure that I'm starting from the
midpoint of the side. You're specifying
the correct side, then in front view, I can complete the semicircle like this in order to have
a vertical semicircle. So as I mentioned before, if a command required,
for example, four clicks, we can
have each of the clicks at each of the views if
you want. Let's try again. A command then the
center of the arc. I specify the midpoint
of the rectangle side. Then in order to sketch
the semicircle vertically, I open front view, and then I sketch the semicircle
vertically. Like this. By this way, the next arc is arc start endpoint on arc by
using three points actually. Before I have exemplified such a case in the circles by three points as you remember, and here we got the same thing. The endpoint of this line. But note that you
specify the midpoint of the semicircle
or the arc at last. Did you get it? At
first, as you can see, hal specify the start of arc, the end end of arc. Then the point on arc, this is the correct order for sketching the arc
by three points. Start, and then the midpoint, and then this will be
the result. Very well. In the continuation, I'm going to sketch an interesting arc. For example, I sketch
a rectangle at first, like this and the plane, and one more rectangle
there like this way. Then here if I want to have a vertical arc between the two vertexes of these two rectangles,
what should I do? I pick arc by three points. I specify the end of the arc and then the
point of the arc. I'm going to start an end, and then for the point
of the arc. Great. I should sketch it in the
front view like this. If I want to have it vertical. Then this would be the result. I try again, at
first start the arc, then end the arc
at the midpoint, and then I switch
to the front view. And then I sketch it. I specify the point of the arc. Then this will be the
result. Well done. And another interesting thing, let me show you again, I pick the command of arc three points. For example, the start of the arc and then
the end of the arc, and then here in the
perspective view, I can hold down
control and then dig the mouse for having a
vertical arc like this. So this time, instead of
sketching it in the front view, I hold down Control, and then I click and drag. Another example, I
sketch a line this way, and then I pick the arc for the start and end of the arc and then the point on arc like
the midpoint of the line, then I hold down Control. I drag and then we will
have this like this way. So it could be very practical. I mean, using the three points
arc, start engine point. Next one is arc start
direction at the start. Let's have a simple
example of it at first, and then I will tell you the
points and the applications. I pick the command
and then I start, start the arc, then end the arc. I hold down shift to
restrict the direction. Here as you can see, there
is a line which determine the actually determines
the direction of the start of the arc, that by the movement
of the mouse, we can control it, and then
by a click, we can fix it. But you may find it unuseful. But I want to tell you the
specific application of this. So let's see. For example, I
sketch a rectangle. Disable, then end of the arc, start of the arc, and then
the direction at the start. As you can see, we can
control the direction. Here, you may say that
we could have sketched it by the three points arc. So what is the difference? Yes, you're right, but there are some points and techniques
that you need to know. But here there is
a question that, how do we sketch an
arc in a vertical way? Actually, in the different
types of sketching an arc, we do not have a vertical
model, a vertical approach. For example, like the
circulars, you can see, we got curtical vertical
to plane diameter, we do not have such a
command in the arcs, so we have to use some tracks. So for sketching a semicircle
or arc vertically, we got two solutions. So right now, I'm going
to sketch a rectangle, and then we will consider it. I just want to check this out
and focus on it like this, consider this rectangle
or skoer or whatever. And then I'm going to sketch
a semicircle vertically. We have been working
on the solutions, as you remember. What
is the first one? Very well, here I can pick
the arc, arc command, and I should specify the
center of the arc there, and then I can complete it in the front view in a very
simple process like this. But let me tell you a
small point about it. I fix the arc
docable window here. You have to specify the center of the arc at the
perspective or top view. If you specify the
start of the arc, then you won't be able to have the arc vertically in front, as you can see, since
we have specified the direction in the
view of perspective. So don't forget that here, you have to choose or specify
only the center of the arc, and then you can specify
the start of the arc in the front view and then
the end like this. And as I told you before, you can use arc by
three points as well, start and then D D point, can hold down control and
then drag your mouse. This won't necessarily
give you a semicircle. I mean, you will have an arc. You couldn't have exactly, I mean, as semicircle. What about the second
solution or approach, which is using arc start, and direction at the
start or direction arc? Let's check it out, which has a point that you need to know
that I want to tell you. So watch this part carefully. Since it has an asset, you comparison with others. We can sketch it by the start and then the direction
at the start like this. I mean, we can control the curveness or the
amount of curving. But here you hold down shift in order to
restrict the direction, then we can have the semicircle
exactly. Check this out. And do you agree if I move the direction
upward vertically, we shall have the arc
vertically too. Sure we have. So when we are specifying
the direction at the start, if we open the front
view and then hold down shift to restrict the
direction at a vertical line, we can have the semicircle.
Check this out. Let us try again. Again, at the top view. At first, I should
pick the command by start and then the
direction at the start. I specify the start
and end points. And then the direction
at the start that right now here you hold down shift in order to restrict the direction line to sketch
the direction vertically, then we will have
exactly a semicircle. But here you I open
the front view and then sketch the direction
at the start there. We can have the arc vertically, too, perpendicular
to the work plane. I hold down shift
and I sketch it. Let's check it out in
the perspective view. As you can see, the arc is sketched vertically
on the work plane, and it is exactly a semicircle, which is very practical
in the most parts. So it is evident that here if I pick the arc by direction, then I specify the start and
end and then the direction. I can hold down control
and then drag it upwards for having a
vertical semicircle. Let's try again. You see
that it is very practical. First, I mean, start the arc and the arc and then
for the direction, I can hold down Control instead of opening
the front view. I hold down the marker of
the mouse on the point, then I hold down Control.
I click and drag. Then I move it upwards
like but here you may say that sketching a vertical line in front view is more I mean, is simpler than the
holding control. Why should we hold down control while we can sketch into
front view? Check this out. Of course, you're
right. Sometimes you may have some challenges. Sometimes there are
some limitations. Let me give you an example that you have to
hold down control. Suppose that you got, for example, two rectangles, and then you want to
sketch a semicircle, between the gap of
these two rectangles. So we can't have the
semicircle in the front view, since the semicircle is not
parallel to the work plane, I mean to the view, actually. So if the arc or the semicircle was not
parallel to the view, we can't use arc centers
at an angle. Let's try. I sketch the line at first, and then I want to specify
the midpoint like this, then at the front view. And here as you can see,
it is clear that we can't have the semicircle
in the right position. Check this out. While by using arc by start
and then direction, we can sketch this
and handle it, start, and then the direction,
we can hold down Control, then have the vertical
semicircle or we can sketch it in the front view instead
of holding down control. I switch to front. I hold down sheaf for restricting the line
and then finish. And we don't need another
line so that you don't need an auxiliary line to help you in sketching
the semicircle. But if you don't want it to be necessary necessarily
a semicircle, you can use artery points, start, and then the point. Like the midpoint,
you can hold down control and then bring it up. But you'll need the
auxiliary line, which it is selected. So, guys, in your
practicing time, please practice all of the examples and the
cases. You're essential.
8. Drawing Rectangles and Polygons: Hi, guys. I hope you are
doing well at this session. We're going to begin
with rectangles. By click and drag, I dock the window here,
Window rectangles. As you can see, we got
a few commands here. By this way, we can specify the two corners
of the rectangle. Then by this command, we can sketch the
rectangle from the center, it is center based. I note that in Rhino, a objects or geometries like rectangles got their
centers, check this out. While in other suffers, you may have it only
for the circles. And the next one is
rectangle by three points, which is very practical
in many cases, start of edge, then end of edge, and then you can specify divide. By specifying the
value for the length. The next one is
rectangle vertical. We can have a vertical
rectangle in the scene. I pick the command. As you can see, you got
the green and red axis. This would be the
result, which is perpendicular to the s
plane or grand plane. And the next one is
rounded rectangle. At the corners got filet. Check it out. I mean, you can
add filets to the corners. Then it would be like
an ellipse or ellipse. The continuation, I'm going
to go through more details. Or if I want to use a
rectangle corner to corner. At first, I specify zero
for the origin point, or we can enable the grid snap for specifying the two
corners of the rectangle or can you can specify
the coordinates and estimated
coordinates, actually. For example, for the X, I want to consider
30 and 25 for Y, I add aside 30 comma
25, check this out, then inter for finishing the sketch by specifying
the coordinates. The next one is
rectangle by center. I specify zero for
the origin point, and then I can specify the
other corners or length. But if you hold down shift
while sketching a rectangle, you can have the
four sides equal to each other or
sketching a square. Only hold down shift. At this condition, if eight
is different to shift. The next one is rectangle
by three points, which can be practical and
useful for the conditions that you need to work in
the perspective view, like to say, let me
give you an example. I sketch a rectangle like this and then another one there. By this way, I move it upwards. Then by three points, I can specify the
corners and the midpoint as the three points
of my new rectangle. Check this out. By this way. Let us give you another example. Like you say for the rectangles
which have been rotated, I pick two points. I specify the edge of the first edge by
specifying the angle, the less than symbol 45 degrees, and then for the
end of the edge, for the at first, I specify the angle
then the length, and then the ive by this way. I mean, by using this technique, you can have your rectangle
in an angled manner. Suppose that we got some
geometries like this, and then we want to
have a rectangle between these two, like this. And the last one
which got filet at the corners or the
rounded rectangle. After sketching that, we
can adjust the fillets. We can specify radius or point for rounded
corners to pass through. For example, for the radius, I can specify five inter. I mean by the movement of mouse, you can adjust the fillets
at the corners without specifying a value for the
radius of the corners. And the next topic that I want to talk about
is the polygons. And then I move the window. Note that if the amount
of the commands was few, maximize the size of the window, then you can see
the other commands. The first one is
polygon center radius, and we got three techniques
for sketching the polygons. This is the first one.
Let's check it out. That when we are sketching
the polygon like this, as you can see,
we get the number of the sides, which is four. I click on it, for example,
eight, eight sides. As you can see, I can specify
the corner of the polygon. The marker of the mouse is exactly on the vertex
of the polygon. Here we can specify the
radius, for example, like 40, and then the angle, we can specify the position
of the vertex that we are moving it or
we can hold down shift to restrict the movement. So the marker of the mouse
was exactly on the vertex. The next one is the
circumscribe polygon. Then by using the next approach, when we specify the center of the polygon, then
as you can see, the marker of the mouse is positioned at the midpoint
of the polygon edge. And when we specify
the amount of radius, the value would be the distance between the midpoint
to the polygon edge, which is the
circumscribed circle. Well, the previous
one was inscribed. But we don't want to focus on this circumscribe and
the inscribe polygons, since I want to focus on
their applications and their functions in order to teach you
something practical. And as you can see, we can
control the midpoint of the polygon edge specify
four D and then upwards. Let me turn on the
center grid snap. As you can see the
value of radius is 40 from the center to
the edge point, midpoint, actually,
while here 40 is the distance between the
center to the vertex. This is the differences
between these two. The next one is polygon by edge. I will specify the
length of all of the sites by specifying
your start and end of edge. Then based on the
specified distance between the two points or edges, you can have your polygon. 30 degrees and then the
30 meters for the length. Check this out.
The another one is squared center corner that
we have worked on it before. It is repetitive. The
number of desides is four. If I specify eight,
then check this out. So as you can see, these three are similar to the
previous ones. And about the option, we don't have any
specific things, but number of designs, any modes of inscribed
or circumscribe. For example, you can
modify the mode of inscribe to
circumscribe or edge, which is this one
third one polygon be the last one is a star. Let me give you an
example by using star. I pick the star command. Then I specify the center, which is the origin point, and then this would
be the result. You can sketch a star with it and about the
settings or option, we got the number of the sides, vertical and around curve. For example, eight for
the number of the sides. And after sketching the star, we will have 16 sides, eight for interior and
exterior each by this way. And for vertical, that we can sketch it vertically
in the perspective. I mean, perpendicular to
the current plane like this that you don't have
to hold down shift, I mean, control, or
sketch in the front view. But you need to specify
two radius for it, the origin point for the center, then the corner 30, then the angle, I
hold down shift. The second star radius, I specify 25 like
this, shake this out. Or if I want to give you another example about
this case, for instance, if I modify the number
of the sides and set 25, for example, then we
will have 50 sides. Then I want to curve it. Let's check it out. And then
I want to design a column. Let me show you in the preview of the rendered view like this. Well done, we're finished with
the arcs and the squares, polygons, and all of the
two D drawings geometries. Don't forget to take some
time on practicing them. Also the examples. Don't forget to
take notes and try to practice each of the
examples one by one. Well done in the new part, after getting skilled
at to the drawings, we're going to go through
gumbo, as you can see, but it is different to the
amazing world of gumbol. I draw a box or a circle,
it doesn't matter. When we select the
objects, as you can see, we got some arrows, some arcs, some shape handles for moving. This is called gumbol. So if you have selected your object in the scene and the gumbol was
not displayed, you should activate it. As you can see, we can enable it or disable it by a click. But we're going to talk
about the applications of the gumbo and the functions. What is the purpose
of creating gumbo? First of all, we
use these arrows. I mean, the blue, red and green arrows for
moving the object in Rhino. For example, I want
to move the box along the Z axis where I
hold the marker of the mouse and the
blue arrow, actually. And when it turn to
black, I click on it. Then by drag, note that I do not release the mouse button. By click and drag,
we can move it, or, for example,
along the X axis. I'm sorry, I mean Y axis
or along the X axis. Here as you can see,
there is a plane, which is divided
into four parts. By this plane, we
can move the object, along two axis simultaneously. The move as I modify the view, place of the plane
will be changed. For example, here, we can modify the position along
the X and Y axis, while at this view,
we can change the position along
the Z and Y axis. And in the two de views, we got only one
option for the move. By using the arrows
or the handles, we can move the object
along only one axis. Well, if we use the plane, we can move the object along
two axis simultaneously. But while you are
moving the object, if you hold down Alt, Alts button, you can make
a copy or duplicate. I hold down Alt, and then I move the object by the handle. As you can see, I can duplicate or make some copy
from the object. I select all of them. Hold down lt. Then by click and drag, I move them to make
some duplications. Check this out. I can
move and copy do. Here you may ask,
how do we can move our object in the specified
distance or coordinations. At first, you should
select your object. Then you should have a single
click on your desired axis. For example, a axis. Then after a single click, you can specify the coordination or coordinates, 15, for example. So the object is moved based
on the specified value. I click on the green axis, 60, it will be moved. And note that the unit is your
specified uh unit project. Right now, before clicking on the axis on the green
axis, for example, if I hold down Alt, and then if I click
on the arrow or axis, it moves the object
and copies Asvill. As you can see, we got
a duplication here. So this was all about
moving the object. And the other option rotation
by using these arcs, which is very simple, that you can use click and drag and then rotate the object. Along the Z X and Y axis. But don't forget to consider
the color of the axis. For example, if I want to rotate the object along the Z axis, I should choose
the color of blue. Then I can rotate it
along the z axis, as you can see, actually
around the z axis. Or if I want to rotate
it around this X axis, we can use the red one, as you can see like this. And right now, here
if I hold down all, I can rotate the object, meanwhile, making a copy. As you can see, I'm
making duplications, and if I want to
specify the value, I click on the arc, then I can specify the
value for the rotation. Check this out. Here I
specify to any degrees, it will be rotated
anticlockwise. If I specify minus two degrees, the rotation will be clockwise. That as I told you before, we can add the positive value for the anticlockwise rotations, negative values for the
clockwise rotations. And while you are
rotating the object, if you enable F eight, it restricts the rotation
at each 90 degrees angles. I mean, if you enable Ortho, check the sur, if
you hold down shift, it restricts the rotation
at the specified angles. However, you can enter the value manually without using of ortho. Like moving, if you
hold down Alt and then click on the rotation,
we can make copy. Check this out. The
copy is created. As you can see, we got
some duplications. Meanwhile, the object is
rotating in the specified value, we can have some duplications. And the next option
here is scale. Again, if I select the
object in order to get access to the gumbol
by using these squares, as you can see, this
enables us to scale the object or minimize
or maximize the size. Example, you can
scale the object, align the Y axis, or align the X axis, as you can see by this way. But while you are
scaling your object or modifying the
size of the object, if you hold down shift, then I can scale my object in the X Y and Z directions
simultaneously. Let me give you an example
by the line, the line. And since here we've
got a two d drawing, you don't have the scale
option in the z direction. But I can scale the NY
directions like this. And if I hold down shift,
this would be the result. We can scale the geometry
in the and Z XY. Directions. What about
specifying the scale manually? Here if I click on the square. You can specify the
multiplication for the scale, for example two, the sine
will be multiplied in two. Or, for example, if I specify
not 0.5, check this out. The specified value
here is the ratio. The sins will be multiple in multiple in two, three, not 0.5. And here again, if
we hold down Alt, we can make a copy
or duplication. I can hold down
Alt and then make some copies or we can hold down Alt and then
click buy this way. And here there is a
point that I should say, let me sketch a mass or a model geometry which is
not mirrored or identical. If I want to modify the scale of this geometry, for example, in the z axis or direction, if I specify minus one, it mirrors the geometry.
Check this out. As I showed you, the geometry was
rotated or mirrored. Here you may ask a question that while we are rotating the
geometry or object like this, as you can see, the rotation is based on the gumball position. And even when we scale the
object, check this out. The scaling is based on the position of the
gumball, as you can see. But can we modify the
position of the gumball? Of course, we can. Hereify
hold down Control button. Right now, I hold
down Control button, but I do not click, and then I hold the
Markramunt there. Then by click and drag, I can modify the position or move the gumbo and then
place it here, for example. Again, I hold down Control, then by click and drag, I can move the gumbo
or the pivot point, it is called pivot point
in some of the offers. Then you can place
it wherever you want by using these snaps, and then there would
be considered as the pivot point of the scale
rotation, and the movement. But if you wanted to reset it to its default place or to
the default position, here there is a white
circle as you can see. If you click on this, then it enables you to
reset the gumbol. If I click and reset, it will return to its default position like
this as you can see. And the next point
about gombol is that when you select your
object to rotate it like this, the gombol is rotated
temporarily as your witness. I mean, as you are concerned, if I deselect it and
then select it again, then the direction of
the gumbol will be adjusted to the
international directions. I mean, it is parallel to the international directions
or to the coordinates. But if you want the
gumbll to be rotated, along with the object, I should click on the white circle. And then I should enable
aligned to object. Right now, as you can
see, the gumball is aligned to the work plane
or to the current plane. But if I align it to the object, and if you wanted to customize the position of your gumbel, then you can hold down Control. By clicking drag,
you can located. So if you enable the
align to object, the combol will be aligned to the object when you
rotate your object. And then if you wanted
to reset your cobool, you can click on Reset Cobol. Then it will be returned
to the previous position. And if you want to be
aligned to the or plane, right click and then choose
aligned to C plane like this. We usually align the gobol to the rock plane or cram plane. That sometimes when
it was needed, we can align the gobol to
the object. Very well. But about the other topics about gobol and points that I
consider gobll very useful, mostly in lines and
curves is extrude. Here select the curve. We got some circle, some solid circle in the
coordinates on the coordinates. For example, here we can extrude the rectangle along the Z axis. We got this circle only
on the z direction. If I click on it, I
mean click and drag, and the other capability of the Gumbel is behavior
with the two D drawings. Let's check it
out. For instance, here I sketch a rectangle. Then if I select the rectangle, then on the Z axis, we got a circle, as you can see. If I click on that
circle or that solid, and when it turn to black, I'm talking about the
circle, not the arrow. I click on it when
it turn to black, but I do not release the button, then I drag it upwards. Then I can extrude the to the drawing,
then we can have a box. So this was the
extrusion process. I mean, making the
extrusion. Let's try again. I disable Grad Snap. I
select the rectangle. Then along the Z axis, I click and drag the circle. Then I extrude the
circle. I mean rectangle. So this creates the extrusion I can specify the value
manually by clicking on it, for example, like 15. By this way, we can
extrude the rectangle. Actually, this process, which is done by gumbal using gumbo, we can create lines from
the points, check this out. Then we can create surfaces, by the lines, check this out. And if I explode the
box, let's check it out. However, this is not related to today's lesson, but
I want to show you. Here if I extrude the surfaces, I can have boxes out
of them. By this way. While I was extruding an object, for example, this rectangle, if I hold down shift, I'll have the extrusion
at both sides. I hold down shift, and then I release it, check
this out, the differences. The extrusion normally
is at one side. But if I hold down shift, then it extrudes the
line at both sides. You should not hold
down the shift from the scratch from the
beginning of the process. At first, I click on the circle, then I drag it, then
I hold down shift. Then we have the
extrusion in both sides. So by this way, we can have extrusions in two
sides like this. In the continuation, I'm going to talk about the
commands that you can have in the command line and they are related
to the gumball. I mean, you can
either use gumball or you can have the command
from the command line. For example, the
first one was moving. Check this out or we can
move the object by using Gumbal but how can I get
access to this command? Inter, move, point to move. Then if I want to move my object after getting
after starting the command, I should specify a point
in the object to move it. Then I should
specify the distance of the movement and also the
direction of the movement, as you can see on the screen. For example, 60 meters
in the 30 degrees angle. So the less than
symbol, 30 inter, 60 inter, and then
I move the object. After specifying the
direction inter, then I should specify a
point as the pivot point. You don't have to specify
exactly on the object. Like this way, then I
should specify the amount of movement and then the
direction of the movement. However, you can move your
object vertical, you know? Then you can move
your object along the z axis or in the z
direction, as you see. Well done, and the next
command is rotation, as you are concerned
that we used Gumbal for rotating the object. Here I can search for
R O then I enter, I press inter actually. Then I should have specified
the center of rotation. When we were using gobol, the gobol itself
was considered as the pivot point in
the rotation process. But I specified the
center of rotation here. Then I should have specified your start point
of the rotation, and then I specify the angle
of rotation that I chose you the positive and
negative values of the angle and the
direction of rotation. For example, -45 degrees in order to rotate it clockwise like this,
as you can see. And you can choose to make a
copy from the object or not, as you can see, copy no, and you can use
as center or not. If you enable to use as center, you can use the last Center for your new process
of rotation. In the next one, the next option is copy, which is very simple. CO enter. I start the command of copy, just like moving from
the origin point, then you make a copy the less
than symbol, 45 degrees. And then, for example, 80 meters. Check this out. Then we will have
the duplication, and then if you click, the object will be placed. And another option here is use last direction as I'm
pinpointing with the mouse. If I specify, yes, it preserves the direction, so you can have more
duplications like this at the last direction. Her even you can
use less distance. I enable it, check
this out by this way. And as you are concerned, this is very simple command, as we were working with Gmbol, but I just wanted to tell you
some extra points about it. And the next item
or option is scale. Here in Gmbol as I
mentioned before, we use these squares for scaling the object in the specified
directions, X Y and Z. But if I hold down share, I can scale the object
in the three directions. Well, if I want to search
for it in the command line. C. Here we got three scales, scale one D or one dimensional. I click on it. I
specify the object. Then I should specify the point. Then the second point,
check this out. Then I can scale the object
in only one direction. So this is the D scale, which is similar to stretch. The second one was scale two
dimensional or scale two D, which wasn't offered by
Gumbal in two directions. I select the object and
I specify the point, the first point, and
then the second point. Then we can scale the
object in two directions. X and Y. I mean, the height is fixed. As you can see, we are scaling the object in the X
and Y directions. And if you use scale, can scale the object in
three directions X Y and Z, like this as you can
see on this screen. The continuation, let's
check out the parameters. For example, I'm going to
start from scale one D. I select the object, then I should specify the
base point like this. We got two approaches
for scaling a objects. It does not make difference. One D, two D or three D.
This is similar or fixed. I specify the base point, and then I can specify the ratio scale factor or
first reference point. For example, I specify two
to multiple it in two, check this out,
the scale factor. Then I should specify
the scale direction. Like this way. By this way, you can specify your
scale direction. Like this, let us try again scale one D. Then I specify
my object to scale, then I should specify the
base point, which is fixed. Then the scale factor or the first reference
point, not 0.5. And since the direction has
not been specified correctly, actually, it looks strange. But if I want to
have the height, I move it upwards or
in this direction, direction, Y direction, this scale factor
will be considered. And in the next type, we do not specify the scale factor or
any scale reference. I mean, it is similar to
scale reference in Autocad. In this process, at first, we specify the base point and then the second
reference point. After that, we can specify
our desired scale factor, value like 25. Let's try again. I don't know what is the
height of this object exactly, but I want to consider
a specific value for the height of this object. For example, I want it to be 18. So scale one D specifying
the base point. Then the second reference
point, for example, 18, then the value of 18 will be applied as the
height of the object. I mean, we can either specify the scale factor or
the reference point. Let us try this for the
two D and treaty scale. For example, scale two D.
Then I select the object, then the base point
I should specify. I should specify
the scale factor or the preference point. Then it will be scaled in
two directions X and Y. Here in front viewport. If I select the object, and then I specify two
as the scale factor, and the scale will bring
the directions of Z and Y. But what about the
reference point? I specify the object and
the base point after that. I measure a specific D stand. Then I want to specify
the new value for it, which is the reference point. For example, 30. Then the scale, I mean, the object will be
scaled in 30 meters, and we got it in
the treaty view. Just like we told you before, I specify the object
and the base point and the ratio or scale factor. Or I specify the
reference point, and then I entered
the value like 30. Let me choose another
value like 50. Then the other reference
points will be scaled in the y and z directions
based on the tert value. Guys, we're finished
with this session, please don't forget to
practice the given lessons. If you had any questions
you can ask me. And after getting
mastered in these, you can start the next session. So do not skip the
most important parts and watch them attentively.
9. Introduction to Curves: The another tool of TD
drawing here is curves. Let me show you in the sidebar. As you are concerned, we call our objects curve. If I fix the window of curve, as you can see, although we call the lines
curving right now. But we got a separate window
for the two D drawings. Actually, we call them curve. Here we got two curves
which are frequently used. The first one is
control point curve, and the second one is
curve interplay points. In the continuation, I will tell you the differences
between these two. The first one
control point curve. When you're sketching
your curve in the scene, your specified point will be considered outside of the curve. I mean, this would
be the result. Your specified point got no intersection with
the curved line. If I want to compare it
with a poly line like this, then I pick the
control point curve according to the polyline. Then you can see the
differences. Check this out. As you can see the points got no intersection with
the curved line. Then the second one is
curve interpolate points. If I pick this command, you will see that the points got intersection between I mean, the curve line. Check this out. As you can see, the points are exactly on the curved line. Let me sketch one
more to show you. Look, this is the
interpolate curve. As you are concerned,
sketching a curve by using interpolate curve is
more easier or easier, actually, because we got the interpolation of
points into the line, so we can easily control them. But in the curves, we got
the concept of degree. Let us talk about them. For example, when I pick
curve interpolate points, we got degree that
we can specify it. Right now, the degree is set to tree that we
usually set a a tree, then this would be the result that we used it
before, like this. But here, if I modify
the value of degree, the curve degree, and
then I set it to five, then this would be
the difference. Let me modify the color to
show you the differences. I mean, it increases the
curveness of the curve. As we maximize the curve degree, it increases the curvenes. It is not that much important. Usually use three degrees
or the curve degree. But let's talk about
other options. For example, one of the most
important objects options is persistent close, which is set to no, and this will be the result. But if I set
persistent to close, persistent close to yes, let me set a degree de
curve degree to three. Then if I start
sketching the curve, then we will have a closed
curve at any condition. We won't have an open curve. If I set it to no,
as you can see, it is an open curve, we
should close it ourselves. But if I set persistent
close to yes, then the curve will be closed
at any condition like this. Well done. What about the points that you should
put it into consideration. As I told you before, for sketching the curves
like interplate curves is a very better option because
you got better control, upon it, since the points got interpolation into the line, so you can control
them better to compare into Campa by
the control point curve. I set a degree to three. Let's check it out the
control point curve. I mean, sketching a curve line by using this tool is harder, sometimes we have to use
Control Point curve. For example, in some specific conditions that we got a curve, but some parts of the
curve are straight. They are not curved. Actually,
in the situations that we got a curve that some of the parts are straight and
some others are curved. Let me give you an
example like this. I start sketching
by control point. Then I start. I hold down shift. Then the second point,
third one, fourth, and after having
a straight line, then I can curve the
line by this way. Check the curveness of the line. Some parts are straight. Then the curve started
from that point. But let's try to sketch such a curve by using
curve interplt points. So I pick curve interplt points, then I want to try sketching
such a shape or geometry. I hold down chef to
complete the straight line, I curve the line. Compare these two
lines to each other. As you can see, we don't
have the straight line, and the curveness
is not satisfying. While by using Control point
care gives us great curve, specifically when
we want to we want a mixture of straightness and curveness in an organized way. I start one, two, three, I hold down shift. Specifying the fourth point, I curve the line. This is usually used for the
porches and also the domes, there were oblique to
use this technique. But if you wanted to,
continue your curve lines. After sketching them, you
can use continue command. But if you wanted to continue your curve line by using
interplate curves, I mean curve interplate points. Here it is curve
interplate points. At the points got
interpolation with the lines, you can type continue
in the command line, continue Interplate
curve or CRV. Then if you specify the line, you can continue sketching
the InterpatePoint curve. If you wanted to continue them by using
Control Point curve, here it is Control Point curve. The point got no interpolation with the line or curve line, you can type continue
continue curve. And it does not matter
what you have been used before or the
last type of curve. I mean, you can continue your curve in the
manner you want. For example, here,
we've got a mixture of Control Point and
the interpolate. These were the two techniques
for continuing your curves. But let's talk about the modifying or the
edition of these curves. Actually, when you
sketch your curve by using interplate
points like this, as you can see on the scene, the points got interpolation
with the line. When you select your curve, you can see the control
points there which are not interplating the if I
use Control Point curve, let's check it out, and
then I finish sketching. The control points are
outside D. I mean, they got no intersection. The difference is only while
we are sketching them. I mean, exactly, while we
are sketching our curves, we got access to
the control points which got interpolation, but finally, they will be
separated from each other. And these points are
called control points, as I mentioned before. That by using these points, we can modify the
curveness of the line. For instance, if I
select this curve line, then the control points
will be displayed automatically if I select two of the curve, I
mean, two curves, we do not have the Control
points automatically, we are required to press F ten shortcut if we
want the Control points to be displayed or we can click on Show Objects control
points like this way. So by clicking on Show
Objects control points, we can display or show
the control points. Then after selecting the object, if I hold down Shift and
I select another one. Both of decontrol
points after both of the objects I'm in are shown. But if I select them together, decontrol points won't be shown. I mean, you have to press F ten. So let us modify the
control points and then modify the curvens of
the line like this. For example, I select this line. Then I select this
control point. Then as you can see, I
can change the position, align the axis or in both
axis simultaneously. Or if I want to modify the
height, I select them, then I move it downwards
or the other point, I move it downwards like this. So by selecting the control
points of your curves, you can modify the
curveness of your lines, as I mentioned before. Here in the perspective view, if I enable the control
points and then select them and I move
them along the Z axis, then this would be the result. Check this out in the
perspective or treaty view. As you can see, we got a
higher range of variety in sketching the lines of
movement of the control points. But note that while you are sketching a
curve, for example, like this, you have to use
the less control points. For example, curve
interpolate points. If I sketch it
like this, I mean, in this manner in which we
got too many control points, it would be hard to control it. That I call it stressy manner, then the result won't be
smooth. Check this out. This is not satisfying
or acceptable, and we won't be able to modify
the curveness of the line. I mean, it would
be very difficult since we got too
many control points. Check this out. It
wouldn't be practical. So while you're sketching
your curve, note that. Try to have a less
Control points, so the less the better. Let me say that at the count which are
required or you need them. Let me give you another point, and then we're going to
switch to the next point. Next topic, actually, see if
you had selected your curve, and the control points weren't displayed or you should
adjust a setting. You should open
options, no options. Like this. Then in
options in mouse. Here we got some
settings for selecting, which is turn on
control points when selecting a curve,
light or oation. You should click this checkbox. I mean if I remove the checkbox, we won't have any control
points until you press F ten. Check this out, or we should click on the checkbox of I mean, turning on the control points. So you'd better to
turn it on or click on the checkbox in order to have the access to the control
points automatically. It speeds up the process
of working with Rhino, so you won't have
any problems or challenges while you're
modifying your curves. In the continuation, I'm
going to explain a concept, and then I'll leave you to
practice these lessons. Let me clean up the scene. As you remember, I selected the control
point at this curve, and then I moved it along the z axis in the
perspective view. As you can see, this curve
is not straight anymore, it is not considered
as a toy drawing. It is a treaty curve, since it is moved
along the z axis. So the curves which
have been sketched in the specific plane like this
are called two D curves. But the curves like this, which is moved along z axis, which are not placed at the similar plane when they are not flat are
called two D curves. I mean, they have
been sketched into perspective view and
the level is not fixed. But no doubt if I rotate this curve like this,
check this out. This is not considered
as a treaty curve. But as you can see,
the level is the same. I mean, the level is modified. This is still a Toti drawing. The curves at their
height either are the same or called Toti curves, but the curves like this that
their heights are modified. For example, if I choose
this and then I move the control point along the
z axis to modify the height, like, which are
called treaty curves. It is not a plane curve anymore. And from now on, we're going to deal with these expressions. There are some commands that
are only applied to the, for example, two D
curves or treaty cave. I mean, they do not support the treaty or TD
care, for example. I mean, Rhino, we call PNR
instead of two D curve. So the two D curves are
called PNR in Rhino. There are some commands
that they only support the planar curves or TD curve, plan RRF or surface. Select, we should
select a planar curve to build the surface. Here, only a plane R curve is allowed to be selected if you
want to build the surface. So it is important to
learn the concept of the planar curves or
the treaty curves. Since in some of the
commands that we have to use the planar curves, we can put them
into consideration. So, guys, please just practice the given lessons
in this session. And when you are prepared, we can start the next
session. See you next time.
10. Overview Exercise: Applying Basic Tools: Hi, guys. I hope you are
doing well. At this session. I'm going to assign you
your homeworks, actually, since there are some points
and techniques that I should tell you while
getting the homeworks done. For example, one of them is sketching these slimy patterns. Let me show you the
slimy patterns. You will be given some
patterns of slimy, and you can choose one of
these files by your own. I mean, you can
choose your favorite. And then by using
Interpolate curve, draw it by an Irino
as your homework. But it may comes up to
your mind that it is very difficult to sketch such
a pattern or design. But I should say
that, you don't have to sketch it off hand. I mean, most of the
times in Rhino, we use imitation while we
want to sketch something. So right now, I'm going to
tell you how you can import an image into Rhino and then
have your sketching done. First of all, you
got two approaches for importing your
images into Rhino. Firstly, you can
use click and Greg and then release it at
the view that you wanted. As your favorite view,
it doesn't matter. For example, in the top view, and then I release it
then in image options, we should specify the format of the image or the function of the image in the
R you should just specify your choose picture
and then click on Okay. Then you have to sketch a rectangle here by this
way, as you can see. Then this picture
is considered as an object in the
scene. Check this out. It is imported to
write O as an object. But what about the
second approach? You should type the command of picture in the command line. Just type picture in the
command line, by this way, and then you can browse and import your image and then place it in the
scene like this. Well done, after importing
your image into Rhino, we're going to start sketching
these slimy patterns. So I open the top view,
then I start sketching. Here there are some
points. First of all, while you're sketching
the pattern, we were supposed to sketch it by interplay points, curve
interpolate points. As I told you before,
you should have the list control points. This type of working or stressy as I told you,
it is not accepted. This is satisfying and
accepted, you know? Let me show you the curve. As you can see,
it is not smooth, and it is not editable, so it is not standard. So what should we do? As I told you, we should use
the less control points. For example, you can try and
sketch it by three points. Then here as you can
see, it is enough. I can select the line. And then I can show the
control points and then modify the control
points in order to edit the curveness
of the line. But here, as you can
see in the scene, the image is not
transparent enough to let us observe our sketching
or our curves. So I'm going to teach you
how you can make the I mean, increase the transparency
of your images, just to make our
sketch more visible. So for making the
image transparent, at first I should select it, and then in properties, I click on material with
the too toothpaste icon, as you can see,
then I scroll down. Here we got the transparency. Then I increase the
degree of transparency. Check this out in the scene. For example, you can
increase it till 60 or 70%. You see, now our sketch is visible and we can also
observe the image, and we can control our
sketch modified and better. We got a higher
control upon them. This was the process of
increasing the transparency. The other topic is selection. For example, if I want to select this curve
line, if I click, the image will be selected
or if I drag or cross, I'm not able to select
the line or curve. Check this out. I got some challenges in the
selection of the curve. For example, I select it. Then I want to choose
these two control points. As you can see, the picture
is selected by mistake. So we have to lock the
image temporarily, and for locking our
image and for make it unselectb at
first I select it, and the shortcut is
control plus L. Here it is I hold down Control plus
button to lock the image. As you can see the
image is locked. I'm not able to
select it anymore, so we can easily select the
curve and you control points, modify them, and then
move the project forward. So no that, you can lock your object if you want
it to be unselectb. But how do we can unlock it? You should hold
down Alt Control L. Now that when you activate
a command by using control. You can deactivate
it by holding down Alt control and that
bottom simultaneously. It is unlocked by Alt
Control L buttons. Control L for locket, Alt Control L for
unlock it. By this way. Well done, I get Alt
Control for locking it, and then I continue this sketch. However, we can use my pop up for getting access to
the interpolate points, for example, like this. I hold down Shift to
sketch in a straight line, then I select this one to connect these two
to each other by using move by this
way. Well done. Suppose that I'm finished
with this sketch, and then I want
to remove or hide the image temporarily
for checking my sketch. At first, I should
select my image. So I'll Control L
for unlocking it. Then I select my image. Then by using Control edge, I hide the image by
this way Control edge. Then you can consider
your sketch. If there was any problem or
mistakes, you can fix them. After the revision process, you can unhide it, which
is Alt Control edge. Use Control plus g buttons
for hiding the image and then Alt plus Control plus edge buttons for unhiding this. So this was one of your
homeworks that you should do it and only
sketch one part of it. Then by using copy or
mirror or rotation, you can complete the
sketch or pattern. And the next homework and
I want to assign for you, is MNR these treaty lines. You can choose one of
these by your own. It is optional, your favorite. You will be given these files and then sketch one of these into perspective view
in the treaty manner. I mean, we do not need
these in a flat manner. Suppose that you will be
given some bars or rebars, and then you want
to sketch this. For example, you should
use vertical line, and you should put the
three dimensionals into consideration while
you're sketching the lines in perspective view. Can choose one or two out of these images
as your homework, but you have to sketch at
least one of the treaty lines. The next practice is elliptical bridge.
Let's check it out. I open it. Here there is. I know it looks very
difficult and complicated. I understand. But do not
lose your self confidence, since this is the simplest
practice that you have. So I believe that you
are capable of it, but how you can sketch
it in the continuation, I will explain to help you start this project or
homework, actually. Let me guide you first,
at the first step, you just need to
sketch this circle and then divide it
into some parts. I just don't want to
kill your creativity. Sketch the circle and then
divide it into parts, and then you can
divide these two lines into some parts and then sketch
the lines to each other. Let me zoom in, a this
out. It is so simple. Here we got the line
which is related to the bridge and the other
line at the other side, and we got the circle as well. You should sketch the circle, then divide it by points
and also the lines, the parallel lines
and then connect the points by associating
them to each other. And if you can work on some more details,
it would be great. But note that it is not
that much complicated. Technique is what we have
told in the last sessions. So after getting it done, you can watch the
next session videos that I have totally
explained the process. Other homework is curve tools. Here you got some images, you should import them into your rear Rhino and
then sketch the curves. I mean, you should sketch
whatever curves you see. Actually, this practice develops your skills in sketching
curves in the plan view. But later, we will have
them in the treaty view. But right now, we just need to sketch the curves
in the plan view. So we can be skillful in sketching curves by using
Interpolate points. But I have skipped something. Let me tell you that
in slimy patterns, this is regarded as
your homework too. You should choose one of
the uncolored patterns and also the Control Point
curve which is selected. So here there are two files
that you should sketch them. And it is simpler
than the other one. As I mentioned, Control
Point curve that I want you to sketch this by using
Control Point curve. Since you were required to know how to work with the
Control Point curves, I have assigned this
for you for developing skills in Control point curve. Let us have a review,
one or two of the line. Then in these lami patterns, you should choose one of the black and white patterns and also the control
point curve. And then we got the elliptical
edge, as I told you. Actually, in the practice
of elliptical bridge, if you were eager, if you wanted to have
your lines with mass, I mean, for example, to convert them into
some cables with masses, we can use pipe command. We'll talk about
pipes, leather in the future sessions
totally, so don't worry. But if you were eager to
work on more details, you can use Pipe Command. Just search for it
in the Command line, then click on multiple. Since we got multiple lines that we want to convert
them into pipes, then I sketch, I mean, click and drag,
select and enter. Then I should specify the radius of the pipe, for example, 9.5. Then this would be the
result. Let's check it out. So simply we can create pipes out of the
lines. Well done. But if you select only
one of the lines, I mean, in the command of pipe, then you will be asked to specify the start and
end radius of the pipe. For example, 0.5 for the start and one for
the end. Check this out. This is the result. This is not practical for
your current level. So you'd better to use multiple while you
want to create pipes. Since when you specify multiple when you
create multiple pipe, you won't be asked to specify the radius of the end and
start parts of the pipe. So you select it and you
specify the pipe radius, for example, two, and
then you have the pipes. Well, while creating pipes, if at first we select the lines, we don't have to click on a
specify. I mean, multiple. I select the lines, then I
enable the pipe command, and it is not required to
click on multiple well done. And the last one was
the curve tools. And I want you to do your
homework works at first, and then decide to go for
the next session videos. Since these skills are prerequisite for the
next session videos, don't forget to ask
your questions, since you can fix your errors, and then you can
start the next part. I wish you luck, see
you in the next time.
11. 3D Volumes in Wireframe View: At this session, we're going
to sketch these lines, these three lines,
step by step together. As I mentioned in the
last session, right now, I'm going to sketch
one or two of them, then I'll leave the others
for you to sketch them. For example, I choose this and then I want
to start sketching it, but I should arrange these
two views in order to observe the module and at the other
side sketching it in Rhino. So this was the first
as Iman approach, but the other approach is to import the image
into Rhino and then just use it as a guide or reference that I'm
sketching the model. Don't get me wrong. I don't
want to sketch the model like the previous
session that I used to sketch the overlapping lines. And another option or approach
for sketching this for having an easy access to
this is using the library. Here I open the option, then I open libraries. By this way, I can get access to the library of Rinoas
you are concerned. Here I can open homework
and the three lines. Then I choose my desired image? All I want to tell you is
that you can easily get access to the images or
pictures or whatever. And if you wanted
to import them, you can use Click and Drag and then release them in the scene. But I want to choose
to open the image and then Duck the window
at the left side, and then sketch the
Rhino which is at the right side of the
scene or screen, actually. And even I can close
deductable windows, since we don't
need them for now. Then I press Control
plus M to maximize the perspective view or the full screen mode
of perspective view, and then I start sketching
the treat lines. At first, I should start
the polyline command. Then I check that Ortho and
Grey snap should be enabled. Then I want to start
from this part, and then we shall go on. Zero Inter for the origin point. As I told you before,
you would better start your models from
the origin point. 25 units. Inter, I enter the value
then I press Inter. After that, 12, again, 25, then again, 12, Inter and 25. Well done, here as you are
concerned for entering the measurements or the
distances of these lines. We just need to
select the polyline, and then we should
specify the first point, and then I enter the
length or distance. For example, for
sketching 50 meters. The first point is
already specified. I import 50, then I press Inter buttom or you can
use click buy this way. Then I want to sketch
the 12 units height or moving it along the z axis, I hold down Control button
and I click on the point, and then I move it forward. I mean upward. Then I import 12. Then at the current direction, as you can see, I'm going to continue the line
along the t axis. I mean x axis, 12 and click. And then at this direction, the value is 25, sketchimport, and then click. And the remaining
distancer length is 55 since the the value was 75, and for having a vertical line, I again, hold down
Control button. Then I click on
the end endpoint. I import 25, click well done. Again 25 units. I import 25 in the command line, then click, 25 by this way. I press down a spacebar to check the lines and also
to keep the lines. And then, again, I
pick the polyline. Then I connect
these two points to each other by this way. Then from the other side side, I'm going to start sketching. 75 is the total height. A vertical line, as you can see. As you can see, the
behind part is prepared. Then by using right click, I start the command of
polyline. I start sketching. Then I hold down
control for sketching a vertical line at the size
of 12 units or meters. Then I connect it to
the intersection. When well down,
let's start again. 25 meters, I import
then click 12, just like the image, 25. 12, 25, and then at last, I connect it to the
point. By this way. Then I pick the
single line command to sketch the intersections
or the corners, actually. Then by making copies, I position the line. Well done. So the first three
line is completed, as you're concerned step
by step. Relocate it. And then I'm going to
go for the next one, just like the previous one. At the current model,
as you can see, we got some other points
and techniques like associating the angles and
also the relative coordinates. So you're going to
learn new things. I'm going to start
from this point. But at the beginning
of the sketch, I import zero in
the command line for specifying for starting
from the origin point, 22, the length of the line. I click, and then at this part, I'm going to rotate the
line at 45 degrees. I import less than symbol, then I import 45 inter
then by this way, I can have the 45 degrees line. And as you are concerned, the length of the
line is nine units. So I import nine in
the command line, then I press Inter. Then here the relative
coordinates, as you can see, are nine and minus nine ing
digs and Y axis at sign nine, come on, minus nine, well done. And then again, 22, click I hold down Control, and then I click on the point to sketch the vertical
line 16 Inter. Again, 22. Check this out. Well done. Then I want to sketch
a line which is perpendicular to the
vertex of the lines. I need to enable SmartTrack. By this way and by
using the object snaps. Again, I hold down Control
to sketch the vertical line, snap, hold down Control, then snap, buy this way. As you can see, these two lines are parallel to each other. Then I enclose the curve. So we have done to disport. Then by using single line, I sketch the vertical lines
to associate intersections. And then this is the result like a surface or a panel
as you can see, I pick polyline
command, and for now, as you can see on the screen, I'm going to move the
line along the y axis. I import 16. Then I click. I hold down Control. I sketch the vertical
line six units. Then the length of 18, 16. Then by holding down Control, I sketch the vertical
line, hold down Control. Then by click and drag, 42, the total height. And then for this part, as you can see, I import 16. As you can see, there we should define an angle and the length, the total length there is 30. I mean 15 for each sides. I import at sine for
defining the angle. I'm sorry for the
relative coordinates, 15 minus comma zero, since you won't have any
movement align the axis, I import -15 to move
it align the set axis. I click and then
I'm going to sketch the other side at sine 15, come zero, and then 15. Since the movement
is toward upwards, after that, 16 units. I move it forward,
20, again, 16. And then again for this part, I type in the command
line at sine -15, come zero, and then
-15, like this. Again, at -15, come zero and 15. Check this out 16 and
then at this part, I'm going to sketch this line and then connect it
to the intersection. Right now, I can select D
Pline and then explode it. I select this line. I hold down Al's button, then I click on the red
arrow of the gumball, then I import nine for
making a copy and moving. Then for the other side, I can select these two lines, and then by using
mirror command, I specify the axis, I mirror it at the other side. By this way. Again, by picking single line command to sketch the intersections and
corners like this. After that, the line
for the bottom part is 62 units. Check this out. Then I can select
the previous line for making copies like this way and then place
them at the four corners. Right now, I select
the polyline here. I click and copy Command, then I duplicate it to
place it at the other side. Look. Again, this line, I click on copy Command, then for the corner like this. And finally, I pick
the single line to sketch the corner of the treated lines and
enclose the curve. So as you can see, we
have sketched two of the treaty lines images
step by step, very simple. But for you, addition to these two practices or home
developing your skills in sketching treaty lines
and using RTO at how and when we should use
RthO command or options. And how can we sketch
vertical lines, specify angles,
relative coordinates, and the length and distance?
12. Drawing a Simple Bridge Structure: Hi, guys. I hope
you are doing well. At this session or the last
session of this season one, we're going to model
the elliptical bridge. Till now, we have
been working on to the drawings in some
commands like pipes, and I know that there are some limitations for
you and for us for modeling such a project since some of the parts
haven't been instructed. But at this session,
we're going to model this elliptical bridge by using just current knowledge till the end of the first session,
first season, actually. I will do this project in a
more professional manner, and then it will be
given this vile, and I'm going to ensure
you that I mean, by the future session, you will be able to model this elliptical bridge
more professional. I want you to watch this
practice or session again later. Right now, let's check out the images of the
elliptical bread. Here, the most important
parts of the bread are the two parlet lines
and also the circle, which is around the lines, and the lines in the circles are actually the circle are
divided into some parts, and the points are so seated
to each other by some lines, and then the lines have
been converted to pipes. Here we got some dimensions, some details for developing the accuracy of the
project and presenting the model in high details that unfortunately we don't want
to get through details. So we're going to sketch
the model relatively, or in other words, stemicly. Here by using lines commands, I pick line by midpoint. I started from the origin point, then I extended
from the two sides, for example, 30 meters for each sides that the total
value will be 60 meters, like this as you can see. Then by using the combo, I moved a little
bit along the axis. I mean x axis. Then by using
Control Point curve, I'm going to continue
the two ends of the line or the straight line by this
way, as you can see. However, we call it
CP curve Asvill. Let me disable EarthO. Then I sketch the curve in
this manner. I select it. Then I type mirror
command or MI. Then by specifying an axis
or start of mirror plane, midpoint, I hold down shift, then I mirror the curve at the
other side, like this way. Select the whole curve, then I join them to each other. Since I'm going to consider the whole curve
as a single line, and then by using
mirror command, I mirror the line or curve from the origin
point at the other side. As you can see on the screen, then I can import the image
of the bridge into Rhino. For instance, I open this. I'm going to import this
into Rhino and then located at one of the
views by click and drag. I release it into
the image options, I choose picture, and then
I click Okay well done. Then I want to place locate
the image on the green axis. I open right, right, view, then I place it here. Then I adjust the
position of the image, for example, this way, and then I scale it to adjust the size of the or
the dimensions of the image, I hold down shift to
scale the image into directions of X and
Y, by this way. But if I do not hold down shift, I can't scale the image
in both directions. Like this, let me adjust
the position by this way. Then I want to specify two
points in the scene and then consider them as the
auxiliary points to help me in sketching
the other parts. I disable grid snap, then I want to specify a point. So the marker is not
restricted to the grids. I specify point here, and then the other point, let me pick a point
at this part. Check it out in the
perspective view. As you can see in the screen. I select the image,
and after that, I hide the image by
pressing Control edge, and then I'm going to
work on the points. Following that, we're
going to sketch arc arc. So in the side bar, I open the curves,
arcs, actually. In the set of arcs, I choose arcs
center start angle, and then from the origin point till another point by this way. Let's check it out in the
perspective view. Well done. Here, there is an
important point that you will learn it later, for example, instead
of sketching the arc, we can sketch a circle
and then divide it into two arcs or
actually semicircle, or even we can scale it. Since here, if I look
at the image closely, as you can see, it is
not a circle, actually. It is more close to the ellipse, but we're going
to consider it as a circle, not an ellipse. Well done. I keep on going and sketching in top
view arc three points, start N and point on arc. I specify the first point and then the end point like
this by holding down shift, and I click on the midpoint. Here as you can see,
we got two arcs. I select them into
perspective view. Then in the right view, by using the gumball, I rotate the arcs, by this way, by this way. Let me move it and
adjust the position. As you can see, I'm adjusting
the position based on the points that I have put them based on the important image. Then we will have this
arc, as you can see. Here I select the
greater line that I had. Then by pressing down Control L, I lock this line since I
want it to be unselectb. As you can see, it
is not selected. And then the line here we got is going to be considered as the line which is going to
be divided into some parts. Based on the images, let me show you the
image as you can see, this is divided into some part. And the reason here is
that we want to put the gap in the circle in the consideration and the continuation
I will show you. So in the scene, I
select this arc, which is joined
and then the arc. Then in the set of point stools, divide curve by a length. I right click actually
divide curve by number. Then I want to specify the
number of the segments. Since I want the arcs to be divided based on the
specified number, I type 36 by this way. Then the two points
that were sketched, according to the image
I select them and I hide them by control edge,
they are not required. Actually, at this
stage of the process, we'd better to lay out the
division of the points. Actually, I'm talking
about the points, the lines and the pipes that we'd better to put
them into some layers. But in the future sessions, we will work on layers
and the layouts. So by then, you will be able
to consider the layers. The continuation, let us I mean, connect the points
to each other. I pick single line, and I sketch the first
lines to each other. Then I want to skip two
of the points in the arc. I connect the second
point in the curve to the fourth point in the
curve arc, actually. And then in the next stage, I connect the fifth
point in the arc to the fifth point in the
curve by this as you can see. And then I continue
the pattern like this. I move forward to connect the points Thanks
for being patient. And while you are associating
these points to each other, note that you should enable
these object snap off points, since we should start our single lines exactly from the points as
you are concerned. I keep on going. Wait for a second to complete
the connections. Well done. Then I'm going to select all of the created lines. I hold down Shiv and
then by click and drag, I can select them by this way, and then I'm going
to en group them or pressing down Control G. Then I can consider them as a single object or a group. So then we can
select them easier. Then I type SEI is EL PT to select the points
and then control G to engroup the points so that
we can select them together, Control H to height
them by this way. Then I get back to the image of the elliptical bridge
to check out it. Right now, we have
created the main cables. I don't want to consider the
thickness of the cables. We will talk about the
thicknesses later. But right now, we're
going to start sketching the secondary cables. As you can see between
each two main cables, we got five secondary
cables by this way. And if I want to sketch five secondary cables,
in other words, if I want to divide, depart or the gap into five
points, let me check it. One, two, three, four and five. Following that, in
the division process, I should divide it
into six parts, since as you can see, we
got six empty parts one, two, three, four, five and six. So we need six
empty parts between each two main cables and also five points
and six segments. Then we will have
the secondary cable. And the five zoom in, you can see we got
the similar cables. Following that, I select
one of these lines in which we got some curves and
also the arc or semicircle, both of them, and then by using divide curve by
number of segments. But this time, I want to
multiple theory six into six. So as you can see in
the command line, we can define our mathematical
operations instead of directly specifying value like division,
multiplication, subtraction. I mean, there is no
need to use calculator, since we are free to specify the mathematical
operations too here. And then I press Inter. Check this out. This is
the result of theory six into six that we have
divided the curves. By specifying the
number of the segments. And right now, we
got 216 segments. Well done, I'm going to start the command of
single line again. But the reason that I'm
using single line is that we are allowed to
sketch only a single line. And after the line was sketched, the command will be canceled, so we don't have to press Inter since we are
not using polyline. So let us continue sketching the secondary
lines, five lines. Five points, actually, and
then some points there. So right now, I'm
going to select the points sequentially
and then connect them to the other
points in the curve or arc in the semicircular
two in between. I mean, every two points, Svia skip two points. Then we go for the fourth point, which is connected to
another point and the curve. Again, I should skip two
points and every two points, I connected to the
another point, well done. I keep on associating
the points to each other by the technique
that I explained. And note that you
have to leave or skip two points between each point that you connected to
the another point. Since it is possible to select an alternative point
and making some mistakes, which ruins the order. Anyway, I move forward. And I hope that you have get your project done before
starting to watch this video. Let me play this. Thanks
for your patient. I mean, for being patient. As you can see, we got
five lines in six segments between each two main
cables by this way. I skip two points. Very well. And I recommend you to check your model after connecting
the lines to each other, since you may have man some mistakes accidentally,
check the order, check the manner that or lay out the number
of the points, the number of the segments. It seems that it's gonna take some minutes,
but no matter. Thanks for following the
stages step by step. Very well. Let me check it. As you can see as I zoom out, we can observe some
triangle shapes, you know. Following that,
the differences in the thicknesses of the cable makes the triangles outstanding so that we can distinguish them better in the first sight. Let me complete the other parts. Actually, I can wait
anymore to show you the fascinating result of
the elliptical bridge. And I hope you have done this project, this
practice successfully. And I know all of you
may have considered this practice very complex and complicated and
difficult to handle, but when we look at the project closely, you understand that, it is not that much
difficult and we can handle it by just
being patient and working attentively
with high details and accuracy and also focus. But I'm looking forward
to show you the result. And by the end of the session or by the end of the season, actually, since we are recording the last session
of the season one, you can ask me your questions, but don't forget
to practice all of the given lessons and the
details that were taught in season one are considered as the prerequisite to
start the second season. And if we do not put
them into consideration, I promise you that you will have some challenges since the processes are
getting difficult, you know, and more
complicated as we move on. In a way, a few points are
left, wait for a second. Very well. And I sketch
the last line by this way. And the next stage
that I want to do is to select the new lines
that just have been sketched, and then I want to group
them and group them. So by click and drag, click and drag window,
I can select them, and then I can deselect the items that I don't
want them to be selected. Or I can search for SELCRVT select the
curves, buy this way. Then I hold down Control button, and then deselect the
extra lines like this, the straight line and
also the semicircle and also the first line
or the main cables, and then the semicircle,
I select them, and then I press Control G
to engroup them by this way. Check this out. In
the next stage, we should select the
points as I did at the last stage and then
engroup them for hiding them. Select point, Control
G to engroup them, and then control
edge to hide them. Then I need to select the
semicircle or the arc, control edge to hide it. And then here we got a
line or the main line. I press Control L to unlock it. Check this out. By this way. Then I select the
entire lines or curves. Instead of this, I deselect it. I type mirror command
in the command line, MI, then I start the command. I sketch the axis from
the mid origin point. Then I mirror it at the
other side, like this way. So as you can see, the elliptical bridge
is getting completed. And previously was talking about the distance between
these two lines. I select these two curves or
arcs, and then I join them. Then we will have the
circle or the ring. And then I select the two
groups of the main cables. After selecting the two groups, I press Control G to
engroup these two groups, and then the secondary cables. Control G to engrop them, then selecting points from the command line to
hide them, well down, and the next stage is
creating the railings, as you can see at the side of the bridge and for
sketching the railings. At first, I should select
these two parlet line, and then by using isolate command that I will
talk about isolation later. Here I can find it visibility
tab in a standard. I mean in the toolbar,
Isolate objects. However, I can get
access to Isolate in Pop up two by clicking then
the Wheel of the Mouse. I select these two lines. I hold down Alt, and then by using Gumbo, I move it upwards
to make a copy. If I want to specify the value, I hold down all, then I click, then I can import
the value manually. For example, 1
meter by this way. The continuation, I'm going to consider the incline
or the slope part. And while the two
lines were selected, I'm going to use scale
in order to maximize the upset between
these two lines by this way, as you can see. Let me check the breach
again in the image. And for the division of the lines for creating
the railings, we can multiple
they six into two. I mean, nearly, we will have 72 points or whatever you
want. It is optional. Then we will have
the division of the points like this 72. After that, by using select
last created object, I'm going to select
created points. However, we can get
access to this command by just searching ellast
in command line. Check this out, sell last, then the points
will be selected. Control G to engroup them. Then I pick single line again. Then in the continuation, as you can see on this screen, I'm going to sketch
the single lines, and after that, by using mirror, I can complete the half of it, and then for the another part or another half,
I can use mirror. So let's start by this way. I connect the points to
each other by single line. I type E in the command
line for zooming extent, then I can observe
the points better. I associate the
points like this way. I zoom in well down to
complete the railing. Guys, I'm gonna respect your patience. Like this way. As you can see, this is more I mean, simpler than the another one. But till here is enough, I can select this and then
by using mirror command. At first, by using Control, I hide the points. Then I select the
curves a ELCRV, but I select the palette
lines or the main lines. Then by using mirror, I specify the indepted
mirror plane like this way. Here I delete the
overlapping line. Again, I'm going to select the curves, again, deselecting. I hold down Control, and then I deselect Control
G to create a group. Then I make a copy
for placing them at the other side for
mirroring, as you can see. Then I have to select the set up lines and then group them and
then hide control edge, and I want to select these four parlet lines
to create a group. However, we can have
two groups from the bottom lines
in the top lines to consider them together. So by this way, I can select the lines that their thicknesses
are equal to each other, since the bottom
lines are going to have an equal thickness. I press Control plus
sheaf plus edge to unhide or to display everything in
the filters, I check curves. I sketch a window, then I press inter since I want the lines to be
shown in the scene. By this way, as you
can see and the scene. And the next stage that
we're going to go through is creating these
trusses, as you can see. Let me show you the
other pictures of it. I'm in the continuation. We're going to
sketch such a truss and even we can associate
the points to each other. So back to the project, I select these single
lines by this way, and then I isolate them. After that, in the right view, here I'm going to sketch a line. So by using Interpolate curve
and then check this out, I start sketching the curve, the interpolate curve like this. Since you will look
at the model closely, let me show you the images. We got a slope part or an inclined part at the
bottom of the bridge. So let's get back
to the project. Here, even I can select these lines and then
explode them by this way. And group, explode. And then since we're
going to start sketching the trust from this
point in the right view, I select the line to
check the direction, and then I scale this. I minimize it by this way, and approximately the size
is properly adjusted. However, if I maximize
the size a little bit, it would be great. Well done. Here, but how can I
sketch these tross? Let me show you them.
Check this out. I'm going to start with to explode the joint part,
joint line, actually. Here it is, I'm
going to explode it. As you can see, the line
is already exploded, and then the number
of the single line. I mean, for knowing the
count of the points, I should calculate the key
number of the single lines. And here, as you can see, we got 146 open curves. In the group, the
divide them into two. So we got 73 lines
at each sides. Actually, I'm going to subtract five since we got five
extra lines at each sides, so finally, we got
63 single line. So here we got 63
lines and 62 segments, as I showed you, so I
select these two lines. Then I start the command of
divide by number of segments. Then I specify 62 for it. Then by using polyline, let me check out the
tras in the image. It has been started
from the top part, so I start sketching the
truss from the top curve. Then I continue by this way. Like a zig zag manner, I can open the right port,
right view, actually, in order to speed up the
process of sketching. Zigzag lines. We have to sketch 63 lines. So it takes some time for finishing the truss at the
bottom part of the bridge. So parts are left. Very well. By this will, let me show you in the perspective view that
the trusses are created. Again, I can use mirror command. Then I enter zero.
I press Enter. I hold down Shift,
I make a copy, and then I place it to complete the other side truss,
like this way. Then I select both
sides trusses, Control G to engroup them, and then I hide them. After that, I need to
sketch a line here. Check this out by this way. Since in the continuation, we're going to have
some other connections between the points
at the center. I select line then by
using copy command, then I make copies to paste
it at the next points. We can keep on making copies, but before that in the options, I enable from last point, I set it to yes and then use last distance and also
use as Direction. Then edit the top view. Then by this way, I start clicking and the points. Then I can duplicate
the line so quickly. However, in the future sessions, I will give you some tricks and techniques for duplications. One more copy is
left, well done. Then this would be the result. Then by sketch of window
or by click and drag, I select these lines, Control G two engroup them. Then in the pop up, I write click and
Isolate for canceling D isolation or to display
the other curves or lines. I select the points, then I hide them
by Control edge. However, I engrop them at first, then Control plus Shift Edge. Then I select these lines to display them in the
scene. Check this out. So till now, as you're
watching scene, we have completed this
clearing of the project or the model by this way
and in the continuation, I'm gonna specify the
desired thicknesses for each of the parts of the bread by using
the command of pipe. Firstly, I select
the main circle. Then I start the
command of pipe. Actually specify
the radius for it, 32 centimeters, for example, then I apply it, check this out. Then if I want to
display the surface, I press Control plus t plus S to show the pipe
in the shaded mode. You can see display mode
is set to shade it. After that, I'm going to select the main cables of the project. Then I type pipe in
the command line. Then I specify the radius, 9.15 as the radius
of the main cables. Well, done after that
at the next stage, I'm going to select the secondary cable and then consider the thickness for them. I press space to start
the command of pipe. Then I specify not 0.5 for the thickness of
the secondary cables. So here we got a difference in the thickness of the cables. As you can see on the screen. After that, I'm going to select the lines of the bradge
but before that, I should join them since
they had been exploded. So at first, I select every
single part and this one. Then I click on Join Command
to join these lines. Then Control D to engroup them. After that, pipe, then I should specify the
pipe radius, not 0.1. It is enough, check it out. Then I select the railings. I select both sides, then I type pipe. I actually specify the radius, 9.03 or 3 centimeters. Then this part of the railing, 9.04 or 4 centimeters. After that, it's
the truss turns. I specify 6 centimeters
as the radius very well. And after that, I want
to choose the group of parallel lines like this we as you can see
on this screen. Then for the radius of these, I specify 0.04 very well. After that, by using the
command of selecting curves, I select the curves, all of the curves, Control H. Then by pressing
down Control plus Alt plus R, I set to display mode
to rendered preview, and this is the rendered
preview version of the elliptical bridge. And the last part
of the bridge that we should create for
are these three lines. So to do this, let's get
back to the project. I can press Control plus Z in order to get access
to the lines of the model. Then by clicking on curve, I want to choose only the lines. Then I enable the
isolate command. Then I'm going to sketch multiple lines between
these two lines. So in the front view, here I can divide
the lines by points. I activate the snap of near. I hold down sheaf to sketch
straight lines like this. I select these three lines, Control engroup
them by this way, then pipe and for the
radius of the pipes, not 0.2, I disable the
isolation like this way. By this way, after that, I start the command of selecting
curves, Control plus H, then I set the display
mode to render preview in order to show you
the result of the project. So as I showed you
in this video, by using some simple commands and also sketching
lines in curves and points and the
points divisions by numbers addition to some
other commands like joining, exploding, and grouping,
hiding, and then hiding, we managed to create such an elliptical bridge that
it may seem to be complex, but we succeeded, too. I mean, we managed
to sketch it only by using these simple commands. I want you to do this practice, and then we can share the
image of your result, the result of your project
if you were interested.
13. Essential Line Editing Tools: Hi, guys. I hope
you are doing well. Welcome to the second
season of Rhino. And I hope you have done the last season
homework successfully. But he the topics that
we're going to talk about are the edition commands. Or modifying your
lines or curves, you're already familiar
with them from autocat. But if you don't
know how to work with autocat, don't worry, since you're going
to learn all of them from ATZ actually, most of the users believe that the best software to the
drawings is AutoCAD. By today in this session, I'm going to show
you that right now is more practical than
autocat because of having too many drawing
tools more than Autocad also more addition commands
than autocatR now, I'm going to deal
with the addition commands for the curves. But before that,
let's have a review. You remember while
sketching a polyline, I press down Inter to
finish the command. As you can see,
these are joined. And as we know from AutoCad and as we
talked about it before, if you want to separate the
line, what should we do? Of course, you're right,
we should explode them. So I can select a polyline, and then I can type
the command of X, then we will have the single
line, which are exploded. Here is the icon Explode. And if I want to join them
again, I select them, and then I click and join
or J to rejoin them. Then we can consider
them as a single line or we can click and
join very well. But let me give you a point about joining the
lines to each other. Et me explode them again. Well, very well, here if I
start the command of Join, as you can see, we can't schedule window by
click and rack. Then we have to select
the lines one by one and then press down
Inter to rejoin them. So always in the
command of join, I recommend you at first select your line and
then click and join. So then you don't have
to select the lines one by one and just
waste your time. Here there are some other
points that you need to know. Here if I connect
three lines to each other by this way by considering a point as the intersection
and then join them. We can only have two of
them joined to each other. The other one is not joined. Remember this that we
are not allowed to join three lines or curves
in a specific point. Only two of them are
allowed to be joined. I mean, the capacity is filled, and we got this role in the treaty max as
well that we can connect two lines to a
single point, not more. And another point. If I sketch two curves and a small offset
between them like this, as you can see on the scene, and then if I join these two
curves, let's check it out. I click and join.
Let me make them close to each other a
little more by this way. Then I click on Join, check
this out as you can see, after getting closer to each other, they are
joined to each other. Well in your previous
model or case, the offset was more than
the standard value. So if there was a small offset between two lines or curves, we can join them
to each other as I showed you in the
previous example. And this rule is true we got two lines that are crossing
through each other like this. Check this out. If I select
them and then click on join, then this is the result. So if there was a
small offset between the two lines or one of them
crosses the another one, we can join them to each
other, as I showed you. Also the lines that got overlapping parts with
each other like these two, here we got two lines. If some parts overlapping, you modify the color of layers so we can
distinguish them better. Check this out. They are
overlapping each other. If I click on join,
they be joined. This rule was about
the overlapping lines that we can't join them. In the next example, if we got two curves or
lines, let me explore them. If you specify, for example, different colors of
layers for two lines, if you join joining them as they are unified, different
colors removed. These were some points
about using Command of join that I had to tell you. The next command is trim. You have probably worked
with it from autocad, or if not, don't worry, since I'm going to teach you. Here I'm going to sketch some closed curves
or rectangles, as you can see tree. I disable the snap of the
center of the objects. Since I don't it, so I disable it. Very well. So about
trim command, shortcuts TR in command line. I type it, and here
is the related icon, trim as you can see,
but how does it work? At first, we should specify your selected cutting objects. In which process, we should
specify some boundaries or select some boundaries that
we want to cut some parts, for instance, I want
to remove these lines. At first, I should
specify the boundaries. These are the boundaries. I select the rectangle at first for specifying the boundaries or selecting the
cutting objects. And this is my cutting object. I press down Inter. Then I should select
the object to trim. If I click on this, check
this up. It is trimmed. Which is okay? Let me try again do to show you the
process again. I pick Trim tool or command. This time, I want to choose
this as the cutting object. I press down Inter.
Then I should specify the objects
to trim. Well done. As you can see, this is removed
or trimmed like this way, as you can see in this screen. Let me give you another
example about trimming. For example, I sketch a
rectangle like this and a line. By this way. And another
line buy this way. Check this out. Assume
that this time, in this case, I'm going
to remove this part. I pick trim tool. At first, I should specify the cutting objects or
boundaries, which are the due? I have specified my
cutting objects, then I press down Inter. Since these are the
boundaries, Inter, then I should select the
object to trim. Very well. Like this way. Now, that here
we got the option of undo, which undos the process
to the previous stage. Check this out, undo. So if you made some
mistakes, don't worry, you can click on
undo or just typing as the shortcut of undo
and then press down inter. And this is the result
of the trimming. But the item, which
is very practical in trimming that we got it in Autocad as Trblespaceuble
inter double space, that it enables us to specify all of the lines
as the boundaries, and it gives us access to
remove whatever we want. At first, let me
prepare these example, then I will show
you what I meant. I prepared the scene for
this example, well done, suppose that here we got a
scene or some set of objects, and I want to remove
some of the part. Actually, it is hard to specify the cutting objects
or select them, since we got too many objects that got overlapping
with each other. So if we want to trim
whatever we want freely, after restoring the
command of trim, I select all of the lines
as these cutting objects, then I press Inter like this, which is the corresponding
or equivalent to TR double space or
inter in AutoCAD. So right now, we can select the object to trim.
Let's check it out. By this way, I can specify the parts or the lines that
I want them to be trimmed, and this technique
is very practical, especially in large
and complex projects. I know that if you made
some mistakes in trimming, you can type and
then press down. For example, I removed
it, and then I type, and we will have the line
undone by this way, and so on. I press down inter
to save the changes. But here there are two
points about trimming. If I start the command of trim, here we got two options extend cutting lines and apparent. And another one is
apparent intersections. We should consider the parts of the intersections as W.
But what does it mean? Let me show you in this example. So right now, here I
pick command of circle, and then I mean rectangle,
and then I sketch it. Then I sketch a line here, a single line by this way. Here, as you can see, we
got two intersections. So if I trim it, I specify the cutting object. If I trim it, check this
out. This is the result. But this time, I
select the line, and then I move the
control point upwards. This two does not, I mean, don't have any
intersections, no more. So if I tort the amount of trim, and I set the apparent
intersection to know, I mean, the apparent intersections are not considered check this out. I can't trim it. Trimming does not work out. So when our lines
or curves had not actual intersections or
apparent intersections, the trim does not work out until we set the apparent
intersection to yes. By this way. Let's check it out. This time, I can cut it because apparent intersection
is set to yes. Check this out into
perspective view. Despite I don't have any
intersection, the trim is done. D another option, which
is extent cutting lines, as you can see in the scene. I want to explain
this another example. Suppose that here
we got a rectangle, and then we got a line
here by this way. Let me modify the angle
of this line by this way. Hereify type TR, and then if I set extend
cutting legs to no, then we won't be able to trim since there is
no intersection. But if I set extend
cutting lines to yes, then it extends this
line in a way that hypothetically it is
crossing the rectangle, and if we trim, this
will be the result. Since the line is extended
across the rectangle. For example, I
sketch a line here, D another line there. Then if I type TR for getting access to
the rand of cream, if I set the extend
cutting lines to no, the trim process won't
be done accurately. But if I set extend
cutting lines to yes, let's check it out, then
it extends the line. But let us combine these. I mean, these two options, extend cutting lines and
apparent intersections. But how? Consider these, which are not placed
on the same plane. If I move the line and then
relocate it like this way, check this out. I'm
going to try it. If I set extend cutting lines to no and apparent
intersections to yes, I select the two curves. Then I try to trim them as you can see, it
doesn't work out. But if I set extend cutting lines to yes, it does work out. But if I set extend to yes and then apparent
intersection to no, again, it doesn't work
out. It does not work out. But why since they are not
located on the same plane, so they do not have
actual intersections. But if I specify or
set a parent to yes, and this will be the result. And the trim did work out. So just I want you to
practice this after this session accurately
and check out the options. And the next command is split. Let me sketch a line. For example, by this way, I sketch a curve. Well, done. Then I'm going
to sketch another curve. For instance, an arc like this. In the command of trim, we remove a specific line or a curve or some
parts if I select it, and if I click on the
line, it will be removed. But note that we don't want to remove this part of the line. We just want to split
it or just separate it. I mean, we want to divide
this line into two parts, and we will have two
single separated lines. At such a condition, we
use the split command. I click on a split
to start a command, and then at first, I should select or specify
objects to split. I select, for example, this one. Then I press Inter. Then I should select
the cutting objects. I specified in other one
as the cutting object. Let's sick it out, guys. As you can see, the
line is splitted, but it is not removed. Let us try again. I pick a split, and the shortcut is speed if you type in the command
line, at first, you should specify the object that you want it to be splitted, which is this line in the
object which is going to cut, call it the knife,
then press down inter. Check this out.
Then by this way, you can split your curves.
But what is the point? That split does not work out if your curves aren't located
on the same plane. Just like trim, they do not have the option of apparent
intersections, and if your lines aren't
at the same plane, you can't apply the
command of split. Check it out, not work out that you should use
the given technique. That I'm going to tell you now. So, guys, when your
lines didn't have any intersections with
each other and you wanted to split down,
you should use point. After starting the
command of split, I select the object to split. I press down into, then
I click on point here. Then here in the intersection, as you can see, the intersection is given to us automatically. I specify them or
place the points to split the curve manually
and then press into. So you can use points
in the conditions that your curve did not
have intersections. By using point and also the
snap object of intersection, you can have them split it. I'm going to do it again. I type spin in the command line, then the object is split. I press down into the
I click on point, I specify the points. Here if you want to
disable the other Snap, you can right click on INT Snap, then try to zoom in a
specified intersection. Then the another part, I click on the intersection,
then I press inter. Then I can have it split it. And another command is subcurve which is
related to split. So I'm going to teach it to you. In this example, I
undo the process. Then I instructed
in this example. I type sub CRV. Actually, it maintains a
part of a curve for you. For example, here, let
me select the curve. Then I actually specify the start of curve,
for example, here, and then endpoint location in the specified part
is maintained. If we can guess what is the relation between
sub curve and split. As I show, U sub curve command shortens the curve to
the new pick endpoints. Split command allows us to use the existing curve to split another curve into
multiple segments. And as you did see
in the example, it shortens the specified parts. Let me give you another
example, start of the curve. And during the using of the
process of, I mean, subcurve, you can specify the length of the endpoint or location instead of specifying
the endpoint. For example, 30 meters, then if I press down inter, then I should specify the
direction I press down into, then this will be the result. So by using sub curve, we can shorten a curve to
the new picked endpoints. But in the command of sub curve, you're allowed to make copies. If I set copy to
yes, and then here, if I specify the start of the curve and then the
endpoint, for example, by this way like this,
then by this way, we can make a copy from the
selected part and then just abandon the specified
or selected curve while making a copy. And the succeeding command
that I want to talk about is extend which lengthens or shortens the curve that we can specify the boundary object, then type the length
and then press down into to extend without
boundary edges. That you have probably
work with it in autocat. In this example, I
sketch the line. Then I'm going to sketch
an arc like this way. Shake this out, then work
on a start the command of extend EXT I started. We will talk about the
other commands later, so just now focus on extend. So I start the
command of extend. Then I should select
the boundary objects or specifying the
intension lengths. This is the boundary.
I press down Enter. Then I should specify the
curve to extend like this way, the curve is extended
to the line. And if I check this out the arc, which are extended
to the boundary. But let's talk
about the options. While we are extending
our arcs or lines, let me start the
extend command again. We specify the boundary at
first. We press down Enter. Here, we can specify
the type that right now it is set to natural, which is applied for
the arc in curve lines. Here we can specify the
type or the style of the extend while we specify
the object to extend. For example, the first
type is natural, which extends the lines or
curve at its natural type. I mean the type and the identity of the object is maintained. While in the next
type, which is line, it extends the object as a line disregarding the
type of the object. The neck is arc and the
last one is smooth. Let us check them
out practically. And this is the result
of natural extending. Since the selected optic
was a curve or an arc, actually, it is
extended like an arc. But if I specify line, then it will be extended like
a line, like straight line. Let me make a copy from
this in order to show you the changes and
then compare them to each other, very well. I specify the boundary
at first, then natural. The next type amperes,
and the next one, which is arc, it
would be similar to natural since we have sketched an arc,
and this is smooth. But what is the differences
between smooth and arc? As you can see, they are
very similar to each other. There's a very small
difference between them. But if I want to show you
the differences, I mean, smooth makes a smooth
curve extension curvature continuous
with the original curve. Arc makes an arc and
extension tangent to the original curve. They are quietly similar to each other as you
can see on the scene. I mean, a smooth,
extended curve, continuous with the
original curve. If you use arc, it extend the arc tangent to
the original curve, which is not that much
important to struggle with, but you have to learn the
types of line and natural. But suppose that if we had an arc that when we
want to extend it, through the specified time, it won't reach to the boundary. I want to give you an
example. Let's check it out. I start extend or start
the command of extend. Then I want to specify the
type of the extension. For example, line,
as you can see, it is reached to the boundary. If I specify natural, it doesn't reach to the
boundary because of the angle. So if the end part
of an arc couldn't reach to the boundary
after the extension, then you can specify the extension length or the end of the
extension manually. So you can extend it
as much as you want. As you can see on the screen. However, you got another choice, which is when you
start the came out of extend and then you
specify the boundary, and then you extend,
we can use to point. Then we can extend the object or selected curve to
the specified point. I mean, as you can see, you
can continue the extension to your specified point regardless
to the type of the curve. For example, I put it here. However, it is not
frequently used, but you can use it in your
projects if it was needed. However, you can use extend
for multiple curves. I mean, you don't have to
extend for single objects. For example, a line and then a curve or an arc
actually like that. If we extend it, it will
reach to the boundary, and then a curve like this,
interpolate point curve. Then I start the
comand of extent, I specify the boundary, then the curves to
extend, as you can see, all of them are extended to the boundary and are
reached to the boundary. The last or the final point
about the extent of command, the curves should be
on the same plane. I I modify the height,
I move upwards, then because of
the difference in their height or their levels, we can't extend it. Start extend command. Let's try, as you can see, it couldn't be extended because of the
differences in the level. In the extension process, the boundary and also the
height are important. That both should be
on the same plane. The next command is connect, that we got its
corresponding command or equivalent command
in Autocadsvi. I want to ask you a question. If we had two lines by
this way in autocad, and then we want to extend these in a way that to reach to each other.
What should we do? If we had two lines, we are crossing each
other and we want to trim the extra part which
command do you use? Excellent. In both
of these situations, we can use Fillets,
zero degree Fillet. We can use extend or we can
use trim for these two. But using filets
and zero degree for the radius is one of the most
practical commands here. Why don't I know if you
wanted to create a corner, you can use the command of
connect. Let's check it out. I type CO and or
connect by this way. Now specify the first and
the second curve to connect. By this way, then we
can have the corner. It extends the line or split or actually trim the extra parts
for creating the corners, just like the fill that
you know to attach and specifying zero
degree for the radius. By this way. But if you had
a line like this, I mean, suppose that check this out, and then an arc like this. Here the rule of
the extension that I told you before is true, too. Don't forget that. I'm talking
about connect command. I sketch the arc like this. Since these are not
reached to each other, when I connect these two, here we got the option
of extend arcs by. Let us compare them
to each other. I make a copy. Then I start the command of connect
from the resind commands. Got the option of extend
arcs in other commands, too, and I don't want to
talk about them later. So here I click on extend arcs by line or arc, as you can see. If I set it to arc, then it extends the arc, but if I set it to line, it extends the line by this way. And this is the
differences between them, as you can see, which is clear. In one of them, the
line is extended, but in other one,
the arc is extended. We got another option
names which is joined, that if I set it to yes, the two lines will be joined. I mean, after connect to each
other, they will be joined. But if I set it to no, they wouldn't be joined. I mean, after connecting
these two lines, lines are still considered as two single line and separated. And the next command is offset. It can make some copies at
the specified distance, rough set from object. Let's check it out. For example, I ask a care of here. Then I want to start
the command of offset, I can type over it's enough in the command
line per press Inter. I select the line, and then here I can specify
the distance of the offset, as you can see, I click
and offset distance. Then I can import the value, for example, five, press Inter. Then for specifying
the direction, I can move the
marker of the mouse. So by the movement of the mouse, you can determine
the Osete direction. Again, I type O, for example, start the amount
of offset, selecting it. Then in distance,
distance or the value, then by the movement
of the mouse, I specify the direction. In the continuation, let's
talk about its options. For example, one of the
important options here is cap. Actually, cap here is
just like an opening. Here if I set cap to none,
this will be the result. Let me make a copy to show you the differences between
different types of caps. And the other choice,
I click on cap. For example, I choose flat
flat cap. Let's check it out. As you can see here, we've got a closed curve, since the opening parts
are closed by the caps. And this is very practical, when you got two line or
you have doubled the line, you can use the cap for
enclosing the curve, and then you can extrude it. And the another one is round. Let's check it out. You
may have guessed right. As you can see, the
end parts are rounded, or we got semicircles
at the end parts. So we got an enclosed curve. On. And the next item is
related to the corners, which are not rounded. Suppose that in
this rectangle and another polyline like
this, as you can see. Here we can control the corners, I mean, for adding filets.
Let's check it out. Offset corner. Here,
as you can see, we got sharp corners. I mean, when we offset, check this out, this
is the results. But if I make a copy to show you another
type of the corner, I can change the corner
type, for example, round, as you can see
the corners are rounded, and the other type is chamfer. Check this out. The
corners are chamfered, and another type is smooth. Act that's a talked
about it before that the difference between
round and smooth that a smooth is not considered
as a part of a circle. While round is a
part of a circle and usually use round or
arc for the corners. I mean, a smooth averages the positions of
the objects points. Let me give you another example. Select, offset. Here we got rounded corners. As you can see, we
got rounded corners. But here in the interior
corners with negative sloping, the rounded corners
aren't applied. If I specified another direction for the offset,
upwards direction, this would be the result
and downwards, I mean, rounded corners is applied
on the adverse slopes. So the direction of
the offset effects on the adverse slope. And another option
that I want to talk about is both side. Suppose that you have designed your interior space like this, for example, by
using single lines, then you want to
add a thickness, for example, 20
centimeters to this line, and you want to add this
thickness at the middle of the wall in order to divide the thickness at both
interior and exterior parts. After starting the offset, here we can click on both sides. I disable it. I mean, enable it. I'm sorry. Before that, let me set the captain on and then through
points check this out. We can offset the line to both sides and sharp
corners like this. This would be the result. But note that if you
import the distances, it wouldn't be the
total distance. I mean here if I
specified a distance, for example, two, and then
I enabled both sides. However, it is not enabled yet, then we will have 2
centimeters at both side, and the total will be
four. Check this out. If we had two at its sides, then the total will be
four, as you can see. So we use offset command to copy a curve so that all locations and the copied curve are a specified distance
from the original curve. And another item in
the offset is loose. Sometimes we got some
arcs or curves with sharp curveness When we use offset, offset through points. Then I place it
here, for example, check out the result. As you can see the form of
the curve is maintained. But here, the topic is that
here when we use offset, the number of the control points will change. Check
this out here. I have used offset through
point, check in other one. So the numbers are different. So you may be annoyed by the number of
the control points. So at such a condition, you can set the option
of loose to yes, ify chose or set loose to yes. Then it reduces the count of decontrol points after
the offset process, but it changes the offset.
I mean, the shape. Let me make a copy to
have a comparison. I want to show you the differences
of using loose or not. It is not that much important
in the simple geometries. The loose is set to
no. Check this out. Here I make offset, then I set it to yes. As you can see, changes the
form of the copied object. Check this out. Changes
the form of the object or the curve in order to maintain the count of the control points. Right now, the offset curve and the main object are similar in control
points while the two, as you can see, we got more
control points because of preserving the similarities
between these two curves. In the continuation,
I'm going to give you an example of
using offset in the perspective view and using offset in treaty
view for the objects. For example, consider
such a curve by this way, and then I'm going to
move the control points, as you can see on this screen. Check this out. Then
I'm going to use offset command to make a copy and then check
out the result. Here if I offset this
curve, check this out. As you can see the offset is done parallel to the
current work plane. I mean two curves
are parallel to the work plane here
in the front view, and then I use offset. I specify the offset
distance six. Check this out. Then if I want to show you in
the perspective view, they are along the
vertical direction and also parallel
to the work plane, the plane of the
front view, actually. But if I use the offset in the top view, let's
check it out. Then that would be the result. For example, if you want to use offset for designing
a road or a path, we should start to come out of offset in the top view because the open view that you use
offset in is so important. Actually, in the
previous versions of Rhino software program, we weren't provided
with multiple offset, but in the current
version, we got it. So in the next example, we're going to work
with multiple offset. Consider these geometries
or curves, for example. For example, some circles. Then I make some copies by
this way or duplicating. Then I want to set the sizes different to
each other by this way. Like this. Then I want to make
some offsets from these entire circles for W as I told you before in
the previous version, we couldn't do it. I mean, we should make
offsets one by one. Since in the offset command, we could not sketch a window by click and drag and then
select the objects. Since we're allowed to
select only one object, so we can't select
multiple curves or object in these offset command. You wanted to apply offset
in multiple objects, you should use another command, which is offset multiple. As you can see, I start the
command, offset multiple. Here we got more options
than the ordinary offset. I select all of them. I press down Inter, watch this. Here we can adjust the
corners like sharp. We got distance, as I
talked about it before. We do not have through points, but we've got another
option named offset count. We can specify the number of
the offset more than one. For example, two, I specify. But how are we going to specify the direction of the offset? Actually, you specify
the direction. They specify the
point in the scene. Check this out. Here I I
click inside the circle. Then we will have
the offsets inside. Check this out. But if I
click outside the circles, we will have the circles
outside the circles. Let the modify the layer
colors by this way, offset, offset multiple
actually not offset. Then I click outside, check this out again. Inside to show you the differences
of outside and inside, so the place that you click to specify a point,
determine the direction. Here I got a question for you. So here you fi
Sketch two curves. For example, the first one, this and then the
second one, like this. I choose them to
modify the color layer in order to make
them distinguished between the offset lines. Here if I start the command
of offset multiple, and then I select
the two curves. At the distance of
three and t for count, I press down Inter. How many cases do I have
or types of the offset? Yes, at the first style or type. I can click at the middle, then we will have them inside
these two curves or arcs. Then for the other
styles or types, let me start the command
of multiple offset. This time, I can click outside, for example, to the left side. Actually, in the closed
curves or enclosed curves, we could have clicked
on inside or outside. But here if I click at the
left side, check this out. But if I click at
the right side, then this will be the result
of the offset multiple. So the place that
you click in order to specify the side to
offset does matter. Inside, outside, left side, right side, and the next
command is feel it. So, guys, I just want to
watch this part carefully, since these are the
required commands that you needed to know, and some of you may are already familiar with
these from Autocad. So please be patient. There are some similarities
between AutoCAD and Rhino, but still, there are
some differences. So please watch the
videos attentively. Next command is Fillet. Which curves a corner
for you, for example. We can start the command by
typing F in the command line. Check this out, F,
press down, Enter. Then we should specify the
first curve the filet. After that, the second
curve the filet. Then it fillts the sharp
curve or corner, actually. Let us check out the options. You can adjust the
radius, for example, ten. You can choose to join the
two curves after the however, these two are already joined. But if they weren't
joined or exploded, you can set join
to yes and you can have them joined
after applying flax. And if you choose yes for trim, some parts will be
trimmed in order to give you the arc at the corner. But if I set trim to
no, check this out. It gives us a new
curve. Check this out. The trim is set to no. And actually, here we got the extend options
in using flat two. For example, extend arcs by I've talked about it or that you can extend the arc by the arc, by the line or by the
smooth or radius. Actually, Fillet got a
counterpart, which is chamfR. I type CH. I start the command of ChamfR. Then you can apply the
chamfer at the corners. You can specify it
at distance too. For example, five and then one for the second
chamfer distance. When I specify the curves, then this would be the result. As you remember, we
specified five and two. Check this out. This is the
division of the distances. Let me specify the
distance again. I measure the distance five and then another
curve, which is two. I mean, one, I'm sorry. Actually here we
got a triangle at the corner of the curve. But we have specified distances for the curve of the chamfer. Let us try again. Check out
the distance five and one. For example, three and two. Then I specify the
curves. Check this out. The another option
is repetitive, which is extend arcs
pi and also join and trim and extend arcs pi that you are already
familiar with them. Very well. And the last
command of this part, which is pulling curve, that I consider one of the most practical
and useful commands. So please watch this
part carefully. Then you can take your time for practicing since these are prerequisite for taking your
skills to the next level. Here in the example,
if I sketch a polygon, I specify the number of the sides like a
triangle, actually, this is regarded as the basic of the drawing in the projects
that in the future sessions, we will talk about it.
Let us check it out. I enable the snap of the center. Check this out by this way. Very well. Here if I want
to trim some parts and keep another parts
like these arcs, the arc that I'm
pinpointing and this, and also this one. I want to keep these. What should I do?
What do you think? You may say, Okay,
we can use Trim tool or command to remove others
and then keep these. I select them, then I trim the other parts
like the well done, and then the sides of the triangle and then press down enter.
This is the result. In some other complex projects, you may have too many objects
or curve that it would be so challenging to
use trim command. So to do this, there is
a command in right now, which provides us with
too many options easily, which is Boling curve. I search for it, can search
for Bolin, curve Bolin. Actually, the curve
Boling command trims splits and joins curves based on their
overlapping regions. So we type BO N. Then
we choose curve Bolin, and start the command. Right now, I want to teach
you how does it work, but later we'll work
on the options. At first, I select the
curves. I press down Enter. Then I should click inside the regions that I want them
to keep them, actually. Check this out. I
press Down Enter, then I make a copy.
Let us try again. I start the curve
bullying command, then I should select the curves. Then I should click
inside regions to keep. As you can see, they are
associated to each other. Then I should press Inter
when everything was done. This time, a different
geometry like this, then I can make a copy. Let us talk about
the options and the tools within the command. For example, one of the
most important tools is combined regions. If I set combined
regions to yes, then it combines the regions
that you click inside. But if I set combined
regions to no, then each of the regions
that you click inside will be considered
separately or independently. As you can see, you can
separate them from each other. They are not combined like this. So as you're concerned, we usually set combined
regions to yes. Let us try again. I click
inside the regions to keep. Then I press down Enter. By this way. Let me give you
another example in order to expound our knowledge with working the command of
Bolen or care of Bolin, I sketch a circle, then by using point, divide by point, I select
the circle by this way, and I should specify the
number of the segments. For example, six.
Then I sketch circle
14. Layers for Organization: In this part, we're going to
talk about layers in Rhino, if you remember, from the previous sessions
at this window, we have placed the tab of
layers, as you can see, and usually when you
open a file in Rhino, it will be given some
layers by default. However, they might not exist, since we can delete the
existing layers here. Or here, we can
add new layers to our scene by clicking
a new layer, and then we can assign the name. For example, I name it Vol
then I add another new layer. I name it window, tree, or door or whatever, and the layers are usually
similar to AutoCAD. But later, if you
wanted to modify the name of the layers
or just rename them, you can right click on them and then click on Rename layer. Then it gives you
access to rename your layer like trees.
But this is not all. I mean Rener provides you
with the sub layers as well. For instance,
consider the valves, and then suppose that
we're going to divide them into two parts to interior
and exterior valves. So we can new sub layers for the val and then associate them to the exterior and
interior valves. And this is what that
autocat doesn't have. INT is interior. Actually here there is a
point we're going to add another new sub layer for
the layer of the vol. But before that, I should
select vol not the interior. The interior itself is the
sub layer of the valve. So right now, the sub layer is the sub layer of the
interior, not the valve. So I click on the vol, and then I click
a new sub layer. Then we can have
another sub layer or the counterpart of the
INT, which is exterior. Let's talk about the options and the settings of the layers. For example, the colors. Here, we can specify the
layer color like gold. And then the sub layers, you can choose, for
example, brown. And then for another sub
layer, which is exterior, you can choose dark gray, and then green for the tree. You can customize
the color layer, layer colors, actually, and you can turn them on or off and also the line
type, as you can see. Here we can click
on it, and then specify the line type
like continuous, border, center, dashed,
dots are hidden. But how do we can add
the existing lines in the scene into the layers? For example, here, I want to select these
valves in the scene, the top view, and then add
them to the layer of the vol. Similar to Autocad, I can
select them. I open layers. Then I'm going to transfer or move all of these valves
to the valve layer, and then into the exterior
valve, for example. Then I select the
interior valves individually or separate
from the exterior ones, interior very well or consider these as our
trees, for example. I select them. Then I associate them to the
trees by this way. Or, for example, when you want to sketch a
line from scratch, I mean, at the beginning
of the project, for instance, I'm going
to add another tree. They will be added
to the default layer while I can associate
a new layer. For example, I choose the trees as my default
layer. Check this out. Trees is checked. Then
whatever I draw or sketch and be controlled
from the layer of trees. The continuiton, I'm going
to sketch interior vault. I set INT as my default layer, then whatever I sketch will be considered as the
interior vault. So at the first case, we have already sketched
our lines that we can select it and then
specify the layer, or at first, we can
specify the layer and then sketch our curves that
in both approaches, we can specify the layers. For example, consider these as the void of the upper levels. I want to assign one of these layers to this.
Let me rename it. Then I name it void by this way. Let me modify the line type, for example, hidden lines. Then I want to assign
the layer to the voids. Check this out the color it's
applied on, which is blue. So this shows that
this is a void. But if you want to
adjust the type of the hidden lines here
in a standard tab, and then in options, let me open it after
that here in line types. As you can see, let
me check the name. It was hidden as you can see. Here we can specify
the line type scale, just like autocat
that it enables us to specify the line type,
scale up the lines. For example, ten,
let's check it out. I should maximize it. For instance, 100, well done. This is better and satisfying. So it is refreshed and
the scale is proper. But let's talk about the
options and the tips and tricks and points
of layers, actually. Here, if I right,
click on the layers, we will be provided
with some options here that some of them are very useful and practical
that they should know. For example, one layer on. This would isolate the layers. For example, I have right
clicked on INTR Interior. I click on it, it
isolates these valves, and then hides the others. So we can focus on it
and then work on it. But if I want to
unhide, I select all, and then I show them
and they will be shown. We can isolate your
specified layer by using one layer on. And then for showing
other layers, you can select all
and then show them. Others are clear, delete, rename, new sub
layer, new layer. And as you're concerned, rename enables you to modify
the name of the layers. Other practical option
here is select objects. And if we want to
select the objects or the content of
a specific layer, we can click on select objects. For example, I may
want to select all of the objects or the curves which are placed in
the layer of vault. I right click on it, and then
I click on select objects, check this out, and then
they will be selected. So again, you can click on
each of the layers you want, and then you can select the objects and then
click on select objects. However, there is
another approach for selecting the objects
within the layer. Suppose that you haven't
enabled the layers tab. You can open the layers
here from the bottom. Then you can right click on each of the layers like trees. Then you can click
on select objects. And this approach is more
faster than the previous one. So you can get access to the
objects within the layer. The another point that can be interesting about
layers is the filters, actually. Check this out. For example, in the first item, you can choose to show
all of the layers. The next one is layers. So if a layer wasn't shown, it won't be visible
here in the list. For example, I hide the trees. Then if I choose
layers for filter, as you can see trees
is not visible. So only the shown layers
are visible here. Again, on layers or layers, it shows all of the layers. Or of layer, check this out. The layers which are
hidden or, for example, I hide void and also trees. And then I say the 12 layers. Right now, it shows that these two layers are
hidden. Well done. And the next one
is locked layers. Let me show all of them. Here, if we lock some of
the layers like trees, then we won't be able to select them from the scene.
Check this out. Since sometimes we need to
have some fixed objects. We don't want them
to be selected or we want them unselectb
so we can lock them. Then we can get access to the locked layers
from the filter. Buy it this way.
And the next one is unlocked layers and then
layers with objects. You know, unlocked
layers is clear. Layers with objects is great, too, or empty layers. Here, i choose to show
the empty layers, as you can see, these layers
don't have any objects. I mean, they are empty, while other layers which are hidden have got objects within. SoFi choose to show
the layers of objects, as you can see
inside these layers, we got some objects, curves
or lines or whatever. The selected layer,
the filtered layers, which is not
important. Very well. These were the most useful
options for the layers, and at the end part
of the session, I'm going to tell
you another point and then finish the session. When you have a layer
which got sub layers, we can hide or turn off the sub layers individually.
Check this out. But if I turn off
the main layer, it turns off the sub layers too. Here, actually, we can turn off the parent of other
current layers. I mean, the default
me try another one. Again, I turn off the val. Here if I turn off the
main layer, which is vol, it turns off the sub layers too, since the sub layers are
dependent to the main layer. So guys don't forget to
practice the layers and their options since they
got practical usages.
15. Snap Settings for Precision: Hi, guys. In this part, we're going to talk
about these snaps, the object snaps a little more. In today's session, we will finish the
topics of these snaps. I sketch these two curves, and then we will go for the
explanations. Very well. As the first point that
I have mentioned before, if you wanted to have only one of the object snaps activated, we use the right click on
the desired object snap. For example, a right
click on the midpoint. I deactivates the other
snaps temporarily. Then we can use the mute
point of the curve. If I want to use or
knit the others, right click on the midpoint, then the other snaps
will be activated, too. But here there is
another approach. So watch this part carefully. At first, you should select the line that you want to
sketch or the curve, whatever. I mean, at first,
you should start your command, your
desired command. Then in the object snaps, if you hold down the Shift
button, check this out. As I hold down Shift, there are getting transparent. After that, if I
click on midpoint, a single click, nothing has
happened, but check this out. Start the polyline, midpoint. Midpoint step is activated. I mean, the midpoint Snap is considered as the star of the
polyline, as you can see. So we can focus only
on the midpoint. So this is the approach
that we use it for activating a
snap temporarily. For example, if I want to activate the perpendicular
and deactivate near, I hold down shift, and then I click
on perpendicular. Apparently, nothing has
happened, but check this out. The next point of polyline
is the perpendicular snap. So we can easily
sketch it and specify the perpendicular snap as the
next point of the polyline. But a point here, while you hold down shift on these snaps, two object snap options will be shown that they are
not visible normally, which are project and disable that turn to between and
percent, as you can see. I'm going to talk about the
between and the percent. Actually, between
gives you a point between two curves,
for example, here. If I want to start the
polyline from, I mean, at the middle part
of these two curves, we can use between. I pick the line, and then I hold down shift. Then I click in between. Check this out. You said
the polyline is between. I specify the curves that
it gives me the between. I'll let me deactivate
a small track. After that, again, I hold down
shift, I click in between. Then I specify the points to get access to between
them by this way. I press down ter. Well, down the next one is percent that
I want to talk about it, which is very useful option. Again, I pick the polyline. I here hold down shift. Then I click on between, I mean percent. I'm sorry. Then we want to specify value for the
percentage of the line. For example, 30% of this line, and then specified a point
as the start of the line. But I should specify
the curve near end to specify the
direction of the division. For example, from the right
side of the left side, I click at the right side. Then I should specify
the SNAP percentage. Then I specify, for
example, at each 25%. I press down Enter.
Check this out. As you can see, the line is
divided into four parts, and I start the line from
the percentage of the 75. Then for the next point, I want to find the
point of the 40%. I hold down shift, I click on percent. Then I select the
curve near end. For example, the left side, then I specify 40%. Then I click on this,
press down third. All in all, we can use these unvisible snaps that can be visible by holding
down chef button. But let us have a
review on the snaps. For example, the endpoint, and the near it gives you a
point on the line or curve. Point. If you got a point in the scene, it
gives you the point, midpoint, I told you before, and the center and
the intersection. If you remember I told you
a point about intersection, but I'm going to tell
it again. Don't worry. You know, when we got two lines that are crossing
through each other, there we got intersection. If we do not have I didn't have an actual
intersection between two lines, still the snap of
intersection does work out. As you can see in
the top of you, these two cut intersections. Check this out the
apparent intersection. As we talked about the
apparent in splitting, then I can give I mean, take the intersection
point, check this out. As you can see the projection of the intersection of
these two lines is considered and another
point about intersection is that your opened
view does matter. For example, I just this view, right now, the
intersection is changed. Check this out since
the view has changed. Again, if I modify the view, check this out viewport, then I will have a
new intersection. So the angle of the viewport does matter in specifying
the intersection. I mean, the intersection, the perspective view
is dependent to the angle of the viewport
toward the curve. And the next IHR option
is perpendicular, which gives you the perpendicular
point to the curve. For example, I start a line, then it gives you the
perpendicular point. And here as you can
see, sometimes we got some challenges in finding
the perpendicular point. So at such a condition, we can write click
on D perpendicular, and then we can easily find
the perpendicular snap. Or we can hold down Shift
and click on perpendicular. Check this out. You
can easily find this snap and then sketch your line, which
is perpendicular. Sometimes we got some
snaps overlapping, so it is difficult to
choose or to found. Fine. You're right snap.
You can use this approach. And about the
tangent, for example, I start sketching a line. Then if I activate this snap
of tangent, check this out. The point is tangent to the line to the another
curve, actually, and you can have the
tangent activated alone. So it gives you access
to the tangient point, as I showed you in the example, that when we are sketching
a line or a curve, you can specify the second point which is tangent
to another curve. Let's talk about quad. What do you think about it? As you know from autocad, when we divide a circle
into four parts, each of the divided
parts are called a quad. Actually, this is not wrong and neither wrong nor complete. Here if we had a circle, let me activate the quad. These are the quad points or quad snaps of the
circle. Very well. But if we had a curve, let me sketch the curve to
give you the next example. You will see that
the quadndor quad is the snap to the point
and a curve that is at the maximum X or Y point relative to the current
construction plane. Check this out. I
want to tell you, here I sketch a horizontal line, and then make it
close to the curve. The first point that
got intersection with the other line is
called the quadrant. Then if I move on and
move it downwards, then this would
be the next point of the intersection,
which is the quadrant. If I move downwards,
check this out. This is the other quadrant. So whatever intersections at the straight line is
tangent to the curve. It's called the
quadrant of the curve. Again, check this out. These
are the three quadrants. As you can see, is the maximum X and Y point relative to the current
construction plane. I sketch a horizontal line. Then if I move it downwards, you can see the line is
tangent to the circle, which is the maximum point relative to the current
construction plane. In the next example, if I if I sketch a curve like this
and then a vertical line, then I'm going to show
you the quadrants. Check this out as you can see the maximum X and Y points are considered as
the quadrant points. Let's try with a vertical line, and then I make it close to
the curve. Check this out. This is the quadrant.
The first intersections between the vertical
line and the curve, check this out. By this way. As I showed you,
the quadrond points of the circles and the arcs are at the extremes in each
construction plane direction. Quad is snap to the point
on a curve that it is the maximum X or Y point relative to the current
construction plane. Well done, let's go for
the next, which is not, as you can see, just snaps to a knot on a curve or surface. Here a five place some points
by this way, Watch this. Actually, it is not
that much useful. And then I'm going
to sketch a curve. Following the process,
I'm going to cross the curve through the points or connect the points
to each other. Actually, we call these
points knots that have been used in the sketching
of the curve, actually. If I sketch another
curve, as you can see, these points that we specify them are the knots by this way. I place these points before sketching the line just
to show you the points. But if I move the
curve, as you witness, I use these points
in other words, connects them to each other,
connect to each other, and then created the curve. And these points are the knots, which are the points in the
curve that we have used them in creating the curve by specifying the
points on the scene. And as I told you before,
it is not frequently used. And about vertex, it
snaps to a mesh vertex. And it is only used for mesh, and it is frequently
used in mesh tools, while in other types
of geometries, we do not use it anymore. But I want you to
know that we use vertex in creating mesh. But in discontinuation,
I'm going to talk about project and planar. That these two are
very important topics and also practical and no. Actually, project
is a kind of snap, and plan R is an auxiliary
tool that helps us in drawing. And these two work with each other and in other words,
complete each other. So let's check it out. And I
want you to watch this part carefully and practice
the ex you remember, we talked about the
concept of C plane or current plane in
the previous sessions, which is the current plane. For example, the
perspective view, if I sketch a geometry or a
curve like this, a rectangle, if I sketch it in
the right view, then it will be just
the right view C plane, and this would be the shape if I sketch it in
the front view. Could you guess which of the
views have similar planes. For example, right in front views don't have
similar work planes. Top and perspective have got
equal or similar planes. If I sketch a rectangle in
the top view, as you can see, it is similarity perspective or in perspective,
check this out. These two have been sketched in the same view in the same
work plane, actually. Going on, I want to talk about. And then when we
sketch something, care for a geometry, if we do not to an object or a point or a
line or whatever, in the curve will be
drawn in the work plane. For example, in the top view, check it out in the
perspective view. We got a indicurnt plane. But if I sketch a rectangle or other shapes in
the front view, and I do not snap it to a point, then check this out. As you can see, the red axis is the plane of the front view, which is the origin point
of the coordination. The continuation, if I sketch it in the right view,
check this out. I do not snap it to a
point or like this, as you can see in
the perspective, we got the rectangle align the Y axis and the origin point. So if we do not snap
the curves while sketching them in the
different kinds of views, they will be sketched on the work plane on the
current plane, actually. Let me give you
some other examples and see where we
should fix this. Watch this part
carefully, please. In the top view, I want to sketch a
rectangle like this, which it is not close
to the region point. And another one here, I disable the project and planar and none of
them are activated. Then I pick the line. Then I'm going to start sketching the line
from the midpoint, and then I open the front view. By this way, for instance, I continue sketching it. I hold down Shift. Then in the top view, I connect it to the midpoint. Let's check it out
in perspective view. This is the result while I wanted to create an
entry like a gate. But the result is
different, is not expected. I mean, I did not expect. I told you when
we are sketching, if we do not snap the point, if we do not use Snap, it'll be adjusted based on the current plane.
Let me try again. I want to sketch it
into four views. So you can check it out. By this way, you can
learn the concept deeply. So just switch out where do
I click and then analyze it. I start from the midpoint. I'm using the snap of the
Mid point, as you can see. As you can see in the
perspective view, we have started exactly
from the midpoint. Then in the front view, here there is
nothing to snap to. So watch the perspective view. It is along the x direction
or X axis, I place the point. Then another point, I
haven't used the snap, so the line is sketched
on the work plane. Then I get back to the top view, and then I want to snap the
point to the met point. And since I'm using a snap, the ut point is
considered as the plane, as you can see in the
perspective view. I want to give you another
example, so I move this. Since the plane is not fixed, no, I wanted to sketch a gait. Let us work on the next example. And then I will explain all
of these and then fix them. For now, consider
this rectangle. Which is not started
from the origin point. Then I want to sketch a curve
or an arc in the top view. So I pick the three
points curve arc, then I start sketching
and intersection. And then I want to specify the
third point in front view. And since I don't use Snap, in specifying the third
point, check this out. As you can see, the arc is just that based on the current
plane in the front view. While I wanted to sketch
it in the top view, I mean on the plane
of the top view. So this is the result
which is not expected. But how do we can fix this? How do we can revise it? Let's check it out.
I remove these, and then I'm going to
sketch the revised version. Here we should use plain
R. Like the project snap snaps all points to the C
plane or cran plane, actually. I mean, it doesn't let
the points to switch the planes when you
modify the views. So you can have all of your
drawings in a similar Cplane. In other words, it keeps
all of your sketching or drawings parallel to
the current work plane, and the main work plane or C plane I specified
by your first click. Let me give you an example
here. Let us start. Here in the top view, I pick the polyline then I
clicked at the midpoint. Then when I move it to
the perspective view or front and right,
check this out. As I switch between the views, as you can see, this
is changing, too. But right now, if I activate
plane R, as you can see, it snaps the point
to the same plane, here if I disable it, check the top view. The C plane is changing. It is a snaps to the first
views Cplane. I turn it on. As you can see this strain to the C plane at the top view. Watch the perspective view. Right now, we can sketch
our entry or gate since the points are snapped to the current
plane. Watch this. This is the result.
You can see the curves are constrained to
the one C plane. In the continuation,
let's sketch the arc three points,
arc three points. It is very practical.
The first point. The second one, then, I want to specify
the third point. But if I keep the
planear snap disabled, if I change the view, the plane will be changed too. But if I activate the planear
snap and as you can see, after placing the first point, the subsequent points are in the plane with the
initial point. And as you can see in
the perspective view, it is perpendicular
to the work plane. The next example, suppose that let me pick your line and then I start
sketching it like this. After that, I want
to continue it or extend it into view and
then design a form. Here I keep de playing our
object or snap disabled? I want you to follow the process from top and perspective
views. I start sketching. Take this out by a click. Right now, the planar
snap is disabled. As you can see the point is adjusted based on the red line. It is adjusted
based on the plane. Undo. But if I enable the
planar snap, check this out. As you can see, all of the subsequent points are in the plane with
the initial point. All of the points will be
snapped to the current C plane. And the first or initial point does matter in
specifying the C plane. And then it maintains
the subsequent points at the specified C plane by the spes you can see and
the perspective view. And if I sketch another line, watch this. Another line there. Then when I specify the first
point or initial point, the initial point determines the subsequent points planes. If I specify the point
in the front view, the subsequent points will be placed in the front
view C plane. And if I start from
somewhere else on the condition that
I do not use Snap, as you can see, their
planes are the same because the planear snap is
enabled by this way. Here, there is one punch left
that I want to tell you, and then we're
going to talk about the application of
the project snap. Assume that we got a vertical line which is
perpendicular to the work plane. I want you to practice all of
these examples by this way. Right now, the planear
is disabled. I click. I want you to guess the
position of the next point. We'll be at the same level with the first point or on the
plane. What do you think? Absolutely on the work plane, check this out or on the ground, since it is not a
snap to a position, so it is a sketch
on the C plane. Undo. But if I turn on
plane R, check this out. The points will be placed exactly where the initial
point has been placed. At the same level
of initial point. So the subsequent points are placed in the plane that the
initial point is placed. But till now, I told you
that all of these results are under the condition that don't we didn't
have used Snap. Right now, I'm going to work
on the previous examples. But with some little differences like these two rectangles that we've worked on before and another rectangle
there by this way. Let me modify the
height, for example, at this level, and then
I minimize the size. Here I'm going to sketch
a gate or an entry. I'm going to start
the point from there, and then I extend it till the height of another rectangle, and then I close the curve. So let's check it out. For views. So I just want you to watch
this part carefully. I pick the poly line, and then I enable the plane R. So I want to make sure that the points will be placed
at the same plane. From the midpoint, I start and then I maximize the
front view by the sway, then I connect it to the end. I start from the other end, and then in the top view, I connect it to the midpoint. The plan R is enabled. I expect drawings in
the same work plane, but this is not the result. I mean, the planar
did not work out. I mean, this is the result
despite of using the plan R. Since the condition is
required while we are using planar to place all of the
points in the same plane, which is not using snaps
in sketching the lines. In other words, we should
either use planar or the snaps. I mean, if I delete
this rectangle, and then I start sketching
from the midpoint, the planar is enabled.
Check this out. I can have this gate
without any problem. Guys, let's check it out. We haven't used snap. But if we want to use another object in the process of sketching and then
snap the points to it, then at this situation, planar is not effect. Let's check it out
from the midpoint. The planar is enabled,
as you can see, watch this part, I want
to follow the process. This way. But as soon
as I sketch the point, I mean, I snap it to the
end point of the rectangle. After that, the planar
is no more effective. But at this condition, we can consider the
rule of the project. As I told you, before project and planar work with each other. In fact, when planar is trying to keep all of the points
at the same plane, Snap would ruin
everything and does not let the planar to keep the
points in the same plane. This situation, we can
ask project for help, since we need the project
to handle the situation. So I start the sketching, specifying the first point, and then I want to
sketch the gate, as the point is
snapped to the end, it doesn't let to maintain
the point in the same plane. Meanwhile, we should
enable project in order to prevent snap or
to make it ineffective. I enable project right now. Watch this. As you can see, this is the projected end that we are using
the position of it. And also, we do not connect
the line to the point, and the points are in the
same plane, as you can see. But some of you may say, Okay, we can disable
these snaps. Don't get wrong,
guys. We need them. We need them to be projected, but we don't want the line
to be snapped to the points. So at such a condition,
we use project. And let me tell another point and then we'll
work on some examples. And about the point
in the second that you are starting
your sketch, you shouldn't
enable the project. Since project does not let you to specify or start from
your desired point. For example, when I snap to the midpoint at the first
time, we need a snap. Since I'm going to start
from the midpoint. So at the second
that I'm going to start this sketch,
I disable project. I specify the first point, for example, the midpoint, and then I enable project. Watch this. Then I
project the end. As you can see,
project does not let the snap or to point to
the snap to the end, as you can see, and
we are sketching the gait based on the
projected points. Even here, project doesn't
let us take the midpoint, so we turn it off, and then we finish this sketch. I mean, sometimes a snap is interrupting the process that
we should use the project. In the continuation, let us execute the process in
some other example. Here I sketch another rectangle, and then I want to
sketch an arc that I'm going to consider
one of the points of the arc midpoint of this line, but I don't want to
snap it to the line. I want to use project. We're going to use the
height of the line, and then by using projection, we're going to use the midpoint. And we need a snap to
give us the midpoint, but we need the
projected midpoint. Right now, the project is
disabled. Let's check it out. For instance, I specify
end of the arc and the starting point of the arc
you're in the front view. If I do not use projection, then I specify the point, check this out in the
prospectview. This is the result. But if I use project this time, let us try again. I pick the arc two points after specifying the
initial or first point, and for specifying
the point and arc, I should enable project. So I want to activate
project when it was needed, since it may interrupt the
sketch. Check this out. I enable Project Object
Snap, I enable it. Then it projects the
midpoint of the line. And as I told you before, the opened view does matter too, because right now I'm
in the front view, and then I place the point. But here, a question may come to your mind that what is the
application of project itself? Since we are using
it with planar, actually, these two are
working with each other, and it removes the
effect of snap so we can constrain this sketch
in just one plane. But what is the application
of project individually? I disable plan R, and then I'm going to
give you an example. For, like, you're in front view. Let's check it out,
and then by arc, I sketch the arc and
start in the point arc. Check this out into
perspective view. In other words, neutralize
the effect of these snaps and then draw the objects or the
curves and the origin point. But when we enable plane R, it will keep the
curves or all of the geometries in the specified
plane by the planear. But if I disable plane R and then using the
project individually, all of the curves or the
drawings will be projected on the origin point by neutralizing the effect
of snap objects, which is not that
much frequently used. In the continuation,
I'm going to give you another example and
then finish the topic. Suppose that here we
got several lines. I sketch two of them here, this side of the origin point and the others at
the other side. And then in the
perspective view, let me modify the
heights and the levels. I move them upwards by this way. I want to adjust them
at different levels, and I move these downwards. Watch this example or this
part of the video carefully. In the continuation, I'm
going to start sketching some geometries or some
models by using these lines. Let me move these a
little bit very well, and then here if
I pick the line. And if I enable project in the second
that I want to sketch, you can see that it
projected and the midpoint. I mean, origin point.
Check this out. For example, if I want to
start from the midpoint, Project give us the
projected midpoint, not the midpoint itself. So this is the neutralization of the snap that we can't
have the midpoints, but the projected midpoints. So in the second that
you want to use plane R, you should disable project. By this way, then I'm going
to sketch shape or whatever. Right now, my first
or initial point that I specified in the
scene is very important. I mean, if I want to sketch something that starts
from the midpoint, the plane R is enabled. If I want to connect
to another midpoint, if I want to have all of the
drawings in the same plane, I should enable project. Then check this out in
the perspective view. We can follow the sketching. As you can see the midpoint
is projected in the plane that the initial point is
placed. Check this out. By using project, we can get access to the projected
points in the same plane, all in all the first
or initial point that you specified
in the Bus matter. Let us work on another example. This time, for instance, I'm going to start from here. As before, we should disable the project
at the beginning, since we don't get
access to the midpoint. I disable it. I specify
the initial point. Then since I want the
geometry in the same plane, I should use project again. By this way, as you can see, all of the sketching are kept in the same plane because
of the projected points. So when we use planar, it is important to specify
the initial point. What about the application
of project itself, I mean, individually
without using planar, as I told you, it neutralized
the effect of SNAP and it projects the points and the origin points since
planar is not enabled. Check this out, as you can see, all of the points are
projected in the midpoint. I mean, origin point, and as you can see, we
got it along the X axis. Planar and project are really useful while you
are sketching an object or a curve that I want you to take time and practice and these examples before going for the next session in order
to learn it deeply, for instance, you
can pick the line, and I want you to
guess the position. I mean, before specifying
the point, you can guess. Then I start sketching
because this would help you to have a deeper
understanding about the planes, the views, and the
projected points. And as you know, wherever you
click or specify a point, does matter, and it is
different in the views. So before you specify
a point in the view, I want you to analyze
the position or guess Since imitation itself is
just for the Z surface level. Following that, I'm
going to tell you another application for
planar and project, and then I give you
time for practicing. While you are using move, copy, and array tool, in
the two D views, you have to enable
project and plane ar, so it moves the objects
or the curves correctly or it avoids the
unwanted movements. In this example,
I will tell you, for example, by
using move command. Suppose that here
we've got a cube like this and then
another cube there. Let me move it a little bit. For example, I place it
at the center very well. Then in the top view, I want to move one of the
cubes only at the top view, which is the two D drawing. Right now, project and
plane R both are disabled. I select it, move. Then from the
endpoint, I move it, check this out, and
everything is okay. But if I open perspective view, as you can see, the height
of the cube has changed. This is the previous height
or level. Check this out. This is the movement. This
is the unwanted movement. We didn't want to modify
the height of the cube. Let us try again. I
want to show you. I selected it, and then I
moved it. Check this out. Actually, at this
condition or situation, since we do not access to the other views in the
drawing view or the views, actually, some movements would happen that we may
not be informed. So I recommend you to enable
planar and project both. Then check this out in
the perspective view. Then if I start the
command of move, then as I'm moving the cube, as you can see the
height is constraint. It is restricted to the
plane to the sketched plane, and it is placed at
the correct place. This was an example by using MV. This time, I'm going to give you an example in using array, copy, duplication or whatever. For instance, suppose that
here I want to sketch a rectangle like this and
another one inside of it. I modify the height, and move it upwards. This time, I want to make some copies or make
some duplicates. I disable project and plane
R. I select the lines, CO the command of copy, and then I make a copy. For instance, I want
to use the midpoint. Check this out. Then I make
some copies like this. Let me place multiple
versions of it. By this way. Let's check it out. They are not at the same plane. We got them to the stairs. But why, what is the reason? Let's check it out in
the perspective view. Again, I'm going to
make some copies while following the process
in the perspective view. Here when I select the
curves or the rectangles, and then I start the
command of copy. Then as I make some make
copies, as you can see, the plane is changing because
of the snaps object snaps. Well, if I enable planar
and project both, then we can have them
at the same plane or just parallel to each
other or in the same line. So take this into
consideration while you are using move, array, copy, duplicates or whatever
in the views, you have to enable planar
and project both together. The final point, some of
the auxiliary commands constrain the curves or the sketching from
changes in planes. For instance, I sketch a vertical line perpendicular
to the ro plane. Then here ai keep the endpoint to sketch
it, continue the line. Project is disabled,
and plane R is enabled. I sketch the lines. We have them at the
same level or height. But if I disable plane R, then we will have differences in the height of the points. Check this out. They are
placed on the origin. As I told you, some of the auxiliary commands can strain the drawings
in the same plane. Just like artho Here, if I enable tho, as you can see, the movement is
restricted to points at the multiple of the
specified angle from the last point created, the changes in the
plane is impossible. So we got them at the same
height or same level. But if I turn off Earth
is no more restricted. Otherwise, if I turn it on. The movement is limited to the specified plane based
on the last point created. So note that when we enable EarthO then we can have
the movement restricted to the points at multiples
of a specified angle from the last point created without enabling the project
and planear. And another tool
here is SmartTrack. Since Smart Track can change the planes while sketching,
let's check it out. For example, I start
sketching from the endpoint. I turn of Ortho by F eight. Then if I enable
SmartTrack, check this out. It is a system of
temporary reference, reference lines and
points that is drawn in the Rino VewPortUusing
implicit relationships among various treaty points. And these reference lines and points are at
the same plane. So the tools of SmartTrack and Ortho enable us to
sketch the line. Restrict just one plane without using project and plane R. At the end
of this session, I want to assign
you on homework. So, wait for a second
to show you the image. That I want you to sketch
it and work on it. Check this out. Here
we got a chair. I want you to sketch
this non stop. I mean, without
interrupting the polyline. But note that, I want
you to use polylines, not a single line, which are connected
to each other. So we can specify points without a pause in the
sketching process. So you have to pick the polyline
in the scene after that. You sketch the chair
exactly like the image. But before going to practice on the homework or
sketching the chair, I want you to watch
the video carefully, practice the examples,
and after mastering them, you can go for the chair. Since all of those
practices, I mean, all of those examples
are prerequisite and required to be known before
practicing on the chair. So just after learning the parade project and playing tools deeply,
you're going to start.
16. Planar and Project Modes Explained: So let's get done to practice. And as you are concerned, there are multiple approaches
that I'm going to go through one of the ways here in the top view by
using decret snaps, I start sketching the lines
by this way like this, then in the front view. Then I move it upwards. Let's check it out in
the perspective view. But why it is slanted since
it is incline to the origin. So what should I do right now? Exactly. I should
activate the planar. So I undo the process. Then I want to show
the four views. Check this out. I want to constrain the lines
into perspective view. But as I modify the view to
front, the plane changes. But this time, I
turn on plane R, and we don't need the snaps
to project the lines. Right now, watch
this. As you can see the line is
constrained to that plane. The plane is not changed, then I keep on sketching. Then I want to move
the line backwards. But again, we're struggling with the change of the
plane while I want the line to be constrained at the specified height.
So what should I do? Except keeping
plane or activated? I need to project the line. I mean the point. So
I activate project. Check this out, guys. As you can see, this is the
projected point right now, except constraining the plane. The point is projected too. These snaps are not effective. As you are concerned, I'm modifying the
views sequentially. Right now I switch to front, and then here I sketch. Then I'm going to continue
the line by this way. Then in the continuation, if I want to use the
project at point, here if I enable the project. As you can see, the
line is not restricted. But as I activate it, then we got access to
the projected point, then this will be the result. Here in the front view,
the project is activated. As you can see, you got
the projected point. Watch this. I sketch. Then I disable the project, then we got the chair. Then we can sketch the
other lines easily. But for sketching these, should we should not activate the project because it
would annoy us like this. So I disable it. Then we can use the snap
grids or gris snaps. You know, the grid snap has got their own advantages if you use them in
proper situations. So by this way, we can
restrict the lines. So by this order, we
can sketch the chair. So if you couldn't
manage to sketch it, you can try again and see
you in the next time.
17. Blending Curves Smoothly: Hi, guys, in this part, I'm going to talk about one of the interesting
commands in Rhino. I believe each of
these softers has got a dominant command,
which is significant. For example, TD Max is
known for its dd polish. Rhino is known for plant curve in this session,
I'm going to talk about it. In the continuation,
let's talk about it. But at first, I want you to see the applications of the blend
curve command in Rhino, and then I will talk about how to work with it and I'll
see the tips and tricks. Right now, we got two lines. If I start the command
of Blend curve, then we can specify the
points to join these points. I mean, these two lines to each other in order to have a curve. So this is the main application
of blend curve command. This could be very
useful, actually. But in the continuation, I'm going to
exemplify some cases so you will learn understand
its applicability, like joining these two lines
with a curve like this. Wait for a second, please. I'm going to show you
some projects here. Here, as you can
see, I showed you the similar version right now two lines that are joined
to each other with a curve. Or, for example, here, that the lines are
joined by a curve. Check this out. Here we
got the curve again. People sketch all of these in the continuation.
Let's check this out. For instance, here
we got two lines, and then we got
the curve that has joined these two
lines to each other. By this way, let's go
on the next image. Here again, we got the two lines that are joined right now here. In these examples, we
get the similar process that we can sketch them
by using plant curve. So it is very useful
and also this one. Check it out in Rhino.
I'm going to give you an example before starting before I start to talk
about the command, I'm going to give you
some examples to reach a deep understanding about the significance
of this command. Check this out at a
90 degrees angle. So I should move the upwards. By this way and I start
the command of blend CRV. I started, and I joined
these two lines by a curve. Check out the result. Like this in the
perspective view, here it is the image. Therefore, it is very helpful. But let's talk about it more
and get familiar with it. In the continuation,
I'm going to start with a simple geometry. Here we got a line like this. And the next line, this out. After that, I'm going to start the command of blend, Blend CRV. Here, as you can see, we got
different types of blends, but we should choose Blend CRV. Since we got blend edge, arc blend, our choice
is blend curve. By this way, I
start the command, then here in the scene, here I should specify
the endpoint and the start point of these two lines that I want
to join them to each other. I click to specify
the endpoints. So the place you
click is important. For example, if I click at
this side and then that side, check this out, those were the specified points.
Or check this out. So we should specify the correct points or end
points. Check this out again. Then in deductable window
of gas curve bland, we can control the curveness
of the bland curve. Let's talk about the
items or the options. Here, we got the
position that we got two degrees for the
curveness one and two. The next one is the tangency. Here, we got the second degree of the curveness in which
we got two control points. As you can see in the
third one is the curvature in which we got the third
grade of the curveness. We got three control points. Then we got the G three
and G four that give us four and five control points in order to modify the curve. However, we can modify
the curveness manually. For example, you
may want to ignore the tangency and also curvature. I mean, you want to have
your own customized grade of curveness. So
what should we do? For this, we can click
on this and then move these control points and then adjust the curveness
by this way. If you wanted to move these
control points identically, again, curve lend, you
can hold down shift. Then if I move one of them, then we can modify
them symmetry. I mean, both after side will
be identical to each other, and we are customizing our curve without
using the grades. Let me give you another example. For example, here
we got a rectangle. I explode and then here I want to use start
the command of blend curve. Check this out. I want to reduce the curveness I hold down shift for having a symmetry
adjustment. I adjust it. Or, for instance,
in this example, here we got a line and
then a vertical line. I start command of bland
curve, buy it this way, then watch this and we
can hold down shift for selecting symmetry and then
controlling them identically. By this way. But while we
are blending two curves, I mean, joining them by a curve, we can control the start
point after blend two. Let me give you an
example. I mean, here we go straight lines. Here, you may want to
control the start point. So here we can
click and then dig the end nut and then
move it backwards. By this way. Okay. Check this out. Again, I repeat. I blend them at first, but I want to move the place
of the end knot. I move it forward and another
one backwards like this. Here we got the option of
trim as well as you can see. Here, if trim was checked, it trims the extra lines. But if I uncheck the
trim, check this out. When we move the knot, we got to blend, but the parts of the lines
are not trimmed. Another example, for instance, here we got an arc
and also this one. Then I want to blend
them by this way. Then in the continuation, I'm going to move the naught
by this way, like this. I hold down shift to control the curveness like this
or to adjust the slope. I check trim then
I click on Okay. So I can control or adjust the start point where
the blend is started. Here are interesting
points that we can use the blend for close
geometries as well. For example, I sketch a circle like this and
another circle there, and then I'm going
to blend these two. Check this out. By this way. Here, the direction
is not appropriate. But we can flip it. Flip one, check this out. We can flip the direction, and we usually use closed
geometries and flip two. But just in case if the
direction wasn't correct, you can flip it. By this way. By this
way. You can fix it. So we can use blend curve
even for the closed curves, too, and we can use flip to flip the direction
if it was needed. I hold down Shift to
adjust the curve. Like this or even you can adjust the position of the point
like this, check this out. You can adjust their
positions by this way. And also in the open curves, we can flip the
directions as well. But we usually use flip for the closed curves.
Let's check it out. For instance, in this example, if I click on flip
one, check this out. We can flip the direction
where the curve has started, or you may want to modify the direction of the
blend by this way. I mean, you got two choices. You can flip both of the
points to each other to modify the direction of
the curve like this. Actually, we can use blend with points as well,
but what does it mean? Let's check it
out. For instance, here we got this arch. I start the command
of blend curve. Here we got only one curve, but I'm going to
specify two points in the curve to blend
them by curve. Blend point. I click on point. Then I specify point,
take this out. As you can see, these
two are blended. Here we can specify the second care of
position. Check this out. For example, for the one, we can choose tangency
curvature position. But if you got two lines, we can control both of
the lines, actually. For example, we can choose
position for the first one and then tangency for the second
one or tangency for both, that we usually choose
tangency for both. However, we can blend the treaty curves or the curves which have been sketched in the
prospective view. For instance, if I sketch
such a geometry like this, and then in the
prospective view, let me move one of them to
make them treaty like this. We can plan them in the continuation,
let's check them out. For instance, these I start
the command of plant curve. I specify the two ends, then we have the plant
or the another end. By this way in the
perspective view, the decerve is tangent
to both of these sites. Let's work on some
more examples which are frequently used in the projects and also
in the practices, and you require them. Here in the chop view, I'm going to sketch a line. By this way, then I make
a copy or duplicate. Then I'm going to sketch a
bigger line let me sketch it by using med in
order to ensure that it is that they
are symmetrical. Right now, watch this.
Then in the continuation, I move the greater line upwards by this way
and then backwards. Then by having these
three straight lines, I'm going to have a chair. But how I start the command of bland curve and then I
blend these two curves, these two lines to each
other with each other, and I choose tangency, then these two by this way. In the continuation,
the other sides. And we got the symmetrical
curves here at both sides. Then in the continuation, just as an example, I'm going to convert
these to masses. In order to enliven the process to show you the
potential that you've got. I start the command of plane
surface or planear surface. And then I select the lines to convert them to
masses or surfaces. But wait to hide this
line by this way. I want to say that the
main part of the process is sketching the
lines. Check this out. But, you know, converting
them to masses or creating surface
is not a big issue. Even if we can add
a frame by using pipes that we talked
about it before. Check this out. This is
the result like this. So it is very easy and simple. And the main part of the
process is creating the lines. And after creating the line, we're going to deal with
the simple processes. Then we can customize it, for example. We can
delete these two. Then we can have plans
instead. Let me explore this. Then I start plan
curve by the way, and then the curves. And if I add four legs, check this out, guys. We will have a simple
chair or furniture, and then we can convert it to a mass or a surface or whatever. So put this into consideration
that the main part of the modeling process is in
Rhino, actually, our lines. I mean, we primarily focus
on the lines in Rhino we want to model following that, let's talk about another issue or another example and then wrap up the session
with practicing on some I mean, exercises. You as you can see,
we got two lines, for example, then I
want to plan these two. Later, I may want to
modify decaiveness. But here before starting
the command of blank care, if I activate record history, history command stores
the connection between a commands input geometry and the result so that when the
input geometry changes, the result updates accordingly. I know that we can use
record history just for. In each of the commands has
got their specific histories. And if we start another command, we should record
the history again. I activate record history. Then I start the
command a blank curve. I create the blend, just
the continuity. Okay. Record history is
no more available. Then here, assume that
we got some other lines, and I don't want to activate the record history since I
don't want to change it. I blend them by a curve. While the previous one, as I was using plan, record history was enabled. But for the new lines, the record history
hasn't been applied. Here, if I start the
command of len care, we are given the option of edit. If I start edit,
then we can adjust or edit the plans which
their history were recorded. For example, here I have recorded the history
of this plan. Right now we can edit it. We can adjust the continuity, flip the directions,
join or whatever. Again, if I start the
command of blank curve, we can edit the curve because the history
is recorded before. But the history of the other
curve is not recorded, so we can't modify it. Let me give you another example, and then I want you to practice each of the examples
attentively. For instance, here if I want to, let me give you an example. I want to show you an image, a bench like this. If I want to dle this, as you are concerned
from now on, we're going to analyze the
forms in the geometries, the model geometries, actually. Since if you want to be a
powerful modeler in Rhino, you should be able
to analyze the form. Till now that you are
skilled at blending, you should find
these straight lines before starting to model, before you start to
modeling an object. I mean, we should find
the lines that you are capable of sketching them and they are
necessarily straight line. Since we may have
curves like this in the perspective view that we're going to have some
challenges in sketching it. But these straight lines are easily going to be sketched
two simple straight lines. Let's check it out
from the other view. We can sketch this straight
line, as you can see. I want to say that you should be able to analyze
your form or model. And then for the curved part, we should use blend so,
guys, let's check it out. I get back to rhino. Then here I keep the polyline. I'm going to use
the greedy snaps. I sketch a vertical line. Here we got a long line
and also a short line. Let me sketch the short one. Or the shorter one. Both of them are vertical. Let us check the other views. Here we got the shorter
and the longer lines. As you can see the shorter line, we got the line under the shorter line that
it passes through, I mean, beneath the longer line. I pick the poly line, and then I sketch the horizontal line to pass through the longer
line by this way. And then I'm going to
consider eight as divide. I can make a copy. Then we can modify the length
of the line later. I press down F ten, then I extend their length. But this one, let me
check the image again. I should reduce the bottom line since it is shorter
than the topper one. So let's check it out in Rhino. As you can see, I
reduce the length, well down and four units
distance perspective view. Then I select them to move them upwards or to place them
at heights by this way. And we usually use
trial and errors while sketching primary
lines for a model. I start the command
of bland curve. I hold down chef for
symmetrical movement, and then the another
curve or blend, then this would be the
result. Check this out. Then here if I join
these lines to each other and then connect
them to each other, then we can easily convert
these to a surface. Check this out, guys in a very simple process that
we have sketched the curve? Guys, don't forget to
practice these items. Later, I will give
you to practice.
18. Guided Exercise: Intro to Real Projects: Hi, guys, I hope you have done the practices
successfully. Right now, let's work
on two projects. First one is Kimbo
art by Big group. Let me show this image. Check this out the
existing Kimbort center. As I told you before,
the analysis level or stage doesn't
matter. Check this out. It is rotated, and then they
are blended by a curve. Check this out, as you can see. And as you can see, it is very vivid to distinguish
the blended parts. Check this out from other
views like this way. You can use the photos
and then sketch the lines and then using
blends to have the model. Actually, I'm trying
to guide you. If we got this, please
note the dimensions, the relation between the sizes that we check them out
in the analysis stage. Since the analysis stage in
which we check the model and the sizes is as important as working with
the command, actually. And try to sketch the
most similar model. I mean the accurate one and get it done as perfect as you can. But no, that I'm talking about accuracy,
not perfectionism. Example, you can check out the heights and the sizes
in relation to each other, and in the continuation, we got the blend or
the unified twist, as you can see the
volumes are blended together to form a unified
twisting building. So just try to practice this
19. Project: Kimbell Art Center Modeling: Hi, guys. I hope you are
doing well in this session. We're going to work on
the practice in which I meant that the previous
session we talked about. First, let's check
out the image. At first, we're going
to sketch the square, the bottom or the fundamental
square or the basic one. I'm going to use this rectangle,
rectangle center corner. I pick this, and then for
specifying the center, I'm going to sketch it
from the origin 0.0. Then if I want to have
it in a square shape, I hold down shift to
restrict the length, then we will have this square. I disable Grey snap. Here as you can see, plane
R is activated routinely. Project is disabled. It is not important to keep
the planear activated or not. I'm not sure about
what you have done. You may have made a duplicate and then connected these
two skewers to each other, but there is no need to
do this because we just need to sketch some
vertical lines here by this way as you can see. But as I told you before, I mean, the proportion
doesn't matter here. They should suit
with each other. For example, the height is
quarter of another one. I sketch the vertical line
by this way. Check this out. And then I select it to make copy for the other
corners like this. And for the top
part, Zoom selected, I make a copy. Check this out. Then I want to rotate it
along at axis 180 degrees. Getting the front view. First of all, I
press down F ten to modify the heights or
in fact the length. So now, that, you can modify
or control the length of the lines by adjustment
D and points. Since the blue box
box's height is longer. So I extend the
height by this way. And the distances
between these two, let us check them out, since we should accurately
consider them. Check this out. This is the offsite or
distance between them. So indeed Rhino, I select it, and then I move it upwards. Right now it is quite proper, and then I should rotate it. I select it, and then for D, for example, for a decree. However, for the is not
the accurate value here, and the next stage. I want to start the blank
curve. Check this out. I select the endpoints. And actually in blank curve, I forgot to talk about
one of the options, which is join that I'm sure
that you know what it is. Here, if I keep join unchecked, then the three lines will be kept unjoined or
exploded, as you can see. But if I check join, they will be joined
to each other, and they won't be
exploded anymore. As we talked about it in
the previous command, check this out that are joined with each
other. By this way. As I showed you in
the previous session, the lines do matter in the modeling process
in the analysis stage, then we can easily convert them to masses or surface like this. But don't worry about the
lofts and the masses. We'll talk about them later. So, guys, if you haven't
practiced it yet, please work on it, so we
can go for the next one.
20. Chair Modeling Exercise 1: The first practice that we're
going to work on is this, as you can see on the screen. As you can see, we got a
curved surface which is extruded in which we
got some holes or void. So please, think about it. Think about the approaches, and I want you to
extrude this surface by using extrude surface
and also offset surface. So, guys, give it a try. And then in the next session, I will do the practice.
21. Chair Modeling Exercise 2: Well, let us work on the practices here
in the front view, and then I'm going to import the image of the modern bench. And if you go sketch
it successfully, you may gain some new ideas
of sketching the bench. Since I may use some
points and tricks, it would speed up the process. So watch it attentively. Here, after importing
the imaging properties, I want to control the transparency,
as I told you before. I make it transparent and
then control L to lock it. By this way, let's go on. Here, if you have started
by using the line, I should say that it
should change your mind, since the angle may not
be true or accurate. So I'm going to use
rectangle three points and then I specify the three
points of the rectangle. I hold down shift. Second one, and then
I move it forward, up parts by this way. Then I select the rectangle. I choose the control points, and then by using
scale, I can narrow it. And we usually use a scale
for narrowing an object. Following that, I
pick the rectangle, and then I sketch
it by this way. And then I move it to find the midpoint or
the center point, actually. I place it right here. And then let me turn off center. Here, we should try not to mix up perpendicular with the
midpoint, as you can see. So I write click on midpoint
to deactivate others, since we need the midpoint,
not the perpendicular. Well done, what about this part? Again, by using
rectangle three points, shake this out. I sketch it. And then again, the
rectangle by this way, then I should fix this part
by moving the control point. Check this out. Place
it at the profile. I mean, at the intersection. Here we don't need
the image anymore. I unlock it, and then
let's work on this sketch. I move the objects. I place them at
the origin point, and then we're
going to continue. Let us check out the image. I'm going to start
with the red ones. These two, as you can see, the vertical and
the horizontal one. Let me select them to
show them these two. I move them but about these two, I make a copy from them. Check this out. This
is the distance. At the bench is straight. I mean, we do not have a curve. Let me increase the distance
well down. Look at here. Then the distance
between the red one till the blue ones,
determine the curve. And as the distance exceeds, we have a smoother curve
between these two objects. But as distance reduces, we will have a sharp
curve between these two. Geometries. So we
control the curve by the distances between these two objects.
Check this out. I'm talking about
this curve that you should put the distance
into consideration. That you can find them
by trial and errors. You may not know them
at the first sight. And as we are working
on half of the bench, I'm going to have it later. I sketch a straight
line to connect these objects to each
other by this way. And then I sketch the rest of them by
making the duplicate. And as you know, using these tricks speeds
up the process. That if you want to
be skilled at these, the only key is
just to practice. Since practice makes perfect. Then I select the line, copy. I sketch one of the lines, and then I make three copies. And as you are concerned, you should use these techniques. If you want to move the process forward in a very
quickly manner. So as time goes, you can take your
speed and accuracy to the next level and
earning much money by using appropriate commands. Let's go for the blends. Let us check the image again. As I told you before, at first, you should consider the
blends or the curves. Check this out. Here,
we got the curve between these two
straight lines. So it shows that these two lines have been blended to each other. Or what about this?
Check this out. It shows that these two
paraded lines got blended. I start the command of blend
RV or curve like this. Then I specify the points, the end points to
just check it out. Here we should adjust the
curveness of the curve. So what should I do? Need
a little bit sharper. I reduce the distance. Let me adjust the
position by this way. You can either use curvature
or reduce the distance. I mean, use curvature
instead of tangency. Let us check curvature.
Check it out. Okay. Then the other side, let's check it out. The image. By this way. And I recommend you not modify it or
adjust it manually, since you will have
some challenges, here we got a sharp curve. For example, we can use the
tangency, check this out. No, these are up to you. These are the designing
of your model. Then we got here, this. Let us blend these two. By curves, check this out. I keep on blending
them like this. Again, let us check
the image again. We should blend the top and
bottom parts with each other. Check this out like this, inside and outside, again, the other parts by this way. Is it okay? I remove
these. I select them. MI mirror to mirror
it at the other side, and you can remove
the extra parts. And in the future sessions, I will tell you the process of converting it into a
surface or masses or other complex
geometries in order to have professional
works by this way. You can watch the videos of the practice and
assess your skill.
22. Using ExtrudeCrv and ArrayLinear Commands: Hi, guys. I hope you are
doing well at this session. I'm going to tell
you how to extrude our geometries in order to
submit interesting models. So I'm going to explain extrusion or extrude command briefly here if we had a
line like this or a curve, no mother open or closed. Here we got an open
and closed curve. We can extrude them
as you are concerned. If I select them
here as you can see, we got the extrude close
plane or curve and pop up. I start the command, or even you can
type the command in the command line EXT
and then extrude. CR V. Then we can
have the extrusion. Check this out. By this way, you can extrude the curves, and then if I choose
the V open curve, we can have a surface.
Check this out. Let's talk about the options. If I select the object and
start the command here, we can specify the
extrusion distance for the units inter and the
line, take this out 20. So the most important option here is the distance
or the size. Another option is both sides. If I set it to yes. Then we will have
the extrusion in both sides top and
bottom, for example, 15, then we will have 15 at top and 15 at bottom
as the distances. But in the closed curves, we got another important
option which is solid, which is set to yes, covers the top and
bottom surface. If I set solid to no, let's check it out
as you can see the top and bottom
surfaces are not covered. As you can they are opened, that in the open curve, solid is not effective. I mean, it has got no effect, either yes or no. And here there is
another option, which is set base point. And as you can see by default, when we sketch when we extrude, the base point is
set at the middle, you may want to modify
the base point position. I mean, you can click
on set base point and then by click, you can set the basepoint
of the extrusion. Assume that here you got an
extrusion here or a mass, then you want to extrude the rectangle at the
sis of this extrusion. I select it, and then I start the cameo of
extrude, set base point. Then by click and drag
at the other extrusion, I can adjust the size. Check this out by this way. But if you got two objects
or two extrusions or curves, one of them is inside
the another one. And then if I extrude
these, let's check it out. I said solid to yes. As you can see the inside
of it is empty or is void. And the last item is the
direction of the extrusion. That by default, it
is set to I mean, when we extrude an object, the extrusion is
too wide upwards, but here you may want to modify the direction
and click on direction, and then in front,
check this out. Gona specify the direction
of the extrusion. You can have the extrusion
slanted like this way. So you got too many options
and about the final point in extrusions that assume that
if we had a semicircle, and then if we extrude it
at the direction of top or up or at the
direction in which we got two control points
at one direction. Let's check it out, guys. I want to extrude it
at this direction, for example, Look, we won't
be able to extrude it. So if in the extrusion process, there was two control points along an axis, check this out. We got two control points. In the direction, we won't be
able to extrude the curve. But here there is a trick. As you remember, we used
gumbal for the extrusion. I mean, if we use
gumbol to extrude it, check this out, then we will have the extrusion successfully. This was the trick that
I wanted to tell you. And another command
that you are needed. I mean, you need it in
your Corks is RA array, which is used for duplicating a specific
object at a specific count. However, later I will talk about array command
comprehensively. Assume that here
we got a square, and we're going to array it or duplicate it at
a specific count. Here we got different
types of array commands, RA CR V array we
need array linear. I started the command
of array linear. Then we can specify the
number of the items, for example, set preview to yes. And if I click, we can
specify the direction and also the distances that you can use the commands of sketching lines for considering the
angles or fixed lengths. For example, I press
down a eight to activate EarthO then I specify five unit, inter, and then I
specify the direction, and then I click to
finish the array. As you remember, I
told you when you are using some commands
like move, copy, and also array, you
should activate the project and planar
in the two D views. I'm going to give you an
example with array and project and also planar and then show you
the consequences. For example, here we got a
circle and also a square. The circle is inside the
square, Zoom selected. I move the circle up parts. Here, suppose that
we're going to have a a tower, for example. Here in the front
view, I select them, and then I start the command of array linear as the
counter number. The planar is activated, as you can see, but
the project not. Here if I array them without using project,
let's check it out. Everything is okay, apparently, but in the perspective
view, check this out. They are not arrayed vertically. So you're familiar with these. Let us try again. I'm going to follow
them in the four views, array is number, check this
out. They are slanted. But if I enable project, then this will be the result. They are arrayed straightly. So by this way, we can
array them successfully. So, guys, don't forget
to practice this, then we can explain the homework
23. Exercise: Gallile Building: Hi, guys. I hope you are
doing well in this session. We're going to work
on another practice. Let's check it out the image. We got the north
view of the building and also the entry that we're
going to sketch the lines. Let us check the others. And the building which we
got at the right side of the screen contains three
types of plans plans, Type one, two, and three. For sketching or
drawing this project, we should use these
three types of plans. Here we got the plan
of the type one, type two, and the type three. In each of them, we
got multiple levels. Here, if you look at
the types closely. We can sketch the type one and three by
imitating from Type two. For instance, if we trim or emit some parts
from the type two, we'll have the type three, or if we trim some parts and then using mirror,
this will result. I mean, we're going to start
from the plan of type two. So here in Rhino and in
default layer is activated. I want to import the
image of the plan of the second type interno. Actually, the scale does
not matter that much, since later, we can scale
the whole building. I place it right here anyway, or, for example, here, in which we don't have the grid lines under
or beneath it. I select it. Then in properties, I want to reduce the
transparency by this way, and then I lock it by Control L. It's better to sketch each of the levels lined in
separate layers, for instance, as we are working
on the second type plan, I activate the layer of 02. I set it as default layer, and I want to sketch the
lines here and at this layer, I double click or
I set the layer, the default layer to two. Let's sketch the lines. I pick the straight line
by this way at first, starting from the straight lines like this, check this out. I continue till here. Then the other straight
lines. Check this out. However, we should exceed
it or extend it, actually. I want to teach you how
to detect clashes here. I sketch other lines. I enable the smart
track since I need parallel lines by
this way. Well done. But for sketching the
blend, I mean the curve. As you're concerned,
we should use Blend blend CRV, check it out. Here, you may want to use curvature continuity to sharpen the curve. Check this out. Or even you can choose tangency, then hold down Shift to move the control points for adjusting the sharpness of the curve. But it is not matched
with the image because we should extend the straight
line. Check this out. So just in case if the curve
wasn't accurately sketched, you can check out
your straight lines to trim them or extend them, and then again,
blend RV or curve. You can either use
curvature or tangency. By this way, can hold
down shift and then move the control points manually to adjust
the carefulness. And then here I
create the curve. However, it may be needed to
just the curves separately. I mean, just for one of the
sites, not symmetrically. Check it out. It is okay. What about the other parts? Here, you may want to use
an arc. Let's check it out. Let's try. I mean, without using plan curve. Since here the curve, I mean, we can't have
it by using an arc. But if I use the plan
curve, check this out. Then you need to hold
down shift and then move the control points
and then overlap the curve with the
image by this way. Okay. So right now, the plan of the type
two is completed. But here, if I want to
sketch the type one plan, we do not need the image, since we can sketch it by
imitating from the type two, but we need to copy the
lines of this level, then we can go for the type one. I select them, and then I
make a copy, check this out. Select, Control C,
copy to clip board, and then Control V to paste. What has happened? Yes, exactly. They are overlapping each
other on each other. Right now, a set of
lines are selected, but be careful not
to deselect them. So while the lines are selected, you should modify the layers and then associate
them to layer one. So we're going to sketch the type one plan at another
level layer, actually. I modify the layer
by a copy and paste. So right now, we
got two versions of lines in both layers of one
and two, as you can see. In the continuation, I
set layer one as default, and I turn off the layer two. Here we got the red lines. Then according to the
image or the photo, we're going to sketch
the type one plan. Let us check the image. Look, as you can see, we got a straight line from the bottom parts of the
stairs. Let's check it out. Here I pick the poly line
in the layer of one, then from here or from
bottom of the stairs, I hold down shift
to restrict it, and sketch the straight line, then I should trim
the extra parts. Explode. I remove these. I don't need it. But
what about these two? How can I connect
these to each other? Yes, of course, we connect
them. Check this out. I connect them to each other. Here we can trim the extra
parts or connect them. Does that matter? But what about the bottom part?
Let's check it out. Here, from the end of the
stairs, as you can see, or from the ACL, we got a straight line, again, back to rhino. I pick the polyline. Let me specify the position
that I want to sketch. I sketch the perpendicular line. Then I need to connect
these two lines with each other, CON connect. Check this out by
this way and then, and then I trim the extra
parts like this. Well done. So the layer two layer
one is completed. And the type one is done. Then we're going to
sketch the type tree. I set layer three as
the default layer. I turn off one. Again, I
turn on two to make a copy. Since I have considered the
layer two as the basic plan. Control C then control V, but be careful not to
deselect the lines. Then I associate the selected
lines to the layer tree. Check this out, and then I turn off layer
two. Check this out. Then here I should check the image or the photo
of the plan type three. Let's check it out
as you can see, we need to trim some parts and then mirror departs
from the middle line. So here in Rhino, I explode these lines at first. Then I trim some parts, as I told you before. I mirror it at the other
side from the middle point. Check this out. By
this way. Well done. Let me turn on the layers, layer two, and also one. And since they have been
associated to different layers, we don't have any challenges or difficulties for
selecting them. Right now, we do
not need the image. We can remove it, old Control L M and then
remove the image. Then if I turn on the layers, check this out for extense, for instance, if I want
to move the layer two, right click select
objects, I move them. For example, for layer three, right click, then
select objects. And then I can move it
to upwards by this way. Well, done, let's go for
the extrusion stage. So here in the front
view. By this way. I join these lines with
each other by this way and then and then at the size of
the depth of the louvers, let me show you the photos. Shek this out as you can see, I'm going to offset them. I start the command of offset, and the approximate
value would be nearly, for example, this, well done. Then I adjust the layer one in order to place
it at the same layer. But when you use
offset through points, then your adjusted
distance will be specified for the next offset through points as you can see. So do not modify the
distance. Check this out. The previous value
is assigned for it. At first join them, and then at the specified
value for distance, you can offset them. By this way. I offset them
at the same distance. By the way at me,
just the layer. Layer two. Well done. Then we're going to extrude
them and then duplicate them. I select these three plans, and then I extrude
them. Check this out. And if we check out the images, you can see, they
are really thin. For extrusion distance,
not 0.1, check this out. I extrude them. By
this way, well done. After that, we're
going to arrange them by using array command. Well done. Let us
check the photo again. For example, at the first level, we got eight a number and about the
distances between each of the lines we can consider
for the centimeters. I select it, and then I start the command of array
linear eight of eight, not 0.4 as the distance, and then finish, well done. I move, and then
for the next one, I enable project in Plane R. Watch this. I place this here, and then at the size
of these intimeres, I move it by this length to place you in an
accurate position. Let us check it in
the treaty view, since we may have some
mistakes or whatever. Well, the, let us go on. And for this level, as you can see, for the
next level, I mean, as we had eight copies
for the first level, we're going to have 16
for the second one, 16 or two, whatever you want. 16 as number of items, and then array, not 0.4 for
the distance. Well done. I select this and then
I move it to place it right here by this way
to match 50 another one, and then I move it at the length of 40 centimeters upwards. And then for the next level, we will have 24 items. Since at each of the levels, we got eight array linear, 24 as the number, not 0.4 as the distance. Well done, take this out
in the rendered viewport. This is the main building, which was placed at the right so I have the image or photo. What about the left one, which is a rectangle, and we can sketch it in a much more easier process that I don't want
to put time on it, since it is a simple rectangle and you can do it yourself. But in the continuation, I'm
going to create the entry, which is simple, too.
So let's i it out. As I told you before
in the analysis stage, we should look for
these straight lines. We got two padded lines, one here, I mean, we got two horizontal
and vertical lines. Let's see, put it this way. Uh, I get back to Rhino. Let me set the default layer. Then I want to sketch the lines. I turn off SmartTrack.
I move it. Let's check it out at distance. Move. Let's check
out the photo again. These two lines are approximately
parallel to each other. Let me check it out
from the top view. Wait for a second, please. I want to find the top view. Here it is, hack this
out, as you can see. So I remove these, and then I select these two
lines to move them upwards. Since they are placed at
the top of the building, I make a copy from
this like this, and we can adjust the
distances as well. And then what is left
is a blend curve. I start the command
of bland curve. I select the curves
to blend them, check this out by this way. Like this, we can blend them. Then in the future sessions, you'll learn the extruding
these geometries, too, which is very simple. I mean, we will talk
about sweep rail and others for having
masses and surfaces. Guys, don't forget to
practice and take notes. Try to sketch the
project by your own.
24. Exercise: Tirana Architecture: Hi, guys, referring
to the practice, we're going to
start from the main straight lines of the project. So to do this here
in the top view, and then I sketch a Squer. I pick rectangle, and
then in the option, I click on Center from
the origin point. Then I sketch such
a square like this. And for controlling the
dimensions of the rectangle, I enable grid snap, and then I sketch a skewer
the size of ten and ten. I select the skuer. I hold down all to create
a copy or a duplicate. One more copy by this way. Then here we've got a 60 angle 60 degree angle that I want to sketch
it in the ino. Let us check the other
images or photos. Check this out.
We're going to have such a model that we're
going to sketch it simply. I pick the polyline,
check this out, and then the lest symbol 30 inter here we got
a 30 degrees line. As you can see, I have just
at the angle as 30 degrees, but about the angle of the triangle I'm talking
about here, which is 60. I extend the line till here, and then I choose or select these two skuers
to explode them. I start the command of extend, then I select these lines. I specify the boundary,
and I extend the lines. By this way. I select
all of the lines. I start the command of trim, then I trim the extra
parts like this. This is the result.
After that, I mean, after the first
stage was completed, that the main lines were
sketched or created. Then in the next diagrams, here we got a skewer which
is highlighted in red, and it is rotated and the dimensions of the
skewer has changed. So I choose the polygon. Then I choose four
as the sites in the origin point by this
way, check this out. Then I want to
select these lines. By this way and then I hold down to make a copy,
check this out. I move it upwards, and then in the layers, and then I right click
on the layer one. I click on change object layer. Right now, I want to
hide these objects, so I turn layer one off. After that again
in the top view, we don't need this
square. We can remove it. And then here based on this, I mean, the selected square, I'm going to modify
the other geometries. As you can see, the sides of this part are
parallel to each other. So get back to Rhino. By using line from midpoint, I turn on the grid
snap of midpoint. Then from the midpoint, I sketch the line like this. Then I start sketching another line from this
point. Check this out. I hold down tab, and even I can move the line but
perpendicular on the one. Then I want to mirror
the selected line at the other side like this way. Let us check the photo again. For example, this part, which is parallel
to the red line, and the other part is parallel
with the red line too. And in the continuation, the side is trimmed. Let me get back to the
dino I mean Rhino. I select the line,
start the man of trim. Then I want to trim
the extra parts, the extra lines, as you
can see by this way. And we can connect these
two parts with each other. I mean, by using connect
command, check this out. I select these lines
or these curves, Control G to actually
J to join them. I show the layer one. Then I can move the layer one lines
downwards by this way. After that, in layer two, in lines, I pick
the vertical line. Then I sketch a vertical
line by this way. But the reason that
I started sketching this vertical line from
that intersection was let me show you the photo
again here as you can see the created line
that as you can see, it is created by blend curve. It is I mean, it is composed by a curve, and it is not straight. So I'm going to use
a type of a line, a vertical line to arch up. So then if I blend these
two lines with each other, we will have the blended curve, not the extra lines. I select a line. I make a copy, then
I position it at the intersections like
this by using copy, Again, I start the
command of copy for the other parts
of the intersections. I fill the other parts. Check this out. By
the vertical line. One of them is not needed, I remove it. Well done. And then in the final stage in the blue layer or
the layer of tree, I start the command
of blend curve. I specify the curves to
blend. Check this out. I choose Tangen for
the continuity. Okay, check this out. Tangency continuity, okay, and others. Let's check it out. I select the curves to blend them and tangency
continuity by this way. We blend these lines
with each other. As you can see on your
screen, well done. And then the others
Thanks for your patience. Then I need to hide or turn off the purple layer or layer
two or the auxiliary layer, and then I want to extend their height or increase the height by this
way or, for instance, increase the distance or gaps
between them by this way, selecting and then moving at
one unit, as you can see. So we learned that by
the given processes, we can create such a model, and also in the final stage, I want to create or
sketch the column. Here we can sketch a rectangle. For instance, like this, I hold down all 90
degrees rotation, and then I position
it at this height. Again, I pick the vertical
line by this way, layer two, vertical line, then I make some copies to consider them as
auxiliary lines, as you can see, and then by
using blend curve command, I started and then
blending curves. I need sharper curve, so I choose curvature
and then okay. Then the other lines, curvature continuity,
check this out. I continue blending the curve. I select the blended curves. Then in the blue layer, I'm going to associate
them to the third layer, and then I can turn
off the purple layer. So by this way, we
can design or model the main frame of the model. But in the future sessions, we will learn how to extrude
these lines or convert them to surfaces and
masses and other details. But at these session, we're going to just focus on lines for designing the forms. Since if you want to have
great masses or forms, you should at first be skilled at is sketching lines and curve. Asana.
25. Using Array and ArrayCrv: Hi, guys. Welcome to
the third season. I hope you have done the last season on works
carefully and successfully. Here we're going to
begin our session with array array tool, actually. So let's check it
out. Here we can get access to the icon
of array command. We can open the Duckb
window and then fix it here since now we're
going to work with them. So I fix it in the scene. But the first command
about, I mean, in array tools is
rectangular array. As you can see, as usual, I'm going to give you some examples by
using these commands. You'll find a sketch
a cube or a box, one in one, check this
out. By this way. Well done, I select it, and then I click on
rectangular array, or I can type array rectangular. And then among these
I choose array. Your array is the
rectangular array. There is no difference. Then I should specify the
number in x direction. I mean along the x
direction, as you can see. For example, ten, then the
number in Y direction, for example, a ten the
number in Z direction. For instance, five,
let's check it out. Then I press down inter, then I should
specify the spacing. Unit cellar spacing, 34 x4y, and then for spacing, 2.5 for Z. Check this out. This is
the array by this way. Here is the first
preview that right now we can modify the
specified parameters. For example, Dzeta spacing. I click on Zetta spacing and then I modify the
value, for example, 3.5 or for example, the Z number or Y spacing, you can use these coordinates. For example, Y spacing,
I click on it, then I specify a new value 4.5, for instance, or even Y number, for example, five,
check this out. Like this, this is the
preview inter. By this order. Let me give you another example. Again, I start the
command of array, then numbering its
directions that direction, y direction, then the spacing. This time I don't want to import the spacing manual I want to use the mouse or the cursor of
the mouse. Check this out. This is used for when we do
not have an accurate value. So we can adjust the spacing and also the number by the marker of the mouse
in the scene like this. And we do not necessarily use array in three
directions, for example. Assume that here,
as you can see, we are working in
a two deve top. We've got a rectangle like this. Let me turn off. Then I have a sketched a polygon here, for
example, that you can see. By this way, then I want
to array these polygon. Let me scale the
size by this way. And here you may have
guessed what I want to specify for the number
in Z direction, which is one, not zero. I mean, in each direction, here I can specify an
approximate value like, you know, you don't have
to know an exact value. Then invite direction 12 and
then in Z direction one. I mean, zero is not
accepted here by this way. This time, I want to adjust them by using
the Markfter mouse. Check this out like
this at this size. But you should know
that you don't have to know the exact spacing or the numbers at the first site because you can place
them and then edit them. I will tell you how.
Here as you can see, we should remove one of the rows or we can
edit the spacing. In order to arrange these polygons
into the rectangle or inside the rectangle, here the Y spacing is negative, since it is opposite
d direction example, for Y spacing, I specify
not I mean -1.7. Let me modify it again. It is not accurate.
Again, -1.68. Take this out. I want to add a row for the number in Y
direction, I specify 13. Let's check it out. Right now
it is more proper, great. And at the other side, we can modify the
spacing or the numbers, for example, I mean,
1.7, 1.62, 1.63. You see, or 64, you know, the preview
is very great. You can check it out
and then modify it. And then if it was the final changes, you
can press down Enter. So this was all about the
rectangular array or array. But what about the others? The next is array long curve. As you can see on the screen, by using this array, we array a specific
object along the curve. I mean, we should specify
a path as the guideline, and then it arrays the object on the given path.
Let's check it out. For instance, here, I got
this line or this curve. I turn up f eight or Ortho. Following that, I want
to sketch a cue or a box in order to
array like this. Check this out. I
want to array this along this curve
or along the path. I type array, array
CRV or curve. Here is the icon
array, along curve. I select the object, which you want it to be arrayed. I press down Enter. Then I
should specify the path curve. I click on the curve.
Then here I can specify the number of the items and
the distance between items. I mean, here you got two methods of distribution,
distance or number. If you check number of items, then you can specify the value. For example, 30, then click
on Okay, buy it this way. But sometimes you may
want to, for example, array some trees on a
path or a side of a path, or you may want to array
some lights or whatever. Distance between these objects
or items doesn't matter. So you can check distance
between items and then specify distance manually. And if you specify
the value of number, it gives you
distance, then if you specify a distance, it
gives you the number. For example, 3 meters, then we'll have 26 3 meters
we will have 26 boxes, 420 or meters, and
then 20 objects. For example, 22,
then the distance will be 3.64 by this way. Example, I specify 33.5 as
the distance between items, then this would be the result. So this is the service or option that we
are provided with. Let us talk about other options. I select the object and also the path and then in
array long curve options. We talked about methods, right now, the orientation. As you can see, we got
the orientation options. The first rotation,
then the objects won't rotate while they
are arrayed on the path. And then the two, I mean, the options of two and three
are free form and rod like. They act similar to each
other in play our paths, but let us compares
with each other. I make a copy by this way, and then I start
the command of RA, CRV, I check near rotation with the same
method of distribution, okay, two any two. As you can see, the objects
haven't been rotated. I mean, the angle of their
placement are fixed. Check them out as you
can see they are fixed. They haven't been
rotated along the path. What about free
form and root like? If we check it, the objects will be rotated along the path, based on the angle of the path. Free form and root
like acts like each other in the planear paths. For example, freeform.
Let's check it out. As you can see the
objects have been rotated along the path as
the path is rotated or based on the
orientation of the path or let us consider the angle between the object
and the path you can see this angle is
constrained along the path, as you can see, along with
the rotation of the path, the objects have
been rotated too, can strain the angle. By this time, I want
to modify the path. I move it to have a
tree D like this. Right now the path
is no more planar, then I make tree copies or duplicates then I'm going to analyze or consider
the differences. I start the command of ACRV. Let's talk about the first one. I specify the object and
the curve or the path. You're in no rotation
that as I told you, the object won't rotate it. Rotate. As you can see, they are kept
vertical on the path. For example, while you're placing some trees
or poles on a road, this option would be very useful since you can place them
vertically and straightly. So in rotation I mean
I mean, orientation. You got the objects
vertically and straightly without rotation
what about the next one, which is free form. Okay, here as you can see,
they are not straight. They are not vertical. They are rotated based on
the orientation of the path. We have them in
different angles, both top and perspective view, as you can see, and they are rotated to preserve the angle. And the last one, let me start
the command of array CRV, which was wrote like. Let's see when we
array our object, for example, the book, enter, and then I
specify the path. I choose rod like and okay When we choose rod
like in array, as you can see, we are
needed to click in the viewport to choose a
C plane or current plane. For example, as I'm
in perspective view, I should click in the viewport to specify the current plane. Then after I click, it considers the view in which you have clicked in or clicked
as the current plane. And then it rotates
the objects only at the specified plane.
Check this out. Here in top view,
compare these two. As you can see in rot like objects follow the
curve but maintain a consistent
updirection relative to the construction plane because we have clicked in
perspective view. And I know it is difficult
to explain I mean, the differences
between these three, but I wanted to show you
practically in three examples. But I should say that
we use no rotation. When we need our objects to be placed vertically straightly
without any rotation. And we usually use three or four and rot like
is not frequently. Another point that you
should put it into consideration while
arraying is that when the object is distant
distance to the path or curve. So we're going to consider
this curve as our path. For instance, here, I'm going to place my object or the box, which I want to array. If I start the command of array K curve then specify the
path and alter the object, then specifying the
method and also freeform, I click on check this out. As you can see, the array is started from the
place of the object, and the array it is not regular. So at such a condition, we should move either
the object or the path, since the object should
be placed on the path. Or you should use the point
that I want to tell you. I mean, when you are arraying here there is an option
named base point. When your object is this
down to the curve or path, and you don't want
to move your object. You should specify or you
can't specify the base point. If I click on base point, then I should specify the base point for
objects to array. So that point of the object
will be placed on the path. For example, as you can see, you got the object and the path. I specify this end intersection
as the base point, and then I specify the
path. Check this out. Look. The specified point
will be placed on the path. Let us try again, base point. For example, the Mute point. Then I click on the Path curve. Okay. Check this out. The Mute point is placed on
the Path curve like this. Let me exemplify
another practical case. For instance, assume
that you are working on a facade of the
building or the view. Check this out. Wait
for a second, please. I'm preparing the example. Thanks for your patience. Let me extend these by this way. Then we're going to
have some modeling or design the beneath of these. And the object that I want
to array, wait for a sec. For instance, this
is the object. By this way. I will talk about the modification of the object or the addition of it later. But till now, we're just going to focus on arraying the
objects on a specified path. By this way. Don't worry. I will teach you
everything very well. I hide this object, and then I sketch a rectangle
to consider it as the path, and then I'll control
edge to show the object. As you can see the
object is on the ground while I want to array
at the top of the box, and it is difficult to
place the object there at the top of the building
or at the top of the box. I start the command of
array CRV or curve. I select the object, enter the actually
specified a path. Actually base point
intersection. Then here I click to
specify the curve, then the method, the value
or the number 60, free form. Okay. Check this out. So while your object is
distant to the path, you can use base point option. And this is the
rendered preview. Sometimes we use array CRV or curve instead
of array linear. Let me give you an example. Then I want you to think about it and then
tell me the reason. For example, here
we got the object. Then I'm going to sketch
a straight line on which I want to array
this object array linear, for example, 24 as the number, and then I want to specify
the distance or spacing. Check this out. You
know it is hard to control the
spacing between them. But here if I sketch a line a straight line
like this by this way. As you're concerned,
we can array an object straightly
in linear array. I use it I mean, I do it by using array care. I specify the object, the path, and then the method,
the distance, the number, the orientation. I can easily control everything, especially when the number
of items does matter. The distance does matter. Since in linear array, we can't specify the number. Only can specify the distance. For example, here, I mean, we can only specify each
2 meters or three meter. But here we can array the
object based on the number. So here in array curve, we got more opportunity
or let me say that more facilities in array, array linear does
not provide us with. So, guys, don't forget
to practice these items, these lessons, and then
for your homework, please try to do this vol array in which here we got a vol, a wavy vol, but at first should practice on the lesson
and then the homework. The next session,
I will talk about
26. Drawing Curved Architectural Walls: So let us work on the last session
practices or homeworks. Here on the top view at first, I sketch the plan of
the all by this way, and then I sketch
one of the bricks, a piece of a brick or brick. Let me specify the length, one in not 0.25. I know this is not
the actual length or the actual size of the brick, but I just decided to consider a bigger scale because
if I minimize the size, it would be hard processes. And for the height,
not 0.25 consider this as a piece of a
brick that we want to array on the line
or on the path. Here at first, I place the
first piece accurately, then I rotate it, the first and the second
reference points, and then I position
it by this way. So this is the first piece, the first piece of a brick. If you want it, you can
modify the position. Then I start the
RAC RV or curve. I specify the object, and then the path by this way, then the method,
distance between items, let me specify a distance. As the length was 1 meter, I can specify 1.02 as the distance between each of the pieces of the
brick like this. 1 meter and 2 centimeters. Then we're going to
go for the next row. If I want to array or arrange
the next row of the brick, here I select the same brick. Then I start the
command of array CRV. But do you know what
should I do this time? Yes, I should use base point. I want to specify
the base point. And then I click at the
midpoint at the bottom, as the base point. And then I click on the
path or the path curve. Okay, distance. At the same distance,
sick this out. But what about
distance between them? You may say we can control or fix the distance
between them. Here we can use select less
created objects by this way. And then move them at the length of 2
centimeters by this way, I import the value as the
distance between them. Then I select all of the
pieces, array linear, by this way, then I should
specify the number, for example, two or what. And then what about the
distance between these two? Do you remember not
0.25 and 0.25, not 0.5. And also the distances between
the bricks, which was two. So here we can specify 0.54. Okay. Let's check it out. This is the aV Vol that we have created
it by using array, and we can have it smoother by increasing the
number of the items. But I just wanted to show
you the process. Be lucky.
27. Applying ArrayPolar for Circular Layouts: And another type of
array is polar array. Check this out, as you
can see, here it is. Let me give you an example. Here, assume that we have
a circle right like this, and then I extrude this
circle, check this out. After that, then here I'm going to sketch a
rectangle like this. Let me check it into
perspective view, and then I'm going to extrude it by this way. Here is the result. Then I'm going to array this rectangular box
around this column. Or cylinder, so I select
the box at first. I click and pull R array. I start the command. He even you can type polar
array or array polar. At first, we should specify
center of polar array. So I can enable the
center grid snap and I specify the center of the cylinder or the
center of the circle. Since we have sketched
it in the origin point, we can enter zero and then the number of
the items. Let me see. For instance, 12, I
press down Inter. Let's check it out.
Watch the s, please. Heel the angle to feel or
first reference point. That here we should specify
the angle of the array, that the default value is 360. Inter, check this out. This is the preview.
For instance, we may want to modify it. For example, when I
specify 180 degrees, I click on feel angle, and then I can modify the value 180 like this or if you
wanted to modify the number, you can click on items and then specify the new
value of numbers, for instance, six, and then
press Down Enter, like this. Check this out. So by this way, you can array on a specific object around
something by using polar array. In the continuation,
I'm going to talk about the other options
and have a review. So I selected the object, and then I clicked
on polar array, and I specify center
of the Purl array, zero as the origin point or as the center of the pl array, then I specify the
number of the item. 12 and angle to field or
first reference point, 270. Here we can modify the number of the items by clicking on
item, 16, for example, or we can modify the angle
by clicking on field angle, 360 degrees or 180, and so on. By this way. But here we got another option
which is rotate, and it is set to yes. If I set rotate to no, we got the array without the
rotation of the objects, and this is the difference. Check this out, as you can see. It is not that much applicable. But another useful
option here is Z offset, which is set to zero. But what does it do? Here we can specify offset for
these objects. Let me give you an example. For example, for the
axis offset distance, I specify one, check this out. Then here there is
a one unit offset between each of these
objects as they are array. Let me increase the
number 24, take this out. It is rotated around
the cylinder, 9.7 as the Z offsets
and the fill angle, 360 or, for instance, 470, check this out like the stairs, 720, you know you can see
it is cool and testing. I increase the value of
36 numbers by this way. I minimize the Z offset not 0.5, and then I press down
inter by this way. So as you can see, we can consistently modify
the values and the parameters in
order to reach to our desired designing like this. So this was all
about polar array. Let us talk about
the other types. The other type here is I start the command
of Aer polar or region 0.0 in the
number of the item. For instance, ten. The
other option is step angle. I step array angle. We do not specify
the entire angle. I mean, this is not
the angle to feel. This is the step angle. Your step angle is
the angle between the two items, two
sequential items. So we specify the angle between each two objects instead of
specifying the entire angle. For instance, ten degrees
we will have ten items. As you can see the angle between each two items are ten degrees, 20 degrees or 15 degrees. Check this out. Right now, there is 15 degrees angle
between each two objects. By this way or 30 degrees, for example, check this out. Here there is a point
that you should know. While you're specifying
the skip step angle, if you modify the
number of the item, it won't addit new items. For example, if I specify
11, as you can see, the one item, it is added, and the 270 degrees
angle is preserved. I mean, the first and the
last items are fixed, but this step angle is changing. I mean, this step
angle is reduced to compensate the
number of the item. Example, I specify 164 items, and we will see that
this step angle will be reduced. Check this out. The 270 angle is fixed, but this step angle is changing. Refincle you're
going to step angle. As you can see the angle is 18, while before was 30
that you can modify it. For example, 20. Let us try
again. I won't tell you. Here we got the object or a box. I start the command
of polar array, zero as the center
of the polar array, then the number of the item, for example, 12, then
the angle to field. This time, I want to specify step angle instead
of angle to field. I mean, I don't want to
specify the entire angle. I want to specify the angle
between each two objects. For example, two degrees. Check this out by this way. We got 20, for example, as the item, I mean,
12 and 20 degrees. I talked about rotate
and also that offset, which are not new things. But here, if I modify
the value of items, for instance, two,
check this out, the added items won't be added
at the end of the objects, but it reduces the step angle to place or position the
objects or to array them. I mean, the angle
to feel is fixed. If you want to specify the step angle to
any degree, again, we should click on a step
angle and then at it to two. Check this out. Here
is the results. Then you can adjust the
angle between the items. So according to these lessons, I got a practice for
you, which is the stair. Let me show you the photo. Here we got a rotative stair. The rotation of the
radius is 270 degrees. We got two stairs,
140 as divide, 5 centimeters as the thickness, and 360 centimeters as the height. So,
guys, check it out.
28. Using Crv2View for Perspective Accuracy: Hi, guys, I'm sure that you have done this practice successfully. But I'm going to
dedicate this part to doing this practice. The radius is 270
degrees actually, 140 centimeters offset,
as you can see, as divide of sir. So at first, we're going
to sketch the circle that the radius is 60 centimeter
and also the rotation, then the offset at the
length of 140 centimeters. So here I pick the arc center. I specify the center of
the arc, the origin point, and then 60 centimeters
for the radius. And the end angle, which is 270 degrees
a positive value, give us the
anticlockwise rotation. Then the offset, I set cap to
no and I'll set lose to no. And then the offset distance, 1.4. Check this sound. Here's the result. Well
done. Let me check it again. Here the next stage
is the division of the stairs in which
we got two stairs. I'm going to introduce
you two approaches. Then you can use each of you
like. The first approach. Here I can close this
part by sketching a line. I pick polar array, the center of the polar
array, origin point, the number of the items to any set offset should specify zero and about
the field angle, which is 270 here if we do not need to specify step
angle. Check this out. Here is the field angle, but we got two stairs and
by using trim by this way, I trim this, but I keep
one of the stairs. By this way. But we do not
need the rest of them, so I delete them. By this way. I delete them, and then I keep one of the slices
or one of these stairs. What about the second approach
that we can use divide. I delete it and then
divide curve by length. I mean by number. I'm sorry. I select these two curves. I press down ter, I specify Tony as the
number of the segments. By this approach, we
can create one of these stairs like
this, shake this out. Then I trim the other parts, just like the previous approach, then we will have
one of these stairs. So either divide or array, polar array, we can create
a piece of a stair. Then we're going to extrude
the stair or the rectangle. As you can see, that the next step is to
extrude the geometry. Let us check out
the other features of the stair, the
rotation angle. Well, the number of the stairs, the radius of the circle, the wide of the stair, and then the thickness
of the stair, which is 5 centimeters. I mean, we should
extrude the geometry at the size of 5 centimeters
or 5 centimeters as depth. And the height of the level
here is 360 a centimeter. So then the height of each of
these stair, we got 2,360. It would be 18 centimeters. I mean, we should specify 18 centimeters as
the Z Z offset. I meanwhile we are
using the polar array, we should have specified the
z offset as 18 centimeters. At first, we extrude it, I select it, and then extrusion. Let me tell you a
point about extrusion. While extruding an object, direction of the marker
of the mouse does matter. What does it mean? Man, if you move the marker of
the mouse downward, then if you specify
a positive value, it will be extruded to or down. Look, I mean, the direct I mean, by mouse, you should you can specify the direction
of the extrusion. I extrude it. I move
it the mouse upwards, 0.05, take this out. This is the current
direction of the extrusion. So by the mouse or the
marker of the mouse, we specify the direction
of the extrusion, but I extrude it
downwards preferably. By this way, then
at the top view. I select the object,
pull our array, zero as the center of the array, and the number of the items two. Then offset which is 18
or not 0.18 centimeter. Then I press down
and take this out. By this way, let me try again. We select the stair, and then I start pull our array. Then I specify the center, zero the Origon point, offset, 18 centimeter
or not 0.18, and then a person entered.
Let me check it out. There is a small offset between them and a small distance gap because when we array these
objects or the stair, because the selected object is not considered in the array. I mean, right now, we got 20. Here we can specify item 21
to disregard the main object, and then we can remove
one of them by this way. Then we will have
the rotative stairs, and then we can create the clander which
is at the center. Let me create it. I extrude the circle, then we will have the
clander like this. Watch this. So if you haven't
done, please give it a try. And the next command that I want to talk
about is curve to view. Curve to view is used
for sketching a curve which is complex to be drawn or sketched
in the treaty view. Then we can sketch the
plan of the curve, and then by using curve to view, we will be given the treaty
version. Let's check it out. For instance, let me
show you a project of adioterium that we will create
it or sketch it in Rhino, by this way, the case
study here we got arc in the prospective view
or treaty Watch this. As you can see, we got a arc. Here at first, we
can sketch the plan. Here is the plan.
Check this out. And also the elevation
by this way, in the prospective
view after that, we can have the TD curve. I mean, we can sketch an arc in the two D view or
in the plan view. I mean, by using curve
to view command, we can create a curve from selected curves that are
plain or in different views. Let me give you an example. Let me show you this breach. Watch this. Here we got an
arc in the perspective view. Can easily sketch the
plan view here at E and also the perspective
view. Watch this. Here we got the elevation
and also the plan view. That we're going to sketch
this bridge into view into different view and then create the curve from
the selected curves. And then we can have the curve in the treaty view or
perspective view, actually. Let us work on some
examples in order to reach to a deep understanding
about curve to view command. For instance, assume that
here in the top view, I'm going to sketch an
ellipse from the center, take this out like this. And after that, I switch
to the front view to model the front of this curve or model as this
curve, for example. Let's check it out
in perspective view. Here we got a curve in two
views in top and front. But before applying the command of curve to view on this sketch, let me show you a photo on org. Then let's wait for a second. Let's check it out. Watch this. This sketch is similar to this. The plan. Watch this in
different views, front and top. And then this is the result. Such a curve. Let us
work on it in Rhino. I type CRV to view. Then I should select the first curve and
then the second curve. Then the third curve is created from the two curves that are plain are in different
construction. New curve looks the same as each D of the original curve
when viewed in each plane. Here I start the
command of love, check this out for
creating a surface, and then patch. Watch this. Here is the result in
the rendered view. A very simple process. You just need to learn or have the skills of sketching
lines or curves. But the process of using
curve to view is very simple. That you will take
your skills to the next level to
the next session. Let's talk about the
options, the points, D. The first point here is that both of the curves that you sketch and then specify
them in the curve to view should be planar curves. For example, such a curve
which is not planar, which is Tre D is not accepted. I start curve to view command. I should specify the curve. As you can see,
it is unaccepted. Then it asks us to specify curve extrusion direction that we will have struggles and difficulties. I note that the two selected
curves should be planar, D in different views. Then we can have the third curve in different
construction planes. The another point here
is that if I minimize the size of one of
the curves in a view, for example, like this,
what should happen? Check this out in the
perspective view. If I start the command
of cave to view, then I specify the
curves first and second, then this would be the results. I mean, the parts which haven't been covered
will be deleted, and they are no more considered. By this way. And normally if you sketch a closed curve in the top view, wait for a second, please. And also a closed
curve in front, it doesn't make sense. You know, I specify them.
Let's check it out. This is the result
or the giving curve. So as a result in specifying or selecting the first
and the second curve, only one of them should
be opened curve. Let us talk about on
some more examples, but I want you to
foresee the result. For instance, here,
I pick the arc, and then I sketch it
like this. Mm hmm. And then in the right. But before that, let me
teach you a trick here. As you can see the Y
direction or coordinate. Whenever the Y direction
was in front of you, it shows the front view. This is a trick when you want
to distinguish the views. If you want to differentiate
between these two views, for example, to
distinguish the front, y direction should
be in front of you. So right now, this view
shows the front view, which is in front of your face. As I change the
view, y direction is toward right, left, actually. As you can see, it is
toward the left side, it is no more in
front of my face, which shows the right view, but this is the front view as you so I open the
front view like this, and then I pick the arc. I sketch it like this,
the perspective view. Right now, I want you
to foresee the result if I start the command of
care to view. I select them. Let's check it out, then assess yourself or your
expectations. Check this out. We got another arc at the
center or at the middle, which is the same project
that I showed you, let me open it again. Here it is in adioterium. Let me at first show you
the plan view check it out, and this is the front view, and this is the
perspective view. So we can schedules a curve in perspective view like this. Another example, I keep
the front view, the arc. I mean, the top, actually,
and for the front view, I want to sketch straight line. It doesn't matter if it exceeds, but it should not be shorter
than the another one. Check it out here of the view, then I select the
first and the second. Here is the top view of
the arc or the curve, and this is the front view. I select the curves by this way, and this would be the result. Here, some of you may
say that we could have rotated the arc without
using curve to view. But this is not the
rotated version. Let us check it out. You agree? Look, this is not the rotated version
because it is extended. I mean, it is no more an arc. And practically, we can call
it a curve by this way. Or, for instance, assume that
let me sketch a circle for our next example right here at the origin point and
then the next circle, I'm going to create another
arc with I mean care to view. Check this out by this way. This is the result.
Following that, I can connect these two circles
to each other by a loft. You see, like a Cleander. You know, it has a high
potential in modelling. And in the future sessions, you will see how much is useful. So, guys, don't forget to
practice today's lesson. I will see you in
the next session.
29. Creating Planes with Srfpt, PlanarSrf, and Plane: In this part, we're
going to talk about the commands of
creating surfaces. Let me open the
list. Check it out. Surface creation. Then I fix the
Doceb window here. Following that, I'm
going to talk about surface creation tab. Very well. Let us start with
rectangular plane or commer to commer which
is the simplest one. I maximize the perspective view and then I pick the surface, then I sketch the surface or create it like this very
simply buy this way. However, it has different types, as you can see in the list. Some other types
you got access to. I open the plane
surface to show you the types sketch it by the
corners camera to camera or, for example, by three
points by this way. As you can see, just
sketching rectangle, you can create surface. For example, a vertical
rectangle. Take this out. Just like a rectangle, but it creates a surface. Here, we got add
a picture plane. It is a picture
Command, actually. I mean, we can have
the picture in the format of a surface
or within the surface. So if you understood that, the command of picture enables
us to create a surface. But let's talk
about the options. For example, here if I start the command,
you got some options, three points vertical center around curve and
deformable. Check this out. Example, one of
them is deformable. If I click on deformable, and then I sketch the surface, the plane surface, which
it is divided into parts, and if I press down F ten, we can select each of
these parts separately, shake this out, and then
deform the surface. Watch this. Let us try again. When we create a surface, we can use deform a bell option which enables us to
deform the surface. However, we can set the
values for point count. For example, for Upointunt five and for Vepoint count five, two, and also the degrees,
for instance, one. Then for the U degrees, we can specify two, for example, at least. Then I sketch the surface or create the surface.
This is the result. If I select it and
then press down F ten, you got the control points that we can select
them and then move them to deform the surface
by this way. Check this out. Here we're going to get into
know with an expression. Here we've got some lines at
the middle of the surface. The transparent lines
are called isocurves. I mean, these lines which has or have divided the
surface into parts, we call them Io they are not necessarily on the
rectangular surface. Let me sketch a
circular surface. For example, if I sketch
such a model like this and then I create it
by a loft by this way, I start the command of loft. Look. Here as you can see, you got isocurves too. The transparent lines
are called isocurves. So isocurves are the lines
or the transparent lines that have divided our
surface into parts. Remember this expression, since we will have a
lot to do with it. Let us go for the next command. We talked about this. Right now, let's talk about surface
from three or four corner. Points. In fact, we can use this command
for creating surfaces by using three or four points or clicks. Let us give the try. For example, by four points, one, two, three, and four. Look, by this way,
let me remove it. If you specify the
three points and for specifying the four
point inside the arcs, check this out, and this would be the result of the surface. I mean it drains the
surface or for instance, here you may want to specify the four points or the four
corners like this one. Then here I hold down Control to move it
upward vertically. Again, I hold down control
to downward, and then four. Watch this. Here, we
got a tree surface. It is no more planar by click or specifying the
four corners by this way. But if you want to create your surface by three
clicks or three corners, then you can press down
into to finish this sketch. But another approach here is specifying these
points like this, but you don't need
to press down Enter. You can again click on the
first corner or point, then you can finish this sketch. What are the differences
between these two? Apparently, as you can see, their eyes or curves are
different to each other. As you can see, as we
talked about them before, the transparent lines in these two surfaces
are different, but this is not that
much important. But they remain important. I mean, the main
different here is, I mean, between
these two surfaces. Here if I press down F
ten, here as you can see, one of the control
points is placed outside the curve or
outside the surface, while the other were not. In fact, the second surface is more logical,
is more practical. Wit LD other one if I
choose the control points and then if I wanted to
modify the control points. Look, we will have
some challenges. As you can see, the
surface is curved while we can move another one
easily. Look at this. This your friend says. So in conclusion, when you are creating a surface
by three or four point, actually, three
point, you'd better to place the fourth point
at the first point. Let me give you another example. You know, these are
very important details, you know, some tips that
you should know them. Don't forget to take notes. They are useful to be known. First, click, second. And then the third one. Then here I can press
down Inter instead of specifying the last corner at the first corner like this. I press down F ten to
show the control points. Then we can easily move them
to modify the height of the control points
without any problems or struggles or
challenges by this way. Let me give you another example to explain its
application better. For example, check this out. You're at the
elevation or facade. You see here we got triangular surface set that we can use this technique
for sketching these. I will sketch one
of these part of it to teach you the
tips and tracks. However, there are some
much better techniques. But right now we are focusing
on these items or commands. And then I pick surface
by four or three points, and then I start
specifying the corners. I hold down shift to
restrict the line. And then I sketch a triangle. I put the four point
at the first point. Then again, by the swear the fourth corner and
the first corner, and then one more triangle
like this, check this out. And then by this order, I keep on creating surfaces by specifying the
three corners like this. But note that we position
the fourth point or the fourth corner
on the first corner like this and so on. I keep on creating
them. Check this out. And then the last one very well. And here is the result. Then I select the surfaces. I press down at ten. Then we can modify
the control points. But try not to select the
control points individually. Since you should select all of the control points together, then we can move them together, look, or the another
one, check this out. I move it backwards,
or, for example, we frame, I choose
this control point, and then I move it forward. By this way, I can complete designing the surfaces
like this way. Let me check the
rendered preview, and here is the result. Well, then, let's go
through the next command, which is surface from planar
curves or planar surface. I start the command. We call it planar surface, but the complete name is
surface from planar curves. Do you remember
the planar curves? As you remember, they
were two D curves. For instance, let me
give you an example. We got a curve like this, which is a two D or planear
curve converted to a surface. I start decommand of plane. Then I search for planarRf or surface or you can click on
the icon to start decommand. Then you can have
a planear surface. By this way. Right now, if you select the control points of the curve and then move them, it is no more a planar surface. This is a treaty surface. This is a triv curve. Look, this is not
planar. It's out. No faces were made. Curves must be closed on planar. And here, the selected
curve is not planar. These are the two conditions
of the planear surface. Must be closed on planar. Next example, I'm going to get some geometries which are
inside of each other. For example, multiple
circles. Check this out. Look. Then I started command of surface
from planar curve. Every other curve is
converted to a surface. Space between first, the second curve is
filled with a surface, and the next one is empty, and the last one is surface. But here I want to talk about
another concept for you, which are the trimed surfaces
and also untrimed surfaces. What do they mean? Actually,
surfaces are either untrimmed surfaces or they are trimmed surfaces that they got some difficulties
or problems. For instance, the same
curve that we created together like this by
using planar surface, take this out, or, for example, the previous one like
this, the circles. Here, as you can see, we got a trimmed surface.
What does it mean? Here, if I select the surface
and then press down a ten, you will see that the
control points are outside the geometry
or the curve. So how do we can distinguish
a trimmed surface? Whereas the control points are positioned outside the
curve or the surface. Secondly, if you click
on the command of trim, you can start untrim
by right click. If you start untrim and then click on the edges
of the surface, it will convert it to a
rectangle. It is untrimmed. So we got two approaches for distinguishing a surface whether it is trimmed or untrimmed. Firstly, by pressing
down F ten button, and secondly, by starting
the command of untrimmed. If I click at the edge, you will see it will convert it to a rectangle. Like this. We got the rectangular surface right now, which is untrimmed. But here some of the commands
create untrimmed surfaces, but some of them create
trimmed surfaces. And this is totally
automatically as we gave you some examples. As I showed you,
the planar surface is one of those commands that creates trimmed surfaces because their main
shapes are rectangular. Let me give you an example.
Look at these two. Here if I untrim them. Look, we got a rectangle. I untrimmed inside of it. Look, you are available
or able to untrim them. I mean, their original
identity are displayed in rectangular geometries
that we are watching the trimmed
version of them. At given examples where
the trimmed surfaces. But let me tell you something
else in parentheses. For example, if you
assume that if we had a surface like this
and then for example, you may want to
split the surface. Look at this at first the main object,
the cutting objects, then at first the objects
to split and then then the cutting then
this would be the result. Check this out, and then
I will delete this. After a while I feel
regret and I want to fill this opening so we can fill this part by using
untrimmed tool or command. I right click to pick untrimmed, and I click on the
edge, then I fill it. Check it out. This
is the result. So in conclusion, some of
the modeling commands in Rhino create the
untrimmed surfaces, and some other commands the modeling commands give
us the trimmed surfaces. Planar surface is one of those commands that give
us trimed surfaces, but we haven't talked
about other commands. For instance, loft
that we will talk about it later creates
untrimmed surfaces, as you can see. You doubt. Let us ensure F ten
here as you can see the control points aren't outside the curve. Check it out. They are placed on the edges, while a trimmed
surface like this, let me complete the curve, and then I'm going
to have the surface by using planar surface command. So let's compare them
with each other, as you can see the
control points outside the curve or
surface. Compare this to. This is the first difference. What about next? I pick
untrimmed tool by right click. Then I click on the jet, then it gives us a rectangle. But if I click on the
another one, check this out, it does not work out since
it is already untrimmed. And also when we
select a trim surface, we can see the type
in the properties. This is a trim surface. Check this out trim surface, and I select other one in
which we got a surface. So we can realize or
recognize a surface or the type of a surface by
the type in property, whether it is trimmed
or untrimmed. So these were the
differences between trimmed and untrimmed surfaces. But here you may come up
with a question that. What is the importance of distinguishing the
differences between trimmed and untrimmed surfaces? How it is important? What
is the significant firstly, we should know them well
we want to modify them. We will have some challenges in moving or editing
the control points. Or let us try another one. I show the control points, and then I select them, check this out very easily, we can move them. By this way. So the untrimmed surface like this can easily be
modified or edited. Secondly in some of
the commands that I will talk about them later
in the future sessions, they do not support
the trim surfaces. For instance, like the command of twin that does not
support the untrimmed. I mean, the trim
surfaces, check this out. It creates some curves
between these surfaces. But if I select the
trimmed surface and then I start the
command of twin. Look, this will be the result. In fact, it considers the original identity
of these surfaces, since they are trimmed. So at such a condition, we will have some
difficulties and challenges. And the third reason
here is that, you know, in some of the plug ins
like grasshopper or TSPine, the original identity or the untrimmed version of these
surfaces are considered. So because of these, we try as much as possible, men to create the
untrimmed Surfaces. For instance, when you
can sketch or create a surface with either
planear surface or loft or other command, we put the plane R surface
at the last priority, since it creates the
trimmed surfaces, which is not practical for
the reasons that I told you. But while you got a
trimmed a surface, for instance, the and
as I told you before. If I press down F ten, here we got decontrol points
which are outside the curve. But here we can fix it. We can modify the surface. Let me increase the point count, decontrol point count,
and rebuild it. I will talk about all
of these options. Here, when we select
a trimmed surface, and then I show decontrol
points as I told you before, decontrol points are outside
the curb the surface. While in the untrimmed surfaces, decontrol points are exactly undisurfac, not outside of it. But here I want to introduce an auxiliary command in order to fix the
trimmed surfaces. Let me give you an
example here. Watch this. I'm sketching this, and then
by using planar surface, I want to create a trim surface. Then I increase the count
of the Ia curves and also the control points to
move forward the lesson. Talk about rebuild command. I show the control
points or F ten, as you can see, the control
points are outside the curve. While if it was a
trimmed surface, I mean, untrimmed surface. As I told you,
before we could have the control points exactly on the surface,
not outside of it. Here we got a command that
can fix the trimmed surface. So I type in the
command line shrine. Shrink trimmed surface to edge. I show the second one
Shri trim SRF to edge. I select the trimmed surface to shring and then press
down into the roquet. Then I show the control points, as you can see the edges are shrinked or have been shrinked. I undo. Let me show you
the last condition of it. Watch this. This
is before shrink. Let me create a copy to show you the differences before
and after shrink. The command of shrink
trims surface to edge. By this way, I
start the command, then I apply command on
one of the surfaces. Then let us compare the
control points as you can see they have been shrinked exactly at the
corners or at the edges. We can fix the surface
just a little by this way. So guys try to practice
the given lessons today, do the same practice that I did, put the trimmed and untrimmed surfaces into consideration, so you can go through
next session.
30. Planes via EdgeSrf Command: So, guys, let's go
for the next command, which is surface from two or three or four edge curves that we call it edge surface. Check this out HSRF. So it is known by edge
surface. But what does it do? It creates a surface from two, three, or four open curves. As you can see that
we can specify, we should specify or select two or three or
four open curves. In other words,
using two, three, or four sides of a
geometry or a curve, we can have a surface. And this command gives
us untrimmed surfaces. So it is considered one of the most proper commands that
creates untrimmed surfaces. Let us talk about it more
and check the details. For instance, here,
assume that here we got to lines or two curves
like these by this way. And then I move one
of them upwards. I make it TD to form it. It is no planar. I mean, it is not
planar no more. Then I start the
command of g surface. If you wanted to type
it in the command line, you can type Edge surface. By this way, you can start
the command and then just sketch a window
and then click Enter. It connects these
two curves that we will have a surface,
which is untrimmed. But if you wanted to create a surface by using three curves, the point here is that
the third edge or the third curve should be the complement of the
surface or the curve. I mean, it should continue the two other sides
curve or edges. Or if you want to
sketch the fourth edge, it should complete
the other edges. So you will have a geometry with four edges or four sides. For example, here, if I create another curve there
by making a copy, as you can see, this curve is not the complement
of these two curves. Since it is individual,
it is independent. It is not creating
the same edge. I mean the same geometry. If I create a surface
by these three curves, check this out.
It is unaccepted. So the third and
the fourth curve should complete the
previous curve. For example, I rotate
this by this way. And then I create
another curve which is connected to the others and note that in the
command of a surface, the curves could be not
connected to each other. I'm not sure if you
are familiar with the Gestalt theory.
Look at this. Referring to Gestalt theory, they are portraying a triangle. But if I create the surface, shake this out, then it
gives us a regular surface. But if I connect these
curves to each other, we will have a more
accurate surface like this. Check this out. But if they weren't connected to each
other, it doesn't matter. You can have your surface. Right now, suppose that we
want to add the fourth edge, but we can't add it
right here since here, it is not the proper
position for it. Since the fourth edge should
complete the previous edges. So I should sketch it right
here, as you can see. And as I told you before, you can have the curves
unconnected. Watch this. But as we look at these curves, we perceive these
as a rectangle, which got four sides
or four edges. And then we can have the
surface, check this out. And then after
creating the surface, we can press down a ten
and then just other curves and then modify or deform
the surface by this way. Let us work on some
more examples. Here I got a question for you. If I had such a geometry
or such a curve, watch this part
carefully, please. Let me complete the image. Here can I use this geometry to create an edge surface?
What do you think? Yes or no? If yes, why, if no, why? Of course, since we got more than four edges,
so the answer is no. Look, we got more than
four edges or side. So have you got a solution to create a surface
by using a surface? Here you should have two
solutions or two approaches. The first one,
here we can sketch another line here by this way. So we will have two
geometries or curves. Then we can have two surfaces. Watch this. But this is not
supported. It isn't accepted. We should hide the
previous one at first and then create another one. Then I show the
another one or you can create the surfaces
individually or separately. And here there is no difference between these edges or curves. By this way, can select them. This is the first approach
or first solution. But the next one, I want you to tell me the second approach.
What do you think? The better approach
here is to select these lines and then join them. Then we will have one curve
and then join the two other. So we will have four edges. Check this out 14, three, four, then we can
apply edge surface. However, I do not guarantee to give you the desired surface, and we can try the other commands that
we will learn them in the future sessions like patch that I will
teach you later. But here there is a
question. Can we create a surface by using the
command of surface? I mean, by these curves or not. Are these the proper curves? Are they practical? It is I mean, is it
applicable to this? I can deform the point
to have a treaty curve. What do you think? Yes or no. Of course not. But why? As I told you before, since we got more than four edges here, as you can see, two, three, four, five, six,
we got six edges. So I need to introduce I mean, I want you to introduce
two approaches to create a surface by using
surface. The first one. Yes, hafing the curve into two parts or dividing
it into two parts. Then we will have two curves. I select them, and then
I create edge surfaces. Then the other side. This is the first approach and about the second one that I expect you to introduce
it or submit it, that I'm sure that you know it. We can join these two curves with each other in
order to have one edge. Also, the other side, I join the curves. Then we will have four
edges or four sides, four open curves,
as you can see, not six open curves. Then we can easily create it to a surface by using
a surface command. And the line at the middle is because of the lines or the curves that they
are not uniformed, or they are not
tangent to each other. I mean, if we had
a unified curve, we wouldn't have the middle line at the center or at the
middle of the curve. And note that when you are
joining these curves to each other with each other and then creating the surface
by a surface, it doesn't necessarily give
you the desired surface. So as a condition, you should try
other commands that should that can create
surfaces like patch. That I will teach you
in the future session. I mean, we apply
those commands, too, so we can check out which one is better and then
create the surface. So all in all in this example, I wanted to teach you that at some situations we can create a surface by using a surface by joining the curves with each other and then fix the edges. I want to exemplify
another case. I got a homework for
you named Forrest. That I want to create or sketch the roof
of the forest here, actually, and tell
you the point. Watch this. As you can see. Watch this part carefully
to receive the message. So here I get back to Rhino
and then in perspective view, I want to sketch the roof. Here as you can see here we got two straight
lines and two curves. I want to tell you
some points here. So I pick the polyline, then I start sketching. And, for example, like this, these two straight lines. Then for sketching the curve, I got a solution, which is using spline, the first point, and then
the second point like this. And then I press down Enter. Apparently, we have sketched straight line, as you can see. But if I wanted to
have straight line, why didn't I use polyline? What is the differences
between these two? If I select it, we got
five control points. But here, we got only three. It doesn't have the
middle control points. So if I select this straight line and then
I modify the control point, this will be the result. While if I select another one, I can deform it, take this out like a curve. So if at some conditions
or situation, we needed to create
a curved line, you can have it a straight
at first and then curve it by moving decontrol points. Let me give you another example. For instance, here we got
two straight vertical line. Then I want to have a
curved line at the middle. If I start sketching, there's no point to
specify the second point. At first, I sketch
it straightly, and then I select
the control points, and then I move them upward. So not this technique, since it is very
practical and useful. I undo the process, well done. And then then by
using the same trick, I select this curve or line, and then I select it F ten. Then I want to move this the point which
is held in common, and move it upwards by this way. Then we can create such a form. In the continuation,
let us convert it to a surface. Perspective view. And then I selected H
survey, check this out. But it is not satisfying, you know, well done. Right now, I want to
do something else with these lines and to apply a trick in order
to reach my goals. Survey, check this
out. Check this out. What is the difference
between these? Do you know? Did you get it? Did you even notice? What made the difference between these? I undo the process to show
you again why it this way. Then I move it and
place it right here. Then I want to make some changes on this line, these lines, which is unseen, and then
I create the surface. Look, here is the result. But did you understand? Here, as you can see, we got a smooth surface and regular. But what did happen?
What did I do? What is the differences
between these two curves that these two surfaces are
different with each other. Could you guess what
changes did I make? Of course, the point
was in these two lines. When I was sketching
these two curves, since I used polyline, they were joined
with each other. So here we got three open
curves, as you can see. Following that, I exploded these lines and you
did not understand. So here we got four open curves. So it is important to know
that in some situations, the curves should not be
joined with each other. Since in the previous examples, we joined the curves
to create the surface. But this time I
have exploded them. I mean, we decide based on the condition to join or
to explode the curves, since the joint effects on
the form of the surface, but when we explode them, we will have a smoother
and more regular surface. So as a result, we should put the joint into consideration. For example, here, they
should be exploded. I mean, you should
learn to manage the curves and then
decide the best action. Sometimes the line which we selected at first effects on the form or at the surface. Suppose that here we got this, then I continue
sketching by this way. Then I want to create
a treaty curve. I don't need it
planar, by this way. Well done. And then I
curve this part, the base. Well done. I make some copies, two copies, a surface. Then I start selecting
them firstly, secondly, and then the thirdly. Here's the surface. This time, a different order,
first, second, third. Look, different order again. Tree, as you can see, these three are different, except the differences
in isocurves, the forms are different, too. Let me associate
different colors to the surfaces,
for example, red. And then if I
position them on each other to overlap,
check this out. We can see the differences. Look, they are not the same. So the first curve, which we selected in creating a surface by using edge
surface does matter, and it effects on the
form of the surfaces. I just wanted you to
know it by this way. In the command of edge surface, the curveness of the
surface is not editable, and it is totally based on
the form of the curves. Let me give you an example. For instance, your
eyes sketch skewer and then an arc like this, I consider the radius. And then by using array polar, I start the command, mid center. Then for as number 360 as
the feel angle, well done. Then I create a
copy or duplicate. This time, I want to create
a semicircle by this, by this way, I
hold down control. We talked about all of
this before, polar array. Then the center of the array, then number of the items
and the field angle. Then by using these four arcs, you want to create H surfaces. Watch this. I select them. Here we got a smooth and
regular surface, but watch the. It isn't satisfying and smooth. The height is too high, but we can't modify them. Since in H surface,
we can't control. I mean, we got limitation in controlling the curveness
of the surface. It is being controlled by
the form of the curve, and it is totally based on
the form of the curves. That in the future sessions, we will work on other
commands in order to reach to the desired curveness
for the surface set. But this time, we want you to
practice the given lesson. Then we can work on
actual projects.
31. Adding Surface Thickness: Hi, guys, I hope you've
done your practices. Successfully. In this session, I'm going to give you more details about
extrusion command. And as you remember, before we talked about
extrusion, but right now, we're going to delve into
more deep details of it. Well done, as I told you, when you select a curve, a closed curve, we can extrude a curve by using the
gumbol as you can see. Very well. And if I
hold down Shift button, we can extrude the
curve at both sides. But as you are concerned, Gumbo has got some limitations
rather than extrusion, so we do not use
it all the time. So let us talk about extrusion. I start the command of
extrusion, extrude curve. Let us talk about the options. As you remember, we could
have specified distance. We can control the direction. For example, in the front view, here I can specify
the direction of the extrusion by the marker
of the mouth, slanted. Both sides or one side. As I told you, you
can set it to solid, which covers the top
and bottom surfaces. As you can see, the extrusion
is solid right now. But if I set solid to no, it does not cover it doesn't cover the top
and bottom surfaces, as I told you before. If I set delete input to no, we can get access
to the input or to the curve or it
does not delete it. Here it is the rectangle. But if I set delete
input to yes, it deletes the input
or the rectangle that we used it for creating the
extrusion, as you can see. And we talk about
the set base point. For instance, here we got an extrusion like this
or a cube or a box. By this way, and then I want to extrude another box at the
size of the previous one. After starting the extrude, I click on set base point. Then I associate it to the
height of the previous box. But the option which
is required and important and I wanted to
explain it is two boundary. By two boundary, we can extrude a curve and then connect
it to a surface. Let me give you an example. For example, here
we got a surface. By this way, as you
can see, I extrude it. Well, then I move it upwards. And then here if I extrude the rectangle,
here is the result. Then here if I click on
true boundary option, and then if I click
on the surface, the extrusion will be connected or joined to the
surface, as you can see. But here there is a condition. The surface should
covers the extrusion. For example, if I
move the surface in order I mean not to cover
the extrusion like this, as you can see, some parts is
exceed exceeded, actually. Two boundary does
not support this. Look, they are not
connected to each other. So if you couldn't join these
two, you should know that. You have to fix this. I mean, the surface should cover the extrusion,
as you can see. And it should covers
the entire part. So I just position. Again, I stran to boundary, and then I click by
this way. Well done. Then if the edges of
the surface and also the line or curve
were overlapping, let me give you an example. For instance, here I
sketch an arc by this way. Then I extrude this
like this way. As you can see, their edges
are touching each other. I mean the curve and
also the surface. Their edges are
touching each other, exactly covering
each other without any extra parts or
even shortcomings. Let me shrink it. But if they were totally
covering each other, then if I extrude it to
boundary, check this out. Apparently, it has
exceeded from the surface. But if I select the box, you see that it is
separate from the base. So we can remove it, and then
this part will be remained. Let me tell that again. When the surface and the curve, I'm talking about the edges which are totally
covering each other. Then if I extrude it, we will have two geometries, one and two, as you
can see that we can delete the
extrusion by this way. And another point that
I want to mention about extrusion is about
their control points. For instance, here we
got an arc, got an arc. I select it, and then I
extrude it to have a surface. When I select the surface, I press down F ten. There is no control
points, as you can see. But if I select it, in properties, we got
open extrusion as type. I mean, this is not
considered as a surface. This is a open extrusion,
not a surface. So despite of being a surface, if I explode it, then let's check it out. If I select it, here we got
a surface, as you can see. As you can see, the isocurves have been added to the surface, but before that, we didn't have these isocurvesUd,
check this out. As you can see, we do
not have isocurve. If I exploit it, it
converted to surface. And then if I press down Fen, here we got decontrol points. So we can deform the surface, modify it if it was
needed by this way. The corresponding command
is extrude surface, which is the equivalent
of the extrude curve, which is totally similar
to extrude curve. Watch this. Here in front view, I sketch a curve like this. And then by using the
command of extrude curve. I create such a open
curve or extrusion. If I select it, we got
to open extrusion, not a surf start
the command of EXT, extrude SRF or surface,
extrude surface. Let's check out the
options, direction, both sides solid,
put into boundary, split at the tangents. I will talk about the
split at tangents. But the options are totally
similar to extrude at curves. For example, I set
solid to no to show you the changes
and then solid to yes, that the surface, the
top surface is covered. So they are identical. Meanwhile, we can extrude
the surface by the point of gumbol and the results
will be a solid extrusion. But another approaches
that we use them for extruding the
surfaces is offset. As I told you before, we
can extrude the surfaces to have a mass or an object or a box and other
approaches use offset. Offset curve is different
to offset surface. It is used for
extruding surface. Of, offset surface, watch this. Press down enter, it
extrudes the surface. Let us talk about the options, and then we're going to
consider the differences between the extrude surface
and offset surface. I start the command of offset surface and then the options. The first one is distance.
And it is clear. For instance, I specify two. I press down Enter, 2 meters, check this out the CD distance. The next one is solid, which is set to yes, yet
you already know it. If I set it to no,
check this out. I don't have or doesn't
have the lateral pass. But if I set it to yes, shake this out.
This is the result. The next one is both sides, which has been set to no. We can extrude it
at both sides or just one side that
you already know it. And I talked about
delete input before too. But what is flip flip all? If I both sides if I
set both sides to no, it extruded at only
one side like this. And the arrows are showing
the direction of extrusion. You can click on
flip all to modify or to flip the direction
of the offset by this web. Let's talk about other options. For example, corner, which
has been set too sharp. As you remember the
previous sessions, I talked about the corners and the different types
of corners in offset. For example, here, here, if I extrude these and have
a surfay as you can see, we got some corners. Offset surface. It says that I flip
the direction. I can modify the corner. For example, I said it round, sharp and round with
the two choices. This is round, for example. Watch this. This is
the round corner, and then the sharp, and
this is the sharp corners. I flip the directions, sharp corners by this way. Very well. And these were the corners that
you can control them. Here there is an important
point that I should say that. While we are offset, offsetting the surface, is it important to
have these joined? I mean, should the surfaces
be joined with each other? Absolutely, it is important. They should be joined. I explode one of them. Here as you can see,
we got two surfaces, while another one is joined. Then in the command line, offset, offset surface,
I press down and tear. I fill all the direction,
extrusion, offsite direction, sharp corners, and then
the distance took, solid, yes. Check this out. This is the offset result. What about the one
which is exploded? Offset surface, as you can see, we can select poly
surfaces to offset. All of them enter filipO. Then at the same
features, watch this. This is the differences. Here is the result of the offset. So they are much different
with each other, whether they are
exploded or joined. If they were joined,
the gap fill the field, but if they were exploded, there will be a gap like
this at the intersection. So put this point into
concration while offset. I mean, using offset. Since sometimes your projects, you need to explode them or join them before
using offset surface. And another point or tip is that the poly surfaces are
not available to be offset at both sides
in offset surface. Watch this example. Here I
create surfaces by this way. Then I want to
offset the surfaces. At first, I start the command, then I should select
the surfaces, both, and then I press down inter and both side
is said to know. Inter, check this out. Since they are exploded, the offset has been applied
on both independently, individually, and
this is the result. But if I join these two, then we will have
open polysurface, not two surface yet, but here we got a
one polysurface. I start the command
of offset surface. Here, as you can see, booth is not here, is not
available for it. So we got sharp corners
as you can see. So note that both
sides option is not available for polysurfaces while using offset surface. But what is the differences
of using both sides in two commands of offset surface and extrusion extrude surface? I mean, which is the
best approach for extruding a surface
at both sides, offset or extrusion?
Let's check it out. For instance, in the front view, I sketch these, and then I
select these two curves. Then I extrude them by this way. The first one here is
that as you can see, we got open extrusion. Note that here as
we got extrusion, we can't apply
extrude surface on. As you can see,
extrude surface does not support an open extrusion. So I should explode it
that we got two surfaces. Then if you want it, you
can join them again. Then we will have a
polysurface, not extrusion. Check this out, open
polysurface polysurface. Then we can use extrude surface. Watch this. So let
me tell again. The surface, which is considered
as a open extrusion in type or properties is not supported by extrude
surface command, but it is supported
by offset surface. This is the first This was the
first deference, actually. That extrude does not
support open extrusion, but it is supported by offset
that you have to explode it and then join it that you
will have open polysurface. So you can apply the extrusion
extrude by this way. About the second difference. I extrude the polysurface. Here is the result. And
then for another one, I want to offset it by this way, add a distance of three, and then I flip the direction
toward up by this way. I want you to tell me the
differences between these two, the extrusion and
then the offset. Here is extrude,
and this is when we apply offset
surface on a surface, I mean an offset
surface command, the surface extruded based
on the norms of the surface, not only at one side. I mean, these two
surfaces have been extruded individually separately
at their own directions, perpendicular to the surfaces. While in t, all of the
surfaces have been extruded in one direction
toward up as you can see, and also the edges are
different with each other. Here it is vertical, but there the extrusion is perpendicular to the surface,
not to the plane. This shows itself when we are dealing with a curved surface. For instance, consider
this. In this example. I extrude it. We got
to open extrusion. I make a copy like this and then well let me delete the
curve, open curve. And then here in front. At first, I'm going to try
extrusion. Extrude surface. I select it inter by this way, then I want to extrude it. Let me adjust the
direction, for example, toward up, L for instance, this, as you can see, the extrusion
is not unified since it hasn't been extruded
perpendicular to the surface, but perpendicular to the plane. So the thickness is not unified. But in offset surface, I select the surface. I flip direction toward outside, and then the distance or
thickness. Check this out. It has been extruded perpendicular to the
surface, not to the plane. Here it seems that we often only use offset surface for
extruding the surface. I mean, you may think the offset surface is
more applicable, is more practical in
extruding the surfaces. And about the final point, since after that, we're going
to deal with the practices. Suppose that if we had a box or solid in
rhino, for example, like this and not able to
select the components directly. For instance, I have extuded this surface and I want
to reduce the height. I want to choose the top
surface and then extend it, but the top surface
is not selectable as a component of this uber box. But by holding down
Control Shift, we can select the
components of a solid, just like DMX, hold down
Control line shift. For example, the vertexes, which are a component
of the box. Look at this or for example, the edges by this
way or the top face. We can select the
top face of the box. And then we can use other
addition tools like move, edit, copy, scale, and others. For example, if I want to increase the height
of the extrusion, I hold down Control
and Shift buttons. I click on the face, and then I extend it
or move it upwards. Or, for instance, again, I hold down Control
and Shift buttons. I select some edges like
these two pallet ones. As you remember in the
bench project or practice, when you wanted to make close to objects or distance
them, I mean, to control the distance, symmetrically, we can use
scale. So check this out. I can widen it or shrink
it symmetrically. Also at the other side as well. I select the edges, and then I scale them, and then this will
be the result. And this is applicable
to the vertexes as well. I select these two vertexes, and then I close them to
each other or shrink them. Or, for instance,
I select the face, and then I rotate
it. Watch this. I can even rotate the
face or the solid. Or let me give you another example for
creating sloped roof. I shorten it at first, then I select the edge, then I slope it. Watch this. So we
can easily modify our box or our extrusion by holding down control and shift and then
selecting the edges, verte a side space,
and then modify them. Guys don't forget
to take notes of the points of extrude surface to upset surface and
their defense and practice them all till
getting scaled at. And then I will give
you the homework.
32. Step-by-Step Practice Exercises 1: The first practice that we're
going to work on is this, as you can see on the screen. As you can see, we got a
curved surface which is extruded in which we
got some holes or void. So please, think about it. Think about the approaches, and I want you to
extrude this surface by using extrude surface
and also offset surface. So, guys, give it a try. And then in the next session, I will do the practice.
33. Step-by-Step Practice Exercises 2: So let us create the
practice or the homework, which is very simple. Here in the front
view, at first, I sketch the main
frame or the curve. Let me check the photo
again. Well done. I get back to Rhino. After that, let me create the curve again or
the main frame like this. Consider it. Well done,
then I select it. I extrude it. Then we got
the surface by this way. Then in the top view, a frame graphic style. Then for the voids or the holes, I sketch this rectangle, for example, and then
I want to array. Exactly. For
example, number in x direction to any
number in Y direction, eight, and then one for z. Let us check it out. Watch this. It is great, satisfying. Okay, consider this. I press
down into, watch this. What is the next stage? What do you think? Or the next step, we're going to split. Right now, I'm
going to teach you how to split the surfaces, which is similar
to split curves. I click on split to
pick the split command, and in top view. I choose the surface, the extrusion, as you can
see, I press down inter. Here, there is a
point about splitting the surface, which is, I mean, the differences
between curves and the surface in splitting, it is not necessary
to have intersection. For example, in this view, what is seen, which
is projected, we can apply the split upon. For example, I choose these Look at this.
I press down Enter. As you can see, we have splitted the projected curves or rectangles by this
way, as you can see. Let me try again.
Undo. The point here is that while we want
to split the surface, I mean splitting a
curve with surfaces. As you can see, these two
got no intersections, but they should be
projected on each other. From the top view,
as you can see, we got the picture
of the curves which are projected on the
surface, and this is enough. Split, then I
select the surface, the objective split, and
then the cutting objects. Well, our cutting
objects are the curves, and the objective
split is the surface. Then I delete the
curves by this way. Watch this. What
is the next step? Right now we've
got this exactly. At this step, we're going
to extrude our surface. But we're going to
use both approaches of offset surface
and extrude surface. I make a copy to tell you the differences extrude surface, then I extrude it at
the specified distance. Here is the result and the next one to extrude
it by offset surface, as you can see, for example, at six units towards up. Look. Let us check them out in front view and consider
the differences, as you can see in the
edges or at the ends. And after extruding these, you may want to modify the thickness or the
extrusion distance. Control sheaf button,
and select the face, and then extend
it or shorten it. This is not available
in offset surface. Let's give the try.
Look, I select the face. Since the extrusion is
perpendicular to the surface, not to the plane, we cannot easily extrude it or extend it. Otherwise, it ruins the form. So if you did not
manage to sketch it, give the try and take your
skills to the next level.
34. Exercise: Finolhu Villas: Hi, guys, right now
at this session, we're going to move
forward these projects by using the instructed commands.
This is the first one. Check this out, which
is our first project. Here, there are some Villas that we're going to to
re ate them in Rhino, check the roof, the arc, and the curve, the
straight lines. Let us check other
images like this. You will be given these photos, so you can work on them
as your homeworks. But right now, let's work on
it together step by step. As I told you before at the
first stage or first step, we should analyze the model
to recognize the lines, the curves, the arcs. And another arc.
And the another arc which is behind the building. Let's start. Get back to Rhino. Let me delete the last
session models very well. Here in the plan view top. At first, I sketch
the rectangle to have the main frame of
the plan like this. Then in the front view and then let me check
the photo again. I'm going to sketch this arc. We got the arc at the top
with less than curveness. I mean, the bottom
one is more curved, but the top one is less
curved than the other one. So get back to Rhino. I keep I pick the arc. Planar should be activated. Otherwise, we have some
challenges. Check this out. So don't forget to
activate plan arc eyes. It should be activated. I create the arc as
one of the arcs. Then the next one like this. Watch this in the
perspective view. This way. Then I move it upwards to
position at the height. Then I'm going to position
the less curved arc at the center or at the middle of the rectangle move by this way at the
middle. By this way. Take this out. I can move
it again to upwards, since we could have
enabled the project. By this way. Way,
I keep on going. Then from the right view, I'm going to sketch
the triangle, since it should be suit
to the whole building, and the height here does matter, and the amount of amount of
slope doesn't matter too. Get back to Rhino, and then I picky polyline. I sketch the triangle like this, I connect them to each other. I should reduce the height. So I move it downward
by this way. Like this. Right now, assume that we
want to modify the slope. How can we edit it? We select the entire
lines. I press F ten. Then if I select these
control points by this way, then if I move them upwards, as they are joined, I can control the slope. So by this way, you can specify the amount of a
slope and then fix it. And, the amount is up to you. And then I connect the
other side with a polyline. And you don't need to
create the other side. But how can I extrude this? Well, done a surface. Great. I create a surface
by using a surface, and we will have a
surface. Check this out. Then in the top view,
I want to mirror the surface at the other
side, mirror axis. Here is the result. I move it upwards a little
bit like this. Then before extruding the roof, we're going to create
these vertical woods, which are like timbers or poles. I hide the roof at first, and I recommend you to
clean up or just hide the unneeded miles or objects where you want
to work on new items. So then you can show
them so you don't mix up things in an
organized scene. By these, I'm sketching
the woods or the poles. Then for arraying them, I can use array aneer and also we can select these
lines and then explode them. Then we will have a line. I want to consider it as the path and then
use array curve. That I prefer to use
array curve that I can specify the number, count. I specify the path,
the number 25. Let's check it out, and
I delete the last one. Then I select the group
of the array, the roots. I group them, so I can
easily select them, and then I mirror them by axis, and the mirrored objects
are grouped as well. Well done. I show the surface, then I select the two groups of timbers or woods or sticks, and then I extrude them
extrude to boundary. Great. Watch this. I extrude the
timber to boundary, then this would be the result. Let us try again. I show you the
surface or unhide it. I select the two
groups of sticks. Then I extrude them to boundary. I select the boundary
surf. Well done. And since I have
exploded the surfaces, I should extrude the
sticks into steps. By this way. Here in
rendered preview. Following that, let
us extrude the roof. I haven't extruded
the roof since I wanted to extrude the
sticks to boundary. And right now it's time to extrude the surface of the roof. Either use extrude surface or offset surface that I prefer
to use offset surface. And I want to tell you a
point. Offset surface. I select the surfaces. I press down inter, I
flip the direction, and then I specify
the distance too. But I have missed a thing. Do you know? What
did I have to skip? Yes, there is a gap. Why? Since before
using offset surface, I should have joined
the surfaces. So we could have joined the surfaces before as we wanted to extrude this
text to boundary. So I joined the surfaces
with each other, and then I start the command of offset
surface. Watch this. Well, done, let us activate
the rendered preview. I want you to work on it, create it by your own to
assess your creativity. Please do not skip anything and then go for the
next session. See you.
35. Exercise: Auditorium Model 1: Hi, guys, here is the
next project that we're going to talk about or
work on is the adioorium. However, we talked about it
before. Let's check it out. At first, we're going
to analyze the model, the lines, the curves,
the arcs, the plan. Do you remember the command that we use for creating the curve? Exactly, curve to view. According to the
previous sessions, at the first step,
we should find the main curves of the project. We began the analysis
with the curves. Here, as you can see,
here we got arc. I mean, we got
three main curves. Here is one, and
then the others, let me show you the
other photos. The plan. I mean, we're going
to create or sketch the plan by the given diagram. So we're going to use this, we're going to start from this. If we sketch this diagram, then we can have the
plan of the model, and we should use curve to view for creating the main curves. I think the explanations
are enough. Since we have done this before, I want you to work on it, think about it, sketch it, and then watch the next
video that I have sketched. Try to create all of the
details like the glass frames, like the vertical frames. So guys give it a try and
create it comprehensively.
36. Exercise: Auditorium Model 2: Hi, guys. I hope you have done the practice
as successfully. So as we were supposed to
sketch it, let's start. As you know, we're going to
start with the main curves. At the beginning, I'm
going to sketch the plan. So wait for a second. Then according to this diagram, we're going to
launch the project. As you can see, we got three
circles, as you can see, I want you to focus at the centers of these three
circles, as you can see. If you want to have the
centers of these circles, we should sketch
a triangle here, which connects the centers
of these three circles. So at the first step, we're going to
sketch a triangle. That the angles are equal to each other to calculate
the center of the circles. So we're going to start
the project step by step. And as I told you before, the main thing in Rhino is
the analysis of the forms, and it's not enough to
just know the command. Here I pick the polyline, I specify the number
of the sides three. Then from the origin 0.0, I sketch a triangle by this way. Size doesn't matter. I create a triangle. Then I should sketch the
other three circles. But here, as you can
see from the plan view, we only need this arc as I'm pinpointing in the scene.
Do you know what I mean? Let me show you a photo. We only need this
arc of the triangle. I mean, here we got the circle that we need a
specific part of it. So we can create the circle
and then trim the extra part, or even we can sketch the arc, which is a part of a
circle that we needed. Let's see here I can create
the circle like this, but we only need this
arc, as you can see. So I can I delete the circle
and then I pick the arc. I specify the center of the arc and then the
start and end of the arc. This is what we want. Very well. So there is no need to
sketch the whole circle. Then for the other side
by this way, well done. Then the other side, shake
this out accurately. So practically, we have
a sketch the plan view. Look at this, the
diagram. Well done. Let's go for the other curves. Let me check the photos. I'm talking about these that we created them by curve to view. But how? Here we
got the front view. So I get back to Rhino. As you can see, we got the
plan view or the top view, but in the front view, I open it to sketch
the front view. By this way. Now the
top view is completed. Let me create the front. The planar should be
activated. Look at this. Is it okay? Mm hmm. Well done, here is the result. Then in the continuation, if we want to have
the other arcs, I'm talking about this. We have a sketch the
top view from the plan, and in the plan,
and also the front. So what is next curve to view. I should select the first
and the second curves, then we will have
the curve to view. Watch this. By this
way. I delete this. I don't need it. I
select this arc. We're going to have
this in three sides, polar array, zero as the center, T as a number, 360. Check this out, and I
delete the extra parts. Then for creating the surface after roof or the roof surface, what command should I use? I got three curves, and I want to create a surface. Exactly a surface. I search for a surface, and I should specify
the edges. Well done. And when we use a surface, we can't control the curveness of the surface, as
I told you before. But here it is great. You know, it is satisfying, reasonable, and it is accepted. The roof is okay. But about the glass walls or the storefront and the
frames or mullions, if I zoom in, let me show you another image to check the
details of the project. For instance, here we
can check them out. There is a small offset. At first, I should hide
the surface roof surface. We don't need it for now, and I hide the lines
or curves as well, but I don't delete them since I may need
them in the future. So just organize the scene
and hide the unneeded ones. I join these three
arcs with each other. Then we will have a curve. Then I start the command of
offset to offset the curve through points by this way, through inside, like this way. I remove the previous one, check this out because the glass wall is
covered by the roof, so I should have moved
it to backwards. And for the glasses,
I can easily offset the curve through
points at the size, for example, or distance you
can disable degree snaps, since when I enable it, I can't reduce the distance. I disable degree snap. For example, at this distance, I offset it well done, and then I extrude it. Then for creating the frames or the Mllons here
in the top view, then, for instance, I
pick the rectangle. Then I start sketching it. Let me enable the Grid snaps then perpendicular
like this by this way. Then I adjust the position, I fix it, well done. Then how can I array
the rectangle? Exactly, by using array curve. I select the object, and I should specify the path. Well done. Then, for example, the number of the
items like 100. Okay, sick it out. Okay. Then when the
rectangles were arrayed, I click on select last
created objects to select the arrayed rectangles. And I also select the first one. Then what should I do? Exactly, I should
group these items. So by this way, I
can easily select them since they are
grouped. Well done. We're almost done. Alt Control edge to show
the surface by this way. And then I select these
curves to extrude them, and then I click on to boundary. Great. This is the glasses, and then I can easily
select the frames or the Mllons If I
select one of them, I can select the whole group. Again, extrude to
boundary, well done. And then we can
create the mollons. Then in properties,
I can associate these to default
material type custom, and then I increase the
transparency by this way. Then I'm going to extrude
the roof surface. As I explained, we usually extrude the objects to boundary, and then finally, we
extrude the surface. Here we can either use
extrude or offset surface. But since it is curved, it seems that offset surface
is a proper option here. Offset surface,
select, and then I flip the direction
toward up like this, and then the distance, for example, not 0.5. Watch this. Here is the
result. By this way. Then I'm going to
instruct you how to make the surfaces
transparent. I mean, when we import
an image into rhino, we learned how to
make it transparent or control the transparency,
but right now, I'm going to teach
you how to make the surfaces or
solid transparent. I selected the new
properties in material, then I associated to
default material. Then I opened a list of
type, for example, custom. Then I can custom the setting. Here I can control
the transparency. But note that the transparency will be shown in
rendered viewport, not in other viewports. So by this way, you can
control the transparency of the surfaces and also
the solids, as I mentioned. I want you to give it a try to sketch it on your own and
use your own creativity, since you may have
different approaches for creating such a project. So if you have used
different approaches, try this one. It
could be useful.
37. Creating Surfaces with Patch Command: By using the learned commands, we've done some
projects, but right now, we're going to go through
some other new commands. I'm going to start with patch. So let's see what is patch
and what does it do? I'm going to begin the
lesson with a question. Here if you suppose that we got such a shape or
such a geometry, watch a polygon, and then I want you listen to the
question carefully, and then I sketch an arc here. Like this. And when I'm
talking about an example, look at the process of sketching the example attentively
since it can be reviewed. So you hold down control,
sketching a vertical line. Then I want to array the arc. I select it to start
array, polar array. I specify the center, zero, and then the number six, well done. Here is the question. Here if I want to
create a roof by using these three arcs which have been arrayed around the polygon. I'm going to create a
surface by using these arcs. What should I do? What is your suggestion? What
is your approach? Far as we know, we may use a survey, but
it does not work out. Since we got more than
four edges, we got six. But we can operate a technique. I mean, we can join them. We can join the arcs
with each other. So then we can have four edges. So right now here we can have four edges after joining
these arcs with each other. But the result won't
be satisfying. I surface, then I select
the curves, watch this. Here is the given result. I mean, this is not
the desired surface. We want something else. This doesn't meet our needs. As such a condition, we
can use patch command. Let me explode the arcs again, and then then you see we
don't have to join them. I type in the
command line patch, and then I start the command. After that, I should select the curves, feed
surface through. Then I click on o. I will
talk about the options later. Watch this. Here is a regular smooth surface
created by Patch. Here you might want to modify the curveness or the
sharpness of the curve, but as you're concerned in
the command of H surface, we can't control the
curveness of a surface. But in patch, there's
no limitation. We can modify them. Actually, by adding
some auxiliary lines. So then we can control
the curveness. For instance, here, I sketch
a line here by this way. As the auxiliary line. As I told you before, at first, we sketch it straight
le then we curve it. Watch this. It affects on the
curveness of the surface. Then I'm going to array it. At first, let me select it. I start the command
of polar array, and then the center zero, number of the items, three yes, and then
364 field angle. Watch this. These are the
main frame of our patch. Then I reduce the
value of surface pans. I will talk about
the general options, ten, ten for both Y and
U. Here is the result. Well done. Again, patch. I select the curves. And I have reduced the
value of surface spans. Okay, here is the given result and then the rendered preview. No, this is an accepted
surface created by Patch, which is more practical
than edge surface. Here we find a sketch
closed, non planar curve. How can we convert it to a surface or to a
solid or extrude it. As you can see, it is
non planar, by this way. Its surface does not work out on this,
doesn't support this. As there's a condition, we can use patch. Watch this. Well done. In a very simple process, we can create a surface by
the non planar, closed curve. Two curves like
this by this way. And let me sketch a circle here. By this way. By
during this example, I'm going to show you there is no limitation in creating
surfaces by patch. As you can see here, we got three curves,
three closed curves. Let's check out the result. I select them pad. Let me increase the
surface expanse. Okay, check it out. As you can see the other
curves, for example, the circles has got some
effects on the patch. Or for instance, suppose that we got a
geometry like this. Let me extend it by this way. And then if I patch this, then this is the result. Check this out. So but I'm
going to add some lines. Check this out by this way. I skip some straight lines. I mean, these are the
auxiliary lines that can use these lines for creating
specific geometries or surfaces. I move the control points
upwards or downwards. As you can see, I'm designing the surface because there is no limitation in
patch by this way. Then I start patch. Okay, check this out. And here is the
result, like a sink. Or in the next example, Patch can also work
with the points. I move this line to
exemplify the next case. Then I put two points
inside the curve. Then we're going
to see what will be the function of patch
with these points. Or is a reaction patch. Then I create a surface.
Check this out. As you can see, the points are the two extremes of the surface. At this time if I
enable record history, as I talked about it before, do you remember in
blend, actually, Blend curve, I enable
record history, and then I patch the surface in order to save the
points and the line. Then I can select
the central point or point and then move it
or even move it upwards, can easily control
the surface or down. Since record history has recorded the process
of sketching, so as we move the points
or even the lines, it enables us to
modify the surface, and then it will be updated. Well done. And sometimes
you may have designed some geometries or some
shapes which is not satisfying or that
doesn't meet your needs. For example, by these
points, I put it here, I make a copy, and then I
put it here, one more point. Again, I adjust the
position of the points. Here, as you can see,
we got too many points, so it is hard to create a
surface by using these. Hash would support these but we're not satisfied
with the given surface. Let me modify the position of the points to give
you another example. I remove the points, and then I work on the curve. Then by the polyline, I want to design a
strange form by this way. Then I move this downwards
or the another one up. Now there is too much
distance between them. No by giving this example, I want to convey this message that patch does work
out at any condition, it has no limitation, but the given geometry
should meet our needs. And like this, if
we do not design the curves of the patch or just the position of the points correctly
or accurately, then the result
won't be satisfying. As you can see, it
is not practical. So we should sketch the curves
of the patch accurately. Anyway, in the continuation, I'm going to talk about
the general options or the settings of the patch. I'm talking about
the span. I create some copies from these curves, and then I'm going to give you some examples to show
you the changes. When we create surface
by patch like this, here in the patch surface
options, we got some setting. One of them is surface
U and V spans. But sample point spacing
does that matter. No isn important. For example, I set two for USPans. It is a low value or two
for YSpans or V, actually. Let's check out the result. So all in all, we
understood that the U and V spans are effective
in creating a surface. Let us try the next curve. I use Patch, but this time, I set five for both
surface V span, V and U. Here, as you can see, the
surface is more acceptable. But this time, I want to
specify a higher value. For example, 70 for both. It takes a time since
the size is large. Wait for a second,
take this out. Could you tell the differences? Let us compare them
with each other. These two clearly, here we got more
isolines or so curves. But I'm talking
about the effects on the form or the
geometry of the surface. Here, as you can see, when we increase the spans,
the value of spans, de created surface is more close to the curves,
de created curve. I mean, it is created
more accurately based on the given
frame or curves. Let me give you
another example on this so we can
understand it deeply. Start patch. Let me
hide these geometries. So we can focus on the patch. I select the curves, then enter three
for U and V span. Okay. Watch this. Here is the values three. And then for the
next one, I set 15. Okay, check this out. Let's check out the effats and the form of the geometry or
the surface. Watch this. And for the third one, I set unreasonable value like 70 that we do
not usually set. Wait for a second. Well done. Watch this. Rendered preview. Let us compare this tree. Here, the span value for
the first one is tree. As you can see, the
surface is not that much based on the
given lines or curves. You know, there is a distance. Well, in the second one
in the second surface, this surface is matched
with the curves. So there are some ups and
downs on the surface, and we also got them
in the third one. So as we increase the value, the surface grows smoother
and matched with the curves. And usually specify, you
know, a value 10-15, which is considered as a
reasonable value for the spans, but let's talk about
the other options. So let me start the
command of patch. Then I select these curves. I press down, Enter. So we talked about the surface spans. I set it to ten by
this way well do odor is an important option
which is automatic trim. You should know that patch
gives us trimmed surfaces. And when I check
automatic trim option, it trims the surfaces
automatically. I mean, it trims the
rectangular surface and then creates
the patch. But how? I mean, if I select these
curves and then I patch it, and I uncheck automatic trim, then it gives us an
untrimmed surface. It gives us the
rectangular surface. Check this out, which
is not trimmed. And this is the given surface. If we uncheck automatic trim, while the another
one is trimmed. And if I untrim these,
check this out. These two are similar
to each other. So this option trims the
patch or the surface automatically according
to the curves and then gives us a trimmed
and regular surface. I know that we usually or maybe always check
automatic cream. And if you didn't want
it to be trimmed, you can uncheck automatic cream. So it gives you the
untrimmed version. But about the next option, which is adjust tangency. I'm going to talk
about the tangency. Here, suppose that we
have such a geometry, a circle like this, then I extrude it.
Check this out. We got a cylinder by this way. I press down ten. Let me explode it first. Then I press down F ten. Then I deform the
cylinder by this way. After that, in discontinuation, I'm going to cover this part. I mean, I want to cap it. I want to cover the top
surface or top face. We can use a surface, but I'm going to give it
a try by using patch. I start the command of patch. Then I select the edges. I press down Enter. Here, if I check preview, check this out, the
preview of the surface. But if I check adjust tangents and then check
the preview, look, as you can see the edges of the surface are tangent to
the edges of the cylinder. This is what edges
tangency do or does. I mean, it models the
surface in a manner that it will be tangent to the solid. Here, if I click okay in the rendered preview,
check this out. Here we can distinguish
these two objects, the surface and the cylinder. It seems that the
two are unified. And, you know, it
sometimes being used, and later we will consider
it in the projects. And as you saw
when I used patch, we didn't have curves
at these parts. Look, actually, in the
commands of surface creator, like a surface, patch, and other commands that
I will tell you later, we can use the edges
of the surfaces or the solids or the curves
as the modelling line. I start patch, I use
the perimeter curve, as you can see for
modeling the surface, so you don't have
to prepare a curve. But let us wrap up the session. When we use patch, firstly, when we have a closed
planar curve like this. I move the control points. Almost I should say that the only approach is using
patch as such a condition, therefore closed planar curve. I mean, non planar curves. The only approach
is using patch. This was the first
application of patch, closed, non planear curves. Secondly, you may want to create a surface out of more
than four edges. That edge surface
does not support it. Like this example,
check this out in which we got more
than four edges. However, it might
be non planear. But here, as you can see, we got nearly five or six edges now
the geometry here is planar, but I want to make it
non planar by this way. I move the points. Then
at this situation, we can use patch. So this is the second
application of patch in which we got more
than five edges. I mean, more than four,
we're creating a surface. But as I told you before, you can use the ai I'm sorry, the axillary lines to reach to your desired shape
of your surface. Take this out and move it
downward, and I start patch. So firstly in the closed
non planar curves, and then secondly in the geometries in which we
got more than four edges. And thirdly, in the
condition that we can create our surface
by using edge surface. We can't obtain
our desired curve or the curved surface. Let
me give you an example. Check this out. Here
as you can see, we got four edges geometry. We got four open curves. So we can create our surface
by using edge surface. We don't need to use patch, but I'm looking for a
specific curved surface. That he surface is not
capable of it by this way. So Atochic condition,
I can use patch. Let us try at first he surface to show you
the differences. This is not what I expected. I needed more straight. So a surface is not
capable of creating such a surface or
can't meet my needs. So Atochradition, we should use patch since we can add auxiliary points to
auxiliary lines like this, as I told you before in
the previous example. So I select the curves, and then I start
patch, check this out. For example, this was one
this is what I expected. Let us have a review firstly, enclosed non planar curves. Secondly, in more
than four edges. And thirdly, in the curves or in the geometries in which we
got three or four curves, but a surface can't or
does not meet our needs. Creating a curved surface. And as I told you, patch
gives us trimmed surfaces. So it is not that
much practical. So we use it when it was
essential or necessary because we preferably
use untrimmed surfaces. So we use patch only
when it was essential. For example, if I show the control point of these
surfaces, check this out. Their control points are
outside outside the surface. We can use a command for
fixing D, which was shrink. Shrink trims surface
to edge, well done. Let's check them out. They are better now from better
than before. Well done. Right now, here, if I untrim these surfaces,
let's check it out. They return to their origin, which is a rectangular surface. Since these surfaces
are trimmed surfaces, which are created by patch. And as I told you
before, in some of the commands like twin surface, I start the command
of twin surface. It does not support
the trim surfaces, so we will have some challenges. So, guys, practice each of the examples that I
mentioned in this session. Don't forget to take notes.
38. 3D Wall Covering Practice: The first practice that we're going to go through
together step by step is is creating some
of these treaty volves. At first, let us show you the photos and
take a look on them, and then we're going to
begin sketching them. For instance, we're
going to start the process from
here, check this out. Okay, let's start here in Rhino. And then I open the top view, then I sketch a circle at the origin 0.0. Antennas radius. Following that, I
pick the poly line. Then I sketch a line
from the region point. I select the line. Then I start the
command of A polar. I specify the center zero, and then the items three in 360 degrees to
design the mainframe. Let me show you the photo again. As you can see here, we've got the main frame of
the treaty vol. Very well. Get back to Rino, I select these two lines. Then I mirror these two
lines at the other side. And the reason I did sketch
this is the angle that I'm creating for these lines at
the top and at the bottom, they should be equal
to each other, just like a puzzle
that we're going to place these objects
next to each other. Here I select this line. I start the command of copy. Then I want to place the
line at the midpoint. I enable Snap
midpoint by this way. And also, in other
line, I make a copy, then I place it at the
midpoint by this way. Then at the next step, I select these lines. Then by using trim, I delete the extra lines. So this is remained. And then by using line, I connect the intersections
to each other. Let me take a look in the photo. And the next step or the next part that I'm
going to sketch is the connection of these
corners, as you can see. Get back to rhino. I mean, in this way, I connect the intersections like this. Following that, I'm going to
sketch a perpendicular line. Let me enable the
perpendicular snap by this way like this. Then I mirror the line at the
other side, I select them. Then by using array
polar or polar array, the center then the
numbers, feel angle. Then as you can see, the
main geometry is ready. However, some parts weren't
necessary to be a sketch, you need to be familiar with the whole process step by step. I select these parts
since I need it, but I don't need others, so I select these, and then I click and
isolate objects. I isolate these curves to
work on them individually, so I can move the
process for void. Again, I select
all of the curve. Then I show you points, you control points or
either you can use F ten, actually, as I told you before, so we can display the control
points of your curves. Let's take a look. Here I should move the
point for, I mean, upward. And this part, I should
move the point downward by this way and I
select the midpoint. Then I hold down
control to move it upward vertically like this way. Intersection snap. Let me check it out. After that, I can start
H surface command. I select these tree curves. And I also enable record
history. By this way. I create the surface. Then I go for other surfaces. Here, as you know, we
should choose tree curves. Actually, I should explode
this or trim one of them, so I trim it, and then
I split it actually. Again, I start the
command at the surface. I select the tree curves. I activate the cord history, and then the surface. I showed them. I set the display mode
to shade it surface, record history, and then
creating the surface. Well done, so I have created
these three surfaces. I hide the other lines
or the other curves, and then I select the curated surfaces
by using mirror two, I mirror them at the
other side by this way. And since I have enabled
record history right now, I can select my control points and then modify the surface. As you can see, by moving
the control points, we can apply the changes on the surface by this
way, as you can see. Very well, and then I select the created
surfaces to array them. I start array polar. I specify the center, then the number by
this way. Well done. So in this order, we can create one of the panels. I select the curves. After that, I hide
them like this. Then from the top view, I want to array the
panels by using array. I select them, then in property. Then I want to
hide the isocurve. So I uncheck show
surface Iacurve, select and then array. Then I want to specify the
number in X Y and Z direction. For example, six and then six and six in z as well or one, then we will have
some challenges and difficulties in the array
process, as you can see. As you can see, some
parts are skipped or if I shrink the preview
of the array, some parts will be overlapping. So what should I do if I
want to array this panel? Again, I select the
created surfaces. Then by using Copy tool, I create a copy by this way. Then I select these two panels. Then by using
array, for example, 18 or 16 and then ten in Y
and then one in Z direction. After that, I can
array the panels. Then let us check out the
rendered preview or preview, as you can see the
arrayed perfectly. Then if I right click, I can finish the changes. I select all of the panels. I start the command of remap. Then in front view, I click to remap the
panels in the front view. Here as you can see in
the rendered preview, we go such a pattern
by this fay. And then here from display, I can show the surface edges. I check surface edges, and then they will be
displayed as you can see. Again, I turn off surface edges. I select all of the
objects by Control A, then I move them
to the other side, control edge to hide them. Then in shaded graphic
style or display mode, I want to check the next
surface that I want to create. Let me see here it is. For example, I want to work
on this like a flower. As you can see, we just need to create half of one
of these triangles, and then we can array them. So get back to Rhino
here in top view. Then I select polygon command. I click on number of the sides. I specify six, and then I specify the center of the
polygon zero. Well done. I hold down shift, and then I want to adjust the dimension of the
polygon like this. Then I pick the polygon. I sketch it from the center
point to the intersection. Then again, I pick the line to connect the center to the
midpoint by this way. Then I need to sketch
a curved line, as you can see on the scene, and then create one of these
part then we can array. I pick curve inter plate points. I start the command, and then by this way, by specifying three points, I sketch the curve like this. Then the perspective view, I select the line or
the curve actually. Then I remove these
two control points. I select the mid control point. Then I move it upward, as you can see in the
screen on the screen. Then I select the curve. Polygon, I explode it, and then by using
a split command by using this line to convert
it to two single lines. I select these lines in curve, the tree open curve. I start the command
of a surface, and then I create the
surface by this way. Again, I start the command of a surface by pressing
down a space bar. I select these lines and then create the
surface by this way. I select these two surfaces, and then by using join command, I convert them to polysurface, and then I height the Io curves, since I don't want them to be displayed in the
perspective view. I select the polysurve then I start the
command of mirror, as you can see in the photo, we have created one of these
triangles in the polygon. Again, I select it. By using array polar, I specify the center and the
number and the field angle, six's number, as you
can see, well done. I array the surfaces. Then I start the command
of selecting curve. I select the curves, then I press down Control edge
to hide them by this way. Then I select the
shown surfaces, and then I make a copy. Well, done, then I select
these two polysurfaces, array, the number
in each direction, for example, six, four, and one. Then I array the poly surfaces. Here is the result like this. Check this out. I set the display mode to rendered
viewport or preview. So we can watch them at
the rendered viewport. So we managed to create such a geometry or
surface, actually. Again, in the display panel, I click on Show edges to display to display the edges
of the surfaces. Well done. Then finally, I
select them, remap. After that, in the front view, I click, so we can have the
panel in the front view. Vertically, I move it, control edge two, hide it. Then I want to go
for the next panel. Right now, I'm going to create one more panel and then wrap up the session.
For example, this. As I told you before
at the first step, you should analyze the main
curves. Look at carefully. Okay, you get back to
Rhino the top view, I pick the polygon. I set the specified
num sides tree. To create a triangle like this. The angles are equal
to each other. I adjust the
dimensions, well done. I start interpolate
curve command, then from the intersection to the other intersection
and following that, I'm going to move
the selected line in relation to the center
of the triangle. Here I can use Gumbo. I click on Gumble. I right click, I click
on align to object. And when the gumbol was aligned to the
object, watch this. I click on this and I
want to import the value one so I don't
need the triangle, select and then
Control H to hide. Again, in Gumbol, I align it
to C plane or cran plane. Following that, I
start array polar. I specify the center, tree by this way, then I enable record
his tree enter. I select these
control points and then Gumble right
click line to object. So by this way, I modify the curves. I move the control points
inside the curves, and as you can see, we can modify these three
curves together. And this is all because of the record history that we
have used in the Ay polar. So I have created the
lines or the curves. Then in the top view, I select the control points and
then in the front view, I modify the height
of these points, I move them upwards. So by this way, we can create the curves. Following that, I pick
curve interpolate points, and then I connect
the end points. Then by using ARPolR in
relation to the origin point, T check this out, but don't forget to
enable record history. Because I can modify
the control point of these curves if
it was needed later, and I can make any
changes I want. And the changes will
be applied on all of the three lines
which were arrayed. I curve it, then I
select the curves, then by using patch. Then I create a surface.
Trick out the preview. Here as you can
see, the surface is not matched with the
curves that much. It isn't smooth enough. So I want to increase the
value of U spans and spans. I set to any for both. Let's check out the
preview. Well done. Right now, the surface
is more accurate and more matched
with the curves. Then I can set both
of them to 25. So the surface will be
created more accurately. I click Okay to
save the changes. I select the created
surface by patch. Then by using isolate objects, I want to keep only the surface, but I hide the curves. So by using extrude
of the gumball, as you can see, Life this way. D in the continuation for
arraying the surface, I can't use the rectangular
array, you know? As I showed you in
the previous example, we will have some
problems. Check this out. They are not properly
positioned next to each other. So here in Wireframe
display mode, I enable project, and
then I start copy. Then I specify a
point to copy from. In the perspective,
you'll let me specify the point from the midpoint, and then by using great snaps, I position it at the center
or the origin point, and then I press down tap
to restrict the direction. Then in perspective view
to just a position of the surface where they got no intersection
with each other. For instance, here is okay. Then at the rendered
viewport, by this way, then by using array, I want to array these
two poly surfaces. I select the two objects, array polar, I mean rectangular array,
six, four, and one. Then I enable degree
snap of midpoint. Then I specify the position
to array, check this out. Then in the perspective
view, let's check it out. And then by pressing down Enter, I finish the changes, and as you can see, the
pattern is created. Again, I can select
them and then remap. Then in the front view, I click by this way. Right now, we have them
vertically in the front view. Control Shift edge to
show the other panels, and then I select these
patterns to display them along each other like this. Then I can scale to maximize the size of
this by this way. I move it upward, and either way I can
minimize the size of others. So firstly, by analyzing
the main curves, then by sketching the
curves using array command, rectangular and polar both. And also by using a
surface and patch, we managed to create such patterns as I
instructed step by step. And you yourself, till now, you should be skilled at creating different
kind of patterns. You can search for them
and then practice on them. And if you got any questions, you can ask me. See you in the next session. And I hope you have
enjoyed this session.
39. Modeling a Stadium: Hi, guys. I hope
you are doing well. At this session we're going
to model this stadium. But at first, let us
analyze the stadium, the main curves, and then we're going to sketch the main curve. Here, as you can see, we should sketch a polygon
with two any sides, and then we're going to
consider one of the sides, we will create or sketch
a part of the polygon, and then by using AIPolar, we're going to array
the curated surfaces by the created I mean sketched. Curves. So here in
rhino in top view, I start the polygon. I specify N as the
number of sides. By the way, then I
sketch the polygon. Like this, I hold down Shift. Since I want one of the sides to be parallel with the x axis, I click, then again, I start the command of
polygon by right click. I specify the center, Digion point and then
24 for the radius. Then again, I hold
down Shift button. Then from the set of commands of line,
I pick single line. I create the triangle. So here we have created the first triangle
as you can see, well done, then I pick your line to sketch it in both
sides, the middle line. Then from the midpoint, I extend the line by this way. Following that, again
one more single line. And then here I can
remove this polygon with two sides since I don't need it anymore.
Even we can hide it. Then I can select these
two lines or curves. Then I start the
command of mirror. I hold down Shift, then I mirror the curve at the other side
of the triangle, and then for the
next part, till now, we have created these
three triangles, and then for the next triangle, I sketch another polygon with two sides and 35 as the radius. And then by using
two single lines, I specify the angles
of my triangle and a line at the middle to divide the triangle
into two parts. And then, again, I
start the command of polygon from the origin
point this time, I want to consider the
size a little bit larger. And then I set the
mode to inscribed, actually circumscribed, and then I adjust the polygon very well. After that, I pick the single line to
connect the polygons, I'm going to start from here, get back to rhino. Like this. I complete the triangles and buy
this way. By this way. Then in the continuation,
I want to sketch another polygon with two sides, so I can select this polygon. I hold down tern shift button, and then I create another
polygon like this. And then I connect the lines. By this way. Watch
this. Very well. Then a line at the middle. Then I remove the two polygons. I don't need them. And then I select these two
polygons, I explode them. After that, I
diselect these two, and then I hide
the two polygons. And I join them and
also hide them. Then by using a split, I divide this line
into two parts. Then I select the
curves that I move them along the X
axis by this way. I mean, Z axis. Then let me take a
look on the photo. I want to modify
the control points of the curves, for example, let me arrange these two windows the side of each other to
get access to both windows. And then I want to
modify the height of these control points or
move them along the Z axis. I press down a ten to show the control points,
and then, for example, I want to adjust this part
that I should move it upwards, so I keep it by click and
drag, and then I move it. For example, these two points that should
be moved downwards. Let me check other parts. I select it, then I move
it downwards, well done. And then these two
upwards by this way. And note that, you
have to move them along the z axis,
not other axis. Since there is no
need to make changes along the X and Y axis, since later on, we're going to array these curves and surfaces. But if we move them along
the I mean x and Y axis, then we will have
some difficulties. As you can see, I move them
downwards by this way. And then I select
this control point. I want to start the
command of move vertical. I set it to vertical, and then I move it
again, move command. This time I enable project, and then I move it by this
way. This way as you can see. Right now, it's time to turn off the control points I mean the da displayment.
I press down a ten. Then by using surface command, we can create our surfaces. I select these three edges. Then I keep on going,
selecting three edges, and then creating the
surfaces. Check this out. As you can see, I select
three edges of the surfaces. And here the reason that
I'm using edge surface, not surface point since I got a higher speed by
using this command, which is surface edge. So we don't need to
click four times in order to have an
untrimmed surface. I set display mode to shade it, and then I start the command of sled curve
or selecting curve. Then I select all of the curves, then I associate all of
them to the layer of. And then after selecting
all of the curves, I right click on layer of one, then I click and
change object layer, then I turn off
the layer of one. Then I select the surfaces. Here I can hide their isocurves. Then I start AI polar. I select the surfaces. I specify the center, then the number 2,360
degrees as the field angle, but don't forget to activate record history.
Here is the result. After that, by C showing
the control points, we can move the control
points along the z axis, and then the changes will be applied on all of the surfaces. As you can see, they are matched with each
other. I select these. I show the control points, select, and then
move them upwards. So as you can see, since I
have recorded these three, we can easily modify the surfaces or move
them along the z axis. And we can see the updates or the changes on
other surfaces, too. So by this order, we managed to model
the stadium step by step together by the
given instructions. Here we can add some
more details like the perimeter curve
and then create the opening for the
roof of the stadium. Again, here I'm going to
create or sketch a polygon. I pick the polygon and
then to SNOM side, then I click on Edge. Project is disabled. Then I start a point. Then I can create or
sketch a polygon easily. I create a copy or duplicate. I minimize the size
and then convert them, convert these two polygons
to a surface, actually. Let's see, I isolate
these two curves. These two closed curves. I start split point. Then I specify two
points on the polygon, and then two more points. Here, as you can see, I
have splitted the curves. I start at surface, then I create the surfaces. I write click Isolate to diolate or to show the isolated
or hidden objects. I select these two curves. I join them, and then I
extrude them very well. So in this order, I can add more
details to my model, which is a stadium. And here, even we can control
the curves in display, and then I uncheck
surface edges. So the surface edges will
be hidden. By this way. I start sell curve to
select the curves. Then I assign all of the curves to the
layer one by this way. Check it out. I want you to do this practice by
your own and use your own creativity
since you can develop your skills in using g
surface and also ARI Polar. And even we can analyze
the photo and then extract the main curves of the model and then convert it to a
architectural model. I hope you have enjoyed
this session. See you.
40. Modeling a Forest Concept: Hi, guys, at this session, we're going to model the
forest project as I showed you last sessions as we are
taking a look on the images, try to analyze the curves, and actually in this project, we're going to consider all of the details and
then sketch them, the vertical and the
horizontal Mllons, the columns, and also the
sloped roof and the stairs. So let's get a start. I get back to Rhino. In the top view, here I can enable
the greater snaps and by using polyline, I start sketching
lines by this week, as you can see in the scene. Then I want to
sketch the edges of the sloped roof by using interpolate curves or cars by interpolate points by this way. Well done, then into
perspective view, I select these two curves, and then I display the control points to modify the curve. So right now, I just
the slope of the roof. I move it till it was
enough very well. Following that, I select these two curves,
I explode them. Then I select these
four open curves. Then in the front view, I move them up upwards. Following that, I position
them at heights at this level. Let me move it a little
bit more enough. Then by using a surface, I want to convert them to a surface as we got four
curves following that, I can select my surface, and then by using
extrude surface, I extrude the surface
a little bit. Let me specify the distance, and I set solid to yes. Fell down, let me take
a look at a picture. Here, the extrusion is the
thickness of the roof, as you can see on the picture, so the distance
should be minimized. Here in the right view, then I want to specify the
distance of the extrusion. Well done, then in the top view, I sketch multiple lines. I pick the rectangle,
I activate project. And I want to sketch the
rectangle and the grid lines. I don't want to use
the grid snaps. Then I start sketching
it by this way. Then one more rectangle, but smaller in size. Then I want to select the bottom surface or the
bottom curve, I split it. Check this out. I have set the rectangle as
the cutting object. I start extrude. Then I want to extrude
the splitted parts. To create the stare
like surfaces, check this out, which has been extruded from
inside the surface. However, we can maximize the
distance of the extrusion. So I select it,
then I extend it. Well done. By this way. At the next stage, we're going to
create the frames or the millions and also
the columns. Well done. I pick the circle command, then I start sketching
the columns, for example, from this part and then
by using rectangle, I create or sketch a
thin malon or frame. I select the column,
the circular column. Then by using array curve, I set the method to distance
between items, for example, two point or three 3 meters between H. Then I delete the
last one, the last item. Then by using select
last created object, I want to buy this way. Then I hold down Shift to
select the last item too. I press down Control G
buttons to group them. So then I can
easily select them. Then by using extrude curve, I set it to boundary. I specify the surface
as the boundary, then I extrude D panels.
I mean the columns. Then I select the frame
or demolon however, I can work on it more to
create it in more details. I select the frame, and then I start array curve. I specify a path, and then I array the frame here 3 meters for each and the distance between
each of the items. I select the last
graded objects, then as usual,
control G to group. This time since all of
the items are selected, I do not hold Shift
Control G to group them. Then by using extrude curve, just like the columns, I extrude them to the boundary, and I specify the surface as the boundary. Check this out. And at the final stage, I select the curve. I want to make another curve by offsetting through
point by this way. Then I select these two curves. Extrude curve to boundary, and then I specify the surface or the roof as the boundary. Watch this. Well done. Here's the vs. I press down Alt Control G to activate Ghost display mode
or here in material. I create a new material, and then I click on custom. Following that, in
the custom settings, I can specify a new
color for my object, for example, blue
for the glass walls, and then I increase the
transparency of the glass walls. For instance, 55%. I select the glass, then I assign the material to the object or the glass
wall. We all done. The material is associated. Then in the rendered preview, you can add, I mean, display the viewport as the rendered preview that you
may have it in your pop up. So right now, as you can see, the building is prepared and
the material is assigned to. Let me modify the
color by this way. Since I just wanted to display
a transparent, you know, because of the glass
walls in order to make the inside of the building
visible in the continuation, you had to create the stairs, as you can see on the screen because here, as you can see, we got four buildings that we calculate the
dimensions according to these diagrams or actually
relative dimensions or sizes, and for creating the
ramps and the stairs, we can use extrude linear array, and also a surface. So, guys, it's time to take your time on practicing
the given lessons. If you got any questions
you can ask me.
41. Modeling the Lotus Temple: Hi, guys. I hope you are
doing well at this session. We're going to model
the letters temple together step by step.
Let's check it out. Here as you can see at
the analysis stage, it is composed by three
rows and three groups of surfaces that we're going
to model them by this way. And generally, I mean we
should create one of them, these three parts of
the model temple, and then we're going
to array it and also mirror and array polar. Let's check other images. Here we got a plan
view that we can use it to create or
sketch the top view, and also the front view. I want to use these images. And so, I mean, at the first stage, I import the plan view
in Rhino by this way, then the top view. After that, I place
the picture at the center or the region
point by this way. Here in the perspective view, I import the section view
of the temple into Rhino. I choose vertical option, and then I place it right here. Then I adjust the image, I move it downwards to specify the height of the model in
Rhino by using the image. But for now, I don't
need this picture. I press down Control
edge to hide it. And then for another
one, for the top view, I open properties,
then in material, and then I can increase
the transparency. By this way. By this way, then at the top view. Then here to make sure that the image is placed
at the origin point, I mean, I want to just see
center at the origin point. I want to sketch a
circle by three points, and then I start
sketching like this. Well done. Watch this. Following that, I
select the picture. I start the command of move. Then I make sure that the
center snap is activated. Then I select the
center of the circle, and I adjust it at
the origin point. So right now, my picture is placed at the center or
at the origin point. Select the picture, and then by pressing Control L, I lock it. I pick polygon, then I just
specify the number of sites, then I click on star from
the region point, polygon. I hold down Sat to restrict it, and then I specify the point, and then the next point or
the corner of the star, well down as you can see, the star or the polygon is
matched with the image. Then I can start
offsetting D polygon. Through points, I specify
a point for offsetting. Again, I start offsetting
till this part by this way. Again, make one offset, like this. Check this out. So till now, we have
drawn the main curves. After that, by using polyline, from the origin point, I hold down Shift
till this part. And then I want to use
A Polar. Watch this. From the origin 0.0, 18 as the number of the items
and then the fill angle. I sketch the main curves or the frame of the
fork by this way. Even here I can
create a circle at the origin point like this way. I press down into one
more till this part, the intersection, and
then the next one, I create or sketch another
circle by this way. At the corners or intersections, so we can use these circles for sketching other
parts of the model, for example, by this way, and then one more very well, and then the last one, which touches the
intersections by this way. After that, I'm going to
select all of these curves. By this way, then I
associate them layer one, change object layer, and then I'm going
to rename the layer. For instance, I
specify guideline. By this way, they turn to red, and even I can lock them to make them unselectb but
using these snaps, then at the perspective view, and then I start
sketching the model. Let us take a look at
the picture again. Here, as you can see for sketching or creating
this surface, we need four curves, and as you can see
at other pictures, for instance, here, these two curves are
placed underground. I mean, the vertexes
are placed underground, while these two points are placed at heights
right the climax, and its height is higher than the point which
is placed behind that. So get back to where I know
layer two and layer two. Then from the set of lines, I pick vertical
line by this way. And then from this point, I sketch a vertical line. Following that, I specify
the height of the line or the vertical line based on the imported image
in the front view. So I hight the section view, I mean, the picture
of section view. And after showing the image, I open front view, and then I sketch the
height lines by this way. In order to specify the heights or the degree
or the first level, then I specify the
second level and then the third level by these lines as the
spot elevations. Right now, we don't need
the picture anymore, so we can hide it and then
get back to perspective view. By this way, then I
pick the vertical line, then I extend the line till the level one or the
first elevation. By this way, as you can see. Even I can modify the level, I mean the color of
this layer by this way. I think this is a more proper line proper
color, actually. I'm sorry. Again, the vertical line, then I extended till level
two or the second level. Actually, I extended
less than before. Then I start interpolate curve. I connect the two points. After that, I connect
these two points. After that, another line
let me disable planar, like a triangle here, if I keep the planear activated, the plane would be reserved. I connect these two lines to
each other by another line. After that, at the top view, I select the curves. Then I adjust the
control points based on the imported picture
into top view. Also another one, I
modify the positions of the control points in order
to create the desired curve. Well done, it's time
to select the curves. Then I show the control points, and then I adjust
the curveness along the X axis by modifying them. But note that here we do
not make any changes and the control points
along the X and Y axis. But we adjust the control
points along z axis. Since if we make any
changes or modify them, then we will have some
problems in ring them. So we only modify the
points along the axis. And for the other parts, I can modify their elevations. I move them upwards. And the curves seem to be okay. Let me modify this
one very well. After that, I start at surface. I select these curves
to create a surface. After that, we can have the
surface. Check this out. I can select the surface and
then mirror by this way. As you can see, we have mirror the surface
at the other side. I select them, join
following that, I start the command
of array polar. I specify the center of the array and the number
of the items nine, and then the field
angle. Watch this. So till now we have passed the first stage of the
process of modeling. I select the last
created objects by using this command Selast I hold down Shift to select
the first object two, Control G to group them, and then I right
click on Layer four to set the selected
objects to layer four. Then I hide the level. Okay, let's go for
the next stage. I want to take a
look on a picture formating the next part or
the second part, actually. Here as you can
see at this part, here we got three curves
instead of four curves, one, two, and three curves. As you can see,
the first point is placed on the ground and the
second point is placed at this elevation that we will
calculate the height by using the section viewed and then the last point which is
placed behind the surface. So here again, I select
a vertical line, and then from this part. Actually, it doesn't make
difference. They are the same. For example, here at
the intersection, and then I extend it
till the second level. So I have sketched the vertical line based on the second level
elevation, actually. Following that, I select
interpolate curve. I started from the endpoint, and then I extend the line to connect it to the ground
or to the intersection. And then I sketch another line to connect these
two points to each other. However, I can
sketch it from here, the intersection and then
connect it to the near so that we can adjust the
top and front view. But what is clear in
the images that we can create this surface
by using four curves, not three, as I'm showing, as you can see in the
screen, four curves. So get back to Rhino. Following that, I
select this curve. Then I select the
control points. Then from the top view, I curve the line or adjusting
the curveness by this way. Following that, in
the perspective view, I adjust the curveness of the control points
along the z axis. Also the next line in the
same order along the z axis. Then I start the
command of a surface. I select the curves to create the surface for check this out. I select the surface. Then I want to mirror it at
the other side like this way. Following that, again,
I select the surfaces, Control J to join them, then A polar, the center, known as the number
of the items. Watch this. Then I select all of the
surfaces to group them. Control G, and then I set
them to level layer four, actually, by this way. And then for the last
stage, that again, we're going to move it forward by using a vertical
line at layer two, I extended till the
third elevation. Well done, and then
the next curves by using interpolate
curve and then creating the surface from this point to another point
and then one more line and then from this point till the end
point of the other line, then at the top view, I select the first curve to
adjust the control points to match it with the imported
image in the top view, and then the next
one by this way. In the same way, I place
the control points and the plan view
exactly like this way. And then I want to curve these lines along the Z
axis by p as you can see, and as I told you before, we should only modify the
curveness along the z axis, as I told you before. And following that,
by using a surface, I select the four curves, and then I create the surface. I select the surface
then mirror. By this way, I select
the two surfaces, Control J to join them. Following that ArapolR nine
as number, watch this. I select the items to group
them, hold down shift, select, Control G, and then I assign them to the layer
four, by this way. Then I show the layer four to check the general
model till now. Watch this. And in the next stage, we're going to create the actually these windows
or these store front walls. So let me see. And right on, I want to search for a
line Wait for a second. For example, curve
interpleate point. Then in the top view
from the midpoint, I connect these two point
to each other by this way, and then I select
the control points to curve the line like this way. However, in the future sessions, we will teach you how to extract some curves from
decreated surfaces. But till now, since we haven't covered that or those topics, I consider a small
gap and then mirror. By this way, following that, I select them and
then join them. And then I select this
line or curve extrude. By this way, I select
the surface trim and I trim the surface or the extrusion
actually like this way. And if you want to reduce
the sharpness of the curve, so we can sketch our line
straightly like this. But for now, this is satisfying. And then I select
it array polar, the center of DRA nines items. Well done, then I select
the last created objects. Following that, I press
Control G to group them. So till now, we have created our surfaces so we can select all of the
surfaces or objects, and then I start offsite
surface toward the outside. Then I want to
adjust the distance. I set solid to yes, and then the distance, not 0.03 or 0.05. Let's check it out in order to extrude the
surfaces like this. By this way, as you can see in the perspective view and
the rendered view port, and in the next stage, we're going to model the
landscape approximately. I mean, we're not going to
model all of the details. I turn off the layer four, since we don't knit it, and I assign these surfaces
to layer four as well, and I like the purple layer. Following that, by using
the primary lines that we have sketch that we got them in Gut eline
layer. I show them. After that, I'm going to model
the landscape of building. So to do this, I open top view Poly line from the origin point
till it is endpoint. After that, by using
offset command. So here I can select this line. I want to split it by this way. Check this out. Following that, I start the command of offset. I select this cerre line. Then I specify the
offset distance 1.2 and then at both
sides. Watch this. We got it at both sides. And then by using array polar, I want to array
these two lines at the other parts around the circle nine as
items by this way. After that, by
using blend curve, I select these two curves, and then I blend them ur in adjust curve blend
tangency for both. I click on one of
these control points. I hold down shift. Then I adjust it
symmetrically. By this way. As you can see, we got the curve exactly matched
with the picture. The curve is selected
or actually arc, then array polar, zero a center, nine in 360 degrees. Very well then I sketch
a horizontal line. Again, by using array polar, I'm going to array
this line too at the other part.
Let's check it out. Following that, I can turn off the surface which is
placed in default layer. I select these curves and arcs. And then by using the
command of curve Bolin, let me select them at first. I'm going to create
a closed boundary. At first, I select
the curves and then curve Bolin by this way. Here I can set
output to surface, as you can see, and then I
click inside the curves. Well done. Then right
now we've got a surface, and then by using gumbal
I extrude the surface. Let's check it out. By this way. Then in the next stage, we're gonna del these stairs, as you can see on
the screen that by using a box, By this way. I want to sketch one
of the curves of these stairs or the curves of one of these
stairs, actually. I turn off the picture. Iocurves. I hide them. We don't need it.
Need them, actually. And I disable the isocurves
from properties as well. Then I sketch a box like this for these
stairs. By this way. I move it toward down, check it out, select, and then start the
command of A linear. For a number of the items, then I array the boxes. Then I select the boxes, Control G to group them, and then array
polar, 09 and 360. Then we will have these stairs at all of the
parts. By this way. And if we want to
continue these sketches, I can sketch a line here. Following that, I select
these curves and also the new line let me take
a look on a picture. By this way well down. And also, I select the
polygons. Let me see. I think I haven't selected the right curve A polar, 09360. I hold down Shift and then selected the
last created objects. After that, the two parallel lines and then the
polygons by this way. I select these. After that, I'm going to
start the command up curve Bolin to create a closed curve. Wait for a second. Before that, I want to trim some
parts like these. I trim the extra parts. However, we can keep
them untrimmed. And then in the command
of curve Bolin, we can combine them but since we don't need
these parts anymore, I trim them at this
stage of the work. So after deleting these parts, then we can go for the
next items, well done. Curve violin, by this
way, following that. And then I click
inside the curve. Let us check it out
into perspective view, and then move command. I set it to vertical, and then I move it
along the z axis under the stairs by this way, let me move it
downwards, well done. Then again, I want to select the surface and then extrude it a little
bit by this order, as you can see, then again, I turn on the green
layer or layer four. As you can see, we have moved the modeling process
forward till here. And then by this way, we can model the other parts as you can see in the
picture for ourselves, and then adding more details. For instance, in the top view, I select the curve and then the line polygons
and then curve Bolin. I click inside, watch this. By this way. I
move it downwards. I select the surface. Let me zoom in to check it out. And then by the
gumbo I extrude it. Let me check out the pictures. Watch this. And you can
keep the other parts void. Following that, as the
surface is selected, I start AI polar, just like other
objects by this way. And as you are concerned, we can add more
details to the model. For example, I can sketch at I vertical line at
the distance of, for instance, not 2.6. Watch this. Look. Then I select the line and
then by using pipe, and then the thickness, 2 centimeters, watch this. The pipe is created. I select the pipe
in the top view. I just it's position. Let me check the pictures
of the Lettuce Temple. Since I'm going to
try I am trying to create the railings by array. I select the curve. And then array curve. I specify the path, the number of the items. For instance, 14. Watch this. Then I select less created
objects, control shift. Then I create some
duplicates from the path. Check this out for
the horizontal pipe to complete the railings. Then I select them to
convert them to a pipe. Watch this. I convert
them to pipes. By this way and then I select all of the curves and
then I group them, polar and other
parts by this way. Very well. So by this order, step by step, we can add
details to our model. So I hope you have
enjoyed this session, and I want you to create
the model attentively. Do not ignore the details and try to use your
own creativity. And if you had any
questions you can ask me. See you in the next session.
42. Match Command for Seamless Surfaces : Hi, guys. I hope you
are feeling well. Welcome to the season four, and I hope you've done
the last season homeworks successfully and haven't skipped them since they were very
essential to be done. So if you haven't
done them entirely, please get back to
the previous sessions and make sure that you've
learned all of the topics. So keep in touch with us. You can ask every
questions, you know. I would be glad to be a significant factor
in your deep learning. Let us begin our session. Here we're going to
start with match curve. Actually, match curve matches two curves with each other,
so let's check it out. And let's us change
the curve so that it mets up with a specified curve with a specified
amount of continuity. Here in this example, we got two curves, Watchd match curve. I search for match, you know, to match itself. I click on it to
start the command. Then I specify the curves. Then here, we can adjust
the continuity. Watch this. As you can see, these curves
had met up with each other. And right now we've
got a smooth curve. In the continuation, let
us check out the options. The first point that you should
put it into consideration is that two curves
should be opened. I mean, closed curves are not accepted in
match curve command, and, does it make sense. Again, I start the command
of match curve match, and then I select
the open curves. The curves ends that you specify to match these two
curves is important, for example, check this out. This is the result, but
this time here this time, I specify the two near ends to match let us check out
the continuity options. Here we specify the
amount of continuity, for example,
position. Watch this. If I set it to position, it is not curved, the minimum value or
amount of continuity, as we talked about it
in blend curve as well, here is tangency continuity, which is reasonable,
no normally. And the curvature continuity
that as you can see, the curve is deformed. So our best choice
here is tangency. I click on Okay. This is all about the amount of continuity. But here there is an option
that you should check. Which is average curves. Here if we check the
checkbox of average curves, it changes booth of the curves. So booth of the curves will
meet up with each other, and we will have another curve. But if I uncheck average curves, the first curve that you have specified will be matched
with the second one, as you can see on the screen, and this is the result. Only one of them is
changed. Let's try again. This time, I want to click firstly at the right
one, by this way, and then the left I check
average curves option, the order of specifying
the ends does not matter. If I uncheck average, then the changes
will be applied on the first curve that we specify, which is the right
one and will be matched with the second one. As you can see, let me
give you another example. Let remove these two curves. Then by interpolate
curve, for example, we got such a curve and
then the another one, which are very sharp,
I start match. Then I specify the first
and the second curves. I pick the near ends. This is the average
average curves. But if I uncheck
it, as you can see, the first one is matched
with the second curve. But if I change the order and
I uncheck average curves, watch this, this is the result. The first one will be
matched with the second one. And you know what join does. If we check it, the both curves will be
joined with each other. So that we will have a open
curve, one open curve. By this way. Here there
is an important point. As you are concerned, when we match two open
curves with each other, here as you can see
after matching them, the position that the two ends meet up with each
other won't change. It is fixed as you can see. And this is very significant
and also practical. The place, the two curves meet up with each
other, will be fixed. Another example
about this topic, for instance, here,
we got a curve like this, one more curve. As you can see, there
are two sharp places or intersections
and straight line. And then I curve it by this way. Following that, I'm
going to modify the continuity of
the intersections. I'm going to tangent
them or smooth them. In this point, we got
three curves, three ends. So if I match them, and if I change the
place that they meet up, matched curve will be
changed, too. Check this out. If I set it to tangency
as the continuity, the place that they got
intersection is fixed. I do not join them. Okay. Well done, again, I match
these two and okay. As you can see on the scene, the point that they
meet up with each other is still fixed.
It hasn't changed. However, there is another option when we match these two curves. Let us talk about that option. For instance, interpolate
curve by this way. I sketch such a curve and another one and also
these tree curves. I want to match these
two caves of each other or the other two curves,
these, for example, while they match two open
curves with each other, that their ends are
connected to another curve. Here there is an option, which is preserve other end, which is set to position by default that you can modify
the other end of the curve. I set it to curvature as the continuity to
show you the results. If I set it to position, it doesn't change the other end. But if I set it to tangency, it modifies the other end too. Check this out. It changes the continuity of the other
end of the curve, too. I know it is not that much
practical and useful, and we usually set
it to position, which is a better option. But if I set it to tangency, the continuity is not
neither high nor low. But when we set it to curvature, a higher value of continuity, it affects on other parts. So the option that
you choose for preserved other end
doesn't matter. But as we use tangency, usually, we set the other end
as position. Okay. In the next example,
we're going to match the treaty curves in
the treaty I mean, in the perspective view. Let me sketch two curves and then make them
on non planar. These two then at the
perspective view. I want to move their control
points along the z axis. By this way. Watch this. Here we got a tree
curve, two tree curves. Then we're going to match them. Watch this. As you can see, the two curves are matched. So we can easily
match the planar and also non planar
curves with each other. And it doesn't matter. Another point here
is that if we got two curves with a small
gap between them, we still can match
them like these two, that they are not connected. They are distant to each other. From the top view, let's it out, I start matching them, select, and then watch this. And since they
weren't connected, the average point is considered, which is here as you can see, I'm pinpointing with the marker. They are meet up
with each other. Another example. I
sketch a line here. I specify the midpoint. I'm going to show you
the average point. Watch this buy this way. And if I uncheck average, watch this, it matches the
first one with the second one. I mean, only one of them
will be changed, not both. But if I set it to average, it considers the average point. This is applicable to the treaty curves, too.
Let's check it out. I place them distant to each other and let me
rotate this filled. I sketch a straight line between these two curves to
check the average point. I specify the point, then I match them. Match. I select the
curves, check this out, as you can see, it passes
through the specified point. But if I uncheck average, it connects or matches the first ends or end with the second
one. Not both of them. Well, done in the continuation, I'm gonna I want to
ask you a question, so please think about it and
then told me the answer. Here by interpolate curve, I sketch a curve like this and another curve at the
other side, well done. Watch this carefully, please, and try to think smartly
and answer the question. Following that, I'm going to match these two curves
with each other. I select them, check this out. Then I check average curves, and I join the As V. Okay. Following that, I'm
going to match the other ends. Again, match. And then
I try to select them, but they are unselectb. Why I can't select them? Exactly. When we have
matched the other I mean, the ends and I have joined them, this is a closed curve
one closed curve, and we can't match
one curve itself. Since, as I told you before, while matching, we need
two open curves, not one. So what should we
do here? Exactly. Excellent. We should explode it. So then we have two curves, and then we start matching them. We match the other
ends. By this way. So this was the point,
if you understood. While these two curves
are joined with each other and they are considered
as a one closed curve, right now, we got two curves. But when we match
one of the ends and we check join option, practically here
we got one curve, one closed curve,
not two open curves. So we are not able to match the other ends.
They are unselectb. And for solving the problem, we should explode it, and
then again, match the ends. At first, we explode and then
we start match by this way. Let me explode them and
then match the ends, so that you can specify
the amount of continuity. And the last point about match, which is a sidle point, watch this carefully, please. Here we go these two curves. I create a duplicate. I select this F ten to
show the control points. Watch this. Here there
are the control points. Then at the other curves. Then I move these two
control points to the climax one or the top
one or to the vertex. Actually, I make them
close by this way. Then in the continuation, I'm going to show
you the effects of the distances between the control points and
matching the curves. Here, we got three
close control points. I mean, there is a small gap
or distance between them. While at the others, there is more distance, I mean, between the control
points. Let us match them. Check this out, tangency
continuity and average points, and then this is the result. Check this out. It
is very effective. In fact, as much I mean, as much as we distant
the control points from the intersection point or the point that the two curves
meet up with each other, it increases the continuity. I mean, we will have
a higher continuity. In fact, it continues the continuity between
these two points. Let's check it out. Here we got a higher continuity because of the distance between
the control points. But here we will have more I mean, sharper corner, actually. If I match them, the continuity
is less than another one. It is sharper than
the previous one. And if you wanted to control the continuity of
the matched curves, you can move the control points. And this was the technique. But here I'm going to
give you a similarity and also a difference between
match curve and planned curve. Since, for example,
when we match two curves with each
other, like these two, check this out tangency, we will we have similar results
with plant curve as well. Let us compare them with each
other, interpolate curve. I sketch a curve, and then I mirror it
matched and also mirror. I did another example, we're going to blend it. Watch this part attentively. Well, down here if I blend these two curves
with each other. Watch these two.
Here, as you can see, this is the result of the blend. It doesn't affect on
the form of the curves. And it just adds adds another curved line
instead of the sharp line. And if I trim, check this out. But when we match these
two curves, watch this. It affects on the entire
parts of the curves, while blend focuses only at the intersection or
at the corner, actually. Ilmtch changes the entire
structure of the curve. So this is the
difference between them. But if we had separate curves, if a distance between them, for example, like this. Then if I blend the
first group, watch this. It does not change the curves. I just adds a curved line to connect these two so that we
can control the continuity. But check out match. Watch this. As you can see, it changes
the whole structure, and also they are
trimmed. Watch this. They are totally changed. So despite of the similarities, they got some differences
with each other. I just wanted to show you
this comparison to understand the applications of
these two commands deeply and actually match. I mean, the command
match is very important. I want you to put some time on practicing. See you
in your next session.
43. Practice: Surface Creation Basics 1: Hi, guys, at this session, I want you to create
such a surface. So at first, let us check
out or analyze the curves. These parts are similar, and then from this part, the curvenes or
continuity starts. Suppose that we got a paper
and we have cut this part, and one of the parts is curved. I want you to create
this by match curve, but note that it is created from or composed by two
surfaces not one. C
44. Practice: Surface Creation Basics 2: Hi, guys. In this session, I'm going to create the surface. At first, I'm going to
sketch the bottom curve, and then I'm going
to extrude it. Watch this by Interpolate Curve. Consider such a curve like this, and then I extrude it by
gumbal. Here is the result. Following that, here
as you can see, we got two curves. If we disregard the first one, we should make some
changes on the second one. But both of the curves are
matched with each other. So let me hide this. Here I'm going to shorten
this curve to the new picked at endpoints since I need a specific
part of the curve. So what should I use?
Excellent. I start sub curve. Then I set copy to yes. Since I need the original
version of the curve, then by this way, I specify the length of the curve to work
on it by this way. Since it is required, I move it and place it here. Following that, as we want to
mash it with another curve, I sketch another curve. By this way. Following that, we need to match these two
curve with each other. So it's time to start
the command of match. Match. But note that since these two curves are
similar to each other, we should not make any changes. So I should click at
this one at first, and then the second one. And I should uncheck average
curve since I want it to be unchanged since it is
matched with its original part. So I make my changes on the
first curve and joined. Then I extrude this
curve by this way, as you can see, l control
edge to unhide it. Then by using move, I place it on another surface by this
way, as you can see. Let us it out in the rendered
report. Here is the result. Try to sketch it by your own
45. Surface Creation with Loft Tool: Let us start this
session with loft, which is considered as one of the most fundamental commands
in Rhino for modeling, which connects several
geometries to each other. For instance, let me
give you an example. By interpolate curve, I want to show you its
application and functions. Following that, we will
talk about the options. For instance, consider these. By this way, then I move them in the perspective on X axis. I mean Z axis. Then I start
of I select the curves. Following that, we connect
these to each other. Okay. And as you can see, it
fits the surface through selected profile curves that
define the surface shape, which creates
untrimmed surfaces. So it is considered one of the most useful
commands for modeling. There are some points
that you should know. Firstly, all of the curves
should be opened or closed. For instance, in this example, we got tree closed curves. For instance, I create a
duplicate by this way. All of these are closed
curves that open. I type loft, and then I
start I select the curves, enter I will talk about the arrows later and
the points again, enter, and then I click on
Okay to save the changes. Watch this. Here is the results. And as I told you, all of the curves
should be opened. I mean, either closed or opened. For instance, watch this. Here we got some open curves
that I want to love them. At first, let me adjust their
positions like this way. Watch this very well. All of them are opened, open, left, select, and
then enter, and okay. Watch this. Okay. But
in the next example, I'm going to combine the open and closed curves
to create surface by loft. For instance, I choose these and then the other
closed curves. I select them.
Following that, loft. Watch the message,
the given message, unable to loft, select either open or closed
curves, but not both. So since in this example, we have selected
both of the curves, it is unable to or even we
can use points for loft, if you remember in patch that
the points are important. The points does
matter or do matter. For example, a point here at the center and another
one next to it. Then I move it
upwards by this way. Then I type loft. Select and then enter. Watch this. Right now, we have created the
surface from the points. But let us consider the way that the curves are connecting to each other and also
about the options. So let us check it out what
we got there in the options. Before that, for
preparing the example, let me sketch some curves, and then we will check it out. By this way, I position
them correctly or properly. Then I type loft. Then I select all of the curves, Enter, again, enter,
then in loft options. Firstly, we can
adjust the style. I'm going to talk about
the different styles of the loft here in front view, so we can observe it better. The first one is normal. In normal style, as you can see, the curves has been connected to each
other in a curved way. I mean, the surface is an average amount of
stretching between the curves. And this is a good choice when the curves are proceeding in a relatively straight path or there is a lot of
space between the curves. Let us check out
another, which is loose. As you can see in loose, the surface control
points are created at the same locations as the
control points of the original. And this is a good option if the control points
will be edited later. I mean, the control points are passing through the curves. And to show you
the more details, I click on O and
then let's check it out in re frame
style. I press down. I tend to show you
the control points. And here as you can see, the control points are
passing through the curves. And the surface control
points are created at the same locations as the
control points of the original. You can see, but if you do
not understand the point, let me explain the low
style in a different way. For example, let me
love this again, and then here if I specify the style in
normal, as you can see, we got higher continuity, but in los, we got
less continuity. I mean purvness is less
than normal style, as you are concerned
and as you can see on the screen by this way, and the next style is
straight sections. If I set this style
to straight sections, it creates a rolled surface, and the sections between
the curves are straight. As you can see the curves
are connected to each other straightly
and the sections between the curves are straight. And the other styles which
are tight and uniform, which are the same as normal. At first, I set it
to normal style. Let's check it out. I zoom in, watch this, then compare
it with tight. Watch this. Tight, the surface closely
follows the original, and this is a good choice when the input curves are
going around the corner. And also in uniform, it makes the object
not vectors uniform. But there's a big difference between normal,
tight and uniform. These are practical in the
industry of jewelry, actually. But in the field of
architecture and structure is not that much
practical. Normal, loose. The continuity is less
than normal, and straight, as you can see, the sections between the curves are straight. Okay, watch this.
Following that, let's try these styles
in some open curves. For instance, here by
interpolate curve, I sketch these
curves by this way, then I select these to
mirror them by this way. Then I select them a ten to
show you the control points, then I make them non planar
by this way, very well. By this way, as you can
see, consider this, filled. Following that, we're going to check the different
styles of loft. I start loft. I select the open curves, Inter check this out. Here as you can see, the style is set to straight sections. As you can see, this
is the style loft. That it has created
a rolled surface, and the sections between
the curves are straight. Watch the normal.
This surface is an average amount of
stretching between the curves. Loose, less continuity,
straight sections, as I showed you before. Okay, and the others
are alike normal. So, guys, these were the
different styles of loft that I gave some examples in
both close and open curves. But here there is a point that
you should know if you got two intersections or
actually two profiles, at that condition, a
style does not matter. And then the style of the
loft will be surely straight. I mean, straight sections. Check this out here as
we got two profiles. We can't modify the style. So if we want to try
different style of lofts, we should have at least
three profiles or three curves in both
open and closed curves. For example, here,
as you can see, they got three profiles, then we can try
different styles. So for modifying these tiles, we should at least have or
have at least three profiles. But if we got two open curves, then we can create
the surface by loft. I mean, either loft or
a surface. Watch this. Watch this. As you can see, it is exactly like loft. Don't be confused in choosing the proper way for
creating your surface. Since I mean, exactly, I mean, mostly in simple surfaces, you may have multiple approaches for creating your surfaces. And later, you will see that. Some of these surfaces
can be created by several commands of modeling, which is normal in Rhino. For instance, if you got only two curves for
creating a surface, you can either use
loft or H surface. But if we had three curves
or profiles like this, then at this condition, H surface is not
practical anymore. It doesn't work out. Watch this. So here you should use loft. Watch this. This is the differences between
these commands. Or, for instance, in other
types of sketches like this, you get a triangle, for example, I show
the control points. And then I make the
curves non planar. Can we create a surface by
loft here? Absolutely not. It is not reasonable
and accept it. So as such a condition, a surface is the best choice. So as you can see,
according to the situation, you should decide
the best command. But in some other
situations like two curves, having two curves, you can
use either of the commands. So do not be confused, since in some of the
conditions and situations, you may have
different approaches. But after practicing,
you will get skilled at choosing the best command. But here, I just wanted
to show you that in some of the conditions
you may I mean, it is possible to create
a surface by a surface, too, and we are not
constrained to loft. Actually, in loft, if you
had more than two curves, you're able to close your curve. For instance, I mirror
it by this way, and then I rotate the
curve by this way. Here we got three
curves, for instance. Well done. Following that, if I select these two
curves, watch this. And then here is the normal
style, as you can see. We're not able to
close the loft. But following that, if
I select three curves, I mean the curves
or the profiles should be at least
three. Watch this. Right now, closed
curve is available. After that, it connects the first and last
profiles to each other. As you can see, by the way. So you should have at
least three curves. Following that, I'm
going to show you the different styles in such a curve or
surface, actually. Here is normal,
and this is loose. Watch this. They are not
passing through the curves, and then let's try
straight sections. That these sections are I mean, the sections of the
curves are connected straightly while you are
lofting some curves or lines, it is important to know that if the curves are joined or not. And as you remember, we talked about the joining of the curves in a surface, too. Let us have a review. As we talked about in
the surface command, I told you that the
joining or exploding the curves is very important in creating a
surface by surface. Actually, this is
applicable to love too. I mean, it is important to
join the curves or not, since we will have
different results. Here in these two curves, I'm going to give
you two examples. One of them joined and another
one is exploded surface. Watch this. This is
their differences. As you can see, these are exploded while another
one is joined. The relation between
the curves does matter. But let us talk about the joining and exploding
effects on loft. Here in the next example
like stone, for example, a building, which concepts
stone or something. By this way, I create
two interpolate curves. Watch this. Well done
the perspective view. As you can see, I select
the control points, then I move it upwards. Then for the corners, as they are very sharp, I'm going to round the
corners by using match curve. Let me move the
downward, well done. Right now, this is not similar
to a piece of a stone, since the corners are sharp. So match curve. Then I select this
curve to match them. Well done, average curves. Then if I check join, as you remember, then it curves you'll be
joined with each other. As you can see, we
got a single curve. So we can't match the in
other end. I explode it. So I uncheck join
while matching them. Let's check it out. I select these curves and
then match. Okay. Well done. Then the
others, I match them. I just forgot to uncheck
join. I'm sorry. So let me explode
it and then match, select and then
match, well done. Right now, we got
such a geometry. Following that, we're
going to convert these to surface by using loft. For instance, while
these two curves are joined with each other, we're going to create a surface. Let's see out the result. Loft and then enter
following that, you will see we will have two close curves which are
connected to each other, as you can see, and this
is not what we expected. Right now, explode them. And then I want to love
them here as you can see, we got four curves,
four open curves. I love them. Let's check it out. I can close the loft and then, okay, watch this.
This is the result. So some parts are not
necessary to be joined, and you should know this point. In the next example, the curves should be
joined. Let's check it out. I select the curves, remove, and then in
the new example, if you remember the Kimble art
that we sketch the curves, I'm not sure if you
remember or not. Let us have a review. I pick the rectangle
center point. I sketch it. Then the vertical line
for instance, like this, then I create some duplicates, make some copies at the four
corners or intersections. Then I made another copy. Then I can click on a
scale and then minus one to rotate it right now as
you can see this mirrored, F ten to show the
control points, and then I extend these curves
or lines straight lines. Let me just position, well done. Then I rotate the
geometry by this way. What was the next
step? Blend curve. Watch this. But I uncheck join. I don't want them to be joined, so don't forget to uncheck join. Here, as you can see,
they are exploded. Then the other curves to be
joined to be blend, actually. I blend others, and then
the last one. Very well. Following that, I'm
going to create a surface by using these curves. Here I can select these for
curves and then loft them. But these curves are exploded. These are not four. Et's
count them. We got three. Let us love them. I select
them, and then loft. Watch this. It
doesn't make sense. So as a condition. It is necessary to
join these curves. So as in the conditions that I told you in the
previous examples, I mean, some curves
should not be joined. They should be exploded. At this example, the
curves should be joined. Otherwise, we can't have
the expected result. But you don't have
to select each of them one by one and
then join them. You can select all of them, and then click on join. Then the curves which got the possibility to join will
be joined with each other. Watch this. Then we
will have four curves. This way you can
speed up the process. Well done, following that loft, and then select, check this
out ter straight section, and then close loft. Watch this. Here was the result. So
by the given examples, we learned that in some
of the situations, we have to join the curves, but in some others, it isn't I mean, essential to join them. They should be exploded.
The continuation, I'm going to talk
about the points that they are shown
in love process. I give you a simple example, then I explain it. Here at this polygon,
for example. Then here by this way, I move it upwards. Then I type loft, select the curves. Okay. I'm going to talk
about the sin points that they are here
to be adjusted. As you can see here, we can drag SIM points
to adjust them, and they are called SIM points. Check this out. Dig
SIM point to adjust. Here there is two important
that you have to know. Position of the sin points, and the other one is the
direction of the sin points. That we specify
them by the arrows. Firstly, let us talk about the positions of the sin points. Actually, the sin points closed cross section curves connect the two ends of the curves.
Intercheck this out. This is the result. Undo.
Again, if I love them, and this time to
drag the sin points, for instance, shake this out. It is rotated. Or this time, I specify a new position
for the in points. Watch this. As you can
see, this is rotated. So by specifying the positions
for the same points, we can specify the rotation
of the geometries. Following that, there are some points that I
want to tell you. So let me sketch a more
complex geometry or curve, then I will cover all of
the points and the topics like a deformable circle
12 as the point count. So while you wanted to sketch the same geometry of
the deformable circle, you can use the 12 point
count as well by this way. Here I select every other
control points on this circle, and then I scale it, hold down shift to create
such a form by this way. After that, I hold
down Alt button, then I position it here. I maximize the size well down, and I create another
copy from this one, and then I position
it right here. Very well. Let us try the loft. Here I start the command
of oft, watch this. Here as you can see, the
SIM points are being adjusted automatically as you can see they are
set to automatic, which attempts to
align the same points and directions without
interventions. So when we set it
to automatic mode, it specifies or selects the SIM points which are
close to each other, or in other words, it gives us the aligned
sin points and directions. Normal style, check it out. This is the result. Following that, if I make some other changes in the
curves like scale or rotation. If I rotate this,
check this out. For example, like this angle, then the M point
will be changed. Do you remember how do we
check the SIM point positions? Curve SM exactly. I start curve sm. Then if I select them, as you can see, we got the sin points, we
can adjust them. This is changed. Well done. When I love these curves, since we have set
it to automatic, it gives us aligned in points. I mean it disregards the main sin points of
each of the curves. So automatically, it
attempts to align the sin points and directions
without intervention, and then this would
be the result. But while lofting the curves, if I set it to natural, then it moves the M points to the way they were at the
beginning of the command. As you can see on the screen, it does not align the M points, but it choose the natural in points or the way that
they will be I mean, at the beginning of the command, that which is not
frequently used, actually, I will tell
you the applications, but we usually use automatic
mode so that we can have regular and aligned sin points and directions and then enter. This is the result well done and another mode or style is flip in which we can reverse the curve
direction, left. And then here as you can see, this is the
recommendation by Rhino, which has been set
automatically by default. You may want to modify them. You can use click and drag and then change the position
at the sin points. For instance, the other
one, check this out. You can adjust it at
your desired way. By this way, you can rotate the geometries or the
surface, actually. So let us have a review while
we are lofting the curve we will have three options in specifying the
positions for same points. The first one is automatic
and you don't have to click on automatic
since by default, it attempts to align the sin points and directions
without intervention. In automatic mode, it disregards the natural positions for the sin points of
each of the curves, so it selects three or
more or other sin points and directions which are
aligned with each other. But if I set it to natural, it moves the sin points to the way they were at the
beginning of the command. Which is not that much, I mean, applicable and practical except in some special occasions. And in other choice is
to choose automatic, and if we want it, we can modify the positions of or adjust the same
point like this. Either we can flip the
directions and then, okay, in the continuation to
teach you or give you a more deeper understanding
about the concept, I'm going to give
you another example. For instance, I sketch this a complex curve
for a new example. I deform the curve done. Let me modify the position
of control point like this. Very well. Following that, I'm going to array this
curve, for instance, five items array, array
polar by this way, I specify center of the
polar array actually, I specify the approximate 0.5 as number of items
and then step angle. I specify 60 degrees, and then for the z offset or Z axis offset distance, 15 meters. Watch this. This is the result. So this example, we covered some other
applications of AI polar. Be reviewed by this way, okay. Following that, we're going to select this curve
and then of them. And then I'm going to talk
about the three options of, select, watch this. Here the automatic
mode for sin points. Enter, watch this. As you can see at this
condition or example. These in points are not well
adjusted in automatic mode, so we can't rely on
automatic mode always. So let us try a natural mode. I select the curves,
as you can see, then I choose natural to
consider the natural sin points. Well done. Okay. Check this out. As you can see, the result is better than the previous one. So at this example, we learn that at
such a condition, natural can be a better choice
than automatic. Well done. Let me give you another
example when I mean, if we modify or just the
sin points manually, for example, consider
this square or rectangle. Then I'm going to array or make some duplicates
by this way. I make them distance
from each other. Following that, if I
love these rectangles, then automatic check this out. Then if I choose natural, then we will have
the similar result. So we have to modify
them manually. Since these are the
natural and also the automatic sin points, but I want to rotate them. So I can modify the
bi click and drag. I just the sin points. Watch this by this order, and then the Last one. Watch this. Press down, Enter, take this out. This
is the result. The box is rotated. A, and by adjusting the
SIM points manually, we can rotate the surfaces or control their
continuity or whatever. So this shows this showed the significance of the
positions of the sin points. What about the direct
in the continuation, I'm going to talk
about the significance of the directions
of the sin points. In this example, we got a polygon and other
polygon inside that, and I move it upwards
by this way very well. In the previous example, we learned that if we modify
and adjust the sin points, we can control the
amount of rotation in the surfaces and then model or design the surface
in the way we want. And this is considered a tool
for designing the surfaces. What about the direction? For that note that the geometries or the
curve are connected to each other from the aligned
surface aligned In vertexes. And where the sin point is positioned is vertex number one, and the direction determines the order of the numbering
of the vertexes. So here I start left, and then I select
these two polygons. And then here are
the sides where the sin points
planes are called, for example, number one. And then, according
to the directions, we're going to number
the other sides. So which one would
be the number two, left or right, exactly
the right one. Mm hmm. And at the bottom one, if this is the number one side, then the next one or the right
one would be number two. So this would be the left. But this time, if I
flip the directions, if I click on the directions,
we can flip them. Watch this example carefully. So since we have flipped the
direction of the same point, here if you want
to number decides, then the left one
would be number two, since the direction
has been changed, and the direction should
not be tangent to decides. And here as you can
see, the direction is toward, for example, left. So the direction of the
rotation would be toward left. But if I flip the direction, then you will see
that the direction is tangent to the side
of the polygon. But if I flip it is not
tangent to the side, but there is no difference
between these two, since we have just
modified the direction, numbering design starts from the sin point and according
to the direction. We have changed the top one, but the bottom one
is not changed. I note that here the position of the sin point and
also the direction specifies the vertex as that are going to be connected to each other. So
let's check it out. Since we have modified
the direction, the numbering has changed. The direction has flipped. So this would be the
result of the loft. So we do not use
the directions of the sin points for
designing issues, but we should check if they are at the same
direction or not and then set their directions
samely or alike of each other. But we do not have a
correct or wrong direction. We have to specify similar directions for
both of the geometries. But if you created
your loft and then you realize that you haven't
specified the correct direction, then till you haven't
clicked on Okay, you can modify or
flip the direction. You and Align curves in the
direction will be shown. Then as you can
see the directions are opposite to each other, then I click on it to
filip it. Let's try again. Look, I click, watch this, then we will have
the expected loft. Watch this. Finish.
Let's try again. I start loft, and then I select. As you can see, both of the
directions are aligned. But in the continue
in the continuation, I want to modify one of
them or flip one of them. You can click on Flip and
then click on the direction. Or even if you don't
do not click on Flip, if you click on the
direction, you can flip it. But assume that I have made a mistake or I had
made a mistake. If I press Down Enter, we will have a
preview of the loft. And if you have of
options as bill, but how do we can fix it? Until we haven't closed
the loft options window, we can apply our
changes on the loft. For example, by Align curves, we can align the directions. I click on align curves. Let's check it out,
and then I click on the directions as you can see
the directions are shown. And then, for example, the top one, I click
on the direction. I mean, I click on the point, the same Point, it filips
the direction, well done. And then o buy this way. So by using a line curve, we can flip the directions. Just try again, left. I select the curves. This time again, I modify the direction,
intentionally, enter. Then I consider the geometry. I decide to fix it. I do not cancel it. It is not necessary to cancel it
and then loft it again. Align curve, then I
click on the SMPoint. Following that inter,
I flip the direction, then I will have the loft. But note that by align curve, we can't adjust the sin points. But we are unable to or available to modify or
flip the direction only, not readjusting the sin points, as I showed you in
the previous example. So before lofting, you'd better to adjust
the sin points in the analysis stage and then specify the position of the sin points and
then create a loft, since you won't be able to readjust the CM points
after creating the loft. But by align curve, you can only flip
the directions, and then I click on
Okay By this way. Let us talk about another example so we
can learn it deeply. In the top view. For instance,
by interpolate curve, I sketch a curve like this, and then I mirror it
at the other side by this way. Well done. Let's check it out in
the perspective view. I move it close to the origin. Then I'm going to rotate the
mirrored version 90 degrees, and following that, I move
it upwards. Well done. Following that I'm
going to love this and then apply the newly
learned lessons on. Then I select them. Enter, take this out. First of all, note that we
have to adjust the sin points. Then we can check
the directions. As you know, this
is automatic mode. You're natural. As you
can see by natural, it moves the M points to the way at the beginning
of the command. And especially when we want
the love to be aligned and we are using similar
geometries and they are aligned with each
other, we can use natural. But right now, I'm going to
teach you how you can check the direction of the rotations
and if it was needed. I mean, edit it
if it was needed. So if you want to
flip the direction, for example, right now, it's to right and you
want to flip it to left. An important point
here is that while specifying direction
of the sin points, we do not use left or right
or up or down directions. So we associate it to a specific part of
the geometry itself. You as you consider
this difference between these two
ends of the geometry, you may want to associate the direction to
the smaller side, for example, so we
associate the direction to the specific part of
the geometry itself. But if we associate them
to some directions, we will mix up the directions
but by modifying the angle. So we consider them as the
criteria of the direction. For example, let us
check other geometries. Direction is toward
the sharper corner, and then the another
one, as you can see, the direction is toward
the sharper corner. So the direction is
aligned, heck it out. This is the correct result. And if I close the left, then this would be the result. We'll talk about it later
in the more examples. But let's try again loft. The first rule, you should specify the sin points
or adjust them. And secondly, we can
adjust the directions. But if you wanted to adjust the sin points
manually, for example, for example, I adjust the sin points on
the sharper corner. In this example, I
don't want to use the natural directions
or sin points, or suppose that we don't
have similar geometries. Well, done, let me
modify this one. At the other side I place
it. Then the direction. Here we got two curves at
the bottom and at the top. I adjust the direction
toward the bottom curve. So I associate the direction
to the bottom curve. For example, let's check
the other geometries. Is it okay or not the
direction I'm in? Is it toward the bottom
direction the bottom curve? So I should modify it. But this time if you
agree, I do not fix it. So in the continuation, we will fix it by align curve, but I just wanted
you to learn how to recognize the directions and
fix them. What about this? As you can see,
this is not toward the bottom arc or curve, actually. But here
you may say that. We can solve the problem
by only modifying one of the directions and just
get toward the top curve. But actually go okay to
show you the results, and then by align curve, we will modify the
direction. Watch this. This is not the expected result. For example, in left options
and then align curves. Following that, I
analyze the loft. I should modify this one. I click on the point, then as I follow the direction, it corrects the loft or
surface by this way. So no that, you can specify whatever you
want for the points, but it should be able to create specified rhythm at the
specified direction. Watch this. In the next example, let us check the open curves, for instance, such a curve. Consider this. I'm going to exemplify this case by
using these curves. Here, as you can see, we do
not have sin points here. Since in points are
only for closed curves, while the open curves
connect to each other from the two ends,
for example, loft. I select them, loft welda. As you can see, we
got the curve based on the aligned ends
of the curves. But how would it be correct? If we select the lines
or curves one by one, and as you're concerned, you should choose similar
ends or aligned ends. For example, the right
ends in the first one and then the left
ends in the second one, and following that, again, the right end at the third one. Check this out. Watch this. Following that, if I
select the curves again, the similar ends
are aligned ends, then this is the expected
satisfying result. But if I choose not similar
or non similar ends by this way, how can I fix it? Exactly by using aligned curves, we can fix the surface. I mean in aligned curves, we can align the ends
of each of the curves. And as you are concerned
in the open curves, we do not have sin points, but we got ends instead. So we click on align
curves to adjust the ends. Check this out here
as you can see, we should filip the middle one. I click on the point, watch this, the endpoint, and then the surface
will be okay. Interokay. So align curve in
the open curves can adjust the endpoints of the curves instead of sin points
in the closed curves. Following that, we can have the revised version
of the surface. Guys, I understand this lesson or session actually is very long since we got too
many details to cover. So if you are tired, you can pause the video and
take some rest. And note that if you
have laughed at some of the geometries and you see that the only
choice is straight. I mean, for this style,
which means that there is a problem with the
curves or the profiles. Let me give you an example, for instance, here
in the top view. Interpolate curve by this way, then I continue
another one like this. And I want to sketch the
next one at the middle, but I do not sketch it correctly
by mistake, for example. As I'm just giving
you the example, I'm sketching the curve
intentionally by this way. Following that, in
the perspective view, I select the control point, then I move it upwards. Following that, I
want to loft it. I start loft, and then I press down
Enter, check this out. You style is straight section. The only choice is
straight section. Only this style is available. So at this condition, you should fix or revise
the profiles or the curve. Recommend you to check
out the intersections. So in the top view, I zoom in to check out the
intersections or connections. As you can see, I select it. I select the control
point, and then I move it. I place it at the corner,
and then the another one. I select it by this sway and then I
move the control point, I place it at the
intersection or the corner. But again, it is not
positioned correctly. I zoom in. So by using the snap optic snap
grid snaps, watch this. I love it again. Then we will have the normal
style, for example. And even other styles are
available. Well done. I'm going to use this geometry or this example for
covering the next point, but check out the surface. It's like a shell. I mean, this is not
the expected result. I didn't want to
create it like this. I mean, I wanted the curves to be
connected to each other, cover the surface, not to void. I mean, the result
is like a shell, as I told you before, while
I want it to be like a roof. How do we can modify the automatic style or model
in lofting the curves? While we loft the curves, and then we click
and drag a window, we do not specify the order of the connections or the
loft between the curves. And this is all based on a
preset or predefined order but if you got a specified rhythm or order of connections
between the curves, you should select the curves
in order and one by one. Let's check it
out. I start loft. This time, I want to choose the curves one by one, in order. And as I told you before, we should click
at the same ends. For example, this one,
and then the next one and the third
one. Check it out. Well done, or, for example, this one, first, second
one, and the third one. And this is the previous result, which is not satisfying. Let me give you another example. For instance, watch
the image or picture, the Technical Museum,
fresh the food, feed. I'm going to sketch a schematic
form of these geometries. And then I want to sign it as your homework to
sketch them in detail. Here, as you can see,
we got them like bowls, them upwards by this way. So let me sketch some circles. You know, I don't want to
create them very precisely. Since I want to leave it for you to work on it
as your homework. For example, I sketch the
food, the first circle, and then the top one, which is greater, I create
a copy or duplicate. Maximize it. And
then the inner one, which is smaller,
I get back to o. And then I hold
down Alt and Shift, I create a duplicate while
scaling it by this way. Well done. We don't want to
go through other details. I hold down Alt,
move it upwards, I minimize it, and then
upwards, minimize very well. Here if I love these
curves or circles, and then I click
and drag a window, then this would be the
result. Check this out. I want to set the order myself. I mean, I want to skip the second one connection
between one and the third one, and then connect it to the second one and then
the fourth one. So I should specify them one
by one to set the order. The first one, third, one, second one, fourth
one, and fifth one. Let's check out the
results. Watch this. Well done. However, we can
activate the record history. We talked about it before. If I record the history, it records the curves
and also the commands. So that later we can modify the curves a
46. Exercise: I'm sure that you have worked on all of the practices
and examples. So you are skilled at
working with loft. So this session, I'm going
to work on another example. So after this session, you can schedule yourself and
assess your own creativity. But for the next projects, I want you to create
them at first, and then I will model them. Here as you can see, we
got the mobius twist, which is a one edge
geometric surface with only one continuous
side and form as by giving a 180 degrees twist to a long narrow rectangle and then connecting the
two ends together. Here as you can see,
we got to perspective, plan and also the top view. And actually, you have opened
the rhinople so we can analyze it better or
understand the geometry. As you can see, you want
a geometric surface with only one continuous side
formed as by giving a 180 degrees twist to a
long, narrow rectangle, and then connecting
the two ends together. So let's start in
the front view. Following that, I'm going to
consider a geometry for it. And now the form does not matter with the geometry.
Let's check it out. For instance, like this,
by interpolate curve, I'm going to consider this as the main geometry and
as you're concerned, this geometry is
going to be repeated, and each time we're going to rotate the geometry at
your specified angle. I specify a point. I specified on the
geometry to consider it as the origin point in all of
the other geometries I mean. Since when we're going to
rotate the geometries, this is going to be the
rotation point or center. You can specify the quads. It doesn't make difference. For example, here,
following that, you'd better to group
it with the geometry itself so you can select
them at one time. Watch this in the
perspective view, and then since I want to rotate it in relation
to the origin point, I position it at a specified distance
with the origin point. I mean, I want to
rotate it like this. Well done, following
that, in the next step, I'm going to specify the
geometries that I want to create the mobius with here as you can see the minimum number for
creating the mobs two, I mean, at least we
need four geometries at four corners so that we can connect these four
and then create the ring. But if we increase the
number of the geometries, so that we will have a
smoother ring like a circle. So I'm going to consider
six geometries. I'm going to place
the geometries at each 60 degrees angle. So I'm going to create
copies or make duplicates, six as number and rotate each of them 60 degrees.
How can I do this? By Ara polar exactly. I'm going to specify
the center region point as for the rotation
or array, actually. If we had a circle, we could have find the center by the Gritty Snap, watch this. Well, we can't find
the Center of this. So but I'm going to
tell the technique. Here, there is a command
for finding the center of the geometry which
is area centroid, by which we can report at the report the coordinates
and the places a point object at the area centroid of a closed planar,
for example, curve. Check this out. This
is the centroid. However, later I will talk
about this command, too. Okay. I select the curve. Then I start ARA polar I should specify the
center of polar array, which is the centroid point. I specify the number of
the items, which is six, and then the field angle, 360 and z offset. I specify Z for the z offset. I mean zero. I set with
a yes and then enter. Well done. We got six curves, 60 degrees for each. Well done. Following that, I'm going to place
each of these curves at each 60 degrees angle. First of all, I
fix the first one, then the next one, and then
I go on R O to rotate it. And then the center of the rotation zero
the origon point. And then I click,
check this out. Note that if you enter
a negative value, the rotation will
be anticlockwise, and a positive value will
give us a clockwise rotation, 60 degrees, for
example, clockwise. Then the next one. Here it is. Then I rotate it, decentra
rotation, origin point, then I click and import
the angle 120. Well done. Next one. Zero as the
region point, well done. Then I click, I specify
the angle, 180 degrees. I go on the next one, 240 degrees for the last one, I'm going to rotate
it anticlockwise. I import a negative
value -60 degrees. By this way. Well done. Then I select them
to ungroup them. Since while I want to love them, they should not be grouped. I ungroup them
following that loft. I select the curves,
not the points. So be careful. By this way. Or press down and tear. Here as you can see, this
is the automatic mode. The SIM points have been specified by Rhino
itself automatically, but we want to adjust or
readjust the sin point. Let me show you again.
Again, I select the curves. I ungroup them, but why? Since the curves have been
grouped with the points, and we should not select
the points for loft. Or even I can hide the points by filter or selection filter. I write click on points, and then I select the points, I delete them, I close it. Then I start loft. I select the curves, Enter. As you are concerned,
the same points have been specified by
default automatically, which is the result. No, this is not the
expected result. So what should we do? We
want the natural points. I mean, we want to
move the sin points to the way they were at the
beginning of the command. So I set it to natural. Well done, since we want them
to be rotated or twisted, and this is what we expect so that we can breach to the twist. While in automatic style, it attempts to align the sem points and directions
without intervention, and you don't have to
check the directions. So just press down Enter, then check out the
result or the geometry. Then if it was needed, we can
modify or edit directions. We'll fix it by align curves. I press down into,
take this out. It seems to be okay, but I should close the loft
to continue the surface past the last curve and
around the first curve. So we can create
our mobius twist. If there was a problem
with the directions, by align curve, we can fix them. By this way. Right now, we want you to put some time on creating the mobius twist. Don't forget to use
your own creativity.
47. Exercise Explanation: Right now it's time
to start working on this project precisely,
and I will help you. So for creating or lofting these curves or circles
precisely in details, you'd better to sketch the front view like
this, as you can see, and then according
to the front view, you can sketch the circles
and then loft them. And the other points
are given previously. So guys give the try.
48. Project: TWA Museum Exercise (Part 1): So let us sketch the
TMW Technical Museum. First of all, as I told you
in the previous session, it's sketching the front view. Then I start by
Interpolate Curve. For instance, here
as you can see, this is not our best choice. It won't be that much precise. Look, it is not satisfying. It doesn't meet our needs. However, we got some
straight lines. So what should we
do? Look at this. This is not what we expected. It is curved, not straight. So we can use the other one, which is control point curve. I pick it, and then I start, and then I specify the points
like this. Check this out. No, this is very great. Hold down shift by this way. And then for the top part
like this, very well. Great. However, I can extend it to maximize
the height by this way, or even I can pick
this and then extend it like this, by this way. You got too many choices
for the addition, but I want to consider
this. Okay? Watch this. Watch this part carefully
since there are a bunch of points and then
here the first circle. I picked it, then the center
point as this well done. Then this next one. Here we need several profiles to create the expected
form or geometry. I don't have a precise number, but we have almost
multiple circles. Are you coupon sketching
circles? Zero. But this time, I want to move
it upwards along z axis. So I don't want to specify the center point at the
region point, actually. Circle. Watch this technique. I do not type zero. I enable grid snap. After that, I hold mouse
here, but I do not click. Then yes, of course, I hold down Control button. Then I move it upwards since I want the
circle at the heights, but I haven't specified
the center yet, and I move it upwards till here. Then I position it
right here, well done. By this way. Very well. I'm going to do this technique, use this technique several
times, so watch it. I pick circle again. But I do not click. I hold down the mouse. Then I hold down Control, and then I move it upwards, for example, here, and then I keep on using
this technique. Select, holding down control, then move it upwards and then specifying the position or sketching the
circle by this way. And then I continue here
if you are getting tired, you can skip this part since
it is repetitive. Very well. And the last one.
Fight this way. And as much as I mean, the more circles that you
sketch for lofting them, you will have the better
form for the curve. I mean, for the loft, actually. You will have a smoother loft. So the more curves, the more the smoother curve
or surface, actually. However, I recommend you to use an optimized number
of circles to have the best result,
not wasting your time. So I'm going to
fix my statement. You have to specify the
optimized number of circles. And here as you can see,
we got a curve or arc. It better to pick. I mean, put more circles. So we can model the curve
precisely and smoothly, again, hold on
control. Very well. And here we got a straight line. So there is no need
to more circles. I turn off center. And the next one
here, very well. By this way. Here, and then
here we got a curve line. So I'm going to
use more circles. By this way. Let me go on. Thanks for your
patience very well. And then the last one
check this out very well. Then it's time to loft them, and you'd better record the
history while you are lofting them so that we can edit
them if it was needed. For example, you can scale
the circles or move them. Let us loft them and then
check out the result. As you're concerned, we cannot
click and drag a window because the order of the selection of the curve
doesn't matter here. So I want to choose
them one by one. Watch this like this. Like this, well done. After that, I press down inter. The rhythm is correct. Okay. Watch this. If I set it to normal, the form is almost
correctly sketched, but the mal part is not okay. Let me show you the
image or picture. Watch this. They are different. So here we're going to
use record history, and while we are lofting, we can revise it. I mean, this is not
my recommendation. I'm just going through
another approach. So this is another approach
that you can use it. And it is applicable
to watch this. For example, I
select this point, and then I scale it,
scale the circle. The other one by this way, I minimize it. Well done. As you can see, it
is getting better. But my recommendation
well below these curves. Again, I record the history. I click on it when I loved it. Then I select these curves
in order. By this way. Check this out. I
select them. Well done. I press down inter
and then very well. Then here if I set the
style to lose, watch this. As you can see, middle
part is straight, and this is what
we want or expect. Normal again, check this out. Here as you can see, some
of the parts are curved. We've got some ups and downs. But if I set it to lose, watch this. It is
getting straight. So the problem is
that at here, I mean, at the corners, it drains the curveness or
continuity, as you can see. But if I click on Okay, as you know, we have
recorded the history. So we can select the curves
to increase the continuity, for instance, and
move it upwards. Watch this so that we can increase the continuity
or scale it, maximize the size, and then
move it upwards by this way. Mm hmm, like this. Check this out. We can easily increase the continuity
and edit it, maximizing and moving upwards. The next one like this. Here as you can see if
you got sharp edges, I minimize the size
and move it upwards. So this is my
recommended approach for modifying the geometry. But here there is a point
that you have to know. Here as you can see if
you had sharp edges, you can make some circles
close and then sketch them. And if you hadn't
the expected edges, you can sketch some circles
close to this circle. I undo the process. I'm going to use the
another approach and then show it to you. Then I select them. I create a copy or a duplicate since I'm
gonna camper them. I loved it, then I set
it to lose a style. Watch this. I love
it one more time. Here, there is a point that I
want to tell you, actually. So so just let's check it out. By this way, loft. Loose. Okay. Well done. I'm talking
about the edges. Right here. We're going to modify the continuity
or the edges. For example, rounding
the edges or make them sharp or sharpen them. But here as you can see
the continuity or curve, here is the corresponding circle at the place that we
got the continuity. I'm going to sketch some
other circles around it. I create a copy. I mean, I'm going to create a smoother curve
ness or continuity. I create a copy and then
I place it close to last one original one and one more copy to
place it at the top. Then I minimize it a little bit. Then by using scale, minimize it. Very well. So since we have increased
the number of circles, we can control the continuity. Let's se out the result loft, and then choosing or selecting
the curves or circles. Watch this. We got more circles. I choose them in order, and following that, we're going to compare these two lofts. In turn, check it out, loose. As you can see, we
have controlled the continuity,
rendered viewport. Let us check them out
in the front view. I zoom in to show
you the details, check it out, Campare them. As you can see the loft is
more close to the curves. In the second one. Or to put it short, we have control the
continuity with the circles. So at the curved
parts at the parts of the mile in which
we got continuity, the more circle will bring us the more smoother
or smoother edges. Meanwhile, the hollow
is more deeper. Deeper than the first one. If you want to fix the top part, and we can easily fix it by just modifying the curves by using recorded history,
can modify them. Again, left I'm
recording the history, and then I select the curves
in order by this way. Watch this. Well
done, left, enter. And then, okay,
this is the result. Then we can select the top
curves and then move them, or I select the last one, and then I move it to
right by this way. Well done. You know, you can fix it by
moving the last curves. So there is no limitation
in using the code history. By this way you can
meet your needs. So, guys, I want you to put
time on sketching this. Don't forget to
consider the points.
49. Project: TWA Museum Exercise (Part 2): Hi, guys. I hope you
are feeling well. Here it is the considered
assignment for you that you're expected to
create it by using sweep. First of all, at
the analysis stage, we try to recognize or
distinguish the main curves. For example, the curve here, it is repeated four times. There's a distance between them. As you can see, as it moves up, the cross section
is getting greater, and here is the file that you
can understand it deeply. Here, as you can see, we got
four sweeps by this way. Here is the plan view. It's just like a square. Watch this. We got this, which is array, and then
this would be the result. And for more information or
explanations about the model, I remove three of the sweps and I keep one of
them. Watch this. Here, we got the path
and the cross sections, and I remove the
form to show you the path and also
the cross sections. So this is what you're
going to sketch. I mean, this would
be the main curve. As I'm marking in the picture
as the rail or as the path, following that I should
specify or create three cross sections at the
ends and at the middle. And the middle one,
as you are concerned, is greater than the others. While the cross sections
at the ends are mirrored. So we need a rail at first that you have to be
skilled at creating the curve or rail and
then the cross sections. That the cross section
curves are three rectangles, two of them are
similar to each other, but the other one is
greater than the others. Let me give you some
explanation about rail. You can sketch it in the
front view if I explode. This is one of the parts. It is extended
upwards straightly, and then it is curved. But do you remember how did
we sketch these curves? A curve curve which is composed by a straight
part and a curve part? Exactly, we use control
points curves. Watch this. By this way, as you can see. Right now, I just
created the rail, from the front view, we can create the rail and then mirror it
at the other side. But here, as you can see
or as you can observe, the cross section is not
exactly on the curve. There is a small distance or gap between the cross section
curve and the path. Let me explain to
you in the picture. Here are a few sketch
and square I mean, hypothetically, at the
base of the model, then we will have
the four corners of the squers at the four
corners of the model, which got intersections
with the cross sections. And as I told you before, there is a small
distance between the rail and the cross sections, the base cross sections. So because of that, there is a distance between
the two sweeps. So back to Rhino,
as you can see, we have considered
a distance from the corner of the skuer
the cross section. If you want to keep
these relations, I recommend you
creating a screw at first and then start
sketching the rails. And then after drawing
the rail or the path, you can go for the straight
the cross section, as you can see on the screen. We got two rectangles at the cross sections at
the base cross section, which is angled, I mean, it is not vertically actually
vertical or small angle. Watch this. If I just
from the top view, relation to the square, it is angled or rotated, and the inother one is mirrored. And the top cross section, which is a greater
cross section. And the point here is
that check this out. The top side of the
rectangle is aligned with the rail and also
tangent to the rail. Let us check it in
the front view. Watch this. As you can see, the top side of the rectangle
of the cross section I is tangent and also
aligned with the rail. So if you do not
adjust it correctly, you will have some
straight sections, and you can't create
the expected form. After creating the path
and the cross sections, join the rail and
then sweep them. This was the whole process
of creating the muddle. Guys, give it a try,
put time on it, then I will do it step by step
together and I explain it, but don't forget to use
your own creativity.
50. Wavy Ceiling Surface Design: I hope you have created the roof successfully,
and if not, you can watch this
session carefully and then try to create
it after this session. Let us check out
the images again. At first, as we were supposed to cureate one of these surfaces, as you can see,
there is a curve. For now we don't
consider the thickness. Here we got a surface which
is twisted at 180 degrees, and then it is extended. Somehow it is similar to Mobius, but along a straight line. So get back to Rhino. Following that, in
the front view, I sketch a straight line
like this, for example. Well done. Following that, I'm going to array the polari. I select the line and
then array polar. By this way, in the center
of the polar array, I choose the center point, number of the items. Actually, the number of
the items does not matter. But as we specify
a higher value, we will have a smoother
surface, as you are concerned. I told you, in the
mobius modeling process, I mean, at least we
need four geometries, but we used six. So I specified the number of the items, for example, eight. Following that, here you do not specify the
value of that offset. It won't be an offset
between the items, actually. So I want to specify
value five, for example, for that upset and let me
check out the image again, the roof envelope diagram. As you can see, it is twisted. I told you 180 degrees. So I specify a field angle
180 degrees. Watch this. Following that, as
much as I mean, more value for z offset, for instance, ten,
then the twist will be more smooth or
smoother, actually. Let me show you the
image. Watch this. I mean, here, we can
control the amount of rotation or twist by the
specified value in z offset. For instance, if I set three, it won't be that much smooth. But if I set ten, so then we can control it
better. This is up to you. You can specify
whatever you want. And I think ten is okay here. It's proper. Then I press
down Enter. Well done. So I used A polar, and then I specified the
value for offset ten. As you remember in the
previous sessions, we have used it in the vertical geometries for lofting the tower,
if you remember. Well done. Let us
take the picture. We have modeled the middle part, the Mjol, which is
the twist part. However, there are some
straight parts, too. I mean, these straight parts at both sides are not
equal to each other. One side is more extended. So to do this, I'm going to
make some copies by this way, and one more copy to
create the extended part. For example, I create
four copies, well down, then at the other side,
I make duplicates. By this way, and
this. Watch this. Here I have put too much space
between the curves since I don't want the twist to be at the middle of the surface. Then I love them. I
select all of the curves, then loved, well done. Check this out. Very simple. We could create it. And
also the twisted part. Then we're going to array it or propagate
it. I make a copy. I delete the curves, and then for the next one, where at first I
make a duplicate, and then I want to mirror it. Watch this. I set
copy to no. Look. Then I select it to move it, and then I place it
right here. Watch this. I mean, the twisted parts are not going to be aligned with
each other. Watch this. As you can see, they
are not aligned, and the module is
repeated symmetrically. So by this way,
you can create it. And if I array them linear, for example, 30 as
number of the items. I specify a path,
check this out. Then we can easily
model a part of the roof of the
airport by this way. I undo the process, and in the next step, I'm going to create the volts. Let's see. I take a look on a picture. Let's check it out. For instance, here,
as you can see, one side is slanted and then the other side is
straight. It is so simple. As you can see the
modules are not aligned. I mean, every other module
is extended at both sides. I mean, the lateral modules are not aligned with each other. Get back to rhino. I delete one of them,
the copied one. I want to curate this
slanted and a straight vt. So to do this at the next step, we're going to use
a simple approach. However, we got
multiple approaches. But the quickest one is to hold down Control and
Shift and select this. After that, I click and Gumble and then
specify the dimension. For example, -40, watch this. This is the quickest approach. Then the other side, I select the curve and then
Control Shift hold down. I click on Gumble, and then -40. Then I slant it by this way. Then at the Perspective view, as they are exploded, I select them to join
them by this way. After that, in the top
view or plan view, I create a copy, then I mirror it by this way. Then I connect it
to another one. Then I can trim some
part like this. Then it's time to I
mean, after trimming, decide the end,
it's time to array, select and array linear. 30 has the items. And then by this way, you can create some
parts by this way. Well done. Try to
sketch it yourself, try to use your own creativity so that we can go through
the next project.
51. Workplane Modes and Selections: In this part, we're
going to talk about the s plane or the
work planes, actually. But how do we can modify them
or adjust them or set them? She plane actually
are similar to work planes in Revit
or UCS in AutoCAD, that we could modify
them or switch them. I mean, we can modify them or set them based on our needs. And in Rhino we got a
tab named C planes. I click on C planes. Here there are some tools, as you can see that by these tools you can
modify your Cplane. Let us talk about the
options and check them out. The first one is set C
plane origon which enables us to set the construction
plane in the active viewpoint. If you remember while we
were working on a project, I recommended you to work
around the origin point. Suppose that this circle is
represented of a project, so I press zero and then
I sketch the circle. I may consider this as
a block of a project. However, there is another
block for our project. Suppose that this square is
related to the next block, so we can specify
two origin points. We want both of these two blocks to be
placed at the origin point. I mean, when we are switching
between these two block, we want them to work based
on the origin point. So at such a condition, we can modify the origin
point temporarily. So here, we can click
on set C plane origin, and then I enable
Center, watch this. Then I place it
here, I set it here. So this is our temporary Cplane, which has been set here. So, for instance, here if
I want to sketch an arc, and then want to array it. For example, array polar, if I press zero, the origin point will be
the center of the array, so it could be very useful. By this way. However, I
had a specified offset. So set origin enables us to set the construction plane
in the active viewport. The next one is set
C plane to object. Then it enables us to set the construction plane in the active viewport
to an object. For instance, suppose
that we got this, we got a surface, buy this way, and then then we're
going to have some drawing on the surface
like sketching a rectangle. As you can see, it
is not available since the work plane
is not the surface, but we can set the surface or the object as our current
plane. I may check this out. If I sketch the lines, if I press down inter, then it will be
placed on the Cplane. Unless I use snap to the edges
and for the first point, then we can't specify
the second point. So in the continuation, we're going to set the surface as the C plane or current plane. By using set C plane two object, we set the construction plane in the active viewport to an object to the surface,
actually, for example, here. So I click on the tool, then I should
select an object to orient C plane two. I
click on the object. Well, the watch this as you can see the C plane is
aligned with the surface. As you can see it just like UCS in Autocad or Work
planes in Rabbit. We can sketch the
rectangles on the surface. Let me change it again. I select, and then I set to
the other side. Watch this. Then I can sketch
my rectangle or other drawings easily
buy this way. Well done. Following that, I
want to reset it. Here, as you can see,
we got three tools. These tools can bring us
to default current planes, default sea planes, actually. While we are at the
perspective view, right now, do you know the view which
is equal to the s plane? Exactly. It is top view. Here if I choose set
C plane over top, then it sets the
construction plane in the active viewport to the
volt top construction plane. So if I click on it, then it brings or return to the default default mode or the place in which it has
been at the beginning. Right now, we got deep
construction plane in the top construction plane. For instance, suppose
that here we got a box. I hold down control and
shift and choose the edge, then I bring it down to slant it or make this slope,
make this slope. Then I'm going to
work on the roof. I set the sepaling to the object to the surface. Watch this. Then one more box. By this way, I create the extrusion on
the box on the surface. And then I set it in the top
view or to the default mode. In the next example, if we had a curved surface, I sketch the curve and
then I extrude it. Following that, I'm
going to set the object as the C plane to
show you the results. However, it wouldn't be that much satisfying. Check this out. The average of the surface
is considered as the Cplane. So in the curved surfaces, plane is not practical. However, we got another tool or actually command for
the curved surfaces, which is set plane to a surface, which can set the
construction plane in the active viewport
to a surface. If I click on the
surface, check this out, then we should specify
a C plane origin, and the specified
origin point will be perpendicular to the surface. So we click, and then we specify the axis direction or
we can hold down shift, and then we click to
specify the axis direction. Then we will have the plane. Let us try again, so watch this part carefully. I click and set Z
plane to surface. After that, I should
Click on the surface. After that, I should specify the plane region or we can press Inter to accept
the default one. For example, here, I
specify the point. Then I should specify
the axis direction. Then I should click here I rotate the plane,
watch the result. The plane is tangent
to the surface, but the direction
is rotated slanted. So if we wanted to, it just the exact direction, you can hold down
shift or you can turn on Eartho to
restrict the direction. Following that,
you can click and specify the direction.
Watch this. I set it to the default
mode or top view, and then the next
item or option. Next item is set the plane
perpendicular to the curve, which enables us to set the construction
plane in the active viewport perpendicular
to a curve. For this, I sketch a
curve for the example, a non planear curve
like this. Well done. Following that, if I want
to sketch S, Circle, which is rounded, I mean, around the curve, we should
use the sea plane, actually. I pick the tool, then I
click on around curve. Then I click on the
curve to sketch the circle or specify the center of the
circle on the curve, and then watch this. Here it is. Around curve is available for the commands
of circle ellipse. And the polygons, actually.
Again, round curve. I specified the center of
the inscribed polygon. But if I want to sketch a
specific and complex geometry around the curve or perpendicular to the
path, what should I do? Actually, we should
modify the Cplane. However, there's
another approach, but this is a good approach too. Actually can set C
plane perpendicular to curve, perpendicular
to curve, then I should specify the curve and C plane perpendicular to. Watch this. Then we can
specify the Cplane organ. The C plane will
be perpendicular to the curve at that point. After that, I can pick the interpolate curve and then sketch it around the curve. Watch this. Let us try again. I pick it, and I should select the curve to and C
plane perpendicular to. After that, I specify
the Cplane origin point. Great. Then by the single
line, for example, or polyline, we can sketch it
perpendicular to the curve. Well done. Then I set it to
the default mode or top view. These were the most practical
ones in the continuiton, I'm going to talk about
some important points. For instance, we are working
upon these surfaces. Then I select the surface or the object as the C
plane. Watch this. I have set the work
plane or C plane to the object on the object.
Then I sketch something. I want to switch to
the other surface. Again, I remove the C plane, and I click on the
other surface, and then we can move
for Varti process. I mean, this is the
most useful tool for modifying or
switching the Cplane. Again, we're going to
consider this surface. Let me delete this. After that, I'm going to work on this side. So I Set plane to object. As I told you before, this is the most
frequently used tool in modifying the plane. Then I select the surface and then sketch my, for
example, rectangle. Then I go for the next one. Again, set plane to object, then I click on the
another surface. For instance, this
time I want to sketch another rectangle here. Following that, if
I want to switch back to the previous surface, available to click on I mean press Down Control
Z. I mean node that control are undue does not
work out on the seaplane. It undoes the
drawings, actually. The press down control
Z check this out. It removes the rectangle. We got the sea plane, but
the sketching is removed. But how can I go for
the previous sea plane? How can I switch
back the seaplane? Here, there is another
specific tool for this, which is undue seaplane change, which set the
construction plane in the active viewport to the previously used
construction plane. So we can set the previously
used plane control set. But also it undoes the sketch, not the sea plane. But if you wanted to
undo the plane change, you can use this in seaplane tab that you
can undo and also redo. If I press down the
left bottom mouse, it moves to the previous one. If I press it down again, it returns to the default one. But periodically, you can
reduce sea plane change. I mean, you can set the
next construction plane. However, there are
some times that you are working upon two
sides of a building. For instance, like this, I sketch a rectangle
by this way. Then I want to switch
to the previous one. So I click undo change
plane plane change, then I go for the previous one. After that, the next
one, redo, watch this. I mean by these two tools, you can switch
between two Cplanes or two surfaces
sequentially or to switch between the previous
and the next one by using undo Cplane change and
also reduce plane change. But note that it should it
could be very practical. If you wanted to return
to the first sea plane, you don't have to click
on undo seaplane change. You can click on
set seaplane orltop then it would be set
to the default one. The last point about the sea
plane is that the changes in sea planes only applied on one
of the views or viewports. Let me give you an
example, for instance, here we got the perspective
right front and top view. I set them to the shaded
display mode by this way. For instance, I delete the sea plane into
perspective view. Following that, in
the perspective, I set the sea plane to the
top surface of the box, as you can see, but
in other reviews, the plane has not changed. I mean, if I continue my
sketch in the top view, take this out into
perspective view. So the sea plane change in the perspective view does not
effect on other viewports. So if you have changed your sea plane into
perspective view, you should continue your sketch into perspective view too. This was the final
point that you should put it into
consideration. Practice the given
lesson, see you later.
52. Selecting Object: In this part, we're
going to talk about the tools in the tabs of select. So we're going to talk about
the selection tools here. The first one is select A, which selects all the objects
by this way as you can see, and even you can
use control plus A buttons instead of
clicking on Select O. And the next one is select none, which deselects all
of the objects. Check this out. I selects them. The next one is invert
selection, which is useful. The invert selection,
I'm command, deselects all selected
objects and selects all visible objects that were
not previously selected. For example, I it all of the
objects except the curve. So instead of selecting all of the objects and then
deselecting the unared one, we can select the unneeded one, for example, the curve. Following that, I click
on Invert Selection. Then it deselects
the selected parts and selects the
unselected objects. By this way, the next one is
select last created objects, we have talked about it before, we select the last created
objects in the scene, for example, the surface. I mean the last created or
the last trimmed object. I mean the last
modified, actually. The next one is select
previous selection. For instance, I select this object or this box,
then I deselect it. After that, by select
previous selection, I can select it again. And the other options are very
simple like select points, which selects the points. Only the points or for example, select polysurfaces, which only focuses
on the polysurfaces. Then if I click on
select polysurfaces, which one of the surfaces
won't be selected? Let's check it out. Here it is. The single surfaces
hasn't been selected. However, there are some options
in select polysurfaces, like select polysurface ss. It selects the polysurfaces,
as I told you. The next one is select open
polysurfaces, by this way. So it does not select the
closed poly surfaces. And next one, select closed
poly surfaces by this way. Right now, I try to tell you
the most important ones. However, if you want it, you can just read about others, and the next one
selects surfaces. Check this out. It selects
the single surfaces, and it does not select
the poly surfaces. Let us check out the options. These two are very useful. The select untrimmed surfaces. As the name shows, it selects
the untrimmed surfaces. What do you think
about the result? What is the trimmed
surface here? I mean, which one
is the trimmed one? Exactly this one, since this is a trimmed
surface, not untrimmed, which has been created
from a closed curve, a non planar closed
curve, which is patch. And as you remember, patch
creates trimmed surfaces. Check this out. Fy
clic trimmed surfaces, select trim surfaces.
Check this out. It is selected. In other words, by these two tools, you can check out the trimmed and untrimmed surfaces
in the scene. The next one is about selecting
curve, as you can see, I click on it, then we will
have the curves selected. All of the curves
will be selected. Here, there is some options. Let's check it out. For
example, select curves, all of the curves I meant or select open curves. Watch this. The open curves are selected, so the closed one are not
selected or the closed curves. Watch this. The closed
curves are selected. And then the next one
is select polylines. As you can see, the
polylines are selected, and others are curves, not polylines, and
also the single lines. You get only one single
line, as you can see, which is selected right now.
What about the other one? Check this out. It
is not selected. Actually, I have sketched
this by curve. Watch this. As you can see the name is
open curve in properties, not a line or polyline. And the next one is
select plane arcves. I told about you about
the plane archves. So this tool selects
the plane arcves. So which one is the
non plane ar cave, as you can see?
Absolutely, this one. I click on it. Select. All of the plane archves
are selected except the non planar one. Very well. Here there are some techniques for selection that
I want to tell you. So let's check them out. By default, when
we want to select, we cross a rectangle
by this way, by click and drag,
as you can see you are crossing a
rectangular window. However, we can control
the shape of the cross. For example, by clicking on select B circle, I
can click on it. After that, by click and drag, you can cross a circle instead
of crossing the window. So we can draw a circle
to select the objects. I try again, check this out. So by the circular selection, we can draw a circle and then select the objects
inside the circle. By this way, what about the
application of this tool? For instance, here we got a surface, a deformable surface, the U point count, for example, four D, and also viewpoint
count for D. Check this out. Press down F ten. Following that, I want
to draw a circle to select some of the
control points and then move them upwards. I click on circular selection. I zoom in, watch this, then I draw a circle in order to have a
circular selection, so it could be useful. And then I can extrude it or move it upwards, for instance. However, there are some other
cases like for example, let me see. Select by brushing. This select by brushing commands select objects based on
painting a thick brush stroke. So we can click and drag
and then draw the stroke, and the objects touched by
the stroke are selected. So let us try again. I click and drag or click
repeatedly to draw a stroke, and then by default,
uses crossing select. Objects touched by the
stroke are selected. Check this out, and
after finishing, right click, watch the result. However, there are some options here like polyon
which is set to yes, and the selection mode
is set to crossing. For example, in
crossing, I mean, white, you can
specify the brush te. You can narrow the vive down, watch the S 20 by swing,
then I right click. And finally, here we got selection filter that we have used it before.
As you remember. Here we can get access to
filter from either this way or from clicking on Filter here from the bottom. You
can get access to it. Following that, if I want to
select only the surfaces, I uncheck others and
then keep surfaces. I right click on
surface and then I click and drag or
cross the window. So we can either use the
selection toolbar or the filter. It's time to practice this part.
53. Advanced Tools: Fillet, Chamfer, Offset: Hi, guys, at this session
we're going to talk about filleting and chamfering
the surfaces. So for Filting surfaces, you can type Fillet
SRF by this way, but Fillet itself refers to
the lines for the curves, we're going to use filet
SRF for filet surface. However, we will talk about the fillet edge in
the future sessions. But right now, we're
going to cover filled surface. I select it. And if you wanted to find the
icon here in surface tools, here it is fillet surface. Well done, at first, we should specify the radius. For instance, five degrees. Then I should select the
first surface to fill it. For example, this one, and then the second
surface to fill it. Well, done, let's check it out. Then it fill it the two
surfaces do fill it surface. Here, there is another
part which is trim. It is set to yes, which trims the
original surface to the intersections with
the resulting surface. However there's other options, yes, no and a split,
as you can see. If I set it to yes, it trims. If I set it to no,
it does not trim. I mean, it does not trim the original surfaces to the intersections with
the resulting surface. So we got the surfaces and
also the original parts. I mean, we got the
curved surfaces independent to the
original ones. But the other one was split. If I set it to a split, it splits the original surfaces at the resulting surface edges. I select the surfaces, and then I let them, as you can see, they are not trimmed, but they are splitted. For instance, here you
may want to associate a different material
to them or you may want to keep
them or whatever. However, you can
apply the polysurface on masses like a box
like this. Let's it out. But here, there is a point
that you should know. I start filling surface, five as radius, then I
want it to be trimmed. I select the first surface. Then the second, check this out as you can see other
phrases are left. But if I trim other
faces or other surfaces, then it would be it wouldn't
be that much satisfied. So we should use
another approach that I will tell you
in the future session. Should know that we use
filled surface only for two connected
surfaces, not more. I undo here if I had two surfaces that there were small gap between
them like this way, we can fill out
these two as well. But you should know, Dad
your specified radius should be more than the
distance between them. Fill a surface, I
start the command. I set two for radius,
then check this out. It does not support, since the radius is
smaller than the distance. Or, for example,
this time I set six, and I select, check this
out. I would work out. So if there were a gap between two surfaces and you
wanted to fill at them, you should know that
you have to specify a greater radius or a radius which is greater than
the gap or the distance. And the other command is
variable filled surface. Check this out variable
filled surface, which creates a round tangent
surface between edges of intersecting surfaces with
varying radius values. Here is the icon variable
radius surface filet. I started then I should
select the first of two intersecting surfaces
for variable radius filet. Then we can specify
multiple radio for the two intersecting
Surface edges. At first, I should
select the first of two intersecting surfaces
for variable radius filet. I select the first one. Then the second
intersecting surface for variable radius
fillet. Watch this. After that, I should select
filet handle to edit. After that, the handles
will appear on surface. Then in the continuation, I'm going to specify the, for example, beginning one and then three or
five for the end. So if I want to modify the
radius at each of the ends, I click on the points. You can either
modify it manually. I mean, you can use the
grip on the edge to move the handle along the edge or you can type a new
radius distance. I click on it, for
instance, five. I press down Enter, and if you want it, you
can set preview to yes. Watch this. Trim and join, which is set to no,
as you can see. It trims and joins the resulting surface to the
input surfaces. Watch this. I set it to yes, L. So I again start variable
radius surface fill it. Then I should
select the first of the two intersecting surfaces. Here is the default
value for radius. Hereby can click
on it and specify another radius value
like tree. Watch this. One more click. As you can see the default value
is following that, I want to set zero
for one of designs. I mean, totally sharp and
six for the other side. I click on it, and then
I type the new value, which is zero,
Inter. Watch this. It is sharp and then I
click on the other side. I specify six and then Inter. Well done. By this way here, I got a question for you. Can we specify or select more than two intersecting
edges or surfaces. Now that you can add more handles for the
filags. Let's check it out. I select the surfaces at first. Here, there are two grip
handles by default. Here, as you can see, by clicking on at handle,
I click on it, then I can specify
the other handle by the position it like a
dissenter or other positions. Then after adding the
handles, I press down Inter. Now the handles are fixed. Then it's time to
adjust the radio. For example, the beginning
of the intersection, zero and zero for the end two. Watch this. Then for
the middle handles, for example, five, and then
three for another one. Look. Then if I want to modify
the position of the handle, I click on it and then select a new fillt
handle location. I turn off the Snap Green snap, and then I specify the location, and I want to move
another one, too. I click on the point which
is placed on the line. By click and drag, I move it by this way. Following that, if I want
to add another handle, I click on that
handle, then I click, then one more after
adding the handle, I press Inter when it was done. Then we can modify the radius. I click on this
0.2, for instance. Following that, here,
here as you can see, the grips are for
modifying the radius and the handles are for changing
the filet locations. No 0.5 by this way. Again, I click and drag the handle to
modify the location. And then if I make it too
close to another handle, it ruins the fillt so the distance between each of
the handles doesn't matter. So make sure that there is enough space between
each of the handles. By the handles, as you can see, we can move the location, and then by the handles, we can specify the radius. They feel a radius
manually or even type the new value and then pressing down
when it was done. By this way, rendered view
port, let's check it out. Can fell at them very
smoothly, by this way. Shaded. So let us
check other options. So we can review the
command variable surface. I choose the surface set. Then we will be given two
handles by default, at handle, by this way, inter if you
wanted to change the location, by the handles, as you can see, and then by the grip, you can specify new
values for the radius, by the movement of the mouse
or even typing by this way. Other option here
is copy handle. So it is clear that
you can create a copy from handle and then place
it wherever you want. Then after it was done, you can press down Enter
or by remove handle, you can delete the handle. By the sway, then press Inter. Then for the set A, you can specify a radius or a value and then set it
to all of the handles. For example, if I want
to set all of them on one and then modify
them, for instance, set all the radius
for all handles like one then after
setting them to one, I can move the other creeps by mouse manually like this way. And then others are not
that much practical, but trim and join. It trims and joins the resulting surface
to the input surfaces. So if I set it to no, it does not trims
the input surface, but it adds the fillet. And we usually set it to yes, since it is more useful
and practical and in tear, and we can apply the
changes on the box, too. And as I told you before, the other side will be
remained handle and inter. Watch this. This is the result. As you can see, other
sides are remained, but not displaying the preview
refers to the suffer bug. But if there was a distance
between the surfaces, for example, these two, I set
a small gap between them. Then I start variable
filet surface. I select the
intersecting surfaces. As you can see, it
doesn't work out, because we should make sure that input surfaces intersect. Otherwise, the filat
failed or fails actually. However, they can be
crossing each other. I mean, at least they have to
be intersecting each other. So in all invariable surface, the two surfaces
should intersecting. Watch this by this way. So as a result, the gap or distance between the two surfaces
is not accepted. Actually, we got
all of the options and details and points
for Chamfer too. I mean, chamfer and fillet
are similar to each other. Here, we got Chamfer surface, which creates a line segment
between two input curves and trims or extends the curves
to meet the line segment. First and second, watch
this by this way. Can specify the distance
the first chanfer distance, for example, five and two, and I set trim to yes. I select this and then
well done by this way and actually extend here is not that much practical.
I mean, applies. It applies when the
arcs are chamfered but need to be extended to meet the fillt curve
or chamfer line. For instance, in this example, I'm going to show you
the practicality. Here, as you can see,
our two surfaces are distant to each other. I select them to chamfer them. You can see, it
does not work out. It failed to create chamfers. But this time, I trim
one of them by this way, and then chamfer.
Let's check it out. Again, it is failed. Here I'm going to
exemplify in no case, suppose that we got two surfaces that their heights are
not equal to each other, for instance, like this. I mean, they are not equal, but this way I extend it, I extrude each of them, and they are distant
to each other. Then I start Chamfer. I specify a distance. The distance should
be more than the gap or distance between
the surfaces. For example, eight and eight. If I said extend to no, then this would be the result. Watch this. If I set
extend to yes, watch this. Here as you can see,
as the surface says, need to be extended to meet the fillet or meet
the hanfer line. The arc is extended. However, we got it
in the fillts too. I mean, it is not
that much useful. I fill it, if I
set extend to no, I specify the radiate. This is the result
when extend is no, is set to no. But if I set it to yes, check this out,
this is the result. As I told you before, it is not frequently used, since it is not useful
among the user. As you are concerned,
we can apply the chamfer and the box
two Chamfer surface. I specified a distance. I trim I said trim to yes, but why this way, and a chamfer. Actually, we got variable
surface chamfer, too. I start the command, then I should
select the first of two intersecting surfaces
for variable radius chamfer. Then we will be given
some handles and grips. You know what just like
the variable fillet, we can add copy and
remove the handle, just like the filet variable
variable filler by this way. I don't want to take time, so let's check it out again. Add into yes, or specified by
the movement of the mouse, set preview to yes, and trim and join, yes, handle, enter by this way. Check this out.
This is the result. And I want to tell you the final point about
chamfer and fillet. If you had two surfaces
like these two, that are crossing through
each other by this way. I select them, and
then I extrude them by gumball by this way. Then if I want to trim
the extra parts from the input or original
geometries, what should I do? Yes, we can trim them. So I pick trim command to
select the cutting objects. I select all of them, enter, and then the objects to trim. By this way, I trim them. But what is the another
approach that it is used in autocat too sometimes? Exactly. We can use fill it and specify zero for the radius. Filled radius at zero, then I select them, watch this. It gives us the same result, the same approach that
we use in auto chat. There is another command
that I want to tell you. After that, we can finish the session and I
let you to practice. So that we can go
for other projects. The next one is offset variable. As we talked about
offset before, but we're going to talk
about offset or variable offset or offset
surface variable. So let's see what it is. For example, in the front view, I sketch a curve by
interpolate curve. Then I'm going to
create a surface and for extruding them, I'm going to use
offset, actually. However, we can use extra two, but I'm going to go
through offset, not extre. But I want to extrude
them variable. I mean, variably. For instance, we got these curves. Let me make it non planar. I move the control
points down by this way. Great. Following that, loft. I select them and loft. Let me move the curve. I'll move it downwards. Well down by this way. Here is the given result. Following that, I'm
going to extrude it. For example, offset surface. Let's give the try
offset surface. Inter and then to up, and then the offset
distance three, set solid to yes by this way. Then I want the thickness or the distance variably or in
a way that it is changeable. So again, offset
surface variable. I search for offset
surface variable. And as I told you
before to do this, we should use offset surface
variable in surface tools, here variable,
offset of surface. Offset surface as you
can see next to it, and then the variable
offset of surface. However, we can type it
in the command line, variable, offset
SRF by this way. So, guys, let us have a review. To do this, we should use
variable offset surface. You can find it in surface two, variable offset of surface, next to the offset surface. However, we can type in the command line of
variable offset, SRF. Or variable offset of surface. I start the command. Then I should
select the surface, the variable offset by this way. Then the shape handles will be appeared. Let's check it out. Here I click on the
grip or handle, then we can adjust the dimension by the
movement of the mouse. Even we can type a value for the offset distance
at that region, as you can see the similar
to variable fill it. There you could click on the points and then
move them by the mouse. I mean the grips,
and you can also import or type the
value manually. For example, I click
on the other one, and then I reduce the
offset. Offset distance. As you can see, you can
specify different value for each of the corners
or intersections. And in the variable, we do not have solid, since at any condition, the two surfaces are not solid. Let us take the other options, variable offset, set, just
like the variable chamfer. We can specify a
distance, a value, and then set it to all
of the handles or grips, just like variable
fillet and chamfer. So following that,
you can adjust or set a similar or equal value
to all of the handles. I set a similar value
to all of the handles, and then I modify
them, for instance, two, and the other one I select and set zero by
this way, well done. And at handle, it
is like I mean, just like variable
fills and chamfer. If I click on it, then I can specify positions
for new handles. By this way or other points for specifying or adding new
handles. By this way. And if you wanted to
add another handle, you should again
click on a handle. There is a small differences between variable option and
variable chamfer and filet. Since after adding a handle, the command or
option is canceled. So at handle, then
I add the handle, and for other handles, I should again
click on a handle. Then I can adjust a distance. Then if I wanted to modify
the position or location, I click on the handle, I click and drag. You can modify their positions. And if you wanted to
modify the direction, you can click on Philip. By this way, press down, Enter. But if you wanted to cover
the faces to make it solid, since we do not have solid
option, we can use loft. Loft, then I select the edges, surfaces, and then I loft them. Following that, other
edges, check this out. Click and loft. Well done. I note that for
covering the faces, the lateral faces for the surfaces that you have
used variable offset, you can use loft
just as I told you. This is the result surface which has been created by the
variable offset surface. Practice this session, then
I will go for the project.
54. Exercise Explanation: Hi, guys. I hope
you are doing well. As I told you in the
previous sessions, you have to do all
of the practices. And also the exercises
from A to Z, watch the videos
and try to not skip the examples so that you're allowed to go
for the next part. So if you haven't practiced
the previous lessons enough, just tap the video right
now and try to get a skill at them so that you
can start this project. Note that watching the
videos and the episodes doesn't necessarily
teach you anything because you need to put
them into practice. So you have to delve into the
practices and the examples, put them into the consideration, ask questions, so you can
activate your learning process. Let's check out the project. At first, let us see the
pictures to analyze the project. At first, as you can see
here we've got the plan and the front or the
elevation views, the diagrams, the section views, the plan view, check
this out by this way. Here as you can see, there are some filllets as you can see, but as you can see, the
origin part is not trimmed. So while we are using fillt, we should set trim to no. Great. Exactly, in
order to create the fillet and also the origin
parts will be remained. Told you before, at
the first stage, before we want to
sketch a project, we should find out or
realize the main curves. So the main part
in the project is the analysis of a form or
a geometry or the project. And so far we have
been practicing on analyzing the forms and
realizing the main curves, and after reaching to
understanding about the geometry, it wouldn't be that much
difficult to finish the project. So here I have prepared the
plan view and the diagrams, as you can see the plan view and the section and north
elevation view. And as you are concerned, you have to start from
the roof plan view and the bar arrangement. We're going to start
from the main curves. Our main curves are, for example, this
arc, as you can see. Here it is in the
plan view, the arc. So you should sketch this arc. Here it is. Then we're going to use mirror to mirror the arc. And the other main curve
is the elevation line. However, it is not
visible in the plan view, but we should sketch
a line at the middle to control the elevation
view of the project. Or nor der to create the
arc of the elevation view. And another one is
this, this curve or arc that in the
process of modeling, you will see that
we don't need it. So you can sketch
it, and after that, you will see that it
was not required. So after sketching
the main curves, you should find out
or actually find the proper command for
creating the surface and then create a part of the
roof and then array it, and then you can
add the filllet. So, guys, give the try. After that, in the next session, I will sketch it so you
can assess yourself.
55. Modeling the AD Classics: Hi, guys, I hope you have created the project
successfully, and then if not, you can watch this
episode because we're going to create it
together step by step. As I told you before, we're going to start
from the main curve, which we're going to set from
the plan view, actually, and the main curves
that we're going to sketch them at first in
the plan view is this, and the another one is
this in the middle line, which is extended till here. But if we connect the end lines together, I mean, to each other, then we will have two squares inside of each other as you
can see in the plan view. Watch this series the first
square, as I'm pinpointing, and then another
one, take this out, which is rotated at 45 degrees. So if we sketch
two skewers inside of each other and then
rotate one of them, we will have the end lines or endpoints of
each of the lines. So let us start from here, get back to Rhino, here in
the top view or plan view. I want to sketch a
skewer from center, a hold down sheaf to restrict
the dimensions by this way. I hold down all the I
rotate it at 45 degrees, and also create a copy or
make a duplicate by this way. Then I select the main curves
to complete the geometry. By this way, a triangle. Well done. Following that, a line at the middle. Let's check it out at
the perspective view. Here is a slice of a project. I mean, this is the basic part of the geometry or the project. Then I get back to
the picture to, like, take a look on it. Then I'm going to sketch
the arc that we got out here at this position
in the plan view. One of the ends is
placed on the ground on the seaplane while the other
end got offset from base. As you can see, this is the
offset or distance between the end and the sea plane.
What is the height? We can find a
preparation for it. I mean, we can use
approximate values. If we have the distance between the other end to the origin, we can calculate the height. So the vertical line from the origin point or the center
point in relation to this, let me show you
the picture again. I'm going to consider this
distance and then half it. I mean, less than half of it, less than half of
the distance between the origin point till the
other end by this way. Then for sketching the arc, here we go the two ends. So as I told you before, at first, we should
pick the curve, interpolate curve, we
sketch the line or curve, and then we can choose the control points to
control the continuity. For example, like this. I can curve the line like this or I move the
control points. And while you are moving
the control points, note that they should not
change in the plan view. I mean, you should be
careful when we make sure that they are not moving
to right or left. You should move them
along the Z axis, not X and voy axis. So make sure that you move
them along the X axis, since it should be a straight
line in the plan view, so you're allowed to move the control points
along the X axis. But if I move it along x axis, check this out, it changes in
the plan view. Well, done. We have created the arc, then for the middle one. But how let me take a look. Here we got the two ends of
the arc, as you can see. The ino end is at heights. I mean, here we should sketch a vertical line to connect
it to the other ends. But how much, for instance, in relation to the other curve, you can say less than two times. Then again, I pick
the vertical line. Vertical to si plane. Then from here the intersection,
watch this. Then I extend the line less than two times the
previous one by this way. Then again, interpolate curve. I connect these two ends to
each other like this way. After that, I choose the control points and
then create the arc. Or move them along z axis. And note that you should not. I mean, the control points
should not be lowered more than the previous one because the result won't be satisfying. So I just move it
downwards a little bit, and I can choose these and
use then mirror by this way. And as I told you before, you may consider this arc as the main curves as I show
you, but you're wrong. However, I sketch it. Finally, you will see that it was necessary to be sketched. By interpolate curve, I connect these three
points. Well done. According to the curves, how can we create the surface? What I mean, which one approach? Which one of the
commands do you suggest? Here at least we
got two approaches. First one, here we can
choose these three curves. And then if you're thinking
about surface, you're wrong. Since in H surface,
as you remember, I told you that
the tree edges or the tree curves should
create a closed curve. I mean, they should be
three sides of a triangle, for example, but these are not related to specific geometry. So we can't use H surface. So what should we do?
Exactly, we can use loft. You start left. I choose these edges or curves, and as you can see, the last arc is not
used, Enter. Watch this. We created the surface. But what about another approach? What do you think? I can guide
you to guess the approach. Here we can use edge
surface by the three edges that create a triangle which are these three edges
as I showed you. I start te surface command. Watch this. This tree. Look. By this way. Then I can use mirror to mirror the surface at the other
side. By this way. So there were two approaches, and here is the result. So which one do you prefer? Each of them has
got its advantage. I mean, loft gives
us a joint surfaces, but a surface enables us to
control it at this edge, too. I'm in the arc. I mean, I can select these two
control points and then increase the continuity
to deform it, and then create the surface. But at the mean for
the current geometry, loft would be a better choice. However its surface
does work out, too, but I prefer to use loft. So I loved it. I choose
the edges, well done. As you can see the surface is matched with the
curves and then okay. Well done, let me check
it out in plan view. As you can see it
is not extended. I'm in the loft, since
I'm going to array it, so they should be arranged
next to each other. Everything is okay. I select
it, then array polar. Then the center of the polar
array, eight as number. Watch this. 360 for
the field angle. I do not specify that offset. Inter. Watch this.
Here is the result. So we have done the most part, the most important
part of the project. Right now, the filets
is left or left, and then the front glasses. Here there is a point that I
want to tell you here as you watch it attentively if you look at the
picture carefully, let me show you the photos. Right here. As you can see, the end part is sharp
or is sharpened. There is no filet, which means that the origin part
is not trimmed. So here we should use
a variable filet. I mean, for the end part, we should specify zero. I mean the radius,
but for other parts, we should set other values. So let us check it out.
Variable filet surface. Then I click on these, delete these two surfaces. Following that, trim and
join, I set it to no. But I'm going to add something. I set to zero, I
mean the end zero. Then I zoom in to here. Then by click and drag DGrip we can just fill it
here approximately. And I disable the grid snap
for instance, like this. Watch it. Press down, Enter. Well done. Following that, I want to fill this
part. Watch this. Let us take a look on a picture. So if I want to fill this part, here is the first edge, second and the third edge. So I should use
surface or surface. Actually, I select them, and then I fill this
part. Watch this. Here is the result.
Following that, I can select these, the fillt and also the
surface, and then array. But let me sketch the
storefront walls, and then we will array them all. So if you agree, I hide the curves and then
at the top view. And then here I'm
going to create the store front wall or
the glasses glass vaults. Watch it. By this
way. Well done. Then at the plan view, via frame display mode. Then I sketch straight
line by polyline. I should enable the grid snap, and I activate planar and Project Asvil by
this way, like this. Watch it. Then what
is the next step? What do you think? Exactly. I select it, then extrude, then extrude two Boundaries. If you're answering these
questions correctly, I should say that
I'm proud of you. Since you're walking along the right path, you're learning. So to boundary. Watch this. What has happened? Here, since the surface has
extended to the boundary, here, it has been splitted,
I mean the surface. So I delete the top part. Well done, here the
store front wall. Then I select the surfaces
to array them polarly. I search for array polar
in the command line. Then the center items
A, 360, well done. Let's check it out in
the rendered viewport. Then we can extrude
the surfaces. I mean roof. So after it
surface, I select them. I select the roof.
I diselect these. Actually, when you
are working with offset surface and you want to choose all of the surfaces, you don't have to hold
down shift. Watch this. I specify the offset distance, the value like not
0.1 toward up, and I set solid to
yes, by this way. Check this out. Again, I set the rendered viewport.
Here is the result. And for associating classes
to the storefront walls, I will teach you in
the future sessions. So, guys, I leave you alone with this project to work
on it and practice it. So if your result wasn't that much
satisfying or reasonable, I recommend you to create
it again. See you later.
56. Project: City Theater and SF Tower: Hi, guys. I hope you are
feeling well at this session. We're going to
model the theater. At first, let me show you
the pictures of the theater. Here we're going to model the main body and
also the sloped roof, the thickness, and
also the columns here. So at first, let me
show you the plan view. I import to the
rhino by this way, from the center point
or agent point. And then, for instance, I
place it here, 40 meters. Then I select the picture, and then in material, I'm going to increase
transparency to make it transparent. Then by Control L, I lock it. Following that, I'm going to create or sketch the
circles one by one. I pick circle from
the center point, and then the first circle, which is related to the roof, watch this next one, which is connected to the
columns and then the next one, which connects the lines to another circle and
then another one. The mean the last circle creates the main body of the building. Then at this stage, I should specify the height
of each of these circles, for example, the height of the roof and also the height
of the body of the building. So to do this, I can
use the picture, the elevation or front view. I import it to rhino, vertical, the start of
the edge by this way. After that, after
importing and placing it, I should scale the image. I move it downwards at first. Following that, scale from the zero point or region point, and then till here, as you can see, I scale it. Following that, I can open
the front view to sketch vertical lines
specifying the height of the roof and
also the building. I select the image, Control L to lock it, then it won't be
selected. Front view. I select and then
move the circle upwards to specify the
height of the roof, and then it's time to select
the circle of the body. By this way, I can
move it upwards. I hold down a button
or alternative button, then into the front view. I select it, move it till
here for the height. I don't need the image, the front image anymore. I can unlock it,
Control Shift L, and then selecting and then
control edge to hide it. Then it's time to. I can extrude, extrude curve. I extrude the circle till here, and then by using loft, I select these two curves
or circles and then loft them by this way
to create a surface. Shade a display mode. Here as you can see, these are the created surfaces
or the main ones. Again, I can select the top circle or the
curve the plain R surface, and then I extrude it
by gumball by this way. Here is the result. I
select all of the surfaces, control edge to hide them. Or I open the layers to
associate them to the layers. For example, layer one, change object layer
and hide the layer. Then I select these
two circles or curves. Then according to the curves, I mean, these exact
lines, which are 30. I start dividing the curves. I specify the sin point. Then in the top view, I'm adjusting the sin
point from this part, and then very well. I specify the
number of segments, 30, group output,
and then enter. Well done, the division
has been done. After that, I can sketch the lines in this
exact way by this way. And then I mirror
the another line. I make sure that
everything is okay. Then by using ray polar
30, check this out. It arranges the other curves, control, since I need
only this curve. Since I want to extrude this curve to the boundary
and the boundary is roof, I turn on layer one, then extrude extrude
to boundary like this. After that, we should trim the surface in order
to create the columns. Let me show you the
picture as you can see, we should cut some parts. So in the C plane tools, set C plane to object. I selected. Then I set the Cplane to the
object. Watch this. Here we got the or plane
or C plane to the object. Then by using a line polyline, buy this way, I sketch the line. I hold down Shift to
restrict the line. I extend it. There is no need to meet these
two line to each other. Even I can choose this
point and move it upwards. I start plant curve. I specify the curve, first one, then the second one. I set curvature for
the continuity. Even we can modify the control points of
the start or the ends, actually, or adjust the
continuity by holding down shift. Don't forget to check join. Okay. I select the
curve and then trim, watch this, then I
delete the extra part. Then I return the seaplane
to its default mode. I select the created surface, then I mirror it. Watch this. We got it at both sides. Then I select them
joined by this way. Then offset surface. I specify the offset
distance to extrude it, not 0.1, for instance. Let me specify a lower
value like 0.05 very well. At the last step, I should select the
created surface and then array it
by array polar, the center of the array, and the number of
the items, three D, take this out by this way, as you can see, well
done, here it is. The main parts of the theater, I mean, the building of
the theater is done. I start el curve command. I select all of the curves, and then I want to change
the object layer, layer two, and then I turn them off, and also select points, change object layer to layer
three and turn them off. So as we learned, we can set or reset
the seaplane and then create such a form or
geometry on the surface. And following that, by array, we arrange the surface
around the curve. And for the top part, let me show you some
other pictures from the theater or other
parts that as you can see in the view like this, as you can see, they are easily they are
easy to be modeled. So guys, assess your creativity and try to model it on your own.
57. Exercise SF Tower: At this session, we're
going to model this tower, as you can see on the screen. As you can see for
modeling this, we need several profiles
so that we can connect the profiles to
each other by using love command and then
creating the surface. So get back to Rhino
in the top view, then in the circle commands, circle deformable since I may want to edit
the circle later. Since, as you can see, the tower is not rounded. The airport traffic
control tower has got its specific shape or
geometry like an ellipse. The first profile on the
ground and then the at the middle and the last
profile at the height. I enable grid snaps
from the origin point, I sketch a deformable
circle like this 14 meters. Then the next one 10
meters as the radius, and then the last one, 24 as the radius. So here we got the profiles. As you can see, we have a sketch the tree
curves or circles, that we're going to adjust them at three different heights. By this way. Then the next
step, as you can see, there is a gap or the groove which is placed on the circle. As you can see,
get back to Rhino. To do this, I'm going
to start selecting from the base one,
which is the first one. I mean, it starts from the base. I want to set the base
one to the default layer, and then the next one
to the next layer and the third one or the
biggest one to layer two. I turn off other layers, so I'm going to focus
on the base one. So I'm going to modify
the base profile. So for completed it, I select the circule and then along this axis, I specify 1.05. I increase it, and
then along other axis, I want to minimize it like
0.05 by a scale, actually. Then by using the line tools, line from midpoint,
then from this part, I sketch a line from midpoint, 5.5, again, single line. I can we want to connect it. End of the line, less than
symbol six or 60 degrees. I press down tab to
restrict the direction, and then I click, well done. It's okay to select this line, and then by using
mirror, watch this. Then by using trim, I trim the extra part of
the circle. Watch this. Here is the base profile
which is prepared. Control J to join them. Let's score for the next layer. At the next profile, I want to scale the circle 1.1 maximized and then
along another axis, 1.05, check this out. Then again, line from
midpoint, from the part. Watch this just like
the previous profile. Then the single line, I want to just the angle by less than symbol 45
degrees like this. And then mirror it
at the other side by picking the axis like this. Here you may think, why didn't I scale the previous profile. Since here as you can see, there is a difference
between these two profiles. Actually, I'm talking about
the surface or the groove. So I'm going to show that
if I had scale the profile, what would be the result? I create a copy so that later we can continue
the project. Here I pick the point. I place the point at
the origin point, and then I sketch a single line, straight line to connect these two to each
other by this way. I turn on the second profile. I turn up others,
following that, again, point by midpoint at this part, as you can see, 15 meters. I mean 7.5 at each side. Then I pick a single line D less than symbol 60
degrees like this. I select a line, then I melter it by
picking aces by this way. Again, trim. Well done, I select them and then
join them, Control J. Then it's time to
turn on the layers. Here we got the
base point which is going to be placed
at the base and the second one 50 meters or
at the height of 55 meters. And the last one, the last profile,
120 meters height. Like this, I select the profiles or the
curves to loft them. Well done, then I want to adjust the same points by this way. And the directions are okay. Enter. Well, don't check
that display mode. Here we have created the expected surface,
as you can see. I click on Okay. Then I select the surface. I start the command
of cap in order to create caps to cover
the base and top surfaces. And then by using set
sea plane to object, I set the s plane on the
surface of the tower. I sketch a circle at the
s plane by this way. Following that, I
create a copy from the selected circle
and one more copy. I return the plane to its
default place or top view. I select the top
circle, I scale it, I maximize it, and also
rotate like this way. Following that, vertical to plane line to connect these
two curves to each other. Then I select the
line to hide it. I mean, to pipe it,
actually, I'm sorry, not 0.1 by this way. Following that, by
using Ara polar, this center up the
circle and then the number 24, watch this. I arrange the line or pipe. Then I select the
curve or the circle, and then by using
extrusion extrude curve, I create the surface. Then these two curves
by using left, I connect them to each
other by this way. Then the top surface, I created by planar
surface, by this way. So by the given order, we manage to model this or the tower at the
beginning of the video, as I told you that we can or
we could scale the profiles. I mean, I'm going to model the tower by using scale
and creating copies. I mean, it makes
some small changes. I select the profile, then scale C. I set copy to yes, and then from the center point, I specify the base point. I mean the base profile, and then the top by this way. Then I specify the heights, 55 and another one, 102 meters, well done. I select the profiles. I love them. Then I adjust
the same points for each of the profiles or
curves, and then enter. I set it to normal continuity. So by this order, I managed to create the
model or the main part. So let's just compare them or let's just say the differences. As you can see the
second one, I mean, its body is curved in
compared to the first one. However, we can scale
the middle profile, minimize it or maximize it. So I just wanted to teach you the main approach or the
general approach for creating such a surface and modeling the tower and about
adding more details like the store front wall or the lines on the
curves on the surface, the round curves or the glasses, and the millions, we will work on them all in the
future sessions. Since at this practice
and exercise, I just wanted to
teach you how we can create the surface by using tree profiles so that we can use the given technique
in other modeling projects. In other words, I
wanted to show you the potential of the
command of love. So, guys, as usual, I want you to create it yourself and assess
your creativity, and you can ask me if
you got any question.
58. Point Editing in Rhino: Hi, guys. I hope
you're doing well. Welcome to the fifth season. In this part, we're
going to talk about the points and how to edit them. However, we're not talking
about these points. I mean, single and
multiple points. Actually, we're going to
talk about the points which are placed on the curves
or the control points. And by the control points, we can edit our objects. So at the beginning, I open the window of point it, and then I bring it here, fix it by click and drag. Following that, we're going
to consider the tools inside. But let's talk about the
point edit tools or commands. The first one is Control Point that you are
already familiar with it. So when you select the curve, then some control points. And as you can see,
control points are used as grips on objects
like the curves, as you can see, not be
separated from their objects, so that you can control the
continuity of the curve. Till here, we have
talked about it very much and if it was a
surface like this, as you remember, at first, we should explode it and then F ten to show the
control points. After that, by selecting
the control point, we can choose them and edit the surface by moving
the control points. As you can see, we can
modify the model geometry. This was the first one. Let's go for the second one. The second one is called knots. Let me show you
here. Take this out. Not Object Snap. Knots, there are some
points that they are exactly placed on the curve. If I select the curve and then I show the knots or show
curve edit points, you can show them. Watch this. By show curve edit points, but we call it edit point on, as you can see in the
command line or point on, which displays points and the curve evaluated
at knot averages. So by clicking on this command, you can display the knots. Following that, you
can select them, and then by moving them, you can control the
continuity of the curve. Here, you may ask
if I'm supposed to modify the curveness or
the continuity of a curve, we can use the control
points, y knots. Yes, you're right. But let
me give you an example. Suppose that here we
got a curve like this. Following that, I
want to connect the vertex as you can
see to the inno curve. So I want to sketch a line from the vertex to connect
it to the other curve. Let me show you the control
points, for example, here can I modify the I can select the Ctrl
point and then I move it to make the vertex
close to the curve. Watch this. But if I turn on
the points or the naughts, then I can select it, and then I move it, and then I connect it to
the curve exactly. Each of them has got
its own application, actually, by this way. What about the third
group of points? They are called King. Let me type it in
the command line. By this way, King, that we can insert King. But what are kings? Actually, king is a
point where a curve dramatically changed direction
or changes direction. Let me give you an example here. Here I sketch a curve like this. Following that, again, I start continuing it or extending it. Here we got two open curves. Then I enjoin them. Watch this part carefully. I select the curve, I turn on the points. Then I select the
knot and I move it. As you can see, the
curve is changing. But if I select this point and I move it,
what has happened? What was the difference
between this and others? Here as you can see,
here as you can see, by moving this point, we got straight sections. We just have
sharpened the vertex. This is called kink. So a kink is a point where a curve dramatically
changes direction. Kinks can also happen
at the point where a curve dramatically
changes its amount I mean, the amounts it curves. Another example are the
corners of the rectangle. When you explode a curve, then it will be exploded from
the kinks. Check this out. Not from the knots. So as in a rectangle, we got four kinks. The rectangle will be
exploded from the kinks. Then we will have four sides. Let me join them again. But I should say that kinks are displayed by show
curve edit points, but they are
different with knots, as I tell you the defense. I mean, they are the bad
version of the knots, since they create
dramatical changes, and they sharpen the curve. So kinks are not
that much wanted. Because they changes
the curve dramatically, and they ruin the curveness
and they sharpen the curve. And do, let's it out. Again, I show the points. Then if I modify this, this is not a kink. It's not. Watch this as I move it. But we will have a
straight section at kink, as you can see at the
right at the left side. The first rule to encounter with the kinks is to realize that
how they are being created. Firstly, at the condition
that we got two curves. Check this out. Here I'm
going to prepare two curves. We got one, and then
I add one more. Watch this. And
then I join them. Then at the point that
the two curve met up, we will have the kink check
this out. Here it is. And secondly, Suppose that
we got a unified curve. Following that, if I split
the curve from a point, for example, let me
split the curve. If I want to split the
curve into three pieces, then I join them again. The appearance has not changed. But if I turn on the points, we will have two kinks. Watch this. And
then the other one, actually, the next
one is this out. These two are the kings. So if we draw several curves, and then we join them, we will have kings at the
connection parts points or if we had a unified curve
and then we split it, and after joining them,
we will have kings. So at these two conditions,
we will have kings, and kings are created
from these processes. This time, suppose that
you get these two curves, buy this way, but you don't
want to create kings. Following that, you search for match to match these two
curve with each other. By this way. Well done. But still, we've got the kink. Check this out even by match. But the only way is selecting the point or the kink after matching them
and then delete them. Then the problem will be solved. Check this out as you can see, we deleted the kink and we
can easily modify the curve. Let's talk about the other
tools in point edit. I select this curve, and I'm going to explain
the other tools. The first one is subject
control points or F ten, which displays the
control points, another one, turn off
the control points. Watch this. However, we can
press down escape instead. And the second one is
show curvated points, which displays the knots and
also the kinks, watch this. Then we can select
them and move them. These are the knots, we deleted in kink actually. Then I press escape
for turning them off. Next one is insert
a control point. For instance, here we
got a curve like this. If I select it, we got
these control points, but I want to add some
more control points at some specific points. For example, I click
insert a control point. Then I specify a point on
curve to add control point. For example, these two. Following that, I
select a control point and then modify the
curve. Watch this. So by inserting control point, you can add a control point by specifying a
point on your curve. And the next one is
remove a control point. You can click on it and
then select the curve or surface for the control
points to be removed. At first, you select
your curve or surface, and then points to remove. As you can see, they are
getting highlighted. And then by a click,
you can delete them. This is applicable
to the surfaces too. That you can remove
the control points on the surface too. And for removing knots, then I select the curve or
surface for not removal. I select the curve, and then I click or select
the knot to remove. The next one is insert knot, just like insert control point, it lets you to add
knots on the curve. Select the curve. Then I should point and
curve to at nought. By this way, I add 2 knots. Then after pressing Inter, the positions of the knots
may change, and it's normal. Inter, I show them again. As you can see, these are added. And the next one is remove knot, just like remove Control Point. I click on it, then I
select not to remove, you can remove
each one you want. By this way, just by a click
and then delete inter. But while inserting
or adding knots, the displayment of the knots are different when you want
to remove the knots. It's because only some of the knots can be removed
or they are removable. Others are not removable, since we can't remove
all of the knots, and if we remove some of them, we will ruin the geometry. But what is the difference
between removing a knot from the command or selecting it and
then deleting it. What is the difference between these two type of deleting
or these two styles of deleting knots directly or by the command? So
let's check it out. We're going to try and
then coampare them. For example, here if
I select this nought, and then I delete or
remove it by the command, remove naught, select,
and then remove. As you can see, we got no changes in the
continuity of the curve. As you can see, well done, undo. Following that, I
select the curve. I show a point, then I choose
the point or not directly, and then I delete it directly. What would be the result? Exactly? Take this out. It changes the
continuity of the curve. So if you wanted
to delete a knot or a control point without
any changes on the curve, you don't have to
delete it directly. I recommend you to use remove a Control Point command
or remove a naught, as you can see, and
the next point, the next one is insert kink. By this way, it is used when
you want to add a kink. I click on it. Then I specify a point curve
to add the kink. For example, here and somewhere
else, Enter. Watch this. We got the kink, as you can see, and the point here is that
for removing the kinks, as I told you before, kings are similar with knots. So by the command
of remove a knot, we can select the kink
and then remove it. I remove the kink. Then let's check it out
by this way. Very well. As you can see all of the
changes in the curve, it's all because of
the kinks because it had sharpened the curve, and by removing the kings, we returned it to the default. However, there are
some other options here like handlebar editor. Here I click on it. I select the curve. Then we can keep actually pick the handlebar by
click and drag and then control or modify
the continuity of the curve by the handle
bar by this way. Or for instance, here
I can click here. I can add a handlebar and then control the curve
or modify the curve. I mean, wherever you want
to add, you can add it. You can install the handlebar, and then by click and drag, you can extend them, trim
them, check this out. You can sharpen the curve, and by moving them, you can control the continuity. However, it is not
that much practical. The next one is
adjust and bulge, that is not oftenly used, so I skip it and I
go for the next one, which is edit control pate. Let's check it out
and see what it is. For example, here I want to
draw a curve by this way, here is the result,
then I select it. Following that, I click
Edit Control Point weight, which edits the weight of a curve or surface
control point. And the weight of the
control point determines how much the curve or surface is attracted to
the control point. And the higher the
value of the weight, the closer the curve or surface
is to the control point. I select the control point, then I should set
control point weight. Here we can use this slider to adjust the weight of the
selected control point. This. The higher the value, the closer the curve
to the central point, or it is more attracted
to the control point. And the lower the value, the further the curve is
to the control point. So by this way, we can set
the Central point weight. Following that, interpolate
curve like this. And then I select
two control points. Then let's control the point. I mean, let's set
control points weights. Then each parts will be getting close to the
related control point. You know, it could be practical at some of the conditions. I try to cover most
useful of the tools. Right now, it's time to practice and work on examples,
then we can continue.
59. Rebuilding Complex Curves: Hi, guys. I hope you
are feeling well. At this session, we're
going to talk about one of the most useful tools or commands in Rhino,
which is rebuild. So as you're concerned, there's no need to
talk about rebuild. I mean, the definition
of rebuild, which is applicable to
both curves and surfaces. What about the
application of rebuild? The rebuild command reconstructs
the selected curves and surfaces to a specified degree and control point number.
Let's check it out. For instance, here in
the perspective US sketch a curve by
interpol curve like this, as you can see, Alena, if I select it, here we go given we're given
some control points. For example, if I want to maximize the number
of control points to two without a change in geometry or without
a dramatical change, here you may say, as we learn how to add
control points in the previous session by using at control point or inserted control point, but
this is not the right. This is the right approach. But if we add control points
by d by d, first of all, it changes the form of the
geometry dramatically, as you can see. Check this out. If I want to, for example, at 30 control points regularly, it would be difficult
to arrange them. So we can do it by rebuild.
Let's check it out. I select the curve at first, and then I search for rebuild. Then here in rebuild window, we can control the point
count and also the degree. Here in the point count,
it reports in parenthesis the current number and sets the number of control
points in the result. The expected control points, I set it, for example, 20. Watch this. And the point
about the arrangement of the control point
is that rebuild array control points and the
curve without intervention, and as you can see the
20 control points are arrayed on the curve regularly
and in organized way. The next one is degree
which reports in parenthesis the current number and sets the degree
of the curve. If I set tree, the geometry won't be changed. As you can see, I mean, the changes are I mean, the changes are very slight and so subtle that they
can't be recognized. Okay, watch this.
This is the result. We got the points, the
specified control points in a regular in
an organized way. But we didn't modify the degree. Again, rebuild the
set value is to N. I keep to N. I don't
want to change it, but about the degree,
I set it one. Then would it be? What would be the result? Here, the lower value gives
us the sharper curve. If I click Okay to
check out the result. Here, as you can see
if you got a polyline, it is on a smooth
like cross sections. Actually straight
sections, I'm sorry. Another example. For instance,
here, interpolate curve. By this way, I
select it, rebuild. Here, the set number
for the control 0.7. We can specify 14 okay or ten, and for the degree, I set tree, and you can see the changes in the preview when drawing
a high degree of curve, the output curve will
not be the degree you request unless there is at least one more control
point than the degree. 15, check this out. Okay. Let me give
you another example. Again, interpolate curve. Suppose that we got this, I select it, then rebuild. Here the set number for the control point
is already seven. So, for instance, I set five. As you can see, it effects on
the geometry or the curve. But I don't change the degree. I keep a tree, well done.
Here is the result. Again, revealed. I set one for the degree. And I set six for
the control point. And okay, here we
got a polyline, not a curve, since we
got a straight sections. However, it's interesting that we can select the curve
and then modify it. We can increase the degree or increase the control points. For example, treed and
we will have a curve, a more smooth curve but don't expect it to be
like the previous one. In the following example, for instance, if I sketch
a polyline, watch this. By this way, consider this one. I selected to
rebuild it following that tree as the degree and I
increase the control point. We already have 13. I said 13. Watch this. You are smoothening
the polyline and then convert it to a curve by just adjusting the values of
degree and control points. So by rebuild, we can convert
a polyline to a curve or convert a polyline I mean convert a curve to
a polyne. I'm sorry. By just specifying degree
and decontrol point number. However, as I told you before, this is applicable to
the surfaces, too. Let us exemplify two cases
about surfaces and rebuild. Here we got a curve, and then by gum bool I want to extrude it. And as you are concerned, after extruding a curve
for having a surface, as you can see, we
got open extrusion, I should convert
it to a surface. So I explode it, then we will have the
surface as you can see. Following that, check
out the Io curves. I select it, then I
click on Rebuild. I may start rebuild. About the surfaces, I mean, in the surfaces, as you can see, we can specify the
U and V directions of the control points and the
degrees in U and direction. And since the surfaces are
considered as three D objects, so we should adjust
the control points and degrees in two directions. And here as you can
see in point count, we can specify the values of the number of the control points in both U and V directions. The preset values
are six and two, and if you modify them, you will understand and can recognize the U
and V directions. You refers to the vertical ones. And refers to the
horizontal ones. So in the direction, it was preset to six. If I set it to six,
check this out. It refers to the vertical
ones, as you can see. And in the V direction, we had two. I set two. This is the main geometry. I set ten for you. Check this out, then we
will have more isocurves. You we're not talking
about the control points. In fact, as we increase the
point count of the isocurve, we are increasing
the control points of the surface somehow. And I set five for V
or seven. Watch this. Okay. As I told you before, by this way, as you can see, we got more control points. Since the number of
the control points are dependent to the Ia curves, what about the degrees? I start revealed. Then in the window
of rebuilt surface, I minimize the value
of U and we point out ten and six by this way. Then for the degrees, you can set separate values
for each of the directions, one in both, for example, Okay, check it out. This is the result.
As you can see, the surface is composed by straight sections, not a curve. But let me tell
you a point here, Interpolate curve and then I'm going to create a
surface following that. By this way, I extrude it. I move it, I mean, P this way. And then I'm going to love these two to create the surface. Well, done I select the surface. Then I rebuild it.
Here assume that. We don't want to maximize the numbers numbers of the point count align
with direction. I mean, I'm sorry, which is U direction. It is already set to four,
but I set it to one. By this way, but along
the other direction, I mean, I want to increase
the value, for example, 100. Then I want to show
you the preview. As you can see, it
does not work out. If I say two hundreds, still, it does not work out. It is not supported. Here is the point that
I want to tell you. So listen attentively, since it may happen
to you oftenly. The point here is that
the number that you specify in both you and directions are dependent
to each other. According to the preset
value for the degrees, there are a minimum and
maximum values for both of the U and V directions
in pin count that you should consider them
in specifying the values. Otherwise, it does not work out. I mean, according to the
degree which is one, minimum value for the point
count of the VU is two. If I say two, then the 200
will work out. Check this out. I mean, the point here
is that there should be at least one more control point or one more point
count than the degree. For example, if I
set tree for degree, as you can see the U
point count is four, since there is at least one more control point
than the degree. And this is the
minimum value here. If I set three for you, as you can see the U degree
is two, you set to two. At any condition, you should
be more than U degree, as I have set one for point
count, it doesn't work out. When drawing a
high degree curve, the output curve will
not be the degree you request unless there is at least one more control
point and the degree. What about the third
application I built, which is organizing
the control points in the curves and isocurves in
surfaces. Let's check it out. For instance, CRI
catch a curve firstly, I sketch it stressyT many control points and
then a few or slide number. As you can see, it
is not organized. Some parts are very tense
and some parts not. There isn't a regular distance between the control points. Here if I rebuild the curve, it would arrange the Ctrl
points from scratch regularly, so we will have the Ctrl points organized
along the curve. Let's check it out.
I create a copy. Since we're going
to compare them, I select it, and then I
rebuild it. Watch this. You'll now, I want to say that, I don't want to modify
the point count. Here we got already
30. I said 30. Watch this. Then let's take out the result
as you can see. The form has changed. Watch this. These are the
differences between them. As you can see the distances, the spaces between the control
points is not regular, while here, as you can see, the control points are arrayed. Regularly in an organized
way along the path, which is the third application
of rebuild command. Let's try this on the surfaces. I'm going to create
a surface and then organize the IA curves. For example, here,
I'm going to sketch these two curves and then
create a loft by these curves. Wait for a second, please. I want to love
these by this way. These are the non organized
form of the Io curves. If I zoom in to just check
the Iourves, watch this. The distances are not regular. Following that, I I want
to rebuild it by this way. And as I told you before, there is not a necessity to modify the point
count and degree. For example, the preset
values 13 and five. I don't want to
modify the values. I set the preset
values or default one, five and 13 and three, 40 degrees, check this out. Here is the result. As usual, it organized the Io curves. Actually, there is
another command which is extract a frame, if I started, which can extract the isocurves as
the frames shake this out. Following that, we can convert these pipes to
structural element, and this is the usage and the applications
of the isocurves. I just wanted to tell you how the isocurves are being used. So just take it seriously. Let us cover the other points. Here if I join two curves with each other and then
I rebuild them, I join them, and
then I rebuild them. Then rebuild what removes the kink here with
a slight change, and it smoothen the curve. Watch this. Try again. I have sketch two curves, and then I have joined them. Even I can keep the
control points, the default control points. I set nine and
three, four degrees. Then with a slight
change in the curve, it removes the kink
with a slight change, and then we will be
given a unified curve. By this way. Let me exemplify another case
like these two curves, one more tree by this way. I select them, and
then I join them. Well done. Following
that, rebuild. Check this out. As you can see, the kink is removed
with a slight change. And then we got a unified curve which is
movement by this way. And the other point about the polysurfaces is that the rebuild does not
support the polysurfaces. So please put this
into consideration. Since you may want to rebuild some of the surfaces and you may have some difficulties
or you may faced with some obstacles, I select these two surfaces, and then I join them here we got a polysurface open
polysurface as you can see, if I select the polysurface
and then I rebuild it, here I should choose curves
or extrusions or surfaces, not polysurfaces, since
they are not accepted. So for rebuilding them, we should explode them at first, and then we can select them together two surfaces
and then rebuild them. I mean, we are available. I'm sorry, I mean we are able to choose multiple surfaces, which are exploded and
then rebuild them, but we can't choose
join surfaces. However, there are
some exceptions. For example, here if
I join two curves, and then I extrude them this is not a
polysurface anymore. If I select it, we got
to open extrusion. As you can see, I can rebuild this extrusion,
check this out. We can specify the
point count and also the degree in
both directions. And watch this. Is that degree tree for both. Okay. As you can see, it has got smoothened, and these straight
sections are removed. But if I extrude this
again and I explode it, and then I join them again, we will have a
polysurface which is not accepted by rebuild. This was the point that
you should know that polysurfaces are not
supported by rebuild, but we don't have any
problem with the curves. You can join them and
build them, rebuild them. If you join the surfaces to
create the polysurfaces, so then you will have some
difficulties in rebuild them. Otherwise, it's okay to
rebuild the joint curves, and you will have
satisfying results, a unified curve, as you
can see, by the way. I I explode them, check this out, and then I
rebuild them, watch this. It does not affect on the kings. I mean, it doesn't
delete the kink. It does not change the form. Watch this. Here is the result. But if I join them, then rebuild makes
a unified curve. After all, I'm going to say the differences between
match curve and rebuild. For example, while
these two curves are joined, I rebuild them. You know, somehow it
is like match curve. You know, it acts
like match curve. Let us say the
differences between them, know that there are
some differences between them that we're
going to talk about them. Okay? I explore these two
curves following that. Here you match these two
curves with each other, and then this will
be the result, okay? As you can see, still,
we got the kink. So this is the first
difference between match curve and on the rebuild. That match does not
delete the kink. But if I rebuild these
two joint curves, rebuild, does delete the kink. Watch this. Join, rebuild, as you can see the kink
is removed. Well done. This was the first
difference between match curve and the rebuild. Let's talk about the
second difference. You are concerned, match
curve only focuses on the vertex or the climax
of the joint curve. While rebuild changes the
whole geometry of the curve. But note that the
two curves should be exploded, not joined. But if you want to use rebuild, the two curves should be joined. We explode the curves if
we want to match them, what we join the curves
if we want to rebuild. Take this out. We can only modify or control the
continuity of the vertex. As you can see,
we got no control upon or over the whole
geometry of the curve, only over a specific part. But when we rebuild them, it effects on the
whole geometry. At first, so I
join them exactly, excellent, and then rebuild. As you can see, I zoom in, it has changed the
whole geometry. The entire curve has changed. This is the second
difference between match curve and
rebuild in the curves. And the third difference between
match curve and rebuild, if I explore these
in match curve, if the two curves were further from each other or
distant from each other, we can match them, but
rebuild is not support. I mean, does not support them. Since in rebuild, both
curves should be joined. So at this condition
or situation, rebuild has got no practicality because we need the two curves to be joined if we
want to rebuild them. Another application
that we use, I mean, for rebuild is converting the surfaces to a panel.
Let's check it out. I mean, we can divide divided surface into
a regular panel, regular number of panels
like rectangular panels. Let's check it out
in the example. For instance, assume that we got a store front
wall, a glass all. Which has been
extruded like this, Explode to convert
it to a surface. Normally, we do not execute
a glass vault like this because we do not execute
it curved in a curved way. I mean, you should know that
a curved storefront wall has been composed by
some straight sections. So what should we do?
We rebuild it at first, and then we adjust the
degrees one to one. And then I increase the
control points, for example, 20 for U direction, and then 15 for direction
or 25 for U direction. Well done. I click on
Okay. Let's check it out. As you can see, a
curved storefront valve is executed like this. There are some small
straight sections which are arranged and displaying the curved store front
valve, for instance. Following that, we can use
another command for dividing these panels or these
straight sections that are arranging
to create a vol, and the command is
divide align crises. I start the command
and I set the surface. Inter, as you can see, at the straight section parts, the line has been highlighted. I undo the process, check this out. It
is transparent. But as I divide them,
divide along recess. I select it, Inter
check this out. They are highlighted. So if I select it and then explode it, then we will have small pieces of straight sections
which have been composing the curve that we
can select them by this way and make
some other changes upon. But here, you may have question that they have been cut in rows. I mean, in columns, how
can we cut them in rows? The reason is that because they have been extruded
along the z axis. So if you want to
cut them in rows, not columns, we should
use the command of split. So I start a split. I select it, and then you can use ISA
Curve from the options. Don't forget to activate
intersection Greed Snap, and then click on the ICurves. After that, you can split them into some panels as you
are cutting them in rows. After that, I click on
Inter, check this out. The lines are highlighted, and they are exploded
from the entire panel. But if your curve has got continuity or curveness
along the z axis, you can divide them too. Let's sick it out. Let me draw
these curves by this way. I move them. And then I select them to love
them, watch this. As you can see, we got a
continuity along z axis, or we got curvenessO the
curve is along the X axis. So at first I select
it and then rebuild. Then I want to just de
point counts to A into any. I show you the preview. The degree is okay one. Watch this. Here is the
result. Zoom selected. As you can see, the
panels are created. Then we want to divide them. We select it and then
divide a line recess. Watch this. Right now, the panels have been divided. Along I mean in
columns and rows, since we got curves
along the z axis steel. We can explode it, and then we can select panels individually. Following that, I want to
teach you another command. I join these and
then I keep going. Here there is a command which
is name is unroll surface. The unrolled surface
command flattens or develops a surface or polysurface with curvature in one direction to a
planear surface. Following that,
you can use it for the Mckets here in
the command line, I search for unroll SRF, and then I should select the surface of pool
surface to unroll. I press down Enter,
take this out. As you can see, it has
flattened the surface with a curfat curvature in one direction to
a planear surface. You can see these are the pieces that we
have created by split. Let us talk about the options, and move it over Again, I want to start drole surface, select and then explode, which has been said to yes. If I said explode to yes, then the resulting
surfaces are not joined. But if I said it to no, then the resulting surfaces
are rejoined align the same edges that were joined in the
original polysurface. So this is the
difference between setting explode to yes or no. And since we had
a simple surface, they are arranged in
a rectangular way, let us try another one. On role surface, I
select the surface, then I set explode
to yes. Watch this. As you can see, the resulting
surfaces are not joined, and the pieces are arranged in one direction to the
planear surface. However, it could be very
useful and practical in the analysis or
analytic projects. This time, I set Epley to No, then Vlocity resulting
surfaces are rejoined along the same edges that were joined
in the original surface. Setting explore to No, let's check out the
result. Watch this. However, this is not satisfying
or the expected result. I mean, these can be
used for the markets. But if I set explode to, is more practical
and functional. Suppose that here we got a metal complex wall
or a glass wall, a complex glass wall, and then we unroll it, and
then we set Explod yes, then we can check out the dimensions of the panels
of the glass walls or the different sizes
of the panels exactly in the
executive projects, especially in actual
projects that you want to create the panels. There is another option, which is label Labels determines whether or
not matching number dots are placed on the edges of the selected object and
the resulting objects. Set label to yes,
check this out. The labels are displayed, and these are the number
dots that are placed on the edges of the selected
object that we can look for each of the
pieces on the surface according to the numbers that are displayed
on the labels. So then all determines whether or not
matching number dots are placed on the edges of the selected object and
the resulting objects. Right now, we have found the places of the
related pieces. I mean by using the labels, we can find the places or the positions of
each of the pieces. So, guys, we have reached
the end of this session. Don't forget to practice the
given lessons about rebuild, which is very practical
and functional and try not to skip the
examples and practices. Even you can work on
more examples to develop your creativity and ensure that you have
learned them deeply. See you in the next session.
60. Using OrientonCrv for Object Alignment: The next command that
we're going to talk about is area centroid. That previously,
as you remember, I gave you a brief
explanation about it, but we're going to talk
about it comprehensively. Here I as catch a circle, or, for instance, a rectangle. By this way, how can we find the center of
these geometries? Yes, exactly. We usually
use degreed snap of center. We check center grid snap, and then we pick the line,
the singular polyline. And then we find the center, so we can move the
project forward. The same in the
rectangle, well done. And as I talked about it before, if we had a variable
geometry or non unified, then we're not able to find the center of the geometry by the Grey snap,
as you can see. So at this situation, we should use area
centroid surface. Then we should use, I
mean, select a surface, poly surface or mesh
or a closed plane arcad for areas
centroid calculation. Here is the point but if we
had a non plane ar cave, then Area centroid
does not work out. I mean, does not support
the non planear caves. Watch this. It is not selected. It is not even selectable. And so if I convert it to a
planear surface by patch, I mean, to a surface or
non planear surface, then we can find the Center. Watch this. Here it is. So the area centroid command
reports the coordinates and places a point object at the
area centroid of surfaces, poly surfaces, meshes, and
the closed planear curves. And as I told you before, the curve should be planar, but the surface says should not be planar because it calculates their center regardless to their being planar
or non planar. The other command
is project C plane, which is rather practical. I extract the treaty curve. Here as you can see, we
got a non planear curve, as you can see
here I may want to make this plane R. So
project to see plane is at hand because the
project to see plane commands flattens object
onto a construction plane. Project to see plane
or current plane, it is used for when
we want to flatten objects onto
deconstruction plane, or in other words, converting non planear
curves to planar curves and then flatten them to
deconstruction plane. Project to plane, and select
the curve or object inter. Then we can use the
delete input object if I set it to no it would
keep the input object, but if I set it to yes, it deletes the input objects. Well, done in a very simple way. Again, project to C plane. I choose the surface, enter, then I set delete input
to no, watch this. Right now we got both
input and output, and it is applicable to
both surfaces and curves. But the important point here is that the objects will project to deconstruction plane
in the viewport that is current when
the command ends. So your current
viewport does matter. For example, in front, if I project flatten this.
Then check this out. This is the result
since we have flattened it in the front view. Or, for example, let me show you the four
views viewports. For instance, here in the right view and then
project to C plane, I select the curve, and then here is
the given curve. Watch this. So the
objects will project to the construction
plane in the viewport that is correct when
the commands ends. And another command that I
want to talk about is remap. Actually, these are
simple commands, and you're going to kit
them in your projects, which is remap plane. Actually, the remap
Cplane command, reorient the selected objects to a different
construction plane. In this example,
I want to sketch geometry or draw
geometry in top view, but by accident, I
draw it in front view, just like this curve. I draw it, and then I realized that I was sketching it in the front view
or in the top view, so I made a mistake. I should have drawn it in the perspective view at the
right view, for example. You may say we can rotate it, but there is another approach
that I want to tell you. I open front. Don't worry since remap C
plane is here to help you, you start it, then we
select the objects. Then we click in the
viewport that contains the construction plane to which we want to map the objects. So after selecting the object, you should click on C plane to Map two, for instance, stop. Then if I click on the current plane or
construction plane, then it will be
remapped to here. So the point here is that at
first, we select the object, then we click in the
viewport that contains the construction plane to which we want to map the object. Let us try again, remap C plane. Check it out. Then I should
select the objects to remap. Press Enter, and
then as you can see, you should click on
C plane to Map two. On which of the views you want to map the selected object? I check four views, and then, for instance, at the top view, I click, and then we will have the
remapped version of the object. O that the objects are moved and rotated to they have the I mean, so they have the
same relationship to the new construction
plane as they had to the original construction
plane as you can see. So don't worry if you
made a mistake in specifying the
correct viewpoint. Next command is orient on curve. Watch this part carefully.
I'm going to explain it. Actually, the orient on curve
command moves or copies and rotates objects along a curve using the curve
direction for orientation. For instance, here we
got a non planear curve. After that, I want to sketch
a circle around the curve. So I pick the circle, then I set it to around curve. I disable project.
I select the curve, and then I sketch the
circle around the curve. Again, around curve. Watch this. Let us give the try
at the polygons. Around curve and then sketch it around the
curve by this way. Following that, some of
the profiles or some of the geometries has got no option to be sketched
around the curves. I mean here we got the
capability to sketch the circles and the
polygons around the curves. They are perpendicular to the curve and also
around the curve. I mean, there are
some other profiles and geometries and shapes that are not able to be
sketched around the curve, hasn't the option
of around curve? What should we do
at this situation? Exactly Orientin
curve is at hand. So let's check it out
here in the right view. And following that, I get a
profile or a curve like this. Then in the continuation, I'm going to place
it around the curve. At first, I should
specify or pick a base point of this curve if I want to move
it along the curve. For example, the center point. First of all, I find the
center by area centroid. I select it, and then I
return obtain the center. Right now, I want to specify the base point of the rotation. Start the command
of orientan curve, orientan curve by this
way, as you can see. Following that, I should
select the objects to orient. By this way, I select the curve, which is going to be moved, rotated, along the curve. Then I should specify
the base point curve the base point which is going
to be placed and the curve. I choose the center
point or the centroid. Then I should select the
orientation curve. Here it is. Check this out. Then the
new base Ponton curve that I want to pick
to fix the position. Verify that copy to yes. The objects will be
copied. Check this out. By this way, you can specify whether or not the
objects are copied. The plus sign appears at the core serve and
copy mode is on. Let's try again. Here
at the right view. Then I sketch the curve
by interpolate curve. Like this, for example,
I triangle somehow. Following that, I'm going to move the curve along
another curve. Then I want to choose or pick at the base
point, for example, the centroid or whatever the vertex as or the
sides, it's up to you. But if I want to pick the
centroid as the base point, I have to use area centroid
for calculating the center. Otherwise, you can pick
points as you desire. For instance, I want
to choose the quad, the quad here as the base
point of the orientin curve. I type orientin curve, and then I should
select objects to orient. Here is the object. Well done, select,
enter the base point. For example, the quad. I choose it, then I should
select the orientation curve. Here it is. Right now, the copy mode is set to yes. And as I told you, we
can copy the object, and the plus sign appears at the courser when
copy mode is on. Check this out. The
copy is set to yes. Then we can propagate
the curve as much as we want or
as many as we want. Let's talk about
the other options. But note that the current
viewport that you have sketched this
curve does matter. For example, I have sketched
it at the right viewport. Following that, I
want to right now sketch this in the front
view, check this out. I'm going to check
out the result. By this way in the front view, then orient and curve. I select the object
and the base point. Well done, then the orientation
curve, check this out. As you can see, it is oriented
based on the current view. So at such a condition, we can use remap and
search for remaps plane. I select the curve, I press down inter, and then change the viewport
or the plane, actually. Again, I start Orientin curve. Well done. Here it
is. By this way. Following that, if I sketch the profile or the
curve at the top view, I mean at the at we have
sketched orientation curve. As you can see, you've got
the orientation curve, so I sketched the curve, which is going to be oriented. I mean, both of the curves and the orientation curve are at
the same construction plane, same viewport, orientin curve. I select the object, then the base point, and
then the orientation curve. Check this out. At
such a condition, we can use perpendicular. Perpendicular orients the object perpendicular to the curve. Watch this. This is the result. So the plane I mean, if the profile or the curve and also the orientation
curve we sketched at the same viewport and at
the same construction plane, we can fix it by perpendicular, and then the perpendicular
plane is determined by the current
construction plane when the base point is picked. Don't forget that perpendicular can help you only on
the condition that both curve and the
orientation curve have been drawn at the same
construction plane and also at the same viewport. So if you didn't want
to use perpendicular, you can change the
viewport and sketch the curve at the proper
construction plane. Or either you can use remap. But when you are clicking
on perpendicular, you will have some
other options. So in order to explain
the other options, I'm going to exemplify another case and then
talk about other options. For instance, here
we got a curve, as you can see, example, we consider the right view
as the proper viewport. After that, I k
such a geometry as the profile or as the curve which is going
to be as the object, which is going to be oriented
or moved around the curve. And let us have a review. Well done, consider the
orientation curve and the object. Then I start curve
orienting curve. Then I select the object, the boy space point and
the orientation curve. Well done. However, it is not upright that we can use
mirror or rotate it. I use mirror by picking access, not copying, well done. Then again, orientin curve. Watch this. Here is
the result. Very well. But assume that if I had a sketched object at
the plan view or at the top view or the viewpoint at which we have sketched
orientation curve. I remap it to the top view
by this way. Check this out. Remap. Let me select
it again to remap it. I want to map it
to the top view, remap plane, select Inter, and then I click
on the top view. Very well, here we got it. As I told you before, when our both object and also the orientation curve are at the same viewport and the
same construction plane, then we should use
perpendicular. Watch this. Here is the result. Here if I click
on perpendicular. We got only two options,
copy and perpendicular. Here if I use perpendicular, then we will have
some other options which are appeared here. Flip and rotate, as you can see the object is
perpendicular to the curve, and we got three more options. Her x Philip and Y Plip reverses the orientation relative to the original orientation
to the construction plane. For instance, X Philip, then we can reverse the
orientation relative to the original orientation
to the construction plane, either along X or Y axis, you can just type X and
enter or along Y axis. Watch this. Can easily
reverse the orientation. Relation to the
original orientation to the construction plane. And also rotate it pick an angular two reference
points to rotate the curve. Instead it to yes, and then you can rotate it by manual men. You position it, then
you specify the angle. For instance, by the
mouse like this way, if you set rotate to yes, then you will be
given these objects. So by these geometries
and curves, we can start the
command of sweep one. It fits the surface through
a series of profile curves. And in the future sessions,
they will talk about it. But right now, let us try again Orientin
curve by this way, then I specify the profile or object ter the base
point and then the path. This is the result since they were both at the same
construction plane. I clic on perpendicular, then the object or
profile will be perpendicular to the
orientation curve. Then we will have the
options of X and Y flip. I can type X or Y toplip the object along X
and Y axis. Check this out. So all in all, we realize that according to the options,
from perpendicular, we'd better to sketch both the path or the
curve orientation curve, and also the object on the
same construction plane. Since we will be
given more options, we will have more
control upon the object. Since other views we won't be needed or we won't
need a perpendicular. So we lose some options. Because of this we'd better to sketch both of the geometries, I mean the orientation curve and also the object and the
same construction plane. Another point is that
orientine curve will place the profile exactly
perpendicular to the curve. Check this out. As you can see, they are
perpendicular to the curve. But if I want the profile to not be perpendicular
to the curve, let us check them at the
top view from the top view. I want to specify an angle. I don't want them to
be perpendicular. So we can select them and then rotate and then specify the reference point
and the angle. So then we can rotate the
profiles very well, like this. But if we wanted to
try another situation, like in non planar
curves or treaty curves, for instance, we got this. We got a treaty curve like
this, as you can see, I move the control points to make the curve
non plain error TD, then orientin curve
in the command line. I specify the object
and also the curve, the path well down, then I place it around the
curve. Check this out. The objects are perpendicular to the curve, the
orientation curve. But no, we can see
them in the top view. But we can't rotate them. Since the curve is
treaty, it is non planar. You aren't able to rotate them. At such a condition, we should use treaty
rotate or treaty rotation. In fact, I want to modify the angle of the objects in relation to the
orientation curve. So I type rotate treaty. Then after starting the command, I should select the objects that I want them to be rotated. For example, this,
a press Inter, then the start of rotation axis. Here we do not specify the
point of the rotation. So let me specify
the rotation axis, the Sara rotation axis. Here it is. I sketch the axis, and then I can adjust the angle, check this out in the
perspective view. We can rotate it in
the perspective view. Let us try the another one. Let me find the 90 degrees
angle. Watch this. Here it is the 90 degrees angle between the object and
the rotation curve, orientation curve then we can't observe it in the top
view from the top view. And the normal or
ordinary rotate is not capable of
rotating such a curve. So by treaty curve, watch this. I rotate it. Check this out. As you can see, it is rotated. Again, treaty rotate, I
rotate treat I selected. Then the start of
the rotation axis. Here it is the end of the
rotation axis, then the angle. Following that, I can rotate it. You see, I just wanted to
say the differences between the ordinary rotate and
rotate treaty by this way. You can practice this command, too on some examples
that you can rotate your profiles into perspective view
by rotate treaty. Practice on the given commands,
see you in next session.
61. Spiral and Helix Curve Tools: Hi, guys, I hope
you're feeling well. At this session,
we're going to talk about two items of the curves
which are spiral and helix. That you can find
them in curves. I open it, then I
fix the window, here these two helix and spiral. Let us talk about
these 21 by one. First of all, I'm
going to talk about helix. I click on it. Then as you can see, at first, I should specify
the start of axis. We pick the start of axis. Actually, this is the
axis that the helix rotating around from zero point and then the end of the axis, but I want it to be vertical. I mean, we usually
sketch it vertically. So here in the front elevation, I hold down shift. For example, till here, then I should specify the
radius value like this. Here, as you can see, we
can even specify the turns, the turns of the helix. I click and turn, and then, for example, two, watch this. Here we got a helix
with two turns or, for instance, four a
turns. Watch this. And another option
here is reverse twist, which reverses the direction of the twist to counter clockwise. We can drag the mouse after
changing options to preview. Right now, check out
the twist direction. It is anticlockwise. If I click on reverse, it reverses the
direction of the twist to counterclockwise. Watch this. For reversing the twist, we can type R or the underlined letter instead of clicking on reverse
twist. Check this out. By this way we can switch
it to yes and no very well, can reverse the direction. Then you should specify
the radius value. However, if you want it, you can specify the
diameter of the helix, not radius that we usually
use to specify radius value. There's no difference, you know, I specify two for the radius, and then by moving the mouse, I want to specify
the start point. I hold down Shift, for instance, to specify the start point of the helix and then
here check this out. Let us have a review
and then check the other options of
helix. I remove it. As we used to sketch the helix vertically in
the construction play, and especially in architecture, helix plays the role of ramp. So I pick the helix. I mean, I can pick vertical
helix by right click. So we don't have to
specify the first and the second axis of the helix or holding the uncontrolled and shaved or changing viewports. So here I right click to pick
vertical helix directly, then I start the command
of vertical helix. So let's talk about
the other details. Zero, sort of axis as the start of axis zero
and then end of the axis. I can specify the
height of the axis. Here as you can see, the vertical line that we're
going to sketch right now, it specifies the
axis of the helix, the vertical helix, and also it specifies the height
of the helix. For instance, I need
a 50 meters height. Man I need a helix
at 50 meters height. So while I'm sketching the axis, I set 50 and then enter then I can specify the direction
up or down. I click. So note that regardless
to the aces, we specify the height
of the helix two. We use reverse twist to reverse the direction
of the d twist. I type R in the command
line. Watch this. You can click on diameter to specify the diameter value
or the radius value, and in turn, you specify the number of turns
take precedent, the pitch adjust automatically. Actually, about
pich as I told you, the pitch takes precedent is the number of turns
adjusts automatically. I mean, at each turns as
the helix turns about 360, it raises for about 12.5 meters. Right now, as you're concerned, we have a specified 50
meters for the height. But here you
specified turn five, then what would be the value
of pitch? What do you think? The pitch is the
distance between turns. So as the height was 50 and as we got five
number of turns, what is the distance
between turns? If we divide 50 into
five, we will have ten. Right now the pitch
should be ten, so the distance between each
of the turns is 10 meters. If I set two for the
number of turns, then what do you
expect for the pitch? Exactly. Pitch would
be 25. Check this out. I hold down sheaf and then
I specify the start point. Check it out in the front view. Here as you can see
the first turn, if I measure the distance
between the turns, between these two quarts, then it would be 25 meters, which is the value of pitch. I just wanted to tell
you what the pitch is, but it is not that
much practical, but you need to know what it is. The continuation, I'm
going to teach you how to design a helix
according to the angles, not based on the ternce. For instance, here,
as you can see, we got a helix with two turns the distance between
terns is 25 meters. And as you are concerned, each of the turns, I
mean, at each of them, we got 360 angle
since it rotates, as we got two turns, it has rotated 720 degrees. But if I want to have
a helix or a ramp which rotates at the
angle of 180 degrees, what number should I
specify for the turns? Exactly, not 0.5. Let's it out. So right click vertical helix and then to sketch
a vertical helix, I import the height,
for example, twentymeres inter, watch this. This time, I don't want to work or deal with the
number of turns. But also, I want to specify
the angle of rotation, which is 180 degrees. And as we are not allowed
to specify the angle here, we have to convert the angle to the number of turns
at this situation. And as each of the turns is equal to angle of
360 60 degrees, so 180 degrees is a half turn. I click on turn then I
specify 9.5. Check this out. This is 180 degrees. I hold down shift, and then I place it. And as you are concerned in
architectural disciplines, we are dealing with
angles, usually. We have to be skill at
converting angle into turns. Here in the continuation, I have prepared some texts.
Let's check them out. As I told you before, one turn is equal
to 360 degrees, as you can see on the screen, and an angle of 180 degrees is equal to 0.5 or
half of a turn. And the helix or helixes are not work or do not work with angles, so we need to convert
the angles to terns. And here is the formula. Tern is equal to dividing
angle into 360 degrees. I mean, according to
the previous line, that each turn is
equal to 360 degrees, and we have divided 180
degrees into 360 degrees. And the answer was not 0.5. I want to repeat again, as in helix says, we do not deal with the angles, we have to convert the turns into angles
or angles into terns. And according to this formula, I want to helix at 130 degrees. So for calculating the turns, I divide 108 130 into 360. The answer would be 0.36. Then if we enter
this value for turn, we will have a 130
degrees helix. So let us check it
out here in the view. I zoom in, and then
I pick the helix. I start the axis and in
the end of the axis, 15 meters and then click. Following that, I want to
specify the angle of the helix, which is 130 degrees. As I told you, we can't
specify the angle directly. So according to
the calculations, as we operate the division, the value would be not 0.36, so we just need to
obtain the turn. After that, I click on turn. Then for the number of turns, I should specify the value. Actually, I have used calculator
to operate the value. But here, instead of
importing that value, we can import the formula. So here we can type 130
degrees divided into 360. After that, the answer would be considered as the
Turn. Watch this. So by this way, you can directly convert
the angles into turns, and you don't even
need the calculator. So I just did click on turns, and then I imported
the desired angle, which was 130 degrees
divided into 360. After that, I converted
angle to the turns, and then I place the
helix, check this out. Let's check it
from the top view. It's like an arc. And to make sure that it is 130 degrees, I sketch a arc, then I import the angle 130. Check this out. They are
equal to each other. Watch this the perspective view. So the angle is precise because they are
overlapping and a top view. By this this is very important, since in architectural
these japlins we usually use helix
to create ramps that we've got the
height and also the angle and we need to convert
the angles to the terns. So it's time to, at that time, we use that formula. Then next command, which is
spiral is similar to helix, but there is a small difference
that you can specify two different radius
radio for top and bottom. Let's sick it out again. I start a specify
the start of axis, but we don't have the
vertical version. So in the front view, I sketch the axis.
Check this out. You should specify
the first radius and first point and
start point, actually. By this way, and then
the second one, fill do. And the other options
are just like helix, like turn, pitch, reverse. However, there is another
option which is flat spiral, right click, which draws a planar spiral
curve. They are here. We do not specify the axis, but we specify the center, here the center then
the first radius, after the second radius, by the way, and then the turns
that we can adjust them. Here is the flat spiral. I know it is very simple
and it is not oftenly used, but the options are
just like helix. And if you want to convert these helix or
spiral to a surface, there is a simple command
that I want to teach you. Following that, you can go
through the KinsdrPject. For example, suppose that here I'm going to
sketch a helix. By this way, for example, two turns by this way. Following that, I'm going
to create a simple ramp. So I search for ribbon
in the command line, which offsets a
curve and creates a ruled surface
between two curves. I start the command,
I select it. To show you the application of ribbon and how does it work. Then here, as you can see, we should specify
it at distance. It's just like offset. It offsets the curve and then gives us the surface 15 meters. Watch this. Here is the result. And in the future sessions, I will tell you how to create
the m with more details like with profiles by using
more complex commands. But till now, it was
necessary to cover these commands in order to help you to get over the
practice, bend. And as you can see the
options are repetitive, just like offset like the stand. However, you can use
through points instead. Check this out by this way. You can specify a point to offset the curve or
the spiral or helix. For example, consider
this as the distance. I mean, you can define
the distance by 3.2. Or you can offset it both sides instead of offsetting
it at one side. And as you are concerned
about the corners, you can sharpen them or you
can chew smoothen them, or you can add chamfers or round them just like offset
as we talk about. So in this way, you can create your ramp
or your helical surface. So, guys, as you know, helix is an important
topic in architecture, since we use it in
creating ramps, watch this part carefully. Don't forget to take
notes. S next session.
62. Exercise Explanation: Hi, guys, I hope you
are feeling well. Here is the practice that
I have considered for you. Here you got a
parking. At first, the radius is 10 meters. As you can see in the picture, the radius of the
circle is 10 meters. After that, the width of the ramp is 15 meters
that I'm marking. Then the length of each of
the ramps are 150 degrees. If I want to give you
a brief explanation about the ramp or
about the parking, you know, at the entry,
here you got the ramp, as you can see, 150 degrees, as you can see, it
raises until the ASL. Which is 30 degrees. After that, one more ramp, which is 150 degrees,
and then the ACL. And this repeats. Let me
show you the picture. It starts from here, the ramp Acl again,
the ramp ACL. So we got a sequential of 150 and 30 degrees ramp and then the height of each of the floors or
levels is 6 meters. And as we got six levels and
6 meters height for each, the height of each of
the ramps is 3 meters. I mean at each 150 degrees ramp, we move 3 meters upward, and then we reach to the acl, which is 30 degrees and then we raise another
half of the level. And then the total will be 6 meters for each of the levels. So we got two ramps at
each of the levels, 150 for each, and also two als. So we should draw an aholicx at 150 degrees and 3 meters aces. And the other details are
given in the picture. And as you can see, we got several columns
inside and outside, which are repeated
at each 30 degrees. I'll leave you alone to
do the practice, see you.
63. Exercise: Parking Ramp Modeling: Here if I want to
begin this project, I should start either from the inside curves
or interior curves, and then offsetting
the curve toward outside or I can sketch the exterior curve and
offsetting it to inside. But I choose to begin
with the exterior one. So I get back to Rhino, then I open perspective view. I pick vertical helix
by by right click, and then I should have
specified a start of axis. I want to start it from the
zero point or region point, as I told you, the
height of the axis, which was since the height
of the level is six, the height of the ram would
be three 3 meters inter, to up by this way. Then I should specify
the number of turns. How many should I specify for the number of turns?
Actually, we don't know. But we know the angle, which is 150 degrees. So in the previous sessions, I told you how to
convert angle to turns. So I click on turns to
specify the number of turns. I type 150 divide it into 360. Then press down
and t. Watch this. And even here you can
reverse the direction of the twist by R or reverse
twist. Watch this. But here it is okay. It
seems to be correct. So we can use this
direction of twist. After that, in the top view, I'm going to specify
the start point so I get back to the
picture to check it out. As you can see the start
point is here as you can see want to specify the degree to
start the helix from here. So for distinguishing
the degree, if I sketch a
vertical line here, it would half the A l.
So we will have two, 15 degrees at both
sides right and left, since the Asl is halfent. I mean, it is divided
in two parts. So the start point
of the helix from the vertical axis and then
15 degrees toward right. And how much is the radius? We got ten at inside
and 15 at outside so that the it would
be 25 25 as radius. Then I should specify the
angle up the start point. So I should move it 15 degrees
from the vertical axis. So I type the less than symbol, 15 inter, and then I
select the 15 degrees. Watch this. This is the first
ramp or one of the helixes. But if I want to
continue the helix, you may say that
we can use mirror. However, it is not
wrong. We can use it. But if I mirror this, I specify the plane or
the reference point. Watch this. I set copy to yes, then it would be like this. You know? These two
arcs are mirrored. And then we should
mirror the ramp again. But this time, reference
to the x axis. Watch this to fix it, but this is not my
recommendation. To just sketch the helix at
one step is to use rotate. So I select it Ro rotate. I specify the reference
0.0. Watch this. I select it, and then
I set the copy to yes, then 180 degrees. You don't have to
import the value. You can hold down Shift
and then click here. And then right
click. By this way. After that, I should select it and then move it upwards in order to align the endpoints of each of the arcs or helixes. I click on it. So as I
want to move it upwards, I want to specify the value, but how much at
the height of the at the distance of height of the another
one, which is 3 meters. Fell down. Check this out. We are almost finished. Then at the top view, I pick the arc. I specify the center, zero enter, then I start a arc. Watch this. I connect these two. Then I choose a selected in the mirror by
picking X. Watch this. Then I should set copy to yes. Well, the, check it out. After that, in the
prospect review, I select it to move it upwards. Then I enter the value
to move it along z axis, 3 meters, and then the
another one 6 meters. Watch this. The helix is ready. 150, 30, again, 150 and 30. After that, I select
them to join them. Here, as you can see, we
should create six levels. So again, back to no, I open front view.
I select them. Then array linear, I start
the command, six as number, as you are concerned, in the process of linear array, I should activate planarMPject. Here from the start
point of the helix, then F eight or Ortho. After that, 6 meters. Watch this, and then I
click, check this out. Here we got the helix. Then I join them
with each other. If you wanted to ensure
that you have joined them, if you select the baseline
or the base curve, then we should have all of them selected because if
there was any problem, they won't be selected. Even before arraying them, I mean, at this stage, here we should test it. Check this out. It is joined. So when we can select
all of them by a click, it means that they are joined. So after arraying them, we should join them
again and then ensure that they are joined. And there is not a gap or
small distance between them. Then it's time to use ribbon. I start ribbon, then
I select the heli. I specify the upset which is 15. Then to ward inside,
check this out. Then in the rendered
preview, let's check it out. Here is the result. Let's
go for the columns. Since we're at the final stages, I hide the ribbon or surface, then at the top view. Following that, check this out. We got them at each 30 degrees. I pick the circle. I turn on endpoint to
find it in the helix. For example, let me see here, watch this. Here it is. Since project was turned down, it is projected on the ground. Then I want to use array linear. I'm sorry array polar. I specify the center of the polar array,
then the numbers. Then for the numbers, I specify 12 to array
them at each 30 degrees. Watch this 12. Then I select the
last created objects. Then I add these circle two, and then I extrude
them for instance, still here, I unhide
the surfaces. Watch this in the
rendered report. So, guys, if you haven't if you haven't created them
or created them, please give it a try so we
can go for the next parts.
64. Sweep 1 for Dynamic Surfaces: Hi, guys. I hope you
are feeling well at this session we're going to
talk about Sweep command, which it is considered as one of the most important and practical
commands in right now. There are two types of sweep commands Sweep two
and Sweep one. In fact, it is Sweep one
rail and Sweep two rails. At first, we're
going to begin with Sweep one rail. What does it do? This Sweep one command fits the surface through a series
of profile curves that define the surface
cross sections and one curve that defines
a surface edge. Sweep one command creates
untrimmed surfaces. So because of this, it
is considered as one of the most practical
and useful commands in creating surface. Let us consider it
in some examples. So as I tell you,
in this command, which fits the surface through a series of profile
curves that define the surface cross sections and one curve that defines
the surface edge. In other words, here we
should specify a rail or a path and some cross sections or profiles. For
example, watch this. I want to consider this as
the rail or as the path. Following that, we're going to model the cross
sections or profiles. As you remember in the
previous sessions, we modeled as like this that
I convert it to a surface, and then we place it
around the curve. I'm going to sketch the
same model by the way, both of them at the top
view, following that. As you remember, we put put that around the
curve around the path. The profiles that we use in Ibn command should be
under rail and preferably, they should be
perpendicular to the rail. However, it is not necessary. So orient and curve. I select the curve, then the base point. After the orientation
curve, the base point, I set perpendicular Y Philip, check this out and also X flip to Philip the curve
along Y and X directions. Then I create three copies from the profile in order to have three cross
sections. By this way. Following that, I want to
scale the middle one however, we can use this since
it moves the curve, I want it to be
placed on the path, so I type a C to start
the command of a scale. I specify the reference point. Watch this. Watch
this. I minimize it. Here, we got the profiles
and also the path. Let's just start the commands, Sip one. Watch this. Swip one. After that, we should select the
rail as you can see. We are asked selecting rail. I select the rail, and then the cross
section curves. Following that, we can select the cross section
curves one by one, or we can sketch a window or draw a window and
then select them all. Very well here as you
can see on the screen, just like loft, we got the same points that
we can adjust them. And also, we got the
directions of the sin points. And here we got almost
the similar points as we got in loft. For instance, for
adjusting the points, we got the three
options of natural automatic and flip or even
modify them manually. As you can see, we
got the same points. Let me adjust the sin
point, well done. Actually, in the
process of sweep one, we try to put or adjust the sin points on the rail
or close to the rail, since we can easily
consider them. And here as you can see
the sin points are placed or put or adjusted on the
rail, and as you can see, they are placed at
the intersections between the rail and the
cross sections curves, so let us consider the
directions of the sin points. As I told you in the process of loft specifying the
directions of the sin points, we'd better to adjust
them in relation to a specific part of the curve
or the cross section curves. For instance, we can adjust the directions toward the
greater side, for instance. Here we got two sides that one of them is
greater than the other, that we want to adjust them
toward the greater side. For example, at the next
one, as you can see, the direction is toward
the smaller side, but here you may say
the direction is toward down while previous
ones was upwards. As I explained for you
in left, actually, we don't care that
if the direction is toward up or down
or right or left, but we consider them in relation to these
cross section curves, so it would be either
clockwise or anticlockwise. So it is opposite to this, and it is rotating
to this direction. So it will reach to this side. So it's better to justify
the direction by this way. That right now the direction is opposite to this or
opposite to this side. So it is toward
the greater side. And we got the same
thing in the last one. It is toward the greater side, and we want to we should modify the first cross section
care, check out the result. Watch this. Just like loft, as you can see, we can
align the cross sections. I mean, a loft, we got aligned curves, but here we got aligned
cross sections. So I click on it, then we will be
shown the direction. Here, we should modify the
first cross section curve. I click on the point to
modify the direction. And then I press down
Enter, check this out. The cross section directions
are aligned. Watch this. Okay. By this way. Here I want to give you a trick. If you select all of the cross section caes
with each other together, I mean both cross sections and rails and then start the
command of sweep one. It would recognize the rail and the cross sections
automatically. So you don't have
to move forward to process one by
one and then enter. Watch this. We got
the same problem. We should align
the cross section. Then I click on the point or SIM point to change or
flip the direction. Click on Okay, watch this. So we can use this track to increase the
speed by this way. Here, there is a point that we should
consider all the time, is that the curves I mean the
cross section curves that you use align the process of sweep one should
be closed or open. It is applicable to love too. For example, I
explode this curve, and then I remove some part, and then I join it again to create an open curve
while others are closed. I start ship one, rail, and then the cross
section curves enter. Here you check this out. We should select either
open or closed curves, but not both. I'm in a loft. We have to select either open or a closed curve, but not both. So consider these points. You should select that
open or close curves. You're not allowed
to select both. But here are five modified
sin point, what would happen? I join these and then ship one. I select the rail and then
the cross section curves. As I told you, you'd
better to adjust the sin points close to the rail or under rail or
aligned to the rail, so they can easily
be recognized. But right now I want
to twist the Sweep. So I adjust this in
point, put it this way. Watch this. But note that. We have a just the
direction. Check this out. Here is the sweep. Watch this. It is twisted, as you can see. And this is designing
a specific model that I wanted to twist
the model intentionally, but let us check
out other examples. For instance, I pick
Interpolate curve, and then at first, I specify the rail or path, and then I want to create
two cross section curves. For example, one of them, this one, SmartTrack very well. By project, and I want the pomp curved by this
way, I joined them. Following that, let me scale
it to minimize the size. For example, this is better
than before by this way. Then for another
cross section curve, I want to consider a
rectangle like this. Watch this. Then in the ocean, I'm going to tell you
some interesting points. So at first, I'm
going to place it on the curve or on the
path by orientin curve. However, we got
another approach. This time, I want to place
it without using Orient. I selected, I selected
and rotated 90 degrees. By this way, and then I move it, I put it on the curve, which is not necessarily
perpendicular to the curve. But if I perpendicular,
make it perpendicular, we will have nice
results, rotate, the reference point,
and then the angle, for instance, I place it here. I don't make it perpendicular. I set copy two on. I just want to tell you we don't have to use
orientin curve or we don't have to place the cross section curve
exactly on the rail. Watch this. I want to change your mind about sweep
one and orientin curve. That there is no limitation. You don't have to put them on the rail by using
orientin curve. So we're done, and
then the next one, the next cross section curve, I rotate it at first
at 90 degrees. Then I move it and
place it there. Let's check it out
at the top view, again select and rotate. Watch this. You know, sometimes we don't want
the cross sections to be perpendicular
to the curve, so we can use move. There is no necessity. Watch this. We're
done. Following that. We're gonna sweep them. Here as you can see where
we're going to sweep them. Number after sides of two cross sections are
not equal to each other. So at this condition, we won't have
satisfying results. For example, we got ten another
one, you got four sides. Sweep one rail and
cross section curves. Let me check the directions
and also the sin points. As you can see, a
press down inter. Watch this. This is the
result. Check this out. The rendered view port. You know, these
sides are fading. But in the continuation, I'm going to tell you
a trick that you can use it and fix the strip do. Let's check it out.
Here, let us count the sides of the
cross section curve. Here, as you can see, we
got nearly nine lines. Here we can explode the
other cross section curve, and then by using a split, I'm going to split the top side and then divide it
into nine parts. Point, check this out. I'm going to place points
and then divide the upside or the top side into nine parts, seven, eight, and nine. Then I join them
with each other. So right now at
this cross section, I mean, at both cross sections, we got similar numbers
of sides at each, which is 12 at each. Let's check out the result. Sweep one rail and the
cross section curves. But here I want to modify just the same
points. Watch this. Following that, let's
enter. Watch this. Look. Here it is smoother
than the previous one. Watch it. Fire this way. So you can equalize the
number of sides at each at both cross section curves
manually in order to have a nice or smoother
surface or sweep. And here, as you can
see in sweep command, we don't have solid options. I mean both sides. I mean top and base cross
sections or profiles are open. But if the used
cross section curves are planRO the two profiles, the base and top
profiles are planar. Can make them solid by
using cap. I type cap. Then we should select
the surfaces, the cap. I selected and then press
down Enter. Watch this. But if it wasn't plain R, we have to use patch
to make it solid. Sweep one is not
capable of this. In the continuation, let us consider the options
of the sweep one. Here if we sketch
or draw a helix or a spiral that we did in the previous
examples or practices, for example, the vertical
helix, watch this, and for the number
of the turns as specified too, let's it out. Following that, I'm
going to consider a cross section for it or a profile prints
dance, this, this curve. Watch this joint. I mean, I explode them, and
then I mirror them at the other side by this
way, following that. I complete another side, and then I select them to
make them joint. Watch this. After that, I orient it on curve or to move it under
curve from the base point. Then I set it perpendicular
to the curve. Let me adjust it on the curve. Well done, okay. Very well. Following that, I
want to sweep this. We get the curve and also
the cross section curve. And in the future
examples or practices, I want you to model a ramp by using sweep and a
cross section curve. I mean, in the previous
examples, we used ribbon, but here we're going to use swip and it is not that
much difficult. You just need to
create a rail and the cross section curves
and then sweep them. After that, if I sweep
the by using C one, then if I specify helix as my rail or
path, I select the rail. Let's check it out. The
cross section curve, enter. Watch this. And we preferably put it here,
watch the result. As you can see, the twist
is not regular actually, as we are sweeping a cross
section by using a helix, we should set the reframe
slide to rot like. Watch this. If I set
it to root like, as you can see the result of the sweep. So
don't forget that. If you were using a
helix as your rail, don't forget to
choose root like as the frame style of the
sweep. Watch this. Then it will be fixed. However, if just in case, let me I'm going to make some changes on the sweep and then give you
another example. Wait for a second, please. I click on Set axis to modify
the axis, check this out. After ruining the sweep and
then specifying root Light, and it was not fixed,
just like this. You have to set the axis
yourself, a perpendicular axis. So here I click on Set axis, since you know,
sometimes you may have to set the axis yourself. Following that in
the front view and then a sketch a vertical axis. So you're specifying that the axis is towards
that direction. And then click on
Okay, check this out. It is fixed, since we
have specified the axis. So in the continuation, let us work on the parking practice and then associate the cross section
curve without using ribbon. So I open the file. I recommend you to save
all of your practices or examples since sometimes
you may need to refer them. Here we got this,
as you can see. I hide this and I delete
the ribbon by this way, and the columns well done, and the circles to
prepare the rail. Check this out. This is
the rail of the sweep. After that, we're
going to sketch the cross section curve at my desired geometry,
for example, if eight, six centimeter, I set mode to arc, then I sketch an
arc by this way. Following that, again, the line 60 centimeters, 15 meters. Well done, I press down, Enter. Following that, again,
I start from here 0.05 or 5 centimeters is length. Let me sketch it again. 5 centimeters. And then 30 centimeters, I extend it to downwards, Smart Rack, and then I
continue drawing by this way. Following that, 40
centimeters to down. Then I project it. Watch this. By this way, and then
I extend it fell down. Then at the middle here
I want to add something. I find the midpoint, and then check this out. For instance, this.
I explode it, and then mirror.
By picking excess. Well done. Then I
trim the extra parts. Well done by this way. Here, as you can see, we
got two single lines. I remove one of them, and then by connect, I connect these two
parts to each other. Well done. This is the result. I select all explode, then I mirror this to the other side by picking
excess, well done. Then select all join very well. Following that, I
want to put it on the rail and the cross section
should be toward inside. You may want to put it under rail by using
orientation curve, but it is okay, but I want to critics roach. Let's do it at first to
consider it orientan curve, and then I put it on the curve, the base point, and then
the orientation curve. I set it perpendicular. Watch this. And then, flip X, well down toward
inside, press down, ter. Here the problem is that
here as you can see, there is a small angle. I mean, it is not
perpendicular to the curve. I mean, the curve or the
profile or the object is not positioned perpendicular to
the axis or to the plane. Actually, it is
perpendicular to the helix. And as you can see, the
profile is slanted. Needed to be perpendicular
to the plane, too. However, we can disregard this. But if you wanted to put
it totally perpendicular, select it, then rotate it at 90 degrees manually by this
way, and then move it. By picking point, I turn
off f eight or ortho. By this way, then
at the front view, I rotate the profile
manually like this, the center of the rotation, and then the reference point. Well done, I specify the angle. For the second point reference, I specify the origin point. Actually, the center
of the helix. Actually, it's better to specify the center of the
helix from before. I turn on project, and then I sketch a line following that I find
the midpoint, here it is. Then I start the
command of rotate. I set Capuchin o, and then the first reference
point for the second one, I choose the midpoint. Well done. Check this out. Here as you can see, it is totally perpendicular to
the plane. Watch this. So we can use either of
these two approaches, and there's not that much
difference between them. Following that, sweep one, and then the rail profile
or cross section, Inter just the same point
on the rail and then Inter. And as I chose you before, you should set it to
Rod like. Watch this. So if it was free
form, check this out. It is not correct. Rod like. Okay. Well done. Let's check it out
as you can see. You can create such a geometry
model or model geometry. And if you wanted to
cap the first and end, you can use cap for the planar curves or
cross section curves. Watch this. As you can
see they are capped. By this way. Check it out, shade a display mode. In the continuation, let's talk about the other points
about this command. I open a new file. Wait for a second, please. For instance, here we got
a rail in which we got some straight sections
or sharp corners. Following that, I'm
going to consider some cross sections for
it, like these curves. Watch this rectangle. I turn it off. And this rectangle, I extend it. Following that, another
one at another end. Here we got three vertical
rectangles, then sweep one. I select the geometries,
press down into, which is here as you can see, the direction is changed, but the same point
is well adjusted. We should modify the direction
of the last rectangle. So I flip it, press down inter. Here there is an option
which is untrimmed mires. Here if I check untrimmed mires, then we have some changes
on the Io curves. Here if the sweep creates
a polysurface with kinks, the component surfaces
will be trimmed. Watch this. You see the
changes by this way. Okay. And if I click, as you can see, changes the
form of the iso curves. And some of the conditions maybe while sweeping
a cross section, you may see some distortions at the corners of your sweep. You can try untrimmed mires. The conditions that
the corners were distorted can try to
check untrimmed mires. Maybe it will be fixed. And another option there is refit rail that I want to
explain it by an example. So let's check it out together. Here I sketch or draw
an arc like this. Following that, I
sketch cross section. Following that, if I sweep this. I mean, both, we got the rail
and also the cross section. What about the end? I mean, we got only the
base profile at the top. I mean, what would
happen to the curve? I mean, to the sweep
or do you guess? Does our cross section continue?
So let's check it out. So one then the rail and
then the cross section, well done. Check it out. This is the result. An
angle is considered here. But if I want to consider the cross section for both
ends, what should I do? So here, since we got
only one cross section, I create a copy from the cross section and put it at the other side. Watch this. Following that again
sweep one rail, and then the cross
section. Check this out. Both of the sides are
similar to each other, but check this out the middle. As you can see, it is sharp. At such a condition, we click on refit rail. Then it refits the rail curve like using the fit
curve command. Feed curve command makes a
non graial nerves curve of your specified
degree that matches the input curve within
the specified tolerance. In fact, refit rail and untrimmed mires are
not oftenly used. But if you got some problems, I recommend you use them, especially in distortions
in your sweep, maybe you could fix them. And here as you can see, since we don't have
any sharp parts in the rail at the rail, untrimed mires is not
available. So okay. As you can see, we
got the surface. And this was the application
of refit rail that sometimes it could be very
practical and useful. But just like loft,
just like loft, if we had a closed rail or path and you had more
than two cross sections, you can close your ship. This time at this example, we're going to work on
a non planear curve as the rail by this way, for example, watch this. Then, we're going to
work only circles. Don't want to waste times. Shake this out. Around
curve. Watch this. Since we're going to go through the main point quickly,
multiple circles. Following that, we're going
to use loft, I mean, sweep. And just like of, we have to have more than
two cross section curves enclosed rails, actually. Watch this. Sweep one rail, check this out, and
then the SIM points. Watch this. Natural,
for instance, or automatic hack this out. I press down Inter
here is the result. Following that, if I
want to close the sweep, I check or click Close
Sweep. Check this out. As you can see, it
is set to rod like. But since our form
is not complex, it is not like a
ramp or a helix, there's no difference what to choose free form or rot like. It is not that much different. But we preferably use free
form instead of rod like. But in the Rams, we choose
rod like, and then okay. But about the last point, which is using the surface
edges for sweeping, as you are concerned, we had this point in love too. So if we do not necessarily
use the curves, we can use the surface edges. We can use surface edges
instead of curves. So let us give you an example. For instance, here, we got a rectangle like this
and I extrude it. Well, it is not parallel to
the views intentionally. I delete the curve. Following that, I'm going to
select these four curves of the box as the rail of the
sweep and then create a sweep. So here I need a cross section. Here I have to sketch the cross section or
profile there by this way. So what should I
do? As you can see, the box is not
parallel to the views. What should I do? Exactly.
I should change the plane. I mean, the construction plane. I mean, I want to set this surface as the
construction plane, set the plane to object, which is the most useful one. Then I click on the
surface, check this out. Following that, I should sketch the cross section
curve. Watch this. Here, I start drawing very well. By this way, I said
mode to rc well done. Again, set mode to line. Wait for a second. For instance, this
we're finished, Ciplne to top view, then sweep sweep
one following that, you should select the rail. Here, I click on the edge, the surface edge,
extrusion edge. Then I issue the
specified cross section. I wasn't allowed to choose
the other surfaces, the surface as the rail. It's such a condition
that we got, for example, more than
one rail to choose. Or, for example, we got four surface edges
instead of one rail. You have to c chain edges. Then you can choose the set of edges or the
segments for the rail. You can select as much as you want or as
many as you want, and then press Inter
when it was done. Well done, we can select
the cross section curve. Here it is. Press
Inter Well done. Okay. Let's try again. As I was saying,
at this example, we're gonna use the surface
edges or extrusion edges instead of a rail or a
curve in sweep one command. In select rail in
select rail stage, we have to specify a
path for the swep. But if we do not
click on chain edges, we are only allowed
to select one edge. So after selecting
the first edge, we have to select the
cross section curve, as you can see, but we want to choose
the four edges, the four surface edges
or extrusion edges. I mean, we don't want this.
So at this condition, we click on chain edges. Then we select the
four segments for the four sides or
four surface edges. Press down in following that I specify your selected cross
section curve and then Okay. Let's sick it out in
the Render view port. Here is the result. Watch this. And as I told you before, sweep one is
considered as one of the most important and
fundamental commands in Rhino, that I want you to put
too much time on it. Don't do not skip the
examples or practices. Consider the options. And if you got any
questions you can ask, then we will do the
considered assignments together step by step.
65. Exercise Explanation: Hi, guys. I hope you
are feeling well. Here it is the considered
assignment for you that you're expected to
create it by using sweep. First of all, at
the analysis stage, we try to recognize or
distinguish the main curves. For example, the curve here, it is repeated four times. There's a distance between them. As you can see, as it moves up, the cross section
is getting greater, and here is the file that you
can understand it deeply. Here, as you can see, we got
four sweeps by this way. Here is the plan view. It's just like a square. Watch this. We got this, which is array, and then
this would be the result. And for more information or
explanations about the model, I remove three of the sweps and I keep one of
them. Watch this. Here, we got the path
and the cross sections, and I remove the
form to show you the path and also
the cross sections. So this is what you're
going to sketch. I mean, this would
be the main curve. As I'm marking in the picture
as the rail or as the path, following that I should
specify or create three cross sections at the
ends and at the middle. And the middle one,
as you are concerned, is greater than the others. While the cross sections
at the ends are mirrored. So we need a rail at first that you have to be
skilled at creating the curve or rail and
then the cross sections. That the cross section
curves are three rectangles, two of them are
similar to each other, but the other one is
greater than the others. Let me give you some
explanation about rail. You can sketch it in the
front view if I explode. This is one of the parts. It is extended
upwards straightly, and then it is curved. But do you remember how did
we sketch these curves? A curve curve which is composed by a straight
part and a curve part? Exactly, we use control
points curves. Watch this. By this way, as you can see. Right now, I just
created the rail, from the front view, we can create the rail and then mirror it
at the other side. But here, as you can see
or as you can observe, the cross section is not
exactly on the curve. There is a small distance or gap between the cross section
curve and the path. Let me explain to
you in the picture. Here are a few sketch
and square I mean, hypothetically, at the
base of the model, then we will have
the four corners of the squers at the four
corners of the model, which got intersections
with the cross sections. And as I told you before, there is a small
distance between the rail and the cross sections, the base cross sections. So because of that, there is a distance between
the two sweeps. So back to Rhino,
as you can see, we have considered
a distance from the corner of the skuer
the cross section. If you want to keep
these relations, I recommend you
creating a screw at first and then start
sketching the rails. And then after drawing
the rail or the path, you can go for the straight
the cross section, as you can see on the screen. We got two rectangles at the cross sections at
the base cross section, which is angled, I mean, it is not vertically actually
vertical or small angle. Watch this. If I just
from the top view, relation to the square, it is angled or rotated, and the inother one is mirrored. And the top cross section, which is a greater
cross section. And the point here is
that check this out. The top side of the
rectangle is aligned with the rail and also
tangent to the rail. Let us check it in
the front view. Watch this. As you can see, the top side of the rectangle
of the cross section I is tangent and also
aligned with the rail. So if you do not
adjust it correctly, you will have some
straight sections, and you can't create
the expected form. After creating the path
and the cross sections, join the rail and
then sweep them. This was the whole process
of creating the muddle. Guys, give it a try,
put time on it, then I will do it step by step
together and I explain it, but don't forget to use
your own creativity.
66. Exercise Tomb: Hello, dear friends. I hope you are doing well. I hope you have done the
practice successfully and had taken your skills
to the next level. And if not, don't worry. Since at this session, I'm going to do it with
you step by step and I explain every stages
of the process. So let's go, as I told you in the guidance in
the previous session we're going to
start or begin with a skewer so that by the square, we can control the relations
between the geometries. So we're going to work on a
hypothetical square which is surrounding the feet or the legs here in the
plan view at top, the rectangle by midpoint
or center point. I sketch the square well down. Then at the next stage, let me take a look
on the picture. I'm going to draw the
rail or these curves and then consider it as the rail
or the path of the sweep. And as I told you in
the previous session, I mean, as I was giving you some information
about the practice, while you are drawing the skewer, the
hypothetical skewer, there should be a small
distance or gap between the start of the path and
the corner of the skewer. So for controlling
this distance and also controlling the
the relative height, since I should adjust the height of the
curve or the rail, I get back to no. I pick the vertical
sku or rectangle, and then here at first, I consider the distance. As the start of the curve, I extend it till another end and then at the defined frame, as you can see, I mean, I'm going to control
the height of the path or the
rail by this frame. For example, I specified
a point like this. I mean, this is all in relation to the squers
and I'm going to consider the curve inside the frame then at
the right view. And as I told you before, by using the control
point curve by this way, since it is composed by
straight part and a curve part. Following that, I specify
the start point or the intersection of the
scuba or the corner. First the straight part, and
then I curve it. Watch this. Following that, if you want it, you can choose the control
points and control the path and the height
of the path. Watch it. Here is the result. In fact, this is the drawn
path of the sweep. I mean, we have done
the half of the rail, and we have considered the small distance
between the rail and the corner and also
the distance or gap between two sweeps and
also the height of the path. Then for sketching the another
side or the another half, I remove the scoer I select it, and then I start mirror. Watch this as you can see, the path is done. We are done with the rail. Let's go for sketching
the cross section curves. As I showed you before, we got two types
of cross sections. The first type at the base at
a small rotated rectangle, and then it is arrayed
or mirrored, actually. One more cross section
at the middle at top, which is a greater rectangle
or more extended rectangle. Let's create the two
rectangles here back to Rhino. At the top view, I'm going
to draw them, watch this. Here, for example, this is
the first one, the base one, and then this is
the greater one for the middle part. Very well. After that, I select
it and I move it. I put it exactly at the corner, and then I need to rotate it. But note that the value or
the angle that you rotate your rectangle
should not be that much high. Just a little. Watch this. There
should be a small, you know, angle,
a small rotation. Let me increase the angle. This time is better. If I zoom in, you can calculate the rotation angle
according to these lines, as you can see in the picture. I mean, just relative
to the shadows, and then I mirror it at the
other side of the path. By this way, let
us have a review. At first, we sketched
the square at base. Then for sketching the path, we should have considered the small distance till the
corner and also the height. I sketched a vertical rectangle. Then I sketched the
curve inside the frame. I mirrored it, and then we
have the rail completed. Then we sketched the smaller cross section or the base one. We rotated it. Then we
mirrored it at the other side, and then we are here are some points 50 another
cross section. Here at first, I should
select it and then move it as I told you before and
then put it right here. And I know as you
were concerned, we do not use oriental
curve and stuff like that, since there is very sharp and
we should put it manually. I move it, and then
I place it here, and then I rotate
it at 45 degrees. Watch this. Till here
everything is okay. So right now, it's time to locate or position
this cross section. I should move it
and then put it at the point that these two
curve have met each other. And as I told you, we do not use orient curve and
stuff like that. Since the corner is sharp, we can't put them
perpendicular to the curve. So I should move it manually. I select it 90 degrees, I rotate it, then I move it, and then put it right here. Then I rotate it at 45 degrees. Refer to this point. By this way. Well, done. But as I explained before
in the previous session, the cross section
should be tangent to the rail and also
aligned with the rail. So I should select the cross
section curve and then rotate it to make it tangent to the rail and
also aligned with. But as the rectangle is not parallel to none of the views, we can do this at
none of the views, since it is not
aligned with the view. Since we are not
perpendicular to the curve. Watch this. We are observing the model from this point
and we can't rotate it. We can't reach to the
expected results. Let's check it out. Since the rectangle is not parallel to the views or
aligned with the views, if I rotate it, watch this. It is totally apparently,
check this out. It is no more aligned and
tangent to the curve. Watch this. So what should
we do? What do you suggest? We should or we have to make this rectangle aligned and
parallel to one of the views. So to do this, to make the rectangle parallel
to one of the views, I select the whole
set of the drawing, and then I rotate them
temporarily at 45 degrees, refer to the origin
point by this way. Then if I open the right
view, as you can see, it will be perpendicular
to the rectangle. Watch this. Then if I rotate the rectangle
here at the right view, it will be accepted.
Check this out. It is aligned and
tangent to the curve. This is the result I undo the process to
explain it again. Here, we need to make the rectangle aligned and tangent to the curve
or to the rail. But at first, we need to make the rectangle at least
parallel to one of the views. Otherwise, if we rotate
them at each of the views, we won't have the expected
results. Watch this. So we have to do
something to make the rectangle aligned and
parallel with the views, one of the views, at least. Here, you may say we could
have modified a sea plane. Yes, it would be great
or a trey rotation. It would be another approach,
however difficult somehow. But this is the easiest
approach that we select the whole geometry or the whole set of the
curves by this way. Then we rotate it. Then I specify the central
rotation origin point. Then I rotate it
at 45 degrees to align the rectangle with
the voy axis. Watch this. As I told you before, if you rotate the
view by this way, that the voy axis,
as you can see, it is in front of you, which means that this is the
front view of the model. But if you rotate the view that the X axis was in front of
you, you're at the right view. So if I want to have the rectangle at one
of the views, aligned. I select the rectangle at the right view,
then I rotate it. I specify the first and
second reference points, and then I rotate it. Watch this. The rectangle is totally aligned and
tangent to the curve. And if you want it, you can
rotate the whole geometry. By this way and then
continue the project. But we are almost done. I select the two paths
of rails and then joined them since we
got only one rail here, and then I start to one I specify the rail and then the
cross sections by this way. Following that, the
same points are okay. I check the directions,
watch this. The direction is toward the greater side,
toward the length, but this one is toward to
divide, not to the length. So let us check the other one, as you can see it is
toward the length. So we need to flip the
direction of the middle one. I click on it, I
flip the direction, and then I press down Enter.
What was the problem? Again, I start the
command of sweep. One, I specify the rail, following the cross
sections by this way. And then here we're
going to check the sin points and
also the directions. So to make the process easier, we put the sin points
under rail preferably. Well done these two under rail, but this is not what it is. I just the M point. We should check the points, positions, and then
the direction. Here, watch this.
Here, as you can see, it is toward the greater
side or the length. I mean, here we got two sides that one of them is greater than the other one during
the rectangle. The direction should be
toward the greater one. And the another one, it
is toward the smaller one and the another
cross section is toward the smaller
cross section. We should modify the
first one or flip it. But if you did not realize the differences between
the directions, check this out as you
can see, watch this. We can fix it by
align cross sections. But don't forget that by
using aligned cross sections, we are not allowed to drag the same points and
readjust them like loves. We're only allowed to modify the directions or
flip the directions. So align cross sections. The two others are
toward the smaller side, but the first one is
toward the greater side. I click on the point
to flip the direction. I press down Inter. And then, okay, let's
check out the results. Here in the rendered viewport. Very well. Watch this. Here we just need to array
the sweep. Array polar. I select the object to array, and then the center of the
polar array zero number of the items four and then
the field angle at 360. Watch this. Here
is the result and the rendered viewport
back to shaded mode. As I showed you, each of the components
like the squared, the base square or the vertical
square or the rectangle, helped us in creating the main frames or the
geometry of the model. For example, we
control the distances between the sweeps
by the rectangle. I mean, here I arrange
these two models. I mean the picture and also the rhino version next to each other in order to
compare them. Watch this. This is the
hypothetical square at the base of the
model as I told you, and as you can see, there
is a small distance between the curve until the
corner of the rectangle. And in the real version in the
path, as you can describe, you got continuity
or a curve net, distortion somehow, while we got it in the rhino, as well. I mean, the both version of
the model, the executive one, and also the Plan one are
both similar to each other. I mean, we got the
waves at the ship. So please consider
this project as one of the informative practices
that can teach you many things and try to move
the project forward just like me step by step and be known about
what you are doing. I mean, don't be accustomed to root learning
to just repeating what I've told you without
any thinking upon it, I mean, as you're moving
forward step by step, think about each of the
actions and stages, think about the reasons that I chose that commands or
that approaches so that you can analyze the form and give and use the
given techniques at these sessions at
other actual projects since you have learned the practices and the
projects steeply, not just repeating rudely.
67. Sweep 2 for Dynamic Surfaces: Hi, friends. I hope
you're feeling well. Let's talk about strip two, in which we specify two rails, and then we can specify
the straight sections. I mean, the cross sections
as much as we want, but no daddy cross sections
should be opened or closed. So let us start with
some examples at first. Here, I sketch a
curve like this. Following that, one
more curve, watch this. Okay, consider these two curves, and then I'm going to consider several cross sections for it like this tree and one more
at the end, well done. Then I'm going to modify
the cross sections curves, and then I'm going
to create a sweep by sweep two command. Watch this. I make the lines non planer. I move the control
points along z axis, move downwards, well done. Then I start Sweep two. And then I should
select the first rail. I mean, selecting two
curves as the rails. Again, sweep to rail. By this way sweep to. Wait for a second to rail. After that, I should specify two curves as the rails
or as the two rails. Following that, we select the cross section
curves in order to in order in the order
in which the surface, we'll pass through them. But at first, let
us select the first and by this way, I draw a window to select the cross
sections and then enter. I will talk about
the settings, okay. Here is the result, as you
can see on the screen. Here some of you may ask that we could have sketched
this by using love. So why did we use Sweep two? Let us give it a try
and then compare it with Sweep two Loft. I specify the curves and
then love them. Watch this. Check this out,
compare this two. When we use of, of only connects the profiles to each other or the curves, and we do not control the way they are connected to
each other by other curves. So we can't practically use
love at this situation, and we have to use Sweep two. So let us explain it in
some other examples. For example, in the
full rap shelter, suppose that if we want to
put time on creating this, check this out. Watch this. I mentioned before
at the first stage, we used to analyze the
forms or the main curves, which is more important
than the sketching stage. As I look at closely, here we got arc, which
is our first rail. And then behind the shelter, there is a straight line on
the ground is the ino rail. Check it out in the side two. Here, the black one is the first rail and
then the another rail. And then we specify
the cross sections. Here I have created the model. Let me show you the picture. This is the created model
geometry and the two rails, and I'll say the cross sections. As you can see, let us give
it a try and then sketch it. Well done. Here back to
Rhino at the top view, and I want to create
the rails at first. For example, the curve. Watch this. By this way, then we can move them or
fix them, revise them. And I usually use to delete the two control points at
both ends of the curve. Watch this. This is the result. Look, it makes it more smooth. I move the Ctrpot upward. Anyway, let's take a
look on a picture. Here, actually, in
fact, I sketch this. Then the next rail by
interpolate curve. I sketch another curve. Watch this. Following this one. Then in the continuation, I should modify the
form of the rail, but how? Watch this. We can make it by curve to view. But since it is very simple, we can pick up I mean pick the control
point and move it upwards. I mean move it along axis. Look. Here it is the result. Then we need to add the
cross section curves. Here I add the straight
cross section, which is placed on the
ground. Watch this. And at other parts, we're going to
sketch some curves. So at the middle from the
midpoint in a straight line, and then I select it, let me choose the right view from the right
view, for instance, can select the control point and then move it to curve
it, for example, like this and controlling the continuity very
well by this way. Just like the showed picture and then one more cross section at the another end and a straight line by
this way, very simple. Then it's time to create
the surface by Sweep two, rail one and two, then
the cross sections. Well, the I select the cross sections
and create the sweep. Watch this. Here
there is a point that I want to tell you
just like sweep one. If you select the two rails and also the cross section
glove together, and then starting Sweep two, we can have the similar
results in a quick process. I mean, it is not a
necessity to specify the rails and the cross sections separately in two stages. Let us talk about
another example. For instance, let me open the picture of the stadium
that we're going to model it. Watch this. At first, I want you to find the
rails. Could you guess? Of course, this
is the first one, for instance, and the base one is the second one.
By it this way. Let us create this together. Here I have prepared the
picture, the stadium, and for creating this project, you'd better to use the
deformable ellipse. So the deformable
ellipse ellipse center, you can set 12 as the point counts and then create
this buy this way. After creating it,
you should select it. When we want to draw the stadium here as we look
at the stadium closely, we're not dealing
with an ellipse. You know, we're somehow
rectangle with rounded corners. So get back to Rhino. We're going to modify the rail by moving
decontrol points. Watch this. I select this, and then I move them. Watch this. Again,
I select these two. Don't forget to select
decontrol points at both sides and then extend them to scale both sides
symmetrically. Watch this. This is more close
to the stadium. You can use this technique
in your pectual projects. At first, sketch an ellipse
at a formula ellipse, and then deform it to convert
it to another geometry. What about the next rail. So if we want to create
the next rail or this one, we can offset the first rail, I mean, or scale the base one. Is there any difference
between them? I go through both approaches. I mean, I want to create another ellipse just like
this, but a smaller version, we can either use we can
use either offset or scale. At first, I'm going to scale. I hold down Shift by this way, and I hold down all to
create a copy by this way. Straight one more time. I hold
down all to create a copy, and I hold down Shift to
scale it, scale it properly. By this way, this is the result. This time I want to
try offset, offset. Then I should specify
through points. For instance, by
this way, this out. Is the difference
between these two? Actually, in a scale,
the vertical and the horizontal distances between the two rails is not equal. While in offset, the
distance is equal. And the second difference,
the second rail, as you can see, it is just
rounded like the previous one, but another one in
offsets we have created the smaller
one by offsetting it, the form of the
ellipse has changed, and here we got sharp corners
that we can solve it. We should do something
while offsetting it. Yes, exactly. We should
set loose too, yes. Let's check it out. Watch this. Let me show you the
scale at first. I select the ellipse. I hold down to create a copy and I hold down
Shift to scale it properly, and then the another one to create the smaller
version by offset, offset through
points, watch this. By this way, for example, and then I create it. Here as you can see
the differences between these two are so vivid. For example, in a scale, the horizontal and
vertical distances between the two rails are equal, are not equal, but the offset
the distance is equal, and the second difference
is with their shape. When we scale it,
as you can see, both of them are like
each other, exactly. But in offset, as you can see, the corners of the
offset version are changed at this practice, I prefer to use scale. But as the distances, the vertical and
horizontal distances are not equal to each other, you can select it
and then extend it to compensate the shorts. Well done, let us continue. I select the rail or
the smaller rail. After that, I should
move it upwards or along z axis for instance like this. This is the proper height. And then, according to
the picture or pattern, we should adjust the curveness
that we can control. I mean, modify the
control points. I select the four control
points. Watch this. Let me show you the
picture as you can see. After that, I should
move them upwards. Look, by this way. Here is the result. I move it downwards, well done. Then it's time to give
the straight sections. Interpolate p curve. I sketch the curve here, and then at the front view, I want to modify the curve by
moving the control points. Watch this. By this
way, as you can see, I curve it Well done. Then if I want to lower
the continuity here, I can use weight, as we talked about it before. I mean, I want to stretch the curve to the control
point, so weight. And then in set control
point weight, watch this. I'm stretching the curve to the control point.
I maximize it. Well done. Here by the slider, we can adjust it. I put it right here. Well done, but I should move
it a little bit downwards. And we are almost done, guys. We need to select the
cross section and the curve and then start
Sweep two. Watch this. Okay. Here is the
stadium, however, and before starting the
command of Sweep two, you can record the history and then start the
command of Sweep two. So if it was needed, you are open to
modify your curves. So, for example, I select
the control points, and then I modify them or revise them to reach
or meet my needs. Watch this. By this way. Fell down. And in
the future sessions, I want to teach you how to create these forms
and stadium too. But in the next example. So, guys, don't
forget to put time on these examples and work on them attentively in order to
get skilled at them. Let's go for the next one. The next example, here it is,
as you can see the picture. I'm going to create
the top surface. Watch this in the next
picture right this way. Here, as you can
see, we can easily recognize the rails
first and second, outside and inside, well done. After that, in Rhino, I pick the deformable circle. At first, I should specify
the center of the circle. I set the point count to six. Why? Since as you can
see on the screen, here we got three origin points on the curve or on
the surface and three points for the small for the distances or the gaps
between each of the circles. So totally, we should
have six points, but six is not
accepted accepted. Point out is dependent to
the degree degrees five. I set degree to three and
the point oun to six. Well done, so point count
is dependent to degrees. As I told you, as I
explained and revealed, that the point count is
dependent to the degrees, the center point and
then the radius, for instance, like
this, check this out. Then I select the points. I select every other points. I hold down shift, and then I scale the
circle, check this out. Following that, I hold down
alternative and shift. I scale it and then
create a copy. So I select these. Every other control
points by this way. Let us take a look on a picture. Then we should move them
upwards along the axis. Watch this by this
way, like this. Here, as you can see, we have
moved these three points. However, we should move the
exterior surface upward too. I select every other
points by this way. Then I move them
upwards a little bit. Well done. After that, we're going to sketch
the cross sections. I'm talking about these. So get back to Rhino, for example, in the top view, let me draw one
of them at first. For instance, for example, this as the cross section curve. Let me show you again. I'm going to sketch the cross section curve again
to show you the process. So by interpolate
curve from the quad, and then I activate near Snap, then I connect it to
here by this way. Following that, from
here the squad, I connect it to
here by this way. Actually, we should just
sketch the other quads, too. I mean, the parts parts, the down parts like this from
the quads or bottom quads, like this way, perpendicular. After that, we're going to deform the cross section curves. For example, I choose or
select the control points, and then I curve
them by this way. Watch this. You know,
we're talking about this. Look at the picture by this way, and we modify the other
cross section curve just like the previous one we select it and then move
the control points. You know, you can edit each one individually to customize each of them according
to the picture. But if you want to create
the model, I mean, exactly just like the picture, you should put more time on it. But I think this time is better. Okay. I select the curves. Sweep two, watch this. So right now, what should I do? Exactly, just like sweep one. Here we got closed
sweep that I check it. By this way, and then I
close the sweep so that it closes the sweep and we
will have the surface. And we can create
the bottom parts by using other commands. Well done here there are some other options for sweep that we're going
to talk about them. I want to exemplify
another case and then talk about the options
upon that example. For instance, suppose
that we got such a curve, and then I close them to make
them close to each other, and then I'm going to consider a cross section curve
for these two rails, for example, at the ends. Then I move the control
points upward to watch. Well down when I
start the command of Sweep two or Sweep two rails, the two rails and the
cross section, watch this. Actually, when the
cross sections moves move along the two rails, when the distance between
the rails lowers, it lowers the height two. And as the two rails got
distant to each other, the height grows,
too, as you can see. Here is an option
named maintain height, which removes the
association between the height of scaling
from divide scaling. But if I check it, we will have identical height along
the sweep as you can see, and by default, the cross
section curves normally scaling both the height
and f dimensions. So sometimes it is needed
to check maintain height. The next option is at a slash, which as additional
cross section alignments to control how the surface
is created between sections. In other words, you can modify the directions of the
isocurve by at a slash. For example, as you can see, the isocurves are horizontally, and they are parallel to each other and horizontally
or horizontal. You click on a slash, and then by sketching
the curve like this way, specify the direction
of the Io curves or control them or
sketch a new one, watch this and change
the isocurves. But note that if you
press Control Z, you can undo the Io
curves, undo the changes. For example, you have sketched some isocurves or specified
some points and rail. You can undo them by Control Z. Note that you are not
allowed to delete them. You can't remove them,
but you can undo them. Control that to undo. By this way. You can undo them. And okay, let us work
on some other examples. For example, here we're
going to sketch a mixture of semicircle and a rectangle
here. Let's check it out. Now this time, we're
going to work on a specific geometry by this way. I explode the rectangle. Then I remove one of the sides, and then I want to mirror the another semicircular on
the other side by this way. I select them joined. After that, I've set
through points like this. Well done. Watch this.
Here is the result. Then I'm going to consider the cross section curve,
something like this. I curve the line and
then at the top view, Sweep two, then the rails, and then the cross
section interval done. But note that if
you click on Okay, you can no more add slashes. So before clicking on Okay, I click on Add Slash, and then I specify some
points on the rails. Again, I try, watch this. You know, we can modify the
Io curves of the surface. But this way, you can control the directions
of the isocurves. I click on Okay to
save the changes. But here, as you can see, we can only modify the directions of the
isocurves by a slash, but you cannot modify
the geometries or forms. Shapes, for example, if you
want to curve the I curves, I mean, here we
got them straight. At such a condition, we should add more
cross section curves. For example, here
as you can see, I select the cross
section curve. I hold down Alt, and then I create copy, one copy here, for example, and then another one
there at the other side. Well done, then I select this
one, the control points, and then modify the
control points, and then I curve them or
move them along X I mean, Y or X axis. Then if I select
these two curves, and then I mirror them, at the other side, watch this. And also the middle one, I select it, and then I
mirror it. Watch this. Then I select the rails, the first and second, then the cross section curves. Well done, close the
sweep, watch the results. Since here, we got several
multiple cross section, we should check close sweep. Here, as you can
see, the Io curves are curved, not straight. Here you may say or ask, what is the differences between curve and straight isocurves? I mean, when we
create our surface, what is the significance
of the isocurves? I think I have exemplified a case about Io
curves previously. When you create a surface, then you can use
the isocurves as some profiles or
pipes or mullions. But here, I don't want to
go through the details. I just want to show
you the applications. So you can extract the wire
frame and then by pipe, watch this and specify
the pipe radius. You can convert them
to some profiles. Watch this. This is the
application of the Iacers. Share that display mode. Et's check it out. I'm
going to try again, sweep to the rails, and then the cross section
curves, Enter. Watch this. After that, for
completing the sweep, I click on Close Sweep. I mean, in the condition that we got more than one
cross section curves, we have to check on we
have to check close sweep. So I check it, and
then I click on Okay. Here as you can see, the
isocurves are no more straight, and most of them are curved. And it is just because of the
extra cross section curves. As you can see, we got
six cross section curves. I that control the form and the geometry
of the isocurves. But here you may ask what is the significance of the
isocurves in the surface? Out the rendered
viewport. I mean, this is the final result
at both conditions, no matter how many cross
sections do we use. But in the previous examples, as I told you before, as I mentioned before, the I curves can be converted
to some profiles or leions independently or
independent to the surface. For example, I
rebuilt the surface. Actually, we haven't
covered these lessons, fire frame, extract wireframe, and then pipe, watch the
rendered viewport of the pipe. Here as you can
see the pipes are dependent to the
geometry of dsocurves when we are going to
convert the Io curves to some objects like pipes
and ulions and frames, geometry of do curves do matter. However, we can do something
else by the at a slash. Sometimes by adding a slash, we can revise our
surface or sweep. I mean, we can fix our
geometry or our surfaces, especially in complex surfaces. Let us work on another
example here and like this. Here, as you can see,
we got a geometry with sharp corners like this. Let me select them
and then extend it a little more a little
bit, actually, I'm sorry. And I revise the other part, and then I start drawing the
second rail by this way. And then wait for a second
to complete the rails. Well done. I select
the control point, and then I move it. Watch this. Here we got a complex sweep and then I'm going to sketch
the cross section curve. Well done by this way. I curve it. Then I start the command of
sweep to the rails, and then the cross section
curve nter watch this. Here as you can
see, the sweep is not practical or useful, as you can see, or at
least it is not usable. So at such a condition, at such a case, at the corners, if we add some slashes, we can have a surface revised. I mean, we do not aim to revise the direction
of the iso curves. Necessarily, we want to
revise the surface itself. So add a slash, especially in
sharp corners. Watch this. L, and then at the
other corners. As you can see,
the isocurves are not regular. I add a slash. Watch this. One
more by this way. And then here. Right now, as you can see, the
surface is okay. It is revised and practical. However, if I want
to make it better, I add a slash here, watch this. And as you are concerned, we are dealing with
a complex surface. So we do not have
high expectations, so it is normal to have such a result or
some distortions. So there are sometimes
that we use at a slash to revise our surface. However, about the other options
here in Sweep two rails, for example, we got refit rails. As I talked about it
in sweep one before, which refitsil the rail cars
before creating the sweep, and it is not that much
practical and useful. And you can use these
for rebuilding. For example, rebuild
cross sections that in the future sessions, I will talk about them more, and I click Okay Well done. Here there are some general
points about creating models and surfaces by sweep to that I want
to mention them. At first, let me draw the
two rails of the swap, for example, by this way. Suppose that we
got two rails and only one cross section curve at the first or the beginning. Then we can have our
sweep. Watch this. Watch this without any problem. But if I place the cross
section at the midpoint, or, for example, here, not necessarily at the
midpoint at such a condition, we will have only one side. I mean, sweep at one
side, watch this. Then other side is not closed. I mean the first
cross section curve specifies the start
point of the sweep. I mean the place that the click to specify the rails
doesn't matter. For example, for the rail one, I specify or I click at the right side of
the cross section. Again, check this out, ail
one at the right side, and the second rail at the right side of
the cross section. Then the cross section,
this is the result. But this time if I click at the left side of
the cross section, the rails, watch this.
This will be the result. And the other point
about Sweep two, is that if your rails
have met each other at both sides or at
both ends by this way, the ends of the curves are
connected to each other. And if you have a
cross section here, if I sweep it, then we have them
only at one side, not both sides. Watch this. I mean the place
that you click for specified in the
rails, doesn't matter. So if you want to create
this sweep at both sides, you should specify
the points object at both sides of the rails. Check this out. We got
two points at the end, since points are considered as the cross section
curves in sweep. Watch this, okay? So, guys, try to practice on
the given lessons and make sure that you have taken your skills
to the next level. Try to get a skill that sweep
too. See you next session.
68. Tomb and Amphitheater Design: I'm sure that you have sketched this muddle or the
stairs successfully, but I'm going to create it again myself and together
step by step. So I'm going to start from
sketching the arc or an arc. For instance, here, I pick the circle and then
to 12.5 as radius. And then I select a
part of the circle. For instance, this part. Watch this. I'm talking
about this part. I mean, the angle is not given. So by trim, I trim
the extra parts and I keep the selected
part. This is our arc. After that, get back
to the pictures. You know, what do
you think about the length of the vertical line? I mean, the distance between
the arc till the top line. I mean, here we got 30 stairs, but the length of each
of the asters is 120. So if I multiple 30
in 120 centimeters, it would be 36 meters. I sketch the vertical line
from here, 36 meters. By this way, I pick it here. Then I need a horizontal
line which is 60 meters. So by using midpoint line, I started from the endpoint. 30 meters at each sides. I hold down shift restricted
directions. Well done. But how much should I move
this curve line upward? Three multiple in 30
centimeters, which is 9 meters. I move it 9 meters upwards. Following that, I have to sketch the cross sections of the
stairs and then sweep them. Actually, I want to sketch this. But my recommendation is
that to sketch a line here, I turn off project, and then by points,
divide by number, I divide the curve into points, 30 points, and then I'm
going to sketch the threads. So I click on here, then I activate the
project in plain R, and then I start
sketching by this way. Shake this out, and then
I turn off project. This is the stair, the riser, the nosing and the
thread of stair. By a simple calculation, we sketch the threads and the rising and we can
remove the other parts. Right now, let's array it. I select it. Then array
linear 30 as numbers, and then I array them by
this way. Watch this. Well done, the cross
section is ready. Then I need to move the line beneath the stairs for the thickness of the stairs. And since the cross
section is, I mean, should be a closed
curve, I close it, and I close the other
ends or the other side. I can extend it to connect these two lines to
each other, connect. Then I choose the curves to
connect them by this way. And then in my selection filter, I keep the points. I select them, and I
delete all of them. Then I select the cross
section curve. I join them. To make them join,
following that, the cross section is ready, then I'm going to consider
the cross section, and then the two
rails of the sweep. Watch this. Sweep two, following that, the rails, and then the cross
section curve. Let's kick it out. Watch this. The sweep is ready. And
here as you can see, just like sweep one, Sweep two creates some uncapped surfaces. As I told you, if the cross section curves was plain R. You can
cap them. Check it out. This is the result. So if you
haven't sketched them yet, please work on it since you
can go for the next project.
69. Exercise Explanation: Hi, guys. I hope
you are doing well. Here is the next project that
I have considered for you, which is Arc River. Let's watch the images
that here you got I mean, you have to sketch multiple
surfaces, flat surface. Let's check out the
section view here as you can see. The flat surface. Here we got two surfaces,
another at the top. Check this out. Watch this. And here we got the explosive
diagram of the project. Watch this. Very well. In the continuation, we're
going to analyze the model, and then I want
you to sketch it. First of all, the
bottom surface, as you can see, here it is, and it is very simple. You know, we got two
rails, bottom and top. At the bottom, we got an
ellipse, as you can see. And for the top one, we have
to sketch a greater ellipse, and then by using curve to view, we can form it and then sketch the cross section
curves and sweep them. Is the main surface
of the model. Here it is. But about this, the ribbon around it. When we sketch this line here
as we look at it closely, it is totally flat and straight. When two cross section curves are connected to each
other straightly, there's no need to use
sweep for instance, at the current example
that I mentioned, if you sketch the two rails, which are the two ellipses
and then left them, you can have a surface loft. I mean, a straight surface. So basically, if
two cross sections are connected to each
other straightly, there is no need to sweep them. Use sweep when we got two
shapes or geometries, and they are connected
to each other in a curved manner,
not a straightly. So you can create this
ribbon by using loft, since it is straight, as well as the next
one, the top one. As you can see, it is straight and you can create it by loft. I mean, we only
create the first one, the bottom one by sweep, and the other is by loft. Let's check out the cross
section view. Here it is. Check this out. You can
create this by loft, and at another view, watch this. It is vivid. As I told you before, you
can create this by loft. And the other parts, let me arrange these windows next to each other so you
can observe them better. Watch this. So the main
surface, here it is. But these two can be created
by loft. Check this out. After that, on the
interior side, here we got a straight
surface, flat surface. Let me show you the
pictures. Watch this. Here it is the flat surface
of the interior side, but about the flat
surface, as you can see, one of the sides, we've got a vertical surface
or vertical line, straight and vertical, but
other side is slanted. So, guys, I just try
to explain the model. Right now, I want
you to create it, and then I will explain.
70. Exercise: So, guys, let us start
creating the project. As I told you
before, we're going to start from the main surface. Here we got two ellipses, the smaller and the bigger one. And then by using curve to view, we're going to create
the front view. However, you can use
this section view. Shake this out without using curve to view,
something like this. And as we look at it closely, one of the sides is placed
at higher elevations. Let's start here on
top view, an ellipse. Then I want to deform it, redformable ellipse like this. I scale it, shake this
out for another rail. This way. Then when I
open the front view, as you can see, the range of the front view is not specified. So if I want to specify the
range or the boundaries, I'm going to sketch
two vertical lines at the two ends like
this. Watch this. Then here in the
view, as you can see, I have specified the front
view of the project. I pick interpolate curve, and I start sketching as
this side has more height, and the other side
has lower height. Watch this. By this way. Very well, the curve is ready. Then I search for curve
to view in command line, and then I specify the
curve, check this out. Then I move it
upwards by this way, and I don't need the vertical
lines. I remove them. Following that, I should sketched the cross
section curves. By Interpolate curve. Check this out. This was needed. Then in the front
view, I selected. And then by moving the control
points, check this out. I'm trying to design
the cross section. I'm trying to design this part, actually, as you can see
in this section view. Take this out. I'm controlling the continuity by moving
the control points. For instance, like
this, well done. If you sketch one of the
sides, then it's enough. I start Sweep two. At first, I should
select the rails and then the straight section.
I mean the cross section. Well done. This is the main
surface of the project. Okay, let's go for
the other surfaces. At first, let's take a
look on the picture. The next one, as you can see, this is that we're going
to create it by loft and a straight line
that we're going to create a copy and then loft it. And a straight line, which is very simple. I select the surface edge. I hold down all, and
then I extrude it. I move it actually
and create a copy, and then I love these
two with each other, the surface edge and also
the copied line. Watch this. This is the loft very well. And then the next one, which is this ribbon that
I'm talking about that we can offset it and
then modify the height of it. I select the curve or
the cross section curve. I'm sorry the surface
edge in the top view. I hold down Alt and Shift. I move it and create a
copy. Check this out. For instance, at this size, let me extend it horizontally. Well done. However, I
can move it upwards. Let us check the picture. We are sketching this. Then back to Rhino, we are talking
about this surface. Very well. Let us continue in the project in the
perspective view. I move it upwards. Watch this. The front view. Let me show you the
section view here. We are modeling the
corners by this way. Following that, I'm
going to loft this. I select the surface
or the curve and then another curve and
then loft very well. Okay, here is the result. And then the next
stage is related to creating the
creating this curve. Let me maximize the window, show the other pictures. This, as I'm pinpointing
or marking it, this surface is
greater and at one of the side and the
other side is smaller. The other pictures, the
greater side and in the smaller side of the model
completed project t here, then we're going to
create the greater part. We can use this line
and then edit it. Let us get back to the project. I select the curve. I hold down Alenef buttons scale and also creating the copy. So as one of the sides is
greater than the other side, I move it, check this out. I move it to right, and
then I move it upwards, check this out, check the angle. You know, this is the angle. Let me show you the
section view again. Watch this. And the
other pictures. Check it out this corner. As you can see, it is
more straight than the previous part.
Let's check it out. So here in rhino, very well. I move it downwards to lower the height and then
I want to loft it. I select the surface edge and then the curve to
create the loft. Watch this. Then it's time to create the flat
surface of the metal, which is placed inside.
Check it out here. What should I do for this?
What do you suggest? For creating the
flat surface inside, I select the curve very simply. I want to make it plain art by using project to see plane, the curve I selected, then I project it to see plane. I press down inter, watch this. Well done. Right now, it is plain art, then
at the front view. I select it. Then
I move it upwards. I just the position. Here it is. This
is the roof pull. But how can I make
this side slanted? I don't want it to be
straight vertical. I mean here, if I love
these two with each other, these two curves, both of the sides will be
straight and vertical. What should I do? Exactly? I should trim it or shortening just the curve by
using one D scale. So at first I select it. Then scale one D, I start the command. Then I select this part
or the scale factor. After that, I open the
front view to shorten the length of the curve. Watch this in order to
make that part slanted. Then I just the height in
relation to the picture. And if I move it upwards, it will be close
to the zero point, and then I select these
two curves to love them. Watch this. By this way. Here we got the
valves at both sides, this landed and a straight one. And then at the end
at the final stage, the flat surface or
make it planar surface. Check this out. And then
this will be the result. Let's check it out in
the Rendered viewport. Check this out. If you were not managed to sketch
it successfully, I want you to use my
approach and give it a try.
71. Practice Projects and Review Bench Exercise: For modeling these urban
settings, at first, I'm going to sketch one of the rails and then
I make a duplicate, and then by using
a straight line, we're going to create the
bench or seating, actually. After that, I'm
going to give you some explanations
about the curves. So I do perspective
view, following that, by using polyline, then I
start sketching like this. Check this out. After that, I select a line. I hold down all and then
I make a duplicate, by this I move it upward. Following that, I select
the region point. I'm in the region
line. Then I start mirroring by picking
axis like this. Following that, by
using blend curve, I blend these two
lines by this way, and then the two other
lines, watch this. Following that, I
select these curves, and then by using arraylinear and in the number of the items, for example, five, what this, I array them like this way. Following that, I select
all of the curves, and then I press down
Control J to join them. I hold down all, and then I make a
duplicate by this way. I can move it a little
bit more by this way. Here we got the first
and the second rails. I modify the layer of the
second rail to layer one. Watch this. I turned to red. After that, I'm going to sketch
the cross section curves, for example, like this at
both sides by this way. Following that, I
select these two rails, and then I make a duplicate. Since I'm going to explain
something after that, by using Sweep two, I specify and select the
rails and dndicrs sections. Okay, check this out. Here we got the surface
or the urban setting. Following that,
we're going to curve the ends of the rails. So I try blend curve
in the command line, then I start the
command. Check this out. By this way, I make it blended. And also these two
curves but this time, I want to modify the continuity, higher continuity.
Okay. Watch this. After that, I select
the two curves, and then by using trim, I trim the extra parts. Watch this. This is the result. And also for the other side, I'm going to do the same thing. Blend curve and then
specifying the curves, and then modifying the
continuity. Watch this. And then here again, I belnd the curves, flip and then move. Okay. Then here I select
these two curves. Then trim, then I cut
the extra objects. Then at the final stage, I select the surface. I start offset surface command
toward inside, not 0.1. It is proper. So we managed
to create such a setting. And actually, extend we
got them in the picture, we can let me get back
to you right now. At first, I move them upwards
and then by using a line, vertical line, then from
this point, watch this. Then I set it to shaded mode. I select this line
and then pipe, the radius of the pipe, not 0.3. Watch this. Then I want
to select the pipe, and then I mean, I'm going to select the
pipe and then array it for creating the other
legs of the settings. So I start making
duplicates by this way. Let me check the
legs in the picture. At the top view, I'm adjusting the position
of the legs very well. Following that, I
select the three legs, and then by using array linear, I specify six as number of
the items following that. Then I array them. Watch this. Here I select
the lines or the curves. I don't need them,
and then I hide them. And here as you can see
the seating gear is ready. And here the important
point that I want to mention is the continuity
of these edges. So at this part, in order to model that part, we can use a vertical
rectangle and also with rounded edges
or rounded corners. By this way, I sketch
a cross section curve. Watch this. Rounded corners. Then I select it, then move, just the
position by this way. Following that, I can make
some duplicates for placing it at the other side since we
need two cross section curves. And then I start
sweep to command. I selected two rails and I specify two cross
section curves, adjusting the sin points
by this way toward down, and in the another one. As you can see, the direction
is toward down very well. As you can see, the
surface is prepared. However, if you wanted to add some other cross section curves, you can use add a slash. So in the rendered viewport,
let's check it out. This time, as you can see, we have created some
smooth parts at the edges. And even at the ends at
the ends of the surface, if I want to smoothen it, I can hold down s and then rotate the cross
section curve at 90 degrees. Then I isolate these two curves. Then I split the first curve, the second curve, I split them. Then I select these
three curves, loft command, and then
we'll have our surface. Watch this loft well done. So right now at the ends, we have created such a surface, which is very smooth. Sell curve or select
curve command. I select the curves by this way, and then I hide them
so that we can check the smoothness of the surfaces
at the rendered viewport. We can create the
legs as we did in the previous one and then
complete the urban settings. But in the future sessions, we will work on some more complex and
professional commands that we will be able to control the continuity of the surfaces. Watch this. So, guys, as you are concerned, we're finished and the
practice is done. If you got any questions
you can ask us. See you in the next session.
72. Practice: Hi, guys, I hope you are
doing well at this session. We're going to work on another model by
using sweep to rail. Let us take a look
at the pictures. Watch these. So here
is your concern. We got two rails. One of them is at the inside of the model
at the interior layer, and the other one at the exterior layer and
some cross section curves. However, there are
different types of models, and you can choose one of them later and model
them by your own. We're going to focus on this. So here, as you can see, we
got two curves as the rails, as the exterior rail
and interior rail and multiple cross
section curves, we create the top surface. And following that, for
the body surface and bottom surface and
also interior surface, we will explain the process. So get back to Rinne, then at the top view. I want to sketch a
deformable circle. I set three as degree and six as point count from the
origin point, watch this. And then 10 meters a radius, then I restart the command by right click to sketch
another circle. This time, I specify
3.75 is the radius. So by this way, as you can see, we have created the two
main curves or the rails, which are two circles. Then I select the circle and
then the control points. I select every other control
points by this order, and then I move them upwards, 4.5, and then the other
control points like this. And then this time, I want
to move them downwards -2.5. Check this out. Now we
have created the wave. Then at the interior circule I select every other
control points that I want to
move them upwards. I move them 1 meter, and then I select the others, the t minus not 0.2. Well done, then I
select the two rails. I rotate from the zero point or the center of the rotation,
I enable project. Then I hold down sheaf to rotate the rail or curve by this
way, and then I move it. After that, by using Divide
Command, take this out. I select these two curves, and then I divide them. Let me specify the position
of the point from this point, top view, and then I specify the number of
the segments, six. Watch this. We have divided
the points and the curves, and then by interpolate curve, I'm going to sketch
a curve for myself. I disable project, then from this point to the other point in the exterior curve
array polar from 0.3 as items in 360 degrees. Then I want to
record the history since I want to modify
the control points of these curves and want the others to be modified when I'm
modifying one of them. I select them, and
then I move them, as you can see on the
screen very well. Then here if I start the
command of sweep two, the two rails, and then the
three cross section curves, I check close sweep. Then then I set it to
display mode, shade it. Here, as you can see, even here, we got some curves
or continuity. But if I take a look
on the picture, these parts are
straight. I mean flat. Not curved. So I
cancel the sweep since I want to make some other
changes by interpolate curve. I mean, I sketch three
straight curves. I mean, I'm going to consider three more cross section curves. Then sell PT or
selecting points. I select the points and then Control G to group
them and height them. Again, sweep the rails
after that the rails, and then the cross
section curves. Well, done, as you can see, the surface is created. I close the sweep by
checking closed sweep so, guys, we managed to create
the top surface of the model. As you can see, following that, we're going to muddle the
edges around the model. So to do this, I
set all of these, and then by using gumbal, I move them 6 meters upwards. Here in the warning, it says the Gumbal transform command, broke history and two
objects. I click on okay. Right now, I select the
surface edge, exterior edge. I hold down out, and then I
create a duplicate or copy. I make a copy -6 meters by this way from
the edge surface. Here, if you take a
look on the picture, you'll see that the curve of the bottom is
opposite to the top. So I select the curve
following that. Then I scale it along z axis. I pour minus one by this way. Here again, I should move
these points upwards. So I select the control points, and then I moved on 4
meters upwards. Watch this. Then I select these
three control points to move them downwards, minus one -1 meter, well down, as you can
see on the screen. After that, I'm going to model
the straight part first. After that, I'm going to
model the stare like surface. Get back to where. I
select the surface edge, and then I make a copy, and I also move it downwards, minus not 0.5, four. Then I select these two curves. Then I love them to
create the surface. Watch this. This is
the rounding ribbon. Then I select this curve. I hold down Shift, and then I click on a scale, not 0.85 to reduce the size. Since here as you
look at it closely, we got the scaled version
in the plan view. After that, by using
a straight line, I select this point and then and then this quad Watch this. I connected to the other end. And as you can see,
the line is vertically in perpendicular to
the bottom curve. I specifical by this way. And then the cross section
curves, watch this. Here as you can see, we managed to create this very simply, but we're going to
create the star like surface is not a flat
and straight surface. I select the surface,
I delete it, and then I'm going to modify
and make some changes in the cross section curve to create a stair like
cross section. To do this, I'm going to use length and then
calculate length, which is 7.12 meters. Then I sketch a
line by this way, a line in the scene,
7.12 meters. Well done. Get back to the picture. I want to estimate the
number of the stairs, for example, or grooves,
nearly seven parts. So by using curve to divide, I select the curve
and then divide it with points into seven parts. And then at the top view, I want to create a
rectangle like this, SmartTrack, and then
watch this at this size. Following that, I select a created rectangle
and then explode. Following that, I select these
two curves and join them. Then by using these lines, I start trim, and I remove the
extra lines and I so this. Then I select this
curve or line, and then by using array
linear at the number of six, I create copies or array them. Watch this. This is the
sale cross section curve. I select the created curves, Control J to join them. After that, at the
perspective view. Following that, I want to
consider this curve as the cross section and then replace it with
the straight version. So orientine curve. I started, and I specify the object,
the orientation curve. I set perpendicular
to yes. Watch this. Following that, I
want to flip it along x axis and also rotate. I set rotate to yes. Then at this point, I
flip it then also rotate. As you can see, by this way, I rotate it following that here by using
sweep to rail again, the rails and then
the cross section. Watch this. So if there was any problem or was
not satisfying, you can use add a
slash and then add the cross sections or
slashes to the sweep. I click on Okay, well done. Following that, this is the body surface
which is completed. Very well. Then it's time
to model the bottom edges. And also the interior side. I select the bottom edge. I hold down ten shift. I click on a scale, then not 0.85 or not 0.8, it doesn't make difference to
create a copy by this way, and then I start move command. I want to move it vertically. Then from this
point or the point to move from then
till this point, since I needed them to be
aligned with each other, and then I start loft command. Watch this. These two curves, and then I love them. So I created the bottom
surface I can hide it for now, since right now, I'm going to
work on the interior side. In the continuation,
we're going to go through the same process that we did for the exterior
side for inside. So I hide some parts
and then this curve, and also addition
to these curves. I want to keep these
or isolate them, and then hide others. Watch this. Then I select
the cross section here, and then by move, I move
it right here. Watch this. And then by scale, I'm going to actually
rotate minus one to rotate it or to
be mirrored, actually. Then this time it's time to use rotate three D at D. At first, I specify the axis, and then the angle, W the reference point, and then a scale one D. At first, I specify
the scale factor, and then I scale
the cross section. Well done, sweep to rail, second rail, and
then cross action. I unch a closed curve,
and then I click ano. Well done, this is the
interior surface that is prepared Central shift
edge to unhide others. And then I select the
surface set by this way. So by this order, we managed to create
the main geometries. Following that, by using
offset surface, for example, I select the loft or
the surface and then offset surface to
offset the surface. Check this out 7
centimeters by this order. However, we can create more
details or design them. So, guys, this model
maybe seem very difficult or impossible to be
modeled at the first site, but we managed to model
it together step by step, which was considered as one
of the complex geometries. And then from display in
material, I mean, display, I check surface edge, and then displayed in
the rendered viewport. However, as I told you
before at the beginning, there are some other versions of this model that you can
choose to model them, that they can help you to take your skills
to the next level. You can share the pictures of these models that
you model them. And if you got any
questions you can ask us.
73. Practice: At this session, we're going to model geometry or a
surface like this. So for start or
at the beginning, we can use the plan view
in order to calculate the relations
between the surfaces and the values and
the dimensions. So I import the plan view, then at the center, the origin point, and
then at the top view, I adjust it in the
scene, well done. I select the image
then from material. I increase the transparency
of the picture. Following that, by using lock, I lock the picture, and then I pick the poly line, and then by using Greedy snaps, I sketch a straight
line like this way. Offset command. Both sides, watch this. And then I click
on through points. To extend the lines till here. I don't need the first line, but I can select
these two lines, and then I turn off the Gritty snap and then I scale them to make them
close to each other. And here we don't need
the picture anymore. Control L to unlock it, and control to hide it. Well done, after that, I select these two
parallel lines at a polar from zero center, and then tres number, check this out in
the 360 degrees. Following that by
using Bland curve, I connect these two
curves or blend them. I mean, every lateral
curves, and then these two. I blend them, watch this. The main frame of the project. Then I connect them by a line, and then by array polar, watch this. Well done. The plan view is prepared. I select them, and then I want to make a copy or duplicate. I hold down out,
and then I move it upwards and make a
duplicate by this way. Well done. I select
these curves. And then I explode them. Following that, I want to, let me show you the
picture. Watch this. I'm going to create these
two curves. Back to rhino. To do this, I remove this. I don't need it,
and also others. Again, blend curve. I'm going to use point option in bland curve and then the end of the curve from this point, as you can see, and
then I blend them. Let me show you the
picture as you can see. By this order, we have
sketch this curve. Well done. Following
that, I click on Okay. And then by pressing inter, I restart the blend
curve command. This time, I want to blend to another curves or
another two curves. So I specify the curves,
and then I blend. Watch this spy order. I click on Okay and
then so as you can see, by using this approach, we manage to create our curves. Following that, I can sketch these vertical lines at the
corners at intersections. Then by using Sweep two command, I specify the rails and then the cross section
curves. Watch this. I have created the surface, shaded preview in order to
display the surface again, sweep to command,
the second rail, the second one, and then
the cross section curve. Watch this. And if
there was any problem, we can use Ata slash to modify the cross
sections. Watch this. I sketch a line by ata slash
by specifying two points. Following that from this
point to by this way. You can add slashes to revise the surface,
as you can see. I click on o to
save the changes. So the surface is created. Then by using a vertical plane, I want to create the
vertical surface for here, watch this. And then I select these surfaces
and also the curve here, and then I isolate them. And then by using
array polar command from the origin point
Trina's number, and then the field
angle, watch this. And as you can see, the center part is left in
which we got a triangle. It is void that we can create a surface at the center, too. I select the tree curve. I isolate them. Then I start trim command. Then I trim the extra
parts, I shorten them. Then by using surface from
planar curve, watch this. I converted the curves
to the surface. At the top view, I hide the isocurves and then I
want to sketch a polygon inscribed polygon
from the origin point by this way or the midpoint
of the polygon edge. Well done, then I select
the control points. Following that, I move the control points to
modify the polygon. And then this part, I
want to rotate them. Watch this, again, move. And the other parts, I rotate them at
first a little bit, and then I move the
control points. Watch this. Following that, I'm going to create or
sketch multiple triangles, but I don't want to put
much time on the details. So if you're interested, I recommend you to
work on details. Triangle from the
edge, by this way. I make a duplicate by this way. Like this. And then
I select them all. I scale them, minimize them, and then adjust the position. Watch this, and I should move the control point
upward, well done. Following that, mirror
and then moving. Watch this. I adjust them. Again, mirror. Watch this. By this way. And
then by this way, I move forward, check this
out minus one, rotate it. And then I move them to place them at the right
position at this part. Then I create a copy, and then I rotate them
or mirror actually, and then adjust the position. Watch this. By this way, I can locate them. Again, creating another copy. I place these two at this part. And then I can move
these two control points downwards and then I scale it. Following that,
at the next part, I select the surface, and then by using split, I select these curves
to split the surface. Following that, this out. I select these
triangle surfaces, and then I remove them. I select them at first,
then remove check this out. Control Alt edge to
unhide the surfaces, and then I set the display
mode to render viewport. By this order, we managed
to create the surface. And as you are concerned, we talked about these parts in the previous sessions.
These are okay. Since we have used a low
number of control points, these surfaces are
displayed like this. I can start the
command of rebuild. Then I select the surface. Then I can control the
control points, for example, maximize them, and then
clicking on Okay, watch this. As you can see that
parts have been removed. I try I rebuild the other
surfaces to revise increase the value of point count 15
and 16 50 and 60. Very well. Check out the result.
So this time, there's no problem at the displayment of the
surfaces. Let me take a look. And actually, at
the ninth season, we're going to work
on this project again to model every details. I'm talking about
the glass panels and also these frames
and the mallions and the windows that we're
going to work on them and the ninth season and also
the interior models. But for now, we just
wanted to create the top surface or the
exterior part by using sweep. And at the end of the project, I can select the
curves by this way, and then I cross a window and then by using
planar surface, I can cover the bottom
surface of the model.
74. Section Command for Slicing Geometry: Hi, guys, welcome
to the season six. At the beginning of the season, we're going to talk about
the command of section. This section command creates a planear curve or
points resulting from the intersections of a defined cutting
plane through objects. I mean, it creates
plane R curve on the surfaces and
points on the curves. So let's check it out. I
started sex or section command. Then I should select the
objects for sections. I select the object inter. After that, I open
a planear view. However, we can select the sections in
treaty view as well, but we may make some mistakes, so it's better to open
front view, for example. And then I sketch some sections. And here, as you can see, we can sketch more
than one section. Then I press down, Enter. So we can create curves on the
surfaces by using section. Check this out. And
as you can see, it does not make any
changes on the surface. It just creates the points,
the curves, actually. And as I told you before, you can pick points on
the curves or lines. Suppose that we got
this by this way, then I start the command
of section, watch this. I select the curves, I press down Enter, and then I pick points
and the curves. Watch this. Then this
will be the result. Enter, here a few, select the curve and the surface both at
the same time section, and then I select both of them. And then I'm going to select both the surface and also
the curve at the same time. After that, I open
the front for you and then I cross a line. Then the line will be
created on the surface, and a point will be
created on the curve, since we got both
curves and the surface. Watch this. Here is the result. In the continuation,
let us out the options. So here again, at the
perspective view, I sketch three curves. And then I want to start the command of options
and explain the I mean, section and the
explain the options. I joined these curves, and then I extrude them. And since the curve are
joined with each other, so the surface is
unified and joined. So here we got a
polysurface, actually. Let us talk about the section
command and the options. I start section, and then I select the object
or the surface. Then as I told you, I open a plane R
view or two D view. The first option that I want
to consider is join curve. The join curves option specifies how cantor curves created from the poly surfaces
will be joined and either won't be
joined. Click on it. Here, we got three choices. The first one is none. None means that at this
option or at this case, you got no curve joining.
Let's check it out. Here, I sketch a curve on the
surface. Inter, watch this. But as the surfaces are
joined with each other, but the sketched curve on the surfaces are not
joined, they are exploded. So this was joined
curves option. None. So at this case, you got no curve joining. Undo, then the next part, again, section I selected,
front view, join curves. The next option is by
polysurface in which curves in the same contour controplane created from a polysurface
will be joined. In other words, if the
surfaces were joined, the curves will be joined too. But if the surfaces
were exploded, the curves will be
exploded at too. For example, at this example, are the surfaces joined?
Yes, they are joined. So as a result, if I sketch
or draw a curve on them, the curve will be joined, too, the curve since these
surfaces are joined. But this time, I
explode the surfaces. Watch this. They are exploded. And then again, I start
the command of section. I select all of the
surfaces inter. And then I set join
curves by polysurface. I sketch the curve in you know the result I know that
these curves are not joined anymore since the
surfaces are exploded and the curves are
dependent to the surfaces. Watch this. Let's take them out, just like the option of none. So at this choice, the curves in the same contour plane created from a polysurface
could be joined. And being joined and exploded are dependent
to the surfaces. While in non choice, if the surfaces were joined, the curves will be exploded. What about the next
option or next choice? As you can see these three are exploded? Let's check it out. The next one, B section plane. Bisection plane is exactly
opposite of the non. At this choice, all curves in the same control
plane will be joined. I mean, at any conditions, the curves will be joined
after creating these sections. For example, here, the
surfaces are not joined, but if I set it to
bisection plane, I select the objects or the surfaces and then
I draw some curves. Then you will see that they are unified or joined by this space. This was all about
joining curves. However, we got this
in other commands too that I don't want to put time and explain
in this anymore, that if we set it to none, it does not join the curves. If we set it to bisection plane, it joins the curves
at any condition. By poly surface, the curves are dependent to the relations of
the surfaces of each other. Let us talk about
the next option, which is let me join
these surfaces. The next option is extend which is very
practical and useful. So let's talk about it more. Here, as you can see, extend
section has been set to no. If you set it to no, then
if I draw the section line, it doesn't extend it. Watch this. As you can
see, it isn't extended. If I sketch it outside, it won't be considered. But if I set extend
section to yes, it extends the section
curve at any condition. Watch this along the surface. It specifies whether or
not the section curves will automatically
be created for all the selected
objects as through the drawn section plane
extended through them. What about group objects
by section plane? If we set it to yes, regardless to the joining, which is considered
by join curves, it specifies whether or
not this section and the same control plane
will be grouped. So despite of joining them, it groups the sections. So we can specify whether or not the section and the same sixtire plane
will be grouped or not. As you can see, these
open curves are grouped and they are independent to the other option,
which is joined curves. And if we ungroup them, then we can realize that
if they are joined or not. Here we realized that they
were joined the group p and about the other options that are not that much useful, for example, a song
layer by the aN layer by option specifies the layer for the section,
curves, and points. Example, you can assign them at the current layer or
the default layer, or you can set them or assign
them to input objects. That the section
curves and points will be on the same layer
as the input objects. That if you want it,
you can adjust it. And the next command
that we're going to talk about is cross section, that you can start it
by the shortcut of CSAC or cross
section by this way. But what does it do? Actually,
the cross section command creates section curves
through profile curves. So let's check it
out in this example. I start at the command, then I select these curves
one by one, press inter. After that, I should sketch
a closed or open curve. As you can see the close is
set to yes, I set to no. Then I sketch some curves here. Check this out. In the top view, watch this. This is the result. If you sketch them, we will have these but
if I sit close to yes, then close curves are created at the first profile
line and at the end, I mean, at the last profile. Check this out. This is
what cross section does. But here there are some points
that I want to tell you. The first point here is
that while you want to specify the profile curves
and picking the line, you cannot cross or draw
a window to select them, and you have to select
them one by one by click. I sit close to no, and then
I sketch the cross section. And just like love, the order of your
selection does matter. I start the command. Then this time, I select
them by another order, a different order like
this. Let's check it out. Then here as you can
see, this is the result, which is dependent to the
order of the selection. Or for instance, if I
select this one at first, then the cross section will
be started from there, and then I turn
around the profile, then I press down Enter. Watch this. This is the
given cross section result. So at this condition, when you sit close to yes, it is not effective. Another point here
is that if you got too many lines or
curves, for instance, let me create some copies to prepare many curves by this way. Suppose that we got
too many curves, and then we're going to create the cross section
and these profiles. So here it takes a long time
to select them one by one. So before starting the command, we cross a window and
then select the curves, and then we start the
command of cross section. This one, at this situation, you cannot specify the
order of your selection or where to start your cross
section or where to end it. You can specify the order. But the result is satisfying, usually, watch this.
Check this out. This is the cross section.
They are accepted. If you wanted to modify the rhythm or the order
of the selection, you have to select the
curves one by one. And the next point and trick
that they should put it into consideration is that
if you were dealing with planar curves like
this, check this out. Here we can use the cross
section command, too. But note that after just
selecting the curves, you should set close to no. Then if you set close to no, then this will be the
results by this way. But if you set close to yes, you won't have
satisfying results. Watch this. In fact, here we got two curves. I mean, a curve which has been folded on itself.
Check this out. So I recommend you to set
close to no in planar curves. Here the given commands, I mean, cross section and section are practical when we use
them with other commands. Please work on them at first, then go for the next session.
75. Surface Creation via NetworkSrf: In this part, we're
going to talk about the other commands of modeling, which is network, which
is considered as one of the most precise and oftenly
used commands among users. Network creates the
untrimed surfaces. So it is one of the most
practical commands for modeling that creates the
untrimmed and precise surface. Here I'm going to begin today's
lesson with a question. If we got such a
curves like this, as you can see in the scene, and then we want to create
a surface out of s, what are our approaches or what are our possible commands? Exactly, sweep to rail. Sweep two, I started, then I specify the rails and then the cross
section curves. Watch this. Here is the
surface. Here I got a question. Here I got a question. In
the command of Swift rail, can we control the front
view of our surface? Are we capable of it? I mean, can we specify
that the cross sections or how the cross sections connect to each other
in the front view? Exactly not. The only thing that we can do here is to check, maintain height, watch this, which is not that
much practical. You know, it does not give us control upon the front view. I mean, can we determine or specify a curve at
the top surface of the model and then apply the curve on the front
view of the surface? Let us check it
out. For instance, in the perspective view
by interpolate curve. I sketch a curve for the front view of the
surface like this way. For instance, and then I
move it upward, downward. No, I control the control
points, I move them. To design the front
view by this way? Well, done, here if
I want to associate this to the front view of the
surface, what should I do? Here, as you can see, we got
three rails, as you can see. In fact, we got three rails. So we need a command
like sweep tree rail that accepts tree rails to control the front
view of the surface, but we got no access
to such a command. So when you need more than
two rails for your modeling, you should use Network command. In fact, in Network command, there is no limitation. You can specify as
much as rail you want and as much as
cross section curves. There is no limitation. I type network in
the command line, then I select all of the
lines and then I click Okay, by this way as you can see. In the continuation,
I'm going to talk about more about the principles
of modeling with network. In network, we need two groups of curves in two
directions, actually. As you can see in the picture, the green arrows
are these curves, and then the red arrows are in other curves at a
different direction. So we got two types of
curves in two direction. And here all curves in
one direction must cross all curves another direction in the other direction and
cannot cross each other. Like a network, and at each
of the sides or directions, we should have at
least two curves. After that, the network
surface does work out. Then we can consider one
of the directions as the rails and another direction
as the cross sections. However, in network command, we do not have the concept of rail or profile
or cross section. I'm just telling this to
you to explain it for you. For example, we consider the
red arrows as the rails. We got four rails,
for example, in here, and then the green arrows
as the cross section curve. As I told you, there
is no limitation, but inside the command, there is no rail or
cross section concepts. These are not recognized
or called by these names. We just select all of the curves and then
start the command. Because the network
surface command creates a surface from a network
of crossing curves, let us exemplify some cases and then check out the options. The first point is
that the curves on the one direction should
be all opened or closed. Not both, just like loft. For example, here by
Interpolate curve, I draw some curves like this. Following that, I want to
explain the network command. For example, these are
the one direction, the first direction
of our curves. I'm adjusting them, rotating them to make them
variable by this. Example, this is
the first direction in which we got four curves. Then for the second direction or curves or second
group of curves, I mean, somehow I'm considering
these as the rails, and in other direction curves, I'm going to consider them as, for example, cross
section curves. But note that in the
network surface command, we do not call these curves, the rails and the
cross section curves. Then for creating the
other direction curves, we can use, for example,
cross section command. Then I select these curves. Press Inter. I set close no, and then I sketch the cross sections as another group of curves
at another direction. And then I set close yes
for the two other curves. As you can see, these four
are at the same direction. The first point was
at one direction, all of the curves should be
open or closed, not both. Here, as you can see, in the second group or
the cross sections, two of them are closed and two of them are open.
Check this out. Watch this unable
to sort curves, select curves one at a time. We got a warning message, since we should sketch
them, all of them. I mean, open or close. So I remove these
two open curves, then I replace the closed curves or closed cross
section. Watch this. Again, here we got section
four closed cross sections. So right now, the first
and second directions of curves are all
closed and open. And at each of the directions, we should have at
least two curves, network surface, and
then create a surface. Watch this by this way. And as I told you before, we can use open curves. So cross section this time, I want to set close to no. Watch this. I sit close and then I sketch the
cross sections. Then we're going to create
the surface by network. Watch this network. Okay. By this way. So at each of the directions, all of the curves should
be either closed or open, and we should have
at least two curves. This was the two rules that you should put them
into consideration. Another example, watch
these three curves that I'm drawing them. And following that, I want to close them by
three other curves. Can we use network upon this? As you are concentrating
on the geometry, I make some changes on. Can we apply network
surface upon this geometry? Are the rules and principles
in surface I mean, in network surface
considered here? Exactly not. Not considered. First of all, we should have the curves in two directions, only in two directions, which are crossing each other. Since all curves in
one direction must cross all curves in
the other direction. For example, this
one, as you can see, it is not crossing in other
curves in other directions. So here, the curves and the
directions are not specified. In fact, here we got three
directions, not two. So this is not accepted
by network surface. Since we should have only
two directions, I mean, two group of curves
in two directions for creating a surface by
network surface. Watch this. It is unable to sort
curves, but in general, how can we create
a surface out of these curves without
using network surface? What do you think? Here, we
can add some more curves. At first, let me edit this. And following that,
do you know exactly? We can use patch by this way. I sketch the curve,
another curve. I add it to the other
curves by this way. Still, it is not accepted
by Netforx surface. I mean, no way start patch. Let's check it out,
then I select them. Then, okay, we will the surface. Then we can easily convert
it to a surface by this way. But note that by using patch, we will have trimmed surfaces. If I untrim it, check this out, but NetFok creates
untrimmed surfaces. But Patch creates the
trimmed surfaces. T another example so here we are learning
the network points. Right now, watch this. Here the question
again is can we use network upon these curves
and create our surface? I want you to
understand the logic or the rule of working
with network surface. As you're concerned, may we find the main curves
and then we Mola. Here are the curves,
for example. Then I'm going to add
some other curves by using cross
section. Watch this. I select them, and then I
add the cross sections. No, we are open by this way. What do you think about these? Can we create the
surfaces by network? Exactly. It does work out. Here as you can see,
you got three curves. Let me change the color. These are the first direction. Check this out. But
the second rhythm or direction are the
cross sections here. As you can see, they are
working with each other. I mean, the cross sections. I want to say that the curves in direct one direction
should not be necessarily parallel with
each other or aligned. Here we can understand that the red lines or curves are
working with each other. But if I add another curve like this at another direction, this does not work with them. So we can use
network for creating a surface to start,
check this out. Then by this way, we can
create our surface by network. And as you can see, when you let us try again, here, as you can see, when we
create a curve, I mean, I create a surface
from a set of curves. The parts that are
not specified, with the cross section are void. I mean, the open
part got no surface, but if we close the curve, let me give you an example. For example, if I close
this, watch this. I close it by connecting the control
points to each other, wait for a second, please. Or, for example, for
closing these curves, I can use blend curve. By this way, and then I join
them after blending them. Then the other curves
by this way, well done. Then I hold down shift to
minimize the size of the curve. By this way. And here there is no need to
add cross sections. I create the surface by
network, watch this. Here we got the closed surface. But if we create the
surface with open curves, then it considers
the cross sections as the start and
end of the surface. Let's check it out here as you can see the first cross section and end are considered as the first and end of the surface. Let me give you an example
by using the cross sections, cross section, and then I set
close to yes, watch this. Here as you can see, we got closed cross sections
by this way. Then network
surface. Watch this. As I told you, at each
of the directions, the curves should be open
or closed, not both, right now, all of
them are closed. Create the surface. We got a pipe like
this as you can see. Very well, let us talk about the other points
about the command, and we may want to go
through some details. The point here is that if your curve were closed in
one of the directions, I'm talking about the rails, then at the another direction, you have to have at
least three open curves. When you got closed curve
in one of the directions, then at another direction, you have to have at
least three open curves. If I open this, then since here the cross
sections are closed, and in another direction, we get only two open curves, network is unable to
create the surface. Check this out.
This closed network requires three or more open
curves, at least three. Okay? So all in all, it requires at least three
open curves or more. So if I add the one more, so we can create the surface. Now that this rule is applied, when at the other direction, all of the curves are closed. Then at the another direction, we should have at least
three open curves. If I replace these
cross sections with open cross section, then we can create our surface by even using two open surface. Watch this. I sit close to node, then I create the open
cross sections or curves. Then here for the network, I remove one of the curves
at another direction, and you see that we can create our surface by
network. Watch this. But if the cross
sections were closed, we required at least three
curves at other direction. When we got such a curve, there is no need to use network. We can use Sweep two. Since the application of network here is that that we can specify more than two rails and
about the next point, let me prepare another
example on case. For example, these three curves. Actually, the points
about network commands are very significant, so listen carefully and then consider each of them while
you want to practice. Try to exemplify the case, try every situation,
open and close curves. Away, let's talk about
another example. Here, at one of the
directions like rails, we got this, and then if we
had only one cross section, which is placed at the
ends of the curves, then we're not able to create our surface and reach
the expected result. I select them, enter, take the set unable
to sort curves. No, most of the times
it is unaccepted, and if it did create, the surface is not satisfied. I was talking about the
network surface command, I told you that of the
curves in one direction must cross all curves in the other directions and
cannot cross each other. We have to have at
least two curves at each of the directions. However, sometimes it
creates the surface, but it is not proper
or practical. But right now, if we relocate the cross section and then position it at the middle
or at the midpoint. I select it or I remove it, and then I sketch another
one at the midpoint. At this condition,
network surface never creates the surface. If you place the cross
section at the start, sometimes you can
have your surface, but this condition at the middle never watch this
unable to sort curves. But this time, let us
check out the exceptions. If we had a cross section, which is placed at the
midpoint and only one, but at the other connection
at the other direction, if the curve met each other. Check this out. I connect these two lines to each other
and also the other one. At this situation, we
can create our surface. And we got the similar
version in Sweep two Asvill. Let's check it out.
Network surface. Watch this. And as I told you, the free end or the open end of the rails won't be
covered with the surfaces. And it is clear that if the other ends of the rails met each other by
this way, check this out. We connect the control points, the ends to each
other, then we can have the surface
just like Sweep two. And there is no need
to points. Watch this. Check out the geometries. I select, and then I start
network surface. Watch this. Here is the result. But here if I remove one of the rails, does it work out?
Could you guess? Yes. Check this out, like the sweep two. I told you only at the situation that the
cross sections are closed. Then at the in other direction, we need at least
three open curves. But here, our curves are open. I mean, the cross section
is open, is not closed, so that we can use two
open curves in the rails. And if we remove the
connections between these two, or if they did not
met each other, here, as I told you before, at least we should have two curves at each
of the directions, and it is unable to sort curves. So if I add another cross
section here, as you can see, we got two curves at
each of the directions, so we can have our
surface by network, but the expectation
here is that. I mean, the
exceptions, I'm sorry, the two ends have met each
other so that we can use only one cross section to create the surface by
network by this way. And the next example
I remove these. W I ask you a question
and challenge you, here I want to
sketch an ellipse. Watch this, please, according to the
rules and principles. Following that, I'm
going to sketch two curves that are crossing
each other. Watch this. After that, I select
the two curves. I press down F ten to
show the control points. I select the control
points, I move them up. Then according to the principles and rules that I told you, can we create a surface
by network or not? Exactly, we can't Why, here, as you can see,
we got a closed curve, we got only one, and the direction is not specified.
What about the other one? Check this out. It is open and the direction
isn't specified. I mean, here, we
got no directions, and at each of the directions, we should have at
least two curves. Okay, what is your solution? We create the surface. If you were at my side,
what would you do? Right now, just consider
the given points and the rules and then
give me the solution. I want to help you to
give me the solution. As you can see, it is very similar to the previous
example. Watch this. They are similar to each other. In the previous example, we had only one cross
section, as you can see. Here is the corresponding
cross section. But at the previous one, we had three rails or three
curves at one direction. So could you say what is the difference
between these two? I think you
understood the point. If we want to consider
this curve as the only cross section,
the condition, we can create the surface
by network that we use the principle in which the rails meet each
other at their ends. As you can see, we got a closed curve that
we should split it. Heref I pick a split
command and then I split it by using this curve
as the cutting object. Then we will have three rails. Watch this. These three curves are meeting each
other at their ends, and they are considered as
the first direction curves. And since they are meeting
each other at their ends, they can accept only
one cross section. Network surface, watch
this. Here is the result. So sometimes, I mean, you understood that
sometimes we need to use a subtle viewpoint in analyzing the geometries
while we want to create a surface by considering
the rules and principles. But I'm going to exemplify the opposite exam case that we got multiple
cross sections, but only one rail and the curves are exploded and we
need to join them. And we talked about these points in the commands of
loft and a surface. I mean, in the conditions that the curves
should be joined, and sometimes they
should be exploded. But let me give you
another example. So I want to draw a
geometry, a model, and then I want you to
think about it and tell me that can we create the
surface by them or not? For example, this F ten to
show the control points, and then I move them. For instance, this
and following that, I mirror it at the other side. Interpolate curve. Watch this part
carefully, please. Consider the curves, whether
they are joined or exploded, and which one of
the curves should be joined and which
one of them should be exploded so that you can
assess yourself that how much did you understand from the directions of
the network surface? Well, done following that, I sketch another curve
and then finish. I want to ask you
a question. Can we create the surface
by Netfork or not? You have probably guessed right. Network does not accept
this. Check this out. As you can see, does not accept it except
here you may say, here we got the first direction that they are working
with each other. And then these three lines or curves are our cross section. I may be right, but these two curves are
exploded or not joined. I mean, if we join these
two curves with each other, then we can have three rails. So I select them, and
then I join them. So right now, we got
these two curves, these two joined curves
at one direction, and then the another
one joined, well done. So sometimes by just
joining the curves, I mean, joining the exploded
curves at one direction, we can create our
surface by network, and at the another direction, we got these three open curves. Network, let's check it out. Well done. As you can see, we got this surface by this way. And here is the result. And when you create a surface by netfork
you will be displayed. I mean, a window
will be displayed in which there is not a
specific option that they are somehow somewhat
effective and important, that I want to explain them. For example, I create the
surface by Network, Inter, and while we are analyzing and observing the surface
from distance, we can distinguish
the correspondence of the curve and the surface. But if I place a point or at
a point and then I zoom in, I click on this to
focus on the object. Here as we look at
the object closely, we see that the curve and the surface are not that much
matching with each other. You see that they are not effective in
architectural discipline. However, if you're working with jewelries or smaller
scales or details, these are very important
to be regarded. But this is okay in
architectural disciplines. For example, we had this in loft patch or surface or
in the future sessions, they will tell you
how to fix it. But when you are using Network for creating a
surface, watch this. Then here you got
an option named tolerance for edge curves
and interior curves. Actually, edge curves sets the tolerance for
the edge curves. The edges of the surface will be within this value
from the edge curves. Refer reduce the value, then the edges will be smaller. I want you to consider the
distance or the edge curve. For example, if I
exaggerate in the value, not 0.1, watch this. The value of edge curve
is too much and too high, and it is observable. I increase the value. I reduce the value,
0.01, watch this. And the proper value
here is not double 01. And actually, if we
increase the value, it increases the
volume of the project. And then we will
have more Io curves, and Rino would focus
on the details, not the major items. So, guys, right now, I
want you to take time on practicing about the
items of network surface. I think I told you
nearly 15 points that I expect you
to write them down. General, we need two direction. Then at each of the direction, we need two curves. If we had a closed curve
in one of the directions, at the other direction, the curves should be
open and at least three. So, J just consider
each of these points, exemplify some
cases for yourself. And don't forget that this is practice that makes perfect. So, guys, please, before
starting the next episode, ensure that you have been
skilled at this session skill.
76. Additional Surface Techniques (Parts 1 ): I hope you have
worked on each of the examples and practices
and also points. Otherwise, I want you to
pause the video and then get back to the previous session and try to learn them deeply. And as I have told you
for multiple times, watching the video
is not informative. You should write down notes and practice every single example. But let us start this practice. As you can see, we're going to sketch this building and model. Here, as you can see, you got four main caracter arcs
or four semicircles. So let us start and then
we're going to analyze it. This example, we're going to use other commands like
surface and of two, and then we're going to
compare them with network. Since this comparison
helps you learn better. At first, let us sketch
the main or basis squares, which are the four
semicircle. Back too. At first, I'm going to sketch
square by center point. I hold shift to restrict
the sides, well done. Then for sketching the
vertical semicircle, we talked about
the points before. We had three approaches, so let's have a review. First approach, which
is the best choice is using arc start and directional start and then
sketching a semicircle. I pick the command,
I specify the first, and then the end points, then I hold down Control, and then I sketch the vertical
semicircle by this way. Or we can sketch it
in the front view. And then another approach
or second approach. Here I pick the
center arc command. After that, I open front view as I told you when Y
axis is front of you. I mean this view right here. You're looking at the model from the front view is the
center, then in front. And then I sketch
the semicircle. Watch this. By this way. What about the third approach, it does not give us a
precise semicircle, since we use it to
create or sketch an arc, not a semicircle, necessarily. Arc start by three
points, actually. I deactivate planar
and have a review of planar the first
and after that, I open the front view, and then I adjust the
semicircle, the continuity. Watch this. But
why did it happen? Then as I was sketching
or specifying the point, planar was not activated. So the point is placed
on the origin point. So what should we do? I
activate planar again, and then I pick
arc three points, start, and then the point
on arc, front view. Then here as you can see, we can specify the center
or point on arc, but we can't sketch this
semicircle precisely. And we should place the point exactly on
the origin point. Watch this. So I
reduce the continuity, and then I specify the point. Watch this. Vertically.
I remove it. So we had a review. And following that, I want to use the first
approach, direction, the start, and then I sketch the vertical semicircle
by this way. Watch this. I hold down shift. I sketch it in the front view instead of holding
down Control button. Then according to the picture, we need four semicircles. I selected and then I array it polarly in relation
to the center, the number four, fill angle, and there is no need to offset. Don't forget that.
Watch this very well. So right now, it's time
to use other commands, addition to network surface. We're going to use them
and then analyze them, compare them in order
to meet our need. Here, some of you
may ask that we can use loft or other commands. I mean, here at this session, I'm going to create
a specific model by using multiple approaches. For example, for the first
one, what do you think? I don't want to use
Netfork for now. In order to sketch the model, as you can see on this screen, what is your
recommended command? What are the available
commands here? I mean, we're going to have
a review upon this command. So just think about want to
challenge you and help you to decide and choose the best approach in
different kinds of occasions. We got four curves
that are going to create a specific surface,
a common surface. What? Exactly a surface. I start the command
of a surface, then watch this.
This is the result. It is unaccepted. This
is not what we want. So a surface is not the proper command here,
the proper approach. We can create the surface, but it doesn't meet our needs. Since, as I told you before, the surfaces that are created by a surface cannot be controlled. I mean, we cannot control
their continuity. So we're going to ignore the surface or
reject it, actually. The next one SP one, exactly, or SIP two. Suppose that here, we
can consider rails, and then the others
as cross sections. So just let's give it a try. Sweep two or one, the rail and also
the cross section. Press down Enter. Watch this. Here is the result, which
is not the expected one. Here you may say, Let's
give a try with Sweep two. So let's try rail one, and then the cross sections. Watch this. It is
not reasonable. Or, for instance,
Sweep two, watch this. I specify the rails and
then the cross sections. It is just like
the previous one. Watch this. It
does not work out. Sweep is not the
proper command here. Okay, what is next?
What do you think? What do you recommend?
Exactly, patch. Let's try. I start patch, and then
I select the curves, and then Okay, watch this. This is the result.
Here, actually, as you can see, patch is a
better choice than other. But still, it is
not what we want. It is not the desired model. It is not the unified
surface that I need. It does not meet my needs. But still, it is more
reasonable than others. This time, let's try network. Network surface, watch this. I select it, select the curves. Here we got two curves at
each of the directions. Okay. Watch this. Here we are given
a smooth surface, but still, it is
not what we want. So, what should I do? Here, I want to sketch
some auxiliary curves. For example, about the patch. As I told you, it is more
reasonable than others, but it still don't accept
it. It isn't a smooth. But the network, as you can see, it is unified and uniform, but we should control the
continuity so we can use some auxiliary curves so that
we control the continuity. Watch this. So here I
pick arc, watch this. I want to start it
from the midpoint of the curve or also the
center of the square. Then I want to continue it in front view, I
open front view. After that, then
I sketch an arc. Watch this. And then after sketching this arc and consider
it as the auxiliary arc, this will be the result. Only one side is controlled, but the other side is not. I mean, the edges are sharpened, so still, it is not
accepted as you can see. So try to sketch the curves
or arcs symmetrically. I select it, I hold down all, and then I click on it to make a Duplicate and rotate
it at 90 degrees. This was the quickest way
for sketching another arc. Then I use Net for to
create the surface. Watch this. This is better. Here we've got a smooth surface symmetrical
and reasonable. Here you may question that if we add these curves to
the other commands, we may meet our needs. So let's give it a try. We're going to use
other commands by using these auxiliary curves. I move these curves. To try other commands by
using the auxiliary curves. Then I create some
copies, and, you know, doing the comparison actually between different commands
of creating surface helps you understand the
applications of each of the commands better
so that you can categorize the
commands in your mind. Then it helps you to make your best choice in
choosing the commands. Here a surface cannot
be applied on this. Unless I split these
two curves, watch this. I split these two, and also others I'm just preparing the condition
for using H surface. Here we got the first, second and third curve, and I need to split
this curve as well. That, as you can
see, takes time, and we got some difficulties
Hsurface watch this. Well done. Here is the result. And then, and for the others, I want to array this side
instead of using a surface. Watch this. Here is the result. Still we haven't met our needs. Let's try the sweeps, the sweep commands by using
the auxiliary curves. For example, Sweep one, the rail and then the cross
sections. Watch this. Again, this is not
the expected result. What about patch? Let's try it. Here, we got the
auxiliary curve, and Patch returns
a better result compared to the previous result. I select them, enter, watch this. By this way. So as a result, when we got a network, here as you can see, we got a network of curves in two directions that are crossing each other,
this is the network. So at such a condition, the best choice for creating a surface
is network surface. S one and two are
not proper to this. But they are proper
for the conditions that we got only
one or two rails. But here we got more than
two rails, three rails, and we got a group of arranged curves
at two directions which are crossing each other. So here, network could be our best choice since can give
us the reasonable result. So guys consider this
example and compare the commands so that
we can categorize each of the commands and
then make your best choice. Later, I will talk about
the other projects.
77. Additional Surface Techniques (Parts 2 ): So the advantage of network
is that we can add curves or auxiliary curves for
controlling the continuity of the model as much as we
want. There is no limitation. But for example,
in edge surface, adding the auxiliary curves didn't make the result better. I mean, the geometry changed, but still the surface
was not uniformed, was not a smooth, was
not the desired one. Or, for example, in
sweep one or Sweep two, the result got worse in a way that the previous result
was better than this. And this was the patch. The geometry was changed, but still it was not
a smooth and regular. But when we are working with
network surface command, we got no limitations in
adding cross section curves. So it's up to you to
decide or recognize or distinguish which
one or which one of the commands is
the best choice. And how do you can add the auxiliary curve
to meet your needs? You have to learn this,
actually. So in conclusion? The advantage of the network is that we can add as many as the cross section curves we
want to the geometry for controlling the continuity of the model geometry or surface. While a surface, this
is not applicable. Since if we add the
auxiliary curve, the added curves
were not practical in creating the desired surface, or, for example, in sweep one, as I told you before, or even
Sweep two, it got worse. As you can see, we have been encountered with
some other problem, and in patch, as I
told you before, this surface is changed
or has changed, but still it is not
accepted and it is not alike of the picture that
could not meet our needs. So as we can add the auxiliary curves or the cross section
curves in network, here the art that is
to add the curves, the auxiliary curves in a manner that controls the
continuity of the surface. Right now, you've learned
how to create this surface. I want to add another
part to this and then consider it as the practice for you and then
leave it for you. So please compare all of these commands with each
other, just like as we did. For example, try a
surface loft, patch, and then just feel the
differences between these commands and
just categorize them, create the survey.
See you next session.
78. Exercise Explanation: So, guys, after creating the
surface by network surface, it's time to create this mesh. Here, as you can see,
you get the plan view, and this is the perspective
view of the mesh network. And these skewers are
equal to each other. So, guys, focus on it. I'm sure that you get
over it. I wish you luck.
79. Mesh Dome Modeling: I'm going to create this mesh. Let's check it out, which is very simple here
at the top view. You know, I'm just going to
create this the mesh network. So I'm going to use square to sketch them to
sketch the mesh. I hold down Shift to
restrict the direction and the edges and let me maximize
the size by this way. Following that, I use array. The ordinary array, the number
is direction, for example, 12 in X and then 12 in Y and
zero in Z or one, actually. Let's check it out. Let me
increase the value of X and Y. At first, let me adjust
the tensity by this way. Then I edit the numbers
in X direction, 16 19, and then here
if I edit the spacing, then it would be fixed. Well, done, 1.42 or
1.45, 1.44 or 1.43. Check this out very well. Great. Then for Y spacing, I mean Y number 19 and 1.43. For the Y spacing just
equal to X spacing. Actually, -1.43. Let's check it out -1.43. Check this out, ter, well done. Then it's time to
split them very well. I pick a split following that. At first, I select the
surface, then enter. After that, the skuers as
cutting objects, press Enter. Then let's up the
result. Watch this. Here is the mesh,
and the result. Then I delete the extra object. Here, as you can see, you get the network and also the mesh, and then offset offset surface. I select them. Then I specify
a distance of offset, Philip like 9.2, and
I set solid two yes. Wait for a second. By this
way, this is the result. Then I can select it, and then extrude
surface. Watch this. Then at the front
view, let me zoom in. And then I extrude the surface. I specify 0.2 for the
extrusion distance. Let's check it out, guys. Wait for a second, please. By this way, this is the result. So you can either use offset surface or
extrusion surface. So, guys, it's your turn if
you haven't sketched it yet.
80. Exercise Explanation: Hi, guys. This is the
next practice that I have considered for
you. Check this out. U shape geometry, front view, and the surface, as you
can see by this way. And in order to
understand it better, I have prepared the rhino file and I want to show
you check this out. Here, as you can
see, from this view, we got two circles, and then other the views
in Branded viewport. Right now, I want you to analyze the geometry or the model and
then find the main curves. But let me give you
some more explanations. I want you to think about
the two directions of arcs, I mean curves, and
also the crossens. But here, if we look at closely to the
picture, if we draw half of it, then we can use
mirror for the other half. So we're going to focus on the half of the geometry
or the right side. Then if I want to
create this by network, our first rail is here. Watch this. Till here. Again, the other rail starts from here and then
continues till here. I'm talking about the rails that their ends have
met each other. Let's take a look on this. Here we got two rails
or two curves that their ends have
met each other as the inside and outside or
interior and exterior. And then if we sketch a circle there and forming this part, you make comes to your mind that you can sketch
it with sweep too. Want to control the top view. So we got more than two rails. Sweep two is not capable of
it. Check this out again. In fact, here we need a
curve, as you can see, for the interior part, till the end for half of it. And then for the exterior
part, as you can see, which continues to the
circle or to the end, but for controlling
the front view, since we can't create
this by using Sweep two, I'm sketching another
rail or curve here. Which curves and then meets
the other two curves. So there we got intersections. After that, we're
going to consider some cross sections and
then finish the surface. And while you are creating
this surface for making the end smooth and of
match curve is involved. So, guys, I want you to give it a try and use your
own creativity, and then we will sketch
it step by step.
81. Salt Shaker Modeling: So, guys, it's time to
start this together. Let's go at first
in the top view. And then I want to
import this image into rhino by this
way, very well. Then I just it in the top view. Then I find it center, and then I position it
on the origin point. So I position it on
the origin point. I mean the center. For example, I pick the line, and then I find the approximate
center or midpoint, very well, and then I move
it the origin point or zero. Watch this. Then
it's time to make the image or picture
transparent. I increase the transparency. By this way, enough. Following that, it's time to sketch or draw the curve
by interpolate curve. And then I start
from the endpoint. Watch this. I move on. And as I told you before, you should use the less
number of control points. Watch this. I sketch
it completely. I zoom in, and then I
connect it, fell down. Here as you can see, we
got only one closed curve, and indictrol points are
connected to each other, despite of having
two rails here. But here we go only
one closed curve. Later, we will want
to split the curve. So move on. I want to sketch
the cross sections. For now, we got two
rails or a closed curve, and there is no rush
for the third one. Here we're going to sketch
a rectangle. Watch this. Here, we got a rectangle
with rounded corners. Watch this, as you can see. I mean, the corners are
filled or they are rounded, so get back to Rhino, and then I start sketching it. Then I pick round the
rectangle very well. Smart track, since I want the white fiber rectangle to
be equal with the curve. And then I round the corners
by this way, by this way. After that, it's time to
rotate it at 90 degrees. And then I move it. And then from the midpoint, I place it here. Watch this. However, you can scale it, can extend divide by this
way. Where it is great. So this is the middle
cross section. But what about the ends? As you can see, we got a circle. Watch this in the front view. We got two circles,
as you can see, get back to rhino to the file, and then first of all, I'm going to sketch a line, a straight line from
the quad to this. Then I'm going to
consider this line as a diameter of that
of that circle. By sketching a vertical circle, vertical circle like this. Watch this. Well done. Very well, right now, it's time to sketch
the other rail. I pick Interpolate curve
from the midpoint. After that, in the
top view, watch this. Then again, back to perspective, and then I connect it to the quad point,
press down inter. Then I choose the control points to modify it, the continuity. As I told you before, I remove the control points
which are close to the end, this can help to form the
geometry at the desired way. Then I select this one. I move it upwards, and also the others watch this even we can delete
the control point. I delete it, well
done. This is great. However, later we can edit it, and then interpolate
curve for the end, I connect it to a quad point after that into the front view. And then I want to control the continuity
of the curve virus way. I want to round it. Watch this. I adjust the positions. Great. Where is the next step? I don't need the
picture, so I delete it. Then as these two curves
are considered as rail, I should select them
and then match them, match curve by this way. Then their connection
point will be fixed. Tangency for continuity
by this way, I match them with each other. Check out the result. Here it is. And I don't
need this, remove it. After that, it's time
to split this curve. So I pick split to split
it from the intersections, split, and then I
select it by this way. Here we got one of the rails, here it is, the second
one, and the third one. They have met each
other at that point, and we got two closed
cross sections, and everything is okay. Following that, it's time
to create the mirror. I select it. Then I
start mirror command, then toward down, I mirror it. Watch this. Here is the result. I select all of the curves, and then I mirror at the
other side. Watch this. Here as you can see,
we got the rectangle. As you can see, here, we got two rectangles
which are overlapping. We should remove one of them. I remove one of them.
Don't forget that. Here I want to consider the curves and tell
me the problems. Watch this. There are
some straight sections. So what should I
do? Yes, exactly. We should match
these two curves. They require to be matched. I select them, and
then I match them. Check this out. I remove
the sharpness. Okay. And also the other
rails or other curves. I select them, and
then I match them, and you'd better to
match these two. I mean, apparently,
they are okay, but you'd better to match them. To remove these straight
sections and sharpnesses. But here, as I zoom in, watch the, they are fixed. So you have to select
these two curves or the rails and then match
them after mirroring them. At the next step, we're
going to consider the two groups of curves
which are in two directions. Normally, these four
curves, as you can see, in the same direction are
the first group of curves, but the two circles and the rectangle are
the cross sections. Let's check it out. For
example, the first one, the second one, great, the third one, and
fourth one great. But why they are joined? Because when we were
using match curve, let me explode one of them. They were like this, exploded. But as we match them by
match curve by this way, I have check joined, so we join them
after matching them. So here we got the first
rail, the second rail, third rail and fourth rail, and plus three cross sections. Everything seems to be okay. Network surface,
select, and then enter. Watch this. Great rendered
viewport. Here is the result. It seems to be okay. However, I assume I think I have skipped
part, watch this. This surface is not a smooth. So what should we do? Shade a display mode. Here we should match these
two cars with each other. I mean, we have
skipped these two. Watch this. They
are not matched. But note that while you are matching these two
cares with each other, you should uncheck join since we don't need
them to be joined, and if they were joined, then we will have some problems. So we need them exploded. So I start match. I select them and
then match them, TangenNo but let
me explode them. I forgot to jet join
and explode these two. Very well. Again, match. I select them, tangent it for continuity and I check join. Well done, let me
check the other side. I match them. I mean, just only matching
these two curves, just fix the continuity
of the surface. Network surface.
Okay, check this out and don't forget to test
it in rendered view port. Watch this. This is revised. We don't have the whole
like sharpnesses, and this is the correct
result and what we expected. It's your turn to give it a try.
82. Revolve and RailRevolve Commands: Hi, guys, at this part, we're going to talk about
the command of revolve. The revolve command creates
a surface by revolving a profile curve that defines the surface shape
around an axis. Revolve is one of
those commands that creates the untrimmed surfaces. Let us give you an example
here, for example, here in front view, and then I want to
create a surface. I enable Grid to
snap following that here along the Set
axis, actually Y axis. I'm sorry. This straight line. Wait for a second, please. I set it to arc, and then I set it to line by this way inter
following that explode. Then I want to mirror it at the other side by
picking a plane. Then I connect these two
by a line very well. And then for revolve, we can choose open or
closed cross section and then creating a
revolved surface. I join the curves.
Here is the result. Here is our cross
section like column, revolve or EV, I
start the command. Then I should select or
specify the curves to revolve. I select the curve or
the cross section inter. After that, the start
of the revolve axis. I specify a point and then
the end of the revolve axis. I open the front
view for specifying a vertical act like this
and then the start angle. I can specify the
options like full circle and revolves the input
curved 360 degrees. Check out the render preview. Here is the result that you can create by using
revolve command. Undo, and then I want to ask
you a question. Watch this. Here I select the cross section, and then I start Revolve
again. Watch this. And this time, I
want to consider a distance in
specifying the axis. Then I set for SL
KL, check this out. Then as you can
see, the center of the surface is void like a
column, but it's not solid. So if there was a distance between the axis and
the cross section, our object will be void. But as we specify
a vertical axis, going to tell you how to draw
a vertical axis in revolve. For example, when
I start revolve, I select Inter and then
start revolve axis, and the axis is usually
a vertical axis. I mean, it is allowing z axis. Here we got three approaches. Here, either I can click
on the region point and then holding down
Control and moving up. This is the first approach for sketching the vertical line. The second approach,
I can select it, and then for
specifying the axis, I specify a point and I
open the front view for sketching a vertical
axis by this way. What about the third approach, which is very interesting is that after starting
the revolve command, you can specify
the start of axis. Then instead of
holding down Control or switching to front
view, here as you can see, if you press into to use
Cplane z access direction, so pressing Z to use
Cplane z access direction. If I press down inter, then automatically is
z access direction versified as the axis. Watch this just by a click, since it is often used and then set the full circle.
This is the result. And another example, we move on here in front view
Interpolate curve. Watch this. I sketch
such a curve. Following that, I
want to revolve it. I start revolve, select, then press down Inter. At first start of acess. For example, here, I can hold down the control
and then move down. I mean, I specify it as a
direction for the axis, and then this will
be the result. Check this out, full circle. Or I can pick this sort of axis then
move to the front view, full circle, check this out. And then we can press down Inter that we can create
our revolve very quickly. The sort of axis. Then by pressing into, we can use plane direct
the axis direction, and then I click on full circle, check this out. We're done. But if you wanted to
specify or consider a distance or a gap between the axis and
the cross section, you'd better to sketch
it in the front view. Watch this. I mean, you can use the revolve options and specify the desired one. For instance, you
can click the start of axis here and then
press down into. But w you want to consider a gap between the axis and
the cross section, you'd better to sketch
it in the front view. Let us check out
the other options. Revolve and then sort of axis. Then, and here the first option is ask for start angle
which has been set to yes. You the yes option allows
setting the angle. I mean, the number
of degrees away from the current
input curve location, the revolve will start. So we can set the angle, the revolve will
start like here, and then the end, watch this. Therefore, the place that we have sketched our
curve does not matter, since here we can
specify the number of degrees away from the current
input to curve location. This time, let's import
the value manually. For instance, again, I select the curve and then
the axis start angle. Aquas start angle
has been set to yes. So let us specify the
value, for example, 60 degrees away from the
current input curve location, and the positive value
evolves anticlockwise. Series that starts
from the 60 degrees away from the current location, and then it ends at
the 180 degrees. Watch this. This is the result. Going to try one
more time. I select, and then I specify the axis. This time, I want to import
the value, for example, -90. Check this out as the start angle 90 degrees away from the current position. And then for the revolution
angle, 102 degrees. If I import the positive value, it would be anticlockwise
revolution. But if I specify
the negative value, it would be clockwise.
Watch this. Enter. But my recommendation is that while you are revolving, you'd better to sets
or start angle no. Then option creates
a polysurface when the input curves are
joint tangent curves. I mean, the no option is start to revolve from zero, I'm sorry. And then the start angle will be the current input
curve location. And the revolution
will be started at the zero direction
zero angle. Ask to specify the
revolution angle. Then we can import positive
and negative values for clockwise and
dwise revolutions -80 or 102 for anti clockwise revolution
and inter by this way. So if we set ask for a
start angle into no, then it starts the
evolution from the zero angle or the input curve location
that I usually set it to no. And then another option is the formable that
you're already, I mean, familiar with it. Just like in circles
and the ellipses, right now that the formable
has been set to no, I create a full circle,
check this out. So that was said to no. But this time, I want
to set it to yes, a full cercal revolution. I set deformable to yes. At first, compare the
y curves. Watch this. They are not the
same. As you can see the deformable one has got more eso cures than
the other one. So let us edit them. When we set deformable to yes, then the surface is rebuilt on the round direction to a degree three non
rational surface, and the deformable
revolves can be deformed smoothly with the point editing or the in other one or
the deformable one. Unlike the previous surface, which was not easy to deform. To deform smoothly, here
we can deform I mean, we got no limitation in
deforming the surface smoothly. So if you wanted to modify
or edit your revolve, you'd better to set deformable to yes so that you
will be able to modify or edit your revolve by modifying the editing points. Let me tell you some
points about drawing. Note that when you want to
create a surface by revolving, you have to sketch the half
of this E cross section. For instance, for sketching
a dome or creating a dome, this is enough to curve. The other side is not needed. So I select it, then I start revolve
following that inter, then I specify the
revolution angle and then full circle.
Check this out. Here is the dome prepared just by sketching half of
the cross section. But it is feel
sketch, whole of it, the entire cross section, it would be accepted. However, it is not accepted
in revit. Watch this. At first, I join them, and then I start revolve, following that I select
the object or curve, and then full circule. Check this out. No, there is no difference between this
and the previous one. But why did I told this? Here, as you can
see, look at it. It is very sharp. But if you want to top of the dome to be smooth
and remain rounded, you can't have it rounded by using only half of
the cross section. So how can we adjust the
cross section or the curve of the revolve in order to make the surface
rounded or smooth? I mean at this condition,
you have to mirror it, and then to remove
the sharpness, I recommend you to
match this, watch this. And then after preparing
the cross section, which is smooth and also
mirrored and symmetrical, then we can use
revolve, watch this. Full circle. Here is the
result, the rounded dome. As a result, if you want your surface to be rounded
and control the sharpnesses, you'd better to sketch the entire cross section because you can control
the continuity. So this is the facilities that the entire cross section
provides you with. And another point in
revolve is that you can use several cross sections for
creating a surface by revolve. For instance, if I want to
create a Christmas tree, let me try again for the final point in which
I'm going to consider several cross
sections for creating my surface by using
revolve command here, as I told you, I'm going to
create a Christmas tree. Let's see. For example, these are the cross
sections that I want them to be used and
revolve at the same time. I remove this, watch this. Then I start revolve. I select all of them. Then I specify your
start of axis, full circle, watch this. Our Christmas tree is done. I note that revolve is one of those commands that you
can record the history. I start record history
and then revolve. Then Inter, watch
this Sart of access, vertical, and then for circle. Following that, after
completing the revolution, I want to modify them since the history has been
recorded or often to show the control
points and then deform the revolutions or revolves. By this way, you can
move them and edit them. And so on. So you can record the history while you are working with
Revolt command, too. So, guys, please practice
the given example.
83. Practice: Look at this closely.
You're going to sketch the cross section
and then revolve it. However, you can use the
pictures inside the rhino. So let us sketch it together here in Rhino in the front view, I can import the image
into Rhino, watch this. And then I just the
position by this way. Then I make it parent
transparent and then I lock it by Control
L very well. Following that, I start sketching the cross section
by interpolate curve. However, the image is treaty,
but it does not matter. I move on drawing
the cross section of the revolve by this
way very well till here, then again, I continue a straight line let
me remove this. I want to draw it again. Here, there is a straight
part and a curve part. I want to use curve
control points. So by this way, watch this. But later, I will fix that part, and then I should
extend it to or down. Let us try again. Here at first, I extend the straight
line on this part. However later, we can use fillets in order to remove
the sharpnesss for example, the radius, the fillet radius, like not 0.2, then
let's give it a try. Watch this. Great. By this way. Following that, I
continue, watch this. I zoom out to have a
wider perspective, and then I move on. The body of the cross
section by this way. And as I told you before, we're going to add flats
to the parts that we got intersections or we got sharp intersections
or straight sections. Let me design the bottom part of the revolve and
then finish, great. And then in order
to measure divide, I sketch this, and then we're going to
consider the center of it. Unlock the image to
remove it by this way. Following that, I want to
consider the cross section, and then I add filets to
the straight sections. Now these parts should
be fillet by this way, and also this part. Well done, to remove the sharpnesss or the sharp
corners or intersections, and then finish,
I select them and then joined select revolve. Following that, the midpoint, and then full circle. Let's check it out.
Shade it. Here it is. And just like other commands, there is no solid
option for revolve. Unless you close
your cross section yourself, what it means. I mean, I open the front view, and then via SmartTrack, I want to close
the cross section. Watch this. And I
close the top part. Watch this by using SmartTrack, or let me connect these
two lines to each other. I don't want to use two
pieces of lines by this way. Then I can join them and
then revolve them again. Why specify the axis
and then full circle? Watch this. Right now, the revolve is solid since
the cross section is closed. However, we could
do something else, which is keeping the
cross section open and revolving the cross
section and then full circle. And what do you think for
making the revolve solid? Exactly. We can use
cap. Watch this. This is our second
choice or approach. So we can either make the cross
section close or use cap. And then the rectangle
by this way, center and I want to find the center of the
circle here or the bottom. Here in the rectangles, rectangle by center point. I specify the center, hold down shift,
and then this part. Then from the front view, I move the rectangle
at the bottom. Like this, then I create a copy for placing
it at the top part. It is not moved correctly. Let me move it again.
Again, I select it. Following that move
in the front view. I should activate planar and project both to
restrict the direction. And then along this axis, as I told you before, if you wanted to move your
objects in the two d views, you should activate the
planar and project. And then I extrude the
rectangle through it down. Let me take a look on
the picture or image. Well, I should scale it a little more and
increase the height. I hold down Control
and Shift and I click on it. I
increase the height. I extrude it along z axis, and then I make a duplicate for placing it at the top part. And then at this part, very well, watch this. Check it out at the
rendered viewport. Here is the result. Then if I array array linear, we will have a great model. By this way. Check this out. This is the result. Well done, let's give it a try guys
if you haven't sketched.
84. Practice: Actually, one of the
main purposes of this course that I've
been always emphasizing on was learning each
of the commands and points deeply and being skilled at them and
following that, working on the examples
and practices. And most of the time, we create something and
then we trim it. Following that, we got
our desired surface, and this is one of
those practices. We are not able to create
this surface directly. At first, we're going to
create a surface, probably. Following that, we're going to trim some parts of the surface. However, you can use the picture or image to
to import it into Rhino. But right now,
let's give it a try and sketch it together
step by step. Here at the top view in Rhino. I want to import the image, and then I try to sketch
the plan view or top view. Well done. But first of all, for positioning the top
view at the region point, I'm going to use a circle
three points that ec it out. For example, this is
the first point and then the second point and
then the third point by way. So this is great, you know. And then I select it, then move then center
of the circle, and then I place it at the
zero point or origin point. Then I select it in
material to increase the transparency
of the picture and then Control L to lock
it to make it unselectb. So here we're going to sketch one of the sides
and then array it. So I pick polyline if I consider the half of
the circle like this or holding the circle
and then array polar I don't want to
sketch it manually. I array the line, then turn as number
of the items, and then the field angle
360 degrees. Watch this. We got the half of the side. Then in the continuation, I pick the interpolate curve. However, we can sketch
the entire geometry, but I want to use
another technique. So let's move on. Following that, by
interpolate curve, I keep on sketching
the side I mean, half of the part,
half of this part, I disable center like this. And then I select it to mirror it at the other
side by picking a plane, watch this very well. And then it's time to match
these two curves. Well done. Great. After that, I select them to make them joined
since they are exploded. Then again, select ray polar. We center the number
of the items five and then the fiel angle inter but remember that you should
control these intersections, and you have to match them and remove the sharpness,
by this way. But I don't join them for now, but later we will
join them together. But for now, I want to match them to remove
the sharpnesses. And great finish. I cross a window to select them, and then I join them. And since these are
connected to each other or joined to each other
chain a, so it is perfect. Then it's time to
sketch the front view. After that, we can remap it. For example, from here, I move on, watch this. By this way. I select it. I fix the control points, I adjust them in order to uniform the Geometry,
like this way. Watch this. Following that, I select the curve
and then mirror. As I told you before, I want to remove
the sharpness as. So when we want to make
the cross section, I mean, the straight
sections smooth. At first, we sketch
the cross section, and then we match them if it
was needed, just like now. After matching them, I select
them and then join them. Following that, move, and then
I position it right here. But for now, I need to
match it with the plan V. Since I need to
match the dimension, they should be equalized. So I pick a scale two D or
scale the ordinary scale. I specify the skill factor, and then I scale it by this way. Great. Then I select it
and then remap C plane. Then at the front view, I click and then I
remap it. Well done. Following that,
at the next step, I select the curve
and don't revolve. Then the start of
the revolve axis, region point, z direction, and then full circle. Watch this. Oh, so, guys, what do you think about the
next step? Yes, exactly. It's time to trim the surface
by using the plan view. But we're going to use split
command wire frame split, and then the geometry, and then I split
the surface after it's time to delete the extra
objects or split a parts, and let me remove
them to check it out. Well done, watch
this. I move it. Here is the final
result in two stages, creating the surface and
then splitting some parts. Here is the rendered view port. Let's take a look on
it in the picture. By this way. Following that, I want to offset
it, offset surface, and then I specify a distance. I flip the directions
and then one, actually. And I set solitude yes
and then press Inter. Watch this. Here is the result or the final
version of the surveys. As usual, it's your
turn to give it a try.
85. Practice: Solar Pine and Panton Chair: Here is the next exercise that
I have considered for you, which is the solar pine. So as you can see the
image on the screen, let us check out the other
pictures of it by sp. Very well. And then
in continuation, I'm going to give you
some explanations about the model that you're going
to start from the plan view, which is here, right here. At first, you have
to import the image. However, you can
reject importing it. But if you import the image, you will have a
more precise model. Then you can sketch the circle, two main circle and then create or draw these
geometries, array them. Here, even you can use mirror. I mean, you can
sketch one of them, and after mirroring them, you can array them. After arraying these geometries, you're going to
create the surface. Let me show you the front view. Watch this. Let me show you
the top surface. Watch this. You can sketch the cross section by revolve and then revolve it. Following that,
you have to split these sketched curves
on the surface, and after splitting them, then the mesh will be created so that you can delete or
remove the extra parts. So at first, we're
going to start from the plan view
from the image, mirror, and then array. Following that by using revolve, we create the top surface. I'm talking about
this, which is curved, and then we'll split it. Following that, we're
splatting them, it's time to delete
the extra parts. Following that, these parts
will be left or leave. Here we got a profile around the surface and three
legs. Watch this. That you can use sweep one for creating these a rail
and a cross section. But if you want to
sketch them precisely, you should put the geometry or the cross section
into consideration. So let us work on it. I know there are
so many details, so we're going to have a review upon the previous sessions. As I told you before, we're going to start from
the plan view, back to Rhino and
then in top view. And then I want to import
the plan view into Rhino. Well done, then I
position it here. By this way, after that, I pick the circle to sketch
the circle by three points. I specify the points at the
vertexes or intersections. But right now, we got nothing
to do with the profile, which is around the circle. So I specify the
points of the circles, I mean, at the intersections. And then I specify another
point at the other side, for example, here, it better to divide this circle
into three parts. And let me check the
position of the circle. It is great, well done. Then I select them to move them, and then from the
center of the circle, and then I put it at the
origin point as usual. Then the material
for controlling the transparency of
the image as usual, and then I lock it to
make it unselectb. Well done. After that, it's time to sketch the
interior circle like this. Watch this. Well done. Which could intersection with
the other lines and curves. Then I pick polyline, and then among these lines, I choose one of these curves and then start
sketching, for example, from the quad of the circle, which is a specific
part by this way, from the quarter of the
circle, and then I move on. I keep on specifying
points this way. Check this out. What
about the rest of it? Exactly, array polar, the center of the array,
then the numbers. Actually, this was
the reason that I moved the plan view
at the origin point, and the numbers are 18. So I array them. Enter. Watch this. Here it is. Following that, I select
the last created objects, and I select the curve two, and then I mirror them, then the center or
the mirror plane. As you can see, they are overlapping each other and
they got intersections. So note that you
have to start from a specific point very well. This is the plan
view of the project. It's time to create the surface. That here we got an arc with low continuity,
which is revolved. So bacteria Rhino, and
then arc two points, start point at first. I picked the quad and
then another quad. Then at the front view, and then I move it
upwards by this way. Following that, I
start revolve, select. And then, you know, in front
through perspective view, I specify the start of axis. I press Inter for
specifying Z direction, full circle. Check this out. This is the revolve, and then it's time to
split this surface. So I want to split the
surface by the plan view, and then I select these curves, check this out, and
then press inter to split this surface. Watch this. Here is the result. Then what is the next step? I open the top view, and then here as we look
at the image closely, for example, here the panels, let me zoom in to
show you the panels. Here, as you are concerned, we should remove the
middle panels, actually. I mean, these, but it takes
a long time to move them. I mean, remove them one by one. It takes a long time
to select them. But I get the
recommendation for this. At first, I unlock the image, and then I want to remove it. Control Alt and delete. My recommendation is to keep one of the
columns of the panels. Following that, I can remove the other curves. I keep them. But here I opened the
selection filter, since one of the
all the surfaces and the polysurface
is only. Watch this. I remove them, and then the
rest of it by this way, this approach is very
easier and quicker. And I delete these. Following that, I
select this row. At first, I group them, and then by array polar, the polar array plane 18, and then the field angle. Watch this. So this was very easier than the
previous approach to just selecting the
panels one by one, select lass created objects, and then I ungroup them to
ungroup the first group, and then I group all of the objects with each other
to create a new group. Well done. Then
at the next step, we are going to model the fring. We specify a cross section, and then drawing the fring. So here we get the circle. So we just need to sketch the cross section
in the plan view. And then I draw a rectangle. But you should check the relation between
them or preparation. I minimize divide,
and then the length, I minimize it by this way. Well done. Let me just the
cross section at first. As you look at the
image closely, you understand that the top
part is curved. Watch this. I mean, by this picture, the top part of the ring is curved as you
can see around it. I mean, we should add a fillet, you know, we can have a
review over other commands. Here I select the rectangle, and then I explode
it following that, and then arc by three points, then from the end, then an arc like this
for the intersection, and then I mirror
this following that, I want to mirror this
org in relation to the middle of this line, here we can either use an
auxiliary curve or we can use good snaps like I hold down Shift and
then choose between. After activating between,
I should specify two points in order to obtain the bitwen or the main
point, actually between. And then I consider it
as the mirror plane. But let us try again to
show you the process. I selected it and
then MI to mirror it. Then I should specify the
start of the mirror plane. I want to consider
between these two curves, I should hold down Shift
to activate between. Then I click on between. Then I should specify
two points to obtain their bitin point
like this and last, take a look at another picture. By this way. Get back to rhino, and then I want to
blend these two. By this way, I hold down Shift
to control the continuity. By this way, well done. Then in order to
just have a review over the other commands,
I sketch this. Otherwise, you can draw
a simple semicircle. For example, arc by center. Then for finding the center, you should use bitwen. We're going to use the
God snap of between. Hold down shift,
click on between. Again, hold down Shift,
click on between, then I should specify the two points to find
the between point. And then the
semicircle like this. Right this way.
This is the result. And as you can see, the top
one is more acceptable. So I choose the top. I remove that, and then I
mirror this at the bottom part. Then it's time to place this
cross section and the around the circle and then sweep it for placing the cross
section and the circle. We're going to use
orient and curve, but let us check out the photos. Here, if I zoom in, you will see that
the bottom part of the cross section is
aligned with the top surface. So while I want to orient
the cross section and curve, I select this point
as the base point, and then for Make
it perpendicular, I import P by this way. Following that, I want
to flip it along x axis and also Y axis
to move it down. I set copy to NO. And place it here. We're done. What is the next step?
It's time to start sweep. Sweep one. I specify the rail
and then the cross section. But before that, let me
join the cross section. Again, sweep, sweep one. And then the rail, the cross section, and then it's time to
adjust the sin point. And we preferably adjust
the SIM point and the rail. Check this out. Here is the profile that we
created by Sweep. Right now it's time to extrude
the surfaces or panels. So get back to right note. Since I have the
surfaces grouped, I can easily select
them, watch this. And then I want to extrude them. I mean, I want to extrude
them along the profile. So I search for extrude surface following that in
the front view, and then I extrude the
surface like this way. Check out the Treaty
view and then rendered viewport. Watch this. In a very simple process. However, if you want it, you can create
another profile from this circle and then
put it at the center. So what should I
do? I select it. I mean, in order to create
another surface by this, what should I do? Curve to view. And then I select the
arc and the sink center. Watch this. The circle
is given to us. Let me show you the
plan view, front view. Let me select it in
the perspective view. And then in the front view, I move it upwards, as you can see, and
then I extrude it. Now it is very simple. Extrude curve like
this direction. I specify the axis. Let me adjust this. Let me show you in the
perspective view, check it out, and then let
me offset it through inside. However, we could have
associated the cross section, but it seems that there is no specific cross
section for that. 9.2 fo the distance, and then like this. Soon as we look at
the pictures closely, there is not a cross section
for the center seco, and this is okay by this way. As you can see, following that, we should move the modeled part upward and also rotate
it. Check this out. At first, we move
it upwards and then we rotate it at the
specified angle. But before moving it
upward and then rotate it, there are some things to do. First of all, is to group the created items or
objects with each other. So as you can see, they are not grouped. They are individual and single, but only the surface, which was grouped before, but others are not grouped. So at the first step, I select the modeled parts grouped so that if I want to
move them or select them, then I can do it easily. I can easily select them
because they are grouped. And actually, I don't want
the curve to be selected. I open filter selection
or selection filter. Then I check surfaces
and polysurface it. I cross a window, and
then I group them. This was the first thing to do. So that is no more exploded, and we can easily select them. But about the next step before moving and
rotating the panels, is to draw another circle around the panel or
around the ring. But why? Actually,
when I moved it, and then I rotate it, then
I want to sketch the legs. The curves beneath of these legs should be
tangent to the ring, while I'm sketching the curve, so I would better to draw a
circle as a representer of the metal or as a ring at the outside and then setting these two
curves with each other, or even I can hide the surfaces. So I sketch a circle. Do I want to consider it as the representer of the surface? In the continuation, you will understand the importance
of that circle. Since I will give you more explanation about the
circle and then you will see how much does it can help
us or it can help us. Back to rhino in the top view, after grouping them, I
want to sketch a circle. At the most exterior
part of this surface, I specify the center and then at the place that we have
sketched the cross section, watch this exactly at the part that we got
in cross sections, the knot, like this way. Let me hide the surface to
choose to select the circle. Right now, I want to move the sketch circle
addition to the surfaces, the set of surfaces, and then we rotate them. But note that when these
surfaces are not hidden, it is hard to select the circle. But here, as you can see, I can easily select it. So if you got any problem
with selecting the circle, you can hide the surfaces by this way and then
select the circle, the new created circle
and then by using Alt Control edge and
hide the surfaces, as you can see the circle
is not deselected. I'll then shift and then
choose the surfaces. But if you could select the circle, you don't
have to do this. Into front view, I move them, and then I rotate
them like this way. Let me move it upwards
a little more. By this way. This is great. Following that, we can delete the unneeded
ones, if you agree. But I hide the surfaces for now, and then among the curves, I don't need these curves, so I delete them like this way. I pick I keep the center circle, and I also keep the cross
section since I need it. Since I want to use
this for the legs, I'll control edge to unhide it. As I told you before, for now, we got nothing to do with
the surface. So we hide it. So here we got the circle
as the representer of that surfaces that we can easily work on them instead of
working on the surfaces. Let us analyze the legs. As you can see, we got
three legs in this project. And then if you look at the plan view closely, as you can see, at each of the sides, we got a leg. Watch this. This is another view. At each one third,
they are divided, but the height of them are
not equal to each other, since the surface is rotated, and this is the taller
leg of the surface. And then the ino one
is the shorter leg. At first, we're going
to model one of them, and then we array. And then I will tell you
how to adjust the height. Let's go. If I want to analyze the plan
view of these legs, as you can see at this photo, as you can see the path of these legs are tangent
to the circle, I mean, around the surface. So the circle that we're
going to draw and then divide it into three parts is the project that
circle underground. I mean, here we're going
to sketch a circle and then divide it into three
and then project it. So get back to rhino, and then I select this circle. And as I told you, I
want to project it, project a s plane or
construction plane underground. And we don't the previous one, you can delete it. But this is the projected
circle underground. Watch this. Here we got the circle and
then the projected version that we want to make the path of the legs tangent to the circle. And we are going to divide
the circle into three parts. And note that you have
to project this circle. And another point here is that, as you can see the legs, here, there is an arc at this side, and the ends are
straight as you can see. They are straight.
But right now, let us start. You'll understand. Here I have sketched
the projected circle, as you can see, to the
construction plane. Then I want to divide it into three to draw
one of the legs. But note that here, the way that you divide your circles into three
parts does matter. At first, we're
going to divide it into three parts in
a way that one of the parts should be with the top part of the circle
and also the bottom part. I mean, either bottom or top. I mean, one of the three
parts should be aligned with the top or bottom part of the rotated surface.
What does it mean? Here, when we divide the curve by length
by number, actually, I select Inter following that, here we should specify
the sin point. Here find it just the sin
point at here at this quad. At the bottom part of
the rotated circle, which is placed at
the lower height, then this would be the start of the division into three
parts or three segments. Then here as you can see, one of the three
points is aligned with the lowest part of
the rotated circle. Or we can divide this and then dragging the
sin point to make it align with the highest part of the rotated circle and then divide it into three parts
and enter, watch this. So right now, as you can see, we got the point, aligned
with the highest part. This is very
important, actually. In the continuation, you will understand
the significance. Here again, if I want
to divide them by number or do not drag or
specify the sin point, then you will have
some problems. For example, here we got the highest part of
the rotated circle. Which is not aligned or symmetrical with the
projected circle. Here I just wanted to explain
this for you in order to teach you how to analyze
geometry or surface, since just memorizing the
processes doesn't can help you. Learn how to analyze
the geometry. As I told you, the point, the same point should be
placed actually aligned with the highest point of the
circle or the lowest point. So here, I specify a sin point aligned with the lowest
part of the rotated circle. Check this out. Following that, I need to split that
part, the highest part. I choose it, Inter, and then by points, I select the points, then press Enter, watch this. And when I was dividing the
circle into three points, I could have said split to yes, but I didn't want to do that, since I want the
points to be observed. So let me take a look
at the photo again. Here for the straight
part of the legs, we can extend the arc which
is around the circle. But you'll where watch
the plan Vew here. I mean, we got this
part of the circle, but we should extend the legs, as you can see straightly.
So what should we do? Here I want to estimate the
length of the straight parts. I'm going to sketch a line
at the center of the circle, and then I want
to extend the arc in relation to that curve
here on the plan view. I'm working on this
part, as you can see, and this point is
going to be extended. I mean, the curve, let me pick the midpoint
curve or line. And then I want to consider
a distance to the center. Now I'm just specifying
the boundaries, and I select the curve arc
to extend it till the line. I found this by
just a plan view. As I told you, I want
to extend the curve, till the line. Ida
specified distance. But as I want to extend
the arc straightly and should be extended to the curve
or arc, what should I do? At first, I start extend, extend command, then I
set the type to line. I set it to line. Following that, enter, I should select the
curve to extend, watch this, look at this,
and then I extend it. You at the perspective
view, then press Enter. Right now we have sketched the plan view of one
of the legs that I specified the boundaries by a straight line and
extending the arc. Here, the main path of the
legs is started from here, and then it moves up and then it is tangent to the circle and
then it moves down again. I mean, here we got
a tree D curve. And when we want to
sketch a treat curve, which one of the
commands should we use? I mean, what command do we
use to sketch a tree D curve? Exactly curve to view. But we need a plan view for curve to view and a front view, but we got only the plan view, and we have to draw
front view as well. But how do we can
sketch the front view. Here, as you can see, it
is like a straight curve, which is extended from the
ground till the circle. It is connected to the
quad of the circle. So back to rhino, and then I pick the line. Following that, I start from the between of the
two ends of the legs, which is here, the midpoint, and then I extend it till the midpoint of the top
part, which is the quad. Watch this. I have
extended the curve or arc, actually, the line to the quad. As I'm sketching these lines, I want you to concentrate on the process and
analyze the geometry. Following that, curve to view, here we got the plan view
and also the front view. Watch this. This is the
path of one of the legs, and we don't need the
plan view. I remove it. Following that, I'm going
to draw the two other legs. I select this and
then array polar, then center tree, and then
the field angle. Watch this. But here as you can see, these three curves are
aligned with each other. But how do we can fix their
height or revise them? At first, I select it and
then scale one D exactly by using scale one D. But before
that, I enable project. Following that, the base
point, I specify quad, which is the highest point
of the I disable project. Again, I pick the quad, and then I disable, and then I place it at its intersection with
the surface or circle, since they should be
tangent to the circle. And right now, the
heights are set. Let me give the try
for the other one. At first, we select
then scale one D, then I should project it
and the construction plane, which is this point,
I pick the point. Then we disable the
project and then again, pick the quad and
then move it down, and then I place it at its
intersection with the circle. Watch this. And actually, there is another approach here, the easier ways that to
select the arc and then split it by points from
this point like this way, as you can see, after that, we should equalize the quads of the arcs with the
midpoint of the circle. Check this out. I select it, and then I scale it scale one D. Then I find the midpoint. Check this out, which is the
projected point of the quad, as you can see they are
perpendicular to each other. I pick the quad and
then I move it down. The other one scale
one D. Watch this. Midpoint, and then quad, move it down and place. We can use either of
these approaches, but I recommend you
to practice both of the approaches that we can
review other commands, too. And I don't need these. And if it was needed, I can project it to
the construction, and I hide the
circle and the line. Well, done right now, here we got the
path of the legs. I pick the cross section, and then I move it here. I want to use it for
sweeping the legs. Firstly, I'm going to start with the highest leg or
the longest one, and then we will
go for the others. I know it is repetitive. Let me take a look on
the photos. Watch this. But when we extend
the cross section, the cross section
is perpendicular at the middle of the arc. And here as you can see, these legs have been crossing
through similar points, while as we take a
look on the photos, as you can see, these
are not aligned. I mean, there is a
distance between the legs. Watch this. What should we do? For example, I select
the longest one, and then I start scale one D. That the base point
here in a scale one D, actually specify the base point. The the center of the scale is between the two
legs. Watch this. I pick between and also to calculate the
between. Watch this. Then I want to scale them, scale these two legs, since I don't want them to
be aligned with each other. There is a small distance
or gap between the legs. Watch this. By this way. Great. Here, it got no
intersection with each other. So what else? I should
revise these two. Let us fix this at first. However, if you don't want to use the Guru snap of between, you can sketch a line and then pick the
midpoint, watch this. And then scale one D, then select the leg,
then the midpoint. Watch this as the scale factor, and then narrow it
down by this way. In order to just remove the intersection
between the curves, rocks, however, you can
do it more precisely. Then it's time to sweep them. Here, we got a cross section, but it is not in the plan
view nor in the front view. And for positioning
the cross section correctly and the paths
by orienting curve, we'd better to adjust it in
the top view or plan view. Select it, and then I rotate it since when I oriented
on the curve, I deleted the input,
the input curve. So right now, we have to
rotate this in the top view. I place it here and then rotate it at 90 degrees so that we can observe
it in the top view. I told you before I'm going to start from the longest leg, as you are concerned
and looking closely at the picture when we do the swap and it continues
here at the middle, we got the cross
section perpendicular. So when I'm placing the
cross section, the rails, I should rotate it and make it perpendicular to the
construction plane. Watch this. Orientin curve, and
then I select it, press inter, and then I
specify the pace point, then the curve, watch this. Then I should set perpendicular, I press P, and then I rotate it. Here, as you can see,
the cross section is placed at the top
part of the rail, while as we know, the circle is placed at the top part of
the legs or rings. So we should move the
cross section down. So along Y axis, you should flip it, as you can see, it is
toward the outside, and I have set copy to
yes very well after that, here in quad or in med, no both of them are the same. I create a copy, and then I place the
cross section here. But here, as I told you, we should rotate
the cross section at this part. Watch this. It is rotated. It is somehow
straight, not rotated. So I said rotate to yes, and then I place
the cross section. After that, I rotate the cross section to make
it a little bit straight. Not entirely straight. And then I said rotate to no to place the other
cross section. I place it at the
ends and enter. Watch this. Correct.
Following that, I start sweep one. Here is the rail and
also the cross sections. After that, it's time to check the same points
and the direction. I told you, we're just
the MondiailsPt this way. I checked them out, well done. Following that, we should
check out the directions. But if you didn't
want to check them, press inter and then
check the sweep. If it was okay, there is no need to check
out the direction. But if it was not,
you can click on align cross sections
and then fix them. For example, if it was
incorrect like this, we can align the
cross sections with each other and then
flip the directions to fix the cross sections so that we can have it fixed,
and then okay. So this is one of the legs. So for having a review, let us create the
two other legs. Orientin curve. Then I should select the
objects to orient, base point, and then the orientation curve by this way or the path,
then perpendicular. Here I need to philip it, Y Philip, and then
X Philip, this way. Check this out. Y and X Philip. Here is the result, and then the next one
that as I told you, I want to place it at the
midpoint or at the quad. We have to rotate it, midpoint, and then I rotate it. And the last one does
not need to be rotated. Press inter, and
then we sweep it. Sweep one the rail and the
cross sections. Watch this. But here we have to specify or adjust or check out
the SIM points. Since it's infidPress inter, we won't be able to
check them out again. We place the SIM points
on the rails. Watch this. And then the third cross
section at the end by this way. Well done, but we can align
the directions later, press enter, so the cross
sections are aligned. Okay, very well. And then the last sweep, orient and curve by this way, the cross section inter, the base point, and then the
orientation curve like this. I place it on the path. Then flip and there is no need to flip it along wide direction. And then for the midpoint, I set rotate to yes. I position it at the midpoint and then rotate it like this. And then for the last one, I set rotate to no and enter. Then again sweep one. The rail and then the
cross section curves. Watch this without
checking the points. So if they weren't aligned, I click on aligned
cross sections. And then I click on the point to flip the direction since, you know, you're
allowed to align the cross sections
after pressing Inter. So all in all, if the cross
sections were not aligned, you can click on align cross
sections and then flip them. Okay, let's check it out. Right now, we got the legs, which got no intersections
with each other. However, we should fix here that you can consider more
distance between them. Old control ledge to unhide the surface like
this to return it. Following that, I
sketch a plane for the bottom part or
base, check this out. Then I want to select the
surface and then move it, move the upwards to cover
the legs like this. Check out the rendered
viewport. Here is the result. Guys, at this practice, we considered many points, so please put time on this
exercise in patients.
86. Creating Surface by Rail Revolve: And the next command
that I want to talk about is real revolve, as you can see, real revolve. But before explaining
this command, I want to exemplify a case, and then I want to
ask you a question. Here, assume that we got
a polygon like this, here it is, and then a
vertical line, watch this. By this way, just like
the vertical axis. And then I consider a
cross section by this way. And then I deform it, deform the curve like
this. Here's the question. Here according to the cross
section and also the path, I want to create a surface. Which are the available commands
here? What do you think? So refer to the
previous commands and then guess exactly
sweep one rail. But let us check out the result. Sweep one rail and then
rail and cross section. Inter, watch this. Here is
the result, check this out. It is not acceptable, even if I trim it or untrim
so it didn't work out. But the problem
here is that when the cross section is revolving,
there is a common point. I mean, here if I consider a distance between the axis
and the cross section, then we can use Sweep. Watch this look. So the problem was
the intersection between the cross
section and the axis. These two should not be
connected to each other. Otherwise, we should
use rail revolve. That let's check it out, guys, creates a surface by revolving a profile
curve that defines the surface shape around the rail curve that
defines the surface edge. In other words, is a combination of the commands
of revolve and sweep. Let us check out the
function y revolver. At first, we should select the profile curve or
the cross section. For example, here it
is without pressing Inter and then the rail
curve, as you can see. Check this out. It just
like sweep following that, the start of rail revolve axis, just like the somewhat
like revolve. Since we should specify
the axis, watch this. Then in a very quick process, we can create the surface. So when the cross section and also the axis get intersection, the best command here
is revolve al revolve. Selecting the profile, then
selecting the rail curve. After that, you start
a il revolve axis. I mean here, we don't need to
press Inter for specifying the z direction aces automatically
because you have to specify the axis
yourself by this way. But let us check out
the other points here. For example, the
point here is that you can specify
wherever for the axis. For instance, like this,
there's no limitation. You don't have to place
it at the center. What do you think
about the result? Let's check it out.
Here, as you can see, we got the intersection
and also the axis. You will see it
creates the surface by revolving the profile curve
that defines the surface, shape around the rail curve that defines the surface edge. I start rail revolve.
Let's check it out. By this way, the profile, the rail curve, and the
axis, here is the result. By this way. Let us exemplify
some other cases and then check out the applications and understand the
command deeper. For example, I want to sketch the formidable circle here
like this and following that, then I select every
other editing points to make some changes
upon the circle. I hold down shift, and then I scale it like
this to create a star. Very well. Again, a vertical line for
considering it as the axis, the axis, and then by interpolate curve for
the cross section. And then I edit
the editing point, I move them to curve
the cross section. Very well. Let's check
it out. Rail revolve. And after that, profile rail
and then axis. Watch this. Great. I press a ten to show the editing point let me
give you another example. This time again at the circle, then 12 as the points count, I increase the points, and then I place it
at the origin point. Again, I select every
other editing points, and then I want to scale them. Following that, I want to move
them upwards by this way. Then the vertical axis
from the center point, I move it upwards, watch this. And then it's time to
model the cross section. I deform the editing points to deform the actually
cross section, and like this, here
is the result, rail revolve, and then profile, rail and then aces. Watch this like an umbrella. But let's talk about the
points and techniques. If there was a distance
between the profile or cross section and the rail, actually, like this way, I mean, the axis actually,
then what do you think about the result exactly? This center would be
avoided, but check this out. It is different from revolve. If you agree, I want
to compare it with Sweep. I create a copy. Since, as I told you, when there was a distance between the cross
section and axis, then we can use Sweep. I skin part, well revolve, and then sweep one, the rail and the cross section. Well done. Check this out.
This is the difference. You know, it did work
out, but it is not a reasonable geometry.
It is not practical. So let's go. And another point, this time, I want to extend the cross section or
profile through the aces. Watch this. Here
is the N example, and then I move it upwards by this way. So
what do you guess? I specify and then really
revolve, check this out. As you can see, the
extended part is not considered. Is rejected. But if I extend the access
this time, what would happen? As you know, nothing
would happen. Check this out since
they are not considered. We will have the
previous results. Let's go for the next example. I want you to cover all of these examples
in your practicing. This time I want to
sketch an ellipse. By this way. Watch this. And then I hold down to create a copy at the
90 degrees rotated. And then I start trim to remove the half of the
ellipse, the rotated ellipse. Watch this part
carefully, please. The new example and
then for the aces, the axis or vertical
axis. Watch this. This is our rail, and this is our profil or
cross section and the axis. The point about rail
revolve is that you can consider the
entire cross section, the entire geometry,
just like revolve. I mean you don't have to have
the cross section trimmed. I mean, you can have
either of them. There's no problem.
Both are accepted. Rail revolve, and then the
profiler the cross section, then the rail and
axis, watch this. Then we will have the surface. But if I didn't have removed the bottom part of the
ellipse, what would happen? I do. Watch this. I want to
create a surface from this. However, there's no necessity
for sketching the axis. This time, I don't want
to sketch the axis. Here, we got two ellipses
inside of each other. Then I want to create a
surface from rail revolve. I consider one of them as the cross section and then
the another one as the rail. Then here I should sketch
the rail revolve axis. Zero or region point. Here we can either
hold down Control or open front view for
sketching the vertical line, check this out, and we will have this like sphere,
as you can see. So we learned some
points that we can use a closed cross
section or profile. And also, we can use the template version curve
of the cross section. Real revolve is not often used, but when it was needed, it is considered as
the only command that can meet your needs. So, guys, it's time to put time on practicing
and the cover example. And this is your practice. Real revolve if you can
see here we got a leaf. Just try to analyze the
main curves and find them. As you can see,
this is the rail, and then you have to sketch the cross section curve and
profile and then revolve it. Watch this. Give the try.
87. Practice: So, guys, let us create this
lift by using rail revolve. Let's start with the rail back to where I no from the top view. And then from the origin point, I sketch the straight
line at the base, enter. Then I pick the
curve by this way, then I start, for
example, like this. Well, then I move on. In the form of the left, you can use your own creativity. I specify the points to
remove the sharpnesses. And then here and also
Goody snap Goody Snap, and then by this way. Here I should revise the rail, but how by editing by
moving the editing points, I move them to prepare
a better rail. I remove the control
points, some of them. But this time, I want to design the rail to reach to the expected or desired
result and meet the needs. And I extend this. Watch this. No deep. Whole design in
general is up to you. You can sketch
whatever you want. You can use your own creative or even you can
import the image. And then I mirror this at the other side by specifying the mirror
plane by this way. Then I scale it like this
way, and following that, I connect these
two ends to close the rail and then select
them to have them joined. Then at the perspective view, as you can see we have
prepared your rail. Here it is, then it's time to creator droughty profiler
cross section curve. I started with a
vertical line like this, and then by Interpol, I connect these
two points to each other to the
intersection, actually. And then I move the editing
points by this way. And then I start rail revolve. We got to profile,
rail, and then access. Watch this. The leaf is ready. Watch this. Had a display mode. Following that, we can form the leaf to use it in
our actual projects. So, guys, if you haven't
sketched it yet, it's your turn. I don't emphasize on the rail. It's up to you, give it a try.
88. Modeling Panton Chair: Hi, guys, let's
check this exercise. This is a Penton chair
that we're going to model it by using
network surface. So at the beginning, here we can use
these two images or photos in order to
draw the main curve. So I import it into
rhino into the front, actually the right view, and then another one at the
front view like this way. After that in the front
view by starting polyline, for instance, like this, a line at the base of the chair, and then I start trim to
trim the extra parts. Then I select the image and then by using move
from the center point, midpoint, and I position it
exactly at the region point. Then at the right view, I sketch a horizontal
line straight, and then I start trim
trim the extra parts. Watch this. Again, move command from the midpoint and then position it at
the origin point. So by using the
command of picture, we have imported the images
of the model into Rhino. And then the next step here is consider the
dimensions of the chair, as you can see that according
to these dimensions, we're going to scale
the images that we can scale them by using one
of dimensions like, for example, height,
I select the image, and then I scale it from this
part or the scale factor. I hold down shift, and then till this part, then I import the value
not 0.82. Well done. After that, in the front view, then scale scale factor, down sat to restrict
the direction. Then I import the
height, not 0.82. Following that, again,
I select the picture. I position it at the origin 0.0 and also the right view two. After that, by
selecting the image, I open material to
control the transparency. I make it transparent. I select it, Control L
to lock it by this way. I want to draw the curves, and after that in
the front view, you sketch the curves
for each of the view. Control point curve, I start to command,
the command of it. Then from this point to
near, I start sketching. Here by using the green snap. Near, I start, as you can
see in the perspective view, we have started such a curve. In a way that we wanted to sketch the curve on the
front view at the picture. So to do this, I can either use project. I enable it to project the curve on the
construction plane, or I can use this technique
that I don't need degree snaps and also I don't want to disable
degreed snaps. So for this, I can
hold down Alt button to disable degrety snaps
temporarily after that, I turn on project, and then I start from this part like this to sketch the front
view of the Penton chair. Here, as I told you before, there is no need to
place each of the points precisely at the
boundary because later, we can modify them,
modify editing points. So for example, I
select these and I move the editing points
in order to control the continuity or match
them with the picture, then selecting the curve
mirror at the other side, and then I match the two
ends at the intersection, well done, and I check average curves, equalize
the continuity. Then at another
view, right, again, control point curve, and then I start to sketching the
curve at the boundaries. Watch this. By
this way. Move up. It's time to modify
the editing points. I adjust their positions,
and, you know, I try to match them with the picture or image and then
controlling the continuity. By this way. Very well. So by this way, you sketch the boundaries at
two pictures in two views, and following that, by using
curve to view command, we make these curves
non planar or tree D. By this way, I create a copy from this
curve and then I move it in order just to show you
so that by using mirror, we can create the
symmetrical part. After that again at
the right view, again, by using Control Point
control point curve for completing the
behind of the chair. By this order, then at the base, for instance, still here, then it's time to revise
the editing points. I select them, and then
adjust the positions to match them exactly just like
the chair. Watch this. By this way, very well. I move them up parts. Let's check it out
the perspective view. And then I select these two curves and then
move them. Watch this. It is the right view. Then at the next step, actually, this is not required, but I want to do that is
rebuilding these curves. I select the curve, rebuild, and then point count. Then I specify 12 for the
point count. Check this out. Another one, rebuild, again, 12 points and then
okay. Watch this. Following that, I connect
the two ends to each other. I start move command, I disable project, and then I connect the
ends to each other. So right now we've
got the intersection. I select this curve, and then by using mirror, watch this, the
symmetrical version. Following that, I
can open front view. And then here as you can see the end lines are not
aligned with each other. So I select them. Following that, I show the control points
or editing points, and then I select these since
I want them to be aligned. So select point
actually set points. By this way, I can set
the points align at the specified axis or direction. For example, along
z, along Y or X. So I check set Z. I mean, Z, I'm sorry about
the pronunciation, and then I align them. As you can see, I
can move them along the z axis by this
way. Very well. Following that till now, we have drawn the main
curves of the chair, and then in the continuation
in the next step, we're going to consider
the cross section curves interpolate curve. Following that, I
sketch a curve like this that connects these
three curves with each other. And then we need another curve at this point at this part, so we can use curve interpolate
curve or even we can use cross section by typing it in the command line and then selecting these
rails or the paths, and then drawing
the cross section or the end of the
cross section line. Then I switch the front view. I hold down Save to
restrict the line, and then I sketch the curve
or cross section, actually. Following that, here we got
the three curves along this. I modify the layer to
make it in distinguished. As you can see, we got two cross sections
and three paths. Then it's time to
start network surface, selecting the curves and then
enter here as you can see, the surface of the
chair has been created. I isolate the surface since
I want to hide the curves, and then by using
offset surface, I want to extrude or offset the surface toward outside
at the distance of not 0.01. Watch this. The offset
is considered here, let me take a look
on the main image. As you can see, some
parts are filled, and then the lateral
view, side view. And we will talk about
this curve later. And maybe we should
sketch a curve and then create
the curve to view. And after that, we can create
this part of the chair by using the command of sweep and then connect
it to the chair. But for now, we just wanted
to model the chair till here, but it is not necessary to
go through more details.
89. Projects: ST Mary Tower: So guys, at this session, we're going to model the tower, as you can see on this screen, let's check out the pictures. For example, at the beginning
of the modeling process, we can import the image and then sketch the curve
according to this image, and we can create the surface by using revolve command that we
talked about it before. Following that, we can create the lines and curves,
which are bracing. As usual, at the first step, we're going to import
the image into right view of drino
like this way. And following that,
I want to move the picture or image and then position it at
the origin point. So for finding the
center of the picture, I sketch a curve. I held shift. I select both curve and picture, and then from this part, I click and then by move, I type zero to place it at
the origin point by this way. Following that scale,
I select the picture, and then from the origin point, I hold down shift to restricted direction in order to calculate the
height of the tower, which is 180 degrees. I mean meters, I'm sorry. I import 180 meters per center. Then from material as usual, it's time to control the transparency of the image
to make it transparent. And after that, by
using Control L, I like the image. Then by using polyline from the zero or region point,
holding down shift, and then I sketch the curve to consider it as the
axis line by this way. And then by using
Control Point curve, I want to draw the main cross section or
profile of the project. Start and Smart
rack is turned on. By this way, I move on. And here by this way to the top. Then as usual, it's time to select the editing
points and then revise the curve to make it matched with
the imported image. You know, by this time, we will have a more precise
model and geometry, which is exactly like
the picture, like this. Let me zoom in to make
it matched, well done. And then others, I
move them by this way. So after drawing the
profile or cross section, then I can select
the cross section, and then by using revolve from these zero points that axis press inter and
a start of angle, I click on full circle
to create the surface. Then I set it to shaded mode
to observe the surface. In the continuation,
we're going to talk about the other
topics and issues. Here at this picture, let us analyze the
face of the towel. Here we got some
bracings that they are like pipes, for
example, ormllons. I mean, between the bracings, there are some mullions, and we should
consider some parts for the front view of the tower. So if I want to start
very simply here in the right view and I
offset the created curve. For example, the distance
of not 0.7 toward inside. Watch this. Then I want to edit the offset
curve by this way. I revise the points
like this way. And then I want to select
my new line or curve, and then by using revolve, then you start revolve axis, zero, aces, and
then full circle. Watch this to
create the surface. So here we got two surfaces, the interior and exterior. Then here I can
modify the layout. For example, I
create a new layer, and then I rename it
so one and so two as my two new layers
and then assigning the two surfaces to these
two new layers by this way, and also I can associate
them new colors. As you can see, you can specify new color by this
way. Well done. And then in the next part, we are going to create the levels or the
floors of the model. Here if I open this picture, and as we look it closely, you will see that we
got 40 or 41 floors or level that we can use different kinds of
commands to create them. So here I select the surfaces. Then at the right view. Following that, I sketch a
curve at this part for myself, and then I extend it vertically at the
height of 180 meters, which is aligned to the
height of the tower. Then I select this curve, and I create a copy
till this part for considering it as
the first level since the base level is
different from other levels, and then by using this curve, I'm going to trim
the access line. So by using array curve command, this curve and then the path at the specified number of items
for the two, for instance, or for the one, the distance between the items is
nearly four meter, 4.3, and then okay. However, this is not
the main approach for considering or creating
the levels of the tower. Since by using these
auxiliary curves, we want to create some
sections and the surfaces. I mean, in fact, we should have used the command of cantor, but since we haven't
covered contour yet, we are using this approach. So by pressing down Control out, L, I unlock the picture, and then I change the
layer of the picture, and then I rename it, reference, for example,
and then I turn it off. Then I select the surfaces. Then I start section,
then extend section. You should set it to yes. Following that, I start specifying your start
and end of the sections. And as you can see, I'm just specifying two points at
each of these curves. And since the section
has been set to yes, these curves will be
extended on the surface by just specifying two points
on each of these curves. Wait for a second, please. Thanks for your patience,
guys, finish. Great. Then as these lines
are selected, I group them, well one, and I select these curves
to Control G to group them, and then I assign
them to a new layer. But first of all, let me
rename this to layer, and then I assign
them to this layer. I turn of the surfaces. It is way here,
we got the curves and we don't need
the curves here. I remove them. I also assign these. I change the layer. Then at the next step, we're going to create the floors or the
levels of the project. Here we got two things to do. At the first step, I
select the curves, and then I ungroup these. Then I select the interior
circles or curves, actually. As you can see, the interior ones Wait for a second, and then I'm using these
curves to create the levels. And the reason that we
have created two curves is that addition to
demolons and bracings, we're going to create some
structural buildings at the facade of the building
at a different thickness. Anyway, I keep on selecting
the interior curves. By this way, finish, and then Control
G to group them. Following that, extrude curve. I start the command, and then I set delete input
to no and set solid to yes, and at the distance of not 0.3. Then I select the
last created objects, Control G, and then I
change their layers. For example, the new
layer like slab. I assign them to that
layer and then turn off. Very well. Then I select
all of the curves. I want to deselect the interior
curves by control button. Then I group the
exterior curves, and then by using extrude curve, this time the distance
of not 0.2, well done. And then I should
change these layers. Watch this. And then I
turn them off by this way. And right now we don't
need these curves anymore, but we only need
the base curve and also the top curve that are going to be used
in the next part. So to do this, I want to select the top curve and then ungroup it from
the set of the groups. So from the grouping, tools I use to
remove from group, and then I select the top curve, the exterior one, and then I remove it from the group inter. As you can see, no more
it is no longer grouped. Then I select the other
curves which were grouped. Then I create a new layer to sign the selected
curves to my new layer, change object layer
and turn them off. So I have kept these two
curves, the base and top, and then I show
the surfaces or I unhight them by this
way to observe them. Select the surfaces, I turn off the iso curves in order
to hide the Io curves. Again, let us take a
look on the images, and I want to give you
some explanations. So here, as you can see, here we got some paths
or rails or ribbons or whatever you say that are
rotating around the surface. If we consider it at this
diagram, as you can see, it has been rotated at the
degree at the angle of 270 degrees and then it
is placed at the center. As you're concerned
at this part, we can apply several
commands and approaches for
creating that curve. But for now, I want
to hide the surfaces, and I show the circle. For example, these
two top circle. I want to isolate them. Following that, I'm going to go through an approach that it
is not recommended by me, but I want to show you. And here as you can
see the circles, which are the slabs of
each of the levels, they are divided into parts, and at each of the divisions, some points are considered and some triangles are created. So what should we do
here at this part? I can select all of
these curves and then by using divide by number, starting from a specific part and then divide the segments. For example, 48 segments. Watch this at each
of the curves. After that, by using
Interpolate curve command, by this way, I start
drawing the curve. Here we can move
to the next level, move upper, and then connect it to the next
point toward left. As you can see, this
approach is very time consuming and it
is not recommended. Control that to undo. I mean, the way that I have
chosen is very quaker. I start divide, divide command, then I select the
top and base curve. Following that, I want to
divide only these two curves. Then at the top view to make sure that the same
points are aligned, and the directions
are aligned too. Then I specify 48 and
then enter very well. Then at the next step, it's time to use Interpolate
curve on surface. This command draws a curve through selected
locations and a surface. So right now, I should select
the surface and then pick the start of the curve and then pick the next points
and press Inter. So watch this, the start
point, and then move on. So here at the top view. I have specified
the start point, and then I want to
specify the next point. I want it to be
rotated clockwise, and the angle was
nearly 270 degrees, for example, to here
and then press Inter. After that, at the
perspective view. We can see that this
is what we expected. This is what we
desired. Well done. Then the next task is to
offset or extrude the curve toward inside to create the bracings as you can
see and the images. So I select the curve
and then ribbon, then toward inside and then
distance not 0.7 or even one, and I maximize the value
of offset tolerance. Nine point double 01, so we can have it more precise. Watch this. Following that, and then press Inter. Here, we got the
ribbon, as you can see, I select the ribbon and
then by using mirror, then specifying the
mirror plane to create the symmetrical version,
holding down chef. I select the two ribbons, and then I start Ari
Polar from zero point. What about the numbers? If I check out the picture, here we got one bracing
and three millions, three rows of mala. After that, the bracing. So as we got 48 points, if we divide it into four, then the result would be 12. So I import 12, watch this. These are the ribbons
and the surface. And then I press Inter. Then I select the
last created objects. I hold down Shift to select the two original input
curves, ribbons, actually. And then I want
to assign them to my new layer to the layer of racing. I turn them off. At the next step,
I want to create three copies from this curve and then place them at
the three next points. At the top view, rotate. I set copy to and then
from the origin point, and then I start, but I should activate
this snap of point. I right click to activate it, and then I connect
it to the points. Watch this. At the
prospective view, I select these three
rotating curves, and then by using pipe and
specifying the pipe radius, not 0.0 0.07, for example, well done as the Malians, here we go the pipes. I select the last
created objects, and following that, again,
mirror mirror plane. I hold down sheaf and
then select them. And then by using
AR polar, again, the plane numbers 12, and then the fiel angle 360
degrees right this way. Following that, I want to
select all of the objects. So I can cross the window, and I uncheck curves
in the filters. I mean, selection filter. I hold down control to deselect
the surfaces by this way. Then I want to
create a new layer. I name it pipe, and then I assign these pipes to my new
layer and turn them off. Then cell curve or
selecting curves. I activate the selection filter of curves and also the points. Again, starting cell curve. Then I assign the curves, the layer of curve, and
then I select points. I assign them to the
layer of layer 02, rename it point. Very well. After that, I open pipe, I turn them on, bracing
and ulcer slab. So this is the surface
of the project. And the last task is to select
debracings by this way. And then by using
offset surface, we want to offset debacings
at a distance of 0.6, 0.06 at both sides, and then offset them. Check this out. Following that, at the last step, we can add some more
details to the tower, such as these circles. So here in dry, I turn on the circles, wait for a second to select
them at first. By this way. And then want to create copies
and group them at first, Ctrol C to copy control V, and then I scale
it, I maximize it, and then pipe at distance
of not quite one. I create another copy from
the circle like this way. Then at the bottom part, I scale it like this way, and then I turn off the curves, and by this way, we are almost finished
at modeling the tower. After that, by using a box, I holding down shelf, I consider this for the
base part of the tower. Following that, I
want to associate different materials to
each of these layers. So at the rendered viewport, for example, for the pipe layer, I click on layer material, and then I want to associate a material, custom, black color, and then reflexivity,
actually reflectivity, I increase the value of
reflectivity by this way. And then for the bracings, the material custom,
I specify the color. Let me check the
picture at first. As you can see, they are white. So I soc white for the bracings. Well done. Following that, the other layers,
let me check it out. The So one or the
exterior surface. Again, material,
custom, the color, for example, gray, us way,
then the reflexivity, and then the interior surface, Custom and then the
in the group of blue, like this way. Transparency
and reflectivity. Okay. By it this way. However, let me modify it. I minimize the reflectivity, and then I remove
it for the others. All in all, we managed to model our tower by considering
the details, the bracings, pipes, and levels, and as you're going to create
this tower by your own, you can use these pictures
that you will be given. So that after
modeling the project, I in the tower, I recommend you to separate
each of the I mean, each group of the objects to specific layers and
then assign material. And if you want
it, you can share the pictures of your
projects with us. And if you got any
questions, you can ask us. And for a slab, I opened the layer material
to associate a material, white, for example, as you can see in
the perspective view at the rendered viewport. So, guys, I hope you luck. I mean, I wish you luck,
and it's your turn. And at the last or final stage, if I want to consider these
two different types of materials for the glass panel and then assign them
to the glass panels. At first, we're going to divide
the surfaces by division. I mean, by dividing curves, I turn these layers
off by this way, the pipe, slab, and
the exterior layer. Following that, I turn
on the curve layer. Then in the continuation, I select one of these curves, and I also select the surface. I isolate it, and then in
the shaded display mode, I mean, I set it to
shade display mode. Then I assign the
curve in a new layer, and then by using
array polar from the center region point
for the At is number, and then I array the curve. Well done, then I select
all of the curves. And then by using mirror, I specify the mirror plane, the origin point, and then I
create the mirrored version. Let us take a look
on the images. However, here as you can see, if you look at the
pictures closely, as you can see the glass
panels are at the geometry is like diamonds or as
you can see in Rhino, the panels are like diamonds. So I select the surface. Then I start a split. I select the cutting objects. I consider the curves
as the cutting objects. Wait for a second
to create the mesh. Okay. After that,
as you can see, we can select these glass panels or diamonds
individually like this. And in the continuation, I can sell the layer five
as the default layer, and then I turn off
the layer five. Then in the continuation, I turn on the bracing
layer by this way, as you can see, and
then by this way, I keep on selecting
these panels. Wait for a second,
please. By this way. I should select them manually, and then for the material, here, I create a custom material
for the glass panels. Then I specify the color. For example, dark
gray as the color. Well done, I darken
it or even dark blue. Okay. And I increase the
transparency glass panels, and then I associated
to these panels. Then at the rendered
viewport, watch this. You can see that by this way, we can separate the glass panel by associating
different materials. So after creating the panels, it's time to associate
the material. As usual, at the first
stage of the model, don't forget to analyze the
main curves of the project. And then if you want it, you can import the images into Rhino sketching the main curve. And at this practice, we reviewed all of the commands, selecting curves, then assigning to the layer five. Watch this. By this way, we
can display them. And as you are concerned, since it was very
time consuming, I did not select it. Actually select
the glass panels. I mean, all of them for
associating the materials, but I want you to do that in the way that I
explained to you. If you got any questions
you can ask us and don't forget to consider the details in this practice.
I wish you luck.
90. Modeling Italian Temple: At this session, we're going to model an Italian
Renaissance era Temple, and for modeling this project, we need the front view, as you can see, and
also the plan view. So by using these two images, we're going to have the
prospective view or this. However, you will be given
a PDFple of the temple, which is provided in
treaty version for you. You analyze the model geometry in the PDF file and then start. I mean, if you could understand some parts of the geometry from the given pictures or
the plan or the front view, then we can use the treaty
view or treating model for having a deeper understanding
about the geometry. So I close this and then
I import the plan view, and then I click and center at the top view at the
origin point by this way. Watch this. Following that, I import the front view
into rhino vertically. Watch this. After that, in the top view, we're going to scale these images at
their actual sizes. For instance, I'm going to consider the diameter of the
circle 10 meters so scale. So I specify 5 meters for
the radius of the circle, and then I scale it following
that in the front view, and then I move the
picture by this way, I adjust the position. Again, scale from the zero
point till this part. Watch this, which
is at the size of 5 meters or 10 meters as
the diameter of the circle. And since we can observe
only two of the stairs, I scale the image to
the second stair. After that, in the front view, and then I pick the rectangle and then
by using gritty snaps, by the way, like this way and
let me move it downwards. Then trim to remove the extra parts of the
image or empty parts. Till now, we have imported the images to Rhino.
I select them. Then after in layers, I want to create a new
layer and then assign the pictures to the layers
like picture reference. I assign them to that layer, following that in
material and then I want to increase the
transparency of the images. After that, control L and
then locking the images. Then at the next step, we're going to sketch each of the cross sections by using
revolve and array polar. So in the front view and
then from the origin point, I draw a line, and then I extend it till here. Following that, I hold
down Shift button for the other parts of the stairs or the
boundaries by this way. I move on. Very well. And then at the
base, smart track. And then I extend it to
the midpoint like this. Following that, well done. After drawing the line or curve in the perspective
view, I check it out. I select it, and then I want to rounden the
edges or the corners, so in the front view, Fillet, then not 0.05 for the
fillets, watch this. I add filllets to the top
corners of the stairs. I reduce the radius 9.02 or
2 centimeters by this way. So like this way, I add fillets at the corners or make them
rounded, rounded corners, and then I select the curve, and then I start revolve
from the zero point, then I click on full circle. Watch this. This
time we have modeled these stairs. Check it out. Then I can assign
it to a new layer. For example, this new layer, I name it stair, and then I change the layer. For now, I turn it off. So I assign it. I assign the curve to
the default layer. After that, again
at the top view. Let me see back to perspective. I'm going to start drawing
the main body of the model, so at the top view or plan
view, then the circle. And then I sketch this circle
till this by this way. Following that, I select the circle and then
in the front view, and then I move it
upwards till here. Then back to perspective, move moving vertically from the origin point to this point. Look at this and then extrude curve in the front
view to this part. Watch this. We got
the extrusion. Then I create a new layer, and then I assign the extrusion in that
layer. I turn it off. And for modeling the railings of this part are actually the
rail in the front view, and then I pick the polyline, and then I sketch a vertical
line from the region point. I want to consider this
as the axis line and then Control L to lock the line. After that, from this part, let me check the image at first. Actually, from here, I
draw a straight line. Check this out. Move it
down for drawing the edges. Check this out. And then like this way. Thanks for your being patient. By this way. Well done. After that, I want to add some fillets to the
cross section or to the profile that we
drew, watch this. I add the filets to the corners. By this way, as you can see. So I click on the parse
to round the corners like this as you can see that
as you're familiar with it. And then at the end, I select the profile, revolve, region point,
and then full circle. Like this way. We're done with this modeling. So till now, we have been using
some simple commands like revolve by drawing
the cross section and also feel it, actually. I assign these to
the layer of seven. I turn them off, and then
I move on with modeling. At the front view, I'm
going to draw a care for this part from the
center. Watch this. By this way. And then again, it's time to add
fillets to the corners. Let me reduce the value
of the fillet radius, 9.01, and then I keep
on adding fillets. By this way. Then
addition to this, I'm going to sketch
the other profiles or cross sections as you
can see the picture. So let's check it out. I pick the polyline, then from the center, by this way, and then I extend it to the center or middle. I move on. And. Very well, wait for a second, please. Extend and then closing
the curve or the profile. Well done. And another curve. Watch this. Right now, it's time to select these
profiles, these two profile. And then I'm going to
start revolve after that, I click on full circle to
revolve them at 360 degrees. By this way. Then selecting
the last created objects. And then I change the object
layers, layer of seven. Then here we're going to model the dome and the object which is placed at the
top of the dome, so in the front view, and then I pick a arc or by using Central point curve
for modeling the dome. Let's check it out. By this way. Right now, I try to draw
the dome approximately. And as you're
concerned, later on, we can modify the editing points and meet our needs and make it match with
the front view picture. And I select this to
move it downward. Following that, at
the top of the dome, I pick the line and then
I keep on sketching. Watch this. Here, as you can see if you're
moving on generally, sketching the
general boundaries. But if you want,
you can consider the details and draw
them precisely. But at this session, I
just want to teach you the main method of how
to create such a temple. So by using this method, and also by using and actually
considering the details, we can have a more
accurate model. 2 centimeters for the filet, and then at the other
parts. Well done. And here as you are concerned, we are modifying
some of the parts. I mean, the curves and the profiles are not
exactly just like the picture revolve and then
full circle, watch this. Here, after creating
the revolve, I select the arc
since I need it as the pipes or as the molons
which are placed on the dome. So for this, I keep it at the layer one so that
later we can use it. Then again, back to front view, I select the top object here, and then I want to sketch the other profile at
the top by this way. I draw the profile
to revolve it. Well done, I select the
profile and then mirror, and then for the top part, I want to match them, and then I check average
curve to control the continuity between
these two connected lines. I delete the mirrored version, and right now I want
to modify and revise the editing points to make
them matched with the picture. Right now, actually, I want these editing points to be
aligned, so set points, and then I want them be
aligned at the x axis. Watch this aligned. Then again, I select them. Following that, join. And then I can add a
fillet for this part. Very well. Revolve, then
start of revolve axis, and then full circle. You start of the
revolution, well done. Check this out. I
select these two parts, and then I change their layers. I set them to layer seven. And also, I change
the dome dome layer. Following that, we're going to create one of these profiles. So in the top view, I draw a rectangle and
then at this size, for instance, watch this. I select it, and then
I narrow it down. Then I can here associate more details to it, for example, by this way, and then I want to split the
rectangle by using the curve. Check this out.
Then I join them. Following that, I choose
the editing points, and then I move them. Then fill it. 0.01 for the radius, and then I fill it
at the corners. I add fillletsOn 0.03. This time is better.
Here is not needed to add filllet and then here we got the profile
that we're going to use it. So at the perspective view, I selected and then orient and curve from the center point, and then I place it on
the curve, watch this. Then I set it to
perpendicular and then I flip it along x axis, watch this. I flip it. So I adjust it in
position the position. However, I should scale it and minimize the size
by using scale, check this out very well. And then by using sweep one, here we got the rail and
the cross section curve, and then we will have the
rail over the surface, as you can see, okay. Well done. Following
that, I select it. I select the sweep, and then by using
array polar, 0.16, and then the field
angle to array D sweep, then I select the
last created objects. I select them. I
hold down sheaf then I choose the input
Control G to group them, and then I change the
object layer by this way. I turn on the layer of
seven here as you can see, we have moved forward till here, up to here, and
then at this stage, we're going to model the
main parts of here and the railing and also the
columns that are left. Back to project again
in the front view. I have to model one
of these and then we can array it to
create the railing, for example, like this. Or even here we can sketch a rectangle
at the top and base. And then I sketch the
axis line at the center. I create a copy from
the box or rectangle, and then I scale
it to place it at the top and trim. Watch this. Polyline for the body. I continue like this way. It takes a second. Smart track. Very well. We're almost done. Then we're going to use
Fillet, I mean, as usual, at the radius of not 0.01, and then I round the
corners by adding Fillets. Watch this to remove
these straight sections. But let me fix this
part. I undo that. Then I keep on going.
Here, watch this. Like this way. Very well. Then I select the profile, then I start revolve, then the axis and full circle. It got better now. Then I select the
metal geometry group, then it's time to array them, array polar, and then for
the number of the items, 38 at 360 degrees. Watch this. I select the
last created objects, hold down shift to
select the input object, and then I press down
Control G to group them. The guys, as you can see, we have moved the project forward till up to
here by this way that we mostly used revolve and drawing the
cross sections or profiles. Watch this. And then
by using array polar, we array D revolve 38, as you can see,
then I select them, Control G to group
them by this way. Following that, I select them, and then I change their layers. Then I did next step. We're
going to model this part. So to do this, I can use the
previous circle. Here it is. I can create a copy from it and just the position at the
front view, for example, here, and then I can maximize the size,
then extrude curve. Watch this. I extrude it
too in the front view. For example, to this part. Check this out, Bin after dome and other
profiles. I show them. Great. Let's check it out. As you can see, we have completed the main
parts of the project, and then I turned them off, and also I change the
layer, layer seven. Following that, let me take
a look on the picture. We're going to model these
columns at the next step. So to do this, see
at the front view. And then according to these images that we have
imported them into Rhino, for example, by this way, and then the midline. Watch this. I start modeling
the columns by this way. At first, the profile or
cross section. Watch this. And then I add felts. Watch this by this way. Well done, then I select
the cross section profile, and then by using revolve, I select the axis, and then I revolve it
full circle or circular, and then by drawing a circle
here and the revolve from the center point like this
and then extrude care extrude the circle
for completing the column at the front view. Watch this. Here I still
got a part of the column at the top that led me I turn on the layer seven so
that I can move on. I mean, I want to observe the previous models
and consider them while creating the
profile of the column. I sketch a rectangle
here, for example, and then I make a
copy or duplicate, and then I extend
it. Watch this. More copies, and then
scale By this way, again select and then trim. I trim these parts. Then I draw a line here to
connect the curves, well done. I select them and then
joined following that. By using the axis
of the bottom part, I can actually extend
the vertical line and then use it for revolving
the top part of the column. Watch this revolve,
well done. Very well. And as I told you before, we are just trying to consider the main objects,
the main curves. However, you can create them more accurate by
putting more time, but I'm just trying to
teach you the method. And about the number of
the columns, Let me see. According to the picture, we can count the
number of the columns. For example, they are 16. So I array them polarD at
the field angle by this way, and then we complete
the project up to here, as you can see very well. And then at the final stage, we're going to
create the void or actually void and the
extrusion on the surfaces. So here at different view, and then I draw
one of the parts. For example, I'm going
to start from here, I draw a curve and then
I select the curve. Following that, in
the perspective view, I turn up the layer seven
and following that, on this curve, I pick the
circle then from the midpoint, and then I try to draw the circle by the
way as you can see, following that, I
select the circle, then I extrude it. Watch this. I extrude it up to this
point by this way. Perspective view, check it out. Then I select the curman circle and then by moving
it vertically, I place it at the top, and then by using the
solid creation commands, I pick sphere center radius by using the center
point of the circle, then I create the sphere. Watch this. Here we
go the cylinder. And also the sphere, and then in the solid bull in union that unifies the solids, watch this and convert them to a polysurface and to
a closed surface. And then by using AI polar, in the center of
the polar array, eight at the field
angle. Watch this. By this way. Following that, I select them and then group, and then I assign them
to the layer seven. Here I select the extrusion, and then by using bullying Difference trim the shared areas of selected polysurfaces with another set of polysurfaces. Watch this. It's
just like voids. And then for the next part, let's take a look at the picture for the rectangular solid. We're going to go through
the same process here, we sketch the rectangle and I Enable Project
two. Watch this. Then I move for by this way. Well, then I disable
the center snap, and then I turn up layer seven. And then by using extrude, I'm going to extrude the
rectangle. Watch this. Then I move it, move it forward. After that, I enable
the layer seven, and then by this way, I want to specify
the amount that I want the extrusion
trim from the surface. So at the top view. And then, for
instance, till here. Watch this again, ray polar, then the object, the numbers
and the field angle. Then I select the
last created objects, roll down shift, control G, and then I select the surface to subtract with
by building the friends, check this out, and then I avoid the extrusion or surface. And as I showed you, we can move the process forward. For example, if we want
to consider more details, we can trim these parts
a little more and also the bottom part behind the columns that we're
going to trim them, and I'm going to
model one of these and leave the others for you. So get back to the project. I select the circle
and then offset, and then after through point. For instance, I hold down
a to ignore these snaps, and then I offset the
circle up to here, I select these two curves, and then I isolate them. Following that, I turn
off the default layer. Watch this. Well done. Following that, even I can turn off the
picture references. Here I select the
interior circle, then by using area
center area centroid, I calculate the center,
following that, control all edge to hide the models or show
the geometry models. Then from the center, watch this to the
end or intersection, and following that, again, from the center point
to the end point. Then I hide the models, and I also turn off the
pictures, watch this. And I select the set of columns to assign
them to layer seven, and I turn off
these stairs, too. But here right now, we need only these curves that
are already selected. Here, by using a curve, I open the top view plan
view, planar is activated. I draw a curve like this. Well done. Following that, here we're going to
separate this part. At first, I select them, and then I start
trim. Watch this. Since I need this part and I delete the others, select join, and then offset through
points and then watch this I select it. Select and move from the
center to the other center. After that, fill it, watch this. I increase the radius, not 0.1, check this out. After that, in other corners
or the other corners. Then I extrude it. I turn on the
pictures, watch this. I also show the model geometries
here on the front view, and then I place it right here, the interior curve
and then extrude till I mean up to
here, watch this. Well, let me check it out
into perspective view. Then I select these
two model geometries, and then I turn up
to layer seven, and I select the surfaces,
the polling union. I select the surface
or the model, Ari polar, as number
and the field angle. Meanwhile, I want to record
the history so that I can modify the group of geometries by
modifying one of them. Let's check it out. So I turn on all of the model geometries
to display them in the scene. I think I should reduce
distance distance of extrusion. I hold down Control and Shift, and then I select the
surface Control Shift, button, share a display mode. And as you can see,
we got access to Gmb which are set based
on deconstruction plane. I right click and Gumbal
then align to object. After that, I reduce
the extrusion distance. Watch this, and the changes will be applied on all of
the members of the group. Control shift
again, and I reduce the extrusion distance of the bottom part as
well. Well done. And I, as you can see, by modifying each
of the members, the changes will be applied on other members of
the group as well. So created the Melo geometry by this way that I explain
you step by step. I select the object, and then I move
it toward inside, move after that from this point, and then I move it
into the center point. Then I press tap bottom, and then I move it toward
inside. Check this out. For instance, like
this, Well done. I start at scale one D command and then from this
part, as you can see, to minimize the size
of the geometry or surface and also the other
part from this part. However, I should select them and then move
them downwards. So I select them, and then we start move
from this point and then the specified point
to move to, well done. Great. And as you can see, as we put more time on
working on details, we can have a more precise model geometry as
you are concerned. So everything is up to you. The purpose was just to teach
the method and creating such a model by revolve and
reviewing other commands. However, I want you to model
these parts for yourself. I leave them for you.
Just like as we did, you create the extrusion
and then array. And then by using
bullying deference, we can trim the surface and
the other parts as well. Modeling one of them,
and then arraying them. You can share the
projects, I mean, their pictures
with us and ask us if you got any
questions. You're lucky?
91. Transfer Line on Surface: Hi, guys. I hope you
are feeling well. Welcome to the
Season seven, guys. I'm going to begin this
session with a question. Here if we had a survey like
this, let me extrude it. And then if I want to
sketch some patterns on one of these surfaces or
faces, what should I do? Since if I pick the
line by default, and then I start sketching, then the curve won't be
sketched on the surface. Check this out. It is in
the construction plane. So we know how to fix this. Exactly. We should set the construction plane on the
object or on the surface. So set C plane to object, and then or in C plane tab, you can click on set
your plane to object. Following that, you can
click on the surface, and then the construction plane will be set on the object, and you can keep on drawing
your pattern by this way. Well done. What about
the next question. But if we had a curved surface, what should we do
then? Check this out. Here we got a curve, and then I extrude it
here as you can see, we cannot use the Ciplane or
even set i plane to surface. Watch this as you can see. In any condition, we cannot draw the patterns exactly on the
surface, which is curved. So what should we do
at this situation? I'm going to teach you
a new command here. So in the curve command, we got interpolate
curve on surface, which draws a curve through selected locations
and a surface. So before I start at first, I should specify a
surface to draw curve on, and then we can draw the patterns which are
exactly through the surface. Let us try again.
Again, open it, the interpolate
curve on surface. Following that, I specify the
surface to draw curve on, and then I start drawing
my curve by this way. There is another command which
is decomplement of this, which is offset
curve on surface. You offset curve on surface, copies a curve or
surface edge on a surface so that
all locations and the copied curve are
a specified distance from the original curve
and lie on the surface. Ofset curve on surface, then I should select the
curve on the surface. For example, this one, I specify the surf care then
the pay survey. Here it is. Watch this. Following that, the offset direction and
the offset distance, here you can flip
the offset direction just like others and
also the numbers. So you can have more
than one offset. For example, three offsets. Watch this. And then
the offset distance, for example, I specify two. And if I press Inter,
check this out. After pressing Inter,
as you can see, the specified curve is copied at the specified distance from the original curve and
lie on the surface, and they are extended automatically to the
edges as you can see, let us try again,
offset surface Cam I said offset curve on surface. At first the curve and
then the base surface. We can specify the direction. Iflip the direction to down and then the
numbers, for example, three, and then the
offset distance, for example, 1.5, watch this. As you can see, the
offset curves are extended to the
edges by this way. But if I want to
offset the curve at different distances or
at different lengths, what should I do?
Do you remember? Okay, what was the name?
Exactly, offset through point. Offset surface offset
curve and surface, the curve and then the
surface through point. Then here we can
specify the points that you want the
curve to be offset. Watch this by this way. So here we can offset
the curve as much as you want without
specifying the number and even specifying the
distance through points. Let us try and other surface. I specify the curve
and also the surface. After that, the
distance, for example, one, and then the
offset, watch this. Let me specify one for
the number of the offset. Check this out at
distance, check this out. Well, that they are extended. But here you may ask
if we want to have some patterns at the specified
distance and geometries, und curved surfaces,
what should we do? I mean, we want to
have some curves de curved surfaces at accurate distances or lengths and also specified geometries. But why the curved surfaces, since, as I told you before, we can set the
construction plane on the straight surfaces, too. So there is no limitation there. So we can set the construction
plane on the surfaces, and then as you can see, we can pick the polyline and then move on and control them. Watch this. We can have the desired
geometries, as you can see. Can we have these on
the curved surfaces? Actually, our only option in the curved surfaces is
interpolate on surface, Interpolate curve on
surface, check it out. Here we got some limitations. You know, we cannot
have a mixture of curved and straight curves or to have our desired
geometries or patterns, or we can't specify the length. So we got some shortcomings
here. We need something. We need a command that help
us here in order to have our desired geometries and the curved surfaces at
the desired length. But before that, let me modify
revise the curved surface, and then we will
move on. Watch this. I can modify the editing
points by this way. The create UV curve command
projects a surfaces untrimmed boundary and trim curves onto
the world X and Y plane. But to understand
themand better, let me search for it and
give you an example. I click on the surface, Inter, check this out. Here as you can see, this is the projected surface boundary
onto the X and Y plane. As you can see, it is
not the exact surface, since our surface
is not rectangular. I mean, the untrimmed
version of the surface is projected on the vault Yplane so that here we can
have our patterns sketching and then return
the patterns on the surface. So let's again, verify
that creat uv curve. Then we can project
the surfaces, untrimmed boundary and trim
curves to the vault Yplane. That always you can have
the untrimmed version of the surface and always it is rectangular since it is
untrimmed. Watch this. So that you can start sketching your pattern on
the volt XY plane. There are some points,
let me tell you. First of all, note that
when you click and create UV and project the surfaces
untrimmed boundaries, it will be projected on
the construction plane. I mean, even if I
move the surface, it will be projected on the
current construction plane. For example, if I
want to project the other surface and the
construction plane, so here, I can move these surfaces by
this way to open some space, and then we can have our
surface extrude and then projecting the untrimmed version on the current
construction plane. Well done. And the other point
here is that while you are projecting the untrimmed version of the surface and the
construction plane, the projected
surface is exploded. As you can see, this is joined. Here we got a joint surface. But when I create the
projected version, we will be given
the exploded one. As you can see, only one of the surfaces is given
to us. Watch this. Here is one of the
surfaces, all of them. Or, for instance,
check this out. Here I want to have several
surfaces or a polysurface. I join them, and then I
extrude them by this way. They are joined and unified, but when I project the
untrimmed version, I mean, I can select the whole surface since I'm given the
exploded version. So while working
with creativ curves, you can select the
exploded surfaces. Not the poly surfaces altogether
or all of them joined, but you can select
each of the parts exploded and then
sketch your pattern. Here you may ask
what can we do with the projected surface on the X and Y plane,
which is untrimmed? As I told you before, this is considered as the framing of our sketching
or the frame of our sketch. I mean, as we cannot draw our patterns on the
surface is directly, as I showed you in
the previous example, so we prefer to project it
on the construction plane, and then we can draw our patterns in the
projected surface, and then we transfer
it on the surface. Let us give you some examples. Let us work on this. I'm going to start again from the beginning to have a review. So here we got a
curved surface that we want to sketch our
specific patterns on. First of all, create UV curves, and then we select
the surface, enter, check this out. There's
no other option. Here we are given the rectangle, which is the projected surface and the construction plane. Then at the next step, we can draw a sketch
inside the rectangle, let us draw our patterns
inside the rectangle. So here I sketch a curve and
another curve like this way. I move it upwards, and then I rotate
it by this way. Then I love them. Watch this. Okay, here we got the surface, and we're going to draw our
patterns on this surface. Okay? So as the first step, create UV curve, and then
I select the surface, and then we will have
the projected surface and the sea plane, as you can see, and it is always rectangular as I told
you by this way. Then at the next step, we can draw our patterns
inside the rectangular, projected surface and
deconstruction plane. For example, I can draw
a polygon by this way. Check this out. Let's start
with simple geometry. I scale it, for
example. Watch this. And then I want to array, for example, ordinary array, the number in x direction like seven and 30 in direction
and one in that direction. For example, check
this out. Well done. Here we can adjust them on your surface and then
spacing, for example, two, and then for the Y 1.8 and then add three for the number ten or
nine is better. Then for the Y spacing, 1.5, and I add one to
the numbers, 31, for example, watch this grade
1.55 as the spacing or 54. Check this out. Consider this. Well done, withdraw our pattern. So we are done with the sketch. At the first step, we
created the UV curve, and then we created, I mean, we sketched the pattern in
the second step and note that the curves that you sketch on the projected surface should
be plan R. Watch this. We can see them in
the front view. But here, if I make one of
them T D or non planar, to show you the
concepts, watch this. I mean, this should
not be non planear. And then at the third step, I'm going to teach you
apply curve command. By using the applied
curve command, we can wrap a curve
onto a surface. So I search for apply
curve. Watch this. After that, I should
select the points and the plane ar curves and devolve XY plane to
apply it to a surface, altogether enter,
and then the surface to apply the points
and planar curves. Watch this here as you can
see the non planear curve. Not applied on the surface. Here it is, which
it is not planar, it is not applied. So note that you have to use
planar patterns. Very well. So at first by
creating UV curves, we create the untrimmed surface, which is projected
underworld XY plane, and then we sketch our pattern, and by using apply curve wrap
the curve on the surface. Let us work on another example. For example, this time, I want to draw a closed
curve this way. Watch this. And then these three
curves well done. I move them upwards
by this way. Loft. Okay, great. And then I move it. Since I want to create
the UV curve and I want it to be
placed on the grid. So create UV curves, select and then enter. Following that at the next step, it's time to draw our
sketch or patterns. For example, I pick the star, and then I specify ten
as the number of sides. Following that, I sketch the
polygon, star, watch this. And I can draw a rectangle
two at the center, for instance, hack this out. I hold down sheet to
restrict the dimensions, well done. I move it. Following that, array, then
five in each direction, and 12 in Y and Y
in Z, one in Z. Then I array them. Watch it. I place them later on. I adjust the numbers
in the spacing. I reduce one in wide direction, and I increase the spacing. Ten, for example,
10.2 great fresh inter and then selecting less created objects and
also the original one, the input, I move them. Watch this. So we're
done with the sketch, then it's time to apply them. I start apply curve, then I select the points and the planar curves enter,
then the surface. Watch this. Very
simple in three steps. I select them and then move them since there are some points that I
want to explain them. Note that you can use the Vctor
files for UV curves, too. For example, let's check it out. I got a file for
you. Watch this. You want to apply this
pattern on a surface. At first, let us sketch and
draw the surface. Watch this. Let us create the
surface at first, and then we're going to apply the pattern on Zoom selected, and then I move the
curves I move it upwards, well done, then I left them
to create the surface. Watch this. Great.
Here is our surface, and this is the pattern
that we're going to apply it on the surface. What is the first step? Create UV curves. I select the surface, and then I project it in
the construction plane. Then for applying these slimy
patterns and the surfaces, we can use the formats of AI that are created with Illustrator and also
EPS that I got both of them, as you can see, EPS
is the post scripted. So there is no difference
between these two. I import the EPS file by click
and drag and then drop it, insert file, then
here in the settings. I insert it as block instance. You can choose to scale
it or not a rotation. Okay. Following that, then you can fit it to
the default screen, and I import file as
infields as hatches. Okay. Then I place
it on the scene. I dominate the boundaries, so I explode it, and then I remove the
boundaries of the frame. Following that, I group
them by this way. So here we go the
slimy patterns. I select them, and
then I place it inside the rectangle or
the projected surface. And instead of sketching
the pattern in the rhino, we inserted the vector file
into rhino like EPS and AI, and then we apply
it on the surface. Watch this. Check it out. So this is a very
interesting technique for applying the patterns, especially the slimy
patterns on your surfaces. But here you may ask that. What are these curves and patterns used for after
applying them on the surfaces? Here, there are
some applications. For example, for example, you can split your surfaces by using these curves and then
void them, for example. Let's check it out, split. I select the surface inter
and then the cutting objects. I mean, the curves
and then Inter. Watch this. As you can see, we can separate them. After that, we can void
some parts like this way. Or even we can remove the surface remain and
keep the patterns. One of the applications is splitting and working
on the surface. And another application is to convert the curves to frames, for example, pipe.
I check multiple. I select the curves
and then press inter, for example, the
pipe radius, 0.02. No, here we specify slight
values, low values. And then we convert
them to pipes or frames or lions
and the surface. For example, if you want it, you can convert each
of these patterns to a window or frames of the window or the
Mulans of the window that I will give you an
example in the continuation. Check this out. Here we go the pipes in the rendered
viewport, well done. And then in filter, I select curves, and
then I remove them. If I zoom in, you
can see the frames. Well done. However, I can specify a higher value for
the radius of the pipes. So you can split them and
you can pipe use pipe. Here in the next example, I
want to combine these two, I mean, split pipe. Suppose that here
we got two curves, and then I move it
upwards and then I rotate it and also
scale loft inter. Let me move the others. Then create UV, top. Following that, in the
projected surface, I draw a pattern inside the rectangle like this way
and the construction plane. Suppose that here
we got a set of windows on the
surface. Watch this. I adjust their positions. Great. And following that, apply curve to wrap
them on the surface. Well done, and we don't
need the boundaries. Then I start split, selecting the surface,
and also the curves. Watch this ter, right now,
we got them splitted. In the continuation,
here we got some layers. Suppose that we're going to associate the glass
material to these. I select them at first, and then I assign them to the blue layer, and then for the
frames, for example, pipe, and then multiple,
check this out. I select these like this
way, then press inter. Then at the distance of not 0.5 as the radius of
the pipe, watch this. Let me increase the radius. Again, I select them, multiple, and then press Enter, and then I specify the
pipe radius, not 0.15. Check this out, make them
observable from the scene. Actually, check this out. You see, these are the windows, for example, and also the
frames or the mollons. So you can use
this technique for facade designing of the building and let us talk about
the other points. And through this practice, I'm going to explain the points. For example, the first
one, the rectangle, that is the projected surface and the siplne
cannot be rotated. For example, if I sketch or draw a pattern on for example, the circles, these
cannot be rotated. I apply them on the
surface. Watch this. But here if I select them
and then I rotate them. Let's check the result. What do you think? Check it out. As you can see, the
rotated version is projected on the surface. So note that you're not
allowed to rotate them. Since if you rotate
them, I mean, the patterns also the
rectangle or even move them, you will just ruin the patterns. Check this out. It is rotated. And what else? You're not allowed to move them along z axis
for exact this out. I place it here,
then apply curve. Watch this. It is not allowed. So you're not allowed to move the rectangle and the
patterns along z axis, but it is okay to move
them along z and I mean, Y and X axis. There is no limitation.
Check it out, apply. It did work out. And another point here
is that you're allowed to rotate the surface itself, but you're not allowed
to rotate the patterns. For example, I rotate the
surface check this out. At 45 degrees. And then I apply the curve on, apply, yes, watch
this successfully. So in general, you're
not allowed to rotate the projected
surface, and also, you are not allowed to
move it along z axis, but it is okay to rotate and move the surface to
move it upwards, for example, and it is okay. There is no limitation.
However, we can move the projected surface along
inks and Y axis, too. And the next point
that I want to express it through a
question here, for example, the rectangle is the
projected surface on the construction plane
here in the top view, here I draw some patterns, some geometries
that some parts of these geometries are extended through the rectangle or
the projected surface. For example, I array
D, for example, four in x direction and
ten and Y direction. And then I do not adjust it precisely as you can
see they are extended. Through the boundaries. So
what would be the result? I give you some options
and then you choose. Will they extend it
from the surface, or maybe the extended
parts will be trimmed in the surface when
we apply them on the surface. Do you think they will
be extended or trimmed, or maybe all of the pattern, the entire pattern will
be feted on the surface? What do you think
about the result? They will be extended.
They will be trimmed, or they will be feet. What is the answer? Exactly. The third one. They will be feet. Let's check it out, apply curve. And then I apply the
Vande cur, watch this. This is the result. As you
can see, they are feet. In fact, when we apply these
patterns on the surface, Rhino would consider
the boundaries outside, I mean, would
consider a rectangle at the boundaries of the array. After that, the rectangle, the hypothetical rectangle will be matched with the surface. So it does not matter
if your arrayed objects are extended from the circle
or the rectangle, actually. So as much as you extend the
patterns from the rectangle, still they will be feet and
matched with the surface. So when we create these patterns inside the projected surface
on the seaplane, and when they are extended
from the rectangle, Rhino would consider
the whole geometry, all of the arrayed patterns, which covers all of them, and then matches the
surface with the pattern, and they will be applied
on the surface all. Let's it out. And then
even the rectangle itself, as you can see, will be considered as the
pattern. Watch this. Here as you can see, we got both the polygons and
also the rectangle. Wy this But I don't recommend you to
do this because when your geometries extend
from the rectangle, you have disregarded
the proportion. I mean, basically, the
projected surface, I mean the rectangle
and the sea plane is the representer of the
projected surface. So by the rectangle, we can have the dimensions of the surface so that we
can adjust the patterns and place them precisely inside the rectangle so that
we can meet our needs. But if the patterns
extend the rectangle, the boundaries are
not considered so that it won't be satisfied. And here I got another
question for you that I want you to
listen to carefully. But here if I do not create the UV curves and do not project the surface on
the construction play, can I apply a curve
on the surface? Let's give it a try. For example, here
I'm going to draw some geometries by
this way. Watch this. By this way. Can I apply these on the curve
on the surface actually? Exactly. Yes, we can. But as before, Rhino
would consider a rectangle as the
projected surface like this way as I'm sketching, Rana would consider this around these geometries and then matches the rectangle
with the surface. So that all of the geometries will be applied the
curve on the surface, even there is no need to
sketch the rectangle. Apply curve, I select
the curve inter, and then I apply
them on the curve by clicking on the surface. And here as you can
see, the curves are projected on the surface. But here there is a why are we creating UV
curves while we can apply these curves even without creating UV
curves? What do you think? What is the reason of
creating UV curves? Exactly, because
the control polygon determines the size
of the UV curves, and we can have the boundary of the surface on the
world XY plane. For example, as you can see, we can understand that
these ellipses are going to be trimmed
or minimized. So we can decide to modify
these curves or not. So we create UV curves on points in order to
have the boundaries of the surfaces and
also the size of the curves and the surfaces
in order to sketch curves on. And in general, we don't
have to create UV curves, but we would better
to create it in order to control the sketch and
patterns on the surfaces. Another question. I want you to listen to the
question carefully. Here I create UV curves. Here we got the rectangle or the boundaries
of the surface. Following that, I pick the star or inscribed
polygon by this way. I sketch this, I
minimize it, well done. I move it I create some copies. Watch this part
carefully, please. Right now, I want to apply
these curves on the surface. As I told you before, Rina would consider
the boundaries of the surface
around the curves. I mean, they are
surrounding the pattern, but here should I cross a window to cover
all of the curves or should I only select the
curves inside the rectangle? Is there any difference
between these two selections? Here, if I select all of them,
this would be the result. But this time if I select only the curves
inside the rectangle, surely we won't have
the similar results. Actually, at this situation, the boundaries will be considered automatically
by default, which is smaller than this. So that if you apply these curves on the
surface, watch this. As you can see the curves
or the stars are maximized. Since the boundaries were
not considered there. I mean, they are maximized because we haven't
specified the boundaries. That if we specify the boundary, we can control the sis
of the geometries. Another example, I turn
on the control points, and then I modify the
editing points like this way. Watch this. Well, the following
that, create UV curves. Then inside the
rectangular boundaries, I want to add a
text, text object. Let us get familiar
with text object. Here we can import your text, Rhino, for example,
Rhinoceros. Watch this. Then here we can specify
the geometry of the text, curves, surfaces or solids. I click on curves and
then Okay, grouped. Following that, I
scale it by this way. Then I rotate it at 90 degrees
like this way. Well done. Inside the boundaries. Following that apply curve, I select and then apply
it on the surface. Watch this. This is
the result undo. Again, apply curve, but I do not select the rectangle
or the boundaries. Watch this. This time they are just based on the surface
size, they are feet. I mean, the text is adjusted
based on the surface size. So this was the differences. But about the next point
here if you want to apply an unsymmetrical
curve on the surface, then we will have
some challenges in the adjustment of the
curves on the surfaces. For example, one of
the points here is the direction of the
curves like your text. Here I should specify the text from left to right
or right to left. For example, in this example, I want to mirror the text. Here I recommend you to sketch a triangle at the corner of
the rectangle like this way, after that, applied
the triangle. On the curve or on the
surface, actually watch this, then you can realize the adjustments of the
curves on the surfaces. So according to the rectangle which has been applied
on the surface, I realize that I should
rotate the text, since the base of the
triangle is toward up. And right now the vertex
of the triangle is toward R. And if I apply this
on the surface, watch this. In, you can use the triangle for the orientation of your texts
on the surfaces. Well done. Let me give you another example. Here if we want to apply our text or object at a
specific part of the surface, we should specify the
boundaries or the region. So first of all, by using
interpolate curve on surface, we select the surface, and then we specify the region. For example, if I want to create some windows
on the surface, here I divide the surface
into two parts, bottom, and top, and then one
more curve like this way. To specify the
boundaries, for example. Then I remove the UV curve. Here again, if I create
UV curves again, here as you can see, we should select surface to
create UV curves. Then without pressing Inter, we should select
points and curves on surface to create
UV curves on point. So this time, I select the
curves on the surface, too, and then pressing down
Inter this time as you can see if you have specified
the regions on the surface. So right now, we got the
boundaries, as you can see. This was one of the approaches
when you want to apply some specific patterns and specific regions of the surface, and at the other approach, we can specify the region
or the boundaries in the front view or in a
planar view, for example, I should rotate the surface in the perspective
view to make it parallel with the view and
let me remove these curves. Well done after that
in the front view. And then I draw two
straight lines by this way, then enter. Check it out. Actually, the curves should not be exactly on the surfaces. You can place on the
surfaces or just near them, for example, like this and
then create UV curves. After that, you can
select these curves. As you can see if
you are not given the accurate regions
or the boundaries. But if you want
accurate regions, you should use curve
interpolate on surface. Otherwise, you can specify the boundaries in the
front view or make the curves close to the surface and then consider
them as the UV curves. Side this way. Let me give you another example and then
check out the applications. Interpolate curve. I want to create
a surface again. Watch this. By this way. Well done. And then I
want to move the curves. Watch this. By this way. Then I select them, love to create the surface. Watch this. I remove the curves or
the input. Well done. Following that, I
want to specify the designing boundaries
or the regions. I want to use interpolate curve on surface since I want to determine exact or accurate
regions like this way, I sketch the first
curve and then the second one by this way. Well done. Then creative curves. I select the curves on the surface and then
enter. Watch this. Let me move the surface side. After that, I can
start the sketch. For example, I want to
draw some circular window, the first and second
tangent curves. Watch this. And then I specify a point to specify the distance point
actually like this way, and then the next one, the first and second
tangent curves, and then the distance point. This way. Third one and
fourth one. Watch this. However, you can use other techniques for
drawing your circles. But this can be more practical
and useful right now, in my opinion, actually,
at this context. Check this out. And the last circle. Well done, then I want to
apply these on the surface. Then we will have them exactly
at the specified region. As you can see, following that, we're going to add
some other patterns on the surface like I Pick split. I split these two curves. Watch this, and then I remove
this part from the surface. Following that, here we got some curves that are
overlapping each other. Let me remove them if you agree, and then I pick pipe, select them, then
I check multiple. I select these curves, and then the radius, not 0.2, watch this. Here there is. By this way, you can add the patterns
on your surfaces. But in the continuation, we're going to consider UV
curves on trimmed surfaces. For example, if I want to
create a trimmed surfaces, we can use patch, for instance, which is considered as a
symbol of trimmed surfaces. Here I start patch to
create a trimmed surface. And then, okay, check this
out here as a result. So how can we recognize
a trimmed surface? We press F ten, watch this. Here is the control points
that are outside the surface. And if we untrim the surface, then we will have a rectangle. So this shows that the
surface is trimmed. Here, when we create the
trimmed surfaces and then creating UV curves
of the trim surfaces, then we will have such a result. I mean, the boundaries of the trimmed surface
is specified, too. But here I got a question. Here, when I want to start
sketching the patterns, should I sketch them inside the circle or inside
the rectangle? I mean, which one of
them is considered as the main boundaries
of the surface? The trim boundaries or
the untrimmed boundaries? Of course, you should
consider the circle. So here in the top view,
let's check it out, for instance, I want to sketch some patterns
inside the circle. By polygon. By using, for instance, let me check this out.
Polygon, inscribe polygon. I specify the number
of the sites, and then for watch
this, I inscribe it. Then I minimize the star. By this way, following that, I place it right
here. Well done. Following that, I
want to array linear, 13 as number. Check this out. Let me increase the values
like 16 by this way, and then I adjust
them by this way. And then again, I array them, linear, at top and bottom. Check this out. By this way, following that I select them, and then mirror I set copy to yes at the other
side, check this out. Following that, I
remove the items which are outside the circle or extended from the
circle by this way. Then I want to apply this pattern on the
curve on the surface, actually. Here got a question. Here should I select the rectangle when I want to apply them on
the surface or not? What do you think?
Let us try it first. I select only the circle, to apply it on the curve
and then press Inter. Watch this. Here,
as you can see, we don't have the correct
results. But what has happened? In fact, when we do not specify the rectangle or the
untrimmed boundaries, inovd considers the
untrimmed boundaries itself. Following that, it applied it
applies it on the surface. I mean, the pattern is projected on the untrimmed
version of the surface. As you can see, check this out, so it is not satisfying. But for applying the
pattern on the curve, urify select both
of the boundaries, I mean the circle and
also the rectangle. Then you will see that
the patterns will be fit with the trimmed
version of the surface, and the result will be
satisfying. Check this out. This is the result.
As I told you before, the pattern is apploed on
the un trimmed surface. So in general, when we create the UV curves of a trim surface, then we should sketch our
patterns inside the boundaries. But when we want to apply them, we should select the boundaries of the untrimmed surface, too. So that the sketched pattern will be applied on
the trim surface. Right now, ify undo the
process in order to apply the patterns which are outside the boundaries or the
circle by this way. And then I want to
select the mole and then apply them on
the curve on the surface. After that, you will see the drawn patterns will be applied on the untrimmed
surface, not trimmed one. I mean, at this situation, the trimmed surface
is not considered. Let's check it out. I
apply this on the surface. Start the command and
then I select the curves, watch this, and
then I apply them. As you can see, we
got the pattern on the untrimmed surface and the
circle is not considered. I mean, the patterns are
applied on the curve on the surface as if the
surface is not trimmed. And this is the result, as you can see in the
perspective view, we got the patterns and the untrimmed surface,
not trimmed one. About the final
point that I want to tell you is about pipes. I mean, as I showed you in
the previous examples when we apply the curves on the surfaces
we use pipes very often. So you should know this point. Check this out. Here
I draw a skuer and then I draw a triangle inside
the Squer by this way. Then I make three duplicates. Watch this. Well done. And then here as you can see, these are joined the skewer, and also the two curves. But I want to explode this one. Following that, I modify
the object layer to make it distinguish that
represent the exploded objects. Then at the next one, I select the ask and then I explode it, and then I change it to red, represent it as the
exploded object. And then at the last one, I explode all of them, and then I display them
in red by this way. Following that, I
want to pipe this, then check out the result, multiple, then I
select all enter. Then I specify the
pipe radius one. Let's check it out. Watch
this. This is the result. At the first one,
as you can see, two geometries are joined, then we will have
some sharp corners. Then at the next one, the
triangle is exploded. Check this out that the sharp corner is
removed. Watch it. At the square, as you can see, we got a straight
sections in the square, but at the next one in which
the square is exploded, but the triangle is joined
and the corners are changed. And the last one, that
all of them are exploded, and the intersections
are not sharp, and there is no joining
between the curves. So when we join the curves, the pipes will be
unified just like the angles between the
curves will be displayed with sharp intersections
or corners. So according to our needs, sometimes we need to join the curves and sometimes
we need to explode them so that we can meet our needs in creating
our desired pipes. For instance, if I want
to design a tross, let's check it out. Watch this. For example, the rectangle, and then that we will have it in the future
sessions to create a truss. But this time, this
out a simple one. By this way, then I explode
it, and then I remove this. Following that, I
want to array this. I'll array line ten. Check this out very well. And then I trim the extra parts. Here is the result. Then
let us compare them. One of them joined and
the other one exploded. The top part is joined, and the bottom one is exploded. Then pipe, multiple. Then
92. Modeling Truss Structures: So, guys, here is
the first practice that I have considered for you, which is a treaty tross.
Let's check it out. And I go through
the next images, watch this from the top front, right and perspective views. As you can see, I want you to
focus on the main model and geometry of the project
as the analysis stage. In general, at the first step, we should create this
surface after model. I mean, suppose that here we got a solid geometry that
you want to create it. I mean, when we got a pattern
at a specific geometry, at first, we should
create the surface. After that, creating the
pattern based on the surface. For example, here,
we got some profiles that are formed in
perspective view. So at first, we have to create the surface and then
sketching the pattern, and then we're going to
form it by the surface. So, guys, if you got
something in your mind, I want you to posit
the video and then go for applying them on
your own project. And after finishing it, you can come and
watch the continue. At first, let us
create the surface. According to the top view, we can see the middle part is narrowed down and
in the right view, we can see that the
profile is triangle. We need two triangles,
two big triangles, and and the smaller one at the middle and the
front view is clear. At first, let us sketch the curve and then we will
talk about the commands. So here in right in front view, and then I sketch the
arc of the front view. By this way. Check it out
according to the front. Here, as I told you before, here we need 23 triangles, and one of them is smaller than the 21 or than the others, and the base of the triangle
is placed on the ground. So back to rhino. And then at the top view, Tree as the number of the sides. Watch this. I just
sketch one of them, and then let me check
the dimensions. I should minimize it a
little more. Watch this. By scaling, well down, it is great and one more, which is smaller than
the previous one. Very well. Following that, I should put these
profiles on the half. That here I'm going to
use orientine curve as you are concerned
orientine curve. Then I should select the
objects to orient, so enter, and then the base point on the profiles that I
wanted to on the path, for example, the center
as the base point. And following that,
I should select the orientation
curve like this way. I disable this,
here is the result. So what is the next? How can I make it perpendicular? I click on perpendicular. By this way. Here is the result. As I told you before, you should place the
profile in a way that to position the basis of the
triangle on the ground. Let's take a look, watch
this in the right view. As you can see, we should
rotate the profile. I set rotate to yes, and then I click to specify
the reference point, and I rotate it at 30
degrees like this way. -30 by this way. And if you got some
problems in calculating the correct or the accurate
value for the rotation, you can orient the
profile just before. I mean, you can
rotate it just before oriented on the curve. For instance, we want this side to be placed
on the ground on the construction plane or just
parallel with the Y axis. Let me show you in the
right view. Check this out. So from the top view, we want to rotate the triangle. We rotate it and make the basis, the base side of the triangle by this
way with the Y axis. Then here if we orient it
on the curve. Watch this. Select then the base point, the center as the base point, and then the orientation curve, and then we set it
perpendicular, check it out. Here, we just need to flip the triangle along x axis
so that we can fix it. So here I just told
you two options or two approaches for
rotating the profile in order to introduce you
to multiple options and choices that you can
have working with Rhino. When you were encountered
with some challenges, you will be able
to overcome them. The other profile, I want to orient the iron curve
at the middle part. By this way, midpoint, I click on perpendicular, and then I place it
at the midpoint. I flip it along x axis, and then I place it
right here by this way, and then I can mirror the other triangle at the
other side. Watch this. We got the three
profiles prepared. After that, we're going
to create the surface. What do you suggest here? Here you may want to
introduce loft or even sweep let us
try of at first. Then I select the
curves or the profiles. Check this out. Then
we should adjust the sin points and
also the directions. And as I told you before, we should put the sin
points on the path, or even I can put them on the vertexes or top
intersections by this way. What about the directions
left right and right, I should flip the first one. I click on the first one. Right now, they are
aligned very well inter. Check this out. Here
we've got the surface. But as you can see, the surface is not matched with the arc. You see, they are
not symmetrical, so we would better to use sweep at this
condition. Sweep one. So we're going to
consider the arc as the rail and then
these three profiles. I mean, these triangles
as the cross section. So I sweep one. I specify the rail and then the grass sections
well done there. And here, it's time to adjust the sin points and
their directions, and they are well adjusted. Okay, inter. Check this out. As you can see, the surface is matched with the arch and this is
what we expected. So this is a better surface. Okay. Let us check it out
into perspective view. Well done. So right now we
have created the surface. What is the next step, guys? Exactly at the next step, we're going to separate each of the surfaces and then
create the UV curves. After that, we're
going to sketch the truss patterns
on the surfaces. So at first, create UVs, then I select the face in. Let me move it aside. Following that, we're
going to sketch our pattern inside the
rectangle. So let's go. I pick the polyline, watch this. Let me see. At first, I want to divide
it, divide by number. I select the curve, and then I divide
it into two parts, or let me change my
mind about the number of the points again,
divide by number. I select the curve to divide, and I specify the number of
segments, ten this time. Following that, I want to start connecting these points to each other and then
creating the truss. And as I want them
equal to each other, so I want to use divide. Divide by number. And then this time,
for example, 12, and then I connect one of them, perpendicular. Watch this. As you remember, I told
you a point about creating pipes in the previous session about joining them
and exploding them. Right now, should we
join them or not? Let us move on. You
will understand. I select them and
then array linear, and then 12. Watch this. By this way. Not that I haven't selected this
side of the rectangle. So here is the result. But here at the last tross, we got two curves that I
should delete one of them, so I deleted one of the curves. So what should I do now? Exactly, I want to apply
it on the surface. But before that, I should join
some curves, but at first, let me pipe them to show
you the pipes multiple. Inter, not 0.4 as the radius, here is the result,
as you can see the corners need to be joined. So you should join the frame or the sides of the rectangle
should be joined. Watch this. Following that,
at the next step, you should apply
them on the surface, select them, enter, then apply them on the
surface by this way. Then here I got a
question for you. But should we go through the same process for
the other phases? I mean, should we create the
UV curves and then sketching the patterns inside
the boundaries and then applying
them? Surely not. Actually, we can use the prepared sketch and then
apply it on other pass. So we do not repeat
the same process. Apply, and then I apply
it on the other faces. Watch this, apply in the
bottom surface phase. Following that, I
delete the surface. And also, I delete the
extra curves and profiles. Here we got only the
curves. Watch this. Here we got some
repetitive curves that should be deleted. I mean, the curves that we use them as the cross
sections in the sweep, this should be deleted. However, here we got some repetitive curves,
repeated curves. Watch this. We delete them all. Well done, then we convert
them to pipes, multiple, I select them all
and then enter, then not 0.2 as the radius. Check it out in the
rendered view port. Here is the result
or the final truss. So by using this technique, you can create the
different kinds of trusses, for
example, watch this. As you can see, this
is just like I mean, same as the previous one
by using lofter sweep, you can create the surface, and then remove the surfaces. After that, you can convert
the curves into pipes. However, you can use other
modeling techniques. So, guys, it's your
turn to create the t sss by your own and
use your own creativity.
93. Exercise Explanation: And the next practice
that we're going to work on is this spiral stair. Here I have provided two
examples for you as you can see, just like the previous
practices in spiral and helix, but from adding the railings, I want you to create the
railings at the left image, since the right one
is quite simple. What about the dimensions, the height, 3.17 perameters. I have specified this
value intentionally, the width of the ester, 1.20, the radius of the
center of the esters, not 0.60 and 20 ester, and the rotation angle is 270. Here you may see that, what is the relation between this
practice and UV curves. But as we look at closely, we can find the
relation between them. So I'm going to give you
some explanation as usual, so that you can do the
practice properly. Actually, at the beginning
of this practice, we're going to
create this surface, the lateral surface
of the stair. The interior surface or
the exterior surface, it does not matter,
but we're going to model or create the surface. And after creating the surface, we can extrude it and then
make it as a solid object. And here we need to
have a curved surface, and then we're going to apply the pattern of the
stair on the surface. So this is one of the
applications of creating UV. As you remember, we use create UV curves for applying
some patterns and some curved surfaces that we first projected
the trimmed version, the untrimmed version
of the surface on the diplne and then
we sketched the pattern. And after that, we applied
them on the surface. Then we use split. I mean, we can create
a surface completely. And then as you can see if
you use this explanation, you can just finish the project. We create the UVs
from the surface, and then we sketch the pattern of the
esters on the surface, and then we split the surface and then trim the extra parts. Following that, we
can extrude it. This was the steps
of the project. Right now, it's your
turn to give it a try, and even if you didn't
manage to create it, no matter, we can create
it together step by step.
94. Round Stair Design: Very well. I hope you've done
the practice successfully. Right now it's my
turn to create it. I want you to follow the
process step by step, since there may be some points and techniques
that can help you. As I told you before,
we're going to focus on this surface of the aster for modeling this spiral stair,
exterior surface. There is no difference
between the interior and exterior one.
You can choose one of them. And here as you are concerned, we're going to
have an extruded R for this part of the the arc is rotated as 270 degrees and the
radius of the arc is 0.60, and the white feels 1.20, and here we're going to
consider the hte and the radius together
and sum them, since we're going to consider
the exterior surface. Back to rhino then and
then I pick the arc. I specify the
center by this way. For the radius of eight, the radius was 9.60. I extend the arc at 60
centimeters for the radius, it would be plus to 1.2 for the, then the result would be 1.8, and then I rotate it at 270. And this is the basic
arc that is creating the exterior surface
for about the height. Example, the height is 3.17
and 0.90 for the railings. It would be 4.07. So I select the arc, and then I extrude
it at the height of 4 meters and 7 centimeters. Watch this here, we got
the basic part of their, which is the exterior
surface of the spiral stair. Following that, we're
going to sketch the pattern and then
apply it on the surface. Addition to the pattern
of the railings. So creative this by this way, here we got it at
deconstruction plane. And as you remember, we could
have moved the V curve, but we're not allowed
to rotate it. So let us start with a triangle that as
I told you before, in order to consider the adjustment of the objects
or patterns on the surface, I applied on the curve
to just check it out. Here as you can see, this is
the place which is placed at the top part of the
extrusion or surface. Where we have sketch, the triangle is the top
part of the surface. Well, done, here we're
going to start sketching. Here we're going to
consider a value of height for the railings
as you're concerned. So I select the rectangle,
and then I explode it, and then I offset it
at the distance of not 0.9 to consider it for
the railings by this way. Very well. And I sketch a line like this
to consider it as the ramp of the
stairs. Watch this. If you want to
consider it like this. So following that,
we're going to sketch the stairs on the line. Then at the next
step, as you can see, the triangle shows
the top part of the surface at the top view. Well done, and then
I'm going to start. Here, what should I
do with this line? I want to place 20
stairs on this curve. So we should divide it exactly. So divide divide
curve by number. By right click, I
select the curve, and then I import 2040
segments and then enter. Right now, we got each
of these stairs here since we have divided the
curve into 20 segments. We got both threads and
the height of the stairs. So we did a sketch a curve. Let me show you the
related sketch in photo if we sketch or connect
these points to each other, then we will have this
curve that I have divided it into two parts,
so I remove it. I just needed the points. Then in the continuation, I'm going to start the stairs. You can even start
from the second point. By this way, I start from the second point by
using SmartTrack, and then I draw one of
the stairs like this way. And here I can consider the nosing of the esters and other details like, for example, for the nosing of the esters, I can offset their like this way and not
0.02 for the nosing. Let's check it out.
Following that, I explode the offset line
curve, and I remove it. And then I trim the extra parts to consider in creating the nosing of ester. And here is the
pattern of the stair. And at the distance of
the nosing of the ester, which is 2 centimeters, here I should extend
this the threads of the ester at 2 centimeters, since we got nosing here. And if I do not do this, if I do not extend the
threads of the stair, then we will have some
extra parts as you can see a gap between
the two stairs. So I select it, and
then I extend it at 2 centimeters. By this way. And then in the continuation. Let me see. I undo. I'm sorry, guys,
there is a problem. Let me check it out. So again, guys, I'm going to offset
the curve at 2 centimeters. Distance. Again, like this. Then I explode it.
I remove this part. Then in the continuation, I draw the nosing, and I trim the extra
parts by this way. But here there is a point. Here, since we have
moved the riser of the stair at 2
centimeters distance, there we should extend the threads of the
ester at 2 centimeters. I mean, if I do not extend
the threads of their, if I create some copies
as I showed you, then there would be a
distance or gap between the riser and the
tread of the ester. Check this out, so I
should extend it to cover that two
centimeter gap, undo. So I select the curve to extend the tread of there
at 2 centimeters. I hide the point, and
then I press F ten. I select, not 0.2, 9.02, then I'll control edge to
show the point. Watch this. So right now, we're going
to consider that as the base point that
we can create a copy. And then in the continuation, I array them linear, then 19. After that, I specify
the reference point. Watch this. Here is the
result of this stair. Then for PF of these stairs, we got a structure I sketch
a curve from this point. And then I extend
it till this part. Later, I'm going to
extend it to the end. But right now in
the continuation, I want to offset
this curve again at a distance of not
0.15. Watch this. Then I delete the first one, and then I want to extend
the offset one to the end. Why specify the
boundary object, again, extend I specify the boundary
object like this way. So the extended curve
is related to this. This curve under the stairs, as you can see that we're going to apply it
on the surface. So if you agree, let
us delete the points by using selection filter
points, and then I delete them. And let me delete the triangle
because we don't need it. And I delete the extended
part of the curve. Well done, but let us
work on the railings. As you remember, we considered
not 0.9 for the railings. As you remember,
so as you can see, this distance is related to
the railings, 90 centimeters. So I pick the line, and then I draw the line
at the length of not 0.9, and then I connect it
to the intersection. So this is for the railings, and I remove the curve. Then in the continuation, I'm going to offset the curve
at each 15 centimeters, offset, not 0.15 but let me explode the curve
before offsetting, offset. And then 15 centimeters. Check this out by this way. And then I'm going to extend them to the curve by this way. And then for the another side, I want to trim them, watch this, like this way. Then for the vertical ones, let me check it
out in the photo. We're going to place these
pipes on every other stairs. For example, the first
one at the first stair. Let me start from the second one like this way and
for the next one. I want to array this curve,
this vertical curve. I select it array linear. Then for the numbers, I
specify ten at most, actually. Then I want to place them at every other stairs or threads. Watch this. Very well. So, guys, we're finished. Then at the perspective view, I want to apply it
on the surface. Let me remove the triangle on
the surface and the curve. Apply curve. I select them, and then I apply them on
the curve on the surface, actually, check this out. Here we got the pattern.
Then what is the next step? Cub did a mistake before
it got to join the curves. Check this out. They are not
joined. They're exploded. I mean, if I had joined them, I undo the process, and then I want to
join these curves. After that, I apply
them at the curve. Then I can easily select
them on the surface. So wait for a second. I want to join these stairs
at first, like this way. Guys, I was forced to delete the railings in order
to join these stairs, but right now I want
to array them again. I specify the numbers ten at every other stairs
like this one. Well, done, then it's time to apply it on the
curve on the surface. Let me delete these
extra objects. But before applying the
curve on the surface, you should note that
you have to join these curves so that you can
select them very easily. Since after applying
them on the surface, you will have some difficulties when you want to select them. So here I select them, and then join fell
down, I click and join. Check this out. If you
got problem with joining, group them very well. Then in the continuation,
apply curve. I select them, then apply them on the surface. Watch this. Great. Right now, it's
time to split the curve, since we just need to keep these stairs and
remove the other parts. So I start split. I select the surface, and then the cutting objects
which are these stairs, well done. Watch this. This way, Idleate the
extra objects like this. And here we got the
railings and the stairs. Extend this. Very well. Then what should we do next? Exactly, we're going
to extrude it. Here we got two approaches
for extruding the surface, which are offset and extrude. That here we're
going to use I mean, certainly, we're going to
use offset offset surface. I select the surface,
press inter. Here we got the exterior
surface as you can see, so I flip it toward inside, and then the distance
1.2. Watch this. Here is the result. At the rendered view
port, as you can see, the esters are correated
and then we can pipe the railings and for
the radius of the pipe, not 0.0 25, check this out. Well done, and then I
select these curves. And then the radius 9.01. Very well. Let us check it
out in the rendered viewport. So I know at the first side it was strange to create
some stairs by using UV curves and applying on the surface,
but this was the technique. Now it's your turn. And
I want you to do all of the practices patiently since learning is at the priority.
95. Surface Patterns: And the next command
that we're going to talk about is flow long surface. Let me type it in
the command line. The flow long surface
command moves objects from source surface
to a target surface. It notes like UV curves. Adding UV curves, at first, we create the UVCurves
and then we apply them, and we were dealing with
only the curves and points. I mean, we could have sketched
the TD and plainR patterns the construction plan and then apply them on the
curved surfaces. I mean, this was the
main application, but about flow along surface, we use this for applying the treaty objects and also the treaty curves
on the surfaces. I mean, it's the premium version of the UV curves and apply. And here we are dealing
with the treaty objects, so it morphs objects from a source surface to
a target surface. Let me give you some examples. Here, the first
application for flow along surface is propagating and applying a treaty pattern or a model treaty pattern
on a curved surface. I mean, we're going to
duplicate a tree object or a treaty curve on
the curve surface. So in the continuation, suppose that here
we got a surface. I turn off Earth. By this way, we got
these two curves. I add one more by this way, and then I'm going
to love them for creating the curved
surface, actually. Here it is. Let's check it out. By this way, I move it. Following that, I want to apply a treaty pattern on the surface. But before that, I
want to sketch it on deconstruction plane and then apply it on the surface
at the first step, just like UV curves. Create UV curves. I select the surface, and then we're going to sketch
a deconstruction plane. I told you before, we create UVCurs to specify the
boundaries of the surface test. I mean, here we
got estimation of the boundaries of the
dimensions of the surface. Then in the UV, we used to
sketch some plane R sketch. But here we're going
to try treaty models. At first, we create
the UV curves, and then we're going
to start drawing the treaty curves on
the construction plane. And since we flow long surface, we are unable to deal
with treaty object. So planar surface. So we are providing the platform,
which should be treaty. Here we call the space
surface of the flow long surface that we're going to sketch or create our
treaty models on this, which is called
the base surface. As I told you before, we're
going to place our patterns, our treat patterns on. Then at the next step, it's time to array and arrange and design the tree D
patterns on the base surface, for example, for instance, suppose that here we got
I draw this buy this way. Let's check it out. Re
frame display mode, and then I draw rectangle here. I turn on Greedy Snap. You can sketch
whatever you want. There is no limitation
and then offset. Watch this and two curves again, offset at both
sides, not 0.75 075. Check this out. Then
again at both sides, I offset them by this way. Well, done, here is the
current object. Check it out. Then at the next step
by using curve Bolin, I select them all. Again, I start the command
of curve Bolin curve pulling command trims splits and joins curves based on their
overlapping regions. I select them and then inter. Then I click inside the
regions to keep these four, and then I click at the outside. Outside the regions. Well done, let's try again
to have a review. Again, curve pulling. Then I select the curves. After that, I should select inside the regions to keep them. I want to delete these four and here if I click
outside the curves, but you have to set
combined regions to yes. So then you can delete the
selected parts by this way. And then it's time
to extrude it as a treaty pattern that I'm going to apply it
on the surface. Well done, let us array it. At first, I should move
it and put it inside the rectangle or
the planar surface. Check this out. Then
it's time to array. I select it, then array
the ordinary array, number in each direction, six, and then in Y direction, for example, 11 and one in Z. Let's check it out.
And then here again, I want to increase
the value 12 and Y, and also along x axis. So K, inter. Here I'm going to tell
you a technique to fit the two objects. However, we have to
modify the patterns, but doesn't matter, scale one D, we select the patterns, inter. Then I should specify
the scale factor, and then I scale
them, watch this. Right now, they are fit
with the planar surface. Let's try again, select
the previous one. And I select the last created
objects to select all of the treaty patterns
which are placed on the Pinar surface and
then a scale one D. Then I specify the scale factor to fit them with
the panar surface. As you can see, the
dimensions and the sizes of the patterns are
changed and it's normal, let us have a review if
you agree. I moved them. By this way. At the first step, we created the UV curves like this way in order to create the boundaries
of the surface. Then at the next step, we created the pattern. I'm sorry, I mean we converted planar surface. By this way. Since the flow long
surface only deals with the tree D surfaces and
TD objects, actually. So the platform of the UV
curve should be tree D, we call it as the base surface, and we're going to sketch the pattern on the
treat surface. Then at the next step, we sketched our pattern
and then arranged it. Then at the continuation, it's time to start flow
long surface command. Well done. I type
flow long surface. Then I should select the objects to flow along the surface. So since the patterns
are grouped, I select one of them, and then inter, then I should
specify the base surface. The base surface was the
planar surface, actually. Then we can select it by
selecting edge or near a corner. So for specifying
the By surface, we select edge near a corner. For example, I want to
consider this corner, I zoom in, and here we got
two sides as you can see. So I click on this
edge near the corner. Then the target surface, the target surface is the curved surface
that we want to apply the patterns on here we should select an edge near
matching corner. I mean, we should specify
the corner that we want it to be matched
with the base surface. So here, as you can
see, as you remember, we specified the left corner of the base surface that
I want to be matched with the left corner
of the target surface. I mean, as I have specified the left corner or the left
edge of the base surface, right now, I should
specify the left corner or left edge of the
target surface. So I clicked at the
left edge well, done right now, the patterns are being applied
on the surface. But here you may have
some questions about the matching corners that I
will talk about them later. But right now it's time to deal with the flow line surface. I mean, you specify the matching corners
yourself. It's up to you. So after specifying the
correspondent corners, then it will be applied
on the surface. I will talk about them later. Let us talk about
another example in order to review the commands
and also these steps, and we will talk
about the details. For instance, I draw
these two curves, and then I move it upwards, and I rotate it by this way. And also, I create a copy and
also rotating Watch this. Here is the result. I love them. Check it out, and I
delete the extra curves. So here is our target surface. So at the first step, it's time to create
UV curves, actually. Excellent. Creat UV curves. Here we've got the boundaries of the surface and
deconstruction plane. Then since the floor long surface is only dealing
with the twity objects, here we should convert the rectangle into
a planar surface. Check this out that we're going to call this
surface as the base surface. So at the next step, it's time to draw our pattern. So let us design it. Suppose that here I draw a
circle at the formable circle. Watch this. And then I select every other editing
points by this way, then I inscribe it. Well done, I move them
and make a treaty. But I should minimize it
by using scale. Well done. Check this out. Following
that, I patch it. Great. Here we got the
surface, a trimmed surface. Then it's time to arrange
it on the base surface. Let me minimize it. And as you are concerned, as much as I mean, as much value we
specify for the array, we will have a heavier project. Here in the front view, I want to fix the
height of the object. Since I want to place it
exactly on the surface, there was a gap between them. Here if you specify
or consider a gap or distance between
the target surface and also your pattern, the distance will be considered on your target surface, too. So everything,
even the distances will be applied on
these surfaces. Very well. Let us move on. Array, for example, seven in
each direction and 16 in Y, and one in Z, and then I
array them, check it out. But this way, I place them. I modify the numbers
in x direction, nine, and also I want to
increase the spacing, and I want to reduce the
number in Y direction. Let me specify 13. Well done. And I reduce the
spacing 5.6. This is good. Enter. Then I select the last created objects
and I select the input. I group them. Well done. Right now we're done with
creating the patterns. Then at the next step, I start flow long surface, and then I select the objects. After that, the base surface by selecting an
edge near a corner. I want to select this corner, and then I want to match it
with the target surface. I specify a target
surface by this way and then applying the
patterns held on. Here is the result,
rendered view port. Great. You know, we've
got a high potential by using the flow line surface that in the future sessions, we'll work on interesting
examples and practices. Until now, I want you to work on these two examples can consider whatever
patterns you want. Then we will go
through the details.
96. FlowAlongSrf Command Tips (Part 1): So guys, after getting familiar with the command
of flow long surface, at this session, we're going to talk about some other details. You're supposed you got these three curves
and the continuation, I'm going to love
them and creating the surface and then
creating UV curves. By this way, here is the result. I convert it to a
planar surface. Here we got the base surface. Here there is a till
name text object. By using this command, we can draw text shaped curves. Surfaces or polysurfaces,
based on true type phones. As we exemplified in
the previous sessions, you can consider something, consider a text, and then the geometry as
curves, for example. I click on Okay, then I place
it here as you can see. We got them as curves.
We can select them. Here we got 15 closed curves, and then we can extrude them. And another option
here is surface. I mean, we can create text
using planar surfaces. Check this out. Here we got trimmed surfaces
as you can see. And then another
option is solid, which creates text using solids. So this time, I specify the
output object type as solid, and we specify the
extruding distance in thickness. Check this out. This is the extruded version. Then in the continuation, I want to use te object
in the following example. So again, take subject, not 0.3 for the thickness. First of all, I select them, and then I group the text or the extrusions so that
I can select them. Then I scale it and
then put it inside the surface like
this and I scale it this way along x
axis by this way. As I told you, the distance
between the object and the base surface
doesn't matter that it should adjust the
objects properly, since everything will be
applied on the target surface. So don't forget to adjust it. Very well. What about the point? You don't want to talk
about the matching curves or the edge that you specify near the corners
in the base surface, and then you want to specify the correspondent
edge near the corner. That in the continuiton, I'm going to consider the different types
in matching curves, and there are some points
that you need to know. I start the command of
flow along surface, then the objects to
flow along the surface. I select them, and
since they are grouped, I can select them
easily, then enter, then the base surface, and I should select edge near
a corner. Check this out. Here, for instance,
I want the text. I want the text exactly
parallel with the surface. I mean at the same direction. So right now, I should specify the bottom left corner and then click on the
correspondent edges near the corners at both surfaces. Check this out, and
as you can see, I can adjust it on the target
surface. Let us try again. Flow along surface.
But this time, I want to rotate the text
from left to right, this way. So it is clear I want
to specify this corner, which is going to
be matched with the other corner. Am I right? So in the continuation, I specify the edge corner, the bottom left,
which is going to be matched with the
top left corner. Let's check it out. Watch this. Here is the result.
One more example. Again, flow long surface. I select and then enter
the base surface. But this time, I want to apply it upside
from left to right. I mean, I want to
apply the txt rotated. So I match the left bottom
corner to the top left. Exactly. So I click on
the bottom left corner, and then I click on the bottom. I mean, top right.
Check this out. Here is the result. You
know, it is very simple. Before specifying
the matching curves, at first, you should analyze
them and check them out. After that, you can
adjust the placement of your pattern on
the target surface by specifying the
matching curve. Let me give you more examples. I'm going to make some
mistakes intentionally. The bottom left with
the bottom right. I mean, I'm going to
match the bottom left edge or corner with the bottom right corner.
Let's check it out. Following that, the result
would be like this, since we haven't specified
the matching curve, so it would be extended. So Rhino would rotate the text or the pattern
in order to fix it. In other words, the pattern
would be mirrored at the other side to
fix it since we have specified correct
matching curves, but let me show you in this
example, flow along surface. I select the pattern, and then the base surface. I want to match the bottom left corner with the
bottom right corner. So since these two corners are not matched with each other, Rhino has to fix it, so it applies the text or
pattern at the other side. That right now we've got the
pattern under the surface. So specifying the correct
matching curves doesn't matter, and you should click on
the edges near the corners at both surfaces
in the same way. Then let's check out the result. It will be moved to here, and then it will be
rotated at 180 degrees. Shake this out. After that, the pattern will be placed
on the surface like this. So the curves are
matching with each other. But if I want to match
the left to right, bottom left to bottom right, since we haven't specified
the corresponding corners, the text or the object
have to be mirrored. All in all when you want
to apply a treaty pattern or a treaty object from the base surface to
the target surface, you got many options for
placing the you have to specify the corresponding
corner curves that are matching with each other in both basic surface base surface, and also the target surface. For example, you have to specify the top left corners at both
of the surface this out, top left, check this
out since these two are corresponding so
that you can place the pattern correctly
or bottom left at both. Check this out. There is no
difference between them. I want to give you
another example. I keep the text object. Let me see. I have considered this as an skewer intentionally, but let me extend this,
extend the surface, to have it like a rectangle, again create your
Vs. Check this out. Right now, it is rectangular. Then I rotate the text object
at -90 degrees. Well done. Then I maximize the
size, well down. Then I create a planar
surface from the UV curves. Well done. After that, I want you to think about
the matching curves and help me in specifying the curves
which are corresponding. Flow along surface at first, and then I specify the object
to flow along the surface. Then it's time to specify
the base surface. I want to place the object on the target surface
from left to right, horizontal what are
the matching curves? Exactly. The left bottom corner. For example, I
click on this edge. After that, the matching
curve in the target survey, which is the bottom
left, exactly. So I click on the bottom
edge, watch this. Here we got the pattern
on the surface. Again, I specify, then I select the previous edge
at the base survey. But this time, I
want to click on the top edge which
are not matching. Check this out. Here we
got a different result because the the curves
are not matching. As a result, if the text object or if the pattern were not placed in the
manner that we want, you should check out
the matching curves. So after specifying
the matching curves at both base surface
and target surface, you can place your pattern
in the manner you want. But when we are working on closed surfaces,
what else there? I mean, at this context, we don't have any corners,
so let's check it out. Here we go I'm going to create a simple curve which is
closed like a circle. Watch this, like this way. Fell down. After that, I love this to create
a surface by this way. Here, as you can see,
there is no corner. But let's work on it. Then I create IV
curves, here it is. Then I create the planar
surface as usual. After that, it's time to adjust the pattern on the
base surface. Watch this. Well, let me scale it a
little more by this way, and then it's time to
apply it on the surface. When you are dealing with
closed curves like circles, closed actually surface
heat as you're concerned, here we got some sin
points on the surfaces. Here, we got some isa
curves on the surfaces that the highlighted one is
the sin I mean here, the sin point is the same as the corners or the edge
corners in triangles. I mean, rectangles. I'm sorry. So to add the first step, you should find the sin point. Then we can decide to I
mean, vertical click, for example, we can click at the left side or right
side of the sin point. Let me rotate the
surface, check this out. Here, we got the sin
point. Well done. Then I want to apply the text object on the
surface from left to right. Here we got the SIM Point. I want the text to start from the Sin Point,
flow long surface. I select the object,
press inter. This time, I want to click on the bottom left
edge near corner. But where is the
correspondent edge. Should I click on the left
side of the IM Point? Or should I click at the right side of the
sin point at the bottom, or should I click at the left top side of the
SIM Point or right side, exactly down left, left
bottom side, actually. Here if I explode the surface. After that, I have to click on the right side
of the same point, which is placed at
the bottom right in order to adjust the text
object from left to right. So let us check
it out. I specify the object entered
then the base surface. I click on the left bottom, I click on the left bottom edge, near the corner, and then the corresponding
edge near the sin point. Check this out here
are the result. This time I want to make
a mistake intentionally. Let's check it out,
specifying the base surface, left bottom edge,
and then I want to click at top and right
side of the sin Point. What would happen? Could
you guess the result? So let us try again. I want to match the bottom left corner to the
top left corner. After that, you will
see the text object will be rotated at 90 degrees. So after moving the pattern, it will be rotated
at 90 degrees, and then it will be moved to here like this,
shake this out. So what would happen? In fact, I open the front view to adjust the distance between the
pattern and the surface. Fell down, here I I, match the bottom left corner to the top left corner of
the target surface. Then it will be rotated at
-90 degrees like this way, and then the text object will be installed on
the surface like this. So it will be placed like this. Here, let me start the flow long surface to show
you the results. I select them inter, and then the base surface. And on the target
surface. Check this out. They will be placed
inside the surface, since the curves or the specified curves are not
matching with each other, so it is forced to be
rotated like this, and then the object will be
placed inside the surface. So as a result, after
the rotation like this, the pattern will
be placed inside. Again, I start the command
flow along surface. I specify the object, then the base surface, the bottom left corner, and then matching to the top
left side of the sin point, then what would be the result? I want you to imagine
what would happen next after matching the
bottom left corner, to the top left side
of the sin point. Check this out. It is
rotated and the text object, it started from right to
left, as you can see. But let me right now explain
it schematically at first, after specifying
these two curves, the object should be rotated by this way to be placed
on the surface. At this time, if I move it, the text should be started
from right to left. Then again, should be
rotated at 180 degrees. Check this out like this way. Then I match the curves. Check this out. I cover I make the matched
corner overlapped. The pattern is upside. Again, I start flowing surface. Then I click bottom left corner to match it with the top
left side of the sin point. Check this out.
This is the result. Has started from right to
left and it is upside. As you are concerned, this process of specifying
and matching the curves in both basic and base surface and the target surface
needs practice. However, you can put
some time on it and then try all of the cases,
but it takes your time. But if you want to
take my advice, I should say that at first, you should specify
what do you want. For example, I want to start
it from left to right, and then I should specify the matching curves,
the matching corners. And if you did a mistake, I want you to just
think about it, realize what was your mistake. Then you can fix it.
So at the first step, you have to specify
what do you want. Or, for example, you may want
to place the text upside, upside down or starting it from right to left or left to
right. It's up to you. Following that, you
have to specify the correspondent
curves or corners. So, guys, right now, it's your turn to put some tina on practicing
these lessons.
97. FlowAlongSrf Command Tips (Part 2): I'm sure that you've done the previous
practices and you did not have skipped the videos, and gradually you're
getting skilled at working with flow long
surface and the continuation, you're going to learn
some more points. Here if we had a surface and also have created
the planar surface, but this time, we're
going to create and have some patterns which are greater than the planar surface
or the base surface. So let us check it
out, for instance, I sketch this
pattern in order to apply it on the surface,
the target surface. Then in the continuation, I want to draw my pattern on this frame and then want to place it at the
base surface, six sides. And then I position
it, check this out. I minimize it by a
scale following that. You know, I'm doing
this intentionally to just review the other commands. So array the number
in each direction, and then Y 15, and then in Z, one,
check this out. Then let me adjust them
inside the frame. Great. Here for the empty space, I can modify the
value of spacing. 3.1, check this out. Since I want it fit by
this way, well done. Then I add one in direction, 16 inter, very well. However, we can
array more items. But in the continuiton, I select all of them, and then I extrude
them as a kind of pattern that I want to place
it on the base surface. Following that, I want
to select the pattern or the object and then place
it on the base surface. So right now, the object is greater than
the base surface. So what shall happen? I will give you some options, and I want you to
choose first option, I will act like the UV curves, and then it will fit the
object on the surface, regardless of the size. Two, the boundaries
of the object will be extended from
the target surface, or it trims the extended part
from the target surface. What do you think? We got
three choices or options? Exactly. Two, as the object is extended from the boundaries
of the base surface, it will be extended from
the target surface, too. Flow line surface, check it out. I select the object, and then the base surface, I select the edge
near the corner. After that, the matching corner, check this out at the
left bottom corner. Here is the result,
as you can see, it is extended and the size is not changed.
There is a question. I mean, how can I
fit the object or pattern on the target surface at the size of target surface? I mean, I want the object to be aligned with the boundaries
of the target surface. Here we can go
through another way. Instead of using
the base surface, here we can create a planear
self. Check this out. I create a planear surface
that covers the object. It is greater than the
object as you can. And here we don't have to use create UV curves from a surface, while we can create a
planar surface ourselves, and we've got a
pattern or object that want to fit the pattern
or object on the surface. So here we can create
a planar surface ourself and then consider
it as the base surface. Flow along surface. We select the object, press inter after that, the matching corners
here as you can see, the base surface is greater
than the target surface, but the pattern or object will be fit on the
target surface. As you can see, it is scaled. So this was the approach
that you can use if you want to fit your pattern
on your target surface. You can use this if your pattern was greater
than the base surface. That if you apply
it on the surface, it will be extended from the boundaries of
the target surface. When you're working
on a heavy project in which you want to flow
something on a surface, I recommend you to save your file before starting
flow line surface, since you may get a crash after starting
flow line surface. But here, there is option in this command, which is rigid. I want to talk about rigid, which has been set to know. The rigid option specifies that individual objects will not be deformed as they
are transformed. In the continuation,
I'm going to talk about it more through
some examples. So again, let's create
another surface. I pick the rectangle
by center. Watch this. Following that, in
perspective view, I pick arc by three points, and then I create the
arc like this way. I want to sketch it vertically, so I hold down Control, watch this. Well done. Then I want to array, so I want to use array
polar, check this out. So here I import zero for
the cent ravipolarfs items, and then the field angle, I set of set to no. Then I want to convert
this into a surface. First of all, we try a surface, and if it did work out, it's okay, and if it didn't, we can try other commands
that as you remember, we can use some axis
or auxiliary curves, and then we can use network. Here is a surface. It is not satisfying. So if you agree, let us
with netfork here at first, I should use two auxiliary
arcs like this way. I sketch it in the front view. Well done, or you can
hold down Control. I select it, I hold
down Alt button, then I rotate it, and I create a copy,
then network surface. I select them and then create the surface,
check this out. So here is our subject and
we've got a lot to do with it. I move it to side, and I delete the curves. And then I want to
create some copies from the created surface for
the other examples. So create UV curves. Here we got the UV curves, and then I convert it to a
planar surface. Watch this. Here it is. Following
that, I want to array, arrange some boxes on
the planear surface. For example, at this height, and I adjust it, and move it down inside the planar surface like this
here from the top view. I array then I specify
a number on direction, 12, for instance, and I'll
say 12 in Y direction. Check this out. Well done. After that, I want to
adjust the spacing, four at both YN spacing, and for the number of the items, I set six for the spacing and then for
the number X direction, 14, 13 and 13 in Y direction two, check this out, press Inter, then I want to adjust
their positions. I move them, check this out at the center. Here
is the result. Following that, I went to float these objects on
these surfaces that we're going to working with frigid so here I want to start. Flow along surface, guys. Wait for a second. Flow
along surface. Here it is. Then I select the objects
to flow along a surface. Press Inter, then I
specify the base surface. Then the matching corner, I click on this side. Well done. Right now, the rigid has been set to know. As you can see, the objects are perpendicular
to the surface. And if I rotate the scene, check the under then if
you set rigid to no, the individual objects are transformed as well
as their positions. And as I showed you, the
objects are deformed. But if you set rigid to
yes, following that, the individual objects
will not change, only their positions
will change. So let's try it again
flow line surface. I select the objects enter, and then the base surface. I set rigid to yes, since I don't want the
objects to be changed. And then I specify the target surface
corners, check this out. This is the difference.
As you can see, they are not deformed. However, the positions of the individual objects are
changed, but the forms not. So as it specifies that the individual objects will not be deformed as they
are transformed, if we said yes, the individual
objects will not change, their form not changed, but only their
position will change. And here as you can see,
they are transformed, but it is not deformed. About their applications. I will explain them in the future example.
Here, there is a point. When you want to use rigid, you should not have grouped your patterns or the
individual objects. If I group these objects and then I start
flow along surface. I set rigid to no. Let's check it out, guys, and then flow them
along the surface. Here we got the same
result as you can see. Then in the continuation, I select entered, then I
set rigid to yes this time. So what do you think about
the result? Check it out. I specify a target
surface, W is, I have set rigid to yes and
the objects are grouped. As you can see, the
individual objects are not allowed to be transformed individually
and be set or adjusted on the surface
independent from the group. So when we are
setting rigid to yes, we are not allowed to
group our patterns. This was the point
that you should know. The other option here
is constrain normal. So let's check this out. When we set it to yes, it maps the objects onto the target surface while
maintaining the orientation relative to the construction
plane normal to the normal of the viewport in which the target
surface is selected. So at this new example, I have started the
flow line surface and the edge surface, and then I flow the objects on the surface, as you can see. And for the last
surface, this time, I want to set constrain normal to yes and show you the results. I create another
copy. Get out, guys. And then flow long surface, selecting the objects entered
and the base surface, rigid I set rigid to no and
set constra normal to yes. So it can be deformed. First of all, let me
give you an example, then I will give you
more explanations. I specify the
matching corners with both base and target
surface. Watch this. Here as you can
see the objects or the patterns are perpendicular
to the construction plane, as you can see in
the third surface. I mean since the
individual objects on the base surface are perpendicular to the surface and also the construction
plane. Let us check it out. But if I set it to no,
it maps the object onto the target surface using the target surface
normal direction, the construction plane. I mean, this time, if I set construction can
strain normal to yes, then the objects, the
individual objects will be perpendicular to the target
surface, just like rigid. Check this out. At the
previous examples, they were perpendicular
to the surface. But if we set it to yes, it maps the objects onto the target surface while in
the orientation relative to the construction
plane normal of the view port in which the
target surface is selected. But if you set them to no, they will ignore the
target surface plane. Check this out. We
have set this to no. Here they are perpendicular,
but they are deformed. Let's check them out
from the top view. These are perpendicular,
and also they are deformed. And then at the next case, we're going to set
rigid to yes and also setting constraint to yes. I mean, we want them
to be deformed. I mean, we don't want them to be deformed and also
perpendicular to the surface. So let us check it out. It won't be that much
satisfying, guys. I select the objects. And then inter, I
said rigid two, yes, and also cans
normal two yes. I want them to be
not too deformed and also perpendicular to
the construction plane. I'm in target, actually.
Let's check it out. This is the results. They are not deformed, and also they are perpendicular
to the target surface. So we cannot use this.
Let's review this for. At the first case,
as you can see, we have set rigid to no. So the objects are deformed. I mean, they are transformed
as well as their position, and the constraint was set to know they were using the target
surface normal direction, not the construction plane. And as you can see,
the individual objects are perpendicular to the
surface, the target surface. Then at the next case, you
have set rigid to yes, then the individual
objects will not change, only their positions
will change, so they are not deformed and construction constraint
has been set to no. So they are using the target
surface normal direction. And at the next case, which it is oftenly used, the regid has been set to no, and also the constrained
normal has been set to yes. I mean, the construction
plane is maintained while the individual objects are oriented and placed on
the target surface. And at the last
one, both rigid and constrained normal has been
to have been set to yes, as you can see, it
is not oftenly used. Here, there is one more item left and I leave you
to practice these. And these are very
important options that you need them while you are working on your actual projects. And this is about
the trimmed surfaces that we talked about
it in UV curves. I'm going to give you an
explanation about it, and you probably
know the answer, but let us have a review. Here we got a trimmed surface that we can create it by
using patch. Consider this. Following that I start patch, and then I created. Following that
we're going to flow the objects on the surface. At first, I create the
UV curves like this way. Here is the result.
I got a question. Here should I convert
the square into a planear surface or the
circle to a planear surface? Exactly the circle. So I convert the circle
to a planear surface, and then I can create the objects or the
patterns or whatever. I want to create some
treaty objects here, point well done. And then I love
them by this way. So and for increasing the speed, I array them like this way. And then I array them
polarly shake this out. Well done, for example, 12 at 360 degrees. Well done. Check this
out by this way. Following that,
flow long surface. Then I select the objects, press inter, and then
the base surface. Here we can use the
corners of the square, and then I specify the target
surface, check this out. By this way, you can flow your individual objects
on your surfaces, actually in trim surfaces. But try to create your
surfaces untrimmed, since as I told you before, working with untrimmed surfaces
bring you better results. Guys at this session
we covered some of the most important points
and details that you should write them down and
put them into consideration. So, guys, it's time to work
on the examples and also on some new examples
where you can consider an object as your subject
and just work on it.
98. Example: In other application of the flow on surface is forming
a single object. But how do we can
form a single object? I mean, here we
got, for example, a surface, and there is a specific pattern
on the surface. Following that, we're going to form the pattern according
to another surface. Let me give you an example. Check this out here
this building. At first, let us analyze
it here as you can see, you got a surface at a specific
pattern and designing, nothing has arrayed
on as you can. Regarding only a surface
which has formed. I'm talking about
these curves and also the windows which are
not aligned, like this. Here, it has shaped
the building, but how do we can create this? At first, we should create a planar surface and
the construction plane. After that, we're going to
create a surface. These forms. After that, we're going to form the planar surface according
to the another one. Let me show you another example. Here, as you can see,
we got the head of the column that I have
considered it as your homework. And if you remember
the leaf that we worked on in
the fifth season, we're going to carve the leaf
or leaves as you can see. So at first, we
should create it and the construction plane
in a planar surface. After that, we're going to
sketch a curved surface, and then we're going to
shape the planar surface. And this is another application for flow long surface command. That in dictinuation, I'm
going to create these two and explain the
entire process. Here I got the leaf prepared
from the previous sessions. Then in the continuation, I want to form it in order to create the head after column. In fact, I'm trying to complete a part of
your assignment. But at first, let's work
on the surface I mean, by which we want to form
the planar surface. Here in rhino, at
the front view. Check this out. Preferably, I'm going to use ControPoint curve. Since right now, no, we can't use interpolate
curve. It is not proper. It can meet our needs, so we use Contropoint
curves at this context. So I pick it, and then I start specifying
points like this. Well done. Here we
got such a form. And here I can edit, modify the editing points, move them this way. But I don't want
the surface to be simple like this.
Let's take a look. As you can see, there
is a slight continuity. So at the top you buy this way. And then by interpolate points, I sketch a curve like this, and then I mirror
it by this way. Then I match the middle part. I set tangency is the
continuity and average points. Or curves, I join them of ten, and then I remove the kink. Well done, then after
that, I selected. I maximize it by
scale and then move. I put it right here. Very well. Then I sweep it. Let's check it out. Rail
and the profile enter. Here is the result.
Following that, I want to create the UV curves to check the dimensions
and proportions. Here is the boundaries. Then I rotate it at 90 degrees. I want to adjust the leaf
inside the boundaries or frame. It is okay somehow, however, I should increase the height that I can fix it. But
we can consider it. But if you are too much picky, we should increase the height or I might extend it
along z axis, well done. Following that, again, I
create a sweep. Watch this. Okay. This time is better. I create the UV curves. Let's check it out like this. Again, I want to adjust it
at 90 degrees I rotate it, and then just the size. As I showed you, we should increase the
height a little more. So I undo the process, and then I extend this and extend the
curve along the axis. By this way, I think it will
meet our needs right now, move, and then
creating V curves. Well done. Let us continue. I rotated at 90 degrees, and then I adjust it. Well done. These are match. These are matching
with each other. However, I should select the points and then
extend it a little more. You know. These
problems can be fixed. It doesn't need to
be worry about it. So for the bottom part, I extend it just like the top part by activating
project and plan R, check this out. Very well. Let me check the other
parts. Is great. Right now, the leaf is adjusted
inside the boundaries of the frame properly play
on surface like this way. Then in the continuation, we want to just the base part
of the leaf on the surface. So here it is important to specify the correct
matching corners, flow along surface, and
then I select the object. Well done, then it's time to
specify the base surface. I want to consider
these two corners as the matching corners. I click on bottom right and then on bottom
right at the surface. Shake this out. I click on it. Here as you can
see, we have formed the object based on
the target surface, and we removed it.
Check this out. Then in the continuation, if I want to put the
leaf just inside the surface or
under the surface, here I want you to
guess the corners that I should click on
to match the corners, flow long surface object, and then the surface. Since I want to position it under the surface or
inside the surface, this time I want to
choose different corners. I want to match the
bottom right corner to the bottom, right. So here on the base surface, I click on bottom right corner, then the target surface, click on bottom right corner. Check this out, then I can remove the target
surface. Watch this. Right now, we have formed
the surface as you can see, based on the target surface. And then when we array it, I mean herefi arrange
them around the circle. And then if I array
the surface polar, I specify the center, number of the
items, for example, 12, and then the feel
angle, check this out. Even we can specify
11 for the numbers, or even ten is better, I think, well done. In, check this out. This was the whole process for creating the
head of the columns that we form the object
according to the target surface, that it can be very useful. So let us work on
the next example. And I mean this. First of all, let us
create the surface. In the previous example, we had to create
the target surface for multiple time in order to adjust the size of the target surface with the object and match
them with each other. And the object was pre
created was predefined. Otherwise, we should create
the target surface at first, and then we're going
to create the object, since these two objects should be matched
with each other. But since the object
was prepared, I did not put time on
creating the object again. Right now, let me
save the head of the column and then we will
go for the next example. So first of all, we're going to sketch the surface which
is going to be formed, and then we will draw the
pattern or the object. At first, we're going to
sketch the target and then the object here
in the new file. Then at the prospective view, I open the top view. Then if you want
to flow the object on the surface only at one step, you should create the surface like this or the target surface. So I draw the curve
at one click. I mean, while the curves
are joined, check this out. Since as I told you before, you have to draw
your curve joined. And if you consider
them explode, you cannot consider
the whole surface as your target surface. So create UV curves by
this way. Well done. For now, I want to put time on creating the
pattern on the object, and then at the last step, I create the base surface. Right now, I'm sketching these curves on the
surface, as you can see. Schematically, check this out. And assume that. I mean, I want to consider these. I don't want to put much time
on sketching these curves. Well done, let us move on. And then I want to make a Dupljt By this way to
prepare the base surface. Well done, then it's time to
create the planar surface to consider it as the base
surface. Perspective view. I search for a planear surface, then I select the surface, check this out,
following that I want to split it. Check this out. I split it, and then I choose these curves as
the cutting objects. So here we got some
individual objects, and then I extrude them
by using extrude surface. Let's it out. I select them. And then I search for
extrude surveys. Check this. I set solid two yes, and then I specify the
extrusion, distance. For instance, not
0.1, check this out. Then following that, I hold control and
shift patterns both, and then I select the
surfaces individually, and I move them upwards. Not 0.1, check this out. They're not even, and then
the another one, not 0.2, just like I mean ster like, check this out and
the third one, not 0.3, check this out. We can easily move them on
the construction plane. However, if we want to
do it on the surfaces, we will have some challenges not 0.5 and the last one, not 0.6. No 0.6, well done. Shaded. I mean, rendered
report very well. Then in the continuation, I create the planear surface, to consider it as
the base surface, and I group the object so that I can easily
select it, then I move it. To adjust it on
the base surface. Well done, great. Then it's time to start
the flow long surface. Let me find it flow long SRF. Then let me search for flow lang surface
find the objects, and then enter, then specifying the base surface by clicking on the matching corners
at bottom right. Well done, well done. Great. Rendered viewport. Here it is, it is
so much useful, and we were not able to do
such a thing and create such a pattern on
the curved surfaces. And here we got talking about some applications
and usages that are so practical in all of the architectural
disciplines or projects. So please, guys, I don't I
want you to consider these. And then in the next sessions, we're going to work on actual projects by using flow line surface
and other commands.
99. Exercise Explanation: Guys, at this session, we're going to create this
stadium together step by step. As first as usual, I'm going to give you some explanations
about this stadium, and after that, we're going
to begin sketching it. Let us start from the roof. Here from the modules that are arranged around the circle
around the ellipse. Some parts are straight, and they are perpendicular to the two curves at both sides. And they have been
arrayed polarly. Then here, if we
want to consider one of the mojols it's just like a paper or a page which is rotated or oriented,
as you can see. There is a continuity,
as you can see. Let us show you the
pattern in the front view. You're from the arch. I start to show
you the pattern of the Mjol by this way,
and then perspective. And it has a curved
cross section. Let me sketch it by
curve interpolate. And then I move the
itting points well done. Here is the mojole. After that, by using
Sweep command, I can create the surface, sweep one, cross section
and rail. Watch this. You can create one of the
modules like this way, and then array them polary
around the ellipse. And we've done the
other parts in the previous sessions
and note that the orientations of
the Ia curve are effective in the placement and arrangement of the modules. Since, as you can see,
the modules at some parts are positioned straightly
while at other parts, they are arranged radial. So we want you put
the orientation and directions of the Io
curves into consideration. So if you adjust the
isocurves curved or slanted, then you will have your modules
or patterns slanted too. So this was all about the roof and about the body
of the stadium. Here at first, you can have the base surface
and the object and also the target
surface and then flow the patterns on the objects on the surface or
along the surface. However, you don't have to
consider all of the details, but it's okay to consider the major things,
the major patterns. For example, just like
fitting this circle. I mean, the results, the
project should be in a way that to showcase your skills in
creating such a stadium. Guys move on and
start creating it, and then at the next session, we will create it step
by step together.
100. Projects: Stadium Roof: Hi, guys, I hope you've done the practice successfully
on your own. So let's create it ourselves. Here back to Ry now in the
top view, first of all, I'm going to create a rectangle
like this. Well done. Then I want to consider this as the straight part
of the stadium, and then we're going to
have two semicircles as two sides of the rectangle. I pick the arc from the
midpoint, check this out, and then I mirror it at another side for
another semicircle. Watch this. Then I explode them. Well done. I trim
the extra parts. Well done, and I
join the ellipse. Great. Then it's
time to extrude it. I select it, and then I
extrude it. Well done. I say solituo. I want to consider
approximate value for the distance like this way. Here, I think I should maximize the distance
of the extrusion. So I hold down
Controllashift button both, and then I select them. I select the top edge, and then I can extend it so
there is no need to undo. Well done, then it's time
to cork on the roof. Here, at first as
you're concerned, it's time to offset the top edge from the
top view, I offset it. I select the curve, and then I specify
the through points, for example, like
this, well done. Great. Let me hide the
extrusion surface. Here at first, I'm
going to start modeling a deconstruction plane, and following that,
we will move it. Here, there is a curve for
the Mjol so back to rhino. And then I sketch
an arc or a spline. Both are the same. I start with the arc curve. I select the editing points, and then I move
them like this way. This is called as spell
line, another arc. And another approach is to
sketch an arc by three points. I specify a two points, and the third one
in the front view. Alright, check this out. But note that you have
to enable project and planar both, check this out. Then we can adjust the
continuity, well done. We can use this
instead of the spline. Great. Let's go. But before moving on, let me sketch this without activating project and plan R to show you the results
to have a review. However, you can skip this
part if you're not interested, then at the right
view, watch this. I know I exemplified this
case for several times, but I wanted to review
this part, check this out. The third point is adjusted based on the
construction plane. But when we enable
project and plane R, it can strain the plane. So again, plan R and project. Then however, we can
enable the plane R alone. There is no need to
activate project, since there are no
Gritty snaps yet there. Well done, then
you can choose one of the approaches by your own. But to me, I prefer
to choose the Spline. It is more easier, but
if you sketch an arc, it would be more
accurate and geometric. Then it's time to start sweep
one or actually Sweep two, the cross section to rails. Well done. Shake this out. And about the Io curves and
their directions that I have emphasized on for many times here as you
can see at this part, the is curves are
slanted that are effective on
arrangement E modules. So we should match the isocurs with the
patterns or the modules. For example, at the middle part, we should straighten
the isocurve. But how do we can do this?
Have explained it for you before exactly by using at a slash and then I specify
points on the rails exactly. After the semicircle, I specify straight
line or isocurve. For example, the top part, as you can see,
there are slanted. At the other side, I specify points to make the isocurve straight
like this way, and then for the top part, check this out very well. I have straightened
the isocurves and they are radial
at the semicircle. And in order to keep
it in your minds, I want to go through the another approach that I
want to leave the isocurves, slanted and do not modify them. I create a copy in order to create another surface
and then compare them. I unhide these surfaces, and then I move,
I move the sweep. Watch this for the roof. Then at this one in which I don't want to modify the
isocurves to show you the effects of
slanted isocurves and unedited isocurves then we
can compare the results. I select them and then I
move them so that we can create the objects and also the base surface on the construction plane
and on the grids. First of all, let us
work on the roof. Create UV curves. I select the roof. Here is the given boundaries. Following that, we're going to arrange the pattern
on the base surface. However, you can model
the mojole as you wish. For example, here again, I'm going to use an
arc. Check this out. Then at the front view, plan R is activated, and then I curve the
line, watch this. Well done. Zoom selected so that I can focus on
the selected object. Even in navigation. I extrude it. Here
is the module. Then at the top view, array, linear and about the number
of items, what you guess. For example, 70
approximate value. Let's sick it out. I
should increase the value. For example, 90, Again, increase 95 Great. I will remove the extra
parts or the extra items. What should we do with
the gap or empty space? No matter, no, we can minimize the size of
the base surface, and they will be fit
with each other. So it does not matter. Don't worry about it. Imagine
them with each other. Then in the continuation, we got the patterns prepared, and then as usual, the group them well done so that we can select them easily
since they are grouped. Following that, play our surface to prepare the base surface. Right now, everything
is prepared to start the flow along surface. So I start the flow
along surface command. Then I specify the objects
following that debase surface. At first, we should specify the corners that we want
them to be matched. For example, the bottom left. Here, since we got a closed
curve and closed surface, we should look for the sin
points as you are concerned. But where is the same point exactly where the Is your
curve is highlighted. So if I want to specify
the bottom left corner, then what is the matching
corner? Which one? Bottom left or right, or
up or top left or right. Exactly. It is bottom and
right side of the same point. So I click near the corner, and then I specify or click
on the matching corner. Here it is very well. We're done with the pattern. I remove the roof. Here, as you can see,
we got the patterns. Well done. Check this out. Great. Then in the continuation, let us try at another surface in which the
icy curves are not trimmed, are not actually modified,
flow long surface. I specify the objects,
the base surface, and also the target
surface. Watch this. Check this out here
as you can see, I want you to
compare the form of the objects at both
surfaces at the top of you, here we got them straight, but at the other one, as you can see, they are not straight. They are slanted. And even at the rendered view port that
according to the picture, we need them to be straight. This was the effect of
the directions of the iso curves on the panels or
on floor long surface. Great. I moved that aside. Great. Let us go working
on the body of the tadium. When we create the UV curves, we will be given the exploded
version of the surface. So here we got three
parts or three pieces. Actually, four, I'm sorry, but I'm going to work
on one of the pieces, only the arc or semicircle, since it would be
too time consuming if we want to work
on all of the parts. So let us work on the semicircle and the entry
and some other patterns. So here in the top you and
then inside the snares, I want to divide the
height into four parts, since the entry here, as you can see, are one
to third or fourth, actually, of the entire height. So from the midpoint, I sketch the auxiliary curve, and then I want to half it. As you remember, we had
a technique for this, so we're going to review it. Here as you can see, we
can't have the midpoint. So here in these snaps, I hold down Shift, and then I click on
between, check this out. And then I specify two points to calculate the
Bitwin. Check this out. Right now, I have divided
the height into four parts. At first, I pick the line, then I click on Bitwin. Then I should specify
the two points to calculate the bitwin
and without using between, we can't have between of
them or the midpoint, or otherwise, we can
sketch an auxiliary curve. We pick the line,
we hold on shift, and then we click on between. After that, we should specify the two points that we
want the between of them. Watch this, the first
and the second point, we are given the between
point, as you can see. Gt. Let us move on again. I pick line and then
then extend the curve. A little more than
the half by this way. Then I want you to connect
it to the top curve at the angle of 45
degrees, hold down shift. Then import the
less than symbol, the import 45 degrees, inter, then extend the curve and then connect
it to the curve. Intersection, well done. Then delete the others. Then if I select it
and then mirror, by picking a plane, well done, then it's
time to array it. But while you want
to array these, we will have these two curves overlapping, as you can see. So what should we do?
I explode it at first. Since I don't want the
overlapping curves, I remove this one, and then
I array this, select, array. I'd better to explode it. So I explode them, and then I start array linear. And then the number of the
items, 30, for instance, or 20 now we can try values to different
numbers and then start. Let me check the numbers. I should increase
it. 30 is okay. Well done, or 21, I think is okay, or I can delete the last one
and then let me consider it. Here I can select all of these, and then I want to
move them to left side to remove the gap
F eight very well. Following that,
we're going to have some of these openings into two here as you can
see in the picture, some of them are
divided into two parts. So get back to rhino. I'm going to have this opening. But how I pick the point, the midpoint, turn
off F eight or ortho. Here if you enable smart track, then you can have the
perpendicular curve, as you can see, watch this. And we also need the
midpoint by this way and perpendicular, midpoint
and perpendicular. I sketch this, try to
practice on Smart Rack, and then I extend it, well done. And I explode them. You better to explode
the curves like this. Then we can place these curves and some of these openings. I create a copy, and then I duplicate it and then place it in some of the openings by this way and
others by this way. No, you can place them randomly. It does not matter
where to place them. It is on your own. Great. We're done. Or we can place every other's
at every other's. So, guys, we're done with these. Then we're going to work
on some other patterns. Check this out and the
circles. So what should we do? So easily, we can extend them. At first, I explore the frame or the boundaries
and then extend. I select these curves. And then enter after that, I cross a window on the opening, check this out so that I can extend them to
the specified curve. Watch this. Then we can
select the curve to extend. By this way. Thanks for being patient. Well done. Following that, I want to delete some parts. As you can see, according
to the picture, some parts are deleted back
to Rhino and then trim. Check it out. I choose
this and another one, and I delete these as well, where I trim them, actually. As you can see, I'm creating some rectangles and the surface, and I trim other extra
curves by this way. And then pressing down into. Following that, we got small triangles at the top that we're going to remove
them or delete them. As you zoom in, you
can observe them. However, your models would
maybe different with me, since we haven't specified any accurate values
for the height, but don't forget to delete these or trim these triangles
or the extra parts, select, enter, then I delete
these, extended parts. As you can see, trimming these, these details just take some time that I don't want
to put my time on this. So let us work on
the major parts. For example, at the next, we're going to
design the pattern that I'm going to design
or model a part of it, and then I want to
pause the video, since I don't want
to waste your time. Here in the picture, here
we got some big skewers, which are greater than others, and some smaller squers. In fact, these rectangles
should be divided into two, since we need skewers not rectangles here according
to the picture. So how can we do this? Again, by using the
between technique. I pick the curve and then I hold down Shift. I
click on between. After that, I specify two points to calculate the
between point. Watch this. Following that, I create a copy, and then I place it for
others, and then let me see. Watch this by this way. Cort. I divide them
into two parts. However, we can extend
it by this way. As I told you, the another
approach is to extend it. But some of the
geometries should not be at patterns like
these rectangles. So you should either trim them
like this let me show you. You should either them
like this to create big squares or you
should extend them, should extend the curve from
the midpoint or between. Check this out to convert
them into smaller squares. This is up to you that I
want to show you right now. But as I told you before, you should pick
the line and then pick between specify
two points like this to create for smaller
squares and then create a copy and then draw it
for the other parts. You don't have to find
your betweens like this. And as you're concerned, some parts need to be trimmed, and at some parts, you have to create a copy like this way. You
know, it's up to you. But try to revise all
of them since later we're going to play some
circles inside the squares. If you leave them rectangular, then we won't be able to place
the circles inside them. We should either trim
them or helve them. In the continuation, I'm
going to pause the video and then we will
continue. Check this out. As you can see, I have
trimmed some parts and some parts are
helved. Check this out. Some of them are
divided and some of them are trimmed randomly. However, you can create your pattern in the
manner you want. There is no regulation. Watch this. And then
at the last part, I recommend you to check
out and then remove the rectangle by trimming them or helving them
or dividing them. I fix the. Here is the result. Okay. We're done guys. I mean, it seems
that we have fixed all of the rectangles,
revised them. Then at the next step
at the next step, we're going to
extrude these curves. In fact, we're going to convert them to some
panels. Check this out. We're going to offset
them or extrude them, as you can see on the screen. So back to Ryan, at first, I'm going to extrude them, I select them, and let me deselect the frames,
then extrude surface. Set solid to no preferably. Then I specify the extrusion
distance one like this way. Well, done we're done
with the extrusions. Then at the next step, as you can see, we have to offset them. So how should we do this? Exactly, we're going to use offset surface at both sides to offset the curve at both sides. But let us review an issue. Actually, when we got a polysurface like
this, check this out. Then the option of both sides is not available for
the polysurfaces. But if I explode
the polysurface, and then I start offset surface, then we will have both sides. So back to the process, I select these, and then I
explode them preferably. I mean, I should
make sure that I have removed the polysurfaces
by exploding them, and then offset surface
following that, I select them, enter,
take this out. I set both sides to yes, and you have to
set solid to yes. I mean, the top and bottom faces should be covered or app. And for the distance,
for instance, we can specify not
0.0 25 at its sides, and we will have five
centimeter offset. Let's check it out. Watch
this. Here is the result. Cat. So here we're done with
the offset and the panels. Then at the next
step, we're going to sketch these circles. So at first, we're
going to drawing these circles and
then extruding them. So let us check it out. Back to in no for drawing the circles. I open the top
view or plan view, then you have to set it
to a wireframe mode, and then I pick the circle
tangent to three curves. I pick it following that. Then I specify three points that are tangent
with the circle. Let us try again the three
points on the edges. They are tangent with
the circle like this. And if we do not set
it to wire frame, we will have some challenges in specifying the tangent points. Look, as you can see, it is difficult to
specify the points. So you'd better to set
it to reframe mode. Don't forget that and then draw the circles
like this way. And you have to array
it and the other parts. As you are concerned, it is too time consuming that
I'm going to do it. I want to pause the video and then show you the
prepared version. Here we can select the
circle and then create copy. Here you should specify
a point to copy from, and then you can use
the intersections, right click on intersection. After that, you can create copies and then
position the circles. And I know it is
somehow time consuming, and I want to put
much time on it, or I recommend you to place a circle at three parts or more than three indie patterns. Following that, you
can array them. For example, five,
let's check it out. By this way, you can
array them linear. So we can use copy, array or whatever approach is to fill the empty parts
with the circles. That I want to
pause the video and show you the prepared version. Well done, guys, as you can see, I have sketched the circles. I have arranged them. Let me show you the T D version. Check this out. Here there is. And just in case if there was any problem
with the circles, I mean, their elevation,
their height. You can just select
them and then fix them. Right now, all of the circles
are placed at the top. Well done, right now, I want to select all of the circles and
then extrude them. For selecting the circles, I got a technique
here in select, and then I want to
click on Select curves. And then I opened a
list of the commands. I want to use select
closed curves. And as you're concerned, we got too many
curves in the scene, most of them are
open, not closed. So I click on Select
Closed curves. Watch this. Then we can easily select the circles and deselect the
extra ones. Check this out. I deselect them by
holding down Control. Right now we manage to select the curves or the
circles simply. And even after selecting them, we can revise the height of the circles and
then extrude them. I start extrusion extruding
surface to our down. I sit solid to yes, and then one for the
distance, right. Following that, I can select
the last created objects and then group in the circles
or the extrusion, actually. Later, you may want to modify the materials or the layers
and stuff like that. Now we've got something to do with the empty parts
that we're going to use a simple surface
there. So what should we do? I mean, I want you
to think about your best technique and approach that you
want to go through. How can we use a
simple surface there? My recommendation is curve
Bolin. Let's check it out. So I pick curve Bolin, and then I select them, I press Enter, and after that, in output, I set it to
surface or surfaces. Check this out. I click
inside the curve, and then we will
have the surface. Let's check it out from
the perspective view. Here is the result. And then along this axis, I click, and then I move it upwards by this
way, as you can see. Here is the result and
the rendered view port. Here we got the patterns,
as you can see. But I don't know why. Let me add these two. Great. I select the group. Here I open the commands and then I click and
remove from group. Then I select these two circles to remove them from the group. Check this out. These
circles are grouped. I mean, they are still
grouped as you can see. I have removed these two
circles from the group. Let me show you again, I do. And then I want to remove
them from the group, as you can see, they are
still grouped. I select them. Then I've clicked on
remove from group. Following that I selected these two circles and then
remove them from the group. Then I select them, copy. And I activate the
project just in case, as I told you before, in the two D views
for using move, copy, and array tills, you have to activate
project plane R. And then I want to add these four circles
to the group again. Here I should specify the objects that I wanted
to be added to the group. Check this out. Well done. So again, they are grouped. So as the two circuls were
left actually skipped, we learned some points
and techniques. So here we got the pattern
or the object that we're going to use it
in flow long surface. I select them all again, and then I group
them, well done. I hide them to shake
them out very well. Then I should prepare
the base surface. Here it is as I'm
selecting it. Watch this. Then I join these curves, and then I create
the planar surface. But here you should move
your base surface upwards. Let me show you
the consequences. So I float along the
surface flow along surface, and then I select a pattern or object which
is grouped in there, and then the base surface. I should select engineer
corner, for example, there, and then the matching
corner here there is. At the bottom curve,
I click, well done. Check this out. I want
you to show the results, so just wait for
a second, please. As you can see, they are
extruded from the surface. I mean, this is not
the expected result. I undo the process. And I delete this, well done. I should move the
base surface upwards. One along the axis. Watch this. Okay. And then flow along surface, and then I select the
object, which are grouped, then enter, then the base
surface and the same corner, and then the matching corner. Let's check it out. We will
have the expected results. And if you're interested, you can work on the details. However, it is not essential to create such a
pattern, I mean, for all of the parts, but I just wanted to teach
you the technique and method that we're going to
use to create the stadium. But this is enough. I
delete the major surface. Then we will have such a result, which is really great
that it can create such a pattern on your surfaces or the
body of your stadium. So, guys, right
now, it's your turn to create the
stadium by your own. Use the toll
techniques and methods patiently since you
have to take your time. And this is one of those
time consuming practices. And if you got any questions, you can ask us, and
I wish you luck. See you in the next session.
101. Mesh Dome: Hi, guys, we're going to analyze this practice together
and then create it. As I've done this practice, while I was explaining
the flow on surface, here we four arcs and a square, and also two arcs at the middle. Then by using network, we created the
surface like this. After that, we place some boxes as the objects
of flowing surface, and then continue the process. But don't forget to offset
or extrude the surface, as you can see, and then arrange the boxes on
your base surface. Note that as you can see, the booxes are not deformed. I mean, as you can see,
they are not changed, and it's up to you to specify the correct mode in working with rigid and also
constrain normal. But if you have forgotten
some of the parts, I want you to get back to the previous sessions and
watch the videos again. And after having
a review, again, you can return
creating the practice. So, guys, let us create
it again together, we're going to start
with a rectangle with rectangle with center. I hold down shift to
restrict the sides, and then I sketch this square. Then it's time to draw
the four arcs and the sides on each of the
sides arc with three points, watch this, the second
and the third point. You have to activate midpoint. And then here before clicking,
as you are concerned, you have to hold down
Control button in order to move it upwards
vertically like this way. Well done. Actually, it
shouldn't be a semicircle. No, we need an arc preferably. And then I want to array polarly specify the
center for as items, and then the fill angle, and you have to set
that up to the zero. Well done, it's time to sketch the two auxiliary
arcs in order to control the continuity
of the surface. So arc with three points from midpoint to
midpoint, watch this. And then here from the center, I disable the
planear temporarily, and degree snaps
should be enabled. I hold down control, and then I move it
upwards, well done. Then I adjust it.
Great. I select it, and then I hold down. I rotate it and create
a copy. Watch this. Then I start network surface
to create the surface. Well, done inter, check it out. Here, we got the
surface prepared. I move it. And then
what is the next step? What do you think, guys,
I want you to think about it and tell me what should I do? Here I want to
arrange some boxes on the surface that I want to consider them as the
cutting objects. So we're going to start
with flow line surface, but before that, we have
to create the isocurves. I mean, UV curves.
I'm sorry, UV curves. Inter, and then let me move the surface to fork
and the boundaries. Then here it's time
to arrange the boxes inside the base surface
or the base surface. By this way, I extrude
the square, well done. At the top view, we array them, the number in each
direction, for example, 12 and 12 at each and zero, a disabled degree
snap for example, you can arrange them like this. Great. Ideo spacing
is proper. It's okay. For example, for Y
spacing, I specify two. I mean, minus two, I'm sorry. Two -2.2 or -2.1 is
better, I think, -2.05 great from, well done. After that at the next step, play our surface in order to
prepare the base surface. Great. Then I select the group and then I
move them downwards, since I want to split them from the surface, the target surface, then it's time to float
them along the surface, and I don't want them to
be deformed or changed. So what should I do? At first, you start along surface and then selecting the objects and
also the base surface. Here we should set rigid to
yes as you are concerned. And the point about the lesson was when we have
set rigid to yes, the object should
not be grouped. As I told you before, so note that you're not
allowed to group your objects. So we set rigid to yes, and then the surface, specify it in edge. And however, here it
doesn't make difference, since the four sides are
similar to each other, and then I click, corre. Here is the result. And then I want to offset the surface. I select the surface, enter, then I flip the
direction toward up. For the offset
distance, not 0.05, I should set solid to yes, and here is the thickness
of the surface. Then it's time to
use pulling curve. Actually put pulling difference. I select the surface
to subtract from, which is the target surface, press inter, and then I select the surfaces
to subtract with, which are the objects. By this way, as you can
see, like this way. Let me select all
of the objects. I want to skip anything. And as I told you before, you're not allowed to
group the objects. So if we wanted to
set rigid to no, we could have grouped them and select them just by a click. Well done, let's
create the mesh. Watch this. As you can see, we model this surface
in a couple of minutes. Great. So if you
haven't created it, it's your turn,
and I want you to not to skip these
videos and practices.
102. Exercise Explanationct: Good afternoon, guys. Here is the next practice that
I have considered for you, which is a space frame
structure which is placed under a curve surface. Here I want to mention a
point and then leave it for you that at the intersections
of these pipes, if you have used these joints, and I want you to
use these as well, I'm sure, guys that
you've made it, so I'm going to create it. So follow the process, the process with
me step by step. I'm going to start
from the front view by using Interpolate curve. At first, we're going to skitch some profiles for the
surface like this. For example, these
three curves well done. I move them like this
way, like this way, create and I want
to rotate this. Then I love them. And then here we got the
surface as you can see, right. Following that, as
you are concerned, we're going to place these
space frame structures by using floor long surface. So let us work on
floor long surface. As the first step,
we should create the UV curves by this sway. Here we got the boundaries
of the sketching that we're going to arrange these space
frame patterns or profiles. So I pick the square at first. This is one of them, a piece of the structure and
then zoom selected. Since I want to focus
on this object, even when I rotate or
navigating the scene, I draw a curve like
this in order to find the center of the object and the vertical line from the
center or the midpoint. I mean, I'm going to
specify the height of the space frame structure
by using this so bacteria. And for example, like
this, well done. And then I sketch another curve to connect the
intersections to each other. Then I want to array it polarly
four, well done, great. I remove the other curves. Then before extruding these, I want to add the
joints or the balls. So here I pick the sphere. I specify the center
of the sphere, and for example,
0.2 for the radius, and then creating
copies via frames, I select the sphere, and then I create copies. I put them at the intersections
like this very well. Watch this. Press down, Enter. Great. Then it's
time to extruding the curves that we use to start pipe as you are concerned. Check this multiple. I select the curves, and then we create pipes inter should specified the pipe radius actually here. For the radius, I want to just value according
to the spheres. Less than the spheres like
0.06, check this out. This is good, proper. Let us check it out in
the rendered viewport. Watch this. Here
we got the Mjole. Then it's time to arrange
it here at the top view. Then I select a majole or
object, a single object, and then I position it here
inside the base surface, and I consider distance from
the edges of the interface, and it's time to arrange it. He just like before, you should consider that
before arranging the object. We don't want some
parts to be overlap. I mean, for example,
if I want to arrange it like this,
as you can see, these two joints are being overlapped and got
intersections. So before arranging, I should remove these two joints
and also the pipe. When I want to arrange them vertically not horizontally,
take this out. This time, I should
remove the two top parts, the top joints and the pipe. So we can arrange this just like other objects along X and Y
axis, both at the same time. Since at both
directions X and Y, some joints and pipes
should be deleted. That as I showed you, we will have some
overlapping parts or intersections. So
let us check it out. First of all, I want to arrange it horizontally along x axis. Here there are the
overlapping parts. The two joints in the pipe,
I explore them at first. I delete the pipe and also the
joint. Check these joints. Well done, then I want to
arrange it along its axis. So I select it, array linear the
number of items. And as you remember,
when we want to array an object into the views, we have to activate
planar and project. So here I specify the number
of the items like 25, 30 or for example, I specify 25, but
make sure that they are extending from the boundary, then you should display
the wireframe mode. Then start, check this out. Should position them
at the intersections. They're right. As you can see, they're extended.
I delaate these. And as you can see
the joints and also the pipe are
connected to the last ones since they have been
exploded and we will fit them with
the base surface. There is no worry. Let
us check it out in the treaty view or perspective
view in the front. Everything is okay. Very well. Then if I want to
arrange them vertically, we got these overlapped. So here we want to
delete these parts. You will drag a frame
and then delete this. After that, I select them, and re linear the number
of items, for example, 30. Again, we should
activate project and planar to specify the
first reference point, and then the second, you can see specifying the
intersections. Watch this. Here it is great. Following that, we're going
to delete the extra parts, since they should be fit
with the base surface. And I delete this.
Check this out. And as you can see,
these are not fit. It does not matter, since
we're going to revise them. I mean, as you can see, the
most part of the majool is covered by the base
surface, so we keep it. And for the top part, as
we remove the pipes and joints where we want to array them right
now they are kept, then it's time to adjust the base surface
based on the objects. For example, here is okay, as you can see, they are
fit with each other. By using scale one D, I specify the scale factor
or first reference point, and then the second
reference point, and then I can minimize it
a little at the other side, I specify the reference points, and then I maximize it in order to make it
fit with the object. Let's check it out
in front view, and then in right and
also in perspective. Everything is okay, guys. So I drag and then select. I deselect the frame
or base surface. And as usual, it's time
to group these objects, since we don't want
to set rigid to yes. So it is okay we can
group the objects. But if we wanted to
set rigid to yes, we were not allowed
to group the objects. So I prepare the base
surface, planar surface. Check this out. Well
done. Here it is. And then it's time to
start flow long surface. We're going to adjust these
structures under the surface. I select the objects and then enter base surface, I sit ton. Then as I want to
rotate objects, so we should specify
the correct corner. I want to match the
bottom right corner, the top left corner. So I click on the bottom right. I click on this edge, and then at the target surface, I click on top left.
Wait for a second. And as I have mentioned, before starting
flow along surface, you'd better save your file. Since the process is so heavy, you may be encountered
with a crash. Very well, we're done. Great. Let's check it
out. Rendered viewport. By this way. Following that, I want to extrude the top
surface or the target surface. By this way, offset. I flip them toward up, not 0.1, and then I
set solitude, yes. Watch this. Again, I want
to offset the top surface. Again, I select it. I specify a distance, not 0.4, and then I flip the
directions toward up, right. This is the final result. Even I can select it and
then assign a new material. Custom, I can make the
transparent. Watch this. Here is the result.
If you are not successful in creating
such a practice, you can use the given
methods and give it a try.
103. Projects: Space Frame: In order to start our new
practice at the beginning, I want to draw the exterior
and interior rails. After that, I want to sketch one of the
parts of the surface. Following that, we're
going to create the network and the patterns. I mean, on the surfaces by
using the learned commands, and then after removing it, we're going to array it. So at the beginning of the
process in the top view, I pick the polygon, I set 20 for the num side, and then from the region point, and I specify 20 for
the radius, well done. I start offset command, and then I offset the curve, at a distance of 12
meters. Watch this. Like this as you can
see on the screen, following that by
using vertical line. I start from here,
the intersection. I draw a vertical
line 10 meters, and then at the
other intersection, I sketch the vertical
line at 8 meters length. Then in the continuation, I want to connect these
two curves to each other. Blend curve. I
specify the curves, and then I blend them. Well, done I want to
maintain the continuity. I set one of them to
curve at continuity. Let me check the tangency. I keep it at curvature, but I choose tangency for the
second one like this way, and I click Okay to
finish the changes. After that, I set
rotate command. I specify the curve, and then from the origin point, I set copy to yes. Following that, I specify
the reference point, well. Following that, after rotating
and creating the copy, here we got the
two cross section or the two profiles you know, for example, we can use this to create a surface by loft
and then oft, check this out. We got the surface.
But as you know, when we use of, then we'll be given an straight
profiler cross section, as you can see. So if you need a curve, or if you want to curve
the cross sections, you have to use
another approach. I pick Interpolate
curve Command, I disable the grid snaps. Like this way, I sketch this following that I
ski I select it. I pick the control point, and then by using move from
the bitwen or midpoint, and then I connect it to the
midpoint and other midpoint, I hold down tab you can
strain the direction or axit and then I consider
this arc for the base part. Again, I can repeat
the same process, interpolate curve, the first
one and the second one. After that, I select the curve. Then I choose the
control points, and then I move them from the midpoint and then
creating the curve this way. Very well. Then it's time
to use sweep to rail. I select the rails and then
the cross section curves. I specify them, check this out. Here we got the surface. And of course, as we use
sweep to rail command, here we are given an
open poly surface, not just a surface,
as you can see. So we're going to
have some problems, since if we want to create the UV curves of
these a polysurface, we should create three times
since we got three surfaces, so it would be too
time consuming. So I bring it there, and then I want to start
sweep to rail again. I specify the rails and then
the cross section curves. This time, I want to click on
refit rails like this way, and then I click on Okay,
here as you can see, we got a unified surface, unlike the previous one, which was a polysurface. Here we got one open surface. I select it, and then I isolate the surface
as you can see. Then by using creat UV
curves, check this out. I create the
boundaries, watch this. Following that, in the top view, I draw a line from the
midpoint, like this way, then I can select the line, and then by using
divide by number, I divide it into 16
parts like this way. Then I start line from midpoint. I start drawing a
curve like this, and then I want to design somehow like
a truss by this way. We don't need the
points anymore, so I select them, and then I hide them after
drawing lines or curves. Then by using linear, I want to array the tross. I select the crossing curves, and then I specify
16 for the numbers, and then I array them. Here as you can see, at the
beginning of the arrangement, we got the half of the diamond. But then we got the
complete diamonds. Right now, I can apply this
on the surface if it is okay and it is
desired or otherwise, we can create a cape from this
part and also this curve. Here I want to split these two curves which are selected to modify the pattern. Or even I can draw a new
line from the intersection. Like this way, check this out. Then here as you can see, I select these two curves,
the crossing curves. I delete them since
I don't need them, and then I select
these to array them. Linear, by this way. Watch this. Here we got two
kinds of patterns, two types, and you can
choose whatever you want. It's up to you. However, you
may find another options. I mean, even we could
design them this way, as you can see in our
new pattern. Let me see. I mean, right now, we
can array such a curve, check this out like this way. There's no limitation, but I prefer to choose
the second pattern. It was a thing
better than before. So I delete others, and I want to keep
the second one, I choose this, and then
I start apply her, and then I apply
them on the surface. Following that, as
you are concerned, we only need these curves. So isolate isolate
I hide the surface, and then I select
the curves pipe, following that, 0.04 or the radius of the
arcs of the pipes. And then by this way, I design
the pipes, as you can see. Great. Then I start sell
curve or select curve. I select the curves, and
then I group them then hide. Since I don't want them
to be involved in array, and I select these as ll, I select them and then
make them grouped. Then array polar. Watch this from the zero point or region point
to as the number, and then the field
angle, check this out. Great, guys, let's check it out. And here as you can see, we have done the dome
that we were going to sketch it and let me put a planar surface under
the dome by this way. And then I extrude it a
little bit like this way. At the rendered view port, we have reached to our needs. So by using the methods
and the techniques of creat UV curves and also
applying them on the surface, you can have whatever patterns applied on your curves and
then create your surface. So I want you to
just give it a try.
104. Modeling a Stair Form: At this session, we're going
to model such an object, as you can see on the screen. So at first, we're going
to draw the top surface, which is going to form these boxes which are
placed on the surface. And then by using
floor long surface, we're going to adjust the
boxes on our surface. Let's go. Here at the top view. I start interpolate curve. Then for DrwegianPoint, I
want to draw four curves, as you can see, like this way. Wait for a second.
I'm going to consider four D as the length of each of the sides
of the rectangle. However, here we got a square. I select them to show
the control points, and then I move the
editing points, watch this to make the
non plane R by this way. And some other points,
I select them. I move them upwards. Check this out, and then
the other corner upwards. Great. So we managed to modify, I mean, to model this, such a curve by moving
the editing points. I select the curves, and then I move them along
z axis, ten, ten units. Then by using network surface, I create a surface
like this. Well done. And then in the continuation, I want to draw a box from the origin point at
the specified height. The height does not matter. We just want it to be
beneath the surface. Then at the front
view, as you can see, there is a gap between
the box and the surface. As you can see, I can
flow it or move along it. I select the box, and then by using array, I specify for the
along the X and Y axis to arrange the boxes
like this, check this out. Following that, I want to consider another surface
as our base surface. And here we got our
target surface, which is created at the
beginning of the video. So by using surface curation, I want to use rectangular plane, and then I draw a
plane ar surface at the size of the
boxes or objects. I select the surfay and then
I sign it to layer one, so I can easily select it and also control
the displayment. I can select the objects, and then I press F ten to
show the control points. Watch this. Then
at the front view, I select the editing
or control points, then at the next step. I want to extend the
objects or the boxes. I mean, the control
points of the objects. I extend them to
the target surface. So for extending
the control points to the boundaries of the
surface to the target surf, I start flow along
surface command. I specify the objects
the base survey. And then the target
survey watch this. Well done, I press down 11 to select the last
created objects, and then I display them
at the rendered viewport. So as you can see, we managed to create the expected form, as I showed you at the
beginning of the video. But, guys, note that if we place our base surface at
the base of the boxes, then the objects will be placed on the target
surface from the base. I mean, we will have
the opposite result. I press down Control
Alton Shift buttons. I select the target surface, and also the objects
by this way. And also the less created
objects. I move them. Watch this. And then
in the continuation, I want to show you
the mentioned things. This time, I want to move the base surface at the
base of the objects. Then I select the objects, start flow long surface, and then the base surface. Watch this. Following
the target surface. Check it out. Here we
got a different result, as you can see. Check this out. Since this time, I have placed the base surface at
the base of the object. So we got a different result. I mean, the model is the same, but the arrangement of
the surfaces has changed. For example, at the first
one, as you can see, the base of the model
has not changed, but we got an aster like
pattern on the surface. As you can see, while
at the other one, we have changed the position
of the base surface. So we got a different result. Here I enable the surface edges. I check it, so we
can check them out.
105. Practice Prince Bay: We model this project
in the season five, as you remember that
at this session, we're going to model
these parts which are created on the
surface, as you can see. So let's go for modeling
them together step by step. Just like the previous sessions, I import the image
into Rhino so that I can use it as the reference of the project here
at the origin point. I import the project. I mean the image,
following that I like it. And then I draw a line from the origin point
vertically like this way. And then I create a copy
like this at a offset. I delete the previous line. Then I choose the control
point, and then I extend it. Well done, again, I
select the curve, and then I start mirror command from the origin point
and by this way. Well done. Right now we don't
need the image anymore, so we can assign it
to one of the layers, and then I name it ref
and I turn it off. After that, I select
these two curves, and then I start array polar, then from the origin point and then the number three
and in the field angle. Then I start blend curve. Then I blend the specified
curve by this way. Like this then it
just the continuity. I set them both the curvature. However, I can modify it
manually by holding down Shift, can control the
continuity by this way. And then I click
on Okay Well done. And then in the continuation, I select these and delete them, and I pick the main curve, I want to avery three at
360 degrees like this way. Then I create a copy from
this, I make a duplicate. I hold down As button, and then I drag the gumbol
to create a copy like this. Let us take a look on
the picture again. As we might did before, we're going to start a
blend curve twice and then blend the copied curves to
each other with each other. That in the continuation
use you will see that. We're going to specify the
ends of each of the curves. I select these curves at first, and then I explode them. Following that, I
start bland curve. Even I can select
them and then assign them to specific layer. So I select these parts to
blend them like this way. And then as you can see, I set them to tangency
continuity and Okay by this way. And for the other ends, I select them, and
then I blend them by this way. Shake this out. So by this way, we have created the curves. And then right now by
using a vertical line, I connect the cross sections or the profile to each other by
this way, by straight lines. Then following that, I start the command
of sweep to rail. I specify the first
and second rails, but before that, I need
the curves explode. But this time I join these, I mean, I select these, and then I join
them by this way. And also I delete the curve
here. We don't knit it. And here we got the curve as you can see, which is joined. Then it's time to
start sweep to rail. Then I specify the rails and also the cross
section or profile. Then we can have the
surface like this. Then I want to shade it or
display it at a shaded mode. Again, sweep to rail for the
another part of the surface. This time, I specify the rails, and then like this and then the cross
section, check this out. Well done. So we have
created the surface. After that, by using
the vertical plane. By this way, I create the
planear surface, well done. Then I select these
three surfaces, and then I isolate them. Select them, and then
I change their layers. I name the layer surface for RF, and then by using array polar, I array them, treat
three items, well done. Then at the next step,
I start rebuild. Then I select these
surfaces, the top surfaces. Then I want to modify the
point count and the degrees. I set 70 for the point count
and ten in V point count. And also for the degrees, I maintain the specified
value. I do not change them. Check this out. You can see, let us se it up in the
rendered viewport. Well done, let us
continue the process. I set to do this
planeo to shade it. I select the curves, the edges, as you can see, and then I isolate or I can turn off the
layer of the surfaces. I select the curves, and then by using trim, I delete the extra parts. And then by using
planar surface, I create a planar surface for the top surface of the
model as you can see. You remember, we've
done this part of the model previously in
the previous session, so we're going to move forward. So in order to model this
part of the surface, which is like a network, so I'm going to show you on this surface that the
things that we're going to do is using extract wire frame that I will show you in the
continuation that we're going to extract the isocurves
and then I mean we're going to extract
them after modifying unfortunately we haven't
covered the extract, so that I should use UV curves. And then at the top view, I can complete my drawings
on this surface or a displane and then by using
floor line surface command, I can apply the patterns or
drawings on the surface. So at the first step, I calculate the centre by using area centroid by this way, and then I want to
draw a rectangle from this center point and then
I click and round it. Since I want to consider
the gap between these, so I extend it, and then I want to
round the corners. I choose connect
for the corners, as you can see, well done. Then I can move it to the right and even
connect it to the side. And by using a scale one D, I specify the scale factor or the reference point to scale
the drawing. Let me see. And even, we can
trim the rectangle. Let's check it out. And even the leading is part,
as you can see. So we have created such a
form till here up to now, as you can see
according to the image, and even I can
minimize the size, as you can see, to
create the edges, and then I extend them by
starting extend command. Check this out. Watch
this. They are extended. Following that, we are going
to create these curves, these straight curves
on the surface. So at first, I draw a straight line and then another straight
line by this way. Following that, I
select the curve, and then by using extrude, I extrude the curve
like this way. Following that, and then I
extruded by gum Bl. Well done. Here we got the frame
as you can see, according to the image. Just like the
images you can see, we have created
one of the frames. I selected and then array curve, and then the specified curve, and then I specify the items to distance between them, not 0.8. Watch this. Then fell down. Then I want to check the images to show you
the other pictures. As you can see, there
are some panels, some glass panels between these frames or mullions
that they are rotated. So by using plain, I started, and then I'm going to model the glass
panel like this way. Watch this. I create
a surface like this. And then I can rotate it, watch this, like this way. And then in the continuation by using array curve, I started. And then I select the curve.
I select the surface. Then I specify the edge on along which I want
to array the panel. I specify the distance, not point. Watch this. Here we've got the glass panels. I select last created objects. I hold down Shift to
select the input object, and then I group them
by pressing down Control G. Then array linear, as you can see,
then I create copy 45 items at the specified
reference point by this way as you can see. After that, at the top view, I select this curve, and then I start trim command. I want to delete the extra
parts by the trim command, according to the
specified or drawn curve. You know, some of the panels should be
trimmed as you can see, according to the drawn curve, as you can see, Well done. I want to draw a curve
here, check this out. And then let me delete these extra parts or
trim them by this order, these panels, and
also these parts. Wait for a second, please, guys. Thanks for your being patient. And as you are concerned, as much as we put time on this, we will have a precise
model in details, and we will have an
organized model. So we try to move the
process forward patiently. As we are trimming the
extra parts, well done. And then I want to create
a copy for the empty part. Let me check out the
bottom part of the model. Well done, it is great
and everything is okay. It's time to delete
these panels, and also I select these. I ungroup them, and then I
want to delete these panels, and I needed to
ungroup them since I wanted to delete them
individually, check this out. However, I have to trim these
according to the curve, but let me delete these panels which are outside the curve. Again, I select the
curve, start trim, then I select the
objects to trim, and I have specified the
curve as the cutting object. Well done, I select
them to trim them. Here I have deleted one of the panels that I
want to fill the gap. I ungroup them, and
then I create a copy, select copy, and then
by using project, as I told you before,
I fill the gap, and then by trim, I trim the extra
parts. Well done. Let us check it out in the perspective view.
Here is the result. That we are done with the frames and also the glass panels. Here again, at the top view, I select the groups, and then I want to group
the ungrouped items. So at first, let me
select them by this way. And then we're going to
group them. Check this out. And then at last, I hold down Control button to deselect the main
curves of the model, since I don't want them to
be grouped with the panels. But at first, let me
select the panels, and then we're going
to unselect or I mean, deselect the curves,
Control G to group them, well done. Correct. And following that, I assign
them into a new layer. I specify a new
color for the layer, and then I click on
change object layer. Then I turn them off, then I select these
curves or frames. Control G to group them, and then I assign them into a new layer,
change object layer. And then up to now, we have created such a
surface inside the Io curves or the
boundaries that you're going to float
along the surface. So I select the target surface, and I'll also select the objects and I isolate
them by this way. Then I'm getting prepared
the base surface. As you can see, I
select the objects, the two groups and then I start flow
line surface command. And then I specify the base, the objects, and
then the target, and also the matching corners. Let's check it out, guys. Watch this. And then let me specify the
matching corners again. The left bottom corners. Great. As you can see, the objects are flow
on the surface. But let me delete the curves. Actually, I haven't
selected the curves, so I select them, and then by using applied curve command, I want to apply them
on the surface. Check this out like this way. But I recommend you
to apply these curves while you are starting to
work with flooring surface. But I forgot to apply it. Here I select the curve. Again, I start trim, and then I click on the main surface so that I
can trim or cut the surface. Well done, I isolate I mean, I deiolate the other surface. I select these to delete them, and then I want to I want to array the
new surface instead, but before that,
let me group them, and then I want to array
them polarly at three items, as you can see, right? Let us check them out in
the rendered viewport. By this way, we managed to create these panels and frames. And even we can add
more details to the project that I mean here, we could do not
delete the surfaces, but cut them and then
specifying different materials. But right now the
current result is okay, and we don't want to modify it. Let me assign them
to a new layer. I name it panels, and then I click on material. I specify custom, then
I assign the color, for example, this, and then I make it
transparent, shake this out. As you can see a debended
viewport in perspective. Well done, I start
selecting curves, and then I want to assign them to the layer
four, change object layer. And I also renamed the layer, and then I name it CRV
as curve. Well done. And then at the continuation, I turn off the layer of curve, and we have completed
the project up to here. I select and the height
the other surfaces. Here, I want to give
you some explanations about the project for the center part of the model we talked about
we've talked about before. We can select the surface and
then create the UV curves. And then here as you can see, we got the Ub curves
or the boundaries. But as you remember, in
the previous sessions, we had a drawing and
the construction plane, then by using split, we created the holes
and the patterns. But right now I
want to use create UVs and then drawing
the patterns. And after that, we can
apply it on the surface. I mean, this time, I
don't want to use split, but it's time to draw
the center pattern, and then we can apply
it on the surface. But here, let me start drawing
the pattern simply here, I rotate the skewer, and then I create some copies
or making some duplicates. But here I don't want to
draw the same pattern. I want to draw something
different from the model. So I draw some skewers
like this way. Well, do. Wait for a second, please to finish the drawing with the skewers like this way. Right. Thanks for
your being patient. Let me move this
create another copy. I minimize it, and
then I just position, create, one another
at the corner. Well done, we're done guys. After that, I select them, and then I start applying
curve and then I click on the surface to
apply the patterns and the specified surface. Check this out. I
select the surface and then by using split command, I consider these curves
for the surface. Following that, I want to select these drawn curves or the
skewers, as you can see. And then I want to modify the layers to assign
new materials for them. I select the curves, and
then I change the layers, and I also select these curves, and then I join them, great. Then I want to hide the edges. Here we can use the
command, merge phase. Then I should select
the face to merge. I merge the edges to the faces. Let's check out the result. So by this way, we managed
to create the model. And at the end of the
process, as you can see, we got some we got such a form. And then for this part, I select the surface at first, and then I set Gumble
line to object. And then by holding
down shift and out, I create another copy
which is minimized. Following that, by
using exuding by gumbo, I extrude the surface
like this way. I set goes the
mode display mode, and then I can select these
surfaces and hide them. So then I can work on the
extrusion at the ends. I select the exterior surface, and then by using
bullying split, I specify these, and then I
split them, check this out. Great. And then we will have such a result just
like the picture. Great. Then even if I wanted
to move it backwards, I can select the surface
and then move it, move it backwards, and
increase the void. However, we got
another box inside the void part that I
start extrude curve, and then I want to extrude
the surface to create this. As you can see, following that, by using the command of
box, I disable project, and from this point, I mean by using three points, I draw the rectangle
like this way. Check this out. And then at
the height of this however, in the continuation, I
want to reduce the height. Check this out by this way. So we model the box
inside the void part. Then it's time to
select the box. And then I want to position
it at the other ends. I delete the others, and then select I
select the box again, a polar from the origin point
and then arranging them. Great. We're almost done, and now it's time to show the hidden lines or the hidden actually
curves and surfaces. Wait for a second, please. Great. So we are done. Let us check it out at the rendered viewport and
then check out the result. However, for this part of the model, just
like the top part, we can create the panels and also the frames and then
float them along the surface. If you got any questions
you can ask us. Even if you haven't
understood the process, you can watch the video again, and I recommend you to use your own creativity for modeling some parts
like the top surface so that you can
create new ideas and new model instead of
imitating from the picture. For example, here,
as you can see, we got three ends just like
a triangle where you can draw star and model such
a form with four angles, and then you can use blend care. Following that,
sweep to rail and create UVs and
flow line surface, you can complete the model. So, guys, it's your ten.
Let's give the try.
106. Practice Modeling Stadium: Hi, guys. I hope you are
feeling well at this part, we are going to
model this stadium. So in order to create such a model for
ourselves, at first, we are going to draw a curve on the construction plane to consider it as one of the paths. Following that, we
need another rail, which is the surface edge, and then a cross section curve. Then we create the main surface. Following that,
we're going to use the learned commands
like create UV curves, flow line surface, transfer
these parts and the surface. So let us start in Rhino
from the top view, at first, I draw a deformable ellipse from the region point at 50 meters, shake this out and 36 meters. Then I select the control
points. Check it out. I select these four
control points, and then I scale them at 1.05. Then I select these four
control points, check it out, and then scale at 1.4 is okay. So guys, we got to
search bottle geometry. Then again, it's time to draw another deformable
ellipse to consider it as the surface edge
for the roof and the continuation
for the dimensions 28 and 21 meters, check it out. And then just like
the previous one, 1.05 scaled, and then
1.4, check it out. Following that, I select it, and then by using
the arrow of gumbo, I move it upwards at 13
meters, as you can see. Then let me take a look
on the picture again. By this way, I open it,
and as you can see, at this part, the
path is curved. So we need to consider
the continuity, and we select the
control points, these four control points, and then at the front view, and then I move them
2 meters upwards. So this is what we
expected totally similar to the picture
that we have moved the selected control
points upwards. Then at the next step, we have to draw the cross section curve by
using Control Point curve. I start from the midpoint, like this way, to connect these two curves to
each other, like this. Following that at
the front view, we choose the control
points and then we edit them to control
the continuity, like this way, check it out. Fill done, and then I select these two, move them backwards. And I have disabled deGro snaps. Check it out at the
perspective view. We model the cross
section this way. Then in the continuation, I start sweep to rail. Then I specify the
two rails and then the cross section curve
to model the surface. Check it out at the
shaded display mode. As you can see, we got
the surface created. Just in case if your
surface was a polysurface, after creating the surface, you should try refit
option in order to have a unified surface. Then I want to project
the surface and the construction plane to draw the patterns on so
I can use CreatV, check it out, CretUV curves. And then it's time to draw the patterns into
the boundaries. Before that, I explore the
rectangle. Check it out. Here there are four curves. I remove one of the edges, and then the first
curve are a curve. Then I specify the path. Then seven as the number of
the items. Check this out. Then I select these
seven curves, and then by using divide, I divide the points on
each of the curves. Or the number of the segments. We change the layer during
Centrolpoint curve. Then I draw such a curve by using CentrolPoint
curve like this way. So this curve is
going to be one of these panels as you
watched and the photo. Then by using Zoom selected, I focus on the curve and then at the perspective view to draw the cross section curve
and this profile. I start rectangle
command, around curve. Then I start it from this part at this size, hack this out. I maximize it. Let us
try again, buy this way. At this size, well done. Following that, at
the other part, I draw the cross section curve, and I want to adjust the size. G. Then sweep one rail. Specify a path, and then the cross section
curves. Check it out. Okay. Here we got the sweep. Let's check it out at
the rendered viewport. I start to one rail again paths, and by this time, I record the history. So then we can make some
changes upon the surface. So the first thing that
I want to do is to select the cross
section curve profile, and then by using
move vertically, I move it this way. Then at the other end, we select the cross section
curve and then move it. Since we just want this
to be on the surface, and then for this part by
using scale, check it out. I specify the skill factor, and then I change
the dimensions. However, we can
maximize this part. We select the object
or the surface, then we're going to use
cap to fill the openings. And as you can see right now, the openings are filled, and we've got a
closed polysurface. So here, select. Move, and then from this point to the other point,
check it out. Like this way.
Again, I select it, and then by using arraylinear, and I specify the
number of items 54, and then we array the
object by this way. I select the last
created objects. I hold down Shift to
add the input object, and then by using mirror, I want to select one of these. I want to specify a point from the center to
mirror these items, since as you can see,
according to the photo, we got them in both directions. So snaps I hold down Shift, and then I click on midpoint. Following that, I want
to find the midpoint, and then we hold down Shift
and then mirror the objects. Look. Check them out
at the top view. I select these two
curves and then trim. Following that, we can trim
the extra parts based on the specified curve and consider them as the cutting
objects like this way. Great. Then I want to select all of these
and then group them. I uncheck points and curves. Since I don't want
them to be selected, I drag a window and then
Control G to group them. Then I check curves and points. At the next step, we need
to select these curves. And also the points. However, by pressing
down control edge, we can hide the points
and curves like this way. So, guys, right now, we are done with the pattern on the surface. Again, we select this curve
and then array curve. This time I specify the path, and then the number of the items 16 or 14, I think is good. And then we array
them, check it out. I select glass grated objects. Control G to group them, and then pipe and then 0.1 for the pipe
radius, like this way. But I forgot to set the cap two, yes, while working with pipe. I mean, we should set
cap to no since we need the openings
to be not filled, then we want to select the pipes and then
rebuild the pipes. And then in the continuation, we're going to assign rectangular cross
sections for the pipes. For example, for the
degrees and point counts, I type four for direction and point count and one degree for you for both direction, and two for direction
point count. I click Okay. Then we can have the
pipes by this way. Control G to group these pipes, and then let's check it out
at the rendered viewport. This is the pattern
on the surface. Here, if you take a
look on the photo, you will understand the pipes. You will see them, check it out. Here we got some curves, as you can see.
These are the pipes. And then at the final stage, I want to create a plane
art survey by using plane, and I want to sign
it in layer two. And I draw it, check
it out by two points. I select the objects, then flow long surface. I specify the base surface, then the target
surface, Tick it out. I click on the near matching
ends, matching corners. Look. Let us try again. It was not aligned correctly. This time I click
at the other side, and then let's sick it out. Here, you should check
that if they are aligned on the surface or float
on the surface correctly, as you can see at the
rendered viewpoint. However, we can select these objects on the
surface and ungroup them, and then we can assign different kinds of materials
to the pipes and surface. Also specific material
to the surface. Here in material, custom, and then I open the colors, I modify the colors, and let me choose
something like this. I write click on material
and then assign to object. I select the object to
assign the material too. I select the pipes,
again, custom. Watch this. Then I
open the colors. I want to assign a
still, check it out. And then the surface. I increase the transparency
of the surface, and then I specify the
color of the material gray, and then I assign it to
the surface by this way. Check it out. Well done. And let me lighten the color
by this way. This is better. So, guys, we model the
stadium up to this part, and in the continuation, we're going to model the
stairs of the stadium. So here I select
the interior curve. As you can see, shade a
display mode. Watch this. I hide the other objects, isolate the curve by this way. Then I start drawing the
polyline from the midpoint and then I start drawing
these stairs this way. Take it out. Some
stare like geometries. Wait for a second, please. Well done. Smart Track, and then I extend
it like this way. Thank you for waiting. We join the curves. And then oriental curve. I position the curve
on this point. I set it to perpendicular, and I flip it along each
direction by this way. Then I click at this part, then sweep one rail, the rails, and then the cross section
curves. Teck this out. I specify the direction
of the sin point. And then we will have this. So, guys, we have modeled
the interior parts of the stadium and the
rows like this way. I show the other objects, and then even we can
create a surface for the center part of the
stadium, so play surface, and then we select this edge, and then we select it custom to assign the material
green as the grass. Check it out. We can
have them separated. So, guys, we managed to create the stadium like this way
even assigning the material, and also the rails and the
pipes and the surface, and even the interior
parts, the grass. And as usual, it's
time to put time in creating this if you
haven't created yet. And if you got any
questions you can ask us, don't forget to
share the pictures of your projects with
us. I wish you luck.
107. Solid Modeling Fundamentals: Hi, guys, welcome
to Season eight, and I hope you are doing well. At this session, we're going to talk about solid modeling. Actually, the solid modelings
are organic in modeling, or they are not that much complex in modeling
and geometry, and they are modeled
at specified geometry. We use solids to model them that we're
going to talk about the solids comprehensively at this season in a standard
tab. Here we got the boxes. You can see corner to corner. As we have used it before. Here we fight it open the tools. Among the subcategories,
we got some commands like, for example, the sphere. So if you agree, let us talk about the solid creation type. I mean here in Rhino at this
tab I mean solid creation. We got some primary
solids or objects, just like box, the sphere, the clander that we have used them in the
previous examples, but right now we want to talk
about them comprehensively. But let's talk about with the box or cube
corner to corner. If I open it, here we got some
tools for creating boxes. The first one is box
corner to corner. You specify two points
and then the height. So you can specify
the two corners, and even you can
import the height, for example, 20 like this way. And then the next
one is box diagonal. Check this out. We
specify a point and then and then you can
specify the height. I mean, it creates a box
from the diagonal corners. And if you pick the two corners at the construction plane, the command prompts for
picking the height. As I told you before, you can import the value for the height. And even you can specify the
two corners and then holding down Control and then move
it upwards like this way. The next one is box three points with height that you can draw the rectangle using two
adjacent corners locations and a location on
the opposite side. In fact, here you are dealing with the same
techniques that you have used them in creating
or drawing the rectangles. Watch this and then the height. It could be very practical for creating solid or
boxes in the space. Then you can specify three
points I disable project. I specify the points
at the intersections. Watch this. Then you can have
the box. Check this out. This is practical
at such a context, and then the last
one is bounding box, and it creates a
rectilinear box object that encloses the
selected objects, just like packing
some other objects. Let's check it out. In
the following example. Here, for example,
I draw a pyramid, and then I want to
put it inside a box. Then need a bounding box, I select the object
with the frame, press inter, and then we
press inter one more time. Check this out Alt Control G. As you can see if you got
the pyramid or the object, which is placed at
the enclosed box. Here the option is
output and you can set it to solid or curve. If I set it to curves, then it creates six
grouped rectangles. And if you set it to solids, then it creates a solid box, and if you set it to meshes, it creates a mesh box. Actually, bounding box is also
applicable to the curves. For example, I draw this curve, and then I make it non
planar or T D by this way. Well done, then I
start bounding bar. I select the object. I set output to solids, and then I press down
Enter. Check this out. Here we got this solid, which is surrounding the curve. And this time, I set to curve, output to curve, check this out. Here we got six
rectangles which are joined if we had a two
D curve like this, a planar curve, then what
would be the result? Bounding box, check
it out, output solid. I mean, even if we
set the box to solid, we will be given a
curve, a closed care, not a box, as you can see, if you are given a closed curve, but it would be practical in most of the
times, for example, if you wanted to
move the curve and then position it at
the proper position. So this was all about
the box options. Let's talk about the other
demands like cylinder, equalconclnder,
and then you know, it is just like
drawing the circles. So I specify the base
of the cylinder, just like the center
of the circle. Then if you specify the
radius and then end of the cylinder or the
height, check this out. Here there are some options for the cylinder or the options for creating the circle as
the base of the cylinder. We drew the circle based
on the radius and center, but we can specify
it by two points and draw the circle by two
points as you can see, or by the diameter or even by three points
as you can see. They are same as
drawing a circle, but at the last
stage, you should specify the height or the. But here, let me talk about
direction constraint, which has been set to vertical. Actually the
direction constraints restrict the direction
of the circle. And it is used when we
are extruding the circle. For instance, when we are specifying the base
of the cylinder, and then we can
extrude it vertical since it has been
set to vertical, which draws an
object perpendicular to the construction plane, but let us check out
the other options of direction constraints. I click on it, non
vertical and around curve. You specify none, the center can be anywhere in the treaty space. So at first, we draw the
base of the cylinder, and then we should specify the direction of the
end of the cylinder. For example, I can
open the view, front view, and then like this. I draw it planted or, for example, another
circle, check this out, and then I can hold
down control by this way at a specific angle. So if you set it to noun, you can draw or create your cylinder at
your desired manner. If I set it to round curve, it draws a circle
perpendicular to a curve. For instance, at the
following example, here we got a curve like
this and then here if I pick the circle and then
I set it to round curve, then we can have the
circle around the curve as you can see on the screen
at the prospective view. But in the clander, if I start the comand
of Cylander and then I set the direction can
strain around curve, and then I specify a point on
the curve, check this out. Here we are drawing a circle, and then you can have
the end of the cylinder, perpendicular to the specified circle I mean, around the curve. If I set both sides to yes, we can extend it at both sides. So if you set it
to around curve, it draws a circle,
perpendicular to a curve. And we can select
the curve and then pick the center of the radius of the circle on the curve
and radius or diameter. The next one is the sphere that the base of the
sphere is circle. And here we got
different options for creating a sphere at
first the center, and then we can import
the radius and wash this. However, here we got
different types of creation. But when we activate
one of them, then we can get access
to other techniques, but by the options, 2.3 points tangent around important point here
is that you can create the sphere by the circle. For example, by center and
radius or by three points. I mean, in fact, you are
drawing a circle and then converting to a
sphere to a sphere. Then in the continuation, as you remember, for
drawing a circle, as we wanted to draw a
circle in the space, for example, by a sphere
diometer, check this out. I specify two points or the ends of the curves and then create the
sphere, as you can see. Also around curve, as
I showed you before, I know you have
understood it deeply. Then I set it to a round
curve for the sphere, and then I select this curve and then the
center of the radius, as you can see, like this way. Watch this. And let me move
it to adjust the dimensions. Following that, we got the
ellipsoid from center. Here there is, as you can see that you can draw
a solid ellipsoid. I mean, up to here, we talked about the boxes, the clander, the sphere, and right now, we're going to talk
about the ellipsoid. And the base of the
ellipsoid is an ellipse. Let me give you an example however it is not oftenly used. At first, we draw the base, which is an ellipse, and then we extrude
it like this way. However, here we got different
methods for creating an ellipsoid that
are similar with the methods of
drawing an ellipse. Watch this. By this way, that you can try
all of the methods. And the next one
is the paraboloid, that you can draw parable
like surface or capped solid. Here, I specify a point. And then this second one and then here if
I set solid to no, this is the result. Then if I set solid to no, then we will have this. I specify the first point
at the perspective view, and then the next point
at the front view, then we will have this result. And, you know, I don't consider it as one of the
useful commands. However, you may
find it practical in some of your actual projects. So you'd rather to know
how to work with it. And then the next one, we got the cone. That as you are concerned, the base is the circle, that we got the
different options, your direction, and
strain on others. And then specifying the end
of the cone, watch this. Just like the clander while
we are extruding the object, we can just the direction can strain to vertical or
none or around curve. Check this out. Here
we got a vertical. And if I want to change
two options, none, then we can specify
the direction ourself at the two D view, or we can use a round curve
that you're familiar with it, since we covered it in
the previous examples. However, we got another type
of cone which is truncated. That you can draw a
pyramid whose apex is truncated by a plane centerpoint radius
and then the height, and then we should specify
another radius at top. Watch this. This is
our truncated cone. So again, the circle and
then the vertical line, even you can import the value, and then the rate is a top. There's no limitation in
specifying the value. Following that, we
got the pyramid. Let me open the
perspective view. I select the pyramid. Then we should specify the
center of inscribed pyramid. However at first,
we should specify or draw a polygon for
the base of the pyramid. You can specify the
number of sides, five, for instance, and also specifying
the mode to inscribed. Here as you can see, we
got the inscribed polygon. I can specify the
radius of the polygon and then the end of the
pyramid pyramid. Watch this. And I modify the
number no site eight, for instance, and then I draw another one,
another pyramid. Check this out. And as usual, bigta direction can strain, and you can set it to vertical, non or around curve, just like the ellipsoid
and the other solids. Another option here is edge, as we talked about
this in polygons. So just in case if you have
forgotten these options, I recommend you to get back to the previous seasons and watch these videos again about the
polygons and their options. Let us have a review. Here,
I can specify the dimension of one of the sites
and then draw in the vertical line for the
pyramid and for star, at first, we draw on a star, and then we extrude it
to create the pyramid. Or even we can control the
nom site 16. Watch this. And then a star, check
this out like this one, shade a display mode. As you can see, these
are very simple. That if you put time
on practicing these, you can get skilled at them, and then the
direction can strain. We get the similar options, and we can set solid
to yes and no. Watch this. If I
set solid to no, this is not app. Even we had it in the
cones, shake this out. As you can see, the
cone is not solid, so it is not complicated. And we got also the
truncated pyramid with the similar options,
for example, a star. Check this out at five
sides and also truncate it. We got no limitation
for the top side or the top side of the pyramid. And the next one is tube, which is just like a
cylinder, which is not solid. As you are concerned, the
base is the circle and then the offset circle and then the end of the
tube or height. Let us consider the options. As you can see, we get the
similar methods of the circle. So I draw this, and here we can either
specify the radius of both or we can specify the valve thickness instead
of specifying the radius. For example, T for
the valve thickness, and then we can
specify the height. If I set both side to yes, check this out, you can
extend it at both sides. The next one next one, as you can see is Torres, but I'm not talking
about the soccer player. So we're going to start from a circle that you can
specify the radius, that the next radius is
the radius of the ring, that you can import the value of the second radius manually. Here is the result. The Tors. These were the primary solids in grin solid creation that used them sometimes for at
the start of the modeling. However, they are not
that much of used, but somehow they are practical
and you need to know them. Here I'm going to
review a topic and then finish the session and let
you practice these items. We're going to review on selecting the components
of the objects. As you are concerned, we
are not allowed to select the different types of components of the solids
or objects in Rhino. For example, if I want to select the top surface or the edge, I'm not able to select it. But as I told you, by holding down shift and control buttons, just like T DMX, you can select the
different types of components of the
solids or objects. For example, the
vertex or the edges, as you can see, and
also the top surface. And as I told you before, we can have some editing
upon the objects or solids. For example, if I want to modify the height
of the cylinder, I can hold down Control
and Shift patterns and then click on
the top surface, and then by gumbo, I can trim or extend it. Or if I want to modify
the base of the pyramid, I hold down Control
and Shift buttons, then I click on
the base surface. After that, by scale,
I can modify it, or even I maximize the height, control, and shift,
then I keep the vertex, and then I extend it to up
parts well down, and others, if I want to rotate the type surface of the
star or the pyramid, I select it, and then I rotate it by this
way, as you can see. Great, or I can
select the vertex, and then I can make it
non planar by this way. So as it was needed
at this season, it was required to have a
review upon these issue. Can hold down control
and shift buttons to select the components
of your solids. So, guys, it's time
to put time and practice in the
given lessons today. Do not skip the parts, try to cover every example and then work on the
options, see you.
108. Solid Volume Editing Tools (Part 1): At this part, we're going to talk about some of the
commands which are used for editing the solids that you can find them
in solid tool tab. But let me mention a point here. The tools that I want to
consider in the following, they are not special to solid. I mean, they are also
applicable to the other objects and also the surfaces,
not only solids. For example, the first
one is move face. Move phase command moves
a polysurface face. For example, here we
got a cube or a box. And then let me rotate it
by this way. Well done. So let us give me an example of move face is if I pick it, then I can specify
a phase of a solid, and then I press Inter. After that, I can
move it by this way. By this way, just like
control and shift. I mean, you may find this unuseful since you
can use or hold down Control and shift
pattern instead of using move face like
this and then move it. Yes, you're right. Ad
move phase can provide us with some options like direction can strain and
to boundary, for example. If you do not need
these options, it's okay and it's logical
to use control and shift buttons and then select a safe and then face and then move it. But let's talk
about these options like direction can strain, as I talked about it before
in the previous session. But about the options,
normal and non, for example, if I set it to normal, then the face can
only be moved in the positive or negative,
normal direction. As you can see, let
me try the other one, the rotated box, move face. I select the face,
and then press Inter. Watch this right now. As you can see, moving the face, as you can see the
face is moving in the positive or negative,
normal direction. But if I hold down
Control and Shift and then I select
the top surface, here we should modify the gumbel for moving the face
at the normal, positive or negative normal
direction, actually. So this is very important. If I want to move it at
the normal direction, we can do this by holding down
Control and Shift buttons, but we should use
it by using phase. But here, if I select
the phase and then I set direction can strain
to none, watch this. Here we can specify the
direction while we want to move the top phase of the solid
or the box. Check this out. Just like holding down
control and shift patterns. But another option is to boundary that deface is
moved until the site surface intersect the boundary
object and the face itself is replaced by a trimmed
section of the boundary object. For example, move
face to boundary, just like the
previous command as we talked about in
Extend, for example. I'm sure that you're familiar
with that and since we have used this technique
in several examples, for example, we got the surface, and we got a box
here, as you can see. Well done, following that, we want to select the face and then move it to the
boundary of the surface. We can either choose
move phase to boundary or we can choose move two
and then set it to boundary. There is no difference,
select phase, and then should
specify the boundary that we want to move the
face to the boundary, check this out, and the face is replaced by a trim section
of the boundary object. Let me give you another example here to show you the effects of the move phase command
on lateral faces. Suppose that here we got such a geometry or
model or solid. Well done. Then I extrude it, check this out. Well done. I remove the curves. Great. Here if I want to
select the top face of the modal bicontrol
shift or move phase. Now both of them are the same. Select, inter, I set
constraint to normal, and then I move it
upward. Watch this. As you can see, it
has affected on the lateral pass or site. But if I want to move it perpendicular to itself,
what should I do? I should move phase, and then I select it, and then I should set it
to normal. Check this out. I can move it. But
sometimes I just need to move it forward. I can hold down
control and shift, and then I move it, check this out without
affecting unilateral pass. So there's no need to
choose move phase command. And the next command
is move edge, as you can see, just
like move face. Let me give you an example. I draw a box by this way. Following that, I want
to move the edge. So here I click on Move edge. I specify the edge, press down into, and after that, I can move the edge
as you can see. However, we can select and move the edges by holding down
Control and Shift patterns. I mean, we can select
the desired edge and then hold down Control
and Shift patterns to move the edge. But when we want to be provided
with some of the options, just like move pay, we can use the
command of move face. Otherwise, you'd
better to hold down Control and Shift patterns and then choose the
edge and move it. Check this out, hold down
Control and Shift buttons, and then move the edge. But what are the options here? I hold down Control and Shift, and then I move
the edge up parts. Well, don't let us
i out the options. Here I click and move edge. Then I specify the edge. Here I should, for example, here we got the direction can strain that we talked
about it before, which it is practical
and useful. But here we are given multiple
options, I click on it. For example, the
first one is non, if I set it to non, then there is no restriction
to direction here. And the next one is
first phase normal. But if I set it to this, then it restricts movement to the normal direction of
the first phase, selected. I click on this, and
then I move the edge, check this out, as you can see, as you can see the edge is perpendicular to
the first phase, and the first and
second phases are specified are labeled
at the scene. So this was all about
first phase normal. Again select Inter we're going to work with
second phase normal. Then it restricts movement to the normal direction of
the second phase selected. Then I specified a
point on the edge. Watch this. As you can see, it is perpendicular to the
second phase about others. For example, we got
average phase normals, which restricts movement
to an average of the normal directions of the
first and second phases. In fact, here as our
children before, we got two phases, one and two, that here we're going to have the
average phase normals. Watch this very well. The last choice, there
is verticals that it restricts movement vertical
to the construction plane. But as you can see
in this screen, it is totally perpendicular
to the construction plane. So if it was needed
to use these options, you'd better use
move edge command. Otherwise, you can
use holding down Control and Shift buttons
and then moving your edge. And normally our next command that we're going to talk
about should be move vertex, but we do not have
such a command in no, unfortunately, so we got to turn on solid control
points instead. As you can see, if I click
on the command and then I specify the surface or
polysurface here as you can see, we are given the vertex of the solid object so that
we can select them, and then move them this
way or scale them, rotate them or
whatever you want. As I showed you, we had some differences between the
commands of move edge and move face and also holding down Control and Shift buttons and selecting the edges
or the faces. But here we are not given any options in turn on
solid control points. I will explain the details, but there is no option. I show the control points and I can edit them or
move them this way. However, instead of turning
solid control points, I can hold down Control
and Shift patterns and then choosing
the control points. Watch this. I can drag a rectangle while I'm holding down
Control and Shift. Check this out, and then
I can move the vertexes. So we can either use turn on solid control
points or hold down Control and Shift
buttons and then choosing the vertexes
of our solid object. So we usually do not turn on
the solid control points, but we usually hold down Control and Shift buttons and then clicking
on the vertexes. Suppose that if we had a
polysurface for instance, like this, these two, and then I join them. Then by gumbo, I extrude
them, well done. Here, actually the polysurface the polysurfaces are
not supported by F ten. We're only given
two control points. While if I explode the surface, and then I select them
separately or together, I mean, they should
not be joined. And then I press down F ten, we will be given the control
points, as you can see. But if I join them again, here I can open the
solid tools and then click and turn on
solid control points. And then we will be given
the texas, watch this. And then editing
our polysurface. However, as I told you before, we can hold down Control
and Shift buttons and then modify
your polysurface. It does not make difference. We can control the
trimmed surfaces by modifying the control points, either by turning on the
solid control points or by holding down Control
and Shift buttons. I don't want to repeat it again. These two approaches
are the same. Let us tick out the
applications and usages. When you got trimmed
surfaces, for example, um, here I draw two rectangles
inside of each other. Zoom selected. Following that, I create a planar
surface like this way, which is a trimmed surface, as you can see, if I
trim it, check this out. Then if I want to move this
opening, what should I do? What do you suggest? FTN
does not support this. We have nothing to
do with the opening. But when we select the surface, we can use turn on solid control points we will be given the control points of the opening, as
well as you can see. Shake this out. We can
move these or edit them, scale them or whatever. Great. Or you can even hold down Control and Shift and then drag a rectangle or cross,
shake this out. Or as I told you before, when you are creating surfaces
by specifying four points, if you want to
create a triangle, should position the last
point on the first point. Otherwise, you will be
given a trimmed surface. Check this out. But
note that, I mean, suppose if I want to
modify the points, I selected a ten. Following that, check this out. Here is the given points. We can curve it. Can hold down Control and Shift and then
move it up, well done. Or I can open solid
tools and then turn on the solid control
points by this way. These are important
points that veil you in most of the
situations, actually. So this is enough to know their differences
between them, I mean, turning on control
points or F ten to show the control points
and also holding down Control and Shift buttons. Let us talk about
the next command. The next command
is extrude face. So, guys, it's time to
talk about extrude phase. Here we got this, and then
here it is extrude face. Let me show you in solid tools. I start the command. Then I should select the
surface and then press Inter. And here, as you can see, we got all of the options
of the extrude surface. They are almost
similar to each other. And as you are concerned, we usually extrude a face or surface perpendicular
to the solid. For example, if I select
this and then I rotate it, then I want to extrude
the face, press inter, as you can see, the extrusion is perpendicular to the
surface or to the solid. However, you can modify
the direction manually and then changing the direction. Otherwise, the direction is normally perpendicular
to the selected surface. Here I got a question. Here if I hold down
Control and Shift buttons and then select the
face and I hold down, can I extrude the selected face? Check this out? Exactly not. I just have created a copy. But if I select the
top face and then I click on the Gmbel
and then I move it, I can extrude the
face as you can see. So the corresponding command
to extrude face is to select the goble point and then and then move it. But
here I got a question. Is the difference? What
are the differences between move face and Gumble? Actually, extrude phase
and extrude surface. Let us consider the differences between extrude phase
and extrude surface. So as I'm preparing
the new example, I want you to think about the differences between them and then try to find two
differences between them. Here I'm creating another
solid object by this way. Smart Rack, weld. The first difference. When we extrude the face of
a solid of a solid object, we are creating a new
solid object practically. I mean, if I explode them, check this out, you
get a new object. There are two. But when
we extrude the surface, I select the top surface, and then I move the surface. As you can see,
they are unified. So extrude face creates
a new solid object, which is separated from the input object and
we can explode it. What about the
second difference? As in the previous example, when I move the phase, check this out and it affected
on the lateral phases. I want to say that this won't
happen in extrude phase. So here in solid tools, I pick extrude phase. I select the surface, and then I press Inter. As you can see, you can extrude
it totally independent, independent to other phases, and we will have a new independent solid object
that even you can delete. However, you got the option of extrude face to a
boundary, as you can see. But note that in extrude
face to boundary command, the new created object, a new created solid object is considered independently independent and
you can delete it. The next one is extract
surface, right now, as you can see, I'm skipping
some of the commands. Since I just want to
explain the commands which got some common features and characteristics
with each other first, and then we will go
for other commands. About the extract surface. The extract surface command separates or copies
polysurface phase. Here at first, I should select the surfaces that I want
them to be extracted. I select the top surface, and then you can choose
to create copies or not. If I set copy to yes, then you can create
the copy from the extractor
object. Watch this. Right now, we have
made a duplicate. But here if I set copy
to no, watch this, we will extract the surface without making a
duplicate. By this way. And the output layer, it specifies the layer for
the results of the command. You can choose input current. If I set it input, it places the results on the same layer as
the input curve. And if I set it to current, it places the result
on the current layer. You got to extract surface
at the right cli explode. Check this out. You can
pick it by right click. For instance, when you want
to extract this surface, you can click on
Explode command, and you're going to
start the command and then extract the surface. But do you know any
shortcuts by holding down Control or sheaf or other buttons for
extracting a surface? What do you think? Do
you have any suggestion? If I hold down Control
and Shift buttons and then select the top surface, and then I press down
t and then I move, I can create a copy
from the top surface. I mean extracting the surface
while creating a copy. So we can create a copy from the selected surface by holding down control Shift
and also Alt buttons. Check this out Control Shift and Alt buttons, and
then create a copy. Guys, it's your turn to try
the given lessons today. I want you to cover all of today's practices and
do them by your own.
109. Solid Volume Editing Tools (Part 2): So guys, let us
continue talking about the solid tools and
the editing tools. The next one is
split planear face. It divides the planear face of a polysurface with line
or an existing curve. So let me give you an example, split planear face, and then I should select
a phase to split. Only one phase, guys. Note that I specify, and then I should start of, I should draw the start
of the split axis. I mean, in the continuation, we pick the start of a line, defines the split edge. So for instance, here, I draw a line from these. Then you can continue
your drawings at the same time like this way. Fell down when it was
done, press Inter. So after picking your start
of the line and the end of the line of the split edge, then I can hold down Control and Shift buttons to select the created edge
and then move it upwards. Or, for instance,
even I can hold down Control and Shift and then
select the splitted phase. Here we got a new
phase. Watch this. We can move it to modify the object. Okay,
shall we go on? Split plain our face right
now this phase and then I press Inter spit start of
split axis like this way, start and then Inter. Then here if I hold down
Control and Shift buttons, I can select the face and
then move it backwards. Check this out. I can add
the chamfers at the corners. And when you are splitting the face the pain our
faces, for example, this was again and then Inter, you don't have to start the
split axis from the edges. It is not necessary,
check this out. So you can have your drawings freely from the
edges like this way. And when you are drawing
these curves freely, you have to sketch these
at the planar view. Since you will have
some problem or visionary mistakes
in treaty view. Watch this. Here is the result for splitting
your planear face. Even you can use these for designing the
facade of the building. For instance, you can
assign different kinds of materials to
each of the pieces. For example, in our new example, we got an object or box
like this, split par face. I select your face the inter, and as I told you, here I should drove my splitting curves at the front view or to the views by this
big as you can see, I'm drawing some curves as the start and end
of the split axis. Inter, well done. In the continuation, I want to modify the materials. Here we got some new faces
that can be extracted. Here I write, click
extract surface. I set copy to no
since I don't want to create copies and
overlapping these surfaces. Then here I want to
choose some surfaces, some faces, splitted faces. Press Inter, and then
even I can group the extracted faces then I change the layer,
check this out. Again, let me try right
click to extract. Then I select some
new splitter faces. It this way. And when we
are modifying the layer, we are changing the material, actually. Check this out. This is the option
that you are provided with these splitted surfaces. But here, you may ask, can we draw three lines in the
faces and then split them? No, of course not. You can split your faces. But if you want it to I mean, if you don't want
it to be straight, you have to draw the
muddle by using curve. I will show you in the
following example. For instance, Again, I create another box and
then at the front view, then I draw the curves
wire frame display mode. And then there's no matter if the split curves extend the
surface or face by this way. So we can draw
whatever you want on the surface or face
actually by this way. Check this out. So there is
no matter if the curves, the drawn curve got no
intersection with the object. But you have to open them in
the two D or planear views. I mean, the curves should be projected on the
face, as you can see. I mean, it should not be
like this, as you can see. They should be projected
exactly on the face. Following that, in solid
tools command, split phase. Then here I should select
the face to split. Here it is. I should select
the phase at the front view. Then I press inter. After that, in front view. Here I should start
specify the start of a split axis or click on curves instead of
drawing curves. Then I select these curves. Check this out, press Inter. Then we can have
the selected phase splitted according
to the curves, as you can see, well done. However, then we can extract the slited surfaces and then
assign them new materials. For example, right click
to extract the surfaces, and then I select the surfaces, then I want them
to be extracted. Like this, I select some of
them randomly and then enter, as you can see, you
can extract them, or you can assign
them to a new layer in order to specify
a new material, or even we can
extrude the parts, some of the splitted parts undo. We can use extrude phase
to extrude some of the splitter pass
randomly. Check this out. By this way, you can select some of them and
then extrude them. In there, I said solid
to yes. Watch this. For design the building
facade. You can extrude them. Let's check it out at the
rendered viewport and other things that you can operate by using
your own creativity. But note that you can use split face on the
curved surfaces, too, or curved faces. For instance, in the
current example, here we got these two
curves, closed curves. I move it upwards. I maximize it, well done. And then I create a couple
from the base curve, and then I want to love them. Natural. Watch this. Inter. Okay, here
we got the surface. Then I split phase. I select the phase, Inter, and then preferably,
we open front view. And then I start drawing
my start and split axis. Well done. Right now, we have splitted our
face. Take this out. We can extract it like this way or assign them to a new layer
or even extrude them. And even we can use patterns
in splitting the surfaces. I'm going to do the
process to show you the new items in
the new example. So here I draw a curve like
this way at the front view, and then another
curve like this. But note that when we observe
them from the front view, the curves should be
projected on the surface. So let us check it
out a split face. I select the surface, enter, and then I open the front view, I click on curves, then I should select the curves. Then I want them to be considered
as the cutting objects. Here is the result. This is the result of projecting these two
curves on the surface. So there is no limitation
in splitting or surfaces. And I want to tell you a point
about the closed surfaces. I undo here as you're concerned, we got the SIM points
for the interfaces. Here we start the
split phase command and then press inter
following that. And then if we draw a curve which crosses through
the sin points, check this out, press inter, then what would happen next? Then you will see that
the SIM point will be considered as a split
as a split axis. So put this into consideration
that I recommend you draw your curves from the views that there
is no sin points. However, in some
of the conditions, you may have no way
to change the view. At this condition, you should change the same
points positions. But how here in surface tools, it just closed surface seam. I click on this, then I should
select the closed surface. Then we can pick
the in point and adjust it to replace
the I point. So when you want to
use split phase, try not to cross
the split curve or split axis through
the in points, since the phase will be
splitted into pieces. So, guys, practice
today's lessons and do not miss any
examples. See you.
110. Solid Volume Editing Tools (Part 3): And the next command is cap. As we talked about it before, here at ease, cap plane R holes. Cap commands fills opening and surfaces or poly surfaces
with a planear surface, joined to the whole edge. So if you can fill this opening
with a planear surface, join to the whole edges. So here I start the command, I click on Cap or
even you can type in the command line cap
and then you should select the surfaces or
poly surfaces to cap. I select them and then
press inter and then it fills the bottom and top
O holes at the same time, check this out and
make it solid. In some of the commands
like loft and sweep, we will be given
some surface and poly surfaces that we got
openings at bottom and top. Since there we got no options for making them
solid like extrude. So we usually need cap command to fill the
openings of our surfaces. Let us give you some examples. Here I want to
create a surface by loft as we did in the
previous sessions. For instance, here I got
this curve I selected, and then I want to array polarly five at the field
angle 360 degrees, well done, and then
I rotate them by this way to make
then I love them. Check this out. Here,
as you can see, there is no option of
making this solid finish. But how can I close
or fill the openings? I cap, check this out. Right now, the
openings are filled. Or for example, even by sweep. Sweep one or two does
not matter which one. You are not capable to close the openings or fill the
openings with a surface. So here I want to draw a
path like this or the rail. Well done, consider
this as a counter. And then I draw the profile or the cross section of the
counter, like this way. Smart rack, well done. Here there is great. And then I orient it around
the curve, run the curve. I specify a point, and then I make it
perpendicular to the curve. Great. After that,
I want to sweep it. One, I select the rail, and then I select the
cross section curve and then I press inter. I just the simple and
then inter, well done. As you can see, the
two ends are opened. We can use cap, selected and then fill the openings
at the two ends. So as I showed you, we usually use cap. Oftenly but here there is a
point that you should know. Cap is only able to fill
the plane R surfaces, I mean, the plain R
holes or openings. Check this out,
cap planar holes. Since it fills the opening in the surfaces with a planear
face joint to the whole edge, and it fills the planar holes. I mean, if we had
a curve like this, which is not planar anymore, check this out, well done. Then I want to create a love by using this, check this out. As you can see,
the cross sections are not planar or the
edges are not planar. We can't make this solid. No, as you can see,
unable to get one object. The openings did not have closed planar loops of edges,
as you can see. However, we can use other
commands like patch, check this out, and then fill
the holes. Check this out. Note that we use cap only for the planar holes and planar
openings to fill them, not for the non planar
holes and openings. And another point here
is that if I explode the top surface of this extrusion and also
the lateral phase, then we can't fill this. Since this is not
a hole anymore, this is just an open extrusion, and here we don't
have a closed curve, so cap is not able to
close this to fill this. Or, for example,
another case here, I draw a rectangle here, and then a circle
inside the rectangle. Following that, I want to create a planar
surface, check this out. Here we got a hole
inside the surface. I remove the curves. Here, this is not
considered as a whole, and we can't fill it or
close it by using cap. Check this out, Cap,
check this out. Unable to cap one object. But how can we fill this
or close the cap in fact, here we got a hole. I mean, the opening is a part which is trimmed
from the surface. It is not a hole. So if we want to fill the close the opening, we can start untrim. If I pick untrim command, and then I click on D,
then we can fill it. Check this out without
using cap since Cap is unable to fill the gap
to fill the holes actually, because here, there was a
part which was trimmed from the surface that we could
fix it by untriming it. So this was all about cap. About the next command
in solid tools, we got shell closed polysurface. The shell command creates a
hollowed out shell from a solid and shell only operates on simple and manifold
polysurfaces, and it is only available
on the closed surfaces. Let me exemplify. I create a box here, and then I want to
show you the examples. Sell. After that,
I should select the faces to remove from
the closed polysurface. Leave at least one
phase unselected. Again, we should
select the faces to remove the closed polysurface. And we can adjust the thickness. So it removes your
specified faces and then it extrudes
the left ones. Inter, take this
out, check it out. It is interesting, actually. Undo. One more try. Shell. Then the faces that I want them to be
removed like this tree. Then we can adjust the value of thickness for the left faces. For example, thickness
T and then press Inter. Check this out.
Here is the result. And the other cases shell, I minimize the value
of thickness like two. And then if I choose
only only one face, press Inter, check this out. You somehow it acts
like extract surface, Alt Control G, check it out. Or if I choose the
two front faces, front and back, check it out. Here we got an
object like a brick. By this way. Here let me give you an interesting
example by using shell in which I want
to remove the faces up front and back and
create a whole opening. So here in front view, I want to draw a box like this, check it out, and at this thickness or
extrusion distance. Following that, in
the front view, I select it and then
want to array it polarly I specify the
center or the reference, the center point,
number of the items 20. Then at the 180 degrees, check this out. Well done. Then I want to specify the value of z offset, for example, two, check it out or
three, well done. However, I can minimize the value and then increase
the numbers, check it out 40, corret so here if I want to
create a bridge or passage, so here I should remove the front and back faces of each of these extrusions
and then extrude them. Just like the previous example, I move one of them. I want to operate the process
at first on one of them. I select the front
and back the faces, and then I specify the
value for thickness, then we will have this like a frame here in
the continuation, I want to operate this
to all of the pieces. How can I do this? Here, you may say we can operate this to one of
them and then array them. Yes, you're right.
You can do this. But if I want to model the mean to form the bottom
part, what should I do? For example, here I draw a box, create a box here,
check this out. I position it right
here like this. Following that I want to
remove the bottom part, Bolin, that we will
talk about it later, for example,
something like this. So in the continuation, we should remove the front
and back faces for each of these extrusions or objects
and then extruding the frame. So we open the front
view via frame, display mode, and
then I start shell. It is very difficult
to select each of the faces of front and back
for each of these objects. But here I cross a
rectangle done by selecting the Io curves
of each of these objects. Look, I drag a bigger rectangle
to select all of them. Here by selecting the Io curves
of front and back faces, as you can see the
frames are not selected. So I use the isocurves to select the front and back faces. Let me reduce the thickness, press down into.
Let's sick it out. Look, here we got the
passage. Watch this. Great. A very simple process. You can create such
a form by using shell and probably you haven't understood
some of the parts, so I want to go
through the process. Again, here I have created
a box, beneath the objects, and then by using Bolin, I selected the surface
set to remove to removing the overlapping
part for the bottom. Following that, I'm going
to start shell command. Then I should select the
front and back faces of each of these objects
and then make the whole. So it would be very difficult to select each of these
objects one by one. Is too time consuming. So if I display the wireframe
mode, check this out. Here we got the Isa curves. Here, when I start
Shell Command, then I can use these
I curves to select front and back faces of
each of these objects. Here there is for the back
face by the isocurve. Correct. Then here if
I open the front view, and then I drag a rectangle, so I can select the Io curves
for each of the solids. I mean, of the front and
back faces, check this out. I haven't selected the around or the surrounding isocurs,
but the front and back. I'm in a tricks playing
the wireframe mode and selecting the front
and back Io curves, I press down inter
then I can remove the front and back faces of each of these objects,
as you can see. Corre. And another point here if I did not use
Bolin, check it out. As you can see, there
is no isocurves at the front view and
also in the front, as you can see, there is no
isocurve to select them. Since here we got
only a solid object. And when we extrude
something, check it out. There is no isocurve
to be selected. So what should we do? How
can we show the Io curves? So, you should select them
all and then explode them. Check it out. They
are displayed. But right now they are
exploded. They are not joined. After that, you
have to join them. Look, you got the Ia curves. So after exploding them,
you have to join them. So here we got the polysurfaces
and also the y curves. Then again, I can open the front view and
then start shell, and then we can choose
the isocurves at the top and front faces of each of these polysurfaces, together. And as you can see,
the top o curves are not selected,
and following that, I press down inter, and then we will have the
front and back faces removed. Take it out. Let us
work on other examples. Create for instance,
in this example, I'm going to use a split
surface and also shell. Here, suppose that we got
an extrusion like this. I hold down Control
and Shift bottom, and then I move it downwards. I select the edge, and then I hold Control
and Shift patterns, and then I move it for
backwards, a split face. I choose the top face
and also the edges. The parallel edges. I draw the slit axis, this tree, for example, perpendicular.
Check this out. Then I select the edge, I move it upwards like
this way, like this way. And then I select this edge, and then I move it toward
inside. Well done. Here, for instance, we got
the body of the building, the vols and also the roofs. But how can I convert
these to a vol? Which one of the faces
should I remove, and then I create a
vol in two layers? Could you guess create
the bottom surface. Here I remove the bottom
face, and then I remove it, enter, then we can have a
volt here, as you can see. Let me use shell, and then I reduce the
thickness, not 0.5. I select the bottom face,
and then I remove it. Here, the shell
result is not solid since I have reduced
the value of thickness. So by such a condition, we should increase the
value of thickness. But right now, check it out. Shell can be very
helpful and practical in your actual projects in order
to create specific phases, especially in architectural discipline and creating walls, we're going to use it
openly in our projects. But not that if you had an open surface and you wanted to use or
operate Shell upon, you have to close it at first. Here at the following example, we got this the rectangle, and then I create a
copy, check it out. And then I'm going to
create a surface by using loft. By this way. I want you to consider
this as a building, for instance, loft, well done. Great. Here, if we operate shell upon this surface,
it does not work. Since it is not closed, let us give it a try. Check this out. The
poly surface is not closed, so it
did not work out. At first, we have to use cap to fill the
opening or the hole, and then we can operate shell upon this polysurface.
Take this out. We can remove this. So
the first point shell does not work or does not
support the open poly surfaces. You can fill the
openings by patch or even cap or planar
surface or others, so you will be able to
use shell like this way. So, guys, we're finished
with this session. I want you to practice the given lessons today
and do not skip any part, and then we're going to go
for working on projects. So if you haven't practiced under previous
sessions commands, I want you to move back
and have a review, and then let's start. See you.
111. Modeling a Villa: Complete Workflow (Parts 1): Hi, guys. I hope you
are feeling well. I have considered two
Villas as our practice is, and this is the first
one which is more, I mean, simpler
than the next one, and we want to consider
all of the techniques, and I will leave the
second one to you. So in the continuation, we're going to talk
about the methods. Here we got the
slanted or sloped roof and the valves, as you can see. So get back to rhino. And then for the valves, I draw a box like
this. Check this out. The height does not matter
since we can trim them later, but for the roof, I can
open the front view, and then from the midpoint, I draw the line, the slope for the sloped roof, and then I mirror it at
other side. Check this out. I select them both
and then joined. Great. And then I move these two curves or just in the
position of the roof, and then I just the
height of the roof. Following that, I extrude
it. Check this out. Here is the result. Then it's time to trim the extra parts. Here if I trim them,
trim, check this out. I select the roof, enter, and then I select the
box and I trim them. It is okay, but we should extrude the valves,
as you can see. I mean, if you want
to create valves, I mean, doors or windows, valves should be offset. So before trimming
the extra parts, we should start shell, and then here I want to
increase the thickness. For example, I select the top and bottom
faces to remove them. Then here is the result. And then I trim the extra
parts, selecting the roof. Let me try again, trim and then I select the roof and
then the objects to trim. Following that, I can start offset surface and
then offsetting the roof toward up and then not 0.6 for the offset distance. And then we can have this
at the rendered view port. What about the other
approaches or methods, here I draw a rectangle, then extrude it to create a box. Then at the top view, here I want to draw a surface
like rectangular surface. I specify the points
and like this, as you can see, here
is the surface. Then from the top view, I select the surface, and then I isolate
it preferably by clicking on isolated
objects. Here is the result. And here we got this
face, as you can see. Then in the continuation, by using solid tool,
split planear face. I want to split the plane face, the current face, I select it, and then enter, then
it's time to draw the split axis like
this way Enter. Well done. I select the edge, and then I move it upwards
by holding down control and shift to create this
slopery roof well down, and then we can select it
and then move it upwards. Then we got the same process. At first shell to remove the top and bottom faces and also specifying a
value for thickness. And then we're going to
trim the extra parts. Watch this, inter, well done. And then another approach is to start from creating the
roof at the beginning. And then for the valle, we can draw a rectangle and then extrude them
to the boundaries. Let me offset this. As you can see, we got too
many approaches and methods, and it's up to you to
choose the best way select, extrude boundaries. Watch this. And here is the third approach, and that does not
make difference. So, guys, we are done with this. I want you to practice these approaches and even
creating new approaches. I want you to assess your own creativity and get familiar with different methods and learning all of the techniques that
are being used in modeling.
112. Modeling a Villa: Complete Workflow (Parts 2): Here is the next practice or Villa that I have
considered for you, as you can see, it is
more complex than before, and I expect you to
create this according to the previous lesson successfully and ensure that you could
model it completely. And right now, I want to begin this session
by creating this. So we're going to start from
the roof here in Rhino, and then at the top you and then I want to create
a planar surface. I mean, I'm going through the split phase
split phase method. Here we got to play in R
surface, following that. I want to split the
planar surface, and then by moving the edges, I want to model the roof. And at first, we're going to model the main
parts of the roof, and then we feel good for modeling the details.
Okay, let's go. Here we got to play R
surface, following that. I draw a curve like this at this angle
from the intersection. You know, I'm drawing this, as you can see, well done. And then in the continuation, I want to mirror this. I select it, and then I
mirror it at the other side. These two are
crossing each other. And then I select
these two curves, and then I mirror them at the other part of the rectangle. Then I start, split planar face. I click on the surface, and then I specify the start
and end of the split axis. Check this out. I split this, but don't forget
the center part. I draw a curve from
the intersections, check this out, I move them. Here is the result.
Following that, I hold down Control
Shift buttons. I click on it, and then I
move it upwards by this way. So we can have a sloped roof. But why should we butt all the details of the roof
later? Let's check it out. I want to explain. I mean, I want to split them and
then show you the results. I delete these extra curves, and then we're going to model
the details and the roof. Here at first, I'm going
to draw the curves. I'll need them at any condition. However, we don't
have to draw them right now like this
way, mirrored. And then I position
it right here, and then another
mirror by this way. Then before moving them upwards, Suppose that if I
split them by mistake, study the split face, I select them Inter, and then watch this Inter. I split it. And
then the other one, I specify a start
and split access, and I also cut or split the
middle part, well done. Then here if I hold down Control and Shift
buttons and then move them upwards,
check this out. As you can see, and we won't be able to revise
it even as you can see. So as I told you before, let us mid all these
details later. Since we won't have
the expected results, so we don't split
them right now. Watch this. I move them upwards to set them
apart from these curves, and then I hold down
control and shift. I select the edge, and then I move it upwards like this to create
this sloped roof. And then when the
roof was created, then we can split the
roof for the details. Top view a frame, and then it's time
to split them. But here, if I use split
planear face again, then we will have such a
result. Let's check it out. I select this inter
By this way, Enter. Check it out. Here
is the result. As you can see, it is
perpendicular to the surface. But how can we fix this? Here we have to draw the
curves exactly on the curves. I mean, exactly on the
surface, which is possible. So for instance, you're from
the edge like this way. And then I continue
drawing the curves. And then here I split them, I split plainar surface, check this out. Well done. However, I got
another suggestion. Since we usually design
in the plan view, so we can split the
ordinary split. I select the curves and
also then the curves, these curves, press enter. Check this out right
now if I move the roof, as you can see the splitted
part are separated. I join them again. Fell down. Then for
the middle part, we can use split and also
split plain our surface. Since we have drawn
it from before, and the curves are
joined, check this out. I draw the middle line. But here the trick was
using the ordinary split, not a split planar surface
or face, actually. Since when we use split, it considers the
projected curves. But when we use split face, the curves will be
perpendicular to the surface. And as you can see here, we got the projected curve. However, we can use
whatever you want it. What about the other
parts? Very simple. We can hold down Control
and Shift patterns, and then I select these vertexs. After that, in the front view, I enable project in planar. Following that, I move
them upwards by this way. As you can see, we
got the details. But here, if I do not enable
project back to front, and then the planar is enabled, and then I want to move it, as you can see we are
using these snaps. Then if I move them, we will have this result. Check it out. Let
me show you again, while project is disabled, I select the vertexes and then move them
in the front view. I open the four
views to observe it. I pick the point, and then
I move it, check this out. Since project is not enabled, the vertex is not positioned
at the right location. But when we enable project, check this out since the
vertexes are projected, then we can have the vertexes
at the right location. So the roof was the main
part of the muddle. I moved them upwards, that right now we're done with them. And for the as, I taught you some
techniques that I prefer to use creating
a box like this way. And then I can select the roof and move it
upwards like this way. Then shell. I want to remove the top and bottom
faces and then trim the extra parts
by using the roof. And then offset
surface. Watch this. Toward up, and then check it out at the
rendered viewport. We're done. So, guys, it's your turn, check it out.
113. Extruding Solid Geometry: In this part, we're
going to talk about the different types of extrudes. And as we talked
about the simple ones at the previous sessions, we have used them in
the projects multiply. You're for getting
access to the menu of the extrusions in
a standard tab, then you should open the solids. After that, you can click
on cascade, Extra solid. After that, I move it, and then I fix it and
the window extra solid. As you can see, four of these icons got some white
planes at the base part, which shows the extrude surface, but others are related to the extrude extruding
curves, actually. For example, this one is
extrude closed planear curve. While here we got extrude
surface, or, for example, here we got extrude
curve to point, and the next one
is extrude surface to point, as you can see. And so on. Here
we're going to talk about the extruding curves, and the options are the same just like the
extruding surfaces. The first one is extrude
closed planar curve, as we had talked
about it before. And here we got it at the
pop up as you can see, and we can start
it even from here. Okay, let's check it out, and I want to give you some examples and then
explain the options. For instance, here I want to draw a planar curve like this, and then I select it, and then by using extrude, close planar curve,
shake this out. I extrude it, and then I want to explain the options
and at some points. The first one is
direction that we can specify the direction
of the extrusion. For example, right
now, it is vertical. I open the front view. I click and direction, then I should specify the
base point. Check this out. You can specify
the new direction by drawing the direction
points as you can see. So by this way, you can
modify the direction. But if you do not
specify the direction, I mean by default without
specifying a direction. By default, extrusion
would be always perpendicular to the
selected or specified curve. And here as you can see, the extrusion is perpendicular
to the specified curve, not perpendicular to
the construction plane. I mean, here I rotate the curve, let's check it out by this way, and then I want to extrude it. Then you will see that
the extrusion will be perpendicular to the curve not to deconstruction
plane as you can see. Well done, so can create
a surface by tracing the path of the curve in a straight line which is
perpendicular to the curve, not to deconstruction plane. But maybe you want to make it perpendicular to
deconstruction plane. So you click on direction, and then you should specify the direction point and you can make it perpendicular to the deconstruction plane. But note that extrusion is always perpendicular
to the selected curve. Well, then let us check out the other options,
which both sides, as you can see that you can trace the path of
the curve at both sides. While in default mode, you can trace it
only in one side. Here if I specify five for
the extrusion distance, then we will have 5 meters at both sides so that the
total value would be ten. Here in the new example,
we got a curve. I select it, and
then I extrude it. Check this out, which is
perpendicular to the curve. And the next option is solid that I have
talked about it before, but I want to add another point. You know, when you're extruding your curve, set solitude yes, as you can see that the openings or the holes at bottom
and top are close. But if I set solitude no, then the top and bottom openings
will be maintained open. But by the point, when we extrude the curve and then
we set the solid to yes, here there are some
conditions for solid in order to
fill the openings. I mean to fill the top
and bottom openings of the curve of the
surface actually. For example, here the
condition for the solid to fill the openings
is to use a planar curve. I mean, the curve
should be planar if you want to be able
to set solid to yes. Here, for instance, I make
the curve non planar. As you can see, it
isn't planar anymore. It is treD then if I
extrude these two curves, the first one is planar and
the another is not planar, as you can see the
solid is operated on. But another one, as the solid
has been set to yes, again, the openings are not filled that we should make it
solid by using patch. Even we can't use cap for this, as I told you before, that the curves or the
edges should be planar. And the other point
is about base point. I draw a curve like this
at deconstruction plane, and then I create a box
like this very well. And then I move it to
here node at heights, and then I extrude the curve. After that, I want
to extrude it at the height of the box. As you can see, we are extruding the curve from
the base of the curve. Here if I click on
set base point, after that, I can specify
it according to the box. Watch this. We can
specify the base point. So this is one of the
application or, for instance, here if I draw a
curve like this, a line, and I want to consider
it as the base at heights. I want to say that
the extrusion and the curve should not
be at same elevation. I extrude it the set base point. After that, I specify the extrusion distance according to the selected
curve, well done. In other application, here
is that, for instance, in the front view, you got some
rectangles like this. I array these two, watch this. And then at both
sides, check this out. Here we've got some objects following that we're
going to extrude them. I select them and
then extrude curve. Your debase point is the
center point, actually. Well, I want to modify
the base point of the extrusion to control the
extrusion distance. You see? So to fix this, I should click
on set basepoint and then, for instance, I click
on the intersection, and then I extrude
them, check this out. I think the main application
of set base point is this, that you can specify the
base point on these curves. After that, you can add
the extrusion distance. For example, here we got many curves that you
want to extrude them. After that, this out. Here since the base
point is not specified or isn't specified at the
current correct position, it is hard to be controlled, so set base point, and then I click on the corner intersection
and then I can specify the
extrusion, the stance. Very well. I consider this as one of the most important
applications of set base point. The next one that we
have talked about it before is to boundary,
exude to boundary. Here I want to tell you
another point about extruding a curve to
the specified boundary. For example, we
got this surface, and I draw another curve
inside the surface. Here, the surface,
as you can see, is covering the entire curve. I select the curve, and then I extrude it
to the boundary and I specify the surface
as the boundary. But here I emphasize on covering the curve
by the surface. I mean, if the curve
extends from the surface, then we won't be able to
extrude it to the boundary. I mean, the surface
won't I mean, it cannot be the boundary
of the extrusion. Let me check it out. Wait
for a second, please. I extrude it to the boundary. Well, do, let me
as I was saying, the surface should covering the entire parts of the curve. Here if I extend the
curve, check this out. Some parts are extended, and we won't be able to specify the surface as the
boundary of the extrusion. Check this out guys
to the boundary. It is not available. So when you weren't able to specify the
surface as the boundary, you should fix the
surface because it hasn't covered the
whole part of the curve. And I want to tell you a
point about the boundary. For example, I want to
create a surface here, like a semicircle like this. Check it out, and then I
extrude it like a pipe. Following that, I
want to draw a curve here and consider
it as the entry, and then I want to extrude it
to the specified boundary. And I want to specify the
surface as the boundary. So I extrude the curve to
the boundary, watch this. According to the point, as you can see, the
curve is extended. I mean, it's
extruded, but not to the boundary, but
check this out. I can click on it and
then move it aside. When the curve when
the curve edges, and also the surface edges
are overlapping each other. Check this out like this. Extrude the surface the
curve through the boundary, but it will be splitted, and we will have the surface in two parts, as you can see. So don't forget to check it out, since at this condition
that the curve, the curve edges, and also the surface edges are
overlapping each other. You can extrude your care
through the boundary, but you should delete
the extra parts. Great. Let me exemplify using extrusion in more
complex geometries. However, we have talked
about it before. For instance, here we got these curves inside of
each other. Check it out. If I extrude them
in the extrusion, will be applied on
every other curves as you can see. Check this out. For example, this is
independent geometry or solid. We are given multiple
independent solids. And as you are concerned, these were some
complement points about using extrusion in curves
in close planear curves. The next pin is extrude
curve to point, drive close planear curves. Tapering to a point. Let me give you an example. Here, for instance, we got this rectangle and then extrude curve to
point. Check this out. You can specify a
point at the end. You can create the surface by tracing the
path of the curve, tapering to converge
at a selected point. For instance, at the front
view, check this out. I specify the point, then we can have the extrusion
this way, like a pyramid. Or, for instance,
curve to point, and then I can hold down Control button in order to move the point
vertically like this. Great. And this is
what the extrude curve to point provides us
with another example. Suppose that I got two curves inside of
each other this way, just like the previous
example. By this way. Great. And then if I want
to extrude these two, check this out as you
can see it is void. At the front view and then specifying the
point. Check it out. And do we have the same options with the extrude planar curve? I mean, planar closed curve, we got solid and to
boundary and also, for example, if we
set solid to no, in the ends of the
extruded object won't be filled if planar surfaces, but if we set it to yes,
then it will be filled. Let us check out
the other options, for instance to boundary. But how can we use to boundary when we are specifying a point? I mean, when we are creating a surface by tracing
the path of the curve, taper into a converge
at the selected point. What does to bound remain here? For example, in the front view, I draw a curve, and then I want to extrude it like this way.
We got a surface. Great. Following that, I
select the other curves, and then I want to extrude
it to the boundary. Check it out. As you can see, I should specify a
point to extrude two. I click onto boundary, and then I click on the surface, shake this out.
We're not done yet. What will happen?
What do you think? In the front view,
as you can see, and then I move it
upwards and then when we extrude an object to the point and when we
set it to boundary, the extended parts from the
specified boundary will be trimmed and the extrusion will be inclined to the
specified point. Let us try again. I specify the curves, and then as you can see, you're a deconstruction plane, I set it to boundary. I select the surface. Here we got the cutting edge. I mean, the surface is
considered as the cutting edge. After that, I can specify the
point to extrude the curve. After that, the
surface will trim the parts which are
extended from the surface. So this is the result of
extruding the curve to a point when we set it to a boundary or extruding it to a boundary. And the next one
is extrude taper, here extrude curve tapered. The extrude curve
tapered command creates a surface by
tracing the path of a curve in a straight
line tapering in or out at a
specified graph angle. You check it out as you
can see got a rectangle. You're extruding the
rectangle based on the draft angle as
you can see here, you can specify the draft angle. I click on it, and then I set, for example, 30, or let
me minimize the value. And here, if we extend
it to the extent, then we can have a
reasonable object. Watch this. So you
should enter on a specific value for the
height or extrusion distance. But let us check it
out the options. Extrude curve tapered,
and then the draft angle, and minimize the value of
draft angle for the taper. And also here we can
filip the angle, which tagles the draft
angle direction. Check it out with philip
the angle direction like this way so that you can
tagle the direction. In the corners, here you specify how corner
continuity is handled. We've talked about this before. For example, you can set
the corners to sharp sharp, as you can see the
corners are sharp, or you can round them. These surfaces are
filled with fillts with tangent G one
continuity or grade one. And I have about the differences between round and smooth. If I set it to smooth, the corners of the tapered
surfaces will be filled with the blend segments with curvature or grade
two continuity. While in round, it will
be filled with fill it a segments with tangent
grade one continuity that we usually use
round instead of smooth. In the following example, I want to draw two
curves inside of each other and then show you the results of the
extrusion like this, and I select them
at the same time, and then I extrude
them to the point. Watch this. Here as you
can see the directions of the draft angles are ops are opposite to each
other as you can see. And if I extrude them, this would be the result. And if I draw another curve, then we will have extrusions
at every other curves. Check this out. I select them. As you can see the first one, the angle is toward outside
and then the draft angle, the second one is toward
inside and the third one toward outside
again, like this way. The rest of the options are similar to the extrude surface. I select the curve,
and then I extrude it. I set it to sharp corners
and about the direction, which are two points, establish the direction angle. For specifying the direction, we got two steps. I pick a base point, and then I pick a second point that establishes the
direction angle. The default mode was perpendicular to the
curve. Watch this. This is the result
when we modify the direction when we are
using extrude tapered curve, as you can see the
faces are exploded, and we talked about
the draft angle that you can specify the angle, and you can set
solid to yes or no. And we talked about the corners
asvill and delete input. If we set it to yes, it
deletes the original geometry, but if we set it to no, it retains the original
geometry and flip angle to boundary and set
base point that we talked about them
before completely. The another one is extrude
curve, long curve, which creates a
surface by tracing the path of a curve along
another path curve. And as you are concerned, it is somehow just like sweep, which extrudes the curve
along other curve. Let me give you an example and then say the differences
between this and sweep. I'm going to begin with
a rectangle like this. Sake it out, and then
a different view, extrude curve along curve, and then I'm going to draw the curve along which I want to extrude another
curve like this, and then I move it position
it at the origin point. Let me create a copy to create
a surface by using sip, and then I want
to coampare them. I start extrude
curve along curve. Here I should select
the curves to extrude, here the rectangle, then press inter here I should specify the path
curve near the start. And as you are concerned, we're going to start from
the bottom or from the base. So so I click on
it near the base, and here as you can see,
we got the extrusion. But if I click at the other end, what would happen next? I select the curve
and then enter, then I should specify
a path near the start. Then it would be like this. I mean, the extrusion
will be moved. Check this out. It will
be started from the base, but the direction has changed. As you can see, which is
not that much practical. But let us check
out the options. The command line options, for example, solid, dilate
input and sub curve. The sub curve option extrudes
the curve to distance. The distance is specified by picking two points
along a curve. I mean here we can pick two points to specify
a distance or a specific part of the curve to extrude
another curve along that. Check this out the
starting point on curve, for example, to here and
the end as you can see. Let's try again. I
select the curve. I set subcurve to yes, following that I should
specify the path and then two points start and
end of the extrusion. Well done, another
option is to boundary. But what is the rule
of boundary here? What do you think about it, huh? You know, it is somehow similar to extrude
curve to point. Here I draw a curve to
consider it as the boundary. I'm just preparing the scene for giving you an example by
setting it to the boundary, and then you will see that
as much as the extrusion extends or crosses through the surface or the
boundary will be trimmed. Curve long curve. I select the curve. I set it to boundary. Then I specify the boundary
by clicking on the surface. Following that, I should
specify the path. Check it out, just like
extrude curve to points. Extrusion is limited
to the surface, and the parts that
are crossing through the surface or to the
boundary are trimmed. But let us check out
the differences between the curve along
curve and the sweep. So I undo the process, and then here is the result. Following that, we're
going to create the sweep, create the surface by sweep and then say the
differences between them. As you are concerned, the angle between
the cross section and the path is fixed. While the angle between
the cross section and the path in the long
curve is not fixed. I mean the cross section
in curve along curve, as you can see it is fixed. Well, let us try and create a surface by using sweep to
show you the differences, rail and the cross section
curve. Check this out. As you can see the cross
section is not fixed, and it is rotated at some
of the sections, however, we usually use curve
along curve and sometimes we can use
swip the next one, which is a slap from polyline, here I'm going to ask you a
question related to this. Here if we had this
curve like this, a closed curve like this, and then if I want to
create alls out of these, exactly, we should offset the curve and then extrude them. A slab from polyline, do these two processes
at the same time. I mean it offset a
polyline and then extrude and cap the
result to create a solid. I mean, it is a combination
of offset and extrude. Let's stick it out.
The slab here, we should select the
curve to a slab and you can specify the distance
as well at the same time. For example, the offset
distance not 0.8, and then I select the
curve to offset it. You can specify the
direction of the offset. Well done, then we should
specify the height. Right, check this out. So we offset the curve
and then extrude it and cap the result
to create a solid. Let us try again at first, slab and then select the curve. And here we should specify
the offset distance. For instance, not 0.5, then I select the
curve toward outside, and then I extrude it
to upwards, well done. Let's check out the options. However, there are just like
other commands, for example, through points that
we use it in offset that we can offset through a pick point instead
of at a distance, for example, like this, through specifying points in the scene and then height, well done. Another option is both side as we have talked
about it in offset, that it draws the object on both sides of the start point, creating the object twice
as long as you indicate. Like this way and the
next one is loose, which has been set to know that it specifies the number
of the control points, that it can increase
the number of the control points
or have them fixed, but it is not
practical and useful. But I know here there is a question that what
are the differences between slab and using
offset, extrude and cap? I mean, slab is a combination
of offset, extrude and cap, and we always use
offset and then we extrude it instead
of using slab. Here I want to tell
you one difference, and I want to explain it. Suppose that here we got
a closed curve like this, which is planar, and I
select it after that. I create a copy, and then I make it treaty or
non planar, as you can see. So one of them is planar and
the other one is non planar. Following that, I want to create valves out of these curves by
using offset extruding cap. Offset, the first
one, he this out. And then the second one both, and then I should extrude them to create
valves. Watch this. And I said solid to yes. Well done, check this out. This solid has been
applied on the first one, but not applied on the second
one since it is non planar. And as we have mentioned before, you have to specify a planar curve if you
want to make your solid, make your surface solid. However, we can feel
the openings or the holes by so this
is the difference. I mean, when you are using
a non planar curve and you want to use a slab upon
it and have them solid. So at such a condition, you can use a slab. I mean, our first
choice is a slab. Check this out, and
then we extrude it, and as you can see, it is solid. So by using a slab, we can make the non
planar extrusions solid. While if we use extrude, we are not able to
cap the opening. Also, when we are using
offset and extrude, we should specify
a planar curve, not non planear curves. Otherwise, the non
planear curve is not supported by
offset and extrude. Let us go for the next
command, which is boss. The boss command extrudes closed planar curves normal to
the curve plane toward the boundary surface where
the boundary surface is trimmed and joined to
the extruded objects. I start the command to
give you an example. Here I should say the planear
closed curve to boss. Not that, the curve
should be planar closed. I mean only the planar and the closed curves are
accepted by bus command. So we require some
planar closed curves. Right now it's time to
select them. Check this out. I select these planar
closed curves, and then I should
select a boundary. I specify the boundary,
which is the surface. Then let's check it out, guys. Here is the result. Here the curves are
extruded to the boundary, and the boundary surface is trimmed and joined to
the extruded objects. Let us try again, boss, selecting the
closed and planar curves. Following that specifying
the boundary or surface, and then extruding
the specified curves to the boundary while they are trimming the boundary
and joined with the surface. Here, the only option is mode, which sets the style
for the extrusion, we can choose either
a straight or I mean, a straight extrudes
the curve straight, or we can choose tapered, which extrudes the curves
with a draft angle, and the draft angle sets
the angle of the taper. And if you set it to tapered, here you should have
specified a draft angle. For instance, I 12. And then I specify a
boundary, hack this out. As you can see, this
is tapered mode or the tapered style, well done. As you can see, according to
the specified graph angle, the curves are extruded
to the boundary. But here if I in the
following example, I want to move the
surface and make the edges of the objects and also the surface
aligned with each other. Since we have specified
tapered for this tile, we will have different results. But taper as mode and 12
degrees as the graph angle. Specifying the surface or
boundary, check this out. As you can see the objects that their edges
are aligned with the surface edge
are not extruded because they got no
intersection with the surface, and you should fix the position of the surface or the boundary. This time, I want to
set the mot straight, and then I want to try again. I specify the objects and then the surface and to
extrude them, check this out. Here, there is no
problem since they got intersections and
they are not tapered. But here if I position the
objects or the curves, the closed planar curves at
the top of the boundary. Then what will happen next? Check this out, I move them, and then I position
them at the top. The extrusion will be started from the
top of the surface. Check this out. Let's
try it by this way. It is opposite to
the previous one. Boss is very practical and we use it often only
in our projects. For example, we
can create windows that I will show you in
the following example. Here, let us consider boss in closed surfaces
as the boundaries. I hold down Control
and shift patterns, I select the edge, and then I move it downwards by this way. Then at the front view, I pick the rectangle. I want to draw
several rectangles. I create some
copies by this way. Shake it out, and
then I mirror them at the another side. Well done. At the top view, I
select these curves, and then I position them
inside the solid object. Let me make them ghosted, watch this. You can see. Great. Since here, I'm going
to give you some examples, so I create some
copies like this way. Well done, let us check it
out and tell the points. Firstly, when you are selecting these closed
planear curves, and after that you want to specify the surface
is the boundary, the phase that you specify while specifying the
boundary does matter. So we're going to compare
them boss, the front face. I pick the curves, and then right now for
specifying the boundary, I click on the front face. Then this will be the
result, as you can see. And as you can see
the face, I mean, it extruded two the objects or two are the closed
planear curves, and the depth of the
extrusion is dependent to the distance between the
curves and the face. So this was the first point about the depth
of the extrusion. Then following that, we're going to consider another case that I want to click on the back face of the boundary to
show you the results, Alt Control G. To set
them to ghosted mode, I select the curves, and then I click on the
backface of the boundary. Then they should be extruded toward the backface
of the extrusion. But as you can see, we
got a slope at the top, check out the
results. Watch this. We will be given such
a result because of the slanted top face of the box. But here if I want
to set the style to tapered and then consider
the results, bus, and then I set the
motor tapered and then the graph angle 45
degrees, let's check it out. I select the curves
and then press inter, and it's time to specify
the front face boundary. Well done. This is the result. Check it out in the rendered
viewport. Very well. However, I should minimize
the value of draft angle. For example, let us try the 30 degrees as
draft angle value. 30, check this out. Then I click on the front
face of the boundary, check this out.
Here is the result. And this time, if I want to click on the back
face of the boundary, then what would be the result? Boss, selecting
the curves, enter, then clicking on the
backface of the boundary, and specifying 30 degrees
as the draft angle. Let's check it out, guys. Here there is, as you can see, there is no boundary here. So because of the tapered angle, we got such a surface right now. So this can be a
correct technique for voiding some parts from your solid objects
or creating windows. Or if you wanted to
have some voids at the surfaces or at the
faces of your objects, bus can be a good choice. Even then we can
choose them and then extract them from the surface
from the face, actually, and then assign them to a
new layer like this way, or you can even specify new
materials, check this out. Again, like this can turn
them to blue, for example. And another point that
I want to tell you here if I create a box like this, a closed surface following
that at the front view, I want to position a closed planar curve inside of the surface, as you can see. Here it is a degosted mode. You can observe it. I
position it at there, and then I rotate it. Well done, following that, I want to apply
boss upon this and I want to choose the front face as the boundary.
What shall happen? The first option
or the first case, it will be extruded
straightly to the boundary. Will it extruded straightly to the specified boundary
or the front face, or maybe it would be
extruded perpendicular to the curve or to the planar
curve and to the boundary, or maybe it wouldn't work
out. What do you think? Exactly, it will be
perpendicular to the curve. I mean it will be extruded perpendicular to the curve
and to the boundary. Here I should select a planar closed curve and after that, the front face
boundary, this out. It is perpendicular
to the curve, as you can see, and then
reach to the boundary. Okay? This was the points about boss boss command
that we usually use it for creating voids or
voiding the solid objects, as I mentioned before. Explain it Rip as you can see? RIP is somewhat like boss that I want to
explain it for you at the previous example
Rib would extrude the curve in two directions
to a boundary surface. Let me show you the example and then I
will explain it more. So as the boss here we should
select a planar curve. You specify them, and we
should select a boundary. Check this out. Here is the
result. But what has done? You can see, just like pass, the extrusions are joined
with the boundary. But what are the differences? But as you can see,
the curve are offset. And then they are
joined to the surface. I mean, it has extruded the curves in two directions
to the boundary surface. We can specify the offset. Let us talk about the
option in the command line, reap and selecting the
closed planar curves. After that, here we can specify a value as you can see
in command line options, which is the offset distance. You can control it from here, I click on distance, and then I import
the value not 0.4. This is the value
of offset distance. So it would offset
the curves, not 0.4, then they will be joined
with the surface, and the holes or
the opening parts are not filled, as you can see. And here we can
specify the style or the mode to taper
it or straight, and also specifying
the draft angle like ten degrees and two for
the offset distance. Then let us i out the results, selecting the curves and then
specifying the boundary. Watch this. Not bad. Well done. And this is not usually used. I mean, compared to boss, ib is not oftenly
used as much as boss. And if I position the curves at the top of the
boundary or surface, and then they will be
extruded from the top, let's sick it out the boundary, and then I extrude them. Well done. Here is the result. And another point that you should put it into consideration while extruding your curves
is that, for example, some of the geometries like
the semicircles like this cannot be extruded vertically
and toward up along z axis. I mean, we can extrude
them along the Y axis. But if I select it, and then I want to
extrude it along z axis, vertically Watch this, we would have mean we won't have
satisfying result. The reason here is that at
the vertical directions, we got two control points which are aligned
with each other, so we cannot extrude
it along z axis. But how can we fix it? If you wanted to extrude your
semicircle along z axis, you should select it,
and then by using Gmbol, you can extrude it this way. So you are not able to extrude your semicircles along z axis, but you can use the gobol
for extruding them. However, we can click
on the Gmbol and then import the value of
extrusion distance. So guys, you're at the
end of this session. I want you to practice
the given lessons today so that we can go for the
practices and other examples.
114. Example: Bench Design: At this session,
we're going to model this desk as our practice
or table, actually. But here I'm going
to give you some points about the table. At first, as you can see, the top face is tapered, and these are the
legs of the table, which are straight as you
can see at both sides. Note that when you are learning
some commands in rhino, it is common between the
learners some of them make the process of modeling too complex for themselves and
complicated, actually. Right now, I want you
to go through the easiest and the
quickest approach and method for
creating such a table. And even you can ignore
the new learned command. For instance, for the
top face of the table, I can use extra tapered. I select the rectangle, and then extra tapered. I choose shop for the corner. I specify the draft angle, or even I could draw another rectangle and then
of but if I did that, it would be like
this, check this out, and then I hold down Alton Sat. I maximize it then creating
the copy by this way, and then I consider the distance
between the two curves. As you can see, it
takes more time than before than the
previous method. After that, we should cap the
openings, check this out. So it did take a long time. So extra tap is the easiest and quickest way
here for creating a table, and for the legs. That it could be
somehow tricky that the cross sections of the legs are not
equal to each other. One of them is greater
than the other one. So you may want to use
taper, extra taper. But as the two
ends are straight, you can open the
front view and then pick the curve and then
enable the project. I also enable the gritty snaps. Following that, shake this out. For instance, this is one
of the legs of the table, and even I can narrow the base
of the leg, like this way. So right now, we're finished. And then we extrude the
curve, check it out. By this way, as you can see, we're done with the leg. Following that, at the top view, I select it, and then I
position it, check it out. Well done. So it was very easy. And there was no need to operate more complex and
special extrude commands. Simplify this case
to show you that sometimes there is no
need to make the process complicated while we
can move the process forward at the most simple
way as much as possible. I position the legs
and I create a copy. Like this, I rotate
them. Well done. Check it out, guys. However, we should modify the
position of the legs. Well done, right
now, it's your turn.
115. Example: Waffle Roof Structure: And then here it is
our next practice, which is a waffle roof. At first, I want you
to analyze the model. Here we've got some holes or openings which have
been crgated on the face of the surface that we previously talked about
the related command, which is exactly boss. So let us create it
together step by step. Here at the top of U, and then I draw a box like
this at the perspective view. Here we can specify the extrusion distance
this way enough. Here it is
approximately, actually. Then at the top view,
following that, I want to model the
holes or the openings, a hold down shift to
draw a skewer like this. Let me maximize
the size by scale. However, we are drawing
them approximately. We do not have any dimensions. Then I array the square. For the numbers, for instance, I specify 30 to try 18
at Y and zero at Z. Let's check it out. A leather, we do not have the
exact spacing. So here I should reduce the
numbers in x direction 229, and I should add one
align the Y direction. Let me adjust the
spacing, 2.42, 2.45. I think this is great. And then for Y spacing, 2.42 or 2.41, I think it
would be great. Well done. Inter, check it out. In the perspective view, we got some skewers, and then I want
to select them in the front view from the main by crossing
from left to right, and then I move them upwards. I mean, here I can specify
the extrusion distance. The more value for
the extrusion depth, the more should I
move it upwards. For instance, I
position it like this. I set it to go to display mode. Then I start boss, I select the curves, in two steps by crossing
from left to right. After that, I should specify the bottom face or the boundary. We're done. Let's check it out. Should wait for a second, since here we got
multiple squares, so it takes some times. Be patient. Well done. Here is the result. We're done. And as I showed you the steps, it was too simple and easy
by using boss command. If you haven't done it
yet, let's give the try.
116. Example: Curved Roof Villa: And for the next practice, we're going to model
this building. Here is the simple
version of the building, as you can see on this screen. Here we got a surface,
as you can see, and there is an opening
at the top face, and here is the plan view, and there is another surface which is joined to
the bigger one. And there is another roof. Check it out at this image, and you can see the
plan view as well. Here, as you can see,
the roof is joined with the wall like this way. So in general, you have to model the roof and
also the valves. They are simple, the stairs
and also the other roof as I'm pinpointing and the
valves and the back roof. So please put some
time on creating this. After that, you can come
and watch the continue. I'm going to start
from the plan view. I want to draw some curves
to complete the plan view. So back to Rhine nuh, I'm just drawing this
curve as you can see, back to Rhine 35, and then I extend
it toward left. For instance, 80 meters
inter, well done. Here we got two
curves and then for the other two sides by using
three points arc and then, for example, this one, and
then the fourth one, great. Here we got the plan
view of the model. Great. Then it's time
to create the roof. In perspective view,
I want to draw a vertical for the left and
also right parts of the view. Then in the front view, as you can see here, we
got two vertical lines. I pick arc with three points, project is enabled,
and then I start. Then I enable the Smart track. I specify the endpoint,
and after that, the second point
for the continuity of the arc, check it out. I remove the two vertical lines. Then at the top view, I move it, and then I specify the distance, and then I want to extrude it. In order to cover the
roof, check it out. To cover the curves,
as you can see. By this way, as you can see
at the perspective view. Then here we got two approaches
for creating the valves. Let me join these curves, and then we will continue. So what are the
approaches you think? For example, either
we can extrude it like this and what is next? Exactly, we can use shell
to remove the top face, and then we can trim
the extra parts as we did this process before. And what is another approach, you think? What do you suggest? We want the curve to be extruded and also joined
with the surface. Exactly, we can use slab. Which was combination
of the commands of offset and extrusion and
also cap can extrude it, and then we can trim
the extra parts. So this is our second approach. Then in the continuation, we're going to form the roof. I mean, we're going
to cut the roof. So what should we
do? For instance, I want to offset the edges. I start offset, and then I select the curve,
check it out. I specify one or the offset
the stance, check it out. The right, here we got the curve on the
construction plane. Then at the next step, we can split them
or either trim. I select the reference point and then I click on the
surface to trim it. Watch this. Well done, this is the result, and
it would be like this. So we're done with the surface. Then for the opening
on the face, which is so simple, here, again, we can use offset. And I select the curve
here through points. Following that, for
example, like this, till here and let me split
it. Then I want to trim. TR trim, I keep this
part of the opening. After that, again, split. I select it and then enter. Then I want to remove
the splitted part. Then here even I can soc
the material like this. Here it is and you can draw the curves on the opening
by using section. Now it is very simple.
Shake this out. I draw some lines by section, then press inter, and
even you can see, you can separate them
from the opening. They are grouped, and then
I convert them to pipes. I set multiple. Watch this. Then I select the edge, and also the other edges. I select the four edges and
also the section lines. To convert them to
pipes and modeling the frames of the or mollons of the window opening on the roof. Then the pipe radius not 0.3. Here is the result. Great. However, the materials are not displayed in
the rendered viewpoint. Then for the front plane, so I open the right view, and then I pick the arc. Watch this. I specify two
points, and after that, the point on arc I
turn off F eight, I position it there like
this way, I move it here. And then in the continuation, if I extrude it, then we will have another
roof, shake it out. Here, there is a point that you should put it into
consideration. Here when we want to
extrude this surface, we can't use the boundary. When you want to extrude your curve, the
specified boundary, the path that you
trace should be perpendicular to the
construction plane. I mean, you have to
extrude the curve along z axis if you want to extrude
your curve to a boundary. So we draw it like this and we can pass it through the roof, check it out in a frame. Then we can trim it, we
select the object to trim, and also the cutting object. Check it out. You can
trim it by this way. Then for the back face, I open front view, and then I draw a curve, then I mirror it at the
another side, joined. Watch this for another roof, and then I move it to there following that by using
extra to boundary. As you can see,
it does not work. So I pass it through
the surface, and then I should
trim the extra parts since the extrusion is
not allowing the z axis. So that we are not able to
extrude it to the boundary. Great, we're done
with the roofs. And here as you can see, the
roof has been trimmed with the interior face of the extrusion or the
valves, actually. But if you wanted to trim
it with the exterior valve, you should click on the
exterior wire isocurves. And for the valves, I set it to wire frame, and I draw the curve
here. Shake it out. And then I miror it at the
other side. One more curve. Watch this. Then I connect
the perpendicular, and then I select the
curve to mirror it at the other side
by picking a plane. Then I extend the end perpendicular
to the another curve. Watch this well on the weight. Then I select these curves to extrude them and
then create the vol, check it out to
boundary like this way, and then I select
the other curves to extrude them to the boundary, and then I click on the
surface, as you can see. Right now, suppose that
we're going to avoid this part as the entry of the building here
at the top view, and then I pick a split. Then I select the surface enter, and also the curves of the alls. Then I press down Enter, check this out, and
then I split them. And for the base base
part of the all at first, I specify the surfaces and then the objects to trim to open the
entry, as you can see. Then for the stairs, I open the top view. I hide the roof, and then we are going to
draw theirs at this part. I pick the line, and then I start drawing. But when you are drawing
the curves of the stairs, no that you have to
enable the project, since we want the curve to be projected on the
construction plane. And if you do not
enable the project, then you will be encountered
with such a result. Watch this. They are not projected on the
construction plane. The ends are connected to the surface because
of the gritty snaps. Even if you did not
want it to use project, you can use the command of
project to construction plane. So I search for
project to see plane, and then I select the curve to project on the construction
plane. Then you can fix it. However, from the beginning, you can enable
project and then draw your curve on the
construction plane, nabling project,
and then I start drawing on the construction
plane by this way. To consider these as the stairs. However, as you can see, I'm not drawing the curves regularly since I don't want
to put much time on them. Well down, check it out
in the perspective view, we got them
deconstruction plane, and then I select them, then I isolate it. Then I close the
curve by a curve. Here is the result. Following that, I should create a surface out of the exterior, the most exterior
curve planear surface. Then I select the
exterior curve and then I press down, Enter. Then for completing the stairs, we have to split them. So star split, then I select the object,
press down Inter, and then choose in the cutting
objects or the curves, and then press down Inter. Then we will have
these. Well done. Then I select the three
surfaces and then extrude. Let me choose the proper extrude command,
extrude surface. For example, what the
distance of not 0.5. Then press down Enter.
I want to repeat. This time, I choose this two, not 0.5 as this
extrusion distance. And then the last one,
check it out, not 0.5. Check it out. This
is the final result. So, guys, we're done
with the building. And right now it's your turn, and I expect you to create it.
117. Pipe Tool for Tubular Forms: Then in the continuation
of the solid commands, we're going to talk about
pipe, pipe round caps. As you remember, we have
talked about it before, but right now, we're going
to go through details. I fixed the Duckable window
here is solid creation. In pipe, if we want to select only one curve to
convert a pipe, then we can specify
multiple values or radius. Is that pipe command to create a surface with a circular
profiler around curves. Then I specify two
different values for the radius,
and then I start. However, I can add more circles between the start
and ends, check this out. I adjust the radius, and then I press down Inter. Let's check it out. Here is
the shaded display mode. Well done, but here if I want to select more than one
curves to create pipes, then I can only specify
one value for radius. And meanwhile, here
we should click on multiple since you are
selecting more than one curve, otherwise, you are
not allowed to cross a rectangle and then
selecting the curves. So you should click
on multiple and then selecting the curves,
press down inter, then we can specify the value for the radius
like four, and we're done. And as you can
see, the radius is regular at all of the
curves by this way. If we had a surface, suppose that here
we got a surface. By this way, I want to give
you a new point about pipes, and we haven't talked
about this before. I move these curves. Here, for example, we got a
surface like this by loft, and then I want to convert
the edges to a pipe, create surfaces round surfaces. Here if I do not
click on multiple, that we will be able to select
only one of these edges. As I told you before,
we can select the edge surfaces as curves. For example, I
select one of them, and then I specify
the value for radius for then the start and
other parts of the curve, as you can see regular
or actually irregular. If I click on multiple in
order to choose all of the surface edges at the same time and then
pressing down inter. Here I can only specify one value for the entire
parts of the pipes. But here if I start pipe and then I want to use chain edges, then you can select
the surface edges that are touching
the selected curve. Watch this by this way
and you can consider them as only one curve,
not multiple curves. So that you can specify
variable values for the radius. For example, at each side, I specify different value for radius for
each of the edges. But when we use multiple, you're not allowed to specify variable values for the radio. So when you wanted to select the edge surfaces and
then creating the pipes, you can use chain edges, since it allows you to select surface edges that are
touching the selected curves. So I do not recommend
you specify to set multiple for
the surface edges, while you can use chain edge, and then you can select these
curves or the edge surface. Meanwhile, you can specify variable values for the radio,
this way as you can see, and another example
that I can tell you about the applications
of chain edge. For instance, here we got a
planar surface like this, and then I want to draw a
circle that I have started drawing the circle from
inside the planar surface, and then I want to
trim the surface by the circle like
this way, a this out. Here as you can see, the edge
is divided into two parts, so it is splitted
since the sin point has been positioned on the
surface. Check it out. The edge is splitted because of the sin
point of the circle. And if I want to pipe the, here I can set sit it to
multiple and then only specify a regular value for
the radius, and we're done. Here if I want to specify irregular and variable
values for the radio, I can't use multiple, so I click on chain edges, and then I select the edges. Watch this. And as
you can see here, I can specify variable values
for the radio of the pipe. This was the application of change edges in
your projects and the other options
that you can use for pipe is cap that we
talked about it before, but we're going
to have a review. We select and then start cap. We got different types of cap, for example, flat,
press down inter. This is the flat type of cap, and the other types, let me open it is,
for example, round. Then it cap with
hemispherical surface. But in flat, we can cap
with planar surface. And then you can remove the cap by setting the cap to
none. Check this out. So these were the three types
or three styles of cap. And when you are creating
a pipe by a flat cap, let me show you a de
rendered viewport. I mean the another point
when we specify a curve to create a pipe out of the
specified curve like this way. Here as you can see, we got
flat caps at both ends, which is not like a pipe. Since at pipes, we
got two openings, but no matter, since by using
the option of thickness, we can specify the value for the distance between the inside
and outside of the pipe, and the negative numbers make the first radius the outer core. Here as you can
see, we got a pipe. Let's try again on the
over the other curve. When we set thickness
to yes, at first, you specify the start
radius. For example, four. After that, we should
have specified a second start radius. So if you specify
the first one, four, and then the second 13, so that the thickness
will be one. I mean, the subtraction would be assigned for the
thickness. Take this out. The thickness is one
because the start is four and the end is tree. And even if we select
multiple curves, we can set thickness to yes. But we can't specify the
pipe of the start and N, but here we should specify two values for the pipe radius. For example, four in
the second radius, tree, for instance,
check it out. Here we got the pipes. So when we are selecting
multiple curves, we can set the thickness
option to yes. So, guys, it's your turn to take a look on these
examples, see.
118. Boolean Tools: At this part, we're going
to talk about the booleans, that we can find the tools in solid til tap. Here there are. Here we got four types of booleans that we've
talked about one of them, which is Boolean difference. But today, we're
going to allocate this session to Booleans. So let us start. The first one is Bo and union. Boolean union command
trims the shared areas of selected polysurfaces
or surfaces and creates a single polysurface
from the unshared areas. For instance, here we
got two polysurfaces, which they got intersections
with each other. And then I want to
create a sphere there following that I want to unify these polysurface
with each other, which got intersections
as you can see in the ghosted mode, so we can use Bully and
union to unify these curves. But we can't join these guys, since the closed surfaces cannot be joined
with each other. Check this out. We cannot
select these closed curves, and join I mean, does
not accept these. But, for instance, if
we had two surfaces, like these, check this out. These two are exploded. Then we can join these two surfaces after that we can have open polysurface. But here we got three
closed surfaces, three closed polysurfaces that cannot be joined
with each other. So how can we unify them? Exactly? We can use Bool union, and there is no option for it. We select all of
the polysurfaces, and then press down into. Check this out. Here we got
a closed solid polysurface. And it trims the shared areas of the selected polysurfaces, and then we will have
a single object. Let us work on some example. I want to introduce
another command. Here, for example, we got multiple boxes or solid poly
surfaces like this way, that got some parts shared with each other
or intersections. Like this way and I want to mirror them at
the other side, check it out. Another copy. Well done. Here we got these poly surfaces that they got intersections
with each other, and some parts are shared. So how can I create a
single object exactly? Bolan onion, I select them and then press down
Inter. Check it out. Here I can select them
by just a one click. The top surface, as you can see, is not regular. Is not even. For example, if I hold Control
and Shift, check this out, they are not plain R. However, it could be practical
and useful. For instance, we
can select some of the faces and we can extrude
them this way. Watch this. Great. In the rendered viewport, it is interesting, but
sometimes we don't want this. We want them to be regular, you know, not irregular. I mean we want the
total top face to be selected in
just one click. For example, I cannot maximize the height of these
since we got multiple faces. Here we got a command which is merged to coplane our faces. The merged surface
command combines two surfaces into one
surface at untrimmed edges. Here we got two times
merge two coplne our face and merge all
coplane our faces. So we can merge them two by
two or we can merge them all. And as you are concerned, the surfaces should be plane r at the same
construction plane. So I write clique since I
want to merge them all, then I should select
the polysurface. I select them all and
then press Inter.Fel done as you can see the faces are merged,
undo the process. To show you again. So we talked about merge
two and merge, which combines to serve two or more surfaces into one
surface at untrimmed edges. When we want to
merge merge to face, the mergers should be at a
command construction plane, and they should be planar. So I should start the command
and then specify the faces, which are planar and they
are connected or joined, and then I can have them
into a single surface. So in most of the times
after unifying the surfaces, we merge the faces. Let me give you another example. That I want to use merge and
we can learn merge deeply. Suppose that here we
got these curves on the construction
plane by this way. Well done. Then I want
to convert them to planear surfaces which are
connected to each other, and I assign them to
different layers so that we can observe them
better and distinguish them. Here, the question is that, can we merge these or not? I mean, according to dimension
points, can we merge them? Okay, let's try. Solid tools, and then right click merge. Then I specify the faces. Well do Enter. Nothing has happened. As you can see, the four
polysurfaces could not be merged further because they
are not joined exactly. Here we got deplane surfaces, but they are not joined. Or if they are if
there are some solids, they should be unified
before merging them. So at first, I
select them and then make them joined. Check it out. Then here for removing the Isaac curves and
the lines between them, we can merge them, check it out, Inter. Great. We're done. As you can see here we've got
a single face or surface. The other points here if I
hold down Control and Shift, and then I choose the vertex and then I move it
upwards by this way. Then I select all of these
and then I make them joined. Can I merge this? Let's try. I click on Merge
and then Inter, check it out. Here as you can see, only the
planar surfaces are merged, and the surface which is not planear is not merged
with the others. It is independent to others. I mean, it is still
joined with others, but it is not merged. If I explode it, check it out. We got two faces, the merged
and the not merged one. So this was the point
about marriage. For example, we got an example
about extrude face before, extrude face and move face, extrude face at first, extrude the top
face, for instance, here as you can see,
we got two solids. But when we use move face,
here as you can see, even after moving the face, we got a single object, not two. Solid objects. But if you had extruded your
solid object struth to face, after that, you can merge it. Watch this. Press down inter. Right now, these two are
similar to each other. They are considered as
single solid objects. So this was all about
the Boolean union and also the side points. The next one is
Boolean difference that we talked about it before. The boolean difference
trims the shared areas of selected polysurfaces
or surfaces with another set of poly
surfaces or surfaces. After specifying the surface that I want it to be subtracted, I should specify the surfaces that I want you
to subtract with. And you can set
delete input to yes. That if you said it yes, it delete the input object. But if you set it
to no, it keeps the origin or the input
object. By this way. If you set it to no, let's try. I select them, and
then I set it to no. Here, as you can see, the
input objects are kept and the shared parts are
trimmed or subtracted. Let us talk about the points. I'm going to
exemplify some cases, and then I explain the
points over the examples. Suppose that here we've got a surface like this,
which is extruded. Following that, in
the front view, I want to draw a box or
create a box on the surface, and these two got intersection, got some parts shared
with each other, and then I want to exemplify the cases over these
geometries, well done. Great. Let us move on. I create some copies for multiple examples and
considering the different types. Great. I select them and create
another copy by this way. Let's begin with this. Here we got a surface
and also a solid object, a closed solid object that
we want to use Bolli and difference or we
want to delete or trim the shared parts
between these two objects. I want you to guess the results before starting the command. For example, some of you may say we will have
an opening inside the surface or some of
you may guess that some of the parts of the
surface may be kept. So if you start the command,
Bolli and difference, and then I specify the surface
as the subtracted surface, I set input to yes, and then I click on
the solid object. Watch this. This is the
result. Okay, right? This was before,
and this is after. As you can see, compare them. So, guys, when we use bullian difference between
a closed and open surface, and you will see that
this solid object will effect the surface and
removes the shared parts. This was the first case, and the next one, first of all, let me explode them, and then I remove the top faces, the front faces, actually. I have put these two to show
you the before and after. After exploding them and
removing the front face, I join the other faces
like this. I join them. Great. And then
what would happen next if I use Bully
and the friends, check it out, Enter. Let's check it out. Even if we have removed the front face, there is no difference between this one and
the previous example. So it does not matter if we remove the front face
of the solid object. The back face is closed as
you can see or is filled, but it had no effect. The next one. This time, I select them and then
make them exploded. Following that, I want to remove the back faces of each
of these examples. Right, and then I join the rust of the
faces of each other. So this time, I have
removed back faces, then I want to start
building D friends. Let's check it out the result. Check this right
now as you can see, as you can see the front
and back faces are removed. Remove both. And the next one. By this way, at first,
I explode them. And this time, I want to remove the front and back faces
both with each other. And then I'm going to
start BuildNdFrins. As I showed you in
the second example, removing the front face has no effect on the
Bull and difference, but the back face was important. But this time, we have removed
both faces back in front, and we're going to start the Boll and Difference,
sick it out. Here we got the same results. Watch this. And the last one, let me create another
copy from this, since we're going to
consider one more example. Here in the following example, I want to remove the top
faces of each of these boxes. Watch this and then start
bully and dear friends. We will have a different result. I want you to guess what do
you think? Check it out. Boolean difference
failed as you can see, because there is
not a closed curve intersecting with the surface. And as you can see
in other examples, the top face of the box has
been shared with the surface. And here as you can see, the boundaries for the
subtracting is not specified, and as the top face of
the box has been removed, the Boolean difference
has failed. And normally, if we remove the top and bottom faces of
the box at the same time, then the Boolean difference
would be certainly failed. Let's check it out. And then there will be shown
some warning messages. Let me see. Wait for
a second, please. At first, let me join them
after exploding down, and then Bully and
the friends inter, shake this out since we have removed both top and
bottom faces of the box. But note that here
we got some objects, and as you can see the
intersection curve, and that naked. After revising the problem, should delete these objects. And it is different from CAD. And then we made some problems through the process of modeling, and we will be given
some warning messages. We should delete these
and then check it out. They are objects. So after revising the problem and
deleting these objects, you can start the bully
and difference again. First one was closed. The second one the
front face was removed. Then at the third one the
back face was removed, and then at the next one, the both faces, front
and back were removed. And the next, that the top and bottom faces
were removed so that the bullion difference has been failed since they got
no intersections. For example, we got the same process in
our practices, too. For instance, when we
got a clander here, which got intersection
with the box, let me move it upwards. Well done, I fix
the position and I create another copy by this
with and I explode it. I remove the top face. No, it doesn't matter if you remove the top or bottom face, then the intersection will
be removed. Join them again. Billy and your friends. I specify them, check this out. The first one. Well, done, and then for the next one. As you can see, the bully
end defence has failed. So you should put this
into consideration. And as I told you before, the intersection
has been removed. Well, very well. Let me open the
perspective view. And the following example, I'm going to remove
the shared parts between a surface
and a solid object, which is opposite to
the previous one. For instance, here,
we've got a sphere, and then I want to draw
a surface like this. And these two objects
got intersections, but I want to subtract the
sphere with the surface. But it is, is it
possible to trim the shared parts between these two with the surface,
not with the sphere. So I start bullying the friends. I select the sphere, then the surface
to subtract with. I click on the surface, then press down Enter.
Check this out. This is the result, as
you can see, we're done. So we managed to subtract
the sphere with the surface, and the shared areas
has been trimmed. And here there is a question that why the bottom
part is maintained, while the top part is trimmed. Maybe you may say it is
dependent to where we specify. Again, I select the sphere. I click at the top, and then I click on the surface. So the top part is trimmed. And this time, I
want to click at the bottom part of the
sphere by the way, press down inter, and
then the surface. Check this out. Again,
we got the same results. Even if I have changed
the position that I click how can I trim the
bottom part of the sphere? I want to maintain the top part? How can I control this? Actually, it is all dependent to the constraint normal
of the surface, but how can we control that? For this, we can use
direction command, DIR, check it out, and then we should select
objects for direction display. Watch this. As you can see, it is to or down. So here as you can see, the directions are to or down, so the bottom part
will be maintained. But if you want to
maintain the top part, you should flip the directions. Let's try it again. Enter, check it out. The top part is
maintained, like this way. And then we can use shell check it out and then
avoiding the solid parts, or let me undo the process. I want to modify the
direction again the IR. I select the surface. I want to maintain
the bottom part, sphere enter, and
then the surface. Then I want to model a chair. I can rotate it, and
then shell watch this. As you can see, there
is no limitation. We can model whatever
we want by this way. The next one is bullly an
intersection which trims the unshared areas of selected
poly surfaces or surfaces. For instance, we got
these two solid objects and I want to draw a
cylinder here like this. We got three objects that they got some
intersections of each other. After first, I select the
first set and then Enter. After that, the second set, check this out, Enter. Here as you can see, the
unshared parts are remained. Let me give you another example. For instance, at the top view, and then here I
draw a rectangle. Well done, following that
inside the rectangle, I want to draw some other
rectangles like this way. I minimize it by scale, and then I move it. Then as usual, I
want to array them, check this out 12, seven, and one in
that direction. Then I arrange them
inside the rectangle. Well done. Then I want to
extrude them taperedly. So I found it from the menu,
extrude curve tapered. I select them and
then press Inter, check this out.
They are tapered. I make them sharp
like this very well. Here is the result guys. The bottom and top
view of the model, Al Control G to display the
ghosted mode, check it out. Then in the front view, I want to draw a curve, check it out like this way. Then I extend it to the I don't want to
connect it to the curves. Check this out. Well done. Following that, I select the curve and then I
extrude the curve, as you can see if
we got a surface. Following that, I want
to offset the surface. Well, then to down, I flip the directions, and then the distance
offset distance not 0.7 for the offset distance. I said solid to yes
and at both sides, let me try again. I don't want to say it at
both sides, check it out. Want to minimize the
distance to not 0.5, flip the direction,
and press down inter. This is good, great. Check it out in the
perspective view. So as you're concerned, I'm going to use Bolli
intersection. Let's check it out. I select the
objects. Watch this. As you can see, the
unshared part is remained because it trims
the unshared areas of the selected surfaces. Let me select the surface, and then I move it to set
it apart from the curves. Well done, so
sometimes we can use Dbolan intersection and
then with our needs. Here in the new example, I want to tell you
a point by using solid objects and also surfaces. So just let's check it out. Here we got two surfaces
and also a solid object. The boolean
intersection, I select the first set and
then check this out. As you can see, it is somehow bullan difference and
for the other surface, we will have this result. But this time if I
want to choose or specify two surfaces
as the second set, watch this and then
press down inter. Here we got two solid objects because of having two surface. This is not often used and
practical in your project. The next one is Boolean split. The Boolean split command split shared areas of
selected polysurfaces, and creates a
separate polysurfaces from the shared and
unshared parts. Which is a combination of Boolean difference and
Boolean intersection. Here, for instance, we got
a solid object, the box, and also the sphere, and we're going to consider the examples of boolean split. Here, we select the surface
or the polysurface. And in the cutting surface, which is the Sphere,
let's check it out. As I told you, you know, it is a mixture
of combination of Boolean difference and
bollan intersection. Check this out. Here, as you can see,
we got the shirt and the unshared parts both
separated and remained. So as you can see,
splits the shared area, and we got both the shirt
and unshared parts. Let's try again,
Boulet and sprit. Then I specify the
first and the second. Check this out inter. I move the sphere apart. Here we got the shared parts and also the unshared parts
which are separated. And here, if at
the Boolean split, I specify two of these objects and then
for the cutting surface, I specify the two solid objects, then we will have
different results. Then we will see that both of the shared parts have been
trimmed, as you can see, since both have been considered
as the cutting objects, and we got two parts
from the shared parts. Again, let's try
Bolli and split. I select them as the
surface is to split, and then again, both for
the cutting surfaces. Then the both of the
object would be cut. I mean the sphere
has cut the box, and also the box
has cut the sphere. So as you can see,
at both objects, the shared parts are
removed and trimmed, and we got two pieces of the
shared parts between them. And let us talk about
their applications. Here, for instance, I
draw a box. By this way. And then I draw a surface which got intersection
with the box. As you can see, it is
inside the box, the curve. I move here, and
then I rotate it. Following that, I pick combo, and then I extrude
it like this way. Well done, here if I
operate building a split. Upon this, the first one, and then the second
one, check this out. I want you to guess the result. So as you're concerned, the surface has cut
the box exactly. So as you can see,
the box is split into two parts or has been divided into two parts because
of the surface. However, here you
may say that we could have used split
instead of Boolean split. Here, there's a difference
between this and split. Let's sick it out. I specify the polysurface and in
the curve, take this out. Here, as you can see, both parts of the
box are not filled. I mean, when we
use Boolean split, the opening parts are filled, and it is difficult to
fill these openings. So when we want to divide a specific solid object and we want the openings
and holes to be filled, we can use Boolean split. One more example, for instance, here we got the rectangle or
a box and these two curves, I mirror them at the other side. Check this out. Like this way. Then in the continuation, I move them and
then extrude them. Here we got surfaces which got
intersection with the box. Then Boolean split,
I select the object, and then the surfaces
as the cutting objects. Hack it out. Here
we got four pieces of the box that all of them
are solid. Check this out. The openings and their
holes are filled, and this is what
Boolean split gives us. In the continuation,
I'm going to tell you a point about creating windows. For instance, here we
got a box like this. I want you to watch this
part carefully, shell. Then I select the top face of the box and also soak
top and then I remove it following that
I want to create a window on the others
or lateral faces. I create some boxes,
check it out. The size does not matter. I make two copies. Phil Don, here if I want
to use Boolean deference, as you can see the shared
parts are removed, that I want to place
some glass falls here. But here if I want to use
Boolean intersection, I select the object and then
the three other objects. Then as you can see the
unshared parts are removed. And as I told you before
about Boolean split, Bolan split is the combination of bool and difference
and intersection. I mean, I want to keep the shared and unshared areas between these two
sets of objects. So it's time to use Bolean
split. Bullion split. I select a set of
bolls, press Enter, and then the three
boxes and then enter. But after that, you have
to delete the boxes. Then check it out as you can see these parts are split it, then you can either
remove them or keep them. I select them, then
at the top for you, I want to consider
as the glasses, so I can use scale, and then I minimize them. Check it out as
the glass panels. Watch this. Or even before
creating the glass panels, we can move them
or put them out. Here we can shell these at the
thickness distance of 9.2, and then select both sides. I shell them, and then as the frames of the windows and then select lass
created objects. Then I want to
consider SD frames or the SD Mllens of the
windows. Check this out. And then I pick the splitted
parts, and then I move them, and then put them inside of these side of the opening parts, and then I minimize them to consider them as
the glass panels. And then I change the
layer. Watch this. So by boolean split, you can split the shared areas of the selected polysurfaces, and also creating
separate polysurfaces from the shared and
unshared parts, which is very practical and
useful in your projects. And right now it's time
to practice these items.
119. Exercises: Broken Roof House : And the next practice that
I have considered for you, as you can see, there are two
buildings in Mexico City. I want to give you some
explanations about these, and then it's time to
start here as you can se, get a slow proof,
but I want you to model the roof like this
image as you can see. Here is the drawn curve
at the middle part, the vertex is moved up. I mean, the carriage
is not straight while in the picture
of the Mexico city, as you can see, the
carriage is straight. So we want you to model
the roof like this. And then you can model the windows and the glass
panels, as you can see. We talked about the method
that you're going to use at the previous session
and also the facade. Here, we got a curtain
wall, as you can see. We have some divisions
and the Moll. Know that the thickness of
the roof and also the base or a slab of the building are different with the vaults of the building, as you can see. And there are four
columns at the base that if you're interested,
you can model them. So let us start here
and dry know I'm going to start with a box like
this. Check it out. By this way, following that
I want to model the roof. That as I told you before, I want to model it like this, which is very simple.
So what should we do? Here I should draw a
curve at this part. And then we pick the vertex
and then move it upwards. So back to Rhino your
concern here exactly, we should use split
face to split the top face into
two parts and then moving the vertex to upwards. I specify the pace, and then I want to draw the split axis just
like the picture, the start of the axis, and then I extended. Watch this. Well done. And then I hold
down Control ****, and then I select the
vertex or I can select the box and then click and
turn on solid Control points. I select the vertex, and then I move it upwards
by this way. Shake this out. So guys were done with the roof, that they wanted to model it
exactly like this picture. Then we can move on
according to the picture, the picture of the
projects in Mexico City. Following that,
we're going to model the other surfaces and
removing some parts. And as you are concerned, it's time to use shell. So back to Rhino, then I start the
command of shell. Here I want to adjust
the value of thickness. For example, two, and then I specify the front
and back faces. Then I remove them.
Check this out. Here we got a surface. Great. But as I told you before, the thickness of the base and top faces are different
with the lateral se faces. So how can we adjust them? What do you suggest here? Since in shell, we cannot
specify variable thicknesses. Exactly, we hold down
Control and Shift buttons, then we select these two faces, and then by using the gumbo, I can move them and
then thicken them. But no that for extruding the
faces for most of the time, we can use the gumbo actually, since you can get access to
them in the quickest way and then import your desired value for moving them and
extruding them. Check this out two minus two. Following that, I hold down
Control and Shift patterns. I select the inside
interior face. I click on Combo, and then I move it at
the length of two units. So right now, the
top and bottom faces are thicker than
the lateral faces. So let us work on
the facade building. You need a surface to
model the front face. So how can we do this? What do you suggest? Here
I draw a curve or a line, and then let me move it forward. So I select the curve, and then I extrude
it to the boundary. Watch this. For the front
face, here there is. Then let us apply some
curve on the surface. So in order to make the
scene more organized, I isolate the surface, and then back to the right view, here I can select the surface
and bend by using section. And then I draw some curve on the surface from the midpoints, as you can see, Cat,
perpendicular, fell down. And one more. Let
me delates one, shade a display mode. Following that, for the
horizontal curves, again, I start section, start
drawing the section lines. Check it out. However, we can use other commands of array, copy, move and others. Well done, and
then pi, multiple. I select the sections and then press down inter for
the pipe radius. For instance, not
0.2, check it out. Here we got the glass panel and also the millions
of the front face. However, we can divide the part exactly
like the building. Then for the windows, as we talked about
the method before, great control edge to
show the other objects. This time, I want to hide the other objects and keep the faces to work
on the windows. So here in the front view l Control G to
display ghosted mode. Following that, I start
drawing the windows. For example, the
rectangle like this. Then I create some copies
by this way by moving them. Well done, check it out. However, I should
minimize this one. Great, and others, check it out. I scale them Great. However, their positions are
not that much important. You can adjust their
positions based on yourself. I mean, based on your
desires, it's all up to you. Then what is next? Exactly. As you remember, I introduced you a command which we used for
creating the Windows, which was bullion split. I select the solid object Inter. Following that, you should
set delete input to yes. You select the objects
and press down Inter, and then we delete these. Check this out. Here we
are given these objects. Following that, here,
if I want to move them and put them
out by this way, and then I create a copy. But at first, we
should use shell at this condition to remove
these parts from the surface. And then not 0.1 for the
thickness, check this out. Here is the frame
of the windows, as you can see, then select
less created objects. Then I modify the
layers, for example, to layer four, check it out, and then I select these objects. Boxes to move them, turning planar and project, and then adjust them in their last or previous positions
and then I position them right there as you can see.G
then in the continuation, by using scale, we can
model the glass panels. Just like these in
the modified layers. So here we have
modeled the frames or the Mllons and also
the glass panels. However, as you can
see the glass panel so the frames got some
parts of intersections, and it does not matter. However, these parts
are very important in vet and these intersections
cannot be ignored in Revit. But we've got no problem in. So if you're done with
the glass panels, then let's go for the slab. We're going to model two levels. So for the slab, let me show all of the objects. Let me model the back
face by drawing a curve, and then I extrude it, check it out, and then
extrude the boundary. Watch this. Like this way. I want to postpone
modeling the frames. And actually, for the level, I'm going to use section. Check this out. I select
all of the objects inter. Then in the front view, I'm specifying the position of the level by drawing a curve. Then I isolate it, took it out. Here is the level.
So I extrude it, and then also extend it, take this out for this lab. Well done. And later, we can delete the extra lines, since we don't need them
anymore, At control edge. Watch this. Let me hide this to show you the interior parts. Watch this. I'm going to create it again
with the process. So let's take it out. Here
we got this solid object, and I'm going to position a slab or a floor
for the building. So at first, I can use section to specify the
position of the floor. I select the entire objects
and then press down Enter. Then at the front view, I specify the position of
the level here, for example, I draw a curve to position the floor since I
don't want to I mean, I don't want the floor and the windows intersecting
each other. Here we are given
the intersection between the floor and
the other objects. I isolate them. Here we need the middle curve, which is related to
the curtain v and also the front face
and the valves. So here if I pick the box and then I started from
the intersection and then specify the next point at the other intersection.
Watch this. Then we can create the
floor and then we're done. And after that, I delay
the extra things, fre do then d control edge
to show the other objects. Let me show you
the ghosted mode. Like this way. Great. Well done. Let's give it a try.
120. Exercises: Apartment: And the next practice, as you can see here, we've got a
residential apartment. I'm going to explain it for
you at first and guide you. And then as usual, it's
time to create it. At first, let us look at
the pictures closely. You will be share these
pictures so we can check them out and
analyze them. Watch this. And these the windows
and the slanted curve, as you can see, and also the plan view that
they are not required. Well done. And the elevations, which are much needed, right? So, and the descriptions. Here we got the back view of the building or the apartment. And let me open the front view of the residential
apartment. Watch this. Front and back. Let me
minimize these images or these windows
since I want to show the flat views and elevations And let me open the flat views
or the elevations. Check this out, and then I
want to arrange these windows. I want you to look
at the pictures closely and listen to my
descriptions carefully, please. Go right. At first, let us start with
the front view. As you can see, we
got a U shape view. Here there is in the flat view. As you can see, these two lines or curves are aligned
with each other, as I'm showing you, which are aligned and parallel. So we got the U shape view. We got a U shaped view at the front view of the building or apartment, check it out. But as you can see, these two curves
are aligned with each other, aligned
and paralleled. So we're going to draw a U
shape, surface or object. Then let's follow the apartment, the other parts to
check the back front. I mean back view, I'm sorry. And here as you can see at the back view of the
building or apartment, the U shape building
is being removed. Here I'm going to show you
the corresponding parts of the building apartment at
both front and back views. Here as you can see,
at the back view, the top part is extended while the bottom part
is not is fixed. So as the top part is extended
and the bottom part not, we got a U shaped view at the front view that we got
it in the back view as well. But the top part is extended. So guys we're done with the front and back
view and the U shape, and then for the middle part. In the front view,
as you can see, there is a rectangle
at one of the sides, as you can see, is aligned and parallel with a curve in the
back view, as you can see. I mean, the rectangle
is parallel and aligned with the extended
part at the back view. So you should put them
into consideration. So we draw the rectangle, but it has changed in the
back view as you can see. Here on the right
view, as you can see, as it gets closer to the
end or to the back view, the rectangle is getting bigger, that fills the gap between the rectangle and
the bottom part. And near the back
view, as you can see, the rectangle is extruded, as I'm showing in
the right view. Here we got a box or the
rectangle which is extruded. So if you're going to start, we should import these
images into rhino, and then we can draw the front view according to the image and also the
rectangle at the middle part. And then for the back view, we should put the
extended part of the U shape into consideration
at the top part, and in the continuation, we're going to align the
two sides of the rectangles in both front and back view and the rectangle here at the
back view, as you can see, as you can see the side edge is aligned with the side edge of another rectangle at
the front view that we have totally explained the
commands that you should use. Then at the next step
you should create these, these curtain walls and the horizontal and
vertical molons and also the glass panels
and also the windows. I want you to give it a
try and assess yourself, and then you can come
and watch the continue. You create it together
step by step. But here, you should
not lose your hope. I want you to just be confident
about your own skills. And even if you were failed
in creating such a practice, I want you to try one more
time till you succeed. Accomplish what you were looking for because
nothing would happen if you just imitate from the videos and create
these practices, you have to challenge
your own skills. So let us start. As
I told you before, we have to import these
images into Rhino, and then we'll be from there. So back to Rhino and
then at the front view. And then I want to
import the front view, the front view photo. However, there are some
explanations about working with the photos
of the apartments and others that I want to tell
you that they should be considered First of all, the scale at the beginning of the process does not matter, since we can fix
the scale later, so there is no necessity for adjusting the
scale of the images. Here, focusing on
the front view, I'm going to start
there are some points. There are some errors
within the images. For instance, when you
want to begin to draw, for instance, you start and
then you hold down shift. You extend the curve
like this way, following the top
part, and then here. Here we should not extend
the curve till the end, since there are
some errors here. Since as I explained
you extend the picture, the top curve is aligned
with the bottom curve. So here we should use smart
track. Check this out. Here, because of
the visual errors, you should not
follow the picture. As you can see, the axis is
extended more than enough, but it does not matter, so you should have
understood the model. I hold down sheaf and
extend the curve. Again, I extend it
vertically to or down. Then SmartTrack, great. And then I close the curve. Right now we are done with
the U shape geometry. In general, I want to tell
you sometimes there are some errors within the pictures or images that we should
refer to the main geometry. And at the beginning of
the video as I told you, the two ends of the U shape
geometry are aligned. While here at the picture, the extended part refers
to the backview and then the rectangle for the
middle part. So we're done. And if you agree, let us make the
image transparent. I want to increase the
transparency, take it out. Well done and also I lock it. Then in the continuation, I want to draw the
backview of the model. As you're concerned, the backview is dependent
to the front view. And as we got some errors, here I create a copy
from the front view. This is very important. These two are related
to each other, so I have to create a
copy from the front view. Following that, I want to mirror it by picking a plane,
check this out. After that I position it here, you see if it wasn't
matched with the image, it is not important. Here the point which is
important is that when you want to extend the curve here and
then create the rectangle, you should note that it should
be aligned the rectangle, the edge of the rectangle. Since these two rectangle, I'm in the middle and
the top part are depend, and they are aligned and
parallel with each other. I undo the process. Here I select the
control points, and then I move them, check this out by
using SmartTrack, along with the middle rectangle. Watch this. This
is very important. In south elevation of the model. Then at the port. We're going to model the
rectangle, as you can see. I should move the
control points to position them correctly
at the intersections. Watch this. It
would be like this. So all in all, we can't copy from the image or imitating
from the important image, since sometimes there
are some visual errors. And as we analyze the model at the
beginning of the video, you understood that
we should draw the plan or the front
view by this way. And if I draw a curve, check this out, they
are align each other. But about the extrusion distance of these models or
about the length of the slanted part of the middle rectangle
that we're going to calculate them from
the west elevation. I pick the line and
then I start drawing by this way for the top curve
then in the continuation. As you can see, the
middle extrusion is extended or you
draw a curve along with the middle
extrusion so that we can calculate the distance or
length which is extended, which refers to the
disc extrusion, as you can see in the picture. Let me show you the
other pictures of it that it is extended.
Check this out. However, we can check it
out in the front views. Or, for example, here,
let's check it out. As you can see, it is extended. I mean, the front
face has been moved, which has been moved from the other parts
of the front view. But how much should I extend
this rectangle in order to reach to the another one
and align with the rectangle? I draw a curve like this. And then for the extrusion, I want to use more track, check this out since these
two should be aligned. So right now, we calculate
it calculate the de depth up to each of the
extrusions according to the views until now
we are almost done, old control buttons plus L, and then I delete the image. Great. Let us continue. At first, I rotate this at -90 degrees and then another
one at 90 degrees. Following that I want to
assemble these at first, I want to specify the length
of these two intersections, these two vertexes, this one, and then the another one. I mean, which one of these
curves should I specify for the length of between
these two vertexes? So here as you can
see on the screen, it is related to
the top curve or top line and disregarding
the extra parts. So here I select
this line and then I move it like this way. After that, the other one, the back view, I move it. I position it there. Got and let me move the other
curves. Here it is. Then as you know,
we need to model the extended part
of the extrusion. Here, check this
out as you can see. I mean, the depth of the
extrusion is specified. So I move it, move. And then at the
distance of this curve, I move the rectangle. I delay this curve, but I remain this one. I keep in the continuation, it's time to extrude them, and as you're concerned, you can use loft. I select them, and then
loft, shake this out, and then I turn on the
shaded display mode, and then by using cap, you can fill the openings, watch this, or the
holes like this. But what about another approach? Here we can extrude it to the boundary or to another
curve. Watch this. Then you can hold down
Control and chief buttons, select the edge, and then move it to the curve
as you can see. And also for the middle part. And as I showed you before, for the middle part, we had a complete extrusion,
which was a box. Let me show you the picture. As you can see at the
beginning in the back view, we got a box. Watch this. It is extruded straightly. But how much should I extrude it here at the length
of this curve? Here we got the related curve. I select the rectangle,
then extrude. Then how can I specify the extrusion distance exactly
by using set base point? I click on set base point, then I specify the
point on the curve. I extrude the rectangle
like this way. Check this out
according to the view. Then for the other part, which is related to this part, according to the photo, again, I can use loft, but we need this curve actually. We can create a copy
or we can move it. And then I move it there
to place it there. And then we can use loft. I specify the two rectangle, check this out and put the sin points into
consideration. We're done. Here is the result.
And then we cap them. And what is other approach? Here we can remove the curve. I'm talking about this.
Let me remove it. And then I extrude it, and then I connect it
to the another box. Following that, I
isolate the two boxes. Then I can hold down Control and Shift button
to select these edges, and then I move them, following that again, holding
down Control and Shift and then moving the edge so that
this will be the result. But I recommend you to do both of the approaches
so that you can learn how to work with these two ways and
expand your knowledge. So, guys, we're almost done. Then in the continuation, I want you to tell me
or suggest me approach. To unify these two
objects with each other. Do you have any recommendations? Do you recommend
me to join them? As you can see, they
are not joined. As I explained you,
in Bole and nian, you can't join the
closed polysurfaces. So in solitudes, we should
use Boley and nian. We select both of these, and then we press down Inter. Check this out.
They are unified. But how can I remove this curve? I mean, I want to
merge them exactly. So I click on merge Merge A. I select the objects and
then press down Enter. Check this out as you can see, these two objects are
merged and the curve in the right view do not be removed since there is a
straight section there. Great control edge to
show the other objects. So, guys, we're done with these. Let us go for modeling
the curtain valves and the horizontal and
vertical lleons in the photo, as you can see. Actually, as you're concerned, they are very simple. Let me show you
one of the photos that can represent the millions, for example, here
as you can see. But note that we
got the Mllons at all of the directions
back, front and right. Let me show you. Here,
even as you can see, we got them at the back view. I mean, it evolves
around the building. So back to Rhino. First of all, as you can see
on this screen or the photo, there is an offset
for the Mollan. So back to Rhino, and then I drove on the edges and the
edges of the top face. Check it out, and then
I want to offset them. I select the drawn curve. Check it out through points. And then I specify the
offset distance by point, cort, I delete another curve. Then here we need
the offset curve that we're going to
create the glass panels, and also I'm going to
consider it as the path of the horizontal frames
arrangements also we're going to use it for creating the horizontal mollons. Let us create the
horizontal Mulions first, I want to draw a rectangle
as the cross section of the vertical frames or millions by this
way at the center. I mean the continuation, I'm going to place
the glass panel at the middle part of the frame. However, I should maximize it. I draw another one which is greater than before, like this. I remove the previous
one. This is better. Then it's time to array it, select, array. Array curve. Here actually specify
a path curve, here there is, and
then the number of the items like 40,
shake this out. Then after arraying
these objects, we should select the
last created objects. And since we got 40 objects, it would be difficult
to select all of them, so it's time to group them. I hold down Shift to
select the input object, hold down Shift, and then
selecting the input object, control G to group them. Following that, I can select them easily since
they are grouped. If I select one of the objects, check this out, then the
others will be selected, and then I extrude them, and there is no need to
extrude them to the boundary, and select the face, watch this. I recommend you after extruding the vertical llens this way. Again, select them
last crectd objects, and then group them. So that in the continuation, if you wanted to use other
commands over these, you can select them easily. And then I select the vertical
frames, I hight them. Then it's time to model
the horizontal frames. So in the continuation,
at first, we should offset this curve, the selected curve
as you can see. So at first, we're
going to offset the curve and then extrude it. But could you please
suggest me a command, which is a combination of offset and extrusion
both exactly slab which was the mixture of the commands of
offset extrude cap. So we can either
offset it and then extrude it or use slab. I search for slab
in command line. I specify the curve, but don't forget to click
on off of side since the selected curve refers to the center of the
vertical frames, and you have to offset
them at both sides. Then through points, then I specify distance of the offset. Following that, I
extrude like this. Then in the continuation, I want to array the
horizontal frame ormlon. Here it may come to your mind that our best choice
is arraylinear, but there are better ways too. So at first, let us
try array linear, and we will talk about
other approaches too. Select it, and then
in the front view, shade a display mode. Then array linear, I should specify the
number of the items, for example, 15, and
then by this way, I can array them. Check this out, well done. Here is the result. However,
there is other better ways. What do you suggest? As you remember,
when we were talking about the array array command, I told you a point
which was when we are arraying in
a specific object, align a straight axis, we can use array curve. Why? Because we're going to specify the number of the items. Want the spacing
to be specified. We just want to specify the
numbers, not the spacing. While when we are
using array linear, we are limited to specify the number in
order to fit them. Let us try again. Array linear, for example, 15, here as you can see, we are specifying the distance
or the spacing. So they are difficult
to be adjusted. When we use array curve, we just specify the empty space and then it would be I mean, it would array specified
so I recommend you use array curve along the
vertical axis or Z axis. So here you may want to specify or draw a curve and
then consider it as the path because the
edge surfaces can be used as the alternative
of the curves. So here we can
start array curve. I select the object to array. Then I should specify
the path curve. I select the surface edge. But here there is a when you are clicking on
the surface edge, the near end that you
click on does matter. For example, if I click on
the top end or the near top, then I specify the
polysurface edge, and as you're concerned, these methods are very
professional because you avoid or you avoid
drawing in other caves. So save your time. But the end that you
click on does matter. If you click on the
top end, for instance, and I specify the
number of the items 15, then this will be the result. But we expected the opposite. So all in all, we should
click on the end which is near to the bottom
undo array curve. I select the object,
press down Enter. This time, I want to
click on the end, which is near to the
bottom. I click on it. I click on the bottom end, then I select polysurface edge. And here we can only
specify the number of the items and then array in
the object, for example, 15, and then the distance
between the items would be adjusted automatically and
even the distance even 1.32, or, for example, I
specify 12, check it out. You can adjust the numbers. So I set 15 and then check this out then selecting
less created objects. I select the input object
by holding down shift, and then I group them and hide. Then let us model
the glass panel, and we keep these curves, so we're going to model
the other objects based on these curves like the
glass panel, for instance. Here as we have kept the
frames and the curves, we got the dimensions of
the frames and millions, and we can use a slab for
modeling the glass panel. I select the curve, and then I specify the
value of offset at both sides through points. Check this out. And
then I extrude it, watch it at the glass panel. Then I show the other
hidden objects. Here is the result. But here you may
see that there are some intersections
between the glass panels and millions and also
the other objects. So what should we do exactly? It's time to use Boolean. We have grouped
them for these to select them all and then use them in the process of Boolean solitols
Boolean deference. I select the panel, and also the frames and
llans as the first set. And then I set
delete input to yes. I mean, I should set
delete input to no since I need the
deleted input object, I coll on the extrusion. Watch this. I hide the
extrusion. Here is the result. And if I wanted to model
the frames according to the extrusion and match
them with the extrusion, it would be very complex. So we created the whole part, and then we use
Boolean difference. And then we remove the shirt. And for the windows,
for the windows, I want to specify one of the faces as the construction
plane, check this out. And then by drawing some
boxes or extrusions, check it out like this way. Well done, I move them, and then I create some copies or making some duplicates
by this way. Great. However, if
they are not I mean, the dimensions are not
equal to each other, we can scale them
according to the photo. As you can see, they are
variable like this way. By using scale, Great. We're done almost. Then let
us take a look on the photo. Here is the result. Then we can use Boolean
to void these parts. And since we got these objects inside a closed polysurface, there is no need to use
shell, check it out. Here is the wireframe
display mode of the project. Can select the curves, the Io curves, and then
from the top view, you can move them
inside or outside for adjusting the void
depth, we group them. Then in the continuation, it's time to use Billy
and the friends to remove the shared parts and
avoid the extrusion. Check it out. Let us try again, pull the difference,
selecting the main object. I should set input yes since I want to
avoid the extrusion. So as they are grouped, I select them, watch this. And then by using extract, I select the back faces or the interior faces
of each of these voids, and then I assign them to another layer for
the glass panels. So this was the first
approach for another way, let me undo the process. Then I delete these back to the previous mode and I return the construction plane
to its default mode. And if you agree, let us move the whole object and then place it on the construction
plane. I move it to there. What do you think about
the another approach? For the voids on the
faces of the object. Exactly, we can use boss, as in the previous session, I told you you can use
it in creating windows. But for creating the
boxes on the face, as I told you, before
you can use UV curves. Select the face, then
create the UVs like this. Following that, you can have the boxes or drawing the
windows on your I mean, inside the boundaries, and I create some
copies like this. On the base surface, you know, I just want to teach you different methods
and techniques in creating different
parts of the project. And in some of the projects, you should use either
of these approaches. It is not possible to
operate many methods. So the more techniques
and methods you know, the more capable you will be in moving your projects forward. Great. The patterns
and the UV curves, then it's time to apply
them on the curve. Select and I specify
the target surface. Watch this by this way. Following that, it's time to modify the
construction object, the construction
plane, actually. I set it to the face, and then I select the
last created objects. Let me check them out
from the top view, and then I extrude
them like this way. Then I return the construction
plane to the default mode, and then I start
command of boss. Control G to set it to display to the Ghost
to display mode. Then I select the curve, press down inter,
check this out. Actually specify
the boundary here there is check this out. Then it's time to extract, extract these faces
the polysurfaces. So, which one of
these approaches was better than another one? Which one do you
prefer? Exactly, Bool and difference is
better than boss. But if we were dealing
with a curved surface, boss could be a better approach. I group them. These Group. Then for having your review, let us create the other windows for these two faces in the
front view, back to Rhino. Then I set the construction
plane to this face. Even we can isolate the
object or the extrusion. And then I draw some boxes. I draw one of them, then
I create some copies. Watch this, and then
I scale some of them. As I showed you, we had variable sizes
of the windows. Here there is, fill, and then I move them
inside the right, pull the difference,
selecting the extrusion and then the boxes and then enter. Check it out after that. We should select
and then extract the front or back faces and then assign them to a new layer to the third
layer, for example. So all in, in general, we are not limited to one
approach to meet our needs. We got many options
on the table, that always we try to
choose the best one. I mean when we want to
create the windows from the boxes which are placed
on the extruded surface, by removing the shirt parts, we can use Boolean split. Let me give you an example. For instance, here we got box or a surface
which is extruded, and we want to
create the window. We can use Bolin split for
creating windows and this. And when we get
such an object like that and we want to
credos and the faces, Bolin split is not our choice. I'll control H to
show the objects, and then we can select
these here in properties. Following that I want to control the transparency and increase and make it transparent.
Watch this. And here is the final result. And if you haven't done it, I want you to put
time on it and create it by your own so that we can
go for the other sessions.
121. Editing Solid Volumes (Part 1): I hope you've done the
projects successfully. So let us continue talking
about the other commands, which you can find them
in solid tool stab. The next command is create
solid, as you can see, which creates a closed
poly surface from the surfaces that bound
regions in space. Let me give you an example. For instance, here
we got these curves, and I want to create a
surface out of these curves. Check this out loft. I select the curves,
and then I create the surface like
this way. Well done. Following that, I move them, and then I remove the curves, and then I create a copy or
make a duplicate from it, and then I hold down, then I rotate them, watch this at 90 degrees. But the point here
is that you should specify closed polysurfaces
or closed surface, yet bound regions in a space. But still, as you can see, we got an open surface. So what should we
do here if I hold down all and then I rotate them to close the
surface, check this out. As you can see, we got
a close polysurface. Following that, we can
create a solid object from the following that
I select these surfaces, inter, check this out. Here we go a solid object. Let me give you another example. For instance, here
we got this curve, and then I mirror it
and also creating a copy by this way, then creating a
duplicate and I rotate this one buy it this
way and one more copy, I'm going to move it,
and then I love them. Well done. I want to
modify the direction. Well done, I go left. Great. Then in the continuation
in the front view, right, for example, I want to
create a simple extrusion. Let's check it out. By this way. And then I extrude the
curve like this way. And by scale, I minimize
the opening part, move it down, check it out. I just wanted to create
a closed polysurface, as you can see, since it is very important
in create solid, and then we will be given
the closed polysurface, and other parts are trimmed, so it can be practical
in some of the projects. And the next part is
wire cut like box, boss Wirecut is the
combination of the extrudent Boolean or slab that I want
to call it a blended command, which is made up of
two other commands. Wirecut is composed by Extrudent Boolean, as
I told you before. Let me give you an example. For instance, here we
got a box like this, and then I want to add chamfers
or champ for the corners. For instance, by using
this cave. Like this way. I mean, I'm using this curve as the split object
or cutting object. At first, at the top
view, I pick a split. I select a box, and then I specify the curve
as the cutting object, inter, take this out. As you can see, this
part is splitted, and then I can remove it. But the box is opened. Here we got opening or a hole which is not
capped or filled. So I start cap, well down. But if we had a curved line, and then we wanted to use it as our cutting object.
What should we do? We won't be able to cap
the opening or the hole. I split it like this way. Again, we got the opening, but as you are concerned, cap is not capable of closing
or filling curved parts. Let's check it out
as you can see. It is unable to cap
the objects since the opening did not have closed
planar loops about edges. So here, the problem is that
we can't fill the opening, so it does not meet our needs, and it is not our chosen way. So what can you suggest? What else approaches
do you know? Exactly. We can extrude this
curve and then use Boolean. I mean, we should extrude it
twice. It takes some time. Let us check it out. I
select these two curves, and then I extrude these
two curves, following that. And then again, extrude
surface. Watch this. I extrude these two surfaces. I specify the direction
of the extrusion surface. So I use extrusion twice. Following that, I want
to use Boolean Boule and deference in order to cut
the corners of the box. Then we will have such a result. And then I can remove
the other parts. As you can see, we got
no openings there, but the way was too time
consuming was too long, and a split has its
own shortcomings. We won't be we wouldn't be
able to cap the openings. So it's time to prevail
our no command, which I told you before
and is wire cut. I just wanted to
tell you these to make you prepared
for our no command, and they were just introduction. So that we can understand the wire cut and its
applications better. And also the services
provides us FF. Well done, I have
undone the processes. Here, we got the icon, wire cut, or you
can try wire cut. I started, and then I select the curve as the cutting
curve and then press Inter. Check this out,
select cutting curve. And you can select
multiple curves, and also the surface edges
can be the cutting curves. Following that, we select
the polysurface to cut. Then without pressing inter we can specify the
objects to cut. I specify the box, and then you should
press down Inter. Let us try again Wire cut. If I select the cutting curve, there is no need to
press down inter, and then the object got
cut and then enter. And then here we should pick the first cutting direction and depth for extruding
the cutting curve. You extrude the curve
at two directions, and then enter to cut
through the objects, and then selecting the
parts to cut away. Watch this, then you
should press down. Then you will be
given the splayed box which is capped in
a very quick way. Let us have a review a cut. I select the curve and also
the box or object to cut. In the first cut depth
point, check this out. I specify the first
cut depth point. After that, the second
cut depth point. Well done, then we press down Inter to cut away the parts. Watch this, as you
can see it is capped, so we can use it for
trimming a polysurface with a curve similar to cutting
foam with heated wire. Again, wire cut. I select the curve. After that, I specify the object to cut and then
pressing down inter. The first option is direction, which has been set
to normal to curve. Rection can strange
the direction for the wire curve extrusion
to world XY and Z. Normal to curve constrains
the direction for the re curve extrusion to
the curve plane normal. Now we can use X Y Z or we can picking a plane
and C plane normal, which constrain the
direction for the re curve extrusion to the
construction plane that direction. That we usually use Z, normal to curve and pick. That in the continuation, I will give you some examples. Right now, I set it
to normal to curve, and I talked about
the dilate in boot, and also both sides you
are familiar with it, and then Keep splits the object instead of
removing part of it. As you can see, it
has been set to no. So it removes the
specified part. If I set keybll to yes
and then press down into, then it splits the cut part
and does not remove it, as you can see. Shake it out. It has divided into two parts, just like Bolan split. But if I set keybll
to no, again, re cut. Following that, specify curve, how solid and then set it to no. Then I specify the first
and second cut the points. Then if you want to keep
the highlighted part, you should set cupul to yes. If you don't want it, you
should set Kupal to no, and invert cuts away the non intersected or intersected part from the object. And
then press inter. Let us try again re cut and specifying the object to cut and then if we set Kupol to yes, it keeps both of the objects, but it it splits the object, but if you said it no,
you should trim one of these two parts that you
can change them by invert. For instance, here
as you can see, the object is highlighted. And if I press Inter, the highlighted part
will be trimmed. I click on invert, so that I can delete
the splitted part. And if you wanted to modify the direction of the
extrusion, let us try again. The first, and then the second, you fill up the direction, take this out by
mouse, by points. Then as you can see,
the highlighted part will be cut away if
you press Inter. But if you want to keep the invert the highlighted
part, you should invert it. I mean, it is not related to the direction of the extrusion. Here at the last step, we specify which one of
the part will be kept. Shake it out, invert, and then we press
down Enter to delete the highlighted
parts. Like this way. And then another
topic is that you can specify the first and second cut depth point
wherever you want. Again, I start a card
and then curve solid, and then I extend the extrusion till the half of the
object like this way. Following at the second second
point, invert watch this. As you can see, can trim the desired very quickly
that it is used for designing the entries and also the cut pipe and trimming
the solids continuation, let us consider the
direction options. So for instance,
suppose that here, we got this box. Let me scale it this way, and then I draw a curve
like this and the box. Alt Control G, as you can see, it is under construction
plane inside the box. Here, let me extrude the box
and move the top face a cut. Then I select the curve
and then the solid object. Right now, we can extrude it. Then I want to specify the
direction of the extrusion. I want to extrude it
slantedly so direction, peak, want to specify
the direction myself. So in the front view or
other views that you can specify the direction for specifying two points like this. Check it out in the
perspective view. I extrude it this way. And then the second
point, watch this. And then pressing down Enter. As you can see, the parts
are splitted and removed. Alt Control G goes that mode. At first, wire cut
like this way, curve inter and then the
solid object, Inter. Then I want to specify
the direction myself. I click on direction, then peck. After that, you should open the proper view for
specifying the direction. For example, right is
not the convenient view. You should open the front view. So I specify the base point and then the second direction
point like this way. Well done. I extra the
curve at two directions, and then I said
invert to yes or no. And I told about
the kipal as well. And then you can specify which one of the parts
you want to keep or wanted them to be
removed or trimmed or position them like
this. Another example. Suppose that we got
a curve like this, like an arc, and then I
close the curve by this way. Then I extrude it along
z axis by this way. Here is the result following
that in the top view. Then I draw a curve like
this, check it out. Well done, like this way. Ghosted mode. I
select the curve, and then I extrude
it to the half to the half of the I I move it
to the half of the object. Then I start a cut. I specify the curve and
then the solid object. I want to set the direction
to the normal curve or Z. As you can see, Z and normal to curve are both similar
to each other. So I specify the
cut depth points first and second,
extruding them. Right now, Cupols
has been set to yes. I move them out, check it out. This
is the result. For instance, you can model
the bolts by using wire cut. And as I told you before, it is similar to cutting a
foam with a heated wire. But if you were dealing with a closed curve for
your heated wire, then you will have only one step at the process of wire cut. For example, I want to
consider this as our foam, and then it is our wire cut. Alt control G goosed mode. Here we got the wire, and as you're concerned, we got two steps. During this command,
curve solid, then inter. As you're concerned, at first, we should specify the
first cut depth and then this second
cut depth point, the second cut point
depth, then enter. So we are specified
in two steps. I'm talking about the
cut depth points. But if we had a closed
curve as our heated wire, for instance, check this out. Here I draw a closed curve, then we will have only one step for specifying
the cut points depths. Let's try wire cut, curve the solid, and then
press Inter then inter, check this out we're
down like this wave one more time cut specifying the curve and
then the solid object, then pressing down inter, specifying cut depth point and the direction is normal to care. And when your curve is not
parallel deconstruction plane, you can use that direction. This is normal to care but if
I set it to Z, watch this. This is the result, which is perpendicular to
thecstruction plane. If I set it to normal to curve, then according to the
direction of the curve, normal curve constrains
the direction for the wire curve extrusion
to the curve plane normal, press down enter, and then
I set it to shaded mode. And then by using shell command that we talked
about in the homeworks, I can remove these
faces and then convert them to
volts, like this way. Well done, let me give
you another example, and then I want to leave you these examples and
practices for you. For instance, suppose that
here we got this rectangle. I'm going to exemplify the
closed and open curve. For example, this
time, the open curve, Alt Control G for
the ghost mode, and then I move it
downwards in order to tell you the differences between direction and normal curve, I rotate the curve. Then I start a cut. I specify the curve
and then the solid. Then it's time to
specify the direction. As you can see, it has been set to normal to curve,
shake this out, and then the second
cut that point, well done, here it is. You can trim the box like this. If you don't want to
consider the rotation of your curve and you want it perpendicular to
deconstruction plane, and along the z direction, you can set it to Z by this way. Shake this out. As you can see, this is perpendicular to
deconstruction plane. And there are some
times that you want to specify the
direction yourself. I mean, not Z nor
the normal to curve. So this time, I click on peak, and then I should specify
the base point for direction in the
convenient view, which is right right now, like this way and slanted
direction, well done. And then I extrude
the curve like this. Well done. Check it out way. Or you can select the
curve. Check this out. I extend it. I extrude it to this point, not completely to the half. And then I extrude it, check this out, a
another direction. Well done. However, we
can try different types. Look. This is another type
of the cut depth points. And as you're concerned, you can specify different
types of directions each time when you use wire cut. For example, I don't
want to extrude the curve at the both
side completely. Check this out. Well done. Then this time, I want to exemplify by using
a closed curve. So back to you, and then I want to draw
a curve, a closed curve. Let me try again for
the closed curve. Shake this out like this way. And then I just
deposition, well done, we cut, curve the solid
object, and then enter. Here we should have specified the cut depth point
only add one step. Here we should have specified the direction arsl.
We should pick it. I set it to z and then I
extend it to here, then Enter. Check this out by this way.
Here there is a point. Here the curve that
you want to use it or specified as the wire
should be planar. Here if I move the vertexes and make it non planar,
check it out. Right now, we've
got a tree curve. This is not accepted by
wire cut anymore wire cod. Then as you can see, I
can't select the curve. It isn't accepted because it
is not planar. Check it out. As you can see, the closed
curve has to be planar. Nothing done. Command
with the wire cut. So the curves that
you specify should be Play R. Otherwise, you can't start the command. So, guys, I session
recovered multiple examples. I want you to put
time practicing them, and I want you to exemplify some new cases to learn
the lesson deeply.
122. Editing Solid Volumes (Part 2): And the next commands
are Fillet and chamfer. Here we're going to
have a review on about different types of
filllet and chamfers, and then we're going to
talk about the new command. As you're concerned, we got
three types of fillets. The first one is Fillet
curve. Suppose that. Here we got two
curves like this, and then I search for Fillet. This filllet is related to the curves, so I search for it. Then here we can specify
the radius of your filet. And then I specify the two curves and then
you can add the filet. So this was the filet curve
or the first type of filet. The next one is fillet surface. As you know, we talked about all of these in surface tools, variable radius, surface
fillet and filled surface. Let surface command creates a constant radius round
surface between two surfaces, but we can only
specify two surfaces. Let me give you an example
here by interpolate curve. I draw these two curves, and then I extrude them. As you can see,
these two surfaces got intersection
with each other. And at the other example, there is a gap between
these two surfaces. And at the third example, I can rotate one
of the surfaces, shake this out as you can see the two ends are close
to each other and got some intersection with each other and
some shared parts. Let me rotate it Move. I mean, in these three cases, for example, the first one, there is intersection
at second one, there is no intersection, and at the third one, there are both intersection and gap. So in surface tools, filled surface, and your
specified radius does matter. For instance, I specify
four for the radius, and then I specify
the two surfaces, then you can add the fillet. Check this out and others. Watch this. These
are the results. This is the filled
surface that you can only specify and add the
fillet on a small two surface. Right now after this, I'm going to talk
about the third type of the fillets and chamfers
for the first time, which is filled edges. The first one was
filet curve or filet, and then the second
one was filet surface, and here we got
the filled edges. Fillet edges. I mean, you can specify as many edges you want and then fill at them. There is no limitation. So
let us get familiar with fillet edges and then
say the differences. For example, over this
box, fillet edges. Here I should select
edges to fillet. Here we should
specify the fillets. I mean, the edge is
not the surfaces. I specify the edge, and then I want to
specify the radius. Let me try again. I click on the edge and
then press down into. Following that, No, we
talked about these. We can move these points
to make them variable or another point
at the other end, and you can import
the radius manually. But up to now, it was very
similar to filled surface. Actually, here, there are two
main important Important. Important difference, I mean, here if you add fillets to
the box by filet surface, then we will have such a
result, as you can see. Well, if we try
with filled edge, we won't have the extra parts
after adding the fillet, and then the next difference. This was the first difference
between flat edge and filet surface that make the fillet edge more practical
than fillet surface. And in fillet edge, we can select multiple edges at the same time and
then press down inter While in filet surface, we can only specify
two surfaces. Not multiple or more
than two surface and even we can select
the whole edges, the entire edges of the box. Even we can specify the radius. Next radius, for example, 2.5. And then I select all of
the edges simultaneously, and then press down in
third. Check this out. Here is the result in
the rendered view port, while we cannot create such a result by
using filled surface. Fillet surface is
unable to create this. And another example by
using fillet surface, not 2.5 for the filllets of
the box, check this out. As you can see, there are
some extra parts that are not trimmed and another
difference between these two. When you are using fillet edges, your edges should be connected to each other or
should have intersections, violent filled surface or filet care surfaces can
be distant to each other. In general, when you
want to add filets to the different types of the edges of your box
or your solid object, especially at the intersections or corner and make them rounded, you should use fillet edges. But when you got
only two surfaces, you should use filet surface. Otherwise, I recommend you choose filet edges and about
the command line options, fill it edges, and
then show radius, which has been set to yes, it controls the display of the currant radius
in the viewport. If you said it no, it won't
be displayed, as you can see. So we set show radius to
yes and the next radius. We can specify the
radius of your flat. Actually, about phase edges, it is too practical,
if I click on it, then I should select
polysurface pass for filling all adjoining edges. I specify surface without specifying or
clicking on the edge, and all of the edges will be selected automatically
and they will fill it. So it is useful.
Again, fillet edges, then in face edges. I select these two faces. In a way that if I
wanted to select these edges one by one,
it took a long time. While I can pick these in a very quick way,
check this out. So it is useful and practical. And what else options? For example, preview. You already know
what does it do? If you say preview to yes, the preview of the fill
will be displayed. For example, face edges. I select them, the press
down Inter, check this out. The preview of the
filllets are displayed. But if I said it to no,
they won't be displayed. So you're already familiar
with this option, this option. And previous edge selection in cases where the command is
canceled or ended prematurely, previous edge selection option re selects the previously
selected edges. Or maybe, for example, you wanted to modify
the next radius, so you cancel or
undo the process, and then you start
fill at edges, and then you modify the radius. It supports multiple sets of previously selected edges for up to 20 previous edge sets. So you don't have to put time on selecting the previous edges. You can save your time. I have talked about the
chain edges before. I mean, you can select the edges which are connected
or joined with each other chainly then
you can select them. And as we move forward, we will be given more options, for example, inter here as you can see if we
got more options. We have talked about
some of them before, but let us have a review
share radius and add handle. You can add handles and the edges just like
filled surface. After adding the handles,
press down Inter, then you can click
on these handles and then modify the
radius. Check this out. Control the radius, can
create copy from the handles. Watch this like this way. And after creating copies, press down inter or you
can remove handles. Or you can set a specific
value for the radius of all of the handles and about
the others, for example, trim and join if I set it to no, it trims and joins the resulting surface
to the input surface. You'd better to set it to yes. If we set it to no,
check this out. The input objects are still
remained. Check this out. We can move them. Like
the suit not practical. So we usually set it to yes. Undo the process. Yes. Let me check it. Everything is okay. I said trim and join two, yes, and then press down into. Well, Don, we've talked
about this before. Invariable radius fill it. And was good since
we had a review. And there is a point about the fillet edges that it enables you to record the
history just like blend. For instance, here I
click and record history, and then fillet edges, face Edges, I select the phase, and then I add the fill it like the sweep press down
Enter, well done. But the history has been recorded recorded actually
here in edit fillet edge. If I click on it, then I
should select the objects that I have at the fillletson
like this and then Enter. After that, we will be
given the previous options, and we can add the
fillets from scratch. For example, we can modify
the value of the radius or copy handles or adding new handles
and stuff like that. And as you are concerned, we got the same options of
the filet in Chamfer too. For example, in hamper edges, you know, somehow they are
similar to each other. You select some edges. You can specify the next
hanfer distance at handles, copy handles, and other
options, check it out. Let us try again Chamfer, for example, for
the distance five, and then I selected previous selections and
then Inter check this out. Right now, if I say all of
the ten the entire edges, then this will be the result. Check this out in the
render view port. Well done, shaded. So this was all about
fillet and chamfer edges. That they were different with
chamfer and filet surfaces. And I told you the differences. And the last part that
I want to consider in this part are the
holes. Round hole. Check this out. I mean, this command is
used for creating the circular holes and
surfaces or polysurfaces. However, this command got
some industrial applications, but we're going to talk about the architectural applications. Suppose that here we got a box, and then in the continuation, I want to create some holes
on the face, for example, round hole that we can
create circular holes. For example, the round hole, which enables us to
create circular holes. I select it and I should
select the target surface. The target surface, I
want to specify and click on the top face and there, you can place the circular holes by specifying points
on the top face, and this is the final result
in the rendered viewport. Let us talk about the
options in the command line, round hole, then selecting the target surface,
check it out. Here we can specify the depth, for example, four. Watch this. Radius. Mm hmm. Great. And also the
drill point angle. Drill point angle sets the angle at the
bottom of the hole, since it has been
set to 180 degrees, the whole bottom is flat. And this is 90 degrees. Take this out, Enter. And then I want to
explain it more. At first, I'm going to begin
with the depth of the hole. This dimension is related
to the depth of the hole, which is four, as you
can see in this screen. And then this is the
radius of the hole of the rounded hole and
the drill point angle, which has been set to 90 degree
is this angle, actually. Let me draw a curve and show you the related part. Watch this. This is the 90 degrees angle
for the drill point angle. Let us create some more holes
in solitudes rounded hole, and then the surface
for the point angle, for example, 60, and then
for the first depth point, I keep four great. And then I position them. Great. Check this out. As you can see, the depth and the drill point angle are
independent to each other. And as I minimize the angle, the length of the hole
will be maximized. Let's try again. This is
the depth of the hole, which is four, as you can see, and then the radius, which is two, and
then the angle, which is 60 degrees. Well done. What
about the options, especially direction
that we're going to talk about solitudes round hole. Specifying the
surface, for example, the front face in direction, we got surface normal. This surface normally uses the surface normal
direction. Check this out. This is the result. And let me check
the other phase. For example, this one, for
example, C plane normal. I C plane normally it draws the whole perpendicular to the
active construction plane. And right now the constrte the current construction planes perpendicular to the z
direction. Watch this. This is Construction
plane normal, and it creates the holes, perpendicular to the
construction plane. And then the last option, which is pick as usual, that we can specify
the direction arsl by specifying a point to axis. Check this out, inter. You can create holes. Let us try one more time. Round hole, here is the surface, and then I want to
pick the direction. For example, check this out
by specifying two points, and then I create holes on
the front or right face. So, you know, these got
their own applications, but right now we are just
considering these commands, but later we will talk
about the application. We've got make hole
and place hole by left and right clicks. You make hole command projects the selected closed curves to a surface or polysurface
to define hole shapes. Up to now, we talked about
round holes, but make hole. At first, we should draw a
closed curve and then we'll specify it for defining
the hole on the surface. For example, this
closed curve as the defined hole a
frame, shake this out. So I'm going to use this closed curve as the
whole of the surface. And you should specify
a proper position for the curve if you want to
create holes on the surface. Left click make hole. Then here we should select
the plain or closed curve. Note that your curve should
be plain or enclosed. I select it, and then
I press down Enter, following that I should select the surface or polysurface,
the top surface, for example, for example, right now, we should
modify the direction. I set it to Z, check this out. For example, what else? XY Z, nor multi curve or
P line curve and others, nor multi curve, for instance. And then I create the hole on
the surface like this way. And as you can see, there is somehow like boss bus command. Again, here, make whole. I select the curve ter then
the surface following that. Here if I want to
say some difference between this and boss, make hole and boss, here we can specify the
direction while in boss, we couldn't and also both sides. Check this out while it
wasn't available in boss. And I want to give you another example and give you an example by
the directions, for example, like peak. This time, I want to specify the direction myself,
like this way, hack this out of sides to No, at this direction by this way I the render
viewport, check it out. Great. What about Place hole, which is more practical and useful in
architectural disciplines. So let us talk about place
Hole in the continuation. Here I create a
all like this way, and then I want to create
a hole on this wall. At first, I create a
hole and then I want you to say the application
of the hole. Here I create a rectangle here
on the construction plane. Following that, a curve
like this to the midpoint. Let me adjust the
position of the curve. Well done, then I
want to mirror it. But the other side, well done, then I explode them, and then trimming these
parts of the curve. Well done joined. G here is the result. Then at the continuation, we're going to use place
hole, right click. And then here we should select
the closed planer curve. Just like the make hole, we should specify a
closed plane R curve. And then we should specify
your base point for the hole like this midpoint
for the base point. Okay, I want you
to check it out, and then the up
direction of the hole, for instance, the
end intersection, and then the target
surface here there is. Then you can specify
the face point or you specify a point on the surface for positioning and then the depth to one
the rotation angle, I don't want it to
be rotated and then enter to save the changes. And about the target point, one of the holes are placed. After that, we can
place the others, press down Enter, check it
out in the rendered viewport. By this way. Here
the first question. What is the main difference between make hole and placehle? The difference here is
that the position of your closed plane arurve does
not matter in place hole. So you can draw it on
the construction plane and then use it on your faces. And you can place them as many
as you want, not just one. So in general, make hall is
less practical than Placehol. Place hall is more practical. For example, this is one of the applications of Place hall, which is used for
the building facade, as you can see, or for creating the windows
of the buildings. Let me give you another example so that we can
have a review from the process of working
with M or Place hole. For example, in the
following case, we're going to have a la and then creating the
windows by split face. Check this out. I hold
down Control and Shift, and then I make them sloped. In the continuation,
I want to play some windows and the walls
here at the top view, I want to design the
windows at first and the construction
plane like this way. Do windows like this explode? I remove this and
then joint. Great. I want you to watch
the process carefully. Great. Well done. Right now, I want to
position it on the body of the bula so here in solid tools, right click place hole, and then we should specify the closed planar
curve I selected. And then the base point
for the hole that I want to use it for positioning
the curve on the surface. For example, if I specify
the intersection, then if I click on the surface, then we can have the
intersection or the cordoner of the curve at the specified
point on the surface. So be careful about the specified base
point for the hole. You can use either the midpoint or the intersections, corners. I want to use the
midpoint here from the x. After specifying a
position for the hole, here, you should specify the
updirection of the hole. Check this out. And then in the continua after specifying the base point and
the up direction, it's time to specify
the target surface. Here it is. I click
on it, face point. And here as you can see, the marker of the mouse is
positioned on the base point. I place the hole on the face. I mean, at first, you
place a hole as a sample. As you can see, then we
can specify the depth, radius, and others, and then
we can duplicate the hole. For example, for depth, we can specify point, but I import the value too. And the rotation angle like
two degrees, check this out. You can rotate it that it
is not required right now. Then after pressing Inter, the sample is completed so that you can
open the front view and then propagate the
hole and the face. Even you can specify
different rotation angles for each of the
holes and even depth. I mean, you can make them
variable to each other, not necessarily
similar to each other. For example, for the next one, I specify three for
the depth point, shake this out and the next one, four for the depth
point like this. I recommend you to place
them in the front view, since you may have
some problems, shake this out like this way. Then press Inter to create
the holes. Well done. But if your holes, the holes that you
have placed on the face are similar
to each other. I mean, the depths and also the rotation
angles are similar, do not go through this way. I recommend you
place one of them, and then duplicate it or array. So wait for a second. Suppose that here,
we're going to have a different
model right now. Here I create a world like this. Well done, and then
I scale these. Great. Here is the result. And let me minimize
it. Well done. Then I want to place the curve on the wall as the whole
and then propagate it. So place whole. I select the curve and
then the base point, the up direction, and also the target surface
that I should specify. Well done, the face
point here in the front. View, I specify the face point, and then the depth. For instance, I specify four, then the rotation angle, zero, and then enter. And then I don't want to spend time on placing
the other holes. Since I want them similar to the first one. I
press down Enter. Here we got the first hole. Then for propagating the hole, here we got some editing tools which are specific to the holes, for example, trim holes. In fact, it removes the
holes. Check it out. Let me give you an example
like this undo again or, for instance, move a whole. For instance, if I want
to move the hole upwards, I select it, and then
pressing down into. And then I move it
upwards by this way. Great. And even rotate
hole, I select it, and then at the front view, you can rotate the
hole like this way. Well done. And let me
rotate it like this way. It should not be
extended from the vol. And let me check others. Here we've got array hole
and array hole polar, that we use it for arraying
the whole polarly. For the propagating the holes, I'm going to use array hole
to array the holes linearly. I click on the hole and
then the rectangular. You can array the hole
at two directions, and it forces the
second direction to be perpendicular to
the first direction. But I said it to no since
I don't want it to be this then the number of the holes
in a direction like 12, and then in B direction one, after that, the base point in the two d view front
view, check this out. The A direction
and the distance, corate and then we
array the others. Unfortunately, you can
modify the number of the items and also the
spacing, check this out. And also and then
enter, check this out. Let us try one more time. If you agree, I want
to extrude it more. And then a hole. I select the hole. And then if you wanted to force the second direction to be perpendicular to the
first direction, you can set rectangular to and then the number of the
holes in a direction. For instance, I set ten and then in B
direction, only one. After that, you should open the front view or other
two views for specifying the base point and then the direction and the
distance between the items. Here I can increase
the numbers 13 and then minimizing the
spacing between the items. Watch this and then
pressing down into. Here is the result. Here there are some points that
I want to tell you. I mean, when you are placing the hole on the
surface like this way, and if you do not specify enough value for the seal
height, check this out. This is an opening right now. This is not a hole and
we cannot select it. I mean, this is not recognized
as a hole by array hole. You're able to select
them nor delete them and also not arraying them. So be careful about
the seal height, and you can place the holes
on the curved surfaces, too. For instance, I draw
an arc like this way. Let me try again. I want to draw a curve or
arc like this way, and then I extew it. Well done. Let me minimize it by this way. Then the continuation
place hole, base point up direction, then the target surface, and then the face
point like this way. The depth doesn't
matter. Check it out. You can position them on
the curved or arc surface, and they are rotating
with the surface, the target surface, as
you can see, right. And here as you can
see, as we do not have a solid object
or extrusion, we got to only have a surface. The hole extrudes
the surface just like Guan as you can
see on the screen. And if you got a surface like this or actually
an object like a ale, then you can have the holes on your surface
with overlapping parts. For example, place hole, base point up direction,
target surface. And then I specify the
position of the hole. I minimize the depth 1.5, and then pressing down inter, check it out as you can see. This got some parts intersecting and
overlapping as you can see, and then pressing down
inter but basically, the advantage of
the holes in Rhino compared to boolean are these options in
the command line. I mean, after using Boolean difference or
other Boolean split, you got no access
to these options. But, for instance, right now, we can select these, move them. You can specify the depth or rotating them, arraying them. So, guys, we're at the
end of this session. I want you to practice
to given example.
123. Architectural Case Studies: Jubilee Church: Here for creating the
Jubilee Church, at first, we're going to model
these curved surfaces. After that, we are
going to model the objects or the arch between these surfaces
and then the end part. And for creating this project, at first, we can use the plan view and also the front view of
the Jubilee church. So I want to import
the plan view, the image of the plan view
according to the scale here, and then import it to Rhino. Following that, I want to import the front view of the
project on the plan view. In order to in order
not to waste time, we have created a layer
as reference as usual, that I have imported the
images into rhino from before, and I have locked
them by this way. Also I have made them
transparent from properties, material, and then in
object transparency, I have moved this slider to
increase the transparency. I liked them and I
then began drawing. Here in the layers, I rename one of the
layers and then I name it curves by this way. And then I make it active
after that in the top view, and then I want to draw these
parts of the plant view. Here at the top view by
using interpolate curve. I want to draw the main curves of the
model like this way. For example, the bottom curve. After that, I can select them, and then by moving
the control points, I can make them more
precise like these ways. Again, interpolate care
for the other parts. Shake this out by specifying
only three points. Great. Again, I can select
them and then moving the editing points since I
want them to be matched with the line in the imported
image from the plan view. And then for the last curb, I drop it like this way. I specify the point, well done. Then again, I select
the editing point, and then I move them a
little bit by this way. Great. Well, down here, as you can see, these
three control points should be aligned
with each other, so I can draw a curve
this way, as you can see, and I can extend
these three curves to the line since these three should be aligned
with each other. And then at the next step, it's time to draw the front curves here
in the right view. And then by using
the curves here, I'm going to start drawing the cross sections or the
profiles. Watch this. Interpolate curve,
the next point, and then the others. Well done, and
then the last one. So I model them
the intersections, I mean, cross sections, and then in the
perspective view, I'm going to activate midpoint Goody Snap
and also the end. And then by using move command, I move it to position them
at the right location. And then the other
curves by this way. As you can see, I move
them to relocate them. Their proper positions. So here we got the rails and
on the cross section curves. Following that, we can create these surfaces by
using sweep command. I want to consider another layer to sign
it for the surfaces. I rename it, and then
I start sweep command. Even here, we can consider
these curves as the rails. For example, if I want to
consider the bottom curve as the rail and then the vertical curves as the cross section, then we can have such a result, wait for a second, watch this. While if I want to create
the surface in two sides, we should define more
cross section curve. Example, we can position the cross section curve at the end at the first
or at the both side. So by using sweep one rail, I select the rail, which is the middle curve, and then the curve on the construction plane as
the cross section curve. And then here we got
the result to surface. Again, I start the same
command, sweep one. I select the rail and then the cross section
for the second surface, well done for the
last one by this way. So guys, we're done
with the surfaces, and I have assigned them
to the layer of SRF. So I make them locked and then get back to the right view. Then it's time to model
these middle parts or these objects between
each of these surfaces. So get back to the
right view and no, I pick the polyline. Following that, I want to
draw it in curves layers. And then I start
drawing by holding down shift to restrict the
direction. Watch this. I enable this snag
snap of near and also degree snap of the
perpendicular. Watch this. SmartTrack, and
then connect them. And also for the next part, I start drawing the
curve from this part. Check this out that I
should extend it more. So I restrict the direction, and then I extend the
curve like this way. SmartTrack, and then connect it. Wait for a second, please
to the intersection. Well done. By this way. Then for the last
part of the project, I mean, the last
but not the least. I start, then I held
down tap button. I held down shift to
restrict the direction, and then by using SmartTrack, I close the curve, well done. Following that, at the top view, I select these three curves, and then I assign the
new layer after that, the objects I select
in the layer one. I select the objects in layer one and that and
then I hide them. Following that, again, I
select these tree curve, then I change the object layers. I place them at curves, and then I modify the position of these
curves like this way. And then the continuation, I want to determine the
layers of the objects. Let me see. For example,
the second curve, I position it here and then the third curve
here as you can see. Well, then I can
rotate them this way according to the imported plan view to make them matched
with the plan view, as you can see on the screen. Following that, I can
use extrude curve. I start the man, I
set solid to yes, and then at the top view, to extrude the
curve to this part, like this way, and
then the next one, well done, and
then the last one. Wait. I have extruded the
surfaces like this way. We got two objects. Then it's time to
delete the shirt parts between these three
extrusions or cut them. So by using the solid tools, and then by using Bullion split, I select these objects and
then the cutting surface, which are these two
surfaces like this way, then it's time to select the middle object or
middle solid object. And then by pressing
down Ctrl plus H button, I hide them or even I can change the layers and position or place
them in a new layer. I select layer three,
change object layer. And then I turn it off. Then in the continuation
for the next part, again, I select it Bole N split, selecting the first and
then the second surfaces, and then enter,
and then I change the object layer like this way. Then for the last part, again, I can select the
object, Bole N split, and then I select the surface, but nothing has happened, it should be a problem there. Let me check it out. So to solve the problem, I
isolate these two. Here it is. I should move the object forward to
fix the problem here, since the surface should be placed inside the
object. Well done. Again, I select the
object, pull split, and then the surface, well done, as you can see, it is splitted. Then I change the object layer. I set it to layer three, then I delete the
splitted parts, I select them, and
then I trim them. Then I turn off
the curve layers, and I turn on the object
layers or solid layer. So as you can see, up to now, we have created the main
objects of the project. Then in the continuation, I can select these
three surfaces. I can extrude these surfaces at the specified
extrusion distance. After starting the
extrude surface, I want to specify the direction so I click on
direction. Then at the top. Following that, I specify
the base point and I'll see the second direction point by holding down Shift button
to restrict the direction, and then I specify
the direction. And then I specify the exuding distance through
points like this way, and then the next surface, D, to specify the direction,
the base point, and then the second
direction point, and then I extude and finally, the third surface
or the next one. Watch this distance
through points, well done. Then I select the
input objects or the primary surfaces to
delete them. Well done. Then by this way we
created the surfaces. Then I turn on layer three and then let us check it out at the
rendered viewport. G at the next part
in the plan view. I want to draw the next part, so in the layer of curves as
you can see the red layer, and then by using arc, I specify the points to create
the arc or draw the arc, second point, and then the
point on the arc Great. Then I pick the polyline
by using SmartTrack. I disable the Smartrack. I extend it, and then
I close the curve. Great. I select them
and then join them after that in the right view
by using extrude Command. I extend the curve to that part. Great. However, we should have trimmed some
parts. Let me see. But don't matter,
let us try again. I draw these curves, and then by using arc, the first and the end, start and then the
point and arc, then I select these two
curves, and then trim. Following that, by
using joint command, I make these curves joined. After that, in the right view, I want to extrude them based
on the imported image. I select the extruded object, then I change the object layer. I set it to surfaces, so we can check it out in
the rendered viewport. At the next part,
as you can see on the picture is this
part back to rhino. Here in the plan view, I turn off the layers. Then I select these surfaces and then I change the layers, I set them to the surface layer. Following that, I want
to draw this part here by using a rectangle
by three points, specify the first and
the second point, and then the third
point, as you can see. Well done, following
that, again, by using rectangle
by three points, I draw one more
rectangle like this way. And then by using copy command, I create a copy from the draw
rectangle like this way, and then I choose
the editing points and then I move
them to shrink it, Gard, then select array linear. I specify four for the number of the
items from this point, and then I array them this way. Check it out. Then
in the continuation, I select these curves, and then at the right view, I move them upwards
till this part. Then I start extrude curve, and then I specify the
extrusion distance. Following that, by
using make hole, I select the curves, and then I select
this face or surface. You create the whole holes on. I mean, the holes that
we got at this part according to the
image back to rhino. And as you can see here, we got some columns
and also a vol. First of all, I'm going
to create the vol and then we're going
through the column. Here I draw a box, for example, like this way. And then by using three points and then finish, I
disable project. And then I extend the bikes
through the box to this part. Following that, as I told you before it's time to
create the column. For example, at this part, by using a vertical
line, check it out. Then in the continuation, I pipe it Well done. Great. Following that, I select the holes and also
these extrusions to change the object layers. Well done, you can
see the drawings up to now and also at
the rendered viewport. Great. Then at the next part, we're going to model the
curve here as you can see, which is connected to the
wall and actually is a pipe, and then we're going to model the other parts
of the building. So here at the top view, and then by using
Interpolate curve, for example, from this part, I extend the curve, and then I specify the
next point, well done. And then I choose
the editing points to move them like this way. Then the perspective view, I turn on the surfaces to
show them in the scene, and also the round curve or arc. I move it to upwards
by this way. By the way as you can see. And then I start pipe command
for the start radius, for example, not 0.1. And then I pipe it as you can see according
to the picture. And here we got a
polygon that we can model it by using
polygon, polyinomen. For instance, back to
Rhino in the top view, I start rowing this curve. Check this out. Let
me take a look on it. Great. Back to
Rhino. Watch this. Done. And then let me adjust the position
in perspective view. I want to extrude it exude I specify the extrusion
distance through points. Following that, we can move it downwards and
then adjust the position. Watch this. To connect it
to the pipe. Well done. Like this way. I adjust it at the proper
location, well done. Then I can create a copy for the other parts
of the project. Then let us go for
the next part, which is the building which is placed at the right
side of the project. So for creating the
building at the right side, we're going to draw this part
and then the middle part. Again, back to the right
view, I rectangle, and then I sketch it this way, another rectangle inside
the previous one. Then by using trim,
I trim this part. And then I make them joined. Here in the perspective view. I want to move the curve
and then position it at the proper location as the
start point of the extrusion, and then I extrude the
curve like this way. Then for the middle part, and a straight curve
for the middle part. So I start extrude surface. Then I select the
surface, check it out. Then I extrude it
to the boundary, following that I
specify the boundary to extrude the curve to surface. Well, done, let me extend the back face following that,
again, extrude surface. I select the surface and then to the boundary
by this way. Great. At the next part, we're going to
model these bells, as you can see, which are
placed on each other. So I select this building, and then I turn off
the reference layer, and I also turn off
the other layer since I want this
building to be isolated, following that at
the right view. And then I start drawing the bells by using
polyline like this way. And then from this point
-45 degrees, check it out. As you can see, according
to the picture, I'm designing the top
part of the bell, and then I select this part
to mirror it at another part. I set copy to no since
I make it this way. And then trim, move, and then then mirror
like this way. I set copy to yes,
and then mirror. Then it's time to join them. So by this way, we created
the top curve of the bell. Then for creating the bell, we can use the curve
Interpolate from this part for drawing the cross section
curve or the profile. For instance, at this
part like this way, actually curve control
point. The right. And at the perspective view, I select the curve, and then I want to
extrude the curve. Following that, I extrude along
the direction by gumball. Then I want to revolve the bell or the profile.
Check this out. Full circle. Check this out. Then at the top view,
as you can see, we need to modify
the editing points. For example, we should
modify the stretchingss. I hold down Control button, and then I position
Gubl this part, and then I scale the
bell like this way. Then at the Perspective view, I selected to create
a copy or duplicate. However, before that, I
can use sphere to position a sphere inside the
bell. Check this out. I select the entire set of bell, Control G to group them, and then at the right view, I make some duplicates four. And as you can see, we are creating these
schematically while you can put much time on them to
model the details precisely. Then I select the curves. As you can see, I have
selected the curves, and then I hide them
by control edge. And then I select
the other objects to change the layer surface. By this way, I turn them on. We have moved forward
up to this point. And then at the next part, we're going to model these two balconies
and the building. I select these two and
then I isolate them, and then by using the polyline, at the plan view, I want to use more track to draw a
rectangle at the empty part. Watch this. However
it is snapped, I select it, and
then I project it to the construction
plane, well done. So we have drawn the
curve of the balconies, and then by using
box by three points, I model the base part or
the slab of the balcony. Then I move it upwards at this elevation
or at this height, and also the curve. Following that, by using vertical curve or
vertical line by this spy then I select the vertical line to pipe
it not 0.02 for the radius, then selecting the last
created objects, array, curve. Then I specify the path, and then the number
of the items. For example, let me check the items,
according to the picture. For example, eight, well done. Then I select the curve. I move it upwards, and then I create ano copy, and then the last one copy. Then I select these curves,
the horizontal curves. I pipe them at 0.02 for modeling the
railings of the balcony. However, I can select control
and shift buttons to select the front face and then move
it forward like this way. Then I select the curves, and then I hide them
following that, I group the set of balcony, and then I create a copy. Following that, I show
these 24 hidden objects, and as you can see,
we're almost done. Then at the next part, you're going to model
these mullions and the glass panels
between the surfaces. So I want to select
these surfaces, and then I explode them. Following that, I want to select the front faces of each
of these extrusion. And then I want to draw some curves on each of
them by using section. Draw the network. I select these faces, and then I isolate
these three objects. Then at the right view, and then I start
section command. Then I want to create
desired sections and these objects like this
part. Check this out. The vertical curves, well done. Then at the next one, I draw these vertical lines
for the frames and millions. Great. I add one more. However, we could have
used the front view. Then at the next step, it's time to draw
the horizontal ones, and as you can see, we should extrude the frames
or the curves. As they are selected, I want to use gumbo. To extrude the curves or
section toward inside, I cancel the process. I try again since the value of the extrusion was
more than enough. Then I select the
last created objects. Then by using offset surface, I set both sides to yes, and then the offset
distance not 0.02, to offset the selected
objects at 2 centimeters. Then I select all
of the objects, control to group them
and etch to height them. Again, I select the surfaces, isolate at the right view, again, section for the
horizontal sections by using grit snaps. I draw the section at a
regular order by this way. Well done two by two, let me remove one of
these sections and then for more section
for the top part, I select these two curves, and then I delete them. Then I select the
curves, as you can see. Following that, extruding
them to our inside, I turn off grid snap, and then I extrude them
by gumbo, like this way. Then I select the
last created objects offset surface at both sides and then 0.01 for the
distance or one centimeters, then selecting the
last created objects Control G to group these objects and
then pressing down the control edge to show
the hidden objects. So right now, we got all of the objects shown in the scene. Then I select the curves. I hight the curves, and also I select
the balcony and then the llons of the panels
to change their layers. For example, I assign
layer four for them, and then I rename
the layer four. For example, I name it railings, and I select the railings and I change the object
layers, the weight. So as you can see, we can move the project forward
step by step together, and then in the continuation, I want to select the front
faces of the building, and then in properties, material to assign material
to the glass panels, custom. I specify color for it. For example, this type
of blue or light blue, and then increase the
transparency, 54. Check this out, the glass panels so we can observe the
inside of the project. So, guys, we succeeded to model the main parts or the general parts of
the project building. And as at the beginning of
the project or process, we imported the images from
the plan and the front view. However, if you're interested, you can work on the details, for example, the roof. However, I would prefer
to put some time, put more time on this project to make the project more complete, and you will be given the file, the second file in the folder
in which the top part of the model I mean the roof are being considered
in modeling. Guys, if you got any questions, you can share them
with the other peers, and I wish you luck. See you at the next session.
124. Architectural Case Studies: Nestlé Building: At this session, we're going to model this project together
step by step as usual. So at first, let us take
a look at the pictures. And as you can see, we got
the three main solid objects, we got some arcs
in that they are subtracted from
the solid objects, and we got the facade views of the buildings
of each of them, and also the plan views
as you can see and the site plans and some pictures from the perspective
view of the buildings. Great. Check this out. So as usual, we want to import some of the
pictures into Rhino. For example, we're going to
set from these plan views. So let me import the specified picture into
Rhino, like this way. Following that, at the top view, I select the picture, and then I scale
it from this part, I hold down Shift, and then I specify the reference scale and then press down inter after
specifying thecal factor. Then select as the
picture is selected, I can position it at the origin point and
then from material, I want to increase the
transparency and locket. Following that. By
using polyline, I want to start drawing
the main curves. Check this out like this way. So we start the
next closed curve from the edges, check it out. In order to draw the main
curves of the plan view. Here we got the third solid
object and the edges, hack this out by polyline. Well done in the
perspective view. Following that, I can
select these curves. And then I want to
move them to heights. So here in the facade, as you can see, the
height is 9 meters. So I consider 9 meters for the
height of these buildings. And then I extrude them. I set solitude yes, and then I extrude them
at 9 meters along z axis. I set them to shade
at display mode. Then according to the
existing pictures, let me take a look on them. The facade, I want
to modify the height of the corners or intersections
of the building or boxes. For this, I can arrange
these two windows, the picture and also the
ino. Check this out. And I minimize the windows
or panels, properties panel. Then I start solid point on. Then I select the solid
objects or extrusions. Inter, take this
out by this way. Then in the continuation, we want to I want
these solid objects or extrusions with two
different heights at two ends. I mean, according
to the picture, one side height is 9 meters and the another side is 8.5 meters. So in the extrusion A, I should select these
vertexs and then I should move them downwards
at the length of half meter. I click on G Bo and then I import minus not
0.5. Check this out. Then I move to the next picture. Then I select these extrusions
or surfaces, polysurfaces. I turn off the Ia curves. And at the next picture, we got the facade of the
at that as you can see, same as the previous one. One side elevation
is nine meter, and the other side
is 8.5 meters. So these were nine
and the vertex -9.5 to decrease the
height by this way. And the next adjustment
refers to a three that one of the vertes is placed at the height of 8.5 and
the other one is eight. So I select it, and then
I import minus one. Check it out, and
move it downwards. And the last facade is related to a tube which
are eight and 7.5 meters. I select it and I import -1.5. So by this order, we manage to model the
first facade like this way. And right now, the height of the vertex for the top
face are well adjusted. Then at the next part. And here as you can
see, one of the sides, 8.5, and then the
other side is 7.5. And as you can see, the
next picture is related to the B object that at B one, which is this part, and in the other
parts, let me see. For example, as you can see, one of the parts is 8.5 meter, and another is 8 meters. So back to Rhino, I select the vertex, I select the -9.5. Following that, the other
part vertex and then minus one to move them
downwards like this way, I move to the next picture. Let me see in B
two, for example, one of the parts is 9 meters, and then the another
one is 8.5 meters, that we got both
of them in Rhino. Great. I move to the
next picture B tree. In B three, one of the parts is nine and D in other
part is 8.5 meters. I select -9.5, like this way, and also I mean
we're done with B. And then it's time to
start the drawing parts. I want to explain
the general things upon these two objects. And I turn off the IVs
and as you can see, when I show the I curves, here we got two curves which are displayed in red
and green instead of being displayed in
black curves so that we can recognize the U and
V directions easily. So if you wanted to do this, that actually it is
necessary at this part, you can click on Options. And then in view, display mode and then
in shaded objects. And then in surfaces
here as you can see, I have specified
the U and V colors for the Ia curve color usages. A clic and restore to default, so we can display them
to the default mode. I turn off the Iacurvest
as way as you can see, let me check other pictures. I move to the next pictures. Here, we got the perspective
view, as you can see. We got the building, C, the roof is flat or planar, so we do not make any
changes in the roof of building C. Then in
the continuation, according to the facade of
each of these buildings, we want to draw some
arcs and spheres and then subtract them
from the objects. But just in case if you didn't
have the elevation views, you can import the images into Rhino and then
consider the scales. Following that, you can draw
the facade of the building. But here we got the
elevation file. I import the file by click and drag and then
drop it into Rhino, import file and okay. Which is, as you can see, I have imported the views, the different types of views
of the project facades, and we got the guidelines of A, B, and C buildings. For example, I won that
we got it at this part. As you wanted to
use each of them, you can create a copy from them. And then at this part, you can rotate them
at 90 degrees, so we can have
them perpendicular to the construction plane, and then by using move command, I position them
correctly, like this way. After that at the next
step by using rotate, I position them at this phase of the
building like this way. And if the curve and the box were not matched
with each other, then you can fix them by scale one D by specifying the
scale factor or reference, and then you can
make them matched. So then the differences
will be removed. And this is all because
of the errors that we had while we were drawing the rectangles
and the plan view. So we may have some mistakes. And the next one is
A two facade A two. I select it, and then
as you can see a two, I make a duplicate. Then I rotate it at 90 degrees
to make it perpendicular. And the part, which is
higher than the other part, X rotate, and then I
position it there. Here as you can see
if it was needed, you can use scale one D to match the curve and
deface with each other, since the curve should
cover the edges. And the next one is a
tree, facade a tree. Create a copy, rotating
and then moving, I rotate it from the higher vertex again,
rotate, well done. Then I position it, get. And then for facade A four, Select, I hold down all, and then I create a copy
while I'm rotating it, and then move from
the intersection, check it out, again, rotate, and then position. Again, here we should
use scale one D to match it with
the surface edges. And then the last one, which is facade A five, erat selecting and then
moving from the lower vertex. Check this out. Scale one D, and then matched. Well done. So, guys, we're done. And as you can see, we're done with the first polysurface. So let's go for
the polysurface B, B one, facade B one. I select it, then I
rotate it at 90 degrees, and then I move it
from the intersection, and then I want to position
it and B one phase. And then I rotate
it. Watch this. Again, scale one D
is required here. Watch this. I match the curve
with the surface edges. Next one, facade Pt. I select them, create a copy, then rotate it, well done, move from the intersection, right there, and
then again, rotate. Te it out. Scale one D. And then the next one
B t rotating it at first, and then move and adjusting
the position on the face. Scale one D by this way, far down and the last one, guys fact B four, as you can see, select, copy, rotate, and then it's
time to move it. Check it out. Let me position it Well, don't rotate like this way, and then scale one D.
Specify the skill factor, and then I make it matched
with the surface edges, corre. And as you look at these
facade buildings, attentively, you're not given any information about C. So I open the
plan view top view, and then at this part, I want to specify
some of the parts by using circle three points. And then I enable project. I specify the first point of the circle and then
the second one. And after that, the third one, check this out, and
then one more circle. And then we let me try again for the second
circle like this way. Then next one like
this part, well done. Following that, one
more by three points. Great. So, guys, we drew three circles by three
points, as I showed you. I delate these facades since
we do not need them anymore, and then I move them and control edge to
hide them for now. Then let me take a
look on the pictures. Since I want to subtract these drawn circles
from the objects, so I can select these objects
separately individually. I select these, and then I change the objects
layer temporarily, and then I turn off the layer. For example, at the first part, revolve from the
midpoint, full circle. Check this out like a bowl
and the next one, the weight, well done by this way
and the third one, revolving a full
circular or circular. Then in the continuation, I want to create some
surfaces by revolve. Full circle, fully circular, and then I explain
the other items. And for instance, the
other parts that we should revolve them as
our current task, I disable the project. Then I split this curve by
using the another curve, revolve, check this
out like this way. Again, revolve I want to check these if they are
aligned with each other. So I start revolve at
this point, full circle. Check this out. Create.
And then at this part, I select it, revolve. I select the and
then fell circular. Revolve and then specifying
the axis and then revolve, full circle like this way. The next check it out. And wait for a second, please. For instance, up to this
part here from the top view. Let me specify the position of the revolution
angle. Check it out. And then for the next part, which is this part, this curve, I want to draw a vertical
line then from the quad, and then I split it by using the auxiliary curve and
then revolve again. I start the command. Great. Next curve, revolve
and then full the circular. Well done. And also this part takes some more time because of the straight part, the straight curve as
you can see that I can move it to make
it more precise. And then let us work
on these curves. As you can see, I've forgotten to use scale one D and
then make them matched. So right now, I want to select the curve and then
create a semisphere. I turn on the objects, I select the curve, and then revolve and this
axis fully circular, great. Then at the next step, it's time to select the created
revolves like this way. And then by using cap, I want to fill the openings
at the bottoms. Check it out. Since we're going to use
Boll and Difference, and we need closed polysurfaces. So I select the
polysurface or the object, then Boll and Difference. After that, it revolves, the tree revolves here, and then inter watch it.
And then the next one. I start the command. I select these revolves. As you can see here, we got seven revolves
that we want to subtract them from the Geometry. Here as you can see,
one of them is left, and the bullion
defence is skipped. I mean, for this part, we should subtract it
from the object. So in the perspective view, I draw a curve like this way, and then I connect
it to intersection. I draw the curve up to here
by polyline well done. Then I start edge surface. I select these curves and the surface edges
curve. Well done. Following that,
again, edge surface, I should select these curves
to create these surfaces. Let me try again at
surface and then specifying the curves and
then the surface. Well done. Then I select these
surfaces. I join them. Following that, by using cap, I want to fill the opening. Following that by using
Bolli and deference, I subtract it from the object, as you can see,
then at this part, we can subtract the spheres
from the object as we did. And in order to save the time, I create the revolve at
first and then cap to fill the openings and then
bully and defence to subtract it from the
object by this way. So, guys, up to this point, we created the objects
and then the revolves, and then we used William
and their friends to subtract them
from the objects. And then at the
next step by using the solid creation tools, sphere, we're going to
create some spheres. So in the continuation, I select these curves. I calculate the centroids, by using area centroid. I specify the center points, and then by using sphere from the center point,
check this out. I create these spheres
like this way. Following that, I should
select the object, and then I start
bullying the friends. I select these three
spheres and then subtract them from the extrusion,
as you can see. Well done, sell curve, and then I select
all of the curves, and then I change
the object layers, and then I turn them off. I select the objects, and then I change the
layer to default. I turn off the icy curves. Following that, we got them at the rendered view
port by this way. Following that, in
the continuation, we can work on the bridge, as you can see between
these two buildings, and then we're going to work on the windows and
the buildings, go right back to the top view, and I enable project. Then by using a curve polyline, I start drawing the
bridge this way. Check this out like this here and by like this. Then I select the curve as they are on the
construction plane, I move them upwards at
this height and then by using extrude
curve, check it out. I specify the
extrusion distance for the centimeters or not 0.4, like this and then select, and then I create a copy
from the extruded curves. I position them there. Let me adjust the position. Well done here as you can
see on the pictures as we look at them catenatively, we can see these bridges,
for example, this, we got a flat surface
and the bridge, and there is a distance between the surface and the
edges of the roof. So it is not necessary
to use the roof edges. So, guys, we are
done with these. Then we can select
the surface edges, and then we'll start edge
surface. Watch this. You can convert them
into a surface, and then I move the surface forward or toward inside since they want to consider
it as the glass panels, and then the last part
that we're going to model at this part are
windows as you can see, and the curves or sections
and the extrusions. So for modeling the windows, we can set the construction
plane to the object. I set the construction
plane to this face, and then I want to draw multiple rectangles on the construction
plane like this way. Well, then I select
the draw rectangles, and then I start make
whole by this way. After that, I should select the surface or poly
surfaces, check it out. Then at the top view, I specify the depth by
mean through points, and then as the
curves are selected, without deselecting them,
I start planar surface. Check this out. Then I select
the last created objects. I change the object layers. Following that, I want to rotate each of these
created surfaces. I hold down the
control button and then I click on the Gbool
and then I drag it to this point for relocating
the gumbol and then I rotate it by using rotating
by the rotation of Gumball, again, click drag, relocating
Gbol and then rotate. The next one, click drag, relocating Gbol and then
rotate. Watch this. However, we can consider
variable dimensions or variable degrees for each of these surfaces as you
want to rotate them. Then I select all of
the offset surface. I offset the planear surfaces
like this way and due to Ciplne change to return them to the default and
then in the continuation, I want to explain the method of drawing these curves
and the buildings. So I want to choose one
of the parts and then, for example, this part by
using creative curves. I specify the face,
check it out. Here we got it at
deconstruction plane, and then at the top of you, I pick the line polyline, and then by this way, I want to draw some curves. I explode it, and then
I select the curve. I start array curve. I specify the
number of the items or maybe distance
between items 1 meter. Let me minimize it again. Not 0.7 for the distance. Better, I select the edges, and these two arcs, trim to trim the extra parts of these curves like this way. And also add another direction, I select the edge, and then I create some copies
for the horizontal curve. Well done. Again, I
select these two curves, trim and removing
the extra parts. Then finally, I select the entire
curves, apply the curve. I specify the target
surface by a click. We don't need this
part, select and hide. Let me trim these parts. Great. I select the last
created objects by drag, select, and then I set the construction
plane on this face. I select the curves, and then by combo, I extrude them
slightly by this way. Even I can select the
last created objects and then by offset surface, I set both sides to yes, and then for the
offset distance, not 0.01 or it's
okay actually inter. As you can see on the screen, Let us check them out
in the Render viewport. So, guys, by the
explained method, you can move the other parts
of the project forward. And if you got any questions, you can ask us or
other peers and share the final version of your projects with your
friends soon next time.
125. Architectural Case Studies: Gym: At this session, we are
going to model the sports. Hell, as you can see,
let us take a look at the pictures by this way. This is the general building
or general geometry model. However, we can
analyze the model better from the diagrams
like this, check it out. This is the object that the edges have been
moved upwards. At one of the sides, we got the store front
walls at the back, and this is the entry of the
sports hell. Check it out. Et us take a look
on other photos. Start modeling, I'm going to use this photo,
as you can see, in which we got the
different kinds of facades west and east and
ulcer north and south. So let us start at
first, as usual, weipot the image into Rhino, like this way at the
front view, check it out. Then we selected
scale by this way, by using degree snap
from this part, I specify the scale factor that should be
considered 1 meter, and then we can
adjust the photo at the origin point and also increasing the
transparency of the photo. And then we change
the photos layer, and I rename the layer
as reference layer, and then we lock the photo. Then polyone and then
I can start drawing the main curves. Let
me check it out. Look, this is the plant view. Well done. Let us start. So here we're going to start from this
part. Check it out. I extended at the length of
8 meters 0.15 by this way. I unlike the photo, then I select the
photo again, a scale. Then I want to specify the
scale factor, check it out. Then I want to consider
this part as 8.15 meters. Look, and then we
like the photo. We pick the polyline, and then we hold down shift to draw the
curve like this way. I hold down shift to
restrict the direction, and then I continue the curve or the polyline like this way. Following that, again,
I start drawing the polyline at this
part, for example, the curve by which I
want to split this part, let me show you in the
photo, check it out. And I select the primary curve or line to move
the control point. Let me select the curve
and then I split it, and then I move
the control point, check it out like
this way. Well done. Following that, I draw another
line at the other side, check it out like this way. Then by using the south facade, which is important too, I know, I draw the curve
or line like this. Then I started from there, and then I extend it to the end. And I can turn off
the photos layer. I turn off the reference
layer, check it out. And then I select these
curves or the front view. And then by using move command, I position it at
the region point. Following that, at
the perspective view, I rotate these curves
at 90 degrees. Look. And these three curves, then remove these three curves. The three exploded curves,
I position it there. Then I select this curve
or the main curve, and then I extrude it up to
this part like this way. So, guys, we have modeled the general thing,
the general part, as you can see, following that, I start wire cut command. Then we specify the curve
and also the solid. Then we should
specify the direction for the wire cut along Y axis, and then we cut the
solid as you can see, by this as you can
see, well done. After cutting the
specified part, we should deal with
this important part that you watch on the photos. Here we got these two parts, which are these
store front walls, which are at the same plane with the surface of the object, while the another part
has been moved backwards. Back to rhino, I specify
a point on the surface, and then I start drawing the polyline from
the specified point. Shake it out, and
then I extend it to the to this near, well done. Then by using vertical line, I draw this vertical
line, check this out. Perpendicular. As you can see, let us take a look
in the photos, and then we want to
analyze the building. Here, as you can see,
we got this part. Then we cut that
part by using cup? Look. And as you can see, the front face has been moved
backwards or toward inside. So at the next step, we select this curve
to create a copy and then repaste it at
the other part, e it out. By this way. And
then we'll start drawing another poly
line like this way. And then we connect them
to the intersections. Following that, by using the drawn curve and
also re cut command, we cut the object. We clique and direction
to specify the direction, normal to curve. Watch this. Like this way, check out
the results of the cutting, and then we select and move
the cut part by this way. Until this part, we
have cut the object, we hide the splitted part, and then by using these two
curve, let me check it out. I should select this curve or this line and then
start cut command. Then I select the object, and then the direction that I should cut the object
along z direction, not normal to curve. I made a mistake.
So by this way, we cut the object
along z direction. And as you can see in the photo, we got a sloped part that
we considered the slope and also surface that we are going to model the surface
by using the curve. And, of course, for this part
of the store front walls, here we can select this curve and cut the surface
by using the curve. But before cutting the surface, I want to add some other
details of the building. For example, here we can use shell command and then
adjusting the thickness, not 0.2, and then
selecting these faces, the front face, heck it out. We remove the face, and then we consider
the thickness, as you can see. Well done. Here I have to select
the bottom surface, and then I hide it. I hold down control
and shift button, and then the base
surface, check it out. I select the base surface, and then I delete
it by this way. Book, and then control shift edge to unhide the splitted part,
and then I select it. Here I did this, and the reason behind it is that I didn't want to create
a slope surface. I mean inside of the building. The base is flat, not sloped. Let me hide the Iacre. So we can display
them like this. And after that, we can press Control Shift Control
Shift buttons, and selecting the surface, I isolate the surface, check it out to observe it, then holding down control
shift patterns to delete the top surface of the
surface, top face, actually. And then offset surface, I flip direction toward inside and then 0.2
for the thickness, solid, then we show
the hidden objects. So then both of the surfaces
got the same thickness. Roll down, which
is to centimeters. Great. So up to this point, be very successful in
modeling the sports hell. In the continuation,
I want to model the store front
wall before that I should split this
pace from the object. So I want to use polyline, and then I draw the
line like this way. Check it out. Well done. Then at the right view, we select the object, and then we split it by using the drawn poly line to cut the face front face,
press down inter. Let's check it out at
the respective view. So this way, we remove
the specified part. I mean, we split
it like this way. And then in the continuation,
the curve polyline, I draw the polyline at the boundaries
actually on the edges, and then I make them joined
and then extrude curve toward inside at the specified
distance through points. So as you can see, we consider this wall,
the interior part. So it is okay. Let
us check it out throw in the viewport.
By this way. And the next part is the
storefront, at the entry, and I'll sew next to it, as I told you before. So by using surface point, I specify four points
to draw the glass wall, check it out at the corners. Let's check it out
at the Render depot. Well, go. So, guys, we're done with the general
parts of the project. And at the next step, we're going to create
these frames or thesemllons of the glass walls. Check it out, and also we are
going to model the windows. Great. So to do this, let me open some other
photos to take a look on. For example, these,
as you can see, you're going to
model some frames. I select the object, and then I isolate it. Then in discontinuation, I
pick Explode, check it out. And then I explode the faces. Then I select these
three faces together, and then I join them. Since I'm going to
consider this as these two front walls or the
glass walls, following that, I start drawing a curve from this point or the intersection, like this way, and I
move it toward inside, and then I extrude
it like this way. Check it out. And
as you can see, according to the picture, the Mllons are aligned
with the surface, and here I should I want to
thicken them by this way. Following that, I select it, and then I start array
care, check it out. I specify a path, and then for the
distance between the items at each 3
meters, check it out. Then I select all of
the objects or frames. I also select the input object and then I move
them to right side. Then by pressing down Control G, I group them, then we need
to draw another curve. For the horizontal mollon, I pick the polyline and
then I start drawing. Following that, I draw
another curve, look. Then I select these
two curves and then love to create the
surface or the Mllon. Following that, I extrude them toward inside,
check this out. By this way, select, and then again, we can
create some copies. I start Copy and I move it and
creating a copy meanwhile. Then finally, I want to
change the surface layer. For example, I assign Layer
three for it, check it out. And for the lateral faces, we can create the frames and
the mollons by this way. But let me associate
the glass material to these faces or with blue
color, check it out. And let us check them out
at the rendered report with the glass material
and the frames. And right now, we're
going to create the millions for
the lateral faces and also for the entry. So, guys, let us create
the frames of the entry, and then I want to leave the
other processes for you. Let me show you the photos
for the entry part. Check it out like this way. Let us start. Select the face, then we isolate it, and then I set
deconstruction plane to the surface, check it out. Then I start section. Then I draw some section lines
by this way. Check it out. I draw the curves or the
sections. Bull down. The vertical ones and the
horizontal ones like this way. However, in the future sessions, we will learn how to
create such a curves, but up to now, we can move the process forward
by using section. Here we can hide the surface. I hide the surface, and then I select these curves, the frames, and
then I join them. Following that, by using offset, 0.05, sick it out. I offset the frame, and then we can select all of the curves, then curve booling. Then we click inside
the closed regions. Watch this in order to
create the mollons. Fell down. You know, this is the alternative way
that for the previous part, we used loft to
create the surfaces, but this time, we
can use bullion. I click inside the closed
regions like this way, and we're almost done. Great. Following that, extrude and I extrude the
surfaces at a distance of 0.05. So, guys, you are
done with the frame. Check it out. By this way. So I want you to create the frames for the other
sides as the way that I did. And then at the last part
or at the last stage, I want to create one
of these windows, for example, one of these, and I want to let
the others I mean, I want to let you
to create others. So set construction
plane to object. Check it out, and then I draw
a rectangle like this way. Then make whole. I started. Then I select the curve, I select the surface, and then I specify the
direction normal to surface. Following that, for
the depth point, we can type the value of
not 0.1, for example, check it out as you can see, in the continuation, we're going to create the
frame and the malons. So I want to draw a curve
by rectangle, three points. I specify the three points, and then I draw the rectangle. Following that I
picked the polyline. I started from the intersection
or from the corner. I held down control,
toock it out. I draw the straight curve and then let me draw
this cross section. After designing the profile, I adjust the position
of the profile. Then I start sweep one rail. I select the curve, and then I specify the profile, and then I sweep the surface, check it out for the frame
of the window like this way. Or even for other windows, we can use the same
or similar approach. And for the curves
on the surface, we can use some little boxes, for example, at the top of
you, let's check it out. Then I want to show you here like drawing this
box. Let me check it out. Something like this,
I move it upwards and then I set the construction
plane to its normal mode. Then here I'm going to use
the profile and then array the profile linearly to any
number of items or four D, and then I place
them, check it out. Then I select all of these
control G to group them. Following that, I do plan view to check them out.
They are okay. So we can select them
and move them outside. Let me adjust them
again, the weight. Following that, we're going
to use Bull and the friends. We select the objects to
subtract the boxes from, and then the boxes, sick it out. Let's see it out. Pull and Difference failed because there are some
openings, so I use cap. Since I want to fill the openings of the
object temporarily, just in order to use
Poul and Difference. And then I show
the other objects. I selected Pul Difference. However, the entry is open too. Again, here we can select the
object Pul and the friends, and also we select the
objects or the profiles. Then after pressing down Inter, let's take it out.
Here we got these. So again, I should
select the object, then I isolate it to
remove some of the faces. I hold down Control
shift buttons, then I select it, and
then I delete it, and also we should delete some other faces that
da were added to the object at the process
of cap all right. So in general, I just wanted
to teach you the method, and I hope you'll
find it informative. Let me assign the material of glass and then
assign to object. Great. By this way. Then cell curve. We select the curves, and then changing the objects layers and then
turning them off. So we can continue the
project from now on, modeling the other frames, the other glass walls, and the other windows, according to the
shared pictures. However, if you got any
questions, you can ask us, and at last, you can share the pictures of your
projects with us. I'm looking forward
for your feedbacks, and I wish you luck.
See you next time.
126. Curve from Objects Tool : Welcome to the Season nine. At this part, we're going to talk about some of the commands that creates curves by the
interactions between objects. But what does it
mean? Let's see. Here the commands that we're
going to talk about can be found in curve tools,
and then right here, let me open the list, which is curve from
object tools or commands, which enables you to create
curves from objects. By this tool bar can create a spaced series of planar curves and
points through objects. So let us check them out. The first one is
object intersection. Intersect command
creates points, objects, or curves at the section of at least two
curves and surfaces. Object intersection, then we should specify the
objects to intersect. For example, I click and drag, and then I select these objects and then press down Enter. Here, as you can see,
it has created a curve or point object at the
intersection of the two objects. Let me give you another example. You can create the
points in just one step. It does not have a specific
option in command line. I extrude the curve. Right now, you've got a surface
and then another curve, and then I extrude it
by Gbol as you can see, we got the intersection between these two surfaces and
then object intersection. I select these two surfaces
and then press down inter. So that we got this curve. Or, for instance, let
me delete this one, the surface, and then
I keep the curve. Right now, here if I
specify these two objects, I mean the curve
and the surface as the object intersection,
what would be the result? Exactly. We will
be given a point. Check this out. I mean, the intersection
between a curve and a surface is a point,
as you can see. I got a question for you. Can we have the intersections
between the curves. For example, that
a set of curves, and then we want to apply
object intersection upon these. Here as you can
see, it has created the points objects at the intersection
between the two curves. So this was all about object intersection command
that you can operate it upon I mean upon two solid objects or
curve the polysurface. The result will be
a point or a curve. At the intersection between
curve to curve was point, but the intersection between the poly surfaces was a curve. Ideally, the then in
the continuation, I want to create a solid object or polysurface. Watch this. Here, we got two sine
shaped curves. One more. Check this out. Somehow
it is something like topography and let me move them. Position them at different
locations by this way. Copy. Then I want to love them
to create a surface. Check it out. Okay. Well done. You guys, we're done
with the surface. Then suppose that we got
two points on the surface. For example, on this topography, we got two points on
a specific point, for instance, right there. Check it out like a villa
or a house or whatever. And another region,
for instance, right there. I specify it. I move it upwards,
check this out. Then in the continuation, we want to draw a path
between these two buildings. We want to have
the shortest path between these two buildings
and the topography, which is geodesic curve. However, we call it a
short path as well. If I click on it to
start the command, then we should select
surface for creating a short curve points
on the surface. Then you start up
the curve or do you start point on the
surface, for example, from there, and then
the end of the curve, which is the in other building, for instance, check
this out, build on. Then we will be given
the shortest path between these two objects
or points on the surface. Let us try again. I move them or we locate them, well done. Geodesic curve. Then I select the
surface, check it out, and then I should select
the start of the curve specifying the end of
the curve, well done. Here as you can
see, you are given the shortest path between
these two objects or points. This is the shortest
possible curve between the two specified
point and the surface. However, by using the command
of offset curve on surface, convert this to a
path for the road. I type offset curve on
surface, check this out. And if you're not
familiar with it, don't worry it's not
that much complicated. I'm going to teach
you right now, first, we select
the carvon surface, and then the base surface. Following that, the
offset distance, even we can flip the
directions as you can see, and we will have the offset exactly on the
specified surface. You can use through points or even import the
value of the distance, and you can flip the direction, check this out back this way. For example, two, and then
Enter, check this out. Let's try again. I
select the curve, and then the surface. And then this time, I
flip the direction. 22 this out, another upset
at the opposite direction. And if I delete the
middle curve, watch this. Here we got a road between
these two objects. Then I can split these and then assign them to
a new layer like this way, like a ribbon, well done. And in order to have a review upon offset curve
on surface command, I'm going to give
you another example. Actually, the geodesic
curve is not oftenly used, but offset curve on surface is more oftenly used
than the short path. Here, we got a
surface like this by left and then by this way. Then in the continuation, by using interpolate curve on surface that you can draw
a curve on your surface, the surface to
draw the curve on, and then you can start drawing your interpolate
curve like this way. Here it is well done. Then I offset it on the surface by using
offset curve and surface. Then I select the
curve on surface. Here it is the base surface. Or the surface that the
curve is placed on, and then the offset distance, even you can specify the
number of the offsets. For example, three at this direction and the
offset distance, 1.5. Check this out. We got
three offset curves. I select the origin point. I mean, the input, flip the direction,
and then offset it. Watch this at the opposite
direction. Well down. About the point about I mean, related to offset
curve and surface, let me draw another one
to tell you the point. For instance, this one, we got this curve, which is not extended
to the edges. When the curve is not
extended to the edges, and when we offset
it, sick it out. The offset curves are extended. To the edges, as
you can see, again, at the opposite direction,
as you can see, they are extended to the edges. So put this point
into consideration, and the next command is
silhouette and silhouettes create outline curves from
a surface or polysurface. Let me give you an example. Here it is silhouette. This silhouette command
creates outline curves from this selected surface extrusion
or polysurface object according to the specified view. For example, here is our view. Then I start Silhouette. Then I click on the surface, press down inter, watch this. As you can see, we
are given the care. Here is the outline curve, and the silhouette direction is based on the current view. So it is totally dependent
to the current view. Let me try let me give you another example at a
different view silhouette, then I select, check
this out another I mean, a different outline curve. I mean, we will be
given the outline curve from the very current view. Check this out.
The outline curve from the selected surface. For instance, watch this. When you're looking at this surface from
the current view. Look, we will be
given the exact or the very curves that we are observing at the specified view. And the angle of the view port in the view is very important. And it got only one option. Let me try again, which is about the
curves which are placed inside the polysurfaces,
like this one. Here pole and difference, and then I subtract it. Here is the given result. And then, for example, at this current view, silhouette, the option
is internal edges, which has been set to yes. I select the surface, and then let's check it out. Here is the result
as you can see. And if I set it to no, then
this will be the result. But if you set it to yes, you will be given the
internal edges as well as I showed you in
the previous example. But the next command is very
important and often used. For instance, in Rhino, I draw a curve and
then I want to revolve it fully circular, check it out. Following that, I want to
give you some examples upon the revolve, create a copy. Here we got a curved surface. I revolve this. I rotate this at 180
degrees, check this out. Then at the top view, I draw a curve like this way. By this way, fire frame to
observe it and I make a copy. So we got it at both surfaces. I move it upwards, and another one as well,
move it upwards. Then here, the command
that I want to introduce is project curves. Project curves creates curves or points on a surface that are the intersections
of the surface and curves or points projected
toward the construction plane. The continuation let us
consider the function. I modify the layers
so that you can compare the curve with the
projected curve. Let's see. When we start project curves, it projected the curves
on the specified surface perpendicular to
deconstruction plane without scaling the curve. In other words, the
project command creates curves or points on
a surface that are the intersections of the surface and curves or points projected toward the
construction plane. So the current view does matter, and it would be perpendicular
to the construction plane. It does not scale the curve. Without changing the
size, let's check it out. I select the curve,
then I should select the surface,
the project onto. So right now, as you can see, the construction plane
is on the ground, so we will have the curve projected along the z direction. Check this out. It is
projected on the surface. And if we look at them
from the top view, as you can see,
they are matched. Let me check it out
from the top view. Even we cannot recognize
the existing of the other curve
since the two curves are overlapping and they
are equal to each other. So this is what project does. And the other one, let us try, select the curve
and then selecting the surface and then
pressing down into. What is, I projects the curve
exactly on the surface. Let us consider the options. Project. I select the curve
and then the surface. Well done. The first one is loose, which has
been set to no. It projects edit points toward deconstruction
plane onto the surface. I mean, when you set
it to, you let Ry know to add the required
control points. Let me try again, specify Inter. And then it projects edit points to a deconstruction
plane onto the surface. I select the curve
and then Inter. Here is loose, which
has been set to no. As I explained it
for you before. Here when we set loose to node, it means that we let
the curve to add the required control
points or to project the editing points
to the curve on surface. So here I select
the surface, Enter. Here is the input, input curve that got a few
control or editing points. But when it wants to be
projected on the surface, it needs more editing
points. Check this out. As you can see the number
of the editing points or control points are more
than the input curve. And this is all because that
we have set loose to no. But if we set loose to, yes, the editing points won't be added to the project
at curve on surface. Yes, inter. As you can see,
here is the result, the final result of the project
at curve on the surface. Since the editing
points are not added, the curve is not totally
matched with the surface. So if you don't have
any limitations, you'd better to set loose to no. Well done, delete the input, that if you set it to yes, it deletes the inputs
or the curve and the output layer specifies the layer for the
results of the command. If you set it to current places the result on the current
or default layer. If you set it to input, then it places the results and the same layer as
the input curve. And if you set it
to target object, it places the results on the same layer as
the target surface, which is not that
much complicated. I set it to current. Here we get the
direction which has been set to C plane z. I mean, the default value
here is C plane Z, which is perpendicular to
the construction plane. However, you can
modify the direction. For example, if you
click on custom, then you can specify
the direction yourself at the front view. I select the surface, enter, and then I specify the
first direction and second direction point for the direction of the
projection. Check this out. But we usually use Cplane Z. Let me try again, select, Inter, and then the direction, Cplane Z, that you can specify it or customize
it, actually. I select the surface, Inter, then at the front view, and then draw a curve
like this. Watch this. So they are overlapping on
the top view, as you can see. But what does it mean? I mean, what does that eplinz mean? Let me give you an example here. Suppose that I'm going to create a surface like this and
then next to the curve, shake this out by gon bowl. Following that, at the top view, I pick epulate on surface. And then actually
not on surface, I draw this ellipse, and then I rotate
it like this way. Well done, position it and
there, check this out. Then let us compare
them by this way. I click on project. I select the curve. I set direction to see plane Z or perpendicular
to the construction plane. Then I specify the curve and the surface. Here is the result. Then at the right view, look then I want
to move the curve downwards to place it on the curve on the
surface, and then project. The direction is set to
play Z or along z axis. I specify the curve
on the surface, press down inter.
Let's check it out. As you can see, the
curve is projected, based on the current view, but another one is
projected based on the top view or the
perspective view. So the current view doesn't matter when you want to project your curve
on your surface. And the next command is
pull curve, as you can see. And as you can see, the
icon of the pull curve is very similar to project. Functionally, it is somehow
similar to project. However, it has
some differences. I specify the curve, Inter then I should specify
the surface, that pull. I click on the
surface, that Inter. Check this out.
Here as you can see the pull command creates
curves and points on a surface that are at
the intersections of curve or points pulled toward the surface in the
surface normal direction. And it has minimized. In other words, the
curve has pulled toward the surface in the
surface normal direction, not z direction. I mean, we use project curves projected
toward the construction plane, right now they are pulled toward the surface normal direction, and this is the difference. So the curve is exactly
perpendicular to the surface. I want to try again
and then explain more and then the
surface, check this out. As you can see, the curve after pulled after being
pulled is minimized. And then at the next
example, as you can see, the curve is pulled toward the surface and it is maximized after being
pulled toward the surface. And then if I move the curve
downwards like this way, check this out here, I select the surface, and then inter, check this out. But how the curve is
perpendicular surface. The target surface I mean. Here, we got a curve
which is normal to face. I mean, it draws a curve which is
perpendicular to the surface. I select the surface, and then if I specify a point and then draw the
curve, check this out. It is normal to the surface, or, for example, another
point, check it out. Right now, these curves are normal to the surface or
perpendicular to the surface. Or let us check this. For instance, from this point, check this out another curve which is normal to the surface. One more, check it out. So these curves are
normal to the surface, not to the construction plane. So when we are
using pull command, the continuity of the
surfaces do matter, and the size of the
curve after being pulled toward the
surface will be changed. And here I want to
introduce one of the applications of pull
in the following example. For instance, we got a surface
like this. Check this out. I want to create a
le like this way, left and then create the
surface by this way. Following that, at the front
view by using project, check this out, this curve. Following that, I
start project command. Then when I want to project
the curve on the surface, can I project it at the perspective view according
to the explanations? I may want to project the
curve on the surface. Can I choose the perspective or top view for the projection? Let's check it out.
Absolutely not. Since our construction plane, as you can see, is
underground and in project, the projection is normal
to the construction plane, while if you want to project
the curve on the surface, you should open
the right view and then project curve
on your surface. Watch this. So the
current view that you specify for the
projection does matter. General, we project the
curve on the surface, and then we may want to
rebuild the surface. And as you're concerned, when we rebuild the surface, we can simplify the curves, so we will have some changes. And here as you can see, the surface is not matched
with these curves. After rebuilding the surface, I move them to check them out. Watch this. As you
can see the curve and the surface are not
matched with each other. So by using pull command to pull the curves and points
to the surface in the surface normal direction
so that we can fix these parts because the curve is normal to the
surface direction. So that here, we can
start a command of pull. And then we select the curve
in the perspective view, following that we
specify the surface, target surface, and then enter. And since the curve
is pulled toward a surface in the surface
normal direction, the current view
does not matter. But in project, the
curve will be projected, normal to the
construction plane. So the current view do matter. I mean, the current view is important in the
project, actually. Let me show you again, pull. I select the curve, Enter, and then I recommend you
set Dilt input to yes, since we just need the
results, not the input. And then I click on the
surface, press down Enter. Check this out. It is
pulled toward the surface, normal to the surface direction. And as you can see, the curve is pulled toward the surface. Know that when you are
using Pool command, the current view
has got no effect. Since at any condition, it is normal D. Surface direction while it was effective in the
command of project. Here, I want to give you another example at
the other surface, and then we're going to
finish the session and then talking about other
commands at this season. So pull curve, and then
I specify the curve. Then I click on the surface, Inter. Check this out. It is pulled toward the surface in the
surface normal direction. So, guys, as usual,
it's your time, your turn actually to
practice the given lesson.
127. Project, Pull, and Fin Commands: The next command is extrude
curve normal to surface. And frankly, the name is too
long, but what does it do? It extrudes the projected curve on the surface toward the
surface normal direction, and our no command is not considered as the curve
frame object commands. However, it is regarded as the complementary of the
curfra object toolbar. For instance, if
I want to project this curve on the
surface, project, and then I select the
curve and press Inter, then I should select
surface Inter Great. I hide the input. Then in the continua, I want to extrude
the projected curve on the surface at the
surface normal direction. If I use extrude, the ordinary extrude,
but I want to extrude it normal
to the surface. The name of the command is extrude curve normal to surface, but the shortcut is fin FIN, which extrudes curve on a surface in the surface
normal direction. So I type in in
the command line, then I press Inter to
start the command. Following that, we should select the curve on the surface. Now that we should select
the curve on the surface. The curve is projected
on the surface. Or maybe it is pulled
toward the surface. We select it, and then
without pressing Inter, we should specify the base
surface. Then check it out. You can extrude the curve on the normal surface direction
or tangent to the surface. You can pick the location
on the curve for a height, or you can import the distance manually by values or through
points check this out. Press Enter. Well, done, normal to the surface direction. Let us talk about the options. So again, I start
the command, fin, then I select the
curve on surface, then the base surface. Let me try again, Dcurve
and then the surface. So here we can specify
the height or distance. The next one is set base point, which specifies a
location that serves as a first point when picking two points that set the
extrusion distance. Check it out. You can
specify different values for the distance of each of the
parts of the extrusions. I mean, you can define variable values for the
extrusion, like this way. As you can see, you can make it wavy for instance.
Check it out. However, you can pick
the point and then or location import the value and then press down into
to save the changes. Let us try again, fin, and then select
the Kerbon surface. Following that,
the base surface, the stance, right
now, as you can see, can specify the value
after distance regularly, but in set base point, you can specify
variable values for the distance by picking
locations on the surface. Through points or importing values like this way and then press down enter to
save the changes. I think this was the
most amazing option. And the other option is
direction, which is normal. I mean, by default, and
other choice is tangent, which creates the surface, tangent to the surface. But the default value is
normal for the direction. I change the layer
check this out. Even here, we can
use set base point for specifying variable values. Check it out. However, you
may find it less practical, but it is used in special
locations like this way. Can you specify different
values like this way? Presenter, create. So for the direction. You can choose either normal, which creates the surface in the surface normal direction, and the other
choice was tangent, which created the surface
tangent to the surface. And you can fill
up the direction. You can control it by the
macro off the mouse, too. So when you have used
project or pull commands, on command enables you
to extude a curve on a surface in the surface
normal direction or tangent to the surface. So, guys, as usual, I want you to practice
every single example.
128. Exercise Explanation: The homework that I
have considered for this part is this
model, as you can see. Let's check it out. Here
we got a mesh surface, and this is the plan view. We got the surface
and the curves. Check it out. It is so simple. And the distances between these two curves are
offset are specified. You can define the values
and then designing them, following that for
extruding them, you put it into consideration.
129. Exercise: Very well. Let us start modeling this here in Rhino at
the top or plan view. And then I start drawing
in square like this way, and then I change the object layer and I
set it to the default. So for the continuation,
I start offset, offset offset multiple since I want to specify
multiple I mean, multiple offsets
for distance two, for instance, and the count six. Then enter, check this out. And if you agree,
let us add one more. But I specified a distance too. Check this out. Like this
way and one more. Well done. Great. So, guys, as you can see, I'm defining specific values. Right now, I'm connecting these curves by straight
lines. Well done. Following that, I pick the arc, and then I want
to draw two arcs. I hold down control, and then I draw
the vertical line. I don't want to increase
the continuity of the arcs, and then array polar. Four, well done. Then again, I add one more arc, since I'm going to
use netfork for the surface at the front view, I just did great. And then I hold down
all to rotate it, and meanwhile, creating
a copy like this way. I've done this several
times with network. As you remember,
network surface. So, guys, we're done
with the surface. Great. Then what is next? Let me take a look on
the picture. Watch this. Here if we project the
curves on the surface, then we can create
these profiles. So exactly it's time
to project curves. I start project, and then
I select the curves, press down inter, then I
select on the surface. The project demand
the surface G, like this, as you
can see, watch this. Here we got the projected
curves on the surface. So we select these curves. At first, we extrude them. Then I set solid
tono through punch. Great. Check this out. Well done, following that
for thickening the surfaces, we use offset, offset surface. I select all of them, press down inter
here as you can see, both sides is not available, which means that we got
polysurface in our model. Look, so what should we do? Exactly? We should explode
them and then again, offset surface after
exploding the surfaces. So both sides right now is available since we do not
have any polysurface. I reviewed this point. I set both sides to yes, but here we should
specify a few value, for example, not 0.1. Since you just want to
offset it slightly, set solid to yes, press inter, check it out at the rendered
report. Watch this. K some of them are extended. And if we define a higher value, we won't have a
satisfying object. So, guys, if you
haven't done it yet, it's your turn, give it a try.
130. Curve Extraction: So, guys, in the continuation, let us cover the other commands of the curve farm
object tool bar. For Example, one of the
important one is duplicate edge. Create a curve that
copies a surface edge. Let's work it out. I
start the command. Here, we should select
edges to duplicate. Or here we should select
the edges that we want them to be copied
from the surface edge. For instance, I select this one, press inter, check it out. Right now, we got
the created curve from the surface edge, while here there is no curves. Let us try again,
duplicate edge. I select these three edges. You can select several edges at the same time and then
move them like this way. And we got no specific options the next one is
duplicate face border, which creates a curve that copies a polysurface
face border. Here fi start the command
and then select the phase will be given the borders.
Let us try again. I click on the front
face, press Inter, then we will have the curves
of the selected surface. However, we could have created this by duplicate edge too. Let's sick it out, but we
should select them one by one or drag in phase border, we can specify multiple phases, and then we can
have the borders. So it is quicker
than duplicate edge. And here I'm going
to have a review upon the previous sessions, and I'm going to give
you some explanations. Here, you may ask why should we need to create copies from the surface edges
that we can use the surface edges in some
commands like sweep, array, loft and stuff like that. So what is the
necessity of creating copies from surface edges?
Let us check it out. For instance, when we
got a box like this and the scene and another
box like this way. Then, for example, we can
create a roof by using loft. And since we can use
these surface edges. And as I told you before, loft and the other
commands can use the surface edges as the curves. Check it out, right click and then selecting
the surface edges, then you can have the
roof by using loft. So what is the
necessity of existing and using a duplicate edge? And even for aligning the curves after creating
a surface by loft, here I specify two ends of the two curves or edge surfaces which are not aligned
with each other, then we will have such a result that if we want to fix it, we should align the curves. Check this out. I mean, here we're aligned
with the curves, but I mean, we are operated on the surface edges,
not the curves. So this was an example in
working with loft command. In the continuation,
I'm going to exemplify another case
by using sweep command. Let's take it out this box, since we're going to
understand the applications, the main applications
of duplicate edge. For instance, if
I want to arrange a specific object around the
surface edges of top face, and we want to consider the
surface edges the path. So what should we do? At first, we set the sea plane to
the face, take it out. I just a deconstruction
plane to this face. And then I draw my desired
profiler cross section curve, arc, then Ig line. Then I keep moving. Well done. Perpendicular. And then I close the curve or the
cross section curve. Then in the continuation,
if you reel, let us scale the
curve to maximize it. Create. Then I set deconstruction plane to the
default mode and then sweep. Here, as you can see,
there is no curves to consider it as the rail,
but I start with one. You should specify the rail. I select the edge. But as soon as I specify
one of the edges, then it moves to
the next step that I should select the
cross section curve. So it did not let me to
select the other edges. I specify the cross section
curve and then I press inter. Then we will have such a result. At this context, it comes to your mind that we have to
extract the other curves, other edges, actually, but certainly not because
here is a trick. In sweep one, here we got
the chain edges option, as you can see, if I
click on chain edges, then I can select the
first segment for the rail and the other segments for the rail, check it out. I select these four edges or the chain edges and
then press down into. So that you can specify the
cross section curve next. So in Sweep command, if you use chain edges, you can select all
of the edges of the specified face.
Then check it out. So as I showed you, even here, it was not necessary to use duplicate edge or
duplicate face edges. But here we should put
something into consideration. Here if we duplicated edges, we could have created
the profiles quicker. But in general, we managed
to create these profiles. In the continuation, I'm
going to use array in which we are forced to
duplicate the edges. For instance, here I
create a box like this, and then I minimize it
by scale like this way. Then I select the edge by control shift,
and then I move it. And I also select these two
top edges and then move them. And I change the bottom
edge again like this way. Then in the continuation, I want to select the
profile and then array arrayed horizontally that
I should use array curve. And in array curve command, we should have
specified the path. So here you may want
to select these edges and then consider them as the
I mean here as you can see, we got some edges,
and you may want to specify them as the path
of the array curve. Let us give it a try. We should select the
objects to array. Here it is, press down inter, then I should select
the Path curve. But before that,
we should specify the base point since the object is not
placed on the path. For example, the
intersection and then the path that I
specify the path curve. I click on the edge. Then here, we can
specify the method or the number of the item
like ten, check this out. What you wanted the object to be arrayed around the curve
around the object. So as you are concerned, we didn't have
chain edges option to select the chain
I mean, other edges. So at this situation, we have to duplicate
the edges because we do not have chain edges option
in array curve command. So I duplicate the
edges, check it out. As they are selected,
I join them. Following that, I start
array curve again, select the object, and then the base point
at the intersection. Following that, the path curve. Check it out, then we can
specify the number of the items, for example, 50. And then look, here
is the result. However, we could have
arrayed the object individually on each of the edges or on
each of the faces, but it took a long time. And even in Swip that
we got chain edges, we could have
created or duplicate the edges so that the process of modeling would be
progressed quicker. So in some situations, we have to duplicate the edges. And the other command
was duplicate border. But what is border? What exactly border is? Borders are the edges or
the surrounding edges. For instance, here
we got a surface. Here we call the
surrounding edges of the surface border that we can extract them from the
surface by duplicate border. I click on the face and
then enter, check it out. We got the border. And also, we can have
the border of the holes. For instance, here I want
to create an opening or a hole and by
trim, check this out. I delete the curve by this way. Here we go only the surface and the opening or
the trimmed part. Here I want to
duplicate the border of the hole or
opening. Check it out. We got both interior
and exterior borders for the rectangle
and the circle both. But another definition
of border is the set of the
edges that I mean, the border curves of the
selected objects are created as separate objects. Let me give you another example. Here, suppose that we
got a box like this way. I explode the box, and then I remove the top face. But then don't forget to
join them like this way. Then here if I
extract the borders, what would be the result? Duplicate border, then what will be given to
us? Check it out. We are given the
top face borders or the top edges or the edges of the opening or the edges
that they are connected to the surface from one side
and from the other side. At the another side,
we got an opening. While these edges you
can see is connected to two surfaces at both
sides while the other edges, these two, this is the
surface edge and the border. Here we got a command
which gives us the surfaces or edges that is not connected
to the other edge. I mean, to the other surface. These are called
the naked edges. In edge tills show edges. We select the object, press enter to
analyze the edges. The first one is edges. As you can see, all of the
edges are highlighted. The next one is naked edges. As you can see, these
naked edges are not connected to two
surfaces at both sides. And even you can modify the edge colors and specify
new colors for them. So that you can check the edges by using show edges
command in vinyl, like all edges, naked edges or the open edges and surfaces, and also non manifold edges. And they are sometimes
practical, for instance, you draw such a
rectangle like this way. And then you make some
mistakes like this way. After that, you join them. But you see that you got some problems in
joining these surfaces. Let's check it out again. I keep on joining them. I select them, and then in
properties, as you can see, you got an open polysurface, but apparently the object
is a closed polysurface. But we were given an
open polysurface. So there was an opening. Such a condition, we can
use as analysis to find a problem to highlight the edges of the surfaces
and the polysurfaces. Selected inter, here is the
naked edge or the open edge. So if you had joined
your object surfaces, and then the object was
still open polysurface, here we can analyze the
edges by show edges. Then by checking the naked edges and then zooming
in, check this out. You can fix the problem and
then close the body surface. You can explode them, then press down F ten to
show the control points, and then move them,
and then revise it. Again, joined well down. Here we got a closed
solid polysurface. So we can use show edges for
finding the naked edges. And the next one is
extract isocurve. You're already familiar
with the curves. You can use extract Ia curve for duplicating the surface
isoprometric curves. So let's see what does it do? Here I'm going to
create a surface. By using these three curves. Following that, I move them. Here about the curve from object toolbar
and the commands, note that they are
very significant, and they are very
practical in the projects. I recommend you practicing
them patiently. I love these build on. Here we go the surface. What does extract isocurve do? The extract isocurve command creates curves that duplicate surface isoparametric curves at specified locations
on the surface. Then here we select the Io curves to extract,
here as you can see, according to the IA
parametric curves, and also the surface, we can extract the curves. And about the options, direction which has been s to, and is this direction as you can see on the screen that
you can extract the curves. You can choose U, we or both like we check it
out by this way. And even both. Then you can extract the curves at both directions
simultaneously, like this way, and then press
down Inter, check it out. Here are the extracted curves. Suppose that if I want to modify the material at the center
of the surface, I use this. I click on the surface, Inter. Let me try again. I click on extract Io curve, and then I specify the surface. Then I select the isocurves
to extract at direction. After that, we I extract
these two curves, inter. Well done, and then I split it. Shake this out. I
can trim that part. Well done, let us talk
about the options. Extract isocurve,
specifying the surface. We talked about the direction
that we can specify the U or both directions
and about toggle. It tagles the direction
between U and V, which is available
only on surfaces. Okay, now, you press Tuggle, or even you can inter T to
tagle the direction between U and V. So you don't have to open the direction
and then switch it. This is a quicker way and
then pressing down Inter and another option is extract all that it extract
all I curves in V, or both directions depending
on the direction option. Note that it depends on the specified value
and direction. For example, if I
specify U in direction, then I click on extract O, then we will have all of
the U curves extracted. Or if I set it to V, then we will have
extracted all of the Iaurves at U
direction or direction. And even if we click on both, we will have all
of them extracted. As you can see, so this was the option of extract
all and ignore trims, which has been said to
know determines whether surface streams are ignored
or taken into consideration. And when the marker misses
the untrim surface, the no axis cursor is shown. Here it may comes to your mind that when we extract
the y curves in, for example, your
direction like this, it same as section? Or is it different? I mean, at both commands, we
draw some curves. Certainly, these
two are different. I change the object layer.
Let's check it out. When we use extract Ia curve, as you can see, the curves are
dependent to the isocurve. While I mean, when
we use section, we are dependent to the I mean, I mean, independent
to the isocurve. You can draw them
freely and limit it. They are straight. So this is the difference between them, the extract and the section. Well done, the next one
is extract wireframe. The extract wireframe duplicates surface or polysurface edge and isoparametric curves
and mesh edges displayed in the wireframe view. It is considered as one of the most practical
and useful commands in curve from object tool
bar. Let's sick it out. It got no specific option. You just start the
command and then specify the surface solid or mesh
to convert to curves. Then it creates
curves that duplicate surface as parametric
and mesh edges. And the only option
in command line in extract wire frame is output
layer and group output. The output layer specifies
the layer for the results of the command and
group output groups the resulting objects. That we have talked about this before that you can
choose input or current, that you can place
the results at the same layer at the input
or in the current layer, and you can set group
output to yes if you want the resulting objects to be grouped after being extracted, it is not as essential
as other options. So quite as usual, I want to practice the
given lessons today.
131. IsoCurve Design: Up to now, we talked about the commands in curve
from object toolbar. And as I told you before, one of the most
practical commands here is extract wireframe. It enables you to create
curves that duplicate surface and isocurve and then
convert them to profiles. But there are two important
points in extract wireframe, which are the number
of the isocurves and then the direction
of the isocurves. So at the beginning
of this session, we're going to consider
then how do we can control the number of do curves
of the surfaces? The first command that we
can control the number of the isocurves is revealed as you are familiar
already with it, is a powerful command.
Let us it out. For instance, I
select the surface, and then I start
rebuild command. Right now, I want you to monitor the Ia curves before
being rebuilt. We've talked about
rebuild before, we can specify two values
for you and VT point counts. For instance, for, I specify 12, and then for V, I specify
122 and three, four degrees. As I told you before, you can control the curves of the surfaces rebuild and
also make them regular. Let's check it out
as you can see. They are made regular. This is before being
rebuilt and then after, take it out. Well done. So we can control the number
of the curves by rebuild and also make them regular
and uniformed, actually. We cannot modify the direction of the Iy curves by rebuild. I mean, it got no effect on the designing
of the I curves, only in the number of the isocurves and
make them regular. And then rebuild,
the U and V values were dependent to each other, as we talked about it before, and they got effect
on each other. For instance, I said,
one for V. Then if I set 200 for as you can see, it is not accepted because there is limited value specified
for V. For instance, I can set specify three for
V. Then check this out there. As you can see, 200 for V
is accepted and operated, but the preview is
not satisfying, it's not reasonable,
it's not practical. But if I set ten for V,
right now, check it out. This time is more practical. So when drawing a
high degree curve, the output curve will not
be the degree you request unless there is at least one more control point
than the degree. So our first trick to modify the number of decontrol points
is using rebuild command. What about the next trick, which is density here if I select the surface
then in properties, we got the property of density, as you can see, here if I
increase the value of density, then it increases the number of the Io curves at
both directions, and also the divisions will
be increased binarially. For example, if I
want to focus on this part, let's check it out. Here if I specify
two for density, I want you to check this out
and then check the changes. Look, we got four parts. Three. Then here
we got nine parts. So as we specify
values for density, it increases the number
of the items and also the divisions of the parts binarily or at both directions. So by this way, the
density isocurve, we can modify the number of
the isoparametric curves. But here there is a basic different or
difference we rebuild. The density could no in fact, on the organization of the
isocurves or make them regular and changing
the number of the iso curves by density
is not often used, but sometimes it is, we can use show
surface isocurves. If I uncheck it, take this out. The isocurves will be hidden. Since, sometimes when we are
working on some projects, we may mix up the
curves with isocurves. So at that time, we choose
to hide the iso curves. But however, we need the
iso curves right now. About the third
trick or technique for controlling the
isoparametric curves, but we're going to use the Melting commands
for controlling the number of the isocurvesF
example, loft or swap. Got some options like
rebuild that enable us to control the isocurves at the very time that we are creating the surfaces like loft. Check this out
here, check it out, rebuild with ten control
points so rebuild within. Ref it within notin 0.0 1 meter. I specify a value like 20 or 30. Not as powerful as
rebuild command. It is the limited
version of rebuild. So we suggest to create
the surface at first, and then you can control the Ia curves by
rebuild independently. Here refit that as much as
you minimize the value, the parametric isoparametric
curves numbers will grow. But all in all, I don't
recommend use this. And as I told you, you should create a surface
and then rebuild it since rebuild is more powerful and there you
got no limitations. Then the another command
that enables you to rebuild and refit the surface
or Io curves is sweep. Let me give you another
example like this way. Here I start Sweep two. I specify the rails and then the cross section
curves or the profile, check it out, rebuild
cross section with. Here we can modify the
value of Ctrol points, which results in
modifying the isocurves. For example, 50,
look, by this way, can control the
isoparametric curves and also refit the
cross sections. So, guys, up to now, we talked about how to control the isocurves and how to refit them or how
to rebuild them. But as you are concerned, the form and the geometry of the isocurves does matter, too. But how do we can control the geometry and the
shape of the isocurve? In fact, we should answer
the question that which of the modeling commands are able to design the shape or the
geometries of the iso curves. For example, the first one is swip both sweep one and two. So just wait for a second, and then let's check it out. Let's check them out, actually. Suppose that here
we got such a form or such these two curves, and then the cross
sections and two rails. Sweep one or Sweep two. Let's check it out. I specify the rails and then
the cross sections, and then we will
have the surface. Look, this is the
normal shape of the y curves without
being edited or modified. For example, I want to
modify the shape of the curves and then make them
perpendicular or straight. So how can I do this? Exactly, we got
two techniques in Sep that we can use them for
controlling the Io curves. The first one is Ada slash. I click on ADA slash. Then by adding additional
cross section alignments to control how the surface
is created between sections, you can modify the geometry and the shapes of the isocurves. We can control them
so that then if I want to extract the IG curves or wire frames, check this out. We can have the desired curves. Let me give you another
example. I delete them. For instance, here,
suppose that we got a deformable circle like this, then I choose these points and then I modify them this way, the weight, then again, undo. Let me again, I create a copy, which is minimized
like this way, and then I select
these control points, and then I deform the
circle like this way. Correct. And I draw a curve
like this, then sweep two. I specify the rails and
I'll sew the cross section, which was the curve, and then I create the surface,
check it out. Then add a slash by this way. As you can see, you can specify
points, let us try again. Here, suppose that we got
an ellipse by this way, and then a circle inside the ellipse and the curve
or rail then sweep tube. Specify the rails and then the cross section, check this out. As you can see, some of
the curves are slanted. So by add a slant, we can form the o curves or control the curves, by the way. Inter. Okay. Following that, if I want to rebuild and
refit the isocurves, I start rebuild 50 and 30, and then I extract
them via frame. Check this out, can extract the mesh for the roof profiles. Well done. So after this point, we'll learn that
by using AASlash, we can control the
directions of the Io curves. But the second technique
in Sweep command for controlling the directions of the isocurs and also
designing them. Watch this. Here
we've got a surface, for instance, we start sweep
to create the surface. Then by using Adi
Slash, as you can see, we can come to the
directions of the isocurves. But here I want to modify the form or the geometry of the iso curves,
what should I do? For example, if I want to make the isocurves curved,
what do you suggest? Exactly. We should consider some middle profiles and then add them to the directions
of the isocurves. For example, let
us check it out. I mean, normally, we do not need these curves for
creating the surface, but I add them for making
the Io curves curved. So I add these auxiliary curves, and then I start sweep. I specify the rails and
intersections, check this out, as you can see the isocurves are shaped based on the
cross section curves. Then we rebuild
them. Watch this. As you can see, we got
the I curves curved. So by this way, we
could design them. But note that while you are
rebuilding the I curves, you got some limitations
in specifying U and V point count values because V point count
should be more than you. I mean, there is at least one more control point
than the degree. And let me exemplify
another case. At first, I'm going
to show the picture, and then we're going
to create the model. Watch it. We're going
to design this, the Io curves, as you can
see, they are designed. Vertically, they are curved, but horizontally,
they are straight. So back to rhino, and then at first, I sketch the frame a square, and then we design
the Io curves. I draw these curves, and then mirror like this way. I explode the geometries. Here we got the rails and then
the cross section curves. Sweep two rail, cross
sections, well done. Then it's time to rebuild it. For example, in
directions 50 and 15, we look, check it out in
less than a 1 minute. We managed to create it. So this was the use
technique that we use in designing the Isa curves
by Sweep two and rebuild. However, you can use Sweep one. Let me exemplify one case
again or another case. Suppose that here we got these curves like this
say then sweep one. Here the rail and the
cross sections well do on. Here, we do not add a slash, so how do we can control
it exactly by using auxiliary curves or medial
curves. Check this out. By these curves, we
can shape the iso curves again sweep one
rail and then this way. However, it effects on the
geometry of the surface too. So, guys, we're done with Zeep and the next
command that we can design the isocurves
with is network. Let me show an example. I want you to think about these two objects and say the differences
between these two models. Exactly in the second image, isocurves are curved at both directions while Zep
is unable to do this, so we should use Network. Back to Rhino here if I draw this squer check it out and then throw out a
curve inside this square. Here we can use sweep and
then I mirrored it, explode. But then if I rotate
this at 90 degrees, then sweep is unable. Let's take a look on the photo. As you can see, we got the two curved lines
at both directions, U and V. So what's a context. It's time to use
Network surface. I select them,
enter, watch this. Okay. So sometimes
network envils us in designing the iso curves at both directions and have
them curved, not a straight. We only use it to be able
to design the Io curves. Check it out, guys. We're done. So as you're concerned, you should use the tools
or commands smartly. I mean, we are using
these command lines, these commands which are in
use for creating surfaces, but we operate them for
designing the I curve. All in all we use
sweep and network for designing the Iacurve
and then by rebuild, we rebuild and refit the control points
and also the degrees. Finally, by using
extract wireframe, we convert the I curves to
curves or ordinary curves. So we use network and see
for the directions and the continuity and rebuilding
and refitting them, rebuild, and then
extract wireframe for converting them to curves. So extract wireframe. Then here we'll give you
given some curves or meshes. But what can we do with this? For example, we can use pipe, check it out, pipe, and then I set multiple. I select all of them, and then enter not 0.1 for
the radius. Check it out. Here is the mesh like this way. But most of the times we
do not need our profiles. I mean, our curves, I'm sorry, we do not need circular
profiles in our curves. For example, sometimes we need rectangular
curves in profiles. Let me say that again. You know, after extracting, here we
are given some curves. What can we do
with these curves? For example, we
can operate pipe. I start pipe, I set multiple, then I select the curves. I should specify
the pipe radius, what not 0.2, for example. Check this out. Here is
a given result built on. But here if we want to create rectangular
profiles in the curves, since we can have only circular
profiles by using pipe. But here we need rectangular
profiles, not circular. The solution is to sweep these
one by one individually. I mean, we can specify across
sections and then rails, so it takes a long time. At such a condition, you can use a specific
script that is able to create your desired profile or cross section simultaneously. I mean, at the same time, we can apply to all of the curves. I mean, just like pipe, we
select all of the curves, and then we can have our desired profile
or cross section. We got two scripts. The first one is multi
rectangular pipe, which is similar to pipe, but the profile is rectangular. Let us take this out at first. So I click and drag and
then drop it into rhino. Then here we should select curves to pipe with
rectangular section. I mean here, the
section is rectangular, and this is the only
difference with pipe. I see it go of the meter. Then the length of the
sides, for example, two, not 0.2, and then the
white of the sides, 8.4. Even you can specify
the rotation angle. Then let's check it out. Here is the given result
that in which we got rectangular sections instead of circular rounded sections, and it is very practical. Let's try one more. Here our script which is
multi rectangular pipe. We click and drag
it and then drop it into Rhino to start the command. Then here we should select the curves to pipe with
rectangular section. I select these curves and
then enter by a drag. Finally, we should specify the length and
wide of the sides. 9.3 and one, for
example, check it out. Then wait for a second,
we will have them. Watch this in
rectangular section, as you can see, I have
increased the height. However, as I showed you, you can rotate it as
well rotation angle. Again, I click and drag
and then drop it in no select inter
length, not 0.3, one, and then rotation
angle, for example, 45 degrees, and then
wait for a second, please. Check it out. At the rendered viewport,
as you can see, they are rotated at 45
degrees. Like this way. Let me exemplify
another case and then explain the other points. For instance, here I want
to create another surface to describe the other cases
and consider the points. For example, here we
got these curves. I position them
properly to create the surface like this way
and then loft. Watch this. Here is the result. Let me move this since I want
the surface to be curved, Zoom selected, since I want to focus on them
when I orbit the scene. Love well done. Then in the continuation, I'm going to create some curves. For the curves, I mean, the number of the
curves are more than the Io curves right
now, as you can see. So it's time to use rebuild. And let's check the preview. I should minimize the
value point count. Two and two is proper. Okay. Following that, I want to extract the curves that
use extract wire frame. We hide the surface, and then we're going to pipe them with
rectangular section. But there is a problem
with these scripts. That is when we click and dragon then drop them into
Rhino, and then we use. You can't repeat or reset the command by right
click in command line. So we have to drag
and then drop it into scene every times
that takes a time. But I'm going to tell you
a technique to fix it in the scene so that you can
start the command from rhino. So you don't have to
look for your scripts in the folders and waste
your time. By the trick. At first, you have to drag and drop the script and Rhino scene at
least for one time. Following that, you
should type run in the command line, run a script. Then if I click and run
a script in here in the Run act subroutine window, and you will have access
to the import scripts. I mean, scripts, click
on and then use it. Then you can repeat
the Commander run a script. Check this out. Then if you open the Run
acrit subroutine window, you will display the
imported scripts to Rhino. You can select it
and click on Okay, and then start decommand easier
and quicker than before. Know, this is a better way
and looking for the script, clicking and dragging and
then dropping into Rhino. So again, run a script. Then I select the multi
rectangular pipe, I select the curves, and I specify length, width, for example, 0.2 and then 0.6 and zero
for rotation angle. Let's check out the result. Here is the rectangular pipes or pipes with
rectangular sections. But if you want to have
them only in one direction, so in the top view, and then For instance, I want these to be hidden. So I select these straight
curves only in one direction. And then I hide them.
Here we got these. Run a script. I start the command and then
select the curves, the length, not 0.5
and two. Watch this. Here we are given these
rectangular profiles. So guys will learn
this technique for importing these scripts and repeat them that we pipe the curves in
rectangular sections. But let us use another script in which we can specify
our desired section, which is profile multi pipe, profile multi pipe, I
drop it into scene, and then if I type run run
a script, check this out. Here we got it in the list. So next time we can repeat the command by this way
or a script, actually. I select it to run it, and then we should select
the curves to profile pipe. So at first, we
should draw a curve or a profile and then
specify it as this section. So in the continuation,
at first, we're going to draw a profile
or section like this way. For example, this
one, a polygon, and then run a script
profile multi pipe. Okay, you should select
curves to profile pipe. I select the curves,
and then selecting a close planear curve as
a profile or section. So you should have already drawn a close planear curve to consider it as your
profile or section. I cancel the command,
and then at first, I'm going to define a well profile that should
be closed and planar curve. So you have to consider these
issues and features when you want to draw your profile
and deconstruction plane. I draw it to consider it
as the profile or section. Then again, I run a script, profile multi pipe, then selecting the curves
to profile pipe, well done inter, then closed
planar curve as a profile, ray rotation angle, zero. Then the scale
factor of profile, if you want to
scale the profile, you can specify value, but if not, you can ignore
it by pressing Inter. Here is the result.
Check this out. Here as you can
see, it is weird. It is matched with the curves. As I told you before,
there is a specific point, that is, you have to draw the profile and
the origin point. Look, you have to draw the profile or section
exactly on the origin point. Run a scrip profile multibribro. And then selecting
curves to pipe, and then the close
planar curve profile. And do not ignore angle
and scale, check it out. We're done with these. Profiles. So, guys, I want you to regard this
point when you want to draw the section and you
are using profile multi pipe, the profiles should be
exactly on the origin point. So, guys, as usual, I expect you practice every single examples and
point and also the scripts. After that, we're going
to start some projects.
132. Exercise Explanation: And the homework that
I have considered for you is this a chair in mesh, a mixture, as you can see. Here we got the front, top and perspective views. As you can see, the
top part is curved, and the back of the chairs, as you can see are curved too. And also the bottom part, which is placed on the ground, we got an arc as you can see, or it is curved. So, guys, I want you to
put time on modeling this. And then for piping the curves, I want you to use
the script at first. And then, secondly, I
want you to create it without using a script by
using the previous techniques. Since sometimes you may not
have access to the script, so you should be able to make it even without the scripts.
133. Exercise Chair: So, guys, let us meddle the
chat together step by step. Even rhino in front view, I pick the polyline or
curve interpolate curve, and then I start from the
origin point and then I draw a curve like
this, shake this out. Well done. Following that, I want to move the control
points to revise them. For example, I move it
among parts like this way, and then I select these
two control points, and then by weight, I want to modify the continuity by
controlling point weight. I mean, by setting control
point weight, like this way. And I delete this one, let
me minimize the height. Then the continuation, I want to adjust to
weight at this point. Look, I think right
now it is better. Mm hmm, and minimize the height. Well done. So just
don't be sensitive and the main curve or form of
the chair, we're done. Then discontinuation, I create a copy like this
and then mirror, watch this, folds on. Then I select them, Zoom selected to focus on
these three objects so that I can orbit around
the selected object. Then the viewport would be
focused on the three objects. I think I should
adjust the dances, so I select them, and then by scale, I minimize the thesis. And then for the curve
or arc of the top part, here I select this curve, then I move the control
point upwards like this way. Following that, for the arc the back of the
chair, I select this, and then I move it backwards, and I select these
two control points, move it downwards, well done. So we're almost done with the continuity and the
curveness for top and back. And as I told you before for the end part, I
select this part, and then I move the control
point like this so that I can draw the curve by connecting
these three ends, or? Then I want to love
them, check it out. Great. So right now we get to
main geometry of the chair. Then for the curves, I select the surface and
then rebuild exactly. I want to rebuild the
point count and also refit the curves according
to the picture 30 in. Let me check the preview, and two was proper and
four D and V. Okay, great. Click on Okay. And then it's time to extract the y curves,
extract wire frame. I extract the curves as
you can see this way, following that I
select the curves, and here we're going
to use two techniques, one with the script, and at another approach, we're going to pipe them
without using a script. If you have dropped
your script in Rhino, you can search for Run, run a script, and then click
on multi rectangular pipe. Okay, I select the curves, Inter, check this out, then the length of the sides, for example, 0.5 and 0.5 and zero for the
angle rotation angle. Check this out. Here is the result at the
rendered viewport. Great. Let's try again. I want to minimize
the white fun length. Want to script multi
rectangular pipe. I select all of
the curves inter, then for the length of the side, 0.2, and then 0.4 for the
five. Let's check it out. This is the final result
at the rendered viewport, so organized, well done. Just in case if this script was not accessible,
what should we do? What is the solution?
Exactly, we should extrude the curves twice. But once, let me
open the right view. Once we should select these
curves and then extrude them, I only select the vertical
lines or curves like this way. And then I extrude them, check it out at the top view
for the extrusion distance, I set the base point at
first from this point, and then I set it to both
sides like this way. Well done. Following that, I select the less
created objects, and then I group them, roll on, and then I hide them. So at the next step
here at the top view, I want to select another
direction of the curves. Check it out. I
select these curve, the horizontal curves or
the opposite direction, and then I extrude them. But why should we extrude
these curves at two steps? Because here we got two sets of curves which
are U and V direction, we cannot select both of them at the same
time and extrude them. Base point and then the
extrusion distance, then Wait for a second, selecting the last
created objects, and then I unhide
them, shake this out. So, guys, this was
another approach if just the script
was not accessible. And then after surf
then I select these. Let me start off
set surface again. So then you can select all
of the curves, press Enter. Both sides set to yes and the distance 0.05 and
setting solid to yes enter. So, guys, we're done. Here is the final
result. Check it out. So, guys, we could create this
mesh using two techniques, extrusion and also
using descript. So, guys, if you haven't
sketched them yet, I want you to put
on creating them. So then you can take your
skills to the next level.
134. Contour Creation : One of the most
important commands in Cerfram Object
toolbar is Cantor, and due to its significance
comparing to others, we prefer to talk
about it separately because Cantor is the most
interesting command here. So let's see what does it do. For instance, suppose that
here I'm going to draw a permit like this way the
region point like this way. At the shaded display
mode, well done. However, before we have
briefly mentioned contour, but here we're
going to talk about it comprehensively with regard that you got no
knowledge about it. Here, for example, if we want to draw some curves parallel with each other like some levels or floors on this pyramid, we should use section command,
as you are concerned. So section, and then we
draw curves like this way. Here we got some problems. Firstly, it take a long time. And secondly, we cannot adjust
the distance or spacing, where contour enables us to create a spaced series
of planear curves and points resulting from
the intersection of a defined cutting
planes through curves, surfaces, poly
surfaces, and meshes. At first, let me
exemplify just a case, and then I will
explain the process. Here, for example,
the direction and then the distance
between contours. Check this out. Here
is a given result. It is wonderful, guys. Too practical and
useful. You see? Then you can use these as
frames on your on the surfaces, or you can consider
them as the levels or the floors of the
buildings and so on. So it is too helpful. So let us explain the steps. At first, I start contour. Then we should select objects
for contour creation. I select and enter
following that, we should pick the base
point for the cantor. However, you could
have specified the base point at the
perspective view, but you'd better to specify
it in the front view. For example, here, I
specify the base point. And then we should
pick a direction perpendicular to
the cantor planes. Then here the control
planes will be generated in both directions from
the base point and will be perpendicular
to the peak direction. So we can held then shift, and then I specify the
direction then the distance between contours that we should specify the
value and press Enter. For example, 1.5, the
specified direction. Let's see it out at
the perspective view. It has created the
contour curves where the control
planes intersect the selected surface and where the contro planes intersect
the selected curves. Let us try again, contour, then the object,
enter the front view. To specify the base point, then it's time to specify direction perpendicular
to control planes. The length does not matter here, only the direction is
considered toward up, great, and then the
distance to take it out. This is what contour does. Let us talk about the
command line options and other points and details like different
directions, contours, selecting object, then base
point at the front view, following the direction
perpendicular to contour planes, distance between contours,
1.5, hack this out. This time with
different direction. And if you agree at the
other direction, watch this. As you can see, we got decontour curves
at two directions. I height the object. Watch this. Well done, so we can specify the
directions and I'll see spacing or distance and then
creating the contour curves. But a point about the base
point here if we open the front view contour. I select the object
for contours inter. Here if I specify a different
point for the base point. For example, I move upwards
at three units like this. I click exactly here. You don't have to
click on the object, so I click outside. Well done, and I
specify the direction. Then I specify a
distance of the contours to then you will see that one of the control planes
will go through this point, you specify point
as the base point, and the contour
curves and points are created from the
intersections of a series of visible
parallel planes cutting through the
selected object. So as we have specified the base point
outside of the curve, one of the control planes
will go through this point. Here, check this
out as you can see. We get the divisions
of the contours. Let me give you another example. I start contour, I select the
object and the base point. This time I move upwards
at five units, right here, I specify the base
point following that, direction perpendicular,
here f I specify two. After specifying the distance, the contour curve will be created where the
control planes intersect the selected surface
head and points where the control planes
intersect the selected curves. Note that the control
planes will be started from the
specified base point. Then the other point
here is about range. And then sometimes
you wanted to create decontroplanes at the
specified part of the object. Here we got range. The
specify limit for deconturs. Then here if I click on range, then we should
pick the start and also the end of the
contour curves. For example, the base point and then here we should specify the end of the control range perpendicular to control plane. Since here we are
specifying the range. So the specified point a D
start and end are important, like this way, the second point. And then the distance
1.5, check this out. Here we got the control planes
at the specified range. But if you do not have
clicked on range, you start and end point specifying the base
point does not matter. Since the control planes will cover all of the object
or the entire object. But if I start the contour
and then specify the object, and then I clic on range here
actually specify the limit. Requires specifying two
points, start and end. For example, like this way, then press down,
Enter. Check this out. Or you may want to
start from the base, and then put the second
one in the middle, select, enter the range, specify the start and
then and check this out. Here we got the middle of the permit and in other options. The first one was range. Second one is about the
layers and assigning layers by that we've talked about these current and input object, that it puts the resulting
to the specified layers, and the next one is join curves. As you remember, we talked
about it in section. Joining curves specifies how contour curves created from
poly surfaces will be joined. In fact, contour is
an automatic section. So again, perspective view, I draw a curve. Two for two surfaces. And actually, I have totally
explained these in section, but some of you may
have forgotten, so I want to explain it again. I extrude these two curves, so that you get two surfaces. One of them, the curves are joint and the
another one is not. Then in the continuation I
want to add a text object. To make them outstanding to show that these two
surfaces are joined. I scale it. So this one is joint
and the other is not. Then I start contour. I specify the base point, the direction, and the distance inter. Let's check it out. Here as you can see, we got two surfaces, two
exploded surfaces, the contour curves
are exploded too, and at the joint surfaces, as the surfaces are joined, the contour curves
are joined too. So having the contour
curves where they're joined or unjoined or exploded
depends on the surfaces. And at the other cases,
which is bictroplane, if I set it to biontroplane, all curves in the same
contro plane will be joined. At none, no curve joining. A polysurface curves in the same control planes created from a polysurface
will be joined, and by contro plane, all curves in the same
control plane will be joined. Let's check it out. I mean, we will have the control curves
joined at any condition. So at both surfaces, the control curves are joined. So, guys, this command
was very important, so I dedicated this
session to it.
135. Examples: At this session, we're
going to talk about the differences between creating the curves by contour
command and also creating the Io curves and curves
on the surfaces by rebuild and then extracting
them by extract wireframe. In fact, we're going to consider at which
occasions we should use contour and at
which occasions we should use rebuild and
extract wireframe. So let us begin this
session with example. Here we got a surface as
you can see on the scene. Perspective view, then I create a copy from it like this way. And then I want to rebuild
it and I want refit it, and then add another one, I want to use contour, and then we're going
to compare them. At top of you, I want to
start contour, check it out. I specify the base point and the direction and distance
between contours, 1.5, check this out, and then at the other directions
for creating a network. Well done. Following that
I select the surface, and then I move the surface in order
to observe the curves. Following that, for
the another one, we're going to use rebuild
to rebuild the isocurve. For example, I want to keep
the specified values, okay. Then as you are concerned, it's time to use
extract wireframe since we get only Io curves, not the curves,
extract wire frame. And then I extract the
curves. Check it out. I want to compare
these two curves. These are the extracted curves, and these are the contours. So, guys, let us
compare them together. When should we use contour, which is the right one. Here at the top view, let us observe them
and then explain them. Firstly, when the curves on
the surfaces are straight, and we need the straight
curves, we use contour. But in rebuild we got
curved lines too. As you can see, but in contour, as you can see, all of
them are straight always. But they are only straight at the current view that
you have contour them. Or you have created
the contour curves. For example, from this
view, as you can see, they are curved, but at the
top view, they are straight. This was the first factor that
they are always straight. Secondly, they are always
paralleled with each other, as you can see, and they are straight and paralleled
with each other. So when you need paralle lines, you'd better to use contour. But note that the
created contour curves by contour are dependent. I mean, independent to the isocurves and also the
geometry of the surface. And they are always
straight and parallel, independent to the surface, so it does not depend on the surface and the
shape of the isocurves. At any conditions, the created curves by contour
are straight and parallel. Usually use contour when our surface has not rotated
or has not revolved. Suppose that we got a surface like this,
which has revolved, as you can see, we
do not use contour at such a condition like this. We do not usually
use contour for these curves or surfaces
which are revolved. For example, if we had
such a surface like this, as you can see, the surface
is curved and also revolved. We do not use contour usually at this occasion
usually use contour for the straight surfaces and
for the straights surfaces, contour is more practical. All in all, we use contour when the curves are straight and parallel and independent to
the geometry of the surface, and the surface
had not revolved. What about rebuild? Rebuild exactly is
opposite to contour. I mean here as you can
see the isocurves and curves are dependent to the
geometry of the surface. And if you want the curves to be dependent to the isocurves, you can use rebuild. And right now, the extracted
curves as you can see, are curve just
like the isocurve. We usually use
rebuilt when we got a curved surface or a revolved
surface like this one, that we usually do not use
contour upon it because rebuild is the alternative and is more practical to wrap it up, I should say that we use
rebuilt when the created curves from the Isa curve are totally dependent to the
geometry of the surface, and we usually use rebuilt the curved and arc
shaped surfaces. And, you know, rebuild and contour are almost
opposite to each other. We got a straight
curves in contour, but in rebuild, we
got curved lines. In contour, the lines are dependent independent
to the surface. Volume rebuild, they are
dependent to the surface. Let me give you another example, and I want to
explain this to more so that you can
understand them deeply. Because it is important to recognize the correct approach, whether contour or rebuild. For example, here again, I want to draw a deformable
circle like this way. Suppose that we got this, and then I select every other
points or editing points, and then I scale them this way. Following that, held down
shift and As buttons, creating a copy and
scaled. Watch this. Following that, I want to draw some curves
between these two curves. Since by these curves between the two circles I want to
control the icy curves. I mean, I need the
icy curves formed, and as you are concerned, when we rebuild the surface, we will have the curves
just like the icy curves. Then the continuation,
I select these curves, and then I form them. For example, I move them
downwards and upwards to make them non planar and treat
like this way, corre. Check it out. Following that, I want to create a surface
out of these curves. Right? So which command
do you suggest? Exactly. When we want to I mean, we want these curves to be involved in creating a surface, we should use either network or Swip because as
I explained before, these two commands enables us to design or control
the Iocurves. Here, I prefer to use
Swip, check this out. Then I check closed Sweep. And then, okay, well
on, check it out. Following that, I create
a copy from the surface. Since I want to use contour
and rebuild and compare them, copy and then comparing contour and rebuild
with each other. Well done. In fact, you exemplify in other case for the revolve geometries
or surfaces or the rounded or circular
surfaces, actually. Following that,
we're going to use the contour and rebuild commands and then
compare the functions. At first contour, check it out. Base point direction,
watch this. 240 distance. Again, I select them at
the other direction. Watch this. We got
these curves like mesh. Then I separate the
surfacing curves from each other.
Here is the result. We get the straight parallel
curves, as you can see. Then I want to use rebuild
for another one, rebuild, and then I specify a
value for U 30 review. 80. Check this out. And 15 for the V, lets me check out the preview. Okay. Then it's time to
extract the Io curves, wire frame, check it out. Here we got the curves. As you can see, they are matched with the surface exactly
like the surface. So this is the first difference. At the previous part,
as I mentioned before, Cantor gives us straight
and parallel curve lines, and also disregarding the iso
curves and their forms in the directions while rebuild has considered the geometry and
the shape of the isocurve. According to these two
examples, up to now, you should be able to analyze the geometries and
models in order to recognize the best
approach and even specifying the used command
in creating curves. Let us check out
some other examples that we're going
to analyze them. For example, check
this out in contour. Watch this. As you can see, all of them are straight and
parallel with each other. Here we got a surface. Contour, check it out. They are aligned, parallel, and straight. Even this one. However, some parts are curved, but if we change the view, we can observe them
straight or, for example, check this out
straight and parallel. And so on. Following that, let us check rebuild. Look, here rebuild
has been used. We got a curved surface. They are not parallel. They are dependent to the
form of the icy curves, and also they are
dependent to the surface. Or, for example, here we got a revolved and curved surface or this in other words, the curves are matched with
the iso curves and surfaces. So you can understand
that there is not a regular network or an organized network
with a straight curves. And here as you can
see, the surface has revolved and it is irregular. But in the examples in
contour, check this out. As you can see, the curves
are organized, regular, straight, and parallel in
one direction. Watch this. And at this specific example, we got two contours that the contour curves
has been created at two times here I got
a question for you. I mean, why should we create de curves with
contour only at one step. For example, contour, and then we specify the base
point and direction, and then we will be given decontour curves as you can see. Look, I mean, we only
used one command. Meanwhile and rebuild, we should first rebuild
the surface. Following that, we have
to extract the curves. However, Contour create
curves directly. And when we are creating curves, we specify the distance
between the curves. But when we are
rebuilding a surface, we do not create any curves. We are just adjusting the
degrees and the point counts. Rebuilding and
refitting the surface so that we have to use extract wire frame to convert
the curves to curves. So after rebuilding a surface, we are not given curves, but we can use extract wireframe to convert the
isocurve to curves. In fact, contro is an independent command and adjust the spacing or distance directly and
creating the curves. But rebuild and
extract reframe are considered as the complimentary of each other, and
they need each other. You can adjust the point
counts and the degrees by rebuild and then use reframe
to extract the curves. So, guys, please work
on these two examples. I want you to analyze the geometries while you are working with
these two commands. I'm especially talking about
the parent signs being straight or curved and
other features and try to improve your
analysis. See.
136. Exercise Explanation: The first assignment that
I have considered for you is this mesh,
as you can see. Here my question is, which one of the
cama should we use for creating this
rebuild or contour. So I want you to think about it? Exactly, contour,
because the curves are straight and also parallel and the geometry
is not revolved. It got a specific direction. But note that when
creating the curves, extrude them and consider
the thickness of the curves.
137. Exercise: So, guys, let us
create this together. At the first step for
creating such a mesh, we should create the surface. So for creating the surface, here we can start from the curves and then
draw these profiles. Following that,
we can loft them, or even we can create
a planar surface, and then by moving and
modifying the editing points, we can consider the curveness
and continuity that I prefer to go through the planar surface,
rectangular plane. Then I set it to deformable, then I start creating
the planar surface. But for the U point count and V, I specify seven for both. Then I start from
the origin point, but you'd better to specify rounded values for the
dimensions of the surface. So that you will be given rounded values after
creating the contra curves. For example, I want
to specify 40. For the units, I
enable Grey snap and then right here, for D. And then for the
dimensions of the meshes, I'm going to consider
two and two. Following that, I select the surface to move
the control points, press down F ten. Then if you want to drag a rectangle and then
choosing the control points, display you have to set it
to wireframe display mode. But if you set it
to shaded mode, you won't be able to choose the control
points by dragging. So I set it to
wireframe display mode, and then I select
these control points. Following that, I move them
downwards like this way. I select this one and I move it downward again more
than the other one. And then at the corners, I move them upwards like this. Downwards and then the another
one upwards, well done. And you don't have to model
it exactly like the picture. Let's check it out at the
shaded mode, well done. Then at the next step,
what should we do? Exactly? We should create the contour curves
at two directions, shake this out at two vertical
and horizontal directions. So I start contour, and then I select
the object surface, and then enter, specifying
the base point and direction as I specify 40 units, then for the distance
between contours. If I set it to two, look, then we will have
rounded value or a rounded number of units. Then I do another direction, check it out, too. Then I select the surface. I hide it. Here we got the contour curves that
we're going to extrude them. I select them, and then extrude. Then you can set both sides
to no and also solid no. Then for the extrusion distance, if it was difficult to
specify the distance, you can set the base point from this corner intersection and then specify the extusion
distance like this way. So guys, what is next? Exactly, offset surface,
offset surface, and then I select these curves and then
enter, check it out. And just in case if both
sides was not available, which means that you got a polysurface that you
should explode them. So after that, if you start the command
of offset surface, you will have both sides. So I set both sides to yes, then I specify the offset
distance, not 0.06. Check this out. We're done. Here is the result at the
rendered report, like this way. Great. If you
haven't created yet, I want you to put time
and create it so that you will be able to create
more complicated projects.
138. Exercise Explanation: Hi, guys. I hope you
are feeling well. Here is the first homework that I wanted to assign for you. But should we use contour or rebuild for creating
such a model? Exactly, we should use rebuild. First of all, as you can see, the surface has revolved, and secondly, decaurs are not
parallel with each other. As you can see, let
us tick out others. No, the direction is not
fixed, as you can see. Let us take other images. As you can see, it's clear. The direction is changing. So when you want to
model the surface, you should use the commands
that enable you enable you to model or
design the Ia curve. That those were network and
sweep, as you remember. So what should we do
here? What should we use? Exactly? Certainly,
we should use sweep. We got the rail at
top and bottom, and then the cross
section curves, as you can see, and the
two ends of the surface. Note that, you have to create
this le too or opening, and for these woods or timbers, you can use that script and then pipe them in
rectangular sections. And as you can see, here we got rectangular sections
for these curves. So, guys, give the try. I'm sure that you can make.
139. Exercise Vaddegio: So, guys, let us
create it together. First of all, I'm going to draw the bottom brail or bottom
path back to rhino. And then at the top view, I pick the Interpolate curve, and then I start from
the origin point, check it out, and move on. I curve it. Let us take a look on the
picture, as you can see. I just wanted to show you
how it continues or extends. Following that, I move on. Follow. And then, however, after drawing the curve, we can move the control
points and revise it. Let us check it out
at the other views, as you can see it is
somehow straight, and then it is inclined
to inside like this way. Inter, well done. Then in the continuation, we can revise the
curve if it was needed by modifying
the editing points. I move this, extend it, or stretch it by this way. And then even I can remove this editing point or
control point like this way, I move these upwards. You know, we can revise it. It is not that much complicated. For example, this is
good, proper, accepted. And then I move
this a little bit, then I stretch the
and Well done. So, guys, we're done
with the bottom rail. Let's take a look on the photo. Check it out. As you can see, we're done with the bottom rail, following that I want to
create a copy and then move it upwards and then
edit the top rail. So back to rhino.
I select the rail, and then I hold down s, moving it, and then create
a copy like this way. Then the third thing
that I want to do is to connect the two ends to
each other like this way, and then I select them and then move them downwards
like this way. Very well and slides and then at the other
side. Take it out. I connect the ends, and then I move
them like this way. Here is the result. Great. Let us work on other parts. Let us take a look on
the picture. Watch this. Here, as you can see, it
is inclined to outside, and here it is straight, and then other
parts are slanted. They are inclined
to interior inside. They are slanted. So
let's sick it out. Then I move these. I incline them toward outside, and then these parts
are almost straight. But then this part,
as you can see, let me show you the photo. They are slanted toward inside. Let me show you other photos. You see? Like this way. So I move the top
rail by this way, and here as you can see, at this point,
they are straight. But the other parts,
they are slanted. I move it a little bit, and other parts, as you can see, they are almost straight. And then at the other
end, they are slanted. But don't be that much sensitive on these
issues and details. I want you to do your
best in considering these issues and using
rebaled command, but don't be sensitive
on these details. So, guys, we're done
with the two rails. Great. Then, in your opinion, can we create a surface
by these two rails? For example, by using
loft, check it out? Absolutely not. But why? Because we haven't
designed the curves. Check it out. Because
the geometry of the curves are not close to
the curves like the picture. So it is not practical
at this project. Same as I told you before, here we should use sweep. Since we can add some auxiliary curves or
auxiliary sections or profiles, we can create the surface. I hide it, and
then if you agree, let me show you the
photo as you can see the move to upwards. So I rise them like this way. And also this part, I move them upwards, well done. Then it's time to add the middle or axillary
profiles or cross sections. I pick the curve, and then I'm going to start from the end. For example, according to this, they are slanted toward left. So I add a slanted curve like
this way, inclined to left. Then there we go
straight curves. Here as you can see, the
curves are almost straight, and then the other parts, again, they are slanted.
Check this out. Slanted inclined to right side. Let us take other photos, and then these parts they are
straight, as you can see. Well done, check it
out like this way. Afterwards, as I showed you, they were slanted
slightly like this way. And then at the ends which
are slanted. Like this way. So by this way, you can
model the icy curves. Then if I stretch them, I think it would be
better like this way. Then I start Sweep two command, find the first and
the second rail, and then the cross
section curves. Like this way, check this out. So what should we do
with the ends and we got no access to close
sweep exactly. We should put some points there. So I put two points
at the two ends to specify the first and end of
the sweep. Let's watch this. It is fixed, and okay. You see, according to the auxiliary curves
or auxiliary profiles, we could control the
directions of the ic curves. Then at the next step, let me move the surface and
then height the curves. Certainly at the next part, we should rebuild the
surface in order to rebuild and refit the icy
curves of the surface. Since we can adjust the point
count and also the degrees rebuild 200 for we
can specify ten. Let's check out the
preview and five. I do not specify a value, for example, less than seven. Since as you lower the value, result won't be satisfying. Great. But still, we
don't have any curves. We just have revealed
and refit the curves. We have adjusted the numbers and the spacing between so curves. Then it's time to start extract
re frame like this way, and then creating the curves like this way. Hake this out. I height the surface. Here is the result. Then as you're concerned, we don't need the horizontal
curves. So we height them. We only need the vertical ones. Since we don't have them in the picture as you
showed as I showed you, then it's time to pipe these curves or convert
them to some profiles. Here we got two approaches. We can either use the script, which is very simple and easy. And also, we can use
extrude and offset surface. But I'm going to show you
both of the approaches. I create a copy. We show
you both approaches, script and extrufOfset surface. However, we will have
two different results. At first, let's try extrude, and then I extrude
them like this way. Following that, offset
surface, check this out. I select the surfaces, enter, and then I set
both sides to yes. After this dance,
9.5, check it out. Here is the result.
Let me show you a the rendered
viewport. Well done. And let me show you
the other parts. Great. Let us create another one by using this
script, run a script. And just in case if you
haven't these scripts, you can click drag and
drop them into Rhino, so that you can get
access to them. But if you have already
dropped them into Rhino, you can have access to them
this way, by run a script. I select multi rectangular
pipe, and then, okay, I select the curves, enter, then the length
of the sides not 0.7. And then white, 1.6 and do
not need any rotation angle. Let us at the result. Watch this. They are well
organized with flat top faces, and let us compare
them with each other. Here, as you can
see, the top parts are sharp, I mean,
the first one. But the second one that we used, the script that gave us
some straight faces, especially when the
surface has been revolved, extrude cannot be a good choice. I mean, you can
create the profiles, but as we zoom in and
check out the detail, we see that a script
has done better than extrude and offset surface. Watch this again, compare them. I mean, the results of the
script are more close to the timbers than the
extrude offset surface. So I recommend you use script. And in the continuation, it's time to create the
opening at the top of you. And then I create a box
here like this way. Shake it out. Like
this at this height. Then I move it downwards
like this way to make sure that the box has covered the
bottom part of the timbers, and then I select it, hold down all, move
and create a copy, but don't forget to check
the bottom part, well done. Then in the continuation, bully and defence, you can select all of these
and then deselect the box. Enter, check it out. Well down, and then
for the other side, can select them,
and then the select the box and then
press down, Enter. Check it out at the
rendered view port. So, guys, let's give the try.
140. Modeling Bench: And here is the next practice. And as usual, which one do you suggest, rebuild or contour? Certainly, we
should use contour, since the curves are straight
and they are parallel. So at the beginning
of the process, we're going to
create the surface, and it seems that
you can make it by loft can draw the
cross section curve and then creating some copies
back too in front view. Here, for example, here I can draw
rectangle like this way, and then let me take a look. Then we can add two arcs at left and right side
of the rectangle. Take it out by three points, meet, start and end, then I explode the rectangle. Then I delete these two
sides or edges, well done. I join them. Great. After that, here as you can see, the top edge is held in common among all
of the rectangles, but the arc is changed. It's just getting bigger. So back to where
I know, I create a copy from this like this way, and then I explode it at first. Then I remove these two arcs, and then I increase the space or distance
between the two edges. Like this way. Following that, we should add two arcs. I hold down shift between, I specify the two points
to give the between, and then I draw the arc. Following that, I can mirror
the arc at the other side. Like this way. Here
is the result. And I join the curves, move, hack it out like this way since the top edges
are held in common, then it's time to arrange them. So at first, we're
going to start with the smaller one and considering a space between them and
I mirror the smaller one at the other side and
another mirror, a it out. Here is the result. Let
me show you other photos. Take it out from the side view. However, I can minimize the space between the curves by using scale like this way. And then we love
them. Check this out. You can keep the sin
points unchanged, and even you can change them. I mean, you can specify the midpoints of the bottom edge for the position
of the sin point. Check it out. Well done. Great, and then okay. In the continuation, here we go the surface by using loft. At the next step,
I start contor, I select the object, and then I specify
the base point. Here for the distance between the control planes,
I specify 1.2. I move the control
planes like this way. Following that, I select
all of them like this way. Then extrude at this direction. For instance, one for
the extrusion distance. Since we need not 0.2 for the distance
between the panels, but if it better to
set solid to no, let us try again.
Again, extrude. I set solid to no. Since we need them just
like panels, check it out. Here is the result
following that. As usual, it's time to use
offset surface. I select them. Following that, we should
specify the offset distance. According to the picture, as you can see, I
think one is proper. I flip to inside or interior, not 0.8, then inter wait
for a second, guys. Great. Well done.
Here is the result. So, guys, this was the first approach because
in the continuation, I'm going to introduce two
other approaches, too. I undo the process. Here if I select these curves
or the contour curves. The following approach is
related to the previous one, but I'm going to learn
you a new thing. I mean, I'm going to
teach you. I'm sorry. I extuded at the
distance at 9.8, and I says it to yes. Then let's check it out
at the perspective view. Then here if I use shell for removing the front
and back faces. Then for the thickness, not 0.6. Then I select the front face
and also the back face. Then we will have
this, heck it out. Here, how can we select
all of the faces? I mean, I want to select the front and back faces
for all of these panels. I want you to teach
this technique for you. So I start shell, then at the front view. Here, as you can see,
there's nothing, nothing to be selected. As you can see, so the trick
here is that at first, we select these, and then
we explode them for once. Check this out. Here
we got the Io curves. Again, we join them.
Nothing would happen, but we can have the Io curves. If I undo the process,
check it out. We got no Io curves to select. But if we explode them
and then join them again, we will be given the isocurves. Check this out.
Nothing has changed, but some Io curves
have been added. Then it's time to start command
of shell, check it out. Then after in the front view, by using these Iy curves, I can select all of the
front and back faces, not 0.4 for the thickness. Then I select all of them. Check this out right
now as you can see the back and front faces for all of the
panels are selected. Then I press Inter,
check this out. Look, we will be given this. And then this was another technique that
I wanted to show you. Like this way. What about the
third technique or trick? Could you guess and
say what it is? Exactly, offset multiple. I select all of these and
then at the front view, 0.4 40 distance, and the offset count one
in the continuation. Press down ter. Then I
click inside. Watch this. Here is the result. We have
added in other curves. Since they are offset, then we can select them and then extrude them and
setting solid to yes. Watch this. As you can see it is just like
the previous one, but it is our third technique. So, guys, I want you to work
on these three methods so that you can take your skills to the next level since
at some occasions, only one of these
methods are applicable. But I try to show you
all of the methods, so then you can use them
in your actual projects.
141. Exercise Explanation: And the next practice is Kimball Art Center
that as you remember, we have worked on before, but right now we are going to work on the timbers as well. Let me show you other
images. Check it out. For example, here, as you
can see, as you can see, the timbers are extended and crossing each
other as you can see, but they are not aligned. I mean, each of the timbers are positioned at the higher length, higher elevation at
half of their length. So they are crossing each other, as you can see, and
they are extended, and they are not
aligned since one of the rows is positioned
at higher heights. So, guys, I just want you
to give it a try and if you weren't successful in creating it, that's
the next video.
142. Exercise Kimbell Art (Part 1): Don't worry if you weren't successful in creating
the Kimbal Art Center. However, I hope you have
modeled it skillfully. Here I'm going to tell
you other explanations about how to model these surfaces which are extended from each other
and crossing each other. As you remember, we
modeled the object. I just want to draw
some objects to guide you and help you in
creating the Kimbal art center. At first, by the rectangle from center point like this way. After that, the vertical
curves like this way. Buy it this way, at this size, and then I copy them at the four intersections
or corners. Following that, another copy, I move them upwards
like this way, and then I rotated
it like this way. Then as you remember, I shrink the vertical curves, and then I make them
close to the base one. After that, it's time
to rotate it this way, nearly 45 degrees by this way, and then we blended them, let me increase the
space between them. Blend curve, by this way, tangency or grade
two of continuity. And also other ends, I blend them, and then
I select them, joined. Following that,
loft. Check it out. And then straight straight
sections and close. Here is the final result. After that, I can use cap
to fill the openings. Well done. However cap
is that necessary here. I got a question for you. Right now, what can we
do with the edges of the surface to make them
extended and cross each other? I mean, as you can
see, they are extended through each other,
what do you suggest? What should we do to make the edges extend through each other or in other
words, cross each other. Exactly, we just need to
offset the offset surface. I set both sides to know, and then toward inside,
check this out. As you can see, it
only did not work out. Still, we got no
extends or crosses. So what should we do
before? We explode them. Look. Then after exploding the faces and then
offset surface, following that, the
offset distance not 0.8. I set so let you
know. Check it out. This is the result.
As you can see, they are extended through
each other, as you can see. So this is the method
that you should use. Great. I select these faces, and then I move them, check it out to delete
the extra curves. Well done, then I want you to continue the
process from now on. But if you got any problems, don't worry. We can
finish it together.
143. Exercise Kimbell Art (Part 2): Let us continue the
process. Watch this. In the continuation, we're going to draw some curves
on the surfaces. That the technique is
certainly contour. I mean, clearly, we're
going to use contour, since all of them are
parallel and straight. So back to right after
that front view, I start contour like this way. Then I select all of the faces, inter, I specify the
base point, direction, and then the distance
between the contours, for example, not
0.6, check this out. Well done or even you can
minimize the distance. Now it would be
better, for example, not 0.4. Check it out. Well done. This is better. Okay. And then I select these
surfaces like this way. Since we should hide them
and then work on the curves, we don't need these
surfaces anymore. But before extruding these
curves, these contour curves, here I should extend the
curves and make them extends through
each other that I have specified 0.4
for the distance. I'm going to half it. That would be not 0.2. Then I select these and then move them
upward or downward. It does not make difference. Check this out. Right now, they are crossing each other. Following that, you should
select all of them and then extrude both sides set you know, and then for the exclusion, this stands not 0.4, great. Check it out. This
is what we need it. And then offset
surface, shake it out. Toward outside, philip them. As you can see, we would
better to philip it. It should be toward outside. And I set solitude yes. And I set both sides to no, and I set not 0.4 for DD
stance. Let's it out. And as you can see,
takes a long time, and then this would
be the final result. Check this out exactly similar to the picture that I showed you in the
previous session. At the pictures. Watch this. Then in the continuation, we can model the windows by
using Bully and deference, which is not complicated. I want you to take this practice serious and work
on it carefully.
144. Modeling Rocking Chair: And the next practice
is this chair. I want you to look at
the chairs carefully and analyze them and then
distinguish the method, which is surely rebuild exactly. So at first, you should mid all the surface
and then move on. Here we're going to
start with an arc. You see, back to
rhino, I do top view. And then from the origin point, I draw this arc very well. Following that, let
me take a look. Then I should trim
some part of the arc, as you can see, it
is being rotated. So here into front
view for the axis. I draw this circle. However, I should
minimize it by scale, check it out, build on, and then the continuation. I just wanted to draw the axis. Great. I mean, I just wanted to complete the arc to
create a circle. Following that, I select the
arc and then I revolve it. Then for the start
of the revolve axe, I should specify the
center of the circle. Let me open the top
view toward up, check it out, or
along the Y axis. I set this to no,
and then I revolve it like this way, check it out. Great. I just drew this circle
as the auxiliary curve. However, it was not necessary. But here we're done
with the surface of the chair and then rebuild. The indi number of the point
counts 50, for example, in, let me minimize
the value 30, corre. Okay. Here is the result.
Let me take a look. Okay. Then extract wireframe to extract the y
curves like this way. Take a look. But I do not
remove the surface for now, I keep it, but I hide it. And then by using script, the imported script,
multi rectangular pipe. I select them, and then I create the pipes rectangular sections, not 0.3, not 0.3. And then here we got the
chair as you can see. Great. A very simple process. Here I have as I didn't have deleted the surface, I kept it. Maybe you wanted to
use it on the chair, check it out as the kind
of material on the chair. You know, it could be useful. For example, I can use
offset surface right now here at the shade
at display mode, and then I specify
the offset distance. I specify at 0.3. Check this out, at the
render to your porch. As you can see, the
surface is covering the timbers or the
panels like this way. And we can easily
model the other parts. For example, the semicircle
at the front view. Lo For example, I
picked the arc, and then I started from
here like this sway, the semicircle look great. By this way. Then I
can select all of them and then move and then
put this in a region point. And then we can pipe the
semicircle or curve. And for the radius, not 0.3, I should maximize
the value of radius, not 0.6. This is better. And then here we can draw some curve to connect
the chair to the pipe, and then convert them to pipes. Well then, even we can
delete the pipe to connect these two curves to the another semicircle
exactly accurately. And then we can join the semicircle with
one of these curves. Like this way, I join them, and then pipe multiple. I select the curves, not 0.3, I should minimize. Since they are just like cables, 0.05 would be better. Look, and then if I pick the cylinder for the
base part of the chair, like this way, I
adjust it at the base, then check it out at
the rendered viewport, like this way. Here is our chair by using the method we've
rebuild. It's your turn, guys?
145. TweenCurves Command: And the next command
that I want to talk about is twin curve. Let me search for twin curves. The twin curves
command creates curves between two open or
closed input curves. But how, for example, here as you can see, we got
two curves like these two. I rotate one of them, and then I move it, and then I make it non plan art by moving the
control points, so it would be more interesting. Then here by using twin curve, we can create curves between these two input curves
at the specified number. Curves. Here we should
select the start and curves. For example, the start. And then the, check it out. Here we got one
curve between these two because the number have
been specified as one, but I specify 20, check it out. Here we got two N curves
between these two curves. As you can see, we
got two A curves between the two
open input curves. Then let us talk about
the other points. When we start the
command of twin curve, by specifying the curves, the end point that you
click on does matter. For example, if I
click on this end, then for the top one, I click on the other end as you can see. As you can see the
directions are not aligned. How can we change it by flip? Check this out. You can use
Philip to fill the direction. Here you can specify the
numbers like ten, Philip, and the output layer
for the results, and then the method. But let's talk
about match method. Match method
specifies the method for refining the output curves, and when we set it to none, it uses the control points of
the curves for matching or the first control point
of the first curve is matched to the first control
points of the second curve. So it preserves the number
of the control points. And then the next
one which is refit, it refits the output
curves like using the fifth curve the input curve and output curve will have the same structure and the resulting curves
are usually more complex than input unless
input curves are compatible. As you can see, it increases the number of the
control points, so it automatically recognize the proper number of control points and then
assign them for the curves. And then the last option, which is sample points, then we can specify
the number of the sample points to
use them in the curves. For example, ten, so the
three match methods were none Refit and that none does not changes
the control points. It uses the control points of the curves for matching
for the input curves. And as much control points
we got in the input curves, they will be assigned
for the outputs. But refit would
increase the number of decontrol points for the
outputs totally automatically. And in sample point, it enables you to
specify the number of decontrol points. Filed on. In the continuation,
let me give you an example so that you can understand the
applications of these. For instance, I want to
draw an arc, this out. For example, for example, at the front view, and then I pick the arc, take it out from the origin
point like this way. Following that, in
the perspective view, I draw this arc, and then I move it, take it out, then I
rotate it like this way. Well, done. Following that, I move it upwards. Then I want to connect
these two curves. So let me move it more. So let us consider the different cases twin curve then I specify the
curve, check this out. Right now, the default value for match method is refit because
if you set it to none, then this will be the
result. Check this out. Because if it uses the control points of
the cures for matching, then the result
won't be satisfying. But if you set it to
refit, as you can see, control points are increased, we got a reasonable result. And the number of the
control points are acceptable because the
result is satisfying, let us try with sample point. For example, check this out. Sample point, it does
work out, actually, but there is a limit
value for specifying the sample number like
two, check this out. As you can see, it
is not satisfying. So on some occasions, none is not a good choice. And always I recommend you use fit because
comparing to others, it would be a better choice. And it's interesting to know that you can
use twin curves, even for the closed curves. Suppose that here we
got a rectangle like this and another rectangle inside the first
one by this way. I move it upwards, and then I want to
use twin curves. Then I select them, check this out.
This is the result. And for the number of
the curves to any, for example, well done. And the point about
the closed curve is that while you're working or dealing with
the closed curves, the position of the sin point doesn't matter, just like loft. I mean, while we were working
with the open curves, we clicked on aligned endpoints. For example, here we
got two open curves, the two endpoints
that are aligned. And if you flip
them, but here in the closed curves
here as you can see, we specify the direction by the position of the sin
point, just like loft. And as you can see, so by this way, by adjusting the sin points, you
can match them. But when we use loft for
creating the surfaces, we were capable to
adjusting the sin points. And then we will have such a
result, for example, Look, but are we capable to adjust the sin points in twin
curves ourselves? I mean to adjust the
sin points ourselves. It seems not, check this out. We can only flip them not
changing the position. So how can we modify the
SIM points closed curves? As I remember, it had its specific command
which was curve seam. Look, curve seam curve seam. Then I start the command, I select the rectangle. Following that, we can direct the same point to
adjust, check it out. We can click and drag it. And after positioning
it, press Enter. So that in twin curves
command, as you can see, since we have modified the sin point, the
result is changed. And this is all because of the adjustment
of the sin points. Another example
here, for instance, here we got this rectangle, and then I want to draw
an oval or an ellipse, actually, like this way. Following that, I rotate
the ellipse, like this way. I move it upwards like this. Then twin curves. First of all, let us out the sin points. Cort. The sin point is well
adjusted as you can see. But we should flip it. Check this out exactly. Right. Right now is correct. But if I want to readjust the sin point to
revolve the curves, I should start curves in. Then I select the ellipse. Following that, I drag the sin point to adjust
the new position, press inter well down. Again, twin curves. Then if you just wanted
to observe the preview, you can just flip it. If you click on Philip, then the preview will be shown so that if it
was any problem, you can fix it. After revising it, press Enter. So the trick for
displaying the preview in tween curves is to deal with the option
in the command line, like modifying the numbers,
flipping the direction. After making changes
in the object will be updated so that the
preview will be displayed. Solar right now,
we learned how to adjust the sin point
enclosed curves and also how to show the preview in tween curves before
saving the changes. But here, if an
command of curve seam, let me start the
command at first. Here if I select
these two curves at the same time and then
start curve seam, and then I set it to automatic, then it chooses the two
closest sin points which are aligned and then adjust them as the two sin points
automatically. I mean, it could
be helpful since it adjusted the same
points quickly by just setting the adjustments
to automatically to automatic because it will
be given the right result. Otherwise, you can modify
them manually like this way, check it out, buy this
way, check this out. But if I set it to automatic, chooses it adjusts
two closest points and aligned for the sin points. If you said it natural, it specifies the natural
sin points for the curves. And here there is an
interesting point that I want to tell you. Maybe you imagine that when we want to use twin
curves among two curves, the two curves should
not be aligned. They should be at
different heights. But this is not correct. Let me show you
something different. Suppose that here we got
a squeer or a rectangle. Then at this top view and
this construction plane, here we got a circle like
this. Check this out. We can use twin curves
between these two objects? What do you expect? Look, this is fun. Again, let us try. Here, as you can
see, it is somehow like more frll
minimize the number. Check this out ten or five. As you can see, they
are inclined to each other to convert
to each other. But this time, eify modify
or readjust the same points, caresm, check this
out like this way. Then tune curves.
Check this out. As you can see, they
are not rotated. They are straight, and the rectangle is
converting to a circle. Again, curve SEM. I select them, and then I
readjust the seam points. I modify the circle this time, and then I save the changes. I want you to check out the
results of the twin curves. For example, six, check it out. And if I flip them, they are being rotated. So the position of the
sing point doesn't matter. Even if the two close curves are at the same
construction plane, the sin point controls the way these two objects
matched with each other. If you wanted to match
them straightly curve seamed then you should adjust
the sin points aligned, for example, both at the
right side of the objects. And then we use twin curves. Look. I should have flipped it. Let us try again, Philip. I flip the direction, check it out like this way. So the position
at the same point is very important.
Another example. For instance, here if I draw a star like this,
check this out. And then I want to
draw another star that I want to inscribe
the sides like this way, then twin curves, check it out. The same points are okay. Five is the number or four. Look, they are matched. And this time if I
specify ten and so on, if I philip them, check
it out, like this way. This time, if I readjust the sin points by using
them like this way, let us see out the results
after twin curves, six for the numbers. They are rotated, Philip, it is interesting because the sin points are
not well adjusted. So we can use twin curves if we want to convert one of the
objects to the another object. But don't forget to adjust
the sin points properly. And another application is that we can use it
instead of array. Suppose that here we
got a curve like this, and then I hold down out, and then I click on it. Following that, I move it at
the length left two units. Then at the other one, I click, then I move it three
units upwards. Let me move it more
two units more. Then in the continuation, I want to create 15 curves between these two
curves just like array. But if I want to
use array curve, I should add another curve, while we can use ten curve. I select these two
curves, sack it out, and they are not
converting to each other since they are totally
similar to each other, but I used it because I just
wanted to array the curve. Look 12, as you
can see, this way, you can arrange them, and then you can
convert them to stairs, se it out, extrude. I specify the direction. I set the base
point. Watch this. Here is the result. I
select all of them. Again, direction, sin
point, and direction. Let me adjust the
direction again. I hold down shift to
restrict the direction, let me set the base
point like this way. Great. You see? You can use them simply in
creating stairs, as I showed you,
instead of array. So, guys, it's time to practice all of the
example. See you.
146. Exercise Explanation: I have considered this practice as the latest assignment
for twin curves. Here as you can see,
we got a chair that I have ton a photo in one of the parks because it was a proper practice that we can make it by
using twin curves. But note that at some
of the practices, we should use twin curves
twice like this one. Example, here we got the twin curve between
these two curves, and then we got a curve an
arc here and one more curve, and another one is placed
at the top, as you can see. In fact, we should
use three times, and the art is in drawing the curves
properly and correctly. Here, we got the arc
and a straight curve at the ground on the ground and another arc here and
one more at the next. I recommend you use this curve. I mean, I mean, you should draw this at first, and then corresponding to this profile or cross
section, you can add the arc.
147. Exercise Bench: As I mentioned before, here back to Rhino, into the front view, I want to draw these two curves because this can help me to control the proportions and the dimensions of the arcs
from the origin point, by this way and then for
the approximate dimensions, by this way, SmartTrack,
check it out. Well done. Like this way. I mean, at the end
part, as you can see, we got the arc, let me show
you the photo, check it out. Therefore, here I pick the arc, and then from the
end, I started. Then at the right view. And then, according
to the picture and the approximate
dimensions or sizes, and then I draw
this, check it out. By this way. Look, so we're
done with the first arc, which is started from the
ground that I'm showing. And here we got a
straight curve. Let us draw the most
important ones SmartTrack, the straight curve like this. Let me create a
copy from this to position it at the other
ends of the curves. And then we need two more arcs, which is here with a slight
continuity back to rhino. And then from this point, check it out like this swing
and then the third point at the top view to control
the continuity of the arc. Let me adjust it, and then specify
the point on arc, by this way. Well done. Then here as you can see, the arc is getting
aligned with this curve. I mean, it should not
be straight like this. It should be aligned with this
slanted curve. Am I right? So here at the right view, front, I select the
curve and then rotate. Then then I align it with the curve like this
way. Check this out. Following that, I want to draw the next curve that I'm going to start it
from the midpoint. So here in right now, arc and then from the
midpoint, check it out. Then I specify the point on arc. Watch this at the top view, and then I draw
it like this way. Well done. Following that, I should rotate the curve. Look, as you can see, the arc should be rotated in
order to consider the angle. So at the front view, I select the arc
and then rotate. Following that, I rotate it like this way by
specifying point, check it out. We're almost done. Then let us try and then
start the twin curves. And if it was any problem,
we can revise it. Right now, we got these curves, and then it's time
to use twin curves. Check it out twin curves. I select these curves. Then I specify the
number, for example, seven to show the preview, seven is okay, inter, and then the other
curves well on, and then these two, check it
out like this way. Great. Following that, we
should pipe down. I click on multiple, then I select the curves, press down into, and then I
specify the radius, not 0.2. Let's seek it out at
the Render Duport. Here is the final result. It's your turn to give the try.
148. Tween Surface: And the next command
is to surface, which is entirely
like in curves, but you can create objects between two surfaces. Let
me give you an example. Here, suppose that I want
to create two surfaces, by these two curves, and then I connect them. Following that, we're going to use two in surfaces command. And right now, I want to create a surface by using Sweep two. I select these control points, and then I move them this way, check it out, and I
move the upwards. As you remember, we can
create untrimmed surfaces, but Sweep two command, which is suitable
for twin surfaces. However, we will consider
the twin surfaces, too. Sweep two specify the rails, and then the cross section
curves, well done. So right now, we got
this surface, well done. Then in the continuation, at the right view, here I want to mirror
this surface like this, and then I just the position. Following that, I want
to start doing surfaces, and then I select the start surface and then surface to show you the results. For example, the number
of surfaces, ten. Check this out. And we talked
about the match method. If we set it to none, the no refinement of the input of the output
surface is done, and then the number of
the icy curves are fixed, as you can see, they
are not changed. If you set it to refit, it refuts the output surfaces like using the feat
surface command, and they are more complex than input unless input
surfaces are compatible. And in sample point, you can specify the numbers, but they usually set it
to refit because it is more practical and when
the surface is deformed, we can use theft. We do not I mean, we do not specially use
sample points. Check it out. Here is the result. Here we got some intermediate surfaces between the two input surfaces
just like twin curves. But this time, I want to try the trimmed surface
as the input object. For example, suppose that
here we got this circle. We move these control
points like this way. Then I'm going to use patch, which creates trim surfaces
like this way. Fell down. Here, for saving my time, I mirror the patch. Then in the continuation
twin surfaces. But this one is different, since we are dealing with a trimmed surface,
not untrimmed. Check it out. I specify them. As you can see, the output
objects are untrimmed. I mean, twin surfaces, considers the
untrimmed version of these two input
objects which are these two rectangular surfaces. And these two are considered
by the twin surfaces. Again, twin surfaces. I specify the surfaces
and then down. And as you can see,
the untrimmed versions are considered. Let me give you another example. For instance, I draw
this circle and an opening inside the
surface and one more, check it out like this way. And then opening
inside the circle, let me try again like this way. Following that,
after drawing these, I start planar surface to create the planar surfaces by
using these curves. Right now we got
trimmed surfaces. Probably they do not
work out properly. Twin surface, then I specify the surfaces here
as you can see, the untrimmed identities
of these two surfaces are considered for creating
the intermediate surfaces between these two surfaces. As a result, if we wanted to use the input an object as the
input object in tuned surface, we should model them
with the commands that creates untrimmed surfaces, not trimmed surfaces like loft, sweep, network, and a surface. So you won't have any
difficulties by using these commands since you can
have the untrimmed surfaces. But right now, check this out. Here I'm going to give you another example with
the untrimmed surfaces, I draw this curve as the cross section
curves like this way. Following that, I want to create untrimmed surfaces
by using sweep, sweep to rail, like this way. Well, down here, as you can see, we got the planar surface, but it is untrimmed,
not trimmed. Again, the rails and then
the cross section curve. Check this out like this way. However, here we can rebuild the a curves by adding slashes. Look, you can fix it. Great. Okay, Inter
to save the changes. So, guys, here we got
untrimmed surfaces, and we can trim
them, untrim them. And certainly, we behave
correctly with twin surfaces. Take it out, specifying the
first and the second look, I minimize the number
of surfaces, seven. Well done. Inter. Here we got this since we have used
untrimmed surface. I'm going to tell you
another point and then talk about another example. Suppose that here we got two
rectangles inside of each other or even a
circle like this way. Following that, if
I want to create surfaces by using Sweep
two or planar surface, then we'll have
different results. But these cases are not usually practical in the
project, check it out. Here, we got the surfaces
by planar surface, which are trimmed
surfaces, as you can see. Well done, but if you use this technique for
creating your surfaces, then you will have
some problems. Sweep two like this way, specify the rails and then the cross section
curves, check it out. Here, as you can see,
we got four surfaces, and even we can explode them, L four straight sections. But another one
Sinsin does not have corners in which we got only one open surface,
not a polysurface. Check it out and we
cannot explode it. And we got the same problem
at the circles too. Sweep two rails, check it out. Right now, we got a polysurface and if
we even explode it, and since we got
two polysurfaces, we cannot use these
two polysurfaces in twin curves in twin surfaces. Let me show you twin surfaces. I select them, check it out. The result won't be satisfying, but in the circles here, if I draw a deformable circle, then we can have
the problem fixed. But we can fix this problem in the geometries in which we got corners or
straight sections. Check it out. Sweep two, specifying the rails and the cross section
curve fell down. So you can fix this problem by drawing
a deformable circle. And the problem is all with
the cross section curves, as you can see the circle, but everything is different
in the deformable circle. But we got nothing to
do with the rectangles. Well done, I delete this, and then I want to
exemplify in other case. But before that, let me give you a background
about the example. Wait for a second. So,
guys, check this out. We are going to draw this, which is like a tower. And here we got the front view and also the perspective view. And here we got solid objects. But at the process of this, we should use twin plus other
commands because it's not enough to only use twin and then expect
to have such a result. So we need a set of
commands. Let's take it out. And probably you have
understood what we're going on. First of all, we need
to draw the surface or the solid object
like these two circles. I'm drawing the profiles, the top and base and the
middle profiles like this way. Then I just the
positions properly like this way. Well, done. By this way, great. Let me scale distance between
them like this way, great. And then I love this. Watch this. Great. Let us
take a look on the photo. Following that, we need these
surfaces, as you can see. So I do top view or even the front view,
interpolate curve. And then I draw such a
curve. Like this way. Following that, I want
to draw another curve at the top part. Like this way. So here we got the base and
the top curve in the scene. Then I can use the gumbol
and then extrude them. Shake it out, like this way. I make them solid, so you can understand
them better. Let me adjust the positions and then rotate like this way. Well done, check it out. I make it straight. And then I place them exactly on
the loft or surface. Then I want to fill the
openings of the loft. Following that, I'm going
to use twin surfaces. Between these two,
it did work out. Then 15 40 numbers. Great. Then offset surface. I select the surfaces, enter. I set both sides to yes. And I specify the offset
distance, for example, not 0.6 and set solid
to yes. Check it out. Here is the result.
Then what is next? Exactly. Boolean intersection,
Boolean intersection. I select the solid
object, Inter, and then the surfaces
like this way. Then let us check out
the result. Watch this. Here is the final result
by using this method. So somehow for creating special I mean a
specific surface. We need to combine two
different commands, and we cannot consider
the continuity and curveness of the
surfaces by ten. Twin surfaces just arrays. The surfaces between two
specified surfaces straightly. We created some surfaces, and then we use twin surfaces. Following that,
bullian intersection. So, guys, it's your
turn to give it a try.
149. Practice: Hello, dear friends. I hope you are feeling well
for modeling this project. At first, we're going to create these two important panels
and then array them. Following that, using mirror, and then by using twin curves, we're going to create
the middle parts. Following that, we're going
to surface between them, and then by extruding them, we can draw the facade. So let us start. I get back to Rhino, and then at the top view, I pick the rectangle by using Goody snaps from the
origin point, for example, ten and 20, as you
can see, again, I draw these two rectangles like this way at the four
corners of the rectangle, and then I select one of them, and then by using area centroid, I calculate the center, and then following that, polygon I set number
side of four, and then I create the diamond. Then I select the
create a diamond. And by using copy command, I create some copies at the four corners
of the rectangle. Then at this part, I select it. I select these two
control points, and then by using scale, and then I narrow distance between them or make
them close to each other. Then I select the
edited diamond, then I make a duplicate
to the another corner. Then in the continuation, we do not need these
small rectangles, so we can select them and then
delete them. I hide them. I start twin curves. Then I select the first
or the start and curves, and then the specify
the number like eight. Check it out in
the continuation, the first or start
and curve and then enter to create the curves
between the specified curves. Following that, we got 20 curves between
these two curves. So they specify 18, so we can have them
like this way. I repeat the command, and I specify the
start and end curves, check it out to
fill the rectangle with these items like this way. Well. Then at the next step, we can create the base surface by using planar surface
and specifying the edges. Check it out. Following that, by using split and selecting these curves
inside the rectangle, we can split the
planar surface and use these arrayed
objects or curves as the cutting objects or we
can select all of the curve, and then I start curve, and then I click at
the empty spaces, so we can have them
split it, check it out. This method, I think, is
better than the previous one. Then I move the new created
curves by using extrude, extrude curve at the
length of 2 centimeters. I extrude them like this way. Then I select the
last created objects. Then I move them,
place them here. I rotate them at 90
degrees like this way. Then I set it to shade
at display mode, and then here even we can consider the other
details on the surface. Here we can hold down
Control and Shift buttons, and then I select the surface. I move it backwards at 10 centimeters and also
this part like this way. Following that,
at the next part, I move it backwards
at 5 centimeters. Again, next row, not 0.15. I move them along via aces. However, we can select them and then apply some other works. For now, let me move
these splated faces. To make it more interesting. So right now by moving the faces to backwards
and forwards, we can design the facade, and here even we can
select this face and then rotate it
at not 0.5 degrees. And then another part at
minus not 0.5 degrees. Check it out at the
rendered viewport. Get. So at this session, we learned how to create such a modle by
using twin curves. And, of course, you're able
to create such a model. I mean, the more
professional version of this model by using the
paneling tools extension or the grasshopper plug in so
that we can control the track points skillfully
by the mentioned mediums. But at this session,
we just covered a simple example from the application of twin
curves in facades.
150. Practice: For creating such a bench, according to the
picture, as you can see, we need to model the one to
eight part of the bench, as you can see, and then
mirror it at the other side. And then again, keep mirroring the other parts
to complete the bench. And then for modeling
one of the parts, we need to draw a
curve at this line, a curve and a straight line. And after that by
using twin curves, we can create the
intermediate curves between the two
specified curves. So back to right now
at the top view, I draw a line from the origin point like
this way, check it out. Following that, I
create a copy from the selected line
let me take a look. Here, we should
edit the curve and then move the control
point upwards, so I start rebuild command. Then I select the curve, and then I specify eight
for the point count, check it out, three,
four degrees. Then I select this
control points, and then I move it
upwards like this way. And even I can move it, I disable degree snap and then I select the other control
points and then I move them this way. Check it out, move, well done. Then I want them to be inclined, since according to the
picture, as you can see, I mean, at the surface, the
opposite side are inclined. So back to Rhino,
I start to curves. Then I select the star and encaves for the number
of the curve to any two. Watch this. Like this way. This is proper. I press down the Inter to
save the changes. Then I need to
select these curves, and then by using
the comb or extrude, it doesn't make different. I extrude them this way, as you can see and the scene. And then the empty
spaces between them are just like the
picture as you can see, and then I select the
last created objects. And then by using extrude
surface, check it out. I extrude the
surfaces at not 0.02, and I said solidu
yes. Watch this. Great. Then at the continuation
by using mirror command, and mirror them at
the other side. Following that,
you should select the mirrored curves and
then clicking on a scale. And then I import minus one. Since I wanted these curves
to be opposite of each other. I mean, at one of the sides, we got the curves
at the right side. And at the another one, we
got them at the left side. Then I select the
curves by using cell curve and height them. Then according to the picture, some boundaries are considered
here as you can see. So to do this and
muddle the boundaries, I pick the box, check it out, and then at the top view, I draw it like this way. Then for the length, for example, 5 centimeters, and then for the height, I want to consider
0.04 perimeters, then select, then I move
it at 0.02 centimeters. And also, I move it
forward like this way. Then I select all
of the objects. But before that, we should
select this, select the box, and then I want to mirror it for the other part at the top
view, project, mirror. Check this out. I picked the plane mirror plane,
and then mirrored. Well done. Mirror one
with the boundaries. Then at the next step, I should select these objects, and then at the front view, I start mirror command for the
bottom part, check it out. And then, again, I select them, mirror, for the other
parts. Check it out. Here at the rendered viewport, we managed to model
the bench that I showed you at the beginning of the session here in display, I turn off surface edges, so we can display the bench at the rendered
viewport like this. And even in material, we can assign new material
to the bench, for example, dark gray, and then for the
glass finish or reflectivity, and then assign two layers. Defold. Shake it out. So guys, we model the
bench successfully, and I hope you will model
it skillfully and you can use the today's techniques
for your other projects. And if you want
to, you can share the pictures of your
model projects with us. And if you got any questions, ask us. I wish you luck.
151. Practice: At the session, we're going
to model this restaurant, the interior design,
as you can see. But as usual, let's take
a look on the pictures. As you can see, we got
a surface at the roof. Then we got these
even on the columns. Following that, for
the other parts, contour command is involved, and the curves are cut in layers in layers,
and then extruded. Let us analyze the pictures. And here we got the plan view. We're going to use
the plan view and also the front view
as you can see. And as usual, I want to import
the plan view into rhino. And then according
to the dimensions, we can see in the plan view. For example, according to
the threads of the stairs, we can scale the plan view, and also the front view or the section view is going
to be imported into Rhino, perpendicular to the plan view. That as you can see, I have
already imported the I have considered 30 centimeters for the three threads
of the stairs, and I have scaled the plan view based on the dimensions
of the threads. And this section view is positioned perpendicular
to the plan view, and then I have increased the
transparency from material, as you can see, so we can have them transparent and then
in the continuation. We're going to start with
the curves of the roof. So to do this here at the front, viewport, interpolate curve, and then I start
drawing these curves. I draw the curves this way. Following that, we can
revise them by editing the control points to
make them more precise. Check it out like this
way at each part, I place the Control point, and even if more control
points were needed, we can add them later. I select the point and then I move the control
points back this way. Then by moving the
control points, we can control the continuity or the curveness and make
them close to the picture. Then at the perspective view, I select one of the
curves and then position it there and I locate the
other ones as you can see, then at the top view, then I draw a car
line like this to specify the boundaries of the needed parts
of the plan view, since I want to trim
the other parts. So after specifying the
boundaries, I start trim. I delete the extra
parts like this way, and then I can turn
off reference layer. At the perspective view. Following that, we're going to revise the control points and then control the continuity. I select these three points, and then I use scale, and then I make them close to
each other along the axis. And also these two control
points, check it out. Well done. Then
at the next step, I draw some curves to connect the two ends
of these two curves. Then I select the new created
curves, then by rebuild. And then I specify 540 point
count and 340 degrees. And I check let input
to delete inputs. Okay. Then by
pressing down F ten, I show the control points, and then I move some of them to revise the
continuity, check it out. And then at the other
part, watch this. And move the control
points this way to consider the waves of
the roof, check it out. So guys, we have drawn
the curves approximately. Then by using network surface and then selecting these curves, I create the plane
surface, check it out. I select the plane or surface, and then I change
the object layer. For example, layer 01, and then I rename the
layer SRF surface. And even we can rename
the default layer, and then name it CRV as curves. Then I turn on the references. After that, in the
reference layer, we don't need this section view, so we turn it off. And I also turn off the surface. Then at the top view,
check this out. Then for the columns, check it out in the picture. We got one, two, and two other columns. However, other columns are not. However, they are
not well recognized, but according to the picture and plan view, we
should draw them. Here we got three columns and the storeroom, as
you can see here. Which is related to actually
this part, as you can see. So for modeling this part, I'm going to use the rectangle, check it out, and then
draw the rectangle. Following that, we have to rebuild it for
modifying the corners. But even here, we can use
the deformable ellipse or ellipse deformable
like this way, from the center like this. Then at this part from the
center at the other ellipse. Following that, I want to make the control points aligned
so we can select them, and then you can use set
point command by which you can align the specified objects at the specified direction. For example, I
select these points and then here I can specify in a specific direction or axis and then make the selected
control point, aligned at the specified axis. For example, I want to make
them aligned along Y axis, or even we can work on another
method that we can make them aligned without using the set point by
clicking on scale arrow. Here, I click at this point, and then I import zero. Here as you can see, they
are aligned along x axis. Following that, for the
other parts, I select them, then I click, I
import zero to make them aligned along x axis. Move them downwards,
and also for the lateral parts or edges, I clique, and then
I import zero. Great. So as we knew that, we could use minus one in a scale instead
of using mirror. Right now, we learned
that we can select a set of control points
and then import zero. We can have the selected
control points aligned at the specified axis like
X or Y, check it out. By this way. Then at the next step here at
the top view again. I select the curve. I hold down Alt and Shift. I minimize it and create a copy. One more copy at this size, and then the last
one, I maximize it. Well done. Following that, I hold down Alton Shift, holding down Alton shift
patterns and creating copies, and then I can create
some other copies from these three curves or even
deleting the middle curve. But I copy, and then I place them for other columns.
One more copy. Look, but I should
rotate it at 90 degrees, check it out, and then position
it and scale well done. So, guys, up to now, we have drawn some curves for the roof columns and
also the storeroom. I turn on the surface
like this way. Then I select the
exterior curves for the columns
in the storeroom. Then the top view,
I trim command, and then I select the surface to trim the
surface at these parts, check it out at the
perspective view. Have split it or trimmed the surface by
using the exterior curves. Then I create a copy from the exterior curves
and also the surface. Since I'm going to
explain a topic for you. I mean, here we're going to create a surface
at this spot, which is started is
going to be started from the surface smoothly and
then reach to the ground. Here I'm going to use
different kinds of methods, and then we're going
to choose one of the methods for moving
the process forward. So for instance, I select
the exterior curve and then I move it upwards and
then I start loft command. I select specified it. So we model the
base of the column. Then again, I create
another copy from these. Then the first method that we're going to go through
for completing the process is using loft
command. So I started. I select the H surface and also the surface of the
other part for the opening, then at the top view, then I want to adjust
the sin points. Lo I align the same
points totally similar to the previous
explanations about loft, you press down into. And then I check
matches start and gent and also match
end and gent. And here as you can see, as we check match end
and start and gent, we can control the continuity at where the two surfaces
connect to each other. While I uncheck matches
start and and gent, then the two curves or surfaces will be considered
individually or separately. So that lofted surface
maintains tangency with the adjacent surface
at both start and end by checking matches
start and and gent. So the first method
is using loft and then maintaining the tangency
with the adjacent surface. And the next method that we're going to talk about, again, let me create a copy from
this for the third method. But here we're going
to use p two rail at the second
method. Or approach. So by using interpolate curve, I draw the curve like this way, consider it as the
cross section curve. Then I select the control points to revise them like this way, however it is not needed, and then sweep to rail. Then I select the surface
edges as the rails, and then the cross
section curve. Okay. Then in edge continuity, we can adjust the grades
of the continuities. We can see the tangency
for both A and B. As you can see, you can control the edge continuity and
also the cross section. But I'm going to give
you an explanation about how it changes the edges
and the cross section that this was the second approach
that we used sweep to rail. I create a copy following that, here I want to draw a
curve here like this way, from the midpoint to
the another midpoint. Then I start extract Ia curves. Then I specify the surface. I specify the direction, and then I draw the
curve, the I curve, following that,
and other surface, I take the direction
U by this way. And then I select the
created curves here. Finally, I match them
with each other. And then for the continuity, I set them to tangency. As we specified the other
surfaces to tangency. Well done. Again, match curve. I select another end to match it with the
other end of the curve, and I set it to tangency so, guys, here as you can see, before starting Sweep command, we can adjust the
tangency, I mean, the continuity of the curve
or the cross section curve. Following that, we
can start sweep to rail and then
creating the surface. This time, if I set A and B to position position create
of edge continuity, it can meet our needs. Okay. So we can consider this as another method or
approach, but I delete it. And I'm going to introduce
you the last approach, which is using blend surface. As you remember, in
the previous sessions, we could have used blend
curve for blending two curves at the
specified continuity according to the input objects. But here we got blend surface
as well that I can select this surface edge and the other surface edge to
blend them with each other. I do top view, and then I adjust the same
points like this. I make them aligned
with each other. Like this way. And
then following that, I press down Inter. Here, as you can see, it has created such a surface
there that you can use these two sliders to adjust the continuity for
first and end, as you can see, for example, I just them like this
way, check it out. Following that, I click on
Okay to save the changes, check it out at the
rendered view port. And as you can
see, we could have modeled it even by using
blend surface successfully. Then I select all of these, and then I change
the object layer, and then I turn them off so that you can have them
for your practices. Then back to the project, here I select these and I
can minimize them by scale, and I revise some of
the control points. I move it upwards
and then the column, I select these three curves, and then I move them upwards equally following that by loft. I started. Then I specify the closed curves to create the surface by this
way, I move on. So guys, we specify the surfaces through
the love command. And then I select the curves, control edge to hide them. And then by using blend surface, I blend the edge surfaces. But note that before
pressing Inter, open the top view and then adjust the sin points
properly to make them aligned and then press Inter and then
blend the surfaces. And then I move the sliders to control the continuity of the blended surface
like this way. However, I could have moved the curve or the edge
surface upwards. But no matter I can
move the other ones, I hold down control and
shift and then move the top edges, check it out. I extend the columns,
then blend surface. Then I blend the edge surfaces, check it out, at the top view. Then I adjust the sin points
and then make them aligned. Check it out by click and drag. Well done. And following that, by pressing Inter,
let me try again. I should adjust the SIM
points. By this way. And then we should fix them. And then I set them to
tangency or grade two. Watch this. We can
control the continuity. However, for
increasing the quality of the results is that you can open the top view like this way and then
select the curves, control dE dg to
show the curves. Check it out. And then even we can maximize the
curves of the columns. So I select them, and then I isolate
them by this way, and then maximize by
scale by this way. Maximize right now
they are better. I show you other objects. Following that, I want to trim the surface by these new
curves. Check it out. Since I have changed
the size of the curves, then I set them to shaded mode, and then I start planning
surface command. Then I choose the surface
edges like this way. I just the sin points, they are well adjusted
and then enter. Then I set them to tangency
grade of continuity. Then you can use the slider for controlling the edge
continuity. Check it out. Well done. For the others, I select the H surfaces
and then blend surface, adjusting the sin
points and then moving your slider to control
the He continuity. Check it out. Well done. And the last one or the last column by
this way, as usual, let me adjust the sin points at the perspective
view By this way. And then buy this way. Great. We're done. So, guys, we've done the project
up to this point. We have created the columns
and also the surface, el curve to select the
curves. I hide them. Then I join the surfaces with
each other, check it out. Then in the continuation, we should cap the top face or fill the openings and
also we got something to do with the base part
because we're going to use contour command
for creating such a roof. We want to create these
layers and then extrude them. So I select the surfaces. Then I use cap to fill the openings at base and
top and for the top part. And then for the top parts for filling the openings
here at the top view, then I start playing command. I click on Project to enable it. And then I start from the
intersection or corner. I draw a surface like this. By this way, check it out. Select the surface. Then I
turn on the section view. Following that, at
the front view, I move the surface
upward. Check this out. Like this way. Following that, I start at surface, and then I create some faces at the lateral
sides by this way. And then I select them and then Control J to
join the surfaces. Right now we got a polysurface. I turn off the a curves. Then in the continuation, I want to measure the
dimension in the plan view, and then we can hide a distance
to measure the distance. And then I want to measure
the distance between the two contor curves
like this way, which is 0.08 perimeters. And if I measure again, nearly 14 centimeters and the thickness of each of the
panels is 5 centimeters. So I select the object, and then I start contour. I enable project. Then here I specify the
direction of the contour, and then distance 15
centimeters. Wait for a second. Great. Here, the contour
curves are created. I change the object layers, and then I turn off
the previous layer, and then I select them. Then by using extrude
curve, check this out. At 0.05, I stood them at the
length of 5 centimeters. As you can see, then
at the top view, I start self curve command
to select the curves, and then I change
the object layer, and then I turn them off. So, guys, by this way, we managed to create the general
parts of the restaurant. And in order to move the
process forward and have more progress, Let me see. I want to change the object layers and
then turn them off. Shade a display mode, and then I hide the main object by using control
edge like this way. Following that,
at the plan view, I pick the polyline, and then I'm going to
start from here to draw the boundary curves by holding down shift to
restrict the direction. Check this out and the
other parts. Well done. Look, I extend it to the
here we can use more track. Look. And then like
this way. Well done. Control Shift edge to show the objects, select the surface. And then I want to move the
selected curve upwards. So here I can use offset to control the
thickness of the vault. Following that, we can
use extrude curve or even we can we can use a slab, which was the mixture
of offset and extrude for creating
the vols, for example, not 0.18 for the
distance or not 0.2, and then I extrude the
curves, shake it out. Do you consider
them as the valves. Look, and then here
I can minimize the plan in order to adjust
it exactly under the roof. However, we can keep going and move on like this without
adjusting, adjusting the size. Again, a slab, and then
I move them upwards. Look, and the next
part that I'm going to explain for you is
creating these windows. So I want to set the
construction plane to the object onto this wall, and then I'm going to draw
the windows on the wall. So at this part, I draw
rectangle, for example, like this at this size, or even we can minimize it. Look, I select it, then at the top view, and then I create some copies. I hold down all, and then I make duplicates
at the desired number. Then I can select all of them. Then at the prospective
view, take it out. Then I return the construction
plane to its default mode. Then by using make hole to make some holes on
the wall by this way. We are done with the windows. And then for modeling
the interior parts of the restaurant and also
chairs or the furnitures, we can begin modeling
them from scratch or even we can use the
prepared models and then import them into
rhino that you'll be given these prepared models and then locate them
in the all in all, as we were supposed to
model the general object, we do not put time
on the details, and we have created the vaults
to specify the boundaries. However, if you were interested, you can put more time, especially on details
like the furniture, chairs and tables in order
to challenge your skills. And even you can share the pictures of your
projects with us. And if you got any questions, you can ask us, and at
last, I wish you luck.
152. Twist Command: Hello, we'll come to decision
ten of the course of Rhino. At decision, we're
going to work on some of the commands of
deformation tools toolbar. Following that, we're
going to practice the countless applications
and several examples. So at the beginning, I
maximize the perspective view, and then I open the
deformation tools toolbar. And then the continuation, we're going to talk
about the commands here, so I fix it here. As you remember, we have talked
about flow long surface, the first command in
the previous sessions, actually in the Season seven, and at this session, we're
going to cover the others. For example, the first command that we're going
to talk about is twist and as the icon
and as the name shows, twist command deforms objects by rotating them around an axis. For instance, here
I want to create a box from this part,
corner to corner. Then I click on Center, and then I draw it
from the region point, check it out like this way. Then I set the display
mode to shade it. Control Alt S or control
Alt G to ghosted mode. Well done, after activating
the ghosted display mode, I want to start to, then
I select the object. Following that, we should draw the start and end
of the twist axis. Then here we can pick
two reference points to define the rotation
angle like this way. As you can see, this was the whole process of
twist command. Control Z. Then right now for the axis, I draw a curve like this from the origin
point vertically. By this way, I draw a curve, and then I change
the object layer. And I just have drawn this
curve to tell you that the two axis that we specify in
twist command that I mean, the axis is held in common. Following that, I click on
twist to start the command. Following that, I
select the object following that press inter
the start of the aces. I started from the
origin point and then just like the end of the vertical line, check it out. After that, you can use a click for the first
reference point and then move your mouse and then specify the
second reference point. And in other approach
that we got in twist is importing the
rotation angle manually. For example, 180
degrees, check it out. So after typing the angle, we can have the specified
object twisted. Well, D control that. Then I start twist again. Right now, here if I specify
the object like this way, and then for
specifying the axis, I do not extend the
axis to the end. I specify the end point at the middle part, and
then I rotate it. As you can see, only
the specified axis is twisted, as you can see. And also I can
specify a range or I can specify a part of
the box for two east. Then I rotate it at 45
degrees by this way. As you can see, only the
specified range of the box or the object is rotated
while others are straight. You know, it is something like the previous sessions examples that was the project
of Kimbal art. As you remember, remodel the, the timbers and the building by using some specific commands, again, two east to check
out the other points. Example, the first
point, for example, I specify the start point
at the origin point, and then the middle part of
the box at the end end point. But I want the object
to be rotated totally. I mean, I want all of
the parts to be twisted. So here we can use infinite. We can set it to yes,
and then if yes, the deformation is constant
throughout the object, even if the axis is
shorter than the object. However, the result right now is different with the other results at the previous examples. So let us consider
the differences. Here I create a copy
and then I start twist. I select the object, then I draw the axis along
the box, 180 degrees. Then for another one, I draw a shorter axis, then I said infinite
to yes and I type the angle 180 degrees. I mean, at such a context, the twist applies only to that part of the object that we have a
specified the axis. But when we said
infinite to yes, it assigns the rotation angle or the unspecified part two. And as we have
specified 180 degrees, and since the specified
axis is half of the object, and the specified
angle is 180 degrees, so the rotation for all of the Object would be 360 degrees. So when the length of the aces is shorter
than the object, then the angle of the twist applies to all parts
of the object. But note that if we
set infinite to yes, here at the next point, I extend it to the midpoint. I set infinite to no. Here
we can set copy to yes. Here the copy option specifies whether or not the
objects are copied. Then here the plus
sign appears at the coursepen copy mode
is on. Then check it out. You can click and then
create some copies. Following that, let's check it out at the perspective view. Look, this is the
result. Like this way. And for the straight
section parts, here we can open the Rhino
options and then mesh custom and then control
the density, check it out. So we can control the display displayment of
the objects to the extent, control that, goes that mode, and then move on. I remove this object. Following that, I scale one
D. Then I specify the object, then the base point,
check it out. Like this way. Great.
Following that, I select the object to array
linearly, eight as number. Then I array, check this
out. As you can see. Following that, I want
to extend the x. I mean, access to the top part. Following that, I select every other objects to
change the objects layer. So that we can display
them in different colors, and then I create a
copy like this way. Here I start twist. Then I select the
objects to rotate them. Then I specify the axis
for the whole objects. Following that, the angular, first and second
reference points. I import 90 degrees. Then here if I press Inter, we will have such a result. Check it out. But let me
set copy to n. Again, the axis, setting copy to no
90 degrees, check it out. As you can see, all of these objects are considered
as a single object. I mean, even from the
beginning to the end, they are considered
as a unified object, and the rotation angle has been assigned to the entire objects. So the point here is
that when we use twist for rotating a set of
objects like these, then according to
the specified axis, the first and I mean, the start object and
the end object are twisted according to the
specified rotation angle, and they are unified. And in other case, that it may happen with twist. For instance, the objects, the access, and then
I said rigid to yes. Following that, the rigid
option specifies that individual objects will be deformed as they
are transformed. So if you specify 90 degrees, then individual objects
will not change, only their positions
will change. As you're concerned using rigid option or not is
based on your needs. I mean, sometimes you want
the individual objects to be transformed as well as
they are positions, but sometimes we
don't want them to be changed, but their positions. That indictinuon for the assignment, we're
going to talk about, we're going to work
on and practice, and we should set rigid to know. I mean, when we
create the floor, we array them, and
then we twist them. Sometimes we don't want
the objects to be changed. So it is totally depends on our needs and what
we want to model. And about the specifying axis, you can draw a slanted
axis like this way. I set rigid to no, and then 90 degrees,
check it out. This is the result according
to the specified axis. Or, for example, this time, I specify a different axis, and then 90 degrees, look a different result. So as you're concerned, we can model different types of geometries by using twist and
specifying different axes. In the continuation,
we're going to talk about some practices and then expound our knowledge about using twist here in twist. Here, the first practice
that we're going to do is modeling such
a form for example, we can work on this and other
similar model geometries. For example, to do this, we should start drawing these vertical curves which
are twisted back to rhino. And then I draw a
circle like this way, following that by using a
vertical line. Check it out. I draw the vertical line. Following that, array
polar from the origin 0.16 at numbers and 360
for the field angle, and I can place one of these curves at the
sim point by this way, and then I change
the object layer red so that we can
find it better easily. And at such a condition here, even we can lock the layer
in which you work on. So as you can see, the red curve is not selected
since it is locked, then you start twist. You specify the axis and then
the angle, check it out. And then by using
mirror command, we mirror the twisted curves, and then we will
have such a result. So as you can see, just by twisting the curves
and mirroring them, we managed to create
these and then pipe, we managed to
create such a form. And then we can extrude
the surface or the curve, control that to
undo the process. This time, I want to
start twist again, and then from the start to
the midpoint for the axis, and then at 360 degrees
and then mirror, from the origin
point, check it out. And then we convert
them to pipes. Look, this time we got a
different model, as you can see, you see, or even we can specify the
start and end of the axis different from
the previous example. For example, we can specify
a range like this way, then mirror a hold down shift
to restrict the direction, check it out, and
then pipe as usual, so that we can observe the dal and then extruding
the curve well down. Check it out at the
rendered viewport. So by using twist, we can create such
a model easily. And if we wanted to maximize the size of the openings
between the pipes, then we can specify a fewer
value for the rotation angle. Check it out, for example, 90 degrees, and then we mirror
it. Let's check it out. Then the openings of the pipes, as you can see, they are
greater than before. And then pipe check it out. So by just modifying the rotation angle, I
mean, decreasing it, we could have modified the density or even if we
do not create the pipes, we extrude the surface by
extrude curve, actually. And then we're going to split the surface by using these
curves, check it out. Then in the continuation. I want to select every other splitted surfaces, check it out. And also for the bottom part, I select every
other slited parts opposite to top part
offset surface. I do not flip the direction, then 30 centimeters for the
distance. Let's check it out. You see? Then we will have
such a result, as you can see. Let me select some other
splitted parts, these diamonds, and then we can assign some
new materials, for example, here at the front view, you can click and drag and
then select these diamonds. Following that
material, cast them. Then we can specify
simple material, blue, and then this
into transparency. However, at the future sessions, we will talk about the materials
and how to specify them. So I just want to tell
you don't worry about the lighting materials
and rendering. We will talk about them later. But today, I just
wanted to talk about the twist applications
in the projects. I delete these objects, and I unlock the layer so that we can delete the
vertical line as well. So we talked about Twist command comprehensively in
the continuation, we're going to talk
about another practice. For example, let's check this photo that we're
going to model it. Wait for a second, please. Look, or for example, this one, we're going
to create one of these. So to create these
here a different view. By the polygon,
inscribed polygon. According to the picture, we had a square, but here I specify six for the number of the sides.
Let's check it out. And then from the origin point, I draw the polygon
with six sides, and then by using offset, then by through points, take it out, like this way. I offset the polygon
like this way, and then extrude curve. I specified a distance. And then by using array polar, I went to array the polygon or actually polysurface
at the front view, AI polar, take it out. Reaching point number of the
items 16 at 180 degrees. Here as you can see, all of them are overlapping
each other. So if you want to consider a space between
them, the offset, then I import type 15
or ten, ten is better. Eight in. We got such a form, and I increase the numbers to 26 for this at
offset. Well done. Following that, I want the
base part to be straight, so I can create a box
and then position it at the base part of the
polygons, like this way. And as I'm going to
cut these polygons, I just position like this way, following that I
select all of them, and then bully and the friends
and then check it out. And I remove this
curve for the box. So, guys, we're almost done. And then at the continuation, we can assign the material. This time, I want to assign more professional
material here from the library in VoD. Let me see. And as I told you before, at the future sessions, we will talk about
the materials. So for now, it is not needed to be worried about materials. Well, then, this is the result. Check it out. And here even we can show the surface
edges, check it out. Right. This is the
first example that we modeled it by using offset, extrude, and then Ara polar. And then in the continuation, I want to create a plane R
surface for the base part. I move it like this
way to place it at the construction
plane. Well done. Very well. Let us
continue your lessons. Up to this point, we talked
about twist command, which enables you to deform objects by rotating
them around an axis. And the practice that I
want to assign for you is this building that you are supposed to model it by
using twist command. And as you can see the
name is turning torso, that we will Talk about
it comprehensively. And then as usual, it's time to model it together
step by step. But before that,
let me check this. For example, if we want to model such a
geometry in which we got three cables which are
rotating or they are twisted. So to do this, back to rhino, and then I pick the curve, and then I draw it vertically
on the construction plane, and then by using ARA PLR, from the origin 0.3 as a
number at 360 degrees, let me specify zero
for that offset. Check it out, we're done. Then in the continuation, I place one of them
at the center, and then I convert them to
pipes 1.2 for the radius. Check this out. And then we
can select all of these, and then we start twist. Then the axis from
the region point to the end at 360
degrees, check it out. This is the final result
at the rendered De port. Full. I'm going to
repeat the process from doing from
dealing with A polar, orgonPoint number of the items. This time I want to specify
four and I want to delete the center curve at 360 degrees, and then this at offset five. Then I select them to pipe them, 1.5 for the radius, and then finally, twist from the original
point for the axis. And then at the front view, I enable project, then I extend it to the
end, check it out. Well done. Let me try again at the front view for specifying
the axis, check it out. And then the rotation angle 360. Following that, this
is the final result. Look, we can model such a
geometry by using twist, pipe, and the vertical curves, and then assigning the material, and I want to
create or customize another material like
this way, check it out. Three different colors
that we used twist, pipe, Aripolar and
vertical curves. So simply
153. Bend Taper Command: So we move on to talk about the other commands of
deformation tools toolbar. For example, the
next one is bend and the bend command deforms objects by bending align a spine arc. For instance, if we
got such an object, and then we start bend, we select the object, and then the start and
the end of the spine. Following that,
we can bend it or specify another start
and ends of the spine. Following that, we can pick
a point to bend through. Check it out here
at the right view. Look, buy this way. This is the result. Let us talk about the options of band. So to explain this part, I want to draw some
skewers this way. And then by using array linear, check it out eight
for the numbers, and then I array these skewers
this way. Check it out. Following that, I
start bend command. I select the curves, and then start end
of the spine that represents the
original orientation of the object like this way, take it out, and then
you can pick a point to bend the object
through like this way. And then in angle, you can enter an angle to set the band amount. For example, 180 degrees
or 90, check it out. And this is the result of the object which has
been bent at 90 degrees. Again, we start
the bend command. But this time, I want to
specify a different spine, for example, to the
half of the object. Following that, I
bend the object. And here as you can see, even the spine is
shorter than before, but the objects, I mean, all of them are being bent, while we have specified the start and end of the spine
to the half of the object, but the spine applies
to all of the objects. Here we should set
limit to spine to yes, which determines how closely the structure obeys
this night limitation. And we set it to yes, it only I mean, only the region of
the spine is bend. And let us take out resi. Set it to yes, and the
individual objects will not change and only
their positions will change. As you can see, the
positions are changing, but the forms and
geometries are not. And here again, we
can modify the angle, for example, 100
degrees. Check it out. While if we set rigid to no, the individual objects will be transformed as well
as their positions. As you can see, only the
region of the spine is bend because the spine was shorter than
the whole objects. Control Z under
the process bend. But this time, I want
to start the spine from the midpoint to the
start, check it out. Then we will have this.
I said reach it to no, or yes, he it out
the differences. Then if you want the
bend the spine start at the middle of the objects to bend symmetrically
around the center, we can set symmetric to yes, which determines how
the band is formed. So if we set symmetric to yes, then the bend spine starts in the middle of the object to bend symmetrically
around the center. But if we set it to no, only one end of the objects bends. Again, you can set copy to yes if you wanted to
create some copies. Following that, again, I
draw the skewers this way. Following that, by using bend, I specify the start
and end of the spine, and then I bend the objects, which it has been said to no. And as you can see the
objects are changing, look. This time, a different
spine, hack it out. And here as you can see
the curves control points has increased after being deformed because
at the first time, we got only five control points. But if you wanted the control
points to be preserved, you can set preserve
structure to guess, which specifies whether the control points
structure of the curve or surface will be maintained
after the deformation. As you can see the
control points, structure of the surface is maintained the
curves, actually. And one of the special
applications of bend command is creating
rounded stairs. For example, I
draw a stair here. The threads of the
stair like this way. Following that,
the other parts of the stairs like this way. Look, I adjust the positions, and then bully and the
friends, check it out. D then for the numbers
of the array linear, 12, and then I array
them, check it out. Great. Let me scale the
white like this way. Following that, I'm going
to use bend to create the rounded or circular stairs. I select them, bend and
the start of the spine, following the end of the
spine, like this way. Following that, I bend the
set of stairs like this way. You can see the results is
somewhat like helix or spine. And here, even you can
specify the angle B, then specifying the spines
following that angle, the bend angle, 270 degrees, check it out, and then Enter. Let us try again. We specify the stern spine, then the angle, check it out. And then we press down
Inter or we click. So just wait for a second. Following that, it bends the selected or specified ester at the specified
angle, as you can see. However, we should decrease the angle rotation
or the bend angle. Let us try again and
try a different angle, angle, and then 90 degrees, check it out. This
is the result. Here we got around the stair
at 90 degrees like this way, which has been created
by bend, well done. So you can use the bend command to deform
objects by bending, alging a spine arc and the next one is taper that
we're going to talk about. The taper command
deforms objects. To ward or away from
a specified axis. So right now, we
pick the start of the axis line to taper
the objects around, and then the end
of the axis line. Following that, we pick
the start distance, and then the end distance. Following that, it deforms
the specified object, toward the specified axis
by a way as you can see, through the command,
we have specified the start of an access line
to taper the objects around, and also the end of the access line and
start and end distances. And you can click
on flat to create a non directional or
non dimensional taper.
154. Cage Edit Command: Very well. In the
continuation of talking about the commands in
deformation tools tool bar, it's time to talk
about the cage edit. The cage edit command
deforms objects smoothly using two and three
dimensional cage objects, and cage editing allows smooth deformation of surfaces
with dense ctrl points, so we can have both
overall deformation and partial deformation
of an object. As an example, I
draw on a sphere, and then I start cage edit. Following that, we should select the captive objects or
the objects to edit. Press down in third and we select or create
a control object, which defines the
region to edit. Here we got some options for the cage control objects
like bounding box, line, rectangle box, and others. Then I select bounding box, which uses the
object bounding box to determine the box location. And here in coordinate system, I set it to old, which bases the object
creation on old coordinates. And then engage parameter, we can control the
point count at different kinds
of directions and also degrees along
different axes, voy and z point counts and
degrees in each direction. For example, four and
34 degrees Inter. And then at the next part,
I press Inter again, and we're almost done
up to this point. From now on, we can
select the control points like this way and whatever we done or we do with
the control points, it will be applied
to the objective. For example, I hold down shift, and then gumbo scale, I minimize them, check it out. As you can see the
object is changing too, or if I extend them by
combo, check it out, or even for the lateral points and even rotating the
object, check it out. There is no limitation
like this way. Let me show you a photo
here in cage edit. For example, we can create
this by using cage edit. But here as you can
see, the object is composed by two part, the frames ormllons
and the surface. So suppose that we
got such a sphere, and then we're going to cut some parts here
at the front view, and then by using
interpolate curve. And then I want to split
the object, check it out. Well done, we have separated the object into
two parts by this way. And for creating
such a geometry, as we got to at
previous session, we can use extract wireframe to extract the isocurves
of the object. So we want to use
extract wireframe. We select the surface
and then enter, then we extract the curves. And if I wanted to refit
and rebuild the isocurve, we could have
rebuilt the surface, and then in rebuilt surface, we can adjust the
point count and degrees by the specified values, for example, two and four. Following that,
extract wire frame, and then we pipe the
extracted Ia curves, take it out at the specified
radius by this way. Then another part
of the surface, we select it and then
offset surface toward outside not 0.2 for the
distance of the offset. And finally, we will have
such a motto as you can see, I delete all of the objects, and then I'm going to
exemplify another case by using edit cage or cage edit, actually, by using rectangle
from derision point. And then I draw this scooer following
that by using blind. I draw a slanted
line by this way, and then I selected mirror. I selected at the other part. These two lines are
crossing each other and then ArapolR from the zero. And then I array these two curves polarly at
the specified zero offset, which is zero, check it out. Continuation, we are going to model this part or this
image, as you can see. I mean, we're going to array these curves by using array
linear like this way. And then we're going to use the cage edit to
model such a form, which is something
like Eiffel tower. So I get back to rhino, and then I select
the created curves, array linear, and then I specify the number
of the items 14. Then at this part, I should
specify the reference points. I specify the intersection. Following that, I select all of the objects or curves
and then cage edit. And then I'm going to use bounding box, volt,
inter, inter. I want to use the
default settings. Then for modeling this tower, we need to select the
base control points, and then by using scale, we can maximize
them, check it out. We pick them, and then we
scale them like this way. However, let's try again some of the points
we're not selected, cage edit, selecting the
points, bounding box, and then check it out, selecting points
and scaling them, and we're going to
extend the top part. And also, we're going to
scale the middle part. Look. Or something like a pole. I adjust them, build on. Then I can create some
copies by this way. And then by using
Interpolate curve, we can draw some cables like
this way, check it out. Just like poles. We can connect these objects by some cables like this way. And then we adjust
them, check it out. And then this is
the final result. And then let us see out
in Render view port. Since here I want to
pipe these curves, pipe, and then specifying
the radius, like this way. In the continuation, let us talk about the other
options in cage edit. Here when we start cage edit, and then we select the object, for example, some
rectangles like this way, and then I want to array
them linearly by this way, and then we select them in the cage edit here for
the control object. The first one is
bounding s which creates a rectilinear box object. Encloses the selected objects. And the next one is line. In this draw, you
can draw a line to be used as the
control object so that it enables you to deform the specified or
selected objects. So here from the command
line options, I choose line. Then in the continuation, we're going to draw
the line by this way, following that in
line cage points, can specify the degree of the line and also the number
of the control points. And then by moving
these control points, we can deform the objects
by as big as you can see. So this is all about
line that you use it as the control object to deform
your object smoothly. And the next one is rectangle. That you draw a
rectangle to be used as a control object and
also drawing a box, you can practice all
of these options, I mean, as your control objects. For instance, in box, you can draw a box
yourself instead of using the bounding box about the
option of deformation, which has been set to accurate. Here, the accurate option makes the deformation slower
to update and may result in denser surfaces when deformed objects are refit. For example, at the
current example case, we've used pipe with
different radius, and then create a copy and
then cage, bounding box. Then I want to deform the
object by using bounding box. Then as we make the changes
upon the specified object, then you will see
that the points counts or the control
points counts will be increased after the addition if you didn't want it to increase
the value of point count, you can change the
deformation option and then set it to fast
because the fast option creates surfaces that have fewer control points and are
therefore less accurate. So bounding box, enter, and then we should select the control points
and edit the object. For example, just as before, we move them upward, as you can see, we got
the same point counts, and they are not changed
and they are fixed. But the result is less accurate comparing to
the previous example. While accurate, the result is denser and deformed
objects are refit. So all in all by cage died, you can deform your specified
objects smoothly using two or three dimensional
cage objects by using bounding box,
line, rectangular box.
155. Flow Command: And the next command in the deformation tools toolbar
that we're going to talk about and also we got some related practices
is flow along curve. But as you remember,
we talked about flow along surface in
the Season seven, and we exemplify different
types of Kset at Mr objects from a source
surface to the target surface. But this time, we're
going to talk about flow or flow line
curve that realigns an object or group
of objects from a base curve to a target curve. And we can use it to map a flat, straight shape to a curve shape. In order to explain it more. I want to draw a rectangle
here like this way, and then I array it
linearly by this way. As you can see, following that, I want to draw a curve to
consider it as the base curve. And I select the base curve
and then I change the layer. Following that, I want to draw another curve like this way. Check it out as
the target curve, I select the object
since I want to realign them from the base
curve to target curve. So I start float and I should select the objects to
flow along the curve. So these are the objects. Following that, the base curve. And here I said copy to yes, which means that we
need the input objects, but we will make some
copy in the target curve. Select the near matching
ends at the base, and then the target
here as you can see, the objects are realigned and deserve on the target curve. And as the base curve is
shorter than the target curve, we got some extra parts, but if I want to modify the direction of the
aligning object, here we can choose the
other matching end or if I wanted to
realign them at the top, we can specify the right
end matching curves. So the place that
you click on at the base curve and also on the
target curve is important. Again, we start flow, we select the objects
and also the base. But this time, I want to cover the target curve while aligning the objects
on the target curve. So we set a stretch to yes to stretch the objects
in the curve. I mean, in the target curve, and here as you can see the
dimensions of the objects has changed in order to stretch the object along
the target curve. I set a stretch to no. The next option
we're going to talk about is rigid, which
has been set to know. And as we talked about
rigid in other command, it specifies that the
individual objects will not be deformed as
they are transformed. I mean, here if I
set rigid to know, the individual objects are transformed as well
as their positions. As you can see, the number
of the control points has changed and skewer
has changed as well, and the four edges are not
equal to each other anymore. Follow and then set
ridge it to yes. And then you will see the individual
objects won't change, only their positions
are changed. Check it out. They
are not changed. They are not deformed, but their positions are changed, and it is clear, as you can see, here you may ask
if we set rigid to yes and we set a
stretch to yes as well, then what would be the result? Actually, at this case, the individual objects
will be arrayed on the target curve and the space between the
objects is changing. I mean, the objects
are not deformed, but the positions are changed. Despacing is changed,
so that they are being stretched to cover the
target curve like this way. So by this way, we can
use the flow command to map a flat straight
shape to a curved shape, since it can be easier to draw
things when they are lined up than to draw a complex
shape around the curve. For example, here I want to draw a stair like this,
check this out. We got the profile of the stair, and then I extend it this way. Following that, array
linear twelve's number, and then I array these
stairs like this way. Following that, I want to
throw a straight curve, and then I move it
downwards, fell done, and then I close the
curve like this way. Wait for a second, please. Following that, I joined them. So we are done with the curve, the cross section
curve of the stair. Following that I have
an open front view. I start remap C plane to remap the stair at
the front view. You open the front view, and then I click on the front C plane or
construction plane. As you can see, we got
the curves mapped here. Then I select them,
extrude curve. Then I extrude them at the specified distance
or through points, then we can select them
and move them, well done. And then here where
you want to draw a circle by this way. Here I want to calculate the perimeter or the
length of the circle, which is 81 meters 0.68. I I measure the
length of the stair, I draw a curve and then
I measure the length, which is 24 meters. So these are not
equal following that I want to realign the
stair and the circle. So here I start flow and
I select the object. Following that, I want to
select the base curve, but not that we
should set rigid to no and also stretch to yes. And then we select the
target, check it out. But here, if I check it out, if I have modified the position of the curve and then
again flow, check it out. Watch this. Well done. We got them at the interior
part of the circle. As you can see that the asters are realigned
on the circle. So the position that you specify for the base
curve is important. And if I just the base curve
at the center of their, then we will have
theirs at the center, the center of their.
Check it out. Let us check them out at
the top view or plan view. Circle. So as I told you, you can map a flat
straight shape to a curve shape
like this example, which is one of the most
important applications of flow. Here I draw a curve like this. Check it out
following that flow. Then I select the
esters base curve and the target
curve. Check it out. So this shows the
practicality of the flow at this context for mapping a flat straight shape
to a curve shape, since it can be easier to
draw things when they are lined up than to draw a complex
shape around the curve. For the, the flow command
is at hand since it can realigns the objects or a group of objects from the base curve to the target curve. In general, if you had a curved shape and you
wanted to model it, at first, you can model the straight and flat
version or addition. Following that, you can flow it or realigns it and
the curved one. It can be very useful for us. In the continuation,
we're going to add several projects
by using flow. And in the continuation, I want to talk about
some other topics. Suppose that here we got a ramp at the length
of 10 meters, and then I want to adjust the slope of the
ramp, which is 12%. I mean, at each 10 meters, then the height of the slope
would be 1.2 perimeters. So here as we got a flat curve, then we can move it at this specified height
and make it sloped, following that we
extrude it by cobol. By this way, check it out. And here, even we can consider a cross section
curve or profile, and then by using Sip rail, we can create your drought ramp. Or even, for instance, by polygon, we may have
a different curve. For example, I draw a
curve like this way at the length of 74.86 randomly, which is the length of the ramp. I want to measure the length, as you can see,
74.86 perimeters. Then here if we want to just slope the value of
slope of the ramp. At first, we draw a
curve at 100 meter, and then for the
slope percentage, you can specify 9%
or 15% or even ten. We move the point at ten, 10%. Following that, we
draw a curve like this way from the end
and then finally, we can trim the
curve, shake it out. This is the ramp
and 10% 10% slope. So at this part,
we got no problem. And I can admit that we could
have created such a curve, even at the first season, too, and then extrude. Here I got a question for you
that if we had such a ramp, then what should we do? For instance, suppose that
here we got the ramp, and this is the plan
view of the ramp. Previously, I told you, I mean, if we have the things lined up, then we can have them in a complex shape
around the curve. So first of all, we
should line up the ramp at first and then realign
it on the curved line. I measure the length, which is 87.57 the rate, we draw the curve, and then at the
similar size, 87.57. Following that, we can draw
another curve at the length of 100 meters by this way. And then for considering the
slope like 12% by this way, then we can draw a curve from the end
to the intersection, and then we trim the sloped
curve and then we select the slope curve flow and then realign it on the curved
line. Check it out. Here as you can see, we
got the sloped curve. And even if I wanted to start the curve
from the other end, here we can specify the
other matching ends, and then by using
ribbon, take it out, decide to offset 5 meters, and then we can create
the ribbon by this way. Or even by using
other commands that we have covered at the
previous sessions like Sweep, that we can draw a profile
and then create the RAM.
156. Advanced Editing: SoftMove, SoftEdit Surface & Curve: And the next command
that we're going to learn at this
part is soft move. This soft move command moves
objects relative to a base, reference location of the
move with a fall of curve, which is similar to soft
selection into DimX. Here, suppose that we got a surface like this,
a planar surface, and then I'm going to use rebuild and then I want
to control the point counts 34 and 34 for you and we following
that 40 degrees, I do not change
them, I set tree. Then if I show the
control points and then move them upwards
like this way, as you can see, they
are not moved smoothly. I mean, the other
control points are constraining the other parts of the surface or in other words, they are controlling
the stretchness. If I select this and
move them, take it out. By using soft move, I started, then we can select the control points of any
specific object like this way. And then here we
can define a range. And then it allows smooth
editing of dense points. After picking the
point to move from, here we should pick the
radius of influence. And also picking the
offset, check it out. And even we can pick
the point to move from or click an object type
option, as you can see, and even we can scale the size, check it out or modifying
the radius by this way, and also check it out
the fall off point. Here, by the fall off, you can edit the dance
point smoothly on all of the objects with
the fall off curve. I mean, here we are
designing something like a bell that you can point I can pick the
point and then move it. For example, I place it
at the corner, fell down. I start the command again. I select the control points
and then at this part, I specify the ofsend point, the radius, and also the fall
off. Here, check it out. We can pick the radius point. And then by using this part, you can adjust the
fall off point, take it out, and then by using the next point
or the center point, you can pick it
and then move it. Take it out just
like an object that you're moving it
under the carpet, under the sheet, check it out. Well, done in the continuation, let us work on some practices. But before that, we're gonna deal with the
options as well. Very well, here again
I start the command. But this time, I want to draw this curve, for
example, as you can see, and then relative to
this curve, I mean, I want to modify the control points
relative to this curve. And we got this
similar version of this at this picture at
this model geometry. Here as you can see,
the surface has been moved relative to the curve
with a fall off curve. So back to Rhino, to do this, here we can start soft move, and then we select
the control points. Following that, we should
specify point to move, which is curves, and we select the curve as the point to move. And then here we should
specify the radius point, just like an offset
at both sides. In other words, this is the radius of influence
of the curve. I specify, tack it out, and then the offset,
take it out. And then we can pick the anchor point and
move it like this way, as you can see, we can create such a model
geometry by this way. So it allows you to
move the anchor point, and then by right click, you can save the
changes, check it out. But for the example, let us model such a surface or facade. Here in Rhino, I want
to scale this curve, check it out like this way. Then I start off move, select, and then
I click on curve. Since I select curves as
basis for the fol off curve, then I should select
curves to move from. The follow up is applied
radially along along the curve creating a
tube shaped volume where the move is active. And then the radius of
influence, for instance, by this way, I pick
the radius and then the offset
point, take it out. Okay, this is enough. And this is what we expected. And then by using
rotate at 90 degrees, I locate the surface
vertically by this way. Then at the next step, we should create some
curves on the surface and then converting them
to planes or surfaces. Here at the first side, you may want to use
extract y curves, and then along this direction, for example, I mean, am sorry, and then extract all to extract these
curves, check it out. As you can see, we
got the curves, and then we can use
Gumbal to extrude them. Following that, I extrude them
along Yax, like this way. Then after extruding them, if you want such a form,
let's take out the back. If you want such a model, this is this way is okay. But also, if you want the
back part to be straight, here we can use the plane, the vertical plane,
check it out. And then we consider
the plane our surface here at the back of
the facade or the cas. And then by using
extrude surface, we select these surfaces, and then we click
on to boundary. But before that,
we should specify the direction like this way. And following that to
boundary, buy this way. So we extend the surfaces
through each other. And another approach
that we can go through and use it is creating
a copy from the surface, and then we scale it
zero along voy axis, following that by using loft. And then we select
the surface edges, and then we close the
openings, check it out. And after filling the openings, we can use contour. Here, we select the surfaces or the objects and then contour, then specifying
the direction and also the distance 1
meter, check it out. Following that, we select
the created curves, and then we want
to extrude them. By this way, we can
convert them into these surfaces by
extrude. Check it out. And here I turn off
the surface edges. So, guys, we managed to
create such a form simply. And the next point that I
should mention it about soft move command is that we have to locate or position
the point we want. I mean, we are not
able to apply or move the surface by using soft move only by the four
or five control point. Check it out. The results are
not satisfying because of the few number of control
points while we could have choose the control point by holding down shift and control. So you should note
that we should increase the number of control
points by using rebuild. And the next point is
that soft move is not necessarily for controlling or editing the control points. I mean, I will give you some other explanations
about the control points. But we can use soft move for other poly surfaces as
well or other objects. And then by using array
for the in four d in one, we array the box like this way. Following that, we got
100 and we got 1,600 closed extrusion and then soft
move then we select them. Following that, the
point and the radius, and then I pick
the anchor point, I move it. Watch this. By this way, you can even move the extrusions with
a fall off curve. Look, this is great. By this way. I can modify the radius of
influence, fall off point. And then this will
be the result. As you can see, you can move
these boxes by this way. So, guys, just let
us try again to start soft move and then selecting the objects
to soft move, press inter and the point to move the radius of influence, and then the fall off
point, check it out. Watch this. This is
the final result. You can use these in
landscape or even in facades or other positions
based on your needs. And at the next case, I want to draw some
planar surfaces and then array them in
the construction plane. Here, I select it, and then I array at the same
numbers at each directions. Then we select the,
the soft move. Following that, the
point to move radius, offset point and fall off point. Watch this. You can move them smoothly and
edit the dense points, all it works on all
of the objects. Here you can use this
curve, soft move. Watch this. And then
I want to use curves, and then the radius
of influence. Watch this. And then the
fall off point and offset, and then we will have such
a result. Check it out. But right now, if I
want to make them close to the construction
plane, what should I do? So here we can draw a rectangular plane exactly
beneath the surfaces. By using project, check it out. I draw the surface
under the surfaces, and then I select them, then extrude surface following that to the boundary,
check it out. I want to extrude
them to the boundary, check this out, buy this way. Again, I select them, and then extrude surface, and then to the boundary, check it out. By this way. So by this way, we can
have such a model, check it out a wavy surface at the render viewport,
check it out. By this way. And
the next point that I want to mention
about this command, I delete the objects. Then I'm going to start
drawing some new objects. I'm going to talk about
the option of point. So here I draw a planar surface, and then I rebuild it to
increase the number of decontrol points for D
and four D, a it out. Like this way, following that, I position some points
at the corners. I place four points at the four corners and
even at the center. I use the snap of center. Here, as you can see, I have located five points
on the surface, and then I can move them downwards like this
way, following that. I turn on decontrol points
and then soft move. I mean, selecting points. I select all of the
points. I sell PT. After that, at the right view, I hold down Control button, and then I deselect
the added points, the five added points
like this way. Then it's time to
start soft move. But this time, instead of
clicking or clicking on curves, here I can click on point
so that I can select point objects as
the basis for move. Then at the front view, I select these five
points this way, and then the radius of the
influence by this way. And then we can move them upward at this specified offset
point, watch this. And then we can increase
the radius of influence, check it out, and also
this part, watch this. Great. Let's check out
the result so that we can create such a surface
by move, soft move. However, we can have a
practice upon this surface. I extrude the surface at the
length of 4 meters word up. Let me try 1 meter. Well done. This is proper. Then by using contour, check it out, like the object
and from the origin point, I specify the direction and then the distance between
the control planes, 80 centimeters, check it out. Then I isolate the
selected curves. And then by using extrude curve, I extrude the selected curves, at the distance of
20 centimeters. Then I select last
created objects, Control G to group
them and isolate. I mean, after grouping
these surfaces, I isolate them to hide the
other curves like this way. So I hold down Alt button. I click on Gumble then and
then I imported 90 degrees. Following that, I select
the last created objects. I select the rotated objects, and they are newly
created. Select last. I hold down Control, and then I want to select the two last objects in contour, but they are grouped, actually. So we should remove the two
of the axioms from the group. I'm going to use
remove from group, and then I select
the first group. Following that, I select these two to remove them from
the group, shake it out. And then again, I
start the command to select these two surfaces
from the another group. Then I select all of them. Then I hold down Control, and then I remove
the ungrouped items. So here we got two groups, and then here we can change the object layers to
observe them better. I select this layer, and then I move it upwards. For example, at the length
of half a meter by this way. Following that, I'm going to use Bolli and Du friends to subtract from the red items
or red objects, and also to subtract the red
items from the white items. So I start Bolli and Du friends to subtract them and then
subtract from, check it out. I specify the white
objects and then subtract with the red items will then enter, check it out. Following that, I want
to split that part. Then let's check out
the result, guys. Have removed the surfaces, but the grooves are
remained like this way. I select all of the surfaces, Control C to clip I mean
to copy the clip board, and then Control Z
to undo the process. But this time, again, I want
to use Boy and difference. But this time, I want to
subtract the red objects. I mean, I want to subtract the white objects
from the red items. Let's check it out. Wait
for a second, please. Check this out and then Control V to paste
the previous result, which we had copied. And then here we select it, and then we want to move it to downwards at minus half a meter, like this way. Check it out. They are well
organized and neat, and the two surfaces
are matching with each other here at
the rendered viewport. By using soft move, pull and defense and
contour and other commands, and this can be a waffle
structure that you can use the same technique and method to create the waffle structures, and then by using
the commands that we will cover them at
the future sessions, you can project the curves
on the construction plane. For example, you can use laser cut to create
the curves on a specific material and then locate them on proper positions and then create such a form. But here I'm going to show you another photo.
Let's check it out. Screenshot. For instance, we can model such a project by using soft move
command by this way. Let us continue the process. The next command
that I want to teach you is soft edited surface. Actually, this soft
edited surface command moves the surface
area surrounding the selected point smoothly relative to the distance
from selected point. But before that, you have
to rebuild your surface. 40 and 40. Okay. And then I start
soft edited surface. Check it out. Following that, we should select the
surface. Check it out. It requires a surface, and then we click
the base point. For instance, here, I
specify a base point, and then we pick a
point to move to. Following that, we can specify the distance in the direction
influenced by the move. For example, for U distance, I specify for D. As you can see, it moves the surface at both U and V distance
or distances. If I set it to 25 and 25 for both U and V eight
and 18, take it out. So the type distances will be influenced in the
U and V directions when we move the point. And here we got option, which is fixed edges, which has been set to no. Let me adjust the distances. Here fixed edges keeps edge locations fixed here
as you can see by this way. As you can see, it keeps the edges fixed and the
construction plane, and they are stretched. Again, we start the command. We specify an or point to
move upward, hack it out. Following that, by using contour and specifying
the direction. And then we create the
contour curves like this way, the distance of half a meter. I extrude the created contour
curves like this way. So we created such a form
from the previous surface. Well, now, let us talk
about the next command, which is similar to soft
edited surface, but I mean, it is applied to curves, not surfaces is
soft edited curves. The soft edited
curve command moves the curve area surrounding
a selected point smoothly. Relative to the distance
from selected points. For example, here we got a rebuild curve in which we
got too many control points, and then we want to modify the continuity of the
curve and we cannot select some of the
or several points and then move them smoothly. So in order to move this
curve, this curve area, surrounding the selected
point smoothly, and relative to the distance
from selected point, we can use soft edit curve. Let's check it out.
We specify the curve, and then the base point that we should click on the
curve, check it out. Here we can specify
the offset point, and here the distance in metal
units along the curve from the editing point over which the strength of the
editing falls of smoothly. Here we can enter
a value like five, and then let's he it
up at the top view. Or 15 as distance or 25, watch this. By this way. And here, even you can
click on the curve to set the distance instead
of entering the value. So by this way, you can
control the distance. And here as you can see, I
have a specified 35 since it has been increased at
35 units on the curve. Here we can set fix and two yes. So then the end of the curve
will not be allowed to move. And also, we can
set copy two yes in the options of command line and holding the uncontrolled
button model such a curve.
157. Modeling Ring by Using Splop: Hi, guys. I hope
you are doing well. I'm going to begin this
session with talking about the next command which is spill up in the formation
tools tool bar. So as usual, I'm
going to give you an explanation and then we will talk about some examples and then talk about
the applications. So firstly, I pick
the circle and then from the reaching point at the front view, check it out. Following that, by using
ellipse around curve, I create or draw the ellipse around the
circle like this way. I just the size of the ellipse. Great. Following that,
by using sweep one rail, I'm going to create the ring, cross section and the
path. Check it out. So we model such
a ring like this. Then I want to put
some patterns on the surface on the
surface of the ring. Some specific patterns like leaves or flowers
and stuff like that. So here at the front view, then I start drawing
a curve like this. Following that, I select it, and then I rotate it at
90 degrees, check it out. Following that, I
move it this way. Then by using revolve, here I specify the angle 180 degrees or even -180
degrees by this way. And then I want to
use cap to fill the openings of the object. Look, or even I can
start revolve again. I specify the axis, and then I revolve
it fully circular. And then by using array polar, check it out from the
center or from this point, I want to use more track. And then I array the object
polarly check it out. By the sway like a flower. And then I enable
the record history, and then I move one of
the objects to apply the changes and the
other items. Watch this. Then I select them Area Centroid to calculate the
center of these objects, as you can see, so I can use
sphere and then start to create the sphere from the center point or
centroid, take it out. Then I select all of them Boolean union to unify
these five polysurface. L, and then spill up. The spill up command copies, rotates scales and wraps objects on a surface
like pottery. Sprigging or a pliqeF example, I select the surface to slop on, and then I pick the spill up
drop point like this way. And here as you
can see it copies, meanwhile rotates and
scales the object, and also wraps them
that you can put the surface and the ring by this way at different
sizes, check it out. Here I'm going to use Bull
and Difference, check it out. I select the ring,
and then I specify these two objects to
subtract them, check it out. And as you can see, the flowers void the ring. Again I spill up. I select the object by this way, and then I put it on the
ring and other parts. Well done, Bully and
deference to void the ring. Like this way. So we can
use it to wrap the objects on a specific surface like pottery, springing or applique.
158. Volume Creation: So, guys, let us go for the
next command, which is smash. The smash command
flattens surface without restriction to single
directional curvature, it makes an approximate
to the development of surfaces that have
compound curvature. For instance, here we got a box and I have
started smash command. Following that, I select
the box to smash, press down into, then we
select the faces to unroll. And as you can see, this is the exploded version of the box. And let me add some
other boxes and solid objects to the
scene by this way to make the object more
complex to work on some other complicated examples. By this way, I unify
these objects. Following that, tack it out, and Bull and deference. Then I want to use smash to
flatten these polysurfaces, to single directional curvature. By this way, I make
some changes by moving the edges by this way. Then in order to flatten these
surfaces, I start smash. Following that, I said
explode to yes so that the resulting surfaces are not joined after
being flattened. Have a verify set explode to no, then the resulting
surfaces are joined along the same edges that were joined in the
original polysurface. Again, a smash, I
set explode to yes, select, and then enter
and roll, check it out. Then as you can see, we can have the surfaces in a
linear direction. They are flattened. And as you're concerned, if I want to make this
prepared for laser cut, should use the command of D border in order to
extract the borders of these surfaces and arranging these and the
sheets and creating some lists out of these are the topics of
the future sessions. But here you may ask when we smash a surface
or polysurface. I mean, sometimes
we are dealing with a complex and complicated
model geometry that we need some labels to determine whether or not matching number
dots are placed on the edges of the selected object and
the resulting objects. So we can set labels to yes. Following that, we
can have the edges labeled in labeled
with unique numbers. And as the edges are being held in common
between two surfaces, we got two items
of edges, I mean, of each of the edges
because each of the edges are connecting
two surfaces to each other. For instance, here
we got the edge two, which is connecting two
surfaces to each other, and it is not a open
edge or naked edge. So we got the labels
and the input object, and also on the flattened
surfaces. As you can see,
159. Clipping Plane Command: Very well, let us go
for the next command. And today at this session, we're going to talk about the other interesting commands that I want to introduce
clipping plane. The clipping plane command creates a clipping
plane object that represents a plane for visibly clipping wave geometry
in a specific viewport. At first, I use shell to
remove one of the faces, and at first, we're
going to work on this simple box and
then clipping plane. Following that, we
should click and drag a rectangle like this way. And as you can see, the
rectangle is cutting the box along this
axis as you can see, or this that direction. And as we move it upwards and then section the specified
object as you can see, by this way, as you can see, by this plane, well
down other directions. In the continuation, I
want to show you one of the prepared files to understand
clipping plane better. So then I want to continue
the explanations. I open the file, clipping plane, check it out. And right now, I want to
start clipping plane command. Then I draw a rectangle to
represent the clipping plane. And here even I can
use the options of three points vertical
center, and around curve. For instance, I click on
vertical and then draw a vertical rectangle
as the plane, clipping plane like this way. Following that, as you
can see, as you can see, the clipping plane is
represented by this way. Then I click on
this part Gumble, as you can see, and then I
click on line to object. So then I can move the
clipping plane like this way. So as you can see, we can observe the different
parts of the metal, like a section view. But this time, I draw
the clipping plane or the rectangle and the construction
plane like this way. Then I can observe the
metal floor level by level. So then we can consider the changes and deconstruction
at each of the levels. Check it out. You can use it. But for now, I want you to put time and practice
in clipping planes. Since in the continuation, I'm going to teach
you another command that following then, we can combine
these two commands and have wonderful results. So for now, I select it and I press down Control H
to hide the model. So then I can instruct
the next command. Here at the next part, here by using the
succeeding command, we can project geometry to the construction plane to
make it to the drawing, and you can create curves from the selected nerves objects as silhouettes related to the
default construction planes, and the silhouette
curves are projected flat and then placed
on devolved XY plane. I make these objects prepared
to give you an example. I unify the, and then I subtract these by
bully and defense. Following that, it's time to
introduce the next command, which is m2d, that you can
find it here in the toolbar, make two D drawing, I start the command, and then I select the objects, following that press
down into at first, in viz, you should specify
the view that you want to project the geometry to the construction plane for
making it to the drawing. For example, in the list to go perspective top
front and right, so you can choose which one you want ore you won't
like right view. But before that, if you
wanted to use the views, you should check
viewing projection, and then Okay then let's it
out what would happen next. So here is the two D drawing of the objects that we got
it at the right view. Check it out. Check it out. I mean, here is the two D
drawing of the right view. I delete them, and then we're going to give you
another example, make two D, and then at
the perspective view. Then in the projection, we can choose one of these. We plan third angle projection and first angle projection. For example, the first angle
projection or third ok, then wait for a second, please. And finally, we will have the two D drawings from the third angle
projection, check it out. Right now, as you can see, the time to make TD
was 8.11 seconds. Sometimes it may take more time. So sometimes you should
take your time and wait for the command to
create the TD drawings. And here as you can see, we got the third view projection. And if you wanted to
draw the hidden lines or hidden curves or the back
curves of the model, here here we can
check hidden lines into the drawing
options like this way, hidden lines, and
then we try again. Then we will have
the hidden lines in the project to the drawings at the construction
plane, as you can see. At this example, we got
some new curves and after creating the two D drawings
out of the specified objects, you can even modify the
displayment of the curves. For example, to modify
the displayment of the curves here in Rhino options that I
will talk about it. Here in line types,
let me show you. You can specify your
desired pattern for displayment the
curves. Take it out, okay. And here in make two
D and hidden lines, the line types are pre specified that the type of
hidden line is being used. By this way. Then in
the continuation, I want to draw a profile or a cross section for an
architectural construction. So we're going to learn the treaty section and
the ordinary sections. Control A edge to show
the hidden objects. And then by using clipping
plane, then vertically, I want to draw the rectangle for specifying the clipping
plane like this. Following I can select
the clipping plane, control edge to hide it, and then show the section
video of the model. But note that as the
clipping plane is hidden, but if we draw or create some other objects
at the back of the clipping plane won't
be displayed as you can see until I select the clipping plane
and then I remove it, then we can have the
created objects. By this way. For
instance, here, at first, I want to adjust
the view and then create the T D section
from this, this model. At first, I adjust the viewport or the
angle of the viewport and then make two D. Then I select the object and
into the drawing option. In view, I set the
view to perspective, and then I check
view in projection. Following that, I click on, Okay, let's see it out. We should wait for a second. And as you're concerned we are working on a complex model, so it takes some
time. Take it out. The process is getting done. We should wait until 100%. Let's check it out.
So, guys, it's done. Here, even we got the
two created box that we can select them and remove
them from the Toti drawings. Look, here is the Tot drawing of the selected objects
in perspective view, because we have checked the
hidden lines to display them, it took a long time to create the Toti drawings
here as you can see, but here we got an option named clipping
plane intersection, and this is available
when we have sectioned or cut the model
by using clipping plane. And then if you
check this option, it selects a layer or the visible clipping plane
intersection and then assign the intersections
to that layer. So then we can use, for example, hatch to create a pattern of lines to fill selected
bounding curves. I click on O and then I want to observe the
processes and the results. Here at the top view, and then I move
it, check it out. This time I have unchecked
the hidden lines and we don't have
them to the drawing. You can find the clipping plane intersections
at the layers. Let me show you here in m2d and in clipping
plane intersections, here you can show
the layer and you can observe the clipping
plane intersection curves, and it can assign a layer for the clipping plane
intersection curves and put the curves all
in that layer. I start hatch and then I select them to create
patterns of lines to fill selected bounding curves and display them
in solid curves. Check it out by this way. We delete these, and then
here I'm going to talk about creating a two D drawing or
a two D section drawing. Here I press down Control O edge to show
the hidden objects. So then we can show the
clipping plane as you can see. Then I want to just the viewport or the angle of the viewport. And as you can see, we got this view in the
perspective view. But I want to enable or
show the isometric preview. Here I click on the viewport to open the list of viewports
and then set view. And then I choose one of the isometric views.
Like this way. Following that at this part, I draw a curve, check it out from the corner of the clipping plane
straightly, like this way. Then I extrude it, extra crumbol create a
surface like this way. Following that I want to set
the camera or the viewport, perpendicular to this surface. I start orient
camera to surface. I start the command, then
I select the surface. Following that, I specify
the direction of the arrow. I pick the point on
the surface to point the viewport camera
toward myself. By this way, I hide
the clipping plane, then I select these objects, and then by using make
two D, check it out. View, I specify parallel. View and then I check clipping plane intersections and okay. Then let's check
out the results. You should wait
for a second until the process of creating
two D curves finish. So then we can check
out the results. By this way at the top view, and then I want to
consider the results. Here as you are concerned for the clipping plane
intersections layer, I can select the objects
and then starting hatch, then I click inside the
regions to keep. By this way. Well done. I keep
on clicking inside the regions. By this way. And also these parts. Wait for a second,
please. Well done. And here like this press
down inter and then Okay. So right now, we have created
pattern lines to fill the selected
bounding curves from the clipping plane
intersections of the model, and also creating
some two D drawings from the tweet model. I select these and
then I delete them. Then in the continuation, we're going to talk
about the next command.
160. Creating Layout: And the next command that you're going to
learn or somehow we're going to have a
brief review upon them are the commands
in Align tool bar. And as you're all probably
familiar with align tools, you can align the
specified objects with each other, for example, a line top or a line bottom
or down, a line left. Then we align them at the left
side and also line right. Check it out from
the region point and also horizontal and
vertical and align centers. Let us check it out. Align centers by this way. And distribute
objects. I distribute, here we specify the
objects, at least three. It spreads object out evenly
between the end objects. And following that, here
we got some options in the command line directions
and mode and spacing, for example, align ax, and then it spreads them out. And one of the no famous
applications of distribute. For instance, here
we got a curve. Following that, we're going
to use array linear to array an object and
this curve linearly. For example, here I specify
the number of the items 17 and then the
reference points, and I adjust them, check it out. But here, you may want to use
array array curve command. We may have different results. I create a copy from the curve to exemplify in other case
by using array curve. I mean, the items will
be arranged differently. I specify a path curve, then the number of the
items 17, check it out. The last one is not placed on the curve while at
the previous example, I can select the last item, and then I move
it, check it out. Then I select the other items, then I click and distribute, and then I distribute
them along x axis to adjust the
spacing between them. So this puts one of
the applications of this command that
it could be useful. And then the next,
which is orient. In the command of Orient, here as you can see if
we got two objects, but actually I should remove or delete the clipping plane. I show the clipping plane, and then I delete it. And now the objects are
displayed, fell down. Then here I start orient the orient
command moves or copies, rotates and scales objects using two reference and
two target points. Here at first, we should select the objects and then picking two reference points in order to move the object at
its now position. I specify the first and the
second reference point. Following that, it's time to specify the target
points first and second, at its now position
like this way. Again, I start the command, I select the object. Here we got the
option of a scale, one D and three D scale. If I set it to one D then
it scale the object, only along the axis
between the target points. And here, as you can see, can scale it only along the axis between
the target points. So it is just available
at this axis. But if I set it to
a scale three D, then the second target point
defines the direction of the transformation and the
scale factor for the objects. At first, the reference points, and then the target
point, check it out. Second target point is the
scale factor for the object. So, guys, we learned how
to work with orient. And the next that we want I want to explain it is
orient, three points. In fact, the orient
points, I mean, this command moves or copies
and rotates objects using three reference and three
target points perspective view. And then I set the gumbo
aligned to Cplane. And then I move these
edges. By this way. Following that, I want to orient the smaller object and the bigger one at
this low surface. Let us try orient. Here, as you can see, we get orient orient points
orient camera to surface that we've talked
about it in previous session, and also orient care. And just previously, we
talked about orient. For example, here I specify
the object to orient. And then the first and the
second reference points. Following that, we should
specify the target points and let me set a Scalet no
since we don't need it. But as you can see, the
object is not connected to the face because the
reference was not defined. So this time we should
use orient three points. Then here we should specify
three reference points, the first edge, second one, and then the third one,
white length and height. And then we'll specify
the three target points, and then the third target
points, check it out. Here as you can see the
object is well oriented on the face better
than the previous one. So here in this set of commands, we learned two new
commands which were orient and orient points. We delete these objects. And then I'm going to talk about two other commands that
you'd better to know them. Here, suppose that
we got a curve, following that I
want to continue the curve or extend the curve. Here we've got the
command of continue curve and also continue
interpolate curve. Continuan curve
command continues to draw the selected curve
using control points curve. I mean, the selected curve is considered as a
control point curve. So then we can continue the curve but another
one which was continue Interpolate curve
continues to draw a selected curve using
Interpolate curve. Check it out. Can continue the interpolate
curve by this way. And the point here is that
when we move the curve, the previous points change too. So, guys, we're
done with this two. Then in the continuation, we're going to talk
about the dimensions and measuring distances and
also chop chop settings. I mean printing settings, and in order to
print a plan view, there are some issues and
effort that are required. For example, we should adjust the layoding the line weights and also the color of the
print and also the line type. So in general, we should put these issues
into consideration. After that, we're going to
measure the dimensions. And we can have the dimensions and measures in
different sizes or different types that
we should be able to specify the types
at each parts too. So the first thing that
I'm going to talk about, which got the first
priority to be learned is about layout that here from
the name of the viewports, you can click on plus sign
and then click a New layout. Following that a new
layout dockeb window, you can create a new
sheet or a new page. For example, you
may want to print the data or information or
play plan view in A four page. So it just the size here, and then I specify A four, or you may want to customize the size of the page or
the size of the sheet. Following that, you can specify the white fin height
of the sheet, but I choose a tree as the size, and then you can choose the
portrait and landscape and also the printer and assigning the name for
the page or the sheet. For instance, I
name it sample 01. Check it out. Following
that, initial detail count. Here you should specify the detailed counts or the number of the
details that you want to import to the plan, or in other words, the number of reviews that you want to
adjust them on the sheet. But here, if I
create the layout, you will understand
the detailed count and the other topics. So here you can specify your desired initial
detail count and then modify it later
if it was needed. To. Before creating
a new layout, we have to model, and we have to have
modeled an object or a solid object
or a model before. For instance, here I'm
going to open a project, and then I want to
create the layout, and I'm going to place
the documentaries on the sheer layout. Let me open import the file since I don't want
the layout to be deleted. For instance, here we got
the freedom tower in Tehran. Let us check it out at first. Then in the continuation, I'm going to have this
model into the drawings in the layout and then
place them on the page. And here as you can see,
we got one of the views, which is the top
view on the page. So here in perspective, then make two D. I
select the object, I click on the object, and then into the
drawing options, here note that you should not click or check hidden lines, and then I check third
angle projection and don't forget to group
the output, so I check it. And then I specify the layer name Also the
tower and the okay. Then here we should
wait for the process of creating two D drawings
until it finishes. Then we continue the
explanations. Let's check it out. Well done, we got these two D drawings from
the model, imported model. Then here in sample one, I want to remove the imported
drawing and then I mean, delete the imported drawing and replace it with another one. And here we can add three
details as you can see, which are the initial
detailed counts that we've specified. Here we can select the
control points and then modify the size
of each detail. For instance, for this
what I select them, and then I shrink the size and
also these by using scale, and then I move it to
here, check it out. Then we can add one more
detail at the empty space. So here in drafting, here I click on at Detail View. And then I draw the interview
by using SmartTrack, check it out aligned
with the other details. Well done. Following that, for placing each of these two D drawings at
each of these detail views, we can double click at
each of the detail. And then here by using Set View, we set it to perspective, check it out, and
then Zoom extent. And then I adjust the camera viewport like this
way check it out. And even we can
modify the viewport, for example, rendered
viewport, check it out. Go shaded, ghosted
and other viewports. And whenever you wanted to cancel cancel and then
save the changes, you can double
click, check it out. And then here at the top view, and then I move these
to the drawings, and we can hide this for now. So here we got the treaty
mean perspective view. Then you can choose to show the edges or
displayed or hide them. Then I'm going to
place the solid here. I'm going to place the plan
view here, double click, and then I set it to the
top view by this way, and then I adjust the
top view like this. Then at the other detail view, I set it to the
top like this way. And I adjust the
another different, another view by this way. Then at the last detail view, here I can mention some
features and other details. So here we can delete these. And then we can mention some features and details
about the project. So this was the way
that you can create the layout and then adjust
the detailed views. And the advantage here
is that you can specify the dimensions of each of the members or
each of the item. For example, the size
of the page is a t, and the size of the detailed
views are specified. But here you may ask that we haven't specified
the scale factor. Here, for specifying
the scale factor for each of these detail view, we should at first double click. And then from properties scale, I click on Edit. Then in the command line, we got the distance on
layout, as you can see. Right now, the specified unit for layout is per millimeter, and the specified unit
for drawing is perimeter. So here at first, we
should have specified a distance on layout
per millimeters. For example, I want to relate 10 millimeters in the layout. So 10 millimeters,
distance on layout. However, I will tell you
how to modify the unit. I import ten, and then I
press into following that, the distance in model, for example, 1 meter. I mean, right now, the
scale is one to 100, but it is not proper. But note that when we
zoom in or zoom out, we ruin the scale factor. Again, I click on edit
and this time again, distance and layo five, and then one, check it out, which is one to 200. So by this way, we can use try and error for specifying
the proper scale factor. But this time, for example, I want to specify one to 200, but I should maximize the
detail view like this way, and we can remove
the another one and maximize the other
one, check it out. And then by click and drag
and holding down Shift, we adjust it in the detail view. So right now, the
skill factor is approximately one to 200. However, some of the some parts are not positioned in the frame or they are
out of boundaries. And then here at the
perspective view, if I click on Edit Edit scale, as you can see prospective
details cannot be scaled, it shows that that scaling perspective view
details are not available. Well done. And let us talk
about the other topics. Right now, we just learned how to just scale of the detailed views and
also how to create them, how to add detail view. And then in layout properties, we can get access to the
details and modify them, the size, the custom,
printer, name. For example, you
may want to set it to a two not a
three by this way. And then I maximize
the detail views, boundaries, I extend
them, and then
161. Creating Hatche and Measurement: In the continuation,
we're going to talk about the other commands in
drafting tool bar, which are being
used in measuring the distances and the
dimensions, actually. So to do this, let me show you this plan view that I
have opened it before, and I'm going to use it and
then measure the dimensions. Here in drafting. The first
one here is linear dimension and also horizontal
dimension and vertical. As you can see, linear vertical
and horizontal dimension. Here in horizontal dimension, we can specify the
first dimension point and then the second
dimension point horizontally and then
measure the dimension or distance and then
specifying the position. Here as you can see
if we wanted to modify the value
of the dimension. Here we should open tools, and then write options, and then in document property, I click on annotation styles. Here as you can see, we got the annotation
styles that we can associate them to
the dimensions, and we can modify
them while we want to place the dimensions from
annotation style, check it out, and then in the select
annotation style dtable window, and then we should specify the
desired one like standard. Following that if I measure
the dimension again, then we will have a new
value, as you can see. By this way. So we want to move forward by using standard annotation style, and then it will tell
you how to modify them. But the first thing that we got it in placing
dimensions here, should specify the dimension
points first and second. And to do this, we usually
use the greedy snaps. I mean, if we
disable these snaps, then we won't be able
to select a point, as we talked about
it in Season two. The next point that you should put it into
consideration if you want to measure some dimensions
sequentially like this way, by using near and
then able to move on. Here if I measure the
first one, check it out. Here, I can click on
Continue and set it to yes. Following that I can
continue dimension. Let me show you
this option again. For example, here I want
to draw some polygons. And then I want to create some copies from these
polygons. Check it out. Like this way, and I want to scale them to have them in different sizes
and dimensions. Following that, I want to measure the
dimension horizontally. So I pick the dimension. I specify the first point of dimension point,
check it out. And since continue
has been set to yes, then I can continue
measuring sequentially after specifying the second dimension point like this way. Or we can set it to no and have some no
dimensions like this way. The distance between
these two edges. Following that, I
set continue to yes. Then the dimension
will be started from the second dimension
point like this way. And even you can and
in the continuation, I will talk about the
decimal places and also prefixes and
suffixes in dimensions. And the next item that
we got it in dimensions, is measuring the dimensions
of object of an object. I click on object, then I
click on the, check it out, and then I measure the
dimension horizontally, repeating the command,
object. Watch this. And here as you can see the
dimension is considered zero. I mean, the dimension
of the curve because we're using the
horizontal dimension. So if I want to
measure it vertically, we should click on
vertical dimension. Look by specifying
two points or object, and both are equal. But if you do not want
to get involved in vertical and horizontal
dimensions, I mean, sometimes you want to measure the vertical and horizontal
dimension sequentially, so we can use the
linear dimension. At this command, we can measure the dimensions horizontally
and vertically. It does not make difference, but you should specify the first and second
dimension points. Following that, we're
going to measure the length of slanted curves. I mean, they are not
horizontal nor vertical. For this, we can use
align dimension. You start line dimension and
then measure the dimension. Or for the other
parts, check it out. By this way. And for instance, for this sloped
roof, check it out. We measure the dimension
by aligned dimension. And for these parts, the dimensions between these curves this
way sequentially. And then as I showed you, you can use these aligned horizontal vertical
and linear dimension only by specifying two
points two dimension points. And the next one is for when we want to
rotate the dimension. Here I want to use
rotated dimension here. And then we should import the rotation angle,
for instance, 30. Following that, we specify the dimension points and then
the location, check it out. We can measure the
rotated dimension. And then the next one
is angle dimension by which we can
measure the angles. You select two
edges or two lines. Following that, we can calculate or measure the
angle between them. Watch this, and then you
can place the dimensions, for instance, 35, 75 or 225. Check it out. Well done. The next one is
radial dimension, which is used for measuring
the radius of the circles. Vi select the caveat first, and then gives us the radius. By as way as you can see, and also it gives us the
center of the circle. For example, here if
I draw an arc like this way and that then I
pick radial dimension, I measure the radius,
as you can see, which is 1.03, and also
the center is given. Let us move on. The next one
is the diameter dimension, which is used for
measuring the diameter of the arcs or the circles
or the curves like this. Next it create text. Here by using create text, we can add a text. I mean, as you remember, we've talked about text before. For instance, you can add some descriptions or
explanations to the project. For instance, you're in
sample control Z to undo the processes that we've done with these detailed
views and the size, I set it to a tree, then in the continuation, I'm going to add some details and mention some
descriptions by using text. However, we can do this
and more professional with other softwares like
Illustrator or Photoshop. But here we can add
some descriptions so simply as the object. Check it out, for
instance, totally random, and then I position them
in the sheet or page. Here I should just the size. So here in style, we can specify the style
and then the height. We will talk about a tie
later and also for the mask, background or solid color. For instance, for
the mask color, which you specify the
color at first as the background like
this, check it out. Here we got the mask at
the specified color, and we can select the
text as an object and then modify the text
here in the description, and you can change
the type of alignment and even the phone,
check it out. You can modify the
font by this way. Again, at the top view
that we are work on, we got to create text here that enables us to add some
texts as objects. However, it provides us with
some other capabilities. For example, if I
want to calculate the area of this rectangle, so I start area, then I select the
surface or rectangle. Here we are given
the area value, I create a copy. And then after
copying the value, I add it as a text. Following that, if I maximize
the size, modify the area, the text of the area
is not changing, is not being updated,
since it's not parametric. So at such a condition, we can use text, and then without importing the
value or typing the value, here we can use text fields, and then we can associate
the text to area and even others like
block instance count or the curve length, as you can see,
watch this or notes, page name, page number. For example, I set it to area. I select the object, and then after clicking Okay, a value is given to us here, and then I place D area. Then if I modify the
size or extended edges, as you can see, the value of area is
changing is being updated since it is
associated to D. This time, I want to calculate the curve length and
then select Object. I select the curve,
check it out. Here we are given
the curve length that it is totally parametric, and as we modify it, it will change too. Watch this. By this way. Or, for instance, this time, I want to say it to model unit. Okay, check it out,
which is perimeters. This time, if I modify the unit project
units, check it out. For example, per centimeters, then the model unit area and length will be updated and they are changed
as you can see. By this way, control Z
to undo the processes. So we can use create
text in adding some descriptions or
calculating the perimeter area, length, model unit,
page number, and so on. But what is the
difference between decreate text and text object? Here in text object. Here we can adjust the
output or de text as a solid object or as a
curve or as a surface, poly surface, and so on. At first, let me specify
the font of the text, and then I write
or type something, for example, no soft
no soft school. Then I said the output to curve. Okay. And here in text, I mean, if we have written this
by using create text, not text object, we could have modified the
text even after writing or typing the text or modifying the font or others. But this is not available
in text object, since when you click on O and
then add your text object, it is created as an
object as a curve, and you won't be able to modify. Here we got the closed curve
and even we can rebuild it. Check it out 16, like this way or even
etch a closed curve. So even we can create interesting phones for
ourselves like this way. I select each of them, and then I rebuild them
one by one by this way. For example, as we
have typed Rhino, and we have them as curves, closed curves, we rebuild them. And the intake object, you can create them
as soft surfaces. I'm sorry, and also
solid objects that enables you to specify the
thickness of the solid. Check it out. 1.2 by this way, you can adjust the thickness. Here at the shaded display mode and then at the
rendered viewport, delete and then get back to the top viewport and
continue the commands. The next one is
ordinate dimension. Hereby ordinate dimension. We can specify or determine the X and Y
ordinates, for example, at the sample or
layout at the top of you and then I want to explain the command
of orient dimension. I hide all of the objects. So then here we go
the grid lines, as you can see, and I
enable the grided snap, and then I start
ordinate dimension. Here, for instance, I specify
a point, a dimension point. Following that, I want to determine the X and
Y coordinations. For example, X is ten and Y coordination is
102, or, for example, here, coordination 12 and the Y coordination
20 by display. Then at the base point, here we can specify
the base point. Then we will have the coordination relative to
the specified base point. Check it out this time, three and five for Y, since we have modified
the base point. Again, I set the base
point, the origin point. Following that, inter, I
delete this. Well done. Ctrol to show the
hidden objects, and the next one is leter. With leader, we can
create a polyline, and then at the end
of the polyline, we can add a text. Check it out, the leader. After drawing the curve, then we can add the text, it will be added at the
end of the polyline. For example, detail 01, and then it will be added as
the leader of the polyline, serve again, leader, then
drawing the polyline and then typing the
text or description. For example, help
or check it out. By this way. Help is
added. I delete them. And the other commands that we've been using them,
for example, Hatch. Here we can start hatch
and then select the curve. We create a pattern of lines to fill a selected
bounding curves, and the region that you
specify should be closed. And then here we can specify
the pattern in hatch. Check it out different
types of patterns. For example, I pick this that here I should modify
the pattern scale. I minimize the scale, check it out by this way, 0.01. Feeling that I want to start the bricks from the
corner, so I set the base. I click at the
intersection or corner. I can set the base
of the pattern. Or let us try again,
check it out. And then click on Okay. Great. Even for the
color of the hatch, I mean, the color can be modified by the
color of the layers. I mean, if you modify
the object layer, then the color of the
hatch will be changed. So we can specify your desired color for the layer and then
associate it to the hatch. After creating the hatch, if I select it and then
in properties hat, we can modify the patterns, and then the pattern scale. Check it out one, and then I set the
base well done, and the next item
that we should know, and we have to talk
about it about hat, and we want to add hatches to a specific part or
region, for example, this part or this region
to do this, I start Hatch, and then I should select curve
the command line options, I set boundaries to yes. Then I select all of the curves, then I should click inside a closed boundary
to hatch that area. For instance, here
there is the region or the closed boundary
that I want to hatch at the hat and
then press inter look, and then the pattern. By this way, check it out. The pattern scale,
not 0.01 or 0.1. So by this way, you can add
the hatches to closed areas. And the next item, which is related to hatch, and I want to talk
about is using Hatch and other commands
like apply curve and so on. Here are the perspective. I pick the circle
and then I draw it. I create some copies, and then I scale some of them. Here we got them in
different sizes. I select them, and then we
loft to create the surface, as you can see, I move them, and then by using
create UB curves, we select the surface, and then we create the Ub curves and the construction plane, and then by using
hatch, check it out. Then I specify a
pattern for the hatch. And then we set the
pattern scale or 25, and then we set the
base at the corner. Well done, here as you can see, I select this and
then in object, the type of the object is hatch. So here I can select the hatch, and then I explode it. So then we will have 67 open
curves instead of hatch. Again, we select them, and then apply care, check it out, and then we apply them on the
target surface, which is the loft, we select the surface, and then we start split to split the surface by using
the applied curves. Check it out. We're going to use these curves as
the cutting objects. And then we select some of these faces and modify the
object layer by this way. At the top view, we select
this part, these faces. Let me deselect some of them. Well done, and then we
change the object layer. Look. The color is changed. Let me associate the
color to another one. And the other command
that you should learn at this session is annotate
dot and stuff like that, that we call them
non scaling objects. For instance, here we got some rectangles or some
objects, some closed curves. Following that, I want to place a specific value
on each at each of them. Here in annotation tool bar, then I add the
values or numbers. Then if we wanted to select
and maximize the dimension. We can select them,
and then in object, we can increase the height, for example, for
D, like this way. But we do not use these
set of commands usually, since they bring us some difficulties and some
problems in printing. Here we can use annotate
dot, for instance, 14, and then we position the annotation here by using add or remove arrowhead
on curves or arrowhead, we can draw a curve by
this way by arrowhead, and then we can
add the arrowhead at the specified
end, check it out. By this way. We
delete these objects, and then in layers, here I want to give
you some explanations just before the settings of annotation styles
and the settings of printing that they
should be considered.
162. Line Styles: Here in layers, we can associate or assign two colors
for each of the layers. For example, one of them is the color display or the color that we displayed in
the scene like red, as you can see the curve is
displayed in red by this way, and we may want to specify
another color for the print. And usually do not
use the color of yellow in displaying
curves in the scene. Since the yellow is the color
of the selection of rhino, that I will tell you
how to modify it. But for now, when
we select a curve, it will be highlighted
in red and yellow. So if we specify yellow,
we will be mistaken. And here as you
can see, we cannot differentiate between the selected and di
selected objects. Since the display
color is yellow. And here in line type, we can specify the
line type or the type of the audio style of the
displayment a line like dashed. For example, I have specified dashed as the line
type of the curves, and then I zoom
in and I zoom in, as you can see the
scale is too low. And in order to modify the scale of the dashed
or the line type, here in option, Rhino options, document properties
in line types, following the line type scale. Here, for example,
I set it to 50, a type 50 and let me increase it 150 or 200, let's check it out. Here we got the dash
lines for the curves. And even we can click on these line types,
for example, dashed. For example, in the
line type of dash, we can specify the pattern, five, I mean, the distance of the curve and distance
of the empty space. We can specify five, two, and then the preview
will be shown there, five and two units, or, for example, 15, e
out the preview. So we can customize
the line types here, and even you can create a copy from one of the
line types, select, and then I add a new line type following
that copy and paste, and then customizing the
line type two and three, for example, the length of the curve and the length
of the empty space.
163. Measurement Setting: Let us talk about how to
create an annotation style. I want to keep these
dimensions in curves, and then we're
going to talk about print settings here in tools, then rhino options from
document annotation styles, I click on the arrow, and then I open
the subcategories which are the annotation styles. So you can select one of them, and then you can edit it. Here you can click on
new following that, you can copy the
settings from each of these styles and
then assign a new name. Following that, you can
select it and then apply it. For instance, I want
to choose Amir, and then I want to
make some changes or A one here in a style name. We can assign a new name for it and also in font
at the first part. You can specify the font for the text here
as you can see. I scroll down, check it out. Here we got different
kinds of fonts well done, and we can make it bold or not. And then for the height and also the text gap. By this way. Let me specify the font aerial, and I increase the
height to not 0.8, for example, by this way. Following that, in text, here we can adjust
the text alignment. We can align it
to left or right, or at the middle, by this way, and bottom, top or center. And then in dimension text, here I check horizontal to view, then I can display the
dimensions horizontally, not vertically, check it out. And also, we can place them above the line or
underline or in line. Check it out. These are the options or aligned
or horizontal. Great. And then the other options, extension line extension, and we can specify the value
for the extension. For instance, here
I specify 2.5, check out the result
in the preview. So here we can specify the value for the
extension line extension, and even extension line
offset. Check it out. One, for instance. 0.2 and not 0.2 for others. Then the next option, you can check
suppress extension to remove these or even
suppress the extension two and even specifying the
length of the extension by typing the value
like not 0.2 or 1.2, check it out for the
length of the extension. The subtraction between
length and line extension would be the offset by this way. So, guys, by these
options and settings, you can adjust the
alignment, takes alignment, and also the apparent setting like phones, sizes, dimensions, and then in arrows, as you can see, here, the size of the arrows
should be maximized. So in arrow size, I import 1.5, and here we got the type
of the arrow heads. Let me minimize the value. No 0.25 or not 0.8 is
better. Well done. Then I specify the two types of arrowheads for the two ends. Take it out like this way. Here we can modify the type of the displayment
of the arrowheads, and also we can specify the liter arrow size and
the liter arrowhead. Then in length units, we can adjust the units
and the formats for the displayment the round
off or the decimal places, actually decimal places, and
adding perfixs and suffixes, like L and M for the suffix. I have added L as the
length and perimeter. Following that, a
quotation mark after L and start before
M, take it out. Like this way, we remove
the suffix and Perfet set. Let us talk about others. For example, in angular units, here we can control
the displayment of the angles here in
the resolutions, I mean, units of decumal
degrees or degrees, minutes seconds or even
radians by this way. The next one, we can
set the leaders, for example, the curve
type of the later, polynine on a spline or non. Following that, the
landing in other words, the length of the liter curve, which is straight at the
end of the curve, like 2.4. As I'm showing you in the
preview, this is liter. I click on Okay and then get back to Rhino to
continue the process. And then the next topic that you should put
into consideration, your VGto dimension 2.07. Here we're going to modify
the decimal places. Or in other words, we
want to round the value. And here the quickest
way for rounding the value is to select
the dimension and then in properties in linear
dimension and removing these two greater and less than symbol and then typing
your desired value. By this way, but not that
here we should consider the same decimal places
for the newly typed value. For example, the decimal pass, decimal places are four, not only one just in case, if you wanted the
previous values, you can type the less
than great and symbol. Then here in the next one, I can select the dimension, and then changing some
of the features I'm in, I'm going to introduce you
now way instead of opening the no options and then
modifying the annotation styles. We can go through another way. For instance, I want to
modify this dimension. So I select this
and then in arrows. Following that, I change the
arrow head, check it out. And as you can see, the change
has not applied on others. And only, we have modified this. But if you wanted to make
the changes on others. But before that, let me change the arrow size. I increase it. Then in the continuation,
for the height, I want to maximize the size or height and also add
a mask by this way. Then I want to
select another one, and then I click and match, and then I click
and D another one. So then these dimensions will
be matched with each other.
164. Print Setting: So it's time to talk about print settings right
now at this session. I select these objects here, and then I delete
them, check it out. Following that, for
printing, you press down, Control P buttons, or you can get access to print from standard toolbar and
clicking on Print. And then the print setup, deductable window will be
opened, and in destination, you can specify the printer or the installed or connected
printer to your device. And export them as image
files or PDF files, no PDF, OBPDF, SnagIt, DPDF
and stuff like that. So I specify the destination no PDF and then the size
of the page a tree. Following that, here we
can choose either portrait or landscape of the
page or layout, and then the resolution
or print resolution. In output type, you can choose
vector or raster output. But the differences
between these two, let me show you a
photo that wants to tell you the differences
between Vctor and raster. Let's check it out. Vctor versus raster. And here as you can
see at such a picture, you can understand
the differences between raster and vector. And raster is based
on the pills, and Rag Vctor is based on
mathematical drawings. For example, in vector, the edges are sharp and smooth. I mean, the curves are smooth, and as we zoom in, the quality won't be decreased. Raster, which is a two
dimensional picture as a grade of square pixels would lose its
quality after zooming in, as you can see, also
in raster modes, we can display the
projects graphically, I mean displaying the colors and the different kinds of
viewports or displayments, while they are not
available in vector. And raster files are generally
larger than vector files, and they are not scalable, while vectors are
scalable to any size. Meanwhile, vector got the higher quality
than raster files. And we usually specify the vector output
for the output type, and then in output color, we can associate
one of the colors at the layers as
the output color. For example, you
can choose to print the color display or print
color, check it out, print color and display color, and also black and white for the output
color of the print. Following that, we could
view and output scale. Here, you can specify the view that you want
it to be printed. And if you have
created a layout, the layout will be added to
this list, the list of views. To give an example, I create
a new layout by this way. Following that, print
Control plus P patterns. And then in views, as you can see, we got the
page or the layout one. For example, I
choose the top view, and then I check Windows. Then at each of the views
that you've specified, you can check window
and then click and drag a window at the scene. Following that, it will be
considered for the printing. But if I wanted to print
several files at the same time, we should have put these
files into different kinds of layouts and then
specifying the layout name. I check multiple layouts.
I set it to top. By this way. I click and
drag a window like this. File. Following that, we can even choose to print all of the layouts to click
on all layouts. And then at the next part, we should adjust the scale on paper centimeters and then
I'll layout per meters. So here we're going
to specify CL factor. For example, 1 centimeter on paper is equal to
1 meter on paper. I mean on layout, I'm sorry, Ekill factor is one to
100 or 2 centimeters on paper and 1 meter on layout. ECL factor is one to 50. Or instead of getting involved with these parts,
I'm going to scale, here we can open the
drop down list and then specify the skill
one to 41 to 25, one to 200, check it out and stuff like
that, buy it this way. And then in margins
and position, we can adjust the margins of the specified paper
size, which is a tree. For example, the
margins at top, left, bottom, and right
per centimeters, like 2 centimeters
for the top margin, one for left and right, and two or 1.5 for button. Margin. Right now,
we have specified some boundaries for the
printing by specifying margins. And then in line
type and line we, we can specify the line white in scale B. Let's check it out. For instance, I type not 0.5 to have the white or
multiple them in five. And here we got the default
line, as you can see. I mean, here when we are creating the different
kinds of layers, most of the layers
as you can see the print f has been
set to default. Here I can click
on the print f and then specify the value
for white print white, 1.24, or here I can select it again and then choosing
one of these whites. But while it has
been set to default, the default value is getting adjusted with
the default line here. The default line
here is not 0.6, that it can modify the value. Or even you can choose not
to print the default ones. So if we set it to no print, they won't be printed. And the next one is for non
scaling objects that you can specify the point object sizes or arrowhead size this way. And then as we talked about the non scaling objects
like these numbers, that they are not oftenly used. Here I have placed this here, and I create a copy,
following that here. I want to change the height. Check it out. Following that, here in print, as you can see, both of them are equal. And here, the maximum size for these non scaling
objects is 50 or 60 PT, since we are limited
in changing the sizes, and we usually do not use this. And then at the last part, we can print even the
background color, check it out, which is
gray like this way. Or even we can select
some objects in the scene and then check
only selected objects, so we can have them printed. Or even we can have the
grids or the grid access. Here, nothing is displayed. I cancel the process. Let me move these objects and then place them at
the origin point. Zero move, check it out. Right there. Then I select
these non scaling objects, Control P, and then window, I drag a window like this way. Then as you can see, we got the grid
lines at the page. So in visibility,
we can control and choose to print the
background grid, grid axis, the lights,
the clipping planes, only selected objects,
wallpaper and other options. So, guys, you're almost
done with print setup. And then if you click on print, we can have the file printed
or export the fine as PDF or image or other format. Great. And then at this part, we talked about the
print setup and setting, and at the next part,
we're going to have a review upon the
Rhino options, Cu.
165. Software Setting: Hi, guys. As I told you
before, at this part, we're supposed to talk
about the Rhino options. So here we can click on
options to get access to Rhino options or from tools, and then opening Rhino option. Here in Rhino option, we got two main parts, the document properties
and Rhino options. We've talked about the
document properties and the next onein
is Rhino options. What are the differences
between these two? I mean, the settings and
the options that we got in document properties
will be applied on the file and we'll be
saved only upon the file. So if you export the file and then use it in another device, the adjusted settings will be
transferred with the file. For example, we can specify
a single type of grid, hatch line type location, mesh or others, and
then transfer them to other devices
without any changes. For example, we're going
to draw something by mesh, and then I export the file, and then I use it
in other devices, and even the specified unit will be fixed at
each of the files. So in document properties, the settings would
be saved on each of the files specific
Rhino options, we got the settings
that they are being saved on Rhino
and your device. For example, in
Document Properties, it gives us a briefly summary
information about the file, for example, the file has
been created by this and the date and the time of the
created file, check it out. The name, the date and time, the last save, and the
date and time last save. Following that, the
revision number, the application name,
which is in six. For instance, I open a file
with my own personal device, then the name of my device
will be saved there. And I will the date
and time that I have firstly created the
file and save the file. Then if I give the file
to one of my friends, for instance, he can work on it and save the file
for multiple time. Then the name of
his or her device will be set here as last saved by and also the date
and time for last saved file. And then the revision
number well done, and we talked about
annotation styles in previous sessions. Let us talk about grids, and I want to give you
a brief explanation. First of all, we should
specify the view that we want the grid
changes to apply to. For example, all of the viewpoints are on
the active viewports. For example, right now, the
perspective view is active. Take it out perspective, active view only, but I want to apply it on all
of the viewports. Then we're going to specify the grid properties
like grid lines, minor grid line and major lines. For example, 12 or 40
or 80, take it out. We can define the size of the grid lines or the
number of the grid line, and then the minor grid line. Here as you can see, I'm
showing you on the scene. We got some units and the grids. Here we can specify
the length of these, for example, 1 meter
for each of the units. I mean, here are the
minor grid lines. Each of them are 1 meter. We can set it to 2 meters. Check it out or 5 meters. So this part is 5 meters. Set it to one usually. Then we're going to specify
each of the major lines, major grid lines,
as you can see, the boundaries are highlighted. I mean, at each of
these major grids, we got ten minor grids. We can set it to seven or 12. We set it to ten or, for example, show grid lines. We can control them or the
grid axis then in grid snap, you can specify
the snap spacing. For example, here I pick the polyline and then
enable the grid snap, and then I start
drawing the curve. As you can see, the mouse is snapping at each of
these grid grids, and we can maximize the
snap spacing like 7 meters. Then it will be snapped
at each 7 meters. Check it out at each 7
meters. Like this way. I set it to 1 meter
for snap spacing. And the next one, we
got the hatch patterns. And as we talked about hatch, about how to create a hatch. And I also modifying the scale of the hatch
and setting the base. But right now, I'm
going to talk about how to import new hatch patterns. For example, here I got
some hatch patterns, and you will be given
these files. Check it out. We got nearly 800 patterns, and you can import
these patterns one by one from
Import hatch pattern. Look. And then select
the desired hatch. Can check the preview, so we will have
it, check it out. Or even we can I mean, here, you may want to use one of the most useful hatch patterns
which are more than one, and it takes a long time
to import them one by one, and we cannot select them
by holding down Control. Here I have provided another
file. If you open it. Following that, you can
uncheck the unwanted patterns. Check it out and
then click on Okay. Following that, all
of the patterns will be imported to Rhino. As you can see, and here in Line type, as
we talked about it, we can create our new line type and even importing a new
line type, check it out. We can import them to Rhino. Just as the hatch patterns, and the next one is location. Check it out. Here in
location in search, we can search for our
current location, Paris, Tehran, Stembol, New York, or London or others,
and then click on Okay. But what is the significance
of specifying the location? Here, if I create a solid
object here like this way, I draw these two
boxes, check it out. And then B and D
friends, check it out. I subtract the shirt parts. Following that, another
object by this way. Then I rotate it. Well done. Following that, here I enable
the rendered viewport, we do not have any shadows. Here in order to associate
shadows to the objects, here in options in the
right side of the window, here we can enable Son. Following that, I click
on on, check it out. Then in display,
I enable shadow. Following that, in sun options. We can adjust the sun position
or the time check it out. And you can even
choose to adjust the time by your
current location. I create a planar surface
for the base part. So then we can have the shadows, check it out according
to the sun position. And then if I click on now, then the current
location, I mean, time and base I'm sorry, I mean date will
be associated to the current object
like this way. And even you can import
or type your desired date and also the desired
time like 12 30. So then we can check
out the shadows, based on the imported Time. And then in the continuation, here we can even click
on manual Control. So then we can control the
end position manually, check it out like this way. And for the directions
of the shadows, they can be controlled
here in sun option. You can modify them manually, check it out to modify the shadows directions
by this way. I turn the sun off and
I delete these objects. Then I get back to Rhino
Options to continue talking about the document
properties, which is mesh. Here we can specify the
render mesh quality. In the continuation,
I want to talk about the meshes and then
different types of outputs for meshes and also the render mesh
quality and how to saving the mesh files cancel Control
that to undo the process. For example, here we got
object, the solid object. I rotate it more like this way. Then here at the
rendered viewpoint. We got some straight
sections here, and we want to make some
changes and the mesh, we're going to use
extract render mesh. The extract render
mesh command copies the render mesh to create
a separate mesh object. So we can select the
surface or polysurface and then have the rendered like
this way, check it out. As you can see, we have
created a separate mesh object by selecting the surfaces
for mesh extraction. The entire objects that we
create in Rhino addition to the dedicated Nerbs memory or the predefined formola for each of these specified objects. And they use these meshes
to display the object. Wait for a second to
exemplify a case. For instance, I want
to create a sphere here like this way. And then if I use
extract render mesh, then we will be given these
meshes, check it out. As you can see, the number
of the meshes are too high. Here in option,
render mesh quality. I set it to jag it and faster. Following that, I'm going to extract the
render mesh again. Then this will be the
result. Check it out. Here as you can see,
the quality has changed is weaker than
the previous one. But let us open the options. And this time, I want to set it to custom and I
reduce the density. And if I set it to
render preview, you can check out the quality of the surfaces, check it out. And then by using extract
render mesh, as you can see, the density of the
meshes is decreased here in custom options as much as we
increase the density. In fact, it got no effect
in modeling the objects. I mean, we usually use
smooth and slow for better resolution at the
expense of longer meshing time, while we can use jag and faster for general
visualization purposes. Finally, we can
increase the density.
166. Saving Tips: So guys, I pick the sphere, and then from the origin
point, I create it, and then in o options, I want to as you can see, the density set to
the minimum value. I select the sphere, and then by using
array, check it out. Array, the sphere, at
direction and two Y direction, and turn along the Z direction, take it out like this way, again, two, 20 and
ten, take it out. Like this way. And even we can minimize the value, for example, ten and 15 for spacing and ten for
numbers in each direction. Check it out. Here I press down in te to
save the changes. Here, as you watch, we created them as
fast as possible. Following that, I want
to save this file as or saving the file. And then after
specifying the location, I assigned the name 01 or one. As you can see, the size is
only 4 megabytes because of the lowest density
of the render mesh. Then here no options, I maximize density
with maximum value. Then again, you want
to array the sphere, check it out at the same value at X Y and Z directions
like this way. Then as usual, as you can see, takes some time to
create these spheres. Following that,
we're going to save the file as this time, I name it oh two and
zero save, I'm sorry. Here, as you can see, it takes a longer time to save the
file than the previous one. In a way that Rhino is not
responding as you can see, because the size is too high, at least higher than
the previous one. So wait for a second, please. I'm sorry, but it is
taking a long time. I am thankful for your
patience, but check it out. Here is the new size
which is 416 megabytes, nearly ten times or 100 times more than
the previous file. And there is no
difference between these spheres and
the previous ones. Here we are working with
a higher resolution. So this was the
differences between those that we usually
use jag and faster, which is fine for general
visualization purposes and for moving the processes and
projects forward in Rhino. Let me minimize the density. Then I set the display
mode to re frame, then I save the file as. Stick it out. Here I check save small and save geometry
only to activate them tree. And by activating
these two options, it does not save the render meshes because only the
geometries will be saved. Then let us sick out
the size of the file. As you can see, it
is 1.4 megabytes. So let us compare these two files with
each other. Teck it out. The differences in their sizes. I mean, the file 02 is, I mean, the size is 400 times
more than the 03 file. Okay, let us continue. And if we want to
minimize the size of the file more than this is to convert into objects
to a block by placing CentrolPlus B buttons. Check it out in block
the phentian properties. You can assign the name sphere, and then by using array, the same numbers,
specified numbers. VRA the sphere or the block. Shake it out like this way. Can create the objects
and then save the file as and don't forget to check save a small and
save geometry only. Then let us out the
size of the new file, which is 400 kilobytes. I mean, the size of
the file is halved, which is highly less
than 400 megabytes and easy to be transferred
and to be updated. And about the box, for example, we can select one of them and then apply the
changes on others. You should double
click on one of them, and then in block
edit Dockbll Window, and then we modify the object. Following that, the
changes will be applied on all of the objects. Again, double click and scaling, check it out and also rotating
the object, inter, it out. The changes are applied on
all of them fast as possible. So, guys, by using the mesh settings that we usually set it
to jag on faster. And also, by using
the options in save like save small and
save geometry only, we can minimize the size of
the file of the saved file. Or in other words, we can optimize the file. And let me tell you the
difference is when we check save small and save
geometry only, take it out. When we check these two options, the render meshes
would not be saved. The difference behind it is that when we want
to open the file, it may take some
time for the files and objects to be updated. And actually, it depends on the complexity of your file
or the size of your file. But afterwards, there
won't be any difference between using save small or save geometry only
or do not using. So if you want to share
your file with somebody, you'd better not save
the vendor meshes. And finally, you can
use a compressor tool. For example, I compress
this file by rare. So then we can have the
file in lower size. And, you know, as the size
grows up or increases, it would be difficult
to share it with others in renderings in
uploading and downloading. So, guys, we're done with mesh. Let us talk about notes. Here in notes, you can
add your descriptions, or you can type
some information, take it out, and then click
on Okay. Following that. When we save the file, these notes will be
transferred within the file, and you can get access to the notes by typing
notes in Command line. And this is used for
sharing or preparing some descriptions or notes within the file for the
receiver of the file, that the receiver
should be informed. And when you save your file, the notes will be saved, too. And as I told you before,
in document properties, you can adjust the settings
for the specific file, and they will be saved only on that file till you save it. And then in the continuation, we're going to talk about
the rhino options which are related to the software
itself, not to defiles. The first thing that I
want to talk about is the aliases that
we've talked about at the first season that we import some shortcuts or Ss
that belong to Autocat. We imported them there
and then to use them. But here I'm going to tell you
how to create new aliases. Before that, let me talk about
macro editor and Rhino RS. Here I want to maximize the in RS macroator to fix it at the right
side of the scene. Here we can create macros in Rhino to automate many tasks, customize your commands,
and improve your workflow. For example, if you want
to draw some circles, you can type circle. Following that, the
center, I mean, the circle will be started, then you can specify the center point and
have the circle. Then in the continuation, you can specify the position and also the radius zero
and 16 for radius. If I click on play, check it out, we will
have the circle. It is cool. Following that, if I want to select
it, check it out. I type last. And then I want it
to be extruded. Check it out extrude curve. And then the value of extrude distance 12
meters, check it out. I mean, we command
Rhino to create this. And here, what we have
written in MacratdT can be used as a
command in aliases. So here I click a nu, then I name the command test, for example, or the alias. Then in command macro,
as you are concerned, when we are using the commands in Mcretd we press down Inter, but here in the command macro, we press down spacebar. For example, circle space
bar at the origin point at the radius of 14
and then see a last. And then extrude at
a distance of 13. Okay. Then if I'm not wrong, if I start test, then if I type test
in the command line, we will have the
extrusion, check it out. Then we can get access
to the object very quickly because of
them or command micro. Again, I start
test, check it out. Well, as you can see,
we got the circle at the specified position
and radius and extrusion. Then I didn't export
in my appearance. We can specify the
language used for display, the command prompt, detect size, background, color, phone, and also the background and
viewport color like blue. Check it out for the background
or gray like this way. And even dete size, I increase the
size, check it out. However, we can
hold down control, and then by using the scroll, the scroll of the
mouse or the wheel of the mouse control the size, det sight again and take size, and then I set it tonight. And here, in order
not to get involved in changing the settings
of the appearance, I have provided a file for you Rhino themes that you can import it to Rhino by click
and dragon then drop. You can have the themes
toolbar, check it out. Here we got the
different kinds of themes that we can apply them to the rhino appearance
like eclipse, check it out. FT to return the properties. Here I'm trying different
kinds of themes or the dark, for example, take it out. So by using the rhino themes, you can change the appearance to your wanted appearance
because this is, you know, simpler than
modifying the colors manually since we got
some prepared formats. We set it to default, and then we move on. Great. And the
next one is files. Example, the first one we
specify the location for the template files and also the location for the
default template file. When we open a Fi and Rino, the welcome message will be shown that here a fi type
about in the command line, we can display it
here, check it out. Here in templates
in new tool bar. We got the template files of
the Rye that one of them, which is large objects meters is selected as the
default template. Or here you may want to to
change the template file, the default template file, and then choose it to set it to large objects per centimeters, so here in to options, and then in files. Following that, we open the list of template files and then choose the default one. And then the next one
is save that you can choose to create backup
files when saving, you're exporting your
files and you can adjust the autosave or save every 20 minutes or
5 minutes and so on and the file path
for the autosave. And then in general, you can set the most recently used
commands pop up menu. The limit list has been
set to two commands. I mean here when you right
click on the command line, these are the recently
used commands that you can specify
the you can choose to show some of the commands always if you
mentioned them there. For example, I type
extrude curve since I want it to be displayed in
the command live pop up menu. As you can see, we got
the extrude curve. So one of the ways that we can get access to the
commands quickly, I mean, addition to the pop up
menu here on the scene is defining these commands in the command line by right
click and get access to them, you can define the
most ofly used. Even you can define the
never repeat commands or the commands that you want
them to be not repeated. And when we press down Inter, right click or space, the mentioned commands won't
be repeated like delete, snap, cancel, undo
history, inter multipas. Let me give you an example. Here, when I draw a curve
like this way polyline, then the last command was
polyline, as you're concerned. Here if I delete, check it out. Here we have used
delete command. But if I press down Inter, then we will get
back to polyline. The let did not repeat it. Depet because in the no option, we have defined let
to never be repeated. And that in undo the
max memory used. I mean, it shows
that the amount of undoing the processes
is limited. That here you specified the max memory used for
undoing the processes. Suppose that you have placed several points that the size of the memory is not too high, so we can use undo for
several times since still we got empty space
or empty capacity, we can move on undoing. But sometimes in some
of the commands, since the process is
too heavy and complex, it does not let us
to move on undoing. And in the isocurve density, the default value is one. I mean, when we draw a surface or create a surface like this, here we specify the
isocurve density value for a default value. So here in Rhino options, we can set it to four. And then we create the surface. We will have four isocurves
at each of the due actions. By this way. And the next
one refers the keyboards. We got some shortcuts that we talk about them, which is ***. It enables you to type
the first words of each of the commands and then get access to them by
pressing Inter. For example, you can type
CP and then start Copy, or you can type F
Inter to start Fillet. In keyboard, there
isn't press down into. For example, F one is
related to help command or F three is related to properties or F ten
for the control point, F eight for Ortho and other. F eight, check it out. Ortho is activated,
like this way. So here we got some
commands that we can activate them without
pressing in there. And here, even we can have
new commands by typing the command in front of the keys to associate the keys
to the desired command. For example, for Control
plus Shift plus x button, I type the exclamation
mark, and then circle. Then if I get back to scene and then Control plus Shift X, check it out, circle would
be started. Let us continue. And then in modeling
aids, for instance, in notch part, we
got the notch keys, notch direction and steps. For example, by using
the arrow buttons, arrow down or up and holding
down control and hit button, we can use these to navigate
in the scene, take it out. Like this way. And then at the
next part in modeling ADs, for example, in
SmartTrack and guides, you can specify
the max number of Smart Points or the colors, the appearances related to these smart tracks
or the amount of time that we should wait for the SmartTrack
to be activated. Or when we are moving the
courser of the mouse, or drawing a curve, which information
do we want to be displayed when we put the cursor of the mouse
on a curve, for instance. For example, the stance. Then when I draw a
cur check it out. As you can see, this
dance is showed, which it could be
useful and practical. Again, in options
and then in Gumbo, then you can specify
the sizes in pixels and also the colors along
each of the directions. For example, instead of red, we can choose purple or sign. Right now we have changed
the color of Gumbo. Check it out along x axis, red. Well done. And the last
thing that I want to talk about is in viewport
in display modes. Here we got some of the
display modes turning red, displayed in red
in blue, actually, because we have made
some changes upon them, so we can select them and then restore them to
the default mode, so we can have them to
their default mode. And then here back to the scene, if I create a surface
like this way, and then I want to show the changes of the display
modes upon the surface, for example, shaded in
shaded and then objects. I open surfaces in surface edge settings or
surface icy curve settings. Here we can specify the y curve color usage
in shaded display mode, red and green, for example. Okay. So this shows that we are at the shaded display mode, since the Isaac curves are
displayed in red and green, but they are black ghosted mode. Since we have only I mean, made that changes and display mode of shaded or
like in shadows, we can turn on office
shadows and the grids, the grid settings, and some other settings,
as you can see. And if you wanted to restore
the default settings, can select the blue item and then click on
Restore Defaults. So the default settings
would be restored. And in Rhino options, and each of these items or
parts, we are available. I mean, we got access
to Restore Defaults. Here in Rhino Options, view, I restored the Shada
to default modes. Okay. So, guys, we
had a briefly review upon the Rhino options and
also the document properties. I hope you have
enjoyed this session, see you and D next session.
167. Practice Turning Turso: At this session, we're going to model Turing tour
show, as you can see. But first of all, let us take a look on the pictures.
Check this out. By this way. As you can
see on this screen, we have to model one of
the parts of the building, and then by creating
copies and rotating them, we can complete the tower. Well done, so to
do this, at first, I import the plan
view into Rhino, but click and drag and
drop it into Rhino. Then image options,
I check picture, then I click on Okay well done, after importing the image
into Rhinos sulfur, then by using layers, I want to change
the object layers. Following that,
from the material, I want to increase the
transparency of the picture. Then by using circle
three points, I draw a circle at the center, take it out like this way. And then I select
the object, move, and then by using
the Snap center, then I type zero to position it at the origin
point like this way. Then I can select the
image and then lock it, or I can lock the
layer from this part. And then I pick
interpolate curve, and then I start drawing
the curves like this way. Check this out, the boundaries, and then I pick the polyline, then I keep drawing by this way. Well done again by using poly
one from the origin point, I draw a straight curve, and then I trim
the previous line. Then I select the
drawn lines, mirror. Then I mirror them at the
bottom part like this way. And I haven't drawn any line here because
I wanted to draw a straight curve and
then wanted to move the control points to control the continuity of the
curve by this way. So, guys, as you can see, if you are done with
the plan view of the project or the general
curves or the boundaries. And in the continuation, I want to create the reference. For example, I draw a
circle here, well done. Then the next part
that I want to talk about is the number of
the levels or the floors. And also the general dimensions. Here, we got the
front view that we can import it to Rhino. The height is 195 meters, and the height of each of the level is three
points and stuff. And as you can see, the building has been divided
into nine parts, and each of the parts
got six levels. So in general, you got 54
levels, as I showed you, so back to Rhinou and
then by using the line, I draw the line by this
way in a straight line. And then I import the front view of the
project like this way. And then from options, I click on vertical, and then I position the front view on the
drawn curve like this way. Check it out. Then we should select the
image or the photo and then increasing
the transparency from material by this way. Well done, then I want to move the picture from this corner as you can see on the screen. So here in the front view, I select it from the corner, and then I move it this
way. Check it out. And after that, I unlock
the locked layer, then I scale the picture. Let me specify the scale factor, and then I scale it by this way. Following that, I select all of the pictures
and the drawings, and then I start scale. Then at the front view. Start the curve from
the region point. I'm specifying the
scale factor guys, and then I type the height, 195 meters by this way. So after this point, we have a scale, the plan, and also the front view. Then at the front view, at this part, I
position a point. I draw point like this way and another
point at this part, as I showed you, well done. Here we can select the picture and then
changing the object layer, we can rename the
layer reference, and then turn it off. Well done. Then
at the next step, we're going to
select these curves and pressing Control J
to join these curves, check it out, and then
extruding these curves. Up to the specified
point like this way, then shade a display
mode, check it out. And then we're going to use the auxiliary point that
we have positioned there. Let me take a look
on the pictures. I want to draw the truss here. So back to rhino, I turn on the layer. I want to start drawing a
curve from the center of the circle and then I
extend it till here. And then when I extend
the care to this point, I hold down Control, and then I click to draw the vertical curve to
the specified point, as you can see, check it out. So we drew the curve to
start drawing the truss. Let us see out other
pictures, for example, here, and we got another truss, which is vertically,
vertically created. We pick the vertical line, and then we started from
the center of the circle, and then we use the
axillary point for specifying the height of
the curve like this way. And then finally,
we are done with these two curves. Check it out. I mean, if I want to
show it in the picture, here is this curve
that we just drawn. So for this part,
as you can see, we got a pipe, which has
been created horizontally. So let us draw this
curve by this way. As you can see, we
got a triangle here. And we have created the
trusses up to this point, and there are some pipes that are connected
to the buildings. And as you can see at
each of the parts, we got nearly six pipes. But before that, let
me turn on the photo. And then I pick the ply line. I draw the line like this way. And then mirror at the
other part like this way, then I turn it off. Again, let's take a look. Great. Following that, I'm going to start
array curve command. I specify the path, number of the items, seven, for example, by this way. We delete the last ones. Then we select
these created parts and Control G to group them. Then at the next step, we select these curves, and then starting pipe command, then it's time to
specify the pipe radius, not 0.05 or 15
centimeters, a it out. Then we select the curve, the vertical line pipe. Following that, the pipe radius. Not 0.5 or even we can select the circle and
then extrude it by this way. Check it out. And then the
last curve that we're going to draw as the truss is this slanted part and the
bottom and top parts. And as you can see, according to the pictures
here at the center part, the radius of the
cross section is greater than the ends
as I showed you. So pipe, and then I
select the curve. Single curve, and then
I specify a radius, at the end, 20 centimeters. Following that, at the
other end 20 centimeters, and then at the midpoint, and then I import
0.8 for the radius. But as you can see, this is the final result for
the radius of the pipe. Again, I select 0.2, two, and then at the midpoint for specifying a
different radius, 0.65, the rate, this
is better than before. The dimensions are
proper than before, and then select the other curve, 0.2 for the ends, and 9.65 for the center or
midpoint, like this way. So, guys, we're done
with these two pipes, we select them, and then
mirror them at the other side. Check it out like this way. Then at the next part that we're going to muddle
and talk about it is creating the windows
on the face, as you can see. As you can see on the screen, we got some modules or a box. As you can see that the
window is voided in. So back to Rhino and
at the top view, then we turn on the grid snap, and then I draw the
rectangle like this way, and then I draw
another rectangle inside the previous
one by this way, then we can turn off grid snap. Then according to the picture, we can shrink the top part
of the window like this way. Following that, for
the lateral faces, we select these control points, and then we scale them, following that the to consider the bottom part or we can throw a curve at
this part by this way, check it out, and then we
create a copy from it. Then by using trim,
check it out. Well done. So, guys, we managed to model the
window following that. We select the curve or all of the curves like this way
and then extrude curve. And then for the extrusion
distance like this way, not 0.2, well done. Then we select the
curves, we join them, and we select the curves
in the continuation, we're going to hold down
Alt and Shift buttons and then scaling them to
minimize them by this way. Again, we can select these two curves and
then extrude them at the distance of about
0.15, check it out. Or we can do something else. But for now, let me
close this part. I mean, I select the
boundaries, check it out. Following that, extrude,
at the distance of. Let me deselect the points, not 0.2, for the extrusion
distance, watch this. And then the rectangle, you select it, and
then you join them. I hold down ten shift patterns, and move them toward inside. And I want to extrude
the center part at a distance of not 0.12
or 12 centimeters. For this part, as you can see,
according to the picture, then these two curve, these two parallel curves
or even we can draw a box. I start box command, then we draw it this way, check it out at the length of 12 centimeters very
well, as you can see. Following that, we can create another box
after this part, and then I import the height, 0.05 or 5 centimeters,
check it out. One more time, I draw the rectangle for this
part, not 0.50 0.05. Great. At the end part, we can select these two panels, controls you to group them. And then we want to change the objects layers,
check it out, and then we change
the layer glass, and we group these as well and assign another
layer for them. We rename the layer
as you can see. Then let us estimate number of the windows. Let
me check it out. We got nearly 88 and five. So we got four the windows. We select the set of windows, the glass, and the frames, and then array eight along each direction and five
along wide direction. Check it out. We array
them by this way. And at the end part, we're going to model
the bottom part, which is straight
and flat surface, and also the lateral faces. According to the picture, the bottom edges of
the first windows are extended and also the
top part that are extended. Hold down Control
and Shift patterns, and then we select the edges. Let me select the surface edges. So I click and drag, and then I select these
and I ungroup them. Following that, by holding down Control and Shift patterns, I select this face of
the boxes, check it out. I select the bottom faces
like this and also the edges. Check it out. And the last one. Great. Following that,
I click on Gbo and then I drag them to extend the
bottom part, well done. Also, we're going to do the same thing with
the Top part at first, we should ungroup them
and then selecting the top top face by holding down Control
and Shift buttons. And then we extend them, and then here we can
delete these parts, and then we select the
extended frame and array. Array linear, take it out. Then we specify the path, eight, check it out. Well done. And then we create a
copy from the glasses. Great. So the top and
bottom part are extended, just like the picture. But the parts of right
and left are left. So again, I'm going to draw
a box here at this part to this here to this part at this size 20 centimeters for the height or
extrusion distance. Check this out. Finally, we
change the object layer. Then we select the box, we draw the next
box, check it out. Again, I create another copy. I move on creating copies, and I select the front
face of the last one, and then I extend
it by this way. Then select changing the objects layers and then select all and grouped creating a copy for the other side by this way. So, guys, we're done with
the windows of the building. Then we can select all of them. Then selecting curves
by using Sell curve. Following that, control
edge to hide the curves. Then we select these
objects or windows, control G to group them. Then I open layer one. Then I draw a flat surface or a planar surface to consider it as the base surface
like this way. And then by using the
command of flowing surface, we specify the objects
following that debase surface, and then let me specify and
then the target surface. Let's see it out why this way. As you can see, they are flow
on the surface properly. Again, we start the command. Then we specify the
near matching corners. Wait for a second,
please. Well done. We repeat the command by
right click, check it out. We specify the target surface. Wait for a second.
Great. As you can see, up to this point, we have completed the
windows by this way. Then according to the picture, we got some parts here as you can see that as you can see, the dimensions of the windows
are different to others. The reason of this
difference is that between the empty space between
each part of the building, we got some levels there. So in the continuation, we select all of these, check it out, and
then no select them. Following that, we'll start Aa linear we specify the number, which is nine because
the input object is considered in
this calculation. Then we specify the reference
point, check it out. Then for the second point, we array these objects
like this way. Check this out. As you can see, the general parts are created. And according to the picture, this part, opening is filled. So to fill this opening of
this side of the building, you should select these pass
and then we isolate them. And then by using polyline, we draw a curve or
polyline by this way. Then I then, we want to
extrude the created curve, check it out to
feel the opening. Watch this part, please. By this way. However, we could have flow the
surface on the wall. I mean, before
arraying the objects. But no matter, again, we select it flow along surface. Then bay surface, target
surface, hack it out. Wait for a second, watch this. And then again, we
start the command. Then we specify the
target surface, check it out by this way. And group as we
have grouped them, flow them, can select
them right now. And then we'll
start array linear. Then we specify the
number of the items nine, and then specifying
the reference points. Check this out. Why this way. We array them, and
as you can see, we have created
the general parts of the tower or the building, and then at the top, control F one to set the
maximized viewpoint. And at the reference, we could have draw a circle. We pick the circle and then from the origin point,
check this out. Select the curve,
as you can see, then we'll start shroud curve. Check it out. 195 for the
height, press down inter. So by this way, we
created the central core. We turn off the reference layer. So we can observe the objects. And also, for this part, again, we should array to
fill the openings between the parts
of the building, array linear, eight
for the numbers. Then we specify the
reference points first and second.
Check this out. Well done, as you can see
on the scene, right now, we delete these windows, se, and then we change the object
clear and turn them off. And then the only
things that are left are these circular holes, as you can see that
for creating them, again, we can set the
construction plane on this phase, and then we can isolate them since we can
focus on them better, and then we draw out
a curve like this, and we start drawing circle on, and we should check the number of the circles at
each of the parts, control shift edge, and then I select one of the
Masules following that. I want to create
some copies from the circle along the
drawn curve vertically, as you can see. Check this out. By this way, select height and then make whole, check it out. We select the circles, and then the surface. Following that the depth
point at the top view, we adjust it, and then we adjust the depth
points, fell down. We return this deconstruction
plantig default mode, and we can apply
these for other pass, just like a practice, we select these circles and
then control G to group them, control show the
other layers objects. We select these circles, and then by using array linear, we want to array these holes linearly at the number of nine. Check this out by specifying
the reference points. Again, we can select
them, make whole. Then we specify the surface, the depth point, not 0.2. Great. Next part, select, make whole, surface, and then not 0.2 for
the depth point. We made a mistake.
Let me check it out. Surface, not 0.2 and then click. In the continuation, I want to create the holes for
one of the sides, and even we can array one of the parts after
creating the group. I mean, we can array
it on other parts. So I'm going to
select these pass. And following that, I want to delete them, check this out. We select them, and then
we delete these pass. By this way, we delete
these phases like this, and even we can delete
the other parts and keep the first one and also the circles,
we delete them all. Following that, we select the first group and then mirror, origin point for
the mirror plane for placing them
at the other side, and then make holes. We specify the points
and the depth points, e it out, not 0.2,
and then click. Again, we can select
them array linear, nine as the number. And then I specify the first and second
reference points to array this part,
check it out. Check it out, guys, by this way. We model the tower completely
and in details by this way. And then I can open the top
view from the reference parts to draw the circles of the
parts by using clander. Check it out from
the origin point. And then I should specify
the end of the cylinder, which is at 190 meters height. And here even we can select
it and then take it out, we select it, and then
move it upwards, 3 meters. And I also select the top
face 3 meters well done. And the final stage, we need to select the pipe here, and then we want to array, copy, and then we specify the point
to copy to by this way. After that, let
us take a look at the pictures and
check the details, select mirror at the
other side. By this way. We turn off the reference layer. We start cell curve
to select the curves. And after selecting
all of the curves, we press down control
edge to height them. Then in the continuation, we're going to use twist in
order to rotate the building. So we select all of the objects, and then we start
twist the start of the twist axis from
the origin point, and then the end
of the twist axis, we hold down control, and then we move it
upwards, check it out. Like this. And then I import
the height of the tower 195. Note that you should move the
point upward to this point. So note that you're not allowed to extend it more since here, we're going to
specify the angle. And if the axis was longer
than the length of the tower, then the twist will be applied
at the specified axis. So be careful in specifying
the start and end of axis. Talked about infinite option. I mean, we can't specify an
axis which is shorter than the building and set infinite to yes and want to have
the expected results. For example, if I extend the
axis to the middle part, and then I set infinite to yes, and then I import 90 degrees, the applied angle
would be 180 degrees. As you remember, we explained
this comprehensively. We import 90 degrees for the angle of the twist,
press down inter. And since here we got
too many objects, it takes some time, and you should
wait for a second. And as you can see, rigid
has been set to know, and also preserved structure has been set to know as well. So note that you should have set these two
options to know. Following that, we can have the object twisted.
Let's check it out. Here as you can see,
something has done, check it out after a
while, buy this way. And then here we can use the layout or the
layers to associate or assign the materials to the objects and then observe the project at
the rendered viewport. For example, I click
on the Glass layer, and then we specify
custom for the type, and then we specify
the color for the material like this
way. Check this out. And also the purple layer for
the walls that we're going to specify the white color. Check it out. Then let's check it out at the
rendered viewport, control all our
buttons. Watch this. Here we got the tower at
the rendered viewport. We pick the box from
the origin point for the base part of the
building like this tow down. Well, done. Then Zoom
extent, as you can see, the project is done in
details, which is great. If you're interested,
you can share the projects photos with us. And if you got any
questions you can ask us, and I hope that you find
this video informative, and I wish you luck. But, guys, before
creating this model, you should have done
the previous models and previous practices to prepare yourself for creating
such a model. I look forward to
your feedbacks.
168. Practice: And for creating such a bridge, here we can use the front view or the
profile, as you can see, we can draw the curves or even we can import the
image into Rhino, and then by using extrude, we can extrude it in a
flat and straight curve. Following that, we can
realign the object or the profile on uncurved
line by following curve. So at the first step, I import the image
into front view. By click and drag, check it out, and then I drop it into
front view like this way, we got this section view. Then at the front view. I select the image and
then in the material, I increase the transparency
of the imported object. Then I started to drawing the profiler
cross section care, a rectangle like this
way, following that, one more rectangle
by using SmartTrack, check it out like this, following that, one more
rectangle at the bottom part. By this way. And then here by using a
rectangle like this way, then I go for the next
part from scratch, and then the last part. Great. I select the rectangle, and then I move it to downward, and then I adjust it
from the midpoint, check it out like this way. Then I select these
two control points at these two corners, and then I scale
them by this way, check it out. As you can see. Then in the continuation, we got the control
points selected, and then we scale
them by this way. Following that, we select
all of them, trim, and then we delete the
extra parts. Watch this. Then I join the selected curves. Here we got one closed curve. Then at the next step, we can draw the curve
like this way by using a SmartTrack holding down shift restricted direction and the
other curves check it out. Following that, by
using array curve, I click on the curve, and then the number of
the items five or six. Watch this. And then I
want to mirror them, mirror them at the other
side, like this way. I remove the last one. Then I draw a curve
at the top part, parallel to the bottom one, and then I start sub curve. Let me zoom in to
a specified point. For example, here, I want to
use the intersection snap. Great. Check it out. Then again, I start sub curve. Then I should select
the curve to shorten. I set copy to yes, then I specify the curve. And then I move the
shortened curve, and move it downwards. Following that, I use trim
to delete the extra parts. And then finally, I
draw the slanted curve, parle it with the slanted curve, sub curve, copy and
move by this way. And then by using connect, we connect the two s. So, guys, we created the curves, as you can see, and then mirror. I set copy to to
create a copy and also mirror them at the
other side, like this way. And then we got the
two middle curves. So here we can draw rectangle and then choosing
the control points, check it out and scale them, select mirror by picking access, and then copy the weight. So we're done with the general
things or main curves, control to unlock the object, and then I assign
the object layer, and then I turn off the picture. Following that, we're
going to select the set of curves and then extrude
curve, check it out. We extrude the curve like
this way, as you can see. For instance, at the length of 150 meters for the
length of the bridge, shade it mode, check it out, and let us check it out. Here as you can see, some
slanted curves are skiped, so let us draw these slanted
curves, check it out. I draw these and also at
the other part like this. And then after drawing them, I select them to create pipes, and then the radius, not 0.02, for the pipe
radius, check it out. Then I select the
less created objects, Control G to group them following that by
using array curve. I want to array these
pots and this path. Following that, I
specify the number of items or the distance
between the items. For example, at each 6 meters, and then I array them in the specified path
like this way. So in general, at first, we managed to create the bridge on a
straight and flat path. Then in the continuation, we're going to draw
the curved path, and then we'll start flow
along curve or flow. Then we select the
profiles or the object. Following that, we should
specify the base curve. So here we're going to
use the option line and then flow it along
the curved line. Note that you should set chin and setting
a stretch to yes, since the length of the base curve and
the target curve are not equal to each other, so we need to stretch the object at the
length of the target curve, and we set preserve
structure to no. And then I click on
line to draw a line as the base curve from the
midpoint, check it out. Then I specified a target curve to flow the object
along the target curve. Wait for a second to have the object along
the curved line. But at this situation, the suffer has not crashed. We should take your time
since the process is loading. So then we can have the bread check it out on the curved line. By this way. Well done. Let us check it out at
the rendered viewport. Look, the pipes. Here we can select the object, and then in material, custom to create a new material and then associate it to the
object with a new color, gray, and then check it out. Let me hide the other objects, since we need the curve law. Then I select the
curves. I hide them. Then in the continuation, we're going to
select these trusses that we create them by curves, and then we convert them
to convert it into pipes. So I select these and then invert to invert
the selection, and then we select the
deselected objects and the deselected
object will be selected. Control G to group the traces or actually
the traces. I'm sorry. Here I want to associate the material to the
traces, like dark gray. Right, click and then
assign to object. By this way. So,
guys, by this way, you can assign the
materials to objects after modeling the bridge and
flow it on the curved line. And as I told you
before, about the flow, flow is the best
choice when we got a specific object which is on the complex and curved path, since we can firstly
model them on a straight and flat
curve and then flow it on the
curved curved lines, actually, even on
non planar curves. And I consider this as the
main application of the want you to share the picture of your projects if you're
interested with us, or even you can share the
pictures with other peers. And as usual, if you
got any questions, you can ask us, and
I wish you luck. For instance, if you
got such a curve and then suppose that we want to array in a specific
object along the curve. Suppose that here I draw a vertical curve and
then by using pipe, I convert it to such a pipe, check it out by specifying variable radius arrayias then it's time to use array
linear, check it out. I array the object in ten items. Fell down. Following that, flow. We select the objects, you select the objects, and then the base curve. And as you can see, we do
not have a base curve. So here we can use the
option of line to specify it as the baseline of the
flow line surface, flow line curve at the top view, I enable the project, and then I draw the curve from the midpoint,
like this way. Then it's time to specify
the target curve. Then I click on the curve
as the target curve. Here, one of the
practices that I have considered for you is
creating such a form, and for creating such a model, at first, we should model or draw one of these in
the construction plane. And then by using flow, we can transfer them on an
arc here at the top view, interpolate curve, and then
I enable grid to snap, and then I start
drawing such a curve. Then I select the
curve and then by using array linear and specifying the
number of the items, ten, I array the curve, check it out, as you can see. Then I select all of the curves, and then I mirror
them by picking a plane at the upside
like this way. Finally, we select them. Then mirroring one more time. And here as you can see, in general, we're almost done. And after creating these, we can select them and then open the perspective view
and by extrude curve. And then I want to set the
extrusion distance for the centimeters and setting solid tone or at a
distance of 1 meter, I extrude them, check it out. After extruding them,
move this curve, and then I upward,
as you can see. And then in the continuation, we're going to model one of
these bubble shape images. I mean, objects
can select curves, and then I isolate them, then trim to trim the
extra parts, check it out. I hold down out, and then I click on
rotate, check it out. Then I click on the red arc, which is related to
the z direction. Then I type 90, we delete the bottom
curve or arc. We don't need it. And then I
select these curves or arcs, each of them individually. And then I select
this control point, and then I move it downwards. But before that, I want
to use rebuild for the point count five to minimize the count
of point count. So then we can control the continuity of
the curve easily. Then I start loft. I select the curves, and then we create the surface. I click on close to
close the surface. Then I click on isolated object. I mean I right click to
show the other surfaces. And then I want to use
array linear to array the created surface
like this way. Then at the next part, we want to realign, I want to realign
these objects from the base curve or the straight
curve to a curved line. At first, we draw a straight
line here like this way. Following that, we draw
a curve like this way, which is non planar
like this way. And then we start flow. Then we select the objects, following that, the base curve
and then the target curve. Then we will have the objects
aligned on the curve line. Then we select the
last created objects, then array linear, then the
number of the items, 15, and then at the top view, we specify the reference point
for arraying the object. Let us tick it out at
the rendered view port. Look. And this is
the final result. So, guys, by using flow, at first, we created the
object on the flat curve
169. Creating Topography: Hello, dear friends.
At this part, I'm going to teach
you how to import the topography is into Rhino. At the plugin of and design, we learn that to import a
topography to Rhino from the received data and information from the
Open Street website. And at this session,
I want to introduce two other approaches for importing the
topographies to Rhino. First approach is using
a sketch upp and then the second is using
Cat Mapper website. Here at the beginning, I mean, at the beginning of
the session, here, I can open a sketch up
and then from File Menu. Then in geolocation, I
click on at location. Following that, you can specify the location to add
it into the software. You can search your
city or the region. And when it was updated, you can zoom in and specify the region into the white
frames or boundaries. And as you can see, by
the heel of the mouse, you can zoom in and zoom out. After adjusting the boundaries, I click on Select Region. Following that in
select provider. I choose highs near Map, which is not for free. And as much as you
increase the import level, you have to pay more for it, as you can see, early 600 bucks. For example, for the
specified region and import level as two e one, you have to pay nearly $600 to have the specified location
and region and details. But we set it to DigitalGlobe, which is being used for free, and then I specify
the region again, and then I click on Import. So then the location is
being imported to software. And after that, look, we will have such a plan or map in a sketchop
here as you can see, we got it in two the drawings. Here I can select it and
then in geo location, and then I click on Show
train or show terrain. Then we will have the plan with evenness and unevennesses. And also, considering
the slope parts, I undo, control that. And then again, I want
to add another location. I want to choose another region. So let me see and then check
out the location and map. I select the region and then
import by DigitalGlobe. Wait for a second,
please. Well done. Following that, in geolocation, I click on Show
train, check it out. Here, if I want to add a region to this,
again controls it. And as the imported imported
location is planer, I click on add more imagery, and then I specify
another region. By this way, I select some other regions to
import them to Rhino, and I move to the left side. And as you can see,
the regions that were important to the
software before are outstanding because
the new region in some parts got overlapping
with the previous region. By this way, I import it. Check it out. We got these two plans and then
show terrain. Check it out. Finally, we will
have the topography. So these were the
primary steps for importing a topography or
location into sketch upp. Then at the next step
in adding a location, we want to transfer the topography or the
location to Rhino. So wait for a second. I'm adjusting this part. We want to consider this region. I select it, and then
I set to provider, DigitalGlobe, and then import, well done, show
train, take it out. Following that, from file, export treaty model,
then in Savas type, we're going to specify the type, FBX file, and then in options, you should uncheck scale, you should uncheck
swabs that coordinates, okay then we assign the name for the file like 01
and then export. Wait for the export to progress. Then we will have the location
exported from SketchUp. Then we can import it to Rhino. And by click and drag, I drop it into Rhino. Here in the file options, I click on Import File. Okay. Check this out.
I click on Okay. And the specified unit
at a sketch up and also the specified unit for Rhino is different to the
specified unit sketch up. So here we should confirm
the scaling of the FBX file. We click on yes, and then we will have
the location like this way. Check it out. Then if I show it in rendered
viewport, as you can see, we got the texture and the
colors and materials in 02. And also here we can use Quad
remesh command to quickly create a quad mesh with optimized apology from
existing surface. May be used a unique algorithm to generate manageable polygon, actually polygon meshes, which
is ideal for renderings. So we want to convert
them to other polygon with more edges and also
subtes but before that, I enable vertex snap, and then I measure the
length or dimension here. For now, the length of each
of these edges is 14-17, that here we can consider 15 as the average quadri mesh
then target edge length, 15, then convert this
up this and then okay. So we set the approximate edge
length of the output mesh, and here is the created
file that you can easily select it check it out, select each of the surfaces and then make your changes upon. And if you didn't want it to convert it to sub
Ds and only mesh. I mean, when we check
what convert to sub Ds, the results would be in
a smooth curved surface. So we can convert it
to sub Ds or not. These are D two approaches. Or we can convert them
to nerve surfaces. And to do this, we can
start drape command. And then I set spacing to one, and then I click and drag a window over the area to drape. Check it out. Like this way. And then I create the I mean, I select the surface, and then we can rebuild the
newly created surface and increase the point
counts to make it more smooth or even minimize
the control points. For example, I set it 160
for both and U directions. Following that, we will
have such a surface. Or the topography, in fact, then from material, we can assign the material
to our new surface. Then we can use Project to C plane to have it on
deconstruction plane. And then by using loft, we can fill the openings to make it solid,
as you can see. Stick it out, then I hide
this part or these objects. I'm sorry, these objects. And the other things that you can display them
in the scene are the elevation lines and also the section lines
of the topography. So I select the top surface, and then I copy the object
to the layer in layer 01, and then I turn it off. Following that, I select
all of these objects, and then I make them joined. And the reason of creating the copy is to
keep the material, keep the assigned material. Since we want to
replace it later, then I use contour. I specify the direction and also the distance
between contour planes, for example, at each eight
or at each 10 meters, 8 meters, for example. So we wait for
calculating contours. And then finally, we want to replace the top surface with
the surface of the plan. Here we select the
object and then explode. Then we select the top
surface and we delete it, and then we replace another one. And then we select the curves, we select the curves, and then we can modify
the color of the lines, hack it out here in
select layer color. Then after creating
the contours, we can export them. For example, here in display, general settings, I
set it to solid color, and then I specify the
color like such a color, take it out, okay. For the background or, for instance, let me check
others by the spy, dark gray. And then if I want
to place them on the pages or layouts and have
them in the presentations, and then here right
click capture to five. Here we can specify the size of the view capturing
and also the scale. I mean, in fact, the resolution of the captured
view is mentioned, as you can see, pyramid pixels, but you can specify
the scale index. So this was the approach for exporting or capturing
the view graphically. And this was the first
approach for importing a topography into Rhino
software by using sketch up. Then the next one that I told
you before is about using cat Mapir can sign in
in Cat Mapper website. Following that, at the website, you can consider a
region in location. Here in the map on the map, can search for a specific
location like in Italy. Let's check it out. Then I want to consider a region
at the city like this way, I adjust it into the boundaries. And just like
adding locations in a sketch here we should
pay for some details, and they are not all for free. So I adjust the region less than one kilometers,
which is free. As you can see, up to
1 kilometer is free, and then I create the
file or square meters, actually, wait for a second. Okay. And here are the
exported file DXF file, as you can see
that we can easily click and drag it and
then drop it into Rhino. So then we import
it by this way. DXF. Look. And as you can see, the map is imported to
Rhino from Cat Mapper, and in order to export it
specifically for Rhino, we click on Rhino five and then TWD Building
and other options, contours and that falls
height and also topography. For example, firstly,
in TD building, they will be exported
if they were any TD building
within other details, create file, and then
wait for a second. Since the file is being created
and it takes some time, and then we download
the file like this way, click and drag, and
then we drop into Rino, import file, Wait for a second. Maybe it will be positioned on the previous drawing.
Yes, exactly. We select it, and then
we move it by this way. So as I explained, we exported the file
from Cat Mapper, and then we import it to Rhino. And then here we got the details in different kinds of
layers like paths, minor roads, buildings,
major roads, parks, waters, and
stuff like that. For instance, we can assign a new material for
the buildings. Like, let us specify the color gray and also increasing the
transparency by this way. Or let me decrease
the transparency. It would be better like this. Or even we can assign
another color for the topography here
in topography, layer material and
then selecting color, again, dark gray, and then
assigned, take it out. Well done. Look. Okay, so
addition to the topography, we can add other details such as the buildings,
waters, baths, minor and major roads if they are available
in Cat Mapper, so they all can be
imported to Rhino and can be assigned with new
material, as I explained. And I hope you find
this session formative, and I want you to share the
pictures and the samples of the topographies
that you've been working on with us
and the continuation, you can split some parts of the topography and even you
can make them plan R and position some buildings
on and then share the final results with the
other peers or with us. I wish you luck, and I'm looking forward
to your feedbacks.
170. Example Modeling Traditional Architecture: Hi, guys, I hope
you are doing well. At this part, we
are going to have a brief talk about
Islamic architecture, since I just thought, if you may find it
interesting and also about drawing carbandis and also about copying in architectures and some other
topics such as columns, that we will talk about them
at these exceeding parts. But for now, the first
thing that we are going to deal with is
drawing a simple carbnd. So, first of all,
if I want to draw a carbndi at the first step, we should analyze the main
geometry of the carband. We should have realized the
geometry of the carbandy. You, first of all, I'm
going to search for carband in Google's color. Like this way, I search for
carbon D. Following that. Wait for a second, please. Then I download some files. Here we got an essay about the history of the
carbandy as you can see, and some explanations
about the different kinds of carband about the
dimensions or edges. Here we got the treaty view and also the plan view
of the carbandy and also the base of the divisions of curves for
drawing a carbandy. Following that, let
us take other images. Here we got a geometrical table in which we got different
types of carbon dis, that they are sorted based
on their number of sides. As you can see, from
four sides to 20 sides. I mean, it focuses
on the polygons. And then in the continuation, I want to model one
of these very simply. Then along with that, I have imported, I have
opened a cat file, as you can see, and as you
can see in which we got different kinds of arcs
that I have downloaded. And you will be given this file. So then you can use
these arcs like this type or the other
types, as you can see. All in all, you can use one of these arcs in order to make the process or the project more precise and also
simplifying the process. For instance, here I want to choose this arc
as you can see, let me select them. Control C. I create a copy, then I open a new file, Control V, I save
it. Check it out. After pacing the curve, I save the file. By this way. Then in rhino, following that, I want to draw the base polygon, eight for the number of sides, and then I draw this
polygon like this way with eight sides or edges as
the basis of the geometry. Following that, I add the
required curves to the polygon, like this way. Check this out. I draw a curve from each
of the vertexes and then connect it to the front
vertex, as you can see. And then by using Import, I import the saved arc in
autocad like this way. Check it out. I select
the last created object, and then move it. I rotate it at 90 degrees
to make it vertical, and then I position it
here at the intersection. Then we should scale it, scale. And then I specify
the scale factor, and then I scale
it, check it out. And here we got open
curve since they are not joined ControlJ
join these six curves. And after joining the curve, I want to draw a cross section curve or
profile like this rectangle. Following then, by using
sweep one rail, check it out. I create the surface by specifying the path and
the cross section curve. I record the history, maybe just in case we needed
to modify the dimensions. So we select the control points, and then we move to increase the dimensions of
the cross section curve. Then after creating these, we're going to use
mirror command to mirror the sweep,
shake it out. Then we select
these two surfaces. Then array polR from
the origin point, for us number, and
then this step angle. I specify the first and
second reference point by this way. And this is what we expected. Then in the continuation, I select the curves. And then I isolate these curves. Take it out. However, I should have arrayed this
curve or the arc, the imported arc too. Again, I want to mirror
the curve again. After that yolR just
like the surfaces for, take it out like this way. Then at the next step, we open front view, and then via start trim, I click online, and
then I draw this curve. Check it out like this way. Check it out as you can see, then I select this curve and then split it by
using the other curves. As usual, I move on splitting these curves by using the intersecting
parts, check this out. And let me check
this. I split this. It isn't splitted. Look. Well done. Let
me check them out. Let me split this at the
intersection part, explode. And I split these. Well done, four curves. Then at the next step, we should select these
four curves for each of the arcs and then
convert them to a surface. So I use patch. I select these four edges, and then I create a
surface like this way. Check it out. By this way. Following that, I keep on select other edges to
convert them to surface. And then by using ray polar, eight at the specified
field angle, check it out. We array the surfaces. And then cell surface. I select all of the surfaces, and I turn off the Ia curves and have them make them grouped, control tE dgeT show the
other parts, check it out. We're almost done, guys. And finally, I can
create a copy from them and six at each
directions and one in Z. Following that, we array
them like this way. By this way. We're almost done. Artistic display
mode. Watch this. So we manage to create
such a form control Z, there is no need to array
carbon control G to group them, and then I change the object
layer and I turn it off. So let us go for
the next practice. In the second practice, we are going to model a
carbon D. So let me pick the rectangle from the center
to draw a square like this. Following that, I want to draw a polygon inside of the square. Check it out that the edges
are tangent to the square. Following that, again,
I'm going to use one of the downloaded arcs in autocat. Let me select one of them. For instance, this
or another one, can select them, create a copy, and then we paste
it in the new file. Following that,
we save the file, and then we import
the file into Rhino. Look, arc open, then we can use the imported
curve. Actually arc. Pat for a second, please. Great. So I select the
arc, then I join it. I rotate up 90 degrees, and then I position it up there. Then it's time to scale it. I specify the scale Ly After
scaling it, then rotate. I set copy to yes, and then after creating a copy, then I mirror it
at the other side. Like this way. So we model
the carbon D up to this part. And then I draw a circle
by using three points. Following that, we
select the top curve, and then we split it by
using these two curves. Look, I have splitted
this side of a circle. We only need this
part of the circle, so we select it, and
then I explode the arc. Check this out, and
then again join. Since you need only
half of the arc, then I'm going to
create the surface here, select real revolve. I specify the rail at first. Following that, the axis. Check it out along z axis, and then we create the surface. Then we select the surface. We click on a split, and then we delete
the extra parts. So, guys, we are done
with the surface, and then at the next part, we're going to draw the curves. The curves that can pose the section parts or the sections on the
carbendi surface. So to do this, I
pick the polyline, and then I start drawing
it from the region point, and then I connect it
to the intersection or to the corner and
to the midpoint, as you can see. Take it out. Then we should divide the angle according to the number of the divisions that we're going to have here, we can have different kinds of geometries according to the
number of the divisions. For instance, I start
rotate and then I set capital from the
origin 0.45 degrees, but I want to divide
45 into four or five, I divide it into
five L then I mean, here I should repeat the
dividing 45 into five. Lo 18, 27, 36, and the last one, which is 45. We select the
rectangle, then extend, then we extend these curves to the edges or edges of the
rectangle like this way. Following that, we
select these curves, and then we mirror them
at the other side. Then we should connect each of these curves to their
corresponding curves. I mean, right now, we're
going to select each of these and then connect them
to the corresponding curves. So at the first step, as we specified the number
of these steps here, we got five steps, as you can see, and then
we mirror the curves. Following that, we need
to draw the curves. But how, for instance, if I consider this as
the first point or A, point A, and also B, then here I should connect B, you B at the other side. Did you understood
or understand? I mean, if it was point B, it should be connected to
this point that I will show you in the continue like, such a line, check it out. We connect these two. Check
it out and the others, and then I keep on
connecting others. Look, by this way. We're gonna have such a drawing. So and we would rather to continue the
drawings in a new layer. So we pick the curve and then from this point
to the other point, and then I keep on connecting the other curves like
this way, a disorder. Then we can select
all of these curves, the new curve, and then we're going to split them
on the surface. We select the surface at first, then split, and then the curves as the
cutting objects, look. Then we will have the
surface splitted, then selecting last
created objects, isolate. And finally, array polar
four at the 360 degrees. So, guys, we model
such a surface. However, in the continuation,
if you're interested, you can create some frames
and mullions for each of these sections and move the
faces forward or backward. But here, let us have a review. At first, we draw
withdrew the base curve, which was the rectangle, and then the polygon
inside the rectangle, and then we drew
these curves from the center point to
the intersection at the specified angles. However, we can consider different angles
for these steps. Great. Let us remove
these images I mean these objects and go
for the next practice. Or let me change
the object layer. We turn them off following that. We change the object layer
at the next practice, in the continuation, we're
going to create a column. I want to draw a
simple column from the circle at the origin point and then specifying the radius, like 20, take it out. Following that, extrude. I extrude the curve
like this way, as you can see, we got a
cylinder at 200 meters. Following that, we
select the base curve, the base circle,
and then I move it upwards at the length
of two imeters. Let me move it upwards
again at the length of 160 and creating a
copy, check it out. Right now, we got two curves at each of the ends with
two imeters offset, and then by using a line, I draw a curve there. I select the curve pipe, and then the start radius
at the top of, for example, one for the radius, and we set cap to round
it. Check it out. We got such a form on the
column on the cylinder, then array polar from
the origin point, we specify third D for the pipe to array around the
CylanderO four, check it out and then okay. Well done, we create a copy, and we select these. Let me record the history. I want to select them, but I don't want the curve
to be selected. So we click and drag a
window. Let's check it out. We draw the curve
and then pipe at this part from the start
to the end, check it out. A different version. Following the day polar
from the origin 0.36, check it out at the top view. Let me increase the numbers 44. Great. Check this out. Then I select last
created objects. Hold down sheet to
select the input. Following that.
Let me try again. Last created object,
Control G two. I made a mistake. Control G to group them, not hiding them, well done. Then at this part, we select these pipes, Control G two, group them. Then at the next part, we select the input object, the cylinder, then the pipes,
put it in the friends. Let's check it out
buy it this way. Then we can have such
a model geometry that the shared
parts are deleted, create a copy following that. For the base, we need the base curve or the
base circle, dub edge. Select the circle area centroid to find the
center of the circle. And then by using twist, we select the column, and then from the center point, we specify you start and
end of the twist axis. Following that, at the
length of 160 units upwards, since I only want the
groove parts to be twisted. I import the angle for
the rotation 90 degrees. Let's check it out, guys.
Here is the result. Here we got the twisted
and the straight version, and at the last
part, we select it, and then we can start to t and then specifying
the start of the axis, zero, zero, 20, zero, zero, 160. Check this out for the
end of the tiest axis. However, I should
have specified 180, not 60, zero, zero, 180, and then the rotation
angle this time, 120 degrees. Let's check it out.
Well down by this way. Then we can have the
pipes twist that, so this is the result like this. However, each of these, if I turn off the a curves, check this out, and
I should scale them. However, we could have the pipes with lower values
or lower numbers. We got 44 pipes, so we could have considered a fewer value for the
number of the pipes. And then here I draw a
rectangle like this way, here, then I select the column, and then I can consider this column as the
columns of the building. Let me see. I want to select it. And move it from
the center point, sack it out, and then position it at the intersection,
like this way. Then I select these two columns as they are different
to each other. But it does not
matter. Watch this. We create a copy or mirror them, and then I'm going
to use rectangle. And then I want to start
it from the center point, center of the circles. For now, let me select
this rectangle, and then I move it upwards
at a length of 15 units, and then we left this L, and then by using cap, we fill the openings and then
place them on the columns. And then array polar
from the center of the rectangle to array this solid object on
the other columns. As you can see. Then following
that, we need an arc. So, so simply, I pick the arc, and then I'm going
to start drawing the arc or let me
try the semicircle. I specify the start
of the arc from the center and also the center of the other column by this way. I move on I hold down Control
to have it vertically, check it out, extrude
cave like this way. I extend it to the columns, and then I want to use a scale one D. I specify
the scale factor, and then I scale
it, maximize it. Then I hold down all to rotate
it and then create a copy. By this way, then we
select these two surfaces, pull and union, and then we
will have them like this way. I hide the extra parts
and extra objects, and then I select the curves and then
control to hide them. Again, array, we can array these objects four in
X and Y directions, and then I specify the base
base point for arraying them. Check it out like this way. Following that, let us check these columns out at
the rendered viewport. By this way. This is great. So, guys, we're done
with the columns. However, we can consider
a fewer number for the number of the
columns in array. I mean, we can place only
one column at the centers, not two or four. In general, I wanted to dedicate
this session to some of the architectural models that I hope you have find it
informative. I wish you luck.
171. Introduction to SUBD and Comparison with Mesh & NURBS: Hello, everyone. Welcome back. I hope that you feel okay. I'm here again with
another episode of Grasshopper Collection. In this part, we are
going to talk about a modeling topic and learn
some general concepts of it. In our upcoming episodes, we're going to consider
it as a modeling tool and make progression in
different projects with it. First off, let me
take a brief look at the history of submoduling
in Rhino software. Before Rhino seven,
now here, as you know, we are using the
version of sevenR 14. Well, before Rhino seven, the previous versions
like five and six, the modeling systems
that were at our disposal were nerve
and mesh systems. We already elaborate on nerves, and in previous seasons, we were all talking about
the nerves modeling. The non uniform rational Spline that generates the main
lines of a surface for us, and with the help of them, we could proceed
with our modeling. In no seven software, the submodeling or you could say submodeling tools are added. Meanwhile, in previous
versions, I mean, five and six, we did this
job with some plugins. In Rhino five, for example, we used TSP line plugin. And in Rhino six, that in this package, we dedicate a very short topic
about it was Clair plugin. At the beginning, let's
talk a little bit about the philosophy
of subdmdeling. Then later on, we
could talk about the different tools
of submodeling. And as you can see, there is a submodeling
item in toolbar standard. Okay, I just wanted to
show you the submodeling, and now here, I'll start
my job with a globe. And now I am drawing a globe with a radius ten
in nerve system. And then I draw a mesa spear
here with radioten again, okay, then a subdispear. And I move this 20 units. Minus ten, and I put this here. I put it on render
mode, you see. And this way, I'm
previewing these globes. Okay. I click on Display tab. I check the surface edge, sub diviers and mesh wires. As you can see, we have
three globes here, three globes that are drawn with three different
modeling systems. Nerves, mesh, and sub D. As you can see, in nerve system, we use some
mathematical equations. When we order it to draw
a globe, for example, the outcome is a smooth surface based on those hidden equations. In mesh system, in fact, we organize some polygons, and these polygons create
us an outlook of the shape. In the first season,
we talked about the difference between
mesh and nerves, and now I'm going to
mention it again. Actually, in mesh system, the only thing that is safe for us is the coordinates
of this point. Mesh is created from some
points which are called vertex. And those vertexes are attached together
and create edges. And the surface between these
edges are called polygon. The only things save for
us here are vertexes. In sub system, we have something between these
two, as you can see. You can see the smooth face here and there is a control
point on every vertex. I drag at the control points so you can see the
difference here. And what we are
looking for here is the smooth moving
in Subdi You know, we can use this advantage as
a supplement to modeling. Now, let's talk a little bit
about what is Subdimdeling. Consider that I have this
part of this globe here. Just to show you how it works, I'll start using a
line a line like this. You know, we want to change
this line into a curve. In doing so, I'm going to explode these lines
here or segment lines, and I change them
into separate lines, and then I divide
them into four parts. This part must be cut it. Now it's time to delete or omit the last quarter
of each line here, except for the first
and the last one. If we have some segments, I maybe leave the
first and last one. Then here I draw a line again. Then I divide all
these lines again. Four times, and I
delete this part. Look, with the help of a line, I attach this part. See? Let's turn off grid snap. Okay. In the next phase, this line, this line. Okay, this line. Even these lines, okay, there has to be
divided again, divide. Now I draw a line, but I don't omit it. Here this part and this part. If you keep doing what I'm
doing here constantly, gradually that line, I mean, the cross line that we
had before is changing to a curve would be changed
to something like this. Am I right? Yeah.
Something like this. Imagine that we
do this to a box. We do this to any volume, A volume with some faces, and each phase has some edges. Those edges, I mean, those lines that attaches the vertex and divide
into four parts. The first and second
parts are omitted, and then they finally meet. The first thing that I wanted
to show you in sub D is that the forms that sub D makes actually could be viewed in two states a smooth state
that we're looking at now, and the other state is flat. And I can switch between
these two states with pressing the tab key
on the keyboard. Okay. After this introduction and some other explanations, now it's time to get
to know the subtitols. In our nerves modeling, like the globe that I have here, as you can see, it's
a closed surface. I cannot choose the
surface between isocurves. This part cannot be chosen
as a separate volume. See. But in mesh part, we're capable of choosing
every one of these phases. I can hold Control
and Shift keys and click on every
one of these parts. Look. Or another method
that we could use to choose these phases is actually with the
help of sub objects. To do so, I activate
the filter here. Look at the last option. There is a sub
object option here. And when I click on
it when I check it, there appear three
more options here. Vertices edge and face. I do a right click here. And finally, now I can pick
the edges, the vertexes. Now the edge is chosen. Or surface or you could
say pace or polygon. Okay. After this, we
know that in my system, we can use the sub objects. And while in nerv system, we're not capable of doing this. And in SabDi we also
have sub objects. I mean, we can choose
different parts. For example, I move this.
So I hold Control Z. As we've learned until now that we have the same words and same terms like edge vertex in Subdi as we had it
before in mesh system. The next thing is that in pre
seasons in Rhino modeling, we learned some concepts. Like I learned how
to make a curve. I learned how to make
your surface with the love tool and with the
help of one L and C two, I can create my surfaces. All these tools also
in ABD would come to help us to create
different forms. Let's now get a start
with a simple curve. I start with interpolate curve, and now I'm going
to start drawing. In Rhino seven, when I
activate interpolate curve, we have an option SPD friendly. I draw a line simply
with new subdifriendly, and another line with
bright subi friendly. Now we have two line. Apparently, they're the same. They don't have any difference. I choose them and with
the help of gumball. I extrude them. I turn off sub object. The page that is made out of a simple curve is
an open extrusion. But the page that is made out of a Abdi friendly
curve is open SABDi. So the first place that I can
create a ZAPI is a ab line. A line that when I'm
using my drawing tools like nerves curve
or interplt curve, I can check abd friendly and
start creating such forms. A very simple extrude, and then I can edit
my work like this. Let's go for Sub the tools. Okay, up to now, we have seen
Sub the tool in Interpolate and curve like what we
saw for drawing a curve, I mean, there was an option in a tool that we
learned before. In Rhino seven, there are more tools that these
capabilities are added to. Okay, for example, I
start drawing a circle. The next one a bit smaller and the last one
maybe bit bigger. These three remind
me of laugh tool. Okay, I make a copy out of it, and I wanted to
change it to Azabdi. Okay, now I go to the ZabdiTols and now
we have Abdi loft here. Okay, so I can here
use Abdi tools, the tools that we used to get familiar with in a nerve system. So with this background
that you have, let's get a start to know the
tools that we have in abdi.
172. Plane Construction and Initial Form Editing: First thing that we wanted to mention here is a sub deface, a tool that looks like surface point that we already
know enough about it. If I choose the tree
face or subphase, it would create a page with putting the side
points together, and then I choose a tough view and I start
drawing my points. Okay, you can see,
what am I doing? I put the display mode on
shade it so I can see my work. I deloted and I choose
the tool again. Okay, now let's look at the
options that it provides. In the first option
that it gives me, I should determine if I want
my output a ZabDi or a mesh. As you might know before, many tools that using ZAPDi
could be used also in mesh. As we said earlier
that some of the tools might be the same as
the nerve system. Now we should add that because SABDi dripped from the
word subdivision surface, and it also borrowed
from the mesh modeling. So the tools might be
the same in some areas. The first to, I mean, the treaty phase that create a subdifaseF thing
that it gives us in command option is that it says that if you might want to
create a mesh that I here, choose the sub, about the
second option interpolate. Just to show you better, I actually draw
some points here, something like this, yeah. I make a copy out of it, and then I go to
the treaty phase, and I activate it. Interpolate, no. And interplate. You can see the differences. If I activate the control
points here in this shape, it would be activated on the points that
I used to click on. I say that if I
press the tab key, the corners my flat page would be exactly the points
that I used to click on. But in Interpolate, yes, the smooth page itself is
located on those points. It means that if I activated the control points
or use the tab key, the shape is out of the points. I hold control Z, I delete all these. I activate through the face
again, and Interpolate, no. Okay, the first thing
that I wanted to talk about is polygon type. Look, guys, generally speaking, when we are making mesh
or obviously when we use sub tools and we
create such forms, it's better that each phase
has an order in itself. If you know the mesh
modeling, well, actually, you already know
that the best mesh or we could say
the clean mesh are those mesh whose faces or
polygons are quadrilateral, or maybe one step lower are those meshes with
triangle faces, and meshes with
more than four size are not just always bad meshes, but, you know, in some cases, they put us in trouble. So from now on, we consider four
sight phases for our forms while model making. In Trey phase two, in polygon types part, we have three states
triangle, quad and go. I choose the triangle option, first point, second
point, the third point. No, it come out of the command. You see? In actually
quarter state, when I click four times, it comes out, and in gun state, it continues as far
as I keep clicking. Okay, controls that. So according to what we need, we should choose one
of these options here. I put the option on quad. Now I draw this shape, and I choose through
the face again. The next option is from edge. You know, when I activate it, it identifies the sites. And you can expand the edges you choose as the edges
of new faces. Look. As an example, look at this. Actually, I deactivated
through the phase. Chose from edge, and I try this. I draw this up from edges again, and I tried this. And this part. It gives us such
a pace, you know. Then I join them, so our face would
be shown like this. Okay. The next option
comes into two mode, multiphase and single phase. Let's first talk about
the single phase mode. When we draw the phase, it comes at a command. But when it's on
multiphase mode, after drawing one phase, it requires us to
draw the next one. So this is another option
that we can mention here. So now we know the
first command here. So now here, with
the help of this, I'm going to draw something. You know, something like this. When I'm drawing, I can use tab to continue my drawing
in some simpler way. Like here. Here. Okay. And here this way.
And I draw this. Okay. Now we've got this. Pages that we draw with the
faces have separate faces. Now I can choose them
and join them together. And after joining,
I'll have one sub di. I press the tab and
I show my form here. As you can see, all
faces have four edges. All of them are quad. If I want to edit this, I can activate sub object. I click on it and write back. I push this forward. So now let's get familiar with a command that we
haven't worked on yet. I can choose every
sub object here, you know, like, for example, this face, and I extrude them. Okay, with the
help of extruding, we're going to have a new form and look at the lower part. I press the tab so you can see. Well, I choose this part. I'm going to tell you how all these parts chosen together. I tighten this part, and I create such four. I can transfer easily from
one form to other forms. I can drive phase, and step by step, I can develop my form. I deactivate the sub object
and I go to the next tool. The next tool create a plane a plane that I can compare with
deformable surface. A surface that we had here, and I could choose actually the degree and the
number of control points. And in subitols,
the sub plane is going to ask us
about those options. For example, how many
faces on the X or Y lines. I activate the sub object, and I say that the four
phase should come up, maybe here this one phase. Then I choose the whole part
and make it a little bit thicker and with the
help of contour tools, I'll change it to
these types of forms. So from now on, we could start making our forms with sub tools and develop them. Needless to say that it's much easier comparing to
the rhino itself. Okay, pressing the
tab would help us to move between the
smooth and flat mode. Look here, I draw this up. Look, you can move easily. Now, like this part, I want this part
to come out a bit. It's great here to review a
bit about the gamble tool. I can right click on the gumball and choose
a line to the object. See, based on how my
face here rotates, it rotates the gumball. So here I can easily extrude. And I choose the faces. Now we are learning
how to choos them misily then I escape this part, and then I press the tab, and it comes out like this. This part. Okay and this way. To choose different
pass or edges, we have different
ways and methods. What are these methods
that I commonly use here except for
choosing sub object. If I wanted to choose some
edges and a drug frame, so some vertexes
are also chosen. Then I order not to
choose the vertexes here or not the edges
and just take your pass. There is a very, very
simplar way to do this, and maybe most of the
time is more useful. I'm going to show this
method on this shape, maybe with more parts
and faces. Okay. I want to choose
all these phases. So I activate sub object. I choose the first one. I should hold Shift
when I'm choosing it. And when I want to choose the second phase, I
should double click. And with this double click, it continuously
chooses all of them. Okay, let me show you
somewhere else. I choose this. I double click, and as you
can see, it chooses them. Now I can choose
between these two. Now I can choose this part and this part and
double click here, so the space is chosen. But, if I pick up these two parts and I wrongly
double click on this, it will rotate from that part. It's just the same four edges. Like I said, this edge
and the second edge. Now, from this age to this age, then this part can come out. So if I wanted to choose
these parle edges, we've got a tool SLEedg ring. When I type down SLEdge, it gives me two options SL
Ege loop and Salge ring. Loop is the one that we've
been using it till now. I mean, choosing the one, and the next ones are being
choose with double clicking. Now let's see what
ring can do for us. I pick up the parallel
edges together. Okay, up to now, we understand that with
a mixture of our filters like sub objects or tools
like edge loop or edge ring, we can choose different
parts of our faces like edges or I could say vertexes. It's time to take a
look at the next tool. The next tool would create
me something like cone, a cone that is being
made with sub demdeling. In cone, we also
have a cafe style. I choose this
option to show you. Okay, I turn out the sub object. The difference between
these two cones are about the lower parts. As you can see, here is a quad, and in this part, it's triangle. We got to know that having these two options is not
about bad or good options. Each option has its own usage. It depends on how we
want to use them. The next tool create an imperfect cone,
again, in subdmdeling. For example, look here. In this tool or
the previous one, we can change the
vertical or around pass. How many actually
division should we have in vertical state
or rotational state? For example, five here and four. And it all depends on how we wanted to
proceed with our job. Something like this. See? Okay, the next tool is
gonna create us a cylinder. The items that I don't
mention here about the previous items and the left items are
the simplest one. For example, the same thing that we have for making
a simple cylinder, we also have it here
about how to make the base of the cylinder like two points or three
points or side things. Like here, it's
asking me the numbers of divisions like vertical
faces or around faces, which is so obvious and clear. Like previous command
in cafes style, we can choose our
options and make our model with the shape of triangle or quad or other types. This is a quad, and this is a triangle. Let me tell you something here. When your sub object is on and you hold
control and shift, the whole shape is chosen, vice versa, when the
sub object is off, when you hold these two keys, the edges or
vertexes are chosen. Okay, it's time to dilate this, it's time to get to
the next command. The next tool is Sabi
spear here we can choose the number
or the density of subdifaces with the subdivision. And the type of drawing, whether it's, for example, a quad or a triangle or other types is going to be chosen with help of
changing the style here. In a style state, I have a vertical face
and a round face. I can have the division bilaterally in a quad
or triangle state, I can determine the actually
division times like this. Here in quad or triangle states, I don't determine the numbers of the triangle or
maybe the squares, but I determine how many level my division
should apply to them. In this estate, two times and
in this estate four times. In triangle form that I
drop before one level, and in this form four levels, you can see the detail here. So we should pay attention
that in drawing a spear, we should note that which
state we're going to choose. And based on my output form, based on how I want my
face or their numbers, I change the style and
determine the divisions. And okay, the next tools create
me something like a lens. Again, I can also
determine the cap style. It can be triangle
or quad shape. The next one gives me
something like a doughnut. Then I can choose
the number of faces, and the next tool is subdibx. I delete this I draw sub box with one
pace with two face here with like four pass again and maybe eight. Let's see here
something together. Contrary to what might
first come to our mind, when the number of
faces would increase, the flat state would be more palpable instead of going
for a more smooth state. You can see it clearly here. You know, as you can see here, there's one time, one level. It's don. But here it's eight
pass in eight directions. So pay full attention
to this point. Another thing that I
should mention again, we actually change them a lot in model making process with
pressing the key tab. We see our models in flat
state and smooth states. As a matter of fact, we switch regularly between
these two states. Okay, up to now, we've been familiar with our
primitive or basic tools. In the next part, we're going to know some of our modifiers
that could edit our work. And after learning them all, we're going to go for
commands like revolve, Save loft or other types
of tools in our jobs.
173. Complex Form Creation with Bridge & MultiPipe: In this episode,
we're going to get familiar with some of the
editorial tools in Subdi. The first thing that we want
to talk about is inset. To start at work, I
started drawing a box, maybe two faces in
every direction. X two, Y two, and Z two, like this. Then I wanted to have a
smaller phase in each phase. As you know, I can
activate this sub object. I can choose this phase, and with the Gamblextrud, I can draw my job
like this, like this. I press the tab and I can
see my job in this state. Now imagine instead of
extruding this phase, I extrude a smaller copy of it. In doing so, I can choose inset, then choose my face and consider the offset
as five tenth. And now, as you can see, there is another phase, a per phase with
the previous one, exactly with the number
that I gave to it. Now I can extrude it in. This 15 tenth. This time, I extrude it out. I press the tab, and now I have a form
like this, who control Z. Now I choose two phase. Two phases are choosen
and then I turn on inset. Now, it's asking me if I
consider the two phases as one and create a new phase
inside them like this. Or I show you here. I choose the two faces, and then I turn on insets. But this time, from
the command line, I put the mode on single. I mean, it's not
the group anymore. I put it on single mode. And now, based on the
distances that I gave it, it applies to the faces. And now I extrude these two. See the difference, it's
completely obvious. Control Z, Control Z, tab and the next command. Now we know and set command. The next command that
we're going to talk about is subdivide sub D. I can choose every
one of the pass, and with this tool, I can divide it into four parts. You can see here easily. And I can keep doing this. We also know that I can choose a face
and I can delete it. Like this form could
be created for me. Whenever I wanted to
choose the edges, the attached ones, I double click on it and
I choose it like this. Look, and I drag it, and this part should
come here a bit. I hold control to get
back to the main state. Let's see the next command. The next command is slide. With the help of this tool, I can move my edge or vertex. Now, I choose this edge, and then I move it. As you can see,
the edges that are attached to it are
moving as well, which is so actually rational. And then I can choose
this part and drag it up. And then I could extrude it. So in this way, I can move my edges so easily. I hold the Control Z, and now I choose
the slide again. Again, I move a vertex. And as you can see again, we can move our vertexes
so easily. Controls it. Now I could do the
sub the flame, and I try to draw two planes actually
with two times four. I draw it, or maybe three
times four is a better option. In this part, my sub
object is activated. Now I hold control shift. Now I hold out, so a copy would be made. Okay. The next command that I want to talk
about is bridge. In this command, I can attach some of the
edges or some faces. The important point here is that the number
of the faces or edges on two sides should be the same and their
time have to be the same. For example, I say that this phase and this phase
should meet finally. Let's see how it works. I choose and I activate bridge, and I press the Inter. Look. And now I can actually increase the number
of the segments of this bridge with
changing this number. And here I can change
the straightness. See what's happening. Okay. See? And then I press tab to
see what is the output. Okay, now this time, I choose these two and
these two, they should met. Okay. And now I change the
segment number one or two, and now I change it a bit. About actually Kris option here, we're going to talk later. Okay, now imagine
that I wanted to bridge this one to
these actually two. To do this job, I mean, attaching the one to these
two bridge is not useful. In doing so, I have
to change this phase. I mean, upper phase
into two phases. I mean that I need to divide
this phase into two parts. So I make a copy now, The first thing here comes to our mind is that
we use sub D. We actually divided it into
four parts and then I delete this line
and then this line. These two and these two,
and then I bridge it. That was one of the actually
method that we could do this job using
subdivide and then deleting the edges and
then making a bridge. We can delete them.
Now this time, I use these two. C, or even these two, a form like this. Okay. So to do this job, I can use another method, and I can use a tool which is called insert SubD edge
that we have here. And with using this tool, see, I can add another edge. And it can actually add another edge in parallel with the previous edges
that we had before. And then we could use
bridge here easily. Okay, so now I press
Control and Z. Okay, let me give
you another example. I delete this and this. And then with a bridge tool, I can bridge between
these two edges. So I can bridge the edges as well as I could
do it with faces. Well, okay. I delete that. Now I
hear I wanted to draw a triangle with the
center of zero. And then I draw a line here with the help of
the array polar command, and then I array them within
the hundred 60 degrees. To explain you the ritual, I'm going to introduce
you a new tool. Similar to the pipe command
that we have in Rhino itself. For example, I have
a simple line here, and then with the pipe command, I made a pipe out of it. Similar to this actually tool, we have multi pipe in ABD. This tool cover some of
the lines, for example, with a specific radius, and then make me a ABD pipe. A pipe that asked me if
it's cap ended or not, and I say, got to be ended. And, we have
something like this. Okay, now I'm going
to delete this. I choose the three and
with multi pipe two with, for example, radius one and
the cap ends got to be on. Then such forms is created. Now I want to attach these three and
make something like Y. To do this, I'd go and I choose
this edge and this edge, and then this edge, and then I bridge them. And then I can change the
straightness and okay, here, three or four. Okay. Now, again, I say this, these two, and this. And I brush them as well. These two. And again, these two. Maybe these two again. And these tools. And you can also do this to
the actually lower part. Now, I try to do it fast
with less attention. Okay. Now, let me introduce
you some tools, which is called stitch. You know, in some cases,
let me activate it. With the stitch, you
can actually stitch two separate faces together. It's a really actually
useful and practical method. Like this, they join
together and like this. See? And then finally
I can push here a bit. So a bit lower maybe. As you can see, we simply
could create such form. Okay, now let me
draw my two faces again and copy and then make it a bit,
you know, this way. So now let's get back to the
tools that we already know. We talked about
bridge that can make the face met or
somebody edges met. Now let me show you an example. I want this part to
attach this part, look, and I can easily give them the
segments that I want. And as you know,
with this handle, I can change the straightness, see, and I can also change the number of the
segments that fit my job. And we also learned
something else. We want these two edges
to actually meet. We did that easily with
a stitch and then we can say that where
she did locate 0-1. See, I can do whatever I want. So you see these two. I go to render mode. Look, within search Point tool, I can make a point, something like this
and like that, and based on the points
that I actually gave, it gives me some edges. To show you better, I
draw a face in flat mode. And then I use this tool
here, here, and here. Okay. See, for
example, this phase, it comes out and
this phase rotates a bit and like this and this
part got to come out. Look, now we know the
insert point tool as well. Okay. The next tool that
we're going to talk about is actually bevel.
It's Bevel tool. This tool can create us
two or several edge loops, and we can now see, you know, several edge loops. Actually, to explain
you this tool, first, I got to explain you the Chris tool and then
I'll be back to it. And let's see, six, six. I draw something like
this, I make a copy. Okay. So in this part, you know, the upper part, I don't want this part
to be smooth, you know? And I can use AdCrisT
and then yeah, I have a cut here, and you also can have it here. So we know that if
we use At Cris tool, such form would be possible. Okay, let me show
you something else. You know, I draw this plane. I choose all these faces, and I drag it up. And then I go to the At Cris, and I make a rise in this part. I put Ciplne like this and
I make this part flat. Okay, that's enough.
You saw how At grease worked. I delete this. Now, if I wanted to actually
get back everything, I need to use remove
Kris, you know, S. You know, this
part returned. Okay. Or I double click
and I use them, so the Kris is omitted. Now in this form, I use bevel and I choose this edge and see with
the segments that I want, I make the one into
different segments. For example, I
make it into four. Okay, it made it smooth here. And so I can activate remove crease and I delete
this part and that part. I want this part
be smoother well. Look, actually, maybe it's better to say that it makes one edge
into different edges. Okay, now here, I didn't
double click here, and I didn't take it edge loop. See here, we have gone. One, two, three, four, six. So there's a hexagon here. And maybe we don't like it. In order to edit this part, I also can delete this
and create forms. I use the treat phase and
actually fill this part, or I can use Append phase. I put the polygon type
on quad and from here, and again, from here, Okay. Okay, I first set up, see this part is made correctly. And finally, I can use
remove crease and ok. Not a big deal. I hold control it. Another method that I can create lines here is
using answer point, you know, from here, to this from here to this. See, three sides and four sides. Let's look at the other side. From here to this. I actually delete this so
it could be four sided. I press the tab
and I see my work. So now we have learned
another command here. Okay, now, for example, we have an open part, and then I want to close it. I have a command that
acts like Tree deface, but it attaches the new part
to the subdi that I have. The name of this command
is ApenFas and it can give me exactly the options that Tree deface had before. So let's delete this and
get to the next tools. Now here we know
about multi pipe, remove and add crease, bawl, insert side edge, insert point, up and face, inset, stitch, bridge,
and actually subdivided. The next tool that we
want to talk about is merge to couple in our face
or we could say phase. Look here, I have several
faces on a flat plane. Obviously, this tool
merge two faces together. Or yes, this way or these two
or these two, for example. Actually, we should note that
I cannot merge these two, you know, because they're not
on the same working play. So that's enough from this tool. One of the most useful
tools that we have and it was called symmetric in previous software
like Clo or TSVline. It is a reflect tool which is, in fact, creates the
symmetry axis for us. Let me tell you how this works. I draw a plane here, and based on this axis, I want to reflect whatever I do would happen to
the other side. I activate the reflect. I choose my shape that I
consider a reflection plane. Now, one side is gray, and I make the changes on
the side, which is not gray. And whatever I do
on the right side, it would be done
on the left side. I take, for example, this. I rotate it, I extrude it. And yes, I keep doing it. Okay. And I keep doing
my job this way. And finally, after I'm
done with my model making, I right click on this and
then remove symmetry. And it would result in some
simple and correct chip. I should note that when
I use the reflex tool, I got to pay attention
that, you know, this middle part
shouldn't be moved. You know? Look at this. This
center should not move. Maybe this moving
may cause problems. You'd better go on
the page up and down, you know, rather than going
to the different directions. Moving to the
directions may cause problems in actually
some situations. Okay, now I remove symmetry, okay, and its color come back, and now I delete this. So in this session, we talked elaborately on
different types of tools. Select sub the object.
We talk about it. And we also talk about
select edge loop and select the edge ring. We talk about them,
and select phase loop. We talk about this as well. So now, let me draw something, you know, maybe like this. Yeah. The next tool is
select by brushing. You go on the face, you brush an area, and then it would be okay, like this and it comes up. So it's simple. You choose
an area with brush, and the faces and edges would actually be chosen in this way. No, in this tool, I easily
can change the brush width or actually more
options like polygons. And I think that
you'd better use this tool with actually faces or with sub objects
that the density of the faces and parts are so high. So with this brush, you can choose a vast area. Okay, now, we'd better
go for another tool. The next one is sub deface
edge vertex selection tagger. And as you can see, it's a long name for a tool. Here, Okay. I choose some of the edges here, and I can choose the vertexes and the
faces of these edges. Let me show you how it works. I choose the edges,
then I tagger. And I tagger it, you know? And maybe I choose some faces, and then I tagger. I say, I want their
vertexes, for example. So as you saw, this tool is also a useful
tool that we may use it a lot. Okay, now let's talk about these three tools convert
object to nerves. For example, here, I'm
going to have actually sub D and I wanted to make
I wanted to change, actually, this sub d to a nerve. I click on this tool. I would be chosen,
and then here, it gives me a surface. It changes SubD to
surfaces as far as it can. But in some areas, it may
change it to polysurfaces. I mean, some joint surfaces. The next tool is for changing something to sub D. It
gets a surface or a mesh, and it changes to SubD for me. This is now my SBD a sub did that comes
out of this surface, and the Tiger sub D display is the control key that we
already talk about it. So now let's take a brief look at what we have
covered in this session. And so then we could go for other types of tools
for model making.
174. 4 Modeling by Loft Command and Creating a Simple Bench: So now, guys, let's
take a look at what we have in actually
Sabi collection. The first thing that
we want to talk about is Sabi revolve, as we have it in Rhino itself. Actually, we needed a cross
section like this one that I'm drawing here and
rotate it to the axis. And I activated the command, and he asked me for a line, and I gave him an axis. And now I gave him the axis
and the amount of rotation. Now I want it to be full circle. As you can see, it's exactly the form that we had
it in Rhino itself. And now we can use
it in API as well. In fact, we could
say that when we give it a nx and
rotation amount, we can determine whether
it's ABD or a face. I mean, the revolve command
would give us a API output. So now let's talk a little
bit about this tool. Okay, I can give it an x in directions or
in perspective area. Now, with the help of control, I draw a vertical x, and then I activate the four
circle for rotation amount. And now, to show
you the segments, I make a copy. Okay. And 20 and it
comes up like this. You can see the different
segments that creates for us. Now, I activate sub object
and I choose some faces here. So some areas are
chosen like this. And actually, here,
I can use gamble in order to extrude the shape
in their own directions. Okay. I extrude them. So finally, it would give
me something like this. And now I'd better to
turn off Zabi wire in this render mode so I
could see it far better. So, to be honest, there is nothing new about
the revolve in Zabi. The previous things about
Rhino revolve is correct here. I can choose the edges here, and then, okay, I can
pull them a bit here. Or I could actually choose some vertexes here and
then draw them up. So I delete them. I delete this as well. So let's get to
the next command. The next command is
SABdloft and after this, I'm going to talk about
Swip one and Sweep two. Actually, in SABIloft I got
to have some cross sections. I'm drawing these
cross sections. Okay. I activate a command. I choose the lines
and then enter. And we have all those
discussions that we had already about the loft
in nerve systems. We have them here as well. And, you know, after this, we could have this shape. Now here, we've got
a sub loft window, so I can give it the segments that I want to
give my actually sub deface. And I can add these segments
in different directions, vertical or my own
cross sections, and then I can
uncheck this option, and it can keep me naturally
the segment that it has. And I can have these changes
in also vertical direction. And now I can use
the closed options, but we got to pay attention
that we shouldn't have such a four and actually, the next option
crease would give me broken lines where actually
my cross sections cut. And we could say that
it helps us Our Sadi to look broken or cut
it from those parts. And now we're done with it. As you can see,
different parts of my surface are being
chosen. I tell you this. Okay, let's go to
the next tools, Sweeper one and Sweep two. I know that you're
watching this season, and you already know
all about these tools, and we're just
reviewing those topics. Okay, I take this circle and I rebuild it with
eight control points. Maybe this part should go up, and this part should
go like this. Okay, and then I
activate sweep and I say my rail and my cross
section, then I entered. And here I can change
the segments or faces that I want
in this subdi So, or I can choose the faces here, and I take them up a little bit upper and this
part should go lower. And then I can edit my job like this and
I delete them all. In Sweep two rail, I draw a line here, now, let me tell
you something here. If we with the help
of Interpolate Curve, for example, three degree
and sub differently, yes, we draw a line. The added control point
is not chosen here. And when I actually draw a line with two clique and three degree to have
four control points, I got to notice that the sub
referenty should be off. And now I'm drawing my lines. I make it a reflection. And a line like this. And then I give it a
rail with swift to rail. And I have my surface. Okay. And you know, here, look, there is a distance here between my rails
and the surface. If I check the corners, I got to have corners, and if I uncheck it, it would be disappeared and
look what is happening. Okay, in segment parts, I can add up more
segments to my work. And if I add up more segments, it would cover my cross
section or my rails. And, you know, with
these settings, I can fit my surface on
cross section and my rails. And now I do this, okay, and okay, I leave
the corners to be on. And then I want these points to be just right on the line. Okay, we already know about
the set Pitt command, and I activate it. To be up and down
in that direction. I can use that
command or I could actually drop my face a bit, or this face should be here. And, you know, if I really want my subdi to fit the lines
when I'm creating it, I should actually increase the segment parts and as far
as it would fit my work, you know, Okay, that's it. So now let's show you some
examples of sub remodeling. And now I'm here
with using a flame. I put Y on one and on three. I draw a line here like this or, okay, in this direction. And now here this part, I do it again. I press the tab to have it flat, and I rotate this part
and drag it up a bit. I choose the whole
part. I dried up, and then I make a
copy out of it. Choosing a bit of scale.
Okay, that's enough. What I wanted to do here
is that I wanted to these edges to meet this
edge to meet this edge. Okay. Actually, I wanted to make a bench that this part
should be the backbench. So I wrote it a
little I put it here, and I push this a bit here. Okay, a bench with a seat here, and maybe I rote it here a bit, and then I go for bridge. And this part should
meet this part, Bridge and then
okay, inter inter. I press the tab so I can see
my work in a smooth way. And it could give me a good
form with one or maybe two. Then again, I go for the bridge, and this edge and that edge
should bridge together. Okay. Now, I actually pick these *** and
make it a bit thicker. And now I want the
reflection here. I actually activate
the reflect and I say, I want my shape from here
that I be reflected. So now I can see the
reflection of my work. And maybe here I actually
move something gumball. Or, you know, here, maybe one vertex should
come a bit lower. Now, it's up to you to
make changes into it. It depends on your
talent or taste. Well, now here I add another subi plane I choose it and I
drag it up a bit. And then I should,
should come here. And the form that I made here needed to be reflected
on the other part. And to do this, I'm going to activate the
symmetry for the new form. I put it here. Okay, now I
actually have this part. I deactivated the symmetry, and maybe after this, I should, you know, do this a bit, you know, so now I can bridge these parts
together as well, you know. To do this, I got to offset, you know, offset sub D, and then the solid got
to be with, you know, density, and 2,500 could
be a very good density. So now we have such a form. You can, you know, use or
add up more details to it. And I said, it's
completely up to you. And here, I can, for example, bridge
these lines together. And you could bridge
this as well. And you can rotate it and
drag it a bit, push it up. Okay. And you can
bridge it here as well. Look, I'm going to
bridge it. That's it. Okay, I hold control zit, and I want my bench like this.
175. Modeling a Chair: Now let's take a look
at our next example. To start a job here, I start drawing a flame
with some random sizes, a plane, which is three
in X on X and one on Y. I press the tab so I can see it as a flat and some object is on. Now I drag this edge from the left part and I
draw such a face. And another face but
with short hair, and then I go to the top view. And here I draw another
face with YN X count. And I take this up here. Okay, I go to the front
view and I activate rotate. And then I turn on the
copy to have one more, and I move it here a bit. And then I turn
on the grid snap, and this part got
to be like this. So the height of these two parts got to be the same, actually. And, you know, these
two got to be okay, got to be next to each other. Okay, it's nice. So I choose these two edges
and make it a bit longer. And after this, with
the help of bridge, I want these two edges
to met each other. And now, okay, I have a bridge for this
part and this part. Okay, inter inter Okay, the primitive form of a
chair is now created. And then, again, I go
to the reflect tool. From here, I want it to
make a reflection for me. That's right. Okay,
this part is too much. Oh. I could have done it. You know, I could have
put it here, for example. And now I have this chair. This part got to come up a bit. And now I'm going to there must be some
distance between back seats. I drag it. Back. And okay, this part. And I put the seed a bit lower. Now, I turn off the grid snap so I can control
here, so easily. Okay. Now, you got to remember that after you're
done with your work, you got to remove symmetry so that your job will be,
for example, this. After this, with the help of
offset sub D, for example, 310 and solid no so that my work could be
offset in an open way. And then I can come here and bridge all this
part and all this part. Now I can bridge all
these parts to this part, so I can practice bridge again, and you can see carefully. And I double click on edges, so you can see the
edges all are chosen, and then I first
Enter and again, Enter and, you know, like this. So this is our work. So let's consider
some material for it. Now, I go to the asset Edit. And as edit weary, I go to the own library. For example, I go to the
wooden material, something, you know, like, let me see, like this, or we could
use metal material. It depends on you. I choose the thing
and I apply it to it. And maybe a you know, if it goes up, it must be better. And here on the back seat, maybe I want it to
be a bit thicker. So, you see that we easily
made a form like this.
176. Modeling a Tower: Okay, in this session, guys, we're going to actually make
this model as a practice. I mean, something like this. Actually, as it is obvious, the joints of this shape could be made with bridge easily. To start a job, I come here and from
the subdi tools, I start using Subdibx and now here three and three and one for height,
that's enough. Okay, let me check it here. Yeah, one, two, three, Yeah, three times two, three. And here, let's have
something 82 80. And, you know, and maybe
ten here. Such a four. Sub object is on, I hold control sheave so that
the whole shape is chosen, and then I hold out, so there would be
a coffee up there. Then I say that these
two should be bridged. I could drop this bit upper. Then I got to say that these
two got to be bridged. And now, based on the form that we have here,
okay, we have, as you see, I wanted to
make some divisions, maybe one, two, three, four. Yeah, five is four
is correct, sorry. And I start doing the
same thing to these two, and again, these two. To make it a bit easier
to use the bridge, it's better to first use the
faces and then bridge them. Okay, so we have this shape. Let's look at the sample again to actually make these bridges. First, let me tell you
some points about here. We could use the
slide command first. We can easily move
our shape, you know, see, for example, from a
bigger face to a smaller face. We can move it with a slide. This part. Okay, it's moved. And then we could
say that this phase, Okay, should meet this phase. And I put the segment on one
and the straightness is, Okay, it's not important here. And then I use the bridge, this phase, and this phase. And finally, we could
say that this phase on the left side I got to
bridge this phase here. So it's a bit awkward. I wanted to do it again
so we don't have this. Okay, I use a slide. I drag it down a bit, and then I bridge them. Look, I bridge them. I put it a bit down, put it lower, and see it worked. Okay, or maybe these
two. I tried it. So finally, it gives
me such a sample. And from now on, I use the contour tool. I'd say that this is
my shape and I'd say 185 and 3.53 0.5. And after the contour, I can easily extrude it. Another thing that we could
do here is using Atcres. So here, I use the
Atcres on the base form. So it would end up yeah, this does something
like this, you know? So it's flat on the base, and here on the
top of the shape, it got to come up a bit. So as you can see, we were able to make such a forms with some
simple, really simple tools. It was just a sav de box and
a bridge tool. Good job.
177. Modeling Modular Facade by Karim Rashid: Hello again, my dear friends. I hope that you feel
okay and you're having a wonderful time
with this subject course. In this session, actually, guys, we're going to try
to make this model, the picture of a motel. That you can see, which is
a work of Karen Rashid. Just to do this, I
bring the picture to the rhino front view, and I can use the trim
tool and trim it easily. And from the beginning, I put it on zero, zero, and then I scale
it, for example, to this part is like 80 meters. We actually consider a
number, and actually, after this, I try to
turn on the grid snap. I actually draw for myself one of these
from 00 until here, 14 meters to 14 meters. I started from the top
and I'd say like this. What I wanted to do here is that I wanted to make a
model out of this part. And then after this, I'm going to mirror
them and do my work. Okay, to make a model
out of this, you know, I can make my work into half. I need to make the half of it. And to draw this part, I can use the subi
plane with C four, y Count four, I can do actually draw this
subi plane like this. Okay, what we have done
until now is that we have drawn a subi plane like this. I take this here and
I continue my work. The first thing that
I got to do is that these corners should get
out of the smooth state. I just need to choose
the vertexes here. And then, as you know,
I activate Atcres. And as you can see, in flat or smooth way,
they're the same. So the next thing
I'm going to do is, I wanted to make this
window like shape. And then I can use
Insert points to and from this part to here
from this part to here. And then I could ooe this, this. No, it looks like an
nie that comes out. And then I turn off
the green snap so I can continue my
work more easily. After scaling to the
point that I want, I choose these two and
make it here a bit bigger. And now I choose them, then I delete them. Then I choose the edges. I go to the perspective view and I can make gamble in
sipule situation, and then I can extrude it
like this and extrude, which is more like this
and another extrude here. Okay, so it could be tightened. So finally, I made
one of these forms. So it's up to you
how to deal with this form and you can change
it as far as you can. Now we have one of these, and I put it back
now to its place, and I can use the mirror command so I can make a
reflection of this shape. Okay, this part,
something like this. And these two also need
to be reflected here, L. I made them all. After making them, I turn off the sub object. I choose them. And now here with using the rectangular array
tool and X two and Y one, two, three, four, five, six, and I actually make
all these copies. Okay. They need to be scaled, but they're made finally. Now here, I choose it and I hold Control L. For the
parts that are different, I actually delete them. You see here is a bit bigger, this part and this part. I draw again here, I can consider another
sub plane for this part. And then I take the vertexes
and corners and do Ad chris. And after this with
using the add points. Okay, choosing the
vases and then scaling, I make it look like the shape. Okay, like this, this
part and this part. And then, again, I
choose them and delete. And then I choose
them and extrude. I screw it again. Okay, bit tighter. For example, look, such
a fob, you can see here. So let's go to the first part
and practice a bit on it. Then for this part, I'm
going to draw face again, choose the corners,
and then I use Atcres. And then I choose this line
to actually edit my work. To do this job, I temporarily
hide the picture. And I delete this. I press the tab and I
start editing like this. Come here and come here. So in the first level, I move it as far as I can. Look what I'm doing. And
I press the tab so I can do my work with
more accuracy. And if I okay, return the picture, these
parts should come a bit lower. I choose them all, and then
I extrude them down here. So and then this part
should rotate here. And this part should look Okay. I don't want crease
on this part, so I use remove res. And then, okay, I use at Cris, here, and maybe here. And at the end, I choose
all the vertexes here. Then I wrote it this part, and then I drag it a bit lower. So I actually organize
my job as far as I can. And again, scale zero, so we can look at our work. And now I hide the picture
and put it on render Mode. And then I go to this
part and I extrude out, then I scale it. Okay. And finally, I choose
these two points. I use my filter. Okay, and to drag it vertically. I drag this part a bit. Now I can actually look,
choose these edges. Okay, this one, this
one, and this one. So finally, I can extrude
it in or extrude it out. Okay, I activate the cell
curve and I delete the lines. And after this, with the help of other pictures that we
have from our sample, we have just that window in
the middle of our shape. Here I take an array here, and then I start moving it side. I draw rectangle here, grid snap, 28 to 28
and maybe 30 to 30. I take 30 to 30 and
I move it one unit. Like this. Then I turn off the sub object. I actually activate cell SabDi and all my subdis are chosen. And with the help
of AIPolar from the center of this shape, I'll array my actually faces. Now, I put it on
here, zero, zero. I activate cell Subdi
and AI polar from the zero center four to 360. Now here I delete
this and then okay, I mirror something like here. And then maybe I continue this. And I can do the same
job in other parts. For example, I group
these four and I move it out and I
change their places. Okay. Okay, we can do the same thing where we have a bigger window. Something like this. One of the thing actually, we should do here is to create
the glasses of this part. Actually, to get those glasses, I draw a rectangle here
and from here until here. Okay, let's see if it works. I choose the
rectangle, I screw up. And now I just narrow
my choice to sub D, and then I choose
the SubD like this. And then I use trim to
trim the page for myself. I shifted the perspective
view to see my job. And then with the help of
cell surface and isolate, I take a look at the output. All of them should
group together and maybe go to another layer. I hold Control Alt H, and here I don't need
the picture anymore. Okay, I put it to another
layer and then I make it off. Okay, let me delete my line. And then after this, I choose
the sub d on this side. And then I create a surface
for it like this part. I shift it to the top view, and then I hide them. But before that, I should
draw my rectangle first. And then I go to this part. I actually hide them, and then finally I
extrude them up. All sub these are chosen, and then the trim command. And all part of the surface have to be omitted
except for the windows. Okay. Now, I'm going to go to
the perspective view, activate cell
surface, Control G, and put them in this circle. Now, Control Alt
H. So, you know, look at the outlook of
the output is here, and then maybe I choose a blue color as a
material for this layer. Okay, we can see it
in a better way. The next part that we have
to deal with it is the okay, corners that we have to
make some smooth area. Okay, I'm going to show you
two ways to do this task, but you can choose
whatever you want. One of the ways is using
the bridge command. For example, I use the bridge with several control points. And then I keep doing it. But, you know, this method is not rational because
of the numbers. There are many of them. Let's go to the next method. I can actually draw
to surface here. Like I say, from here to
here and from here to here. And then I activate
cell surface. I isolate them, and with
the help of blend surface, I make the faces meet. I create the straightness
and I delete these two control
alt egigin and then I drag it and I
drag it up to here. And then with using the AAPLR, I'm going to have four of
these in four directions. Another thing that we could do, I'm going to hide
this to show you. I could use a blend edge, for example, this
agent, that edge. And then after this, I could extrude it up,
control old edge, cell curve. And in this part, we
should not see yes. Okay. And as you can see,
if we use tools, simple tools like save
the plane, insert point, and maybe gumball, we could
make all these shape. Okay. That's enough
for this session. Thank you.
178. Modeling Qatar National Convention Center Building: Hello, everyone. Welcome back to another episode of Rhino course. In this episode, guys, I'm going to bring up the
discussion about model making and sub modeling the Qatar
National Conversion Center. I'm going to explain
it and show it to you. Actually, in this project, we're going to model this column that are at the beginning
of the building entrance. In doing so, I use this
picture from here. And then I'm going
to teach you how to make the model into ways. I first make a copy
of my picture, and then I like them together, and I start making my own model. And at first, I started
using a Sabi box, Y Z are all one. Here I started drawing
a box for myself. Look, let's look at our box. So let me move it here
so we have it here. And then I'll start
choosing the faces. I turn on the sub object, and then I start
extruding and simple. You know, and this base down here should be omitted
to have such a base. And I move the base here a bit. And then I start modeling. This part should be
screwed and then deleted. And then I rotate it
and then scale it. And then I keep doing it. Okay, like this. And when I get there, I start roting and I drag
this up, maybe a bit. I rotate it, and then here
and I extrude it like this. And then I could get back to the parts
that need addition. I can change them with
choosing the faces or edges. And from here, I wanted to extrude this part, I extrude it, and then I delete it again, and I scale it again. This part should rotate
a bit and come up. And, okay. And I can rotate it here and make it bigger. Something like this. So let me look at
it from this view. I don't want this part, so this part and this
part should be scaled. Oh, as you see, I made
my left side of work. Okay, I can do more addition. This part should come up a bit, and this line might come up. And here is the same
extrude deleting. Okay, extrude. I put it here. I go back to another view, so I can do my job with more ease and now
maybe I hold control, and I started again
from this edge. Extrude, I cut it
and I continue it. Bit upper extrude, rotate. So you can see, we
easily can do this job. Okay, I can continue my
job, rotate it a bit. Okay, put it here. Okay, to cover that space
and to continue. Yeah. I scale it here, I can scale it here. Okay. Now, from here, I
want another extrude. I extrude it, I cut it. And as you can see, you know, I'm doing this step by step. I bring it up and Okay. Nice. And then I scale them
together. Look like this. And here I easily choose them, and I use bridge. Okay. It gives me such a look. You know, maybe it was
better to draw a lawyer. And then I choose them. Okay, I put it down bridge. Okay, I bridge them finally. So now the form of
the work is okay. Maybe if we don't
have the upper parts, it would be better. Okay, well, and I can
come back here again, and I continue my
job with extruding, rotating and scale. Okay. And here I can extrude. Okay, let me extrude
it from here. It would be a better idea. I rotate it, scale it, and drag it up. Oh, looks good. So now here, let's shift to the perspective
to see our work. Now that I finally actually
finish my job here. I choose curve and edges, and I choose the upper part. I give them scale zero, and I drag them up. And then I go to use
the reflect tool, and I'll say that my shape
would be reflected from here. So let's look at
the result. Okay. So we can do some parts. You know, first, let me
turn on the sub object. Okay. Then I can do my final addition to the
work, the front view. Okay, a bit lower, I drag it down. After we are done with our job, we should remember that, activate the remove symmetry, and then we could see
what is the final result. And now at last, I'm going to draw
a box here for it. And then I make a
copy of that box, and then I put it here. And in actually tofu, for example, here, Okay. And I dry a glass. And then I go to go to material part and choose
some material for it. For example, this material
for my glass, okay? And this material would be Okay, this material would be a metal
material for my project. So easily, we could create
the forms that we want. So now let's look at the second method that
I used to talk about. Now here, I can use
Interpolate curve. I can draw the main
lines of this work. I look at it some branches, and this comes here. Okay. Okay. Maybe it was
better to tell this and, you know, my main line
should be like this. A main line and a main line
and some other branches. And I attach the lines. Okay, I make the meat. And then I choose them all and I activate
multi pipe here. 1.2500 radius cap is often okay. And now it's time to use the tools like a slide
and edit my job. I put it a bit lower. I drag them down and I cut and to make a
longer story short, I start actually modeling. I made a base, and then I can work on it, and I can edit the edges
that I don't want. Okay, as an example, here and here, we make
them a bit smooth. Okay. And then delete them. I choose the edge
and scale zero. And then I can keep
going to make it better. And okay, as we explained, you could use another method to modeling these
types of forms. And thank you for
watching this part.
179. Modeling Bedside Lamp: Hello, my dear friends. Welcome
back to another episode. I hope that you're okay. In this session, we're going to muddle the laugh that you're
seeing in this picture. Okay, to make a model
out of this shape, I go to the rhino, and I start with polygon tool. I put numb size on 24, and then I use the star mode, and from the center, I hold a shift. And now here, I don't care
about the real numbers, but the proportion is
just important here. And now because I activated
the star when I click, it gives me such a shape. Beautiful. And based on the
number that I gave to it, it gives me such a shape. Okay, as you can see
here, from a base, a circle goes up to somewhere, you know, bigger and larger. And now here some curves. And as you can see, there are, you know, smooth edges. So it is not ragged like this. Maybe it was better
for me that Okay, to push it more inside. And now I activate the star, and then I draw it again. And now just to make these
points with smoother, I can use rebuild tool, and I can easily use those control points
and reveal the shape. But what we wanted to do here is using the SbT tools here. We have actually a command
makes subdifriendly. In Rhino seven, when
we actually choose it, it would give us
such a line, okay? So that if I pick up an ordinary line and see its
control point like this, it shows my sub the
control point as well. The difference is
when I extrude them, I put the perfs here. Ordinary line would
be an extrusion, but the subdifriend shape would be something like
open sub D. Now, I choose my line. I shift to the front view
to this part to this part. Okay, I extrude it
actually three times. I want to take the edges. I hold Control Shift. I draw a frame. Or I
can go to the filter. I activate it here, and I choose sub object. When he puts a sub object on, you can choose edges
or faces separately. And here, if I wanted to
choose the whole part, I should hold control shift. So it is contrary to
the normal situation. I drive frame, I hold shift, and I do this. Then I shifted to the top view. Now I hold shift. Now I come here and I start drying frames to
choose the vertexes. I want to hold the shift after
this to actually scale it. Look, yeah. See, like this. And what we have in picture, it's a flat state here. Okay, like this. I take them all and I tighten it and it
remain in its place. I make the other
part a bit smaller. I shift to the top view. Again, I start
choosing the vertexes. And as I put some object on, I don't need to hold control
and shift to do this. I just hold the shift
to adapt to my choices. Okay, I keep doing it. Now I hole shift again
and I scale it like this. And then I choose the whole
and I scale it like this. Okay, we have the
whole shape now. But now I can add up something else like extruding this part. Or this lower part, I extrude it a bit
and then scale it. Now I go to one age. I double click on an edge. So all edges are chosen, and it gives me such a form, and I scale it up a bit. So other types of
works that we can do, I hold control shift, I hold to make a copy. I can, for example, choose one of these
faces I hold shift, and then I double click
on the next phase. All faces are chosen, so I can rotate
them. Do you see? Okay, or you can you know the previous command that
you know like twist command. I activate twist and I say
from this part to the top. For example, 118 rotate for me. I activate twist again
until here and 90 degree. Or I can in twist command, I consider my x a bit
upper for example, I say zero, zero, and ten and then zero, zero, and 20 and rotate 45 degree. I'd prefer to use
the first method. I drag it down here. And here I rotate this, and then I rotate this part. Okay. Look, we can make
such forms with subi tools. And based on our needs, we could actually keep it in subdifmO we could use
convert to the nerves to, make it in nerve system, and finally, change it
to a nerve surface. As you can see,
this is my SubD and this is a surface
from nerve system. We press the tab, and
with pressing tab, you can see your work
with its flat faces, and you can edit your job and then come back
with pressing it again.
180. Grid from Lines: I in the name of God,
welcome back, guys. In this episode, I'm
going to teach you about paneling tools plugin. As I mentioned it earlier, that this plugin
would help us to create four sided networks
with the help of the points. And we can have those networks
of points in two or three dimensional and then
fly our patterns in those flat or
three D networks. Actually, to use this plugin, the first thing, we
should go to the setup. And based on the
rhino that we use, whether it's five or six, we double click on
the setup file, and after pressing next, we wait for the file
to be installed, and then we press close. And then we should open
and close rhino software, and now we can see the tab of
this plugin is added here. And also, if we wanted
to have it as an icon, we got a tool tab and then tool bar layout and to the file part, we choose paneling tools, and we put different parts of this plugin into our background. As an example, I
bring create grid, and then I can drag
it and put it here, or I can move it
from this part to be completely separate
thing for me. Now here, as we wanted to actually teach you and you got to see the
names of the tools. And we prefer to see the names. Instead of icons, we
use the menu here. In the first part,
we're going to discuss different methods and
different ways of creating our networks of points for this from the paneling tools part and then create
paneling grid. And this part, we can create
the networks of points. Now we're going to explain
each of these tools. On the first part, we have actually RA option, and I can with
choosing this option, let's go to the top view, determining the
start of our point. For example, I turn on Gritty
Snap and from the center, zero, zero, I order it to
create me a grid network. I clicked once. There is a
preview of that network, and there are options. The options that we're discussing
now might be the same. In this part, create
paneling grid, I mean. So I'm going to tell them once, and after this, then I will
not mention them in detail. In number part, we have the
number of points in UX. As you can see, we have
now here U Number ten. We can click on it and change
the number of it, like 15. As you can see, when we put the number in this part and we organize the
numbers of points. 1-15. But the number of squares that is
created is one less. I mean, in this situation, that our U number is 15
and our V number is ten. We have 14 and nine units of cells in which our pattern
could be located on. Here is on the X line for
us and V is on the Y line. We can change these grades
from VPoint and U point. For example, I put number on 12. And as you can see, there
are two rows of points. From US basing and Vpacing, we can organize the
distance between points. I, for example,
put US spacing on two see the distance is
double or it could be 1.5. Likewise, in web spacing, we can choose
favorable distance. In the next part, actually, we have U direction
and V direction. As you can see, now
in default states, we have direction on zx
and direction on YX. I can click on every one of
these actually directions. Like I said, the
direction that I want U direction points on it
should be like this. Like this, or even I can
change direction like this. So I can change the
coordinate axis. Now I am clicking on
direction like this, so it doesn't need
to be a right angle. Again, I click on direction, and I said it as default, and this should be like this. The next option
that we're going to talk about is Z offset. Guys, as you can see, each row has moved
in Z direction. For example, we could in Z, we could put it down zero, so then we can have it in two dimensions or other types
of number like 25, 100th. And as we can see, each row changes the height according to the number
that we gave to it. And in this barge,
we put it on zero. The next option that
we're going to talk about is the option of group. When I confirm the command
by right clicking, we see that our points
are created as a group. And if I put it on no group, my points would be separated. I highly recommend you to put this option on because choosing these points
would be easier. The last thing is name of grid, which can organize the
naming of these grids. And then it says that name
of grid start with G, and we put this G here. I choose degree
that I made here, and here in Tai part, it says that 180 points grouped. Then I ungrouped it, and then I click on
one of these points. As you can see, the
name of the point is G, and there are two parenths
which is the number of run column. Is created. G zero and zero. The next one is G zero and one, third raw and first column, like raw zero and fourth
column or G three and zero. Raw three and column zero.
The names are important. I cannot say that the place of this and this got to
be changed because when it wants to
create a pattern and attach the different
points together, it find the nearby points
according to these names. And now I'm going to
give you examples. I'm going to change the points. For example, I mirror them, I scale them, and then we
will see the result together. If you wanted to look at this
plugin in a general way, we create a network of points, and then we put a
pattern into it. For example, some pattern like this or other types of patterns. So our work would be actually
done in this atmosphere. Actually, we together already
saw the array option. The array state that
we had it before here, and it would come and increase
our points in matrix way. We saw that we could
change U and V directions. And now here, the next
command is R polar. And now here I go the ARD
polar and I choose it. It asked me about
the rotation center. I put it on actually 00. First direction,
there's supposed to be some points for me. And the second direction that should be some
points in radius way. Now, I come here and
I click on zero and zero withholding the
control and clicking again. I consider the z direction
as the second one. Now, here I put that
offset on zero, so we see the outputs. I shift to the right view. We see that in one direction, I mean U direction. We can consider a number. For example, here I choose 14. I create numbers of points. And in our actually V direction, we can change the
numbers of the rows. For example, I put it on five, one, two, three, four, five rows we have. We actually put
this number on 20. We change the number of
direction from here, and for changing the distance
of every one of these rows, we can consider an
angle from angle part. For example, here in
V number, we have 20. We have 20 like this. And then if I want to be
like 360 degree circle, and I can put number
18 in V angle part. And if I wanted each
of these rows with its previous I could go
into the Zoset part, and, for example,
I put number two. See, something like
this would be created, or it could be more like five. Now, here, I'll put
this on 36 degree, so it would rotate twice. Or I put it on nine, so it would rotate 180 degree. And then it would create
such a pattern for us. Look, or something
like, you know, this. Now we don't want to talk
about the making patterns. What we want here is to make you familiar with different
types of making grid. Okay, let's go to the
perspective view. Okay, in perspective part. We talked about the
first and second option. The first and second option
would create us grids without using any pre
drawn points or lines. The next commands would create
us grids using some lines. The first command is
extrude long one curve. Okay, as an example, I'll draw a line here. Imagine that I have
such a line here, and even it can come
up in this point. And then I go to the
options and I choose it, and then I select my curve so that the grid that I
want would be created. In method part, we can
have number, arc lengths, and core lengths that
it could be in numbers, for example, like 20
or based on size, I can change distance
of this bow like this. Or the direct distance
of the points. But we now put it
on a number mode. The next option is the number. How many points should we have, for example, in each point? I put it on 20, for example, and we're going
to have 20 instead of ten. I put this as well on ten, so it could be not crowded. The next thing is direction. I mean, that I created
some points on this line. I mean, in which direction these points should
be put on the line. So I can click on
direction, this part. I hold control, and I dried up, and it would be like this. So in redirection, we could
change the direction. I mean, this green arrow, and U direction follows the
line that we gave it to. It's obvious distance determines the distance between points. For example, two and the
distance would be double. And I told you that this
could be group and the name, it would be G. That's okay. Next thing is V method, which is now on parallel, and I can put it on polar mode. And it would be changed from low to high according to the angle. I put it on a rotation axis, for example, like this. We see that here, it would be increased
degree by degree. We usually put the V method on parallel and we can keep
this grid by right clicking. So then I'm going to delete this and let's go to
draw the next line. Here I go and select
interpolate curve. For example, I say, I
have a line like this, and the next line
would be like this. I select my own control points
and with a bit of changes, and this part got to coincide, and this point
should be like this. I created two lines that with the help
of these two lines, I wanted to make a grid. Now I go to the options, and I'll select it. First line and second line. As you can see, it took
out Euchar from one line, and it took out
UCR from the next. In this part, we can
change the number, and we should pay
full attention to these points that we have
number of span here. It means that here
with choosing ten, I have ten square and 11 points. So we here C in U number of
span and number of span, we can determine the
number of our cells. We also have these
numbers in our method, and we have also arc length
and chord length as well. Let me first give you an explanation about
these two lengths. Even though later on we would bring up this
discussion again. I the next command is
divide a of curves. Now, here I come and draw
a circle, for example. And then I go and
select this circle. And for example,
with a number of 12, and then I array them like this. And then after this
with cage Eddy tool, I can change a bit. The actually size
of these circles. So we have some circles here. So I change these
circles so you don't ask this question that why
shouldn't array those points. In that case, we just
have some points. And in that case, our
points are not going to be organized with names
and classification. So here, we're going to
consider these lines, and then we select divide
array of curves here. Here I select my lines now. Okay, and enter. So, as we can see, it creates some points. Now, you see, we have
just one size here. We have one number, the number of vertical
numbers that use our align. The numbers of the openings on each line could be changed
from a number of span, for example, 12 or 20. So we can change these numbers. So here, if we have
a number of lines, we should have two or
more than two lines. We can create our
grid like we did. Okay, as an example, Okay. I didn't put the group on yes, so I couldn't select it well. Anyway, we have created
our pattern like this. So that's enough. Let me delete this and
go for something else. Now, I'm going to
draw a line again. Let it dry it and like this. So then I'm going to reflect it with mirror tool and then
with the help of twin curve, and then like, you know, like 12 lines, I put here. I do the same job in another layer like this
and then like this. Again, twin curve command. And now Okay. If you actually pay attention, we could have some points
on the intersections. Now we're going to
learn a command that changes the intersection
points into a grid. Now we go to the options. We actually select the
option to do the job. Now, I select the red lines and I'll choose the
black lines a bit later. And as you can see, it selects some points
for us based on the intersections of those
points that if I ungroup them, we see that the naming
would be done correctly.
181. Grid from Surface: So the next commands
or tools are sort points or sort
point surface. They actually
enable us to change the points that we
have already into ads, and we actually
don't use them here. The fourth option of create
paneling grid is all about using a plane
to create a grid. And it's safe to
say that this part is the most practical
part of this plugin. And this job would be
possible in different states. Now we're going to
take a look at them. I go to the perspective view, and now here from
the zero point, I draw a deformable plane. I hold ControlLS so I can put
it on actually shaded mode. And then I select the sf
edit surface command here. UD stands, for example, 30 and D stands 30 as well. And I want this page
to be like this a bit. And now we'd better to make our layer and our surface black. In the next phase,
we're going to look at the states that we can actually
create grid on a surface. So we here have some options. The first one is
surface doming number. Maybe we could say the most
practical option here. And I finally actually selected and then I
select the surface. Okay, and I press Enter. And here, as you can see, it creates me some points
in U and V directions, and I can increase or decrease the number
of these points. It's a great idea to
learn something here. When I use a plane as a
base of making a grid, it creates on U and V
directions some points. In these planes,
it all depends on the way that we've
created these planes, or if we've changed U and
V after creating them. Here, if we want to without
using any types of command, if you want to determine the U and V directions
for this plane, we can go to the
actually option parts. Here, view, and I go and
select display mode. Like shaded mode. And then I do care
calorie sage here. Okay, like I would go
for the third option. For example, here I would
choose them to be red, and in direction, I
would go for green, and then I press Okay. And here I come and actually
apply that command, the previous command
that we talked about. And now here the red
part is known as U direction like ten so I could make our
job a bit easier. So let me delete this
one and keep this one. And then I make several
copies from the surface. So now here I go
to the tab again, and I activated the command
for the third time. And now I select my plane. And now here, it asks for the distance between
points and U direction. I give it two and
V direction four. And we see direction. I mean, the red one. The distances here are
two units by two units. And on the direction, I mean, the green parts. The distances are four
units by four units. As you can see in this part, our last points just
to fill the plane, they have distance less
than two or four units. And I can select
the start of the and I could say from
where my points should start or it should
start from here. And you could see the
changes at both sides. So in this states, I consider a distance
for U and V directions. And if the plane doesn't
cover with that distance, I'll fix the last
point on the edges. And the next command is
surface diming code. And now here I select a flame. And again, you two and four, ask me again about
distances again. And we also have the options that we had it before
in previous command. But here is a difference, and now I type the
distance command. In quarter state, I
have exactly two meter. But in ex state, two meter and 1 centimeter or some other points two
meter and 13 centimeters. So in lengths, I consider
the distance of the surface. For example, I can choose
interpolate curve on surface, and then I would say
this is my surface, and I would say to select a line between
these two points. I activated the length to give it the
length of this line. So up to now, we know that I mean, the surface dumbing lengths
would give us the distance between points
based on the flay. But in dumbing code tool, it gives us the
distance directly. Then here I make another copy. And now let's go to the next item, surface
dumbing variable. Here with the help of this tool, we can change the distance
between points here. You want to ask which
base we should change it. I would say based on point attractor and
curve attractor. You got to change it. Actually, with the help of the options that we
have here in distance messed we easily can change distance of the
location of these points. For example, with using a black and white picture and with a power that
we dedicate to it. We give them a number. We consider a situation
for these points. And then we say that
in this situation, the points should be closer
or not closer to each other. And we also determine the
effectiveness of these points. We want to talk about different
types of these states. Okay, I come here. I choose them, and
I delete them. Then again, I make some
copy out of my plane. And here, we're
going to talk about surface I mean variable. And then I apply the command. And for example, I put the
number of U and V on 30, and now in the
stance method part, we can look at different states. The first state is Gazan
curature and Min Caracure that puts the points based on the curacure
of the surfaces. I activate the gazin
curature here, and then the track method talks about closeness away or toward. And then I select the plane. And as you can see,
in some points, points are a way or toward, and just make it more clear. I put the magnitude
part on four, and then I select
my plane again. So now it's more clear. So now here, let's say what does this gazing
curvature mean? Actually, in analyse
tab in surface part, we have option caratre analyse and from the styles
that it could give me, I can select the
one of these two. I go for Gaussian state, and then I click on Atonge. As you can see, there are
some red and there are some blue parts and a scoop
of color between them. And now, based on the
minimum and maximum, it changes the distance
between points for us, and it creates the red part
with more actually density. And the blue part are
with more descends. And the next state is mean, I select it, and then
I activate out range. It gives me a different
graphic outlook here, and it also has
minimum and maximum, and based on them, I would arrange my grid points. Okay, I delete these parts, and then I go and activate this. Now I put it on Min curvature. Oh and I put the magnitude on five
and then select surface. And now here you can see the different distances
between the points. I changed the track method
from a way to toward and magnitude five
and main curvature. We say that those parts the curvature of the
surface is different. The points should be away or the distance
would come closer. They are each other's reflect. Control that to save the plane. Now, here I come here and I choose select interpolate
care on surface. I select the plane, and I draw a line like this. And with the help of
points for the next plane, I want a point here on this place on this
corner and even this. Then again, I go to
the tab and I select this and now I put it
on point tractors. I select the plane and
put the magnitude on one. We could try more numbers. I select the surface. Without pressing the Enter, I asked about tractor point, and now one point and
another, and then Enter. Now, here we don't notice
any specific change. Just to show you the
tangible changes, I put the power on five and I actually select the plane and
then points and now enter. As you see in this part, the distance to attract
points from these two points starts from high level and
actually to this border, that is the farest
distance to this point. We have the most intensive part. So I make a copy out of this plane and then create the
points that we had before. And then I go and activate
the previous command again and then go to the attract method
and put it on toward. I put this strength on five, and then I select the
plane and the point. And you can see it's vice versa. Okay, let's look
at it wireframe. Even we can here select our flames and we can
turn off the yoke. We saw in previous state that the points that are further away from the track points
become denser. But in this case, we
see that the closer they are to our points,
the denser they are. Now it's time to go
for another command. I activate the command again. It's on care attractors
state and like number three. I select the page here and then my tract line and
you can see it like this. And as you can see, the more close you
become to the line, the points are denser. The further away from the line, the more separate
the points become. Just to show it better,
I put the number on a bigger scale like ten. And select line and enter. Now it got crystal clear. The points are attaching
to the line that we drew, and I hold Control Z, and I don't think that
I need these planes. I just keep this one, and
then I delete this line. And again, I go to the paneling tools and
I take the same pass, and this time, I start
using random state. I start with 44
and then 30 to 30. As you can see, it randomly
close some points. So something network like this. And maybe we don't
want such a thing, but randomly, it created it. And let's go to the next state. I apply the commanded. Again, actually, the next state that we're
going to talk about is Bitmap. And based on blackness and
whiteness of a picture, it organizes the points for us. Put it on number three, and
then I select the flame. As we've seen before,
in previous states, it asked me to select your point or maybe select your plane. But in this state, it opens up a window. It asks me to select a picture. I have some pictures
here, so I select this. We see that the black bar
became a blank space, and the points are here. And then I choose
another picture. So here strength could be
more to be seen better. We see that based on
the picture that I had, gather the points
closer or further. Now, the last thing that
we have here is vector. And, okay, guys, if I type DIR here and then
select a plane, actually, we see that here. The normal vector of
the page is changed. See? We can here use the domain variable and
distant method of vector. For example, three,
we can select a plane and consider a line. The line that I
take in this part, it actually considered
as a baseline. You know, I want to consider
a line, something like this. It takes it as
actually a baseline, and it compares
the normal vector of this plane according
to this line. And then again, damming variable vector state
and for example three. And page and our line. The points that it's a normal
cture is close to this. For example, here and here. I actually take them in one way, and the places that
are different, the higher are the angels
of VictoresO actually others I can choose even a
way plain line like this, and so I can put it on four. We see that the places whose normal vector
that I could show with DIR are close to the vertical. It's the same as this line. It became denser
and the places it's vertical vector has higher angle is actually more separated. The next state that
we want to talk about is surface
three D distance. And with the help
of this command, I can select this page and
then I can select a point. As a base, and I can consider the direct distance
of points on U and V, for example, in U four
and in V four, as well. It gives me a preview here. I keep the extend on, and I confirm this command. I obtain such a
result. I do it again. Okay. Now here extend is
off and the result is this. Guys, what matters here is
the distance between points. You might say that in some
points, it's a bit closer, but we say that the
direct distance is the exact number
that we gave. I mean, number four. So it is 4 meters. Whatever two points on
this page, is 4 meters. Now, as you can see, when I divide four by four, my points are going to
be finished somewhere. It asks me if I extend so
that your points go out, or I don't take that, and it could be like this. And we had a state before. We had already an option
called dumbing code here. I said that in this este, the distance between U and V, the distance between points
are considered directly. The difference between chord and three d distance is the
state that we see here. The end points, it's finished
or it could be extended. But in actually this este, it puts points to
the extended part. And here on the border, there are points with
closer distance. So we elaborate on this
state, I mean, extend. Now, I delete these pages, and I go for the last command in this
tab for making grid. First one is one direction
curve projection. Okay, guys, I drew something like this and then make
two copies out of it. And then with the help of loft, I made them a surface,
such a surface. I select the surface
with help of isolate. I keep the surface, and
I had the other lines. And then I draw a
line like this, and maybe the control points
of this line could be like this or could be like here. Or yeah, like this. Okay, it's now time to go to the paneling tool and
activate the command. With the help of this command, I have a surface and a line. My line would be arrayed and then could be
project on the surface. The lines that could
be created with projecting could play the rule of the lines that
I need in my grid. And then when I
apply the command, it asks about the surface, and then it talks
about Seelf curve. If I had the line, I select it, and if
I don't have it, I can draw one. I select AD curve. Now there are here options. We have nothing to do with
group and name of grip. I click on the curve option. Actually a number of cuts is actually the number
of this line arrays, and I put it on ten. And the distance between
arrays, for example, two, as you can see here, extra method should be parallel,
and it's extradirection. I click on it, and I say, and here I hold control
and go to it up. As you can see here and
the projection direction, I hold shift now, and I organize the
direction of projection, and then I confirmed it. As you can see, the lines
that was arrayed for me in previous state falls
now on the surface. Now here in reduction parts, I can organize the numbers
of the lines here, like 20. And when I actually do this, the points are going
to be created for me. Like, I select this, and I say, I want
to create a point, and it should be located in the part that my
lines are projected. So again, I delete the
lines and points so we can have a practice with
the option of this command. Before doing this, I
select my surface, and I put the Ia curves
of to see it better. And then I wanted to mirror it, and then here I clicked
on it and type Minus one. I go to the paneling tool
and I choose Discmmand. This is my surface. I don't have any line here, so I choose from
the options line. And then I'd say
from here to here. Again, in curve option, I put the number, for example, on 15, and the distance 1.5, and then extra
direction in this way. And the projection could
be like this bit up. You see a Okay, now the points are
created for us. If we wanted to
change the number, we could use the grid option. We change the number of span, and then finally with
pressing the inter, the grids of points
would be created for. And the last command that
we have here for making a grid is actually two
direction care projection. And with the help of
intersections of two lines, I create a grid on
actually surface. This is my surface. So the first line, I don't
have any line here now. I draw my first
line here and maybe the next line is from
the center like this. In the first care part, I need to set the setting again. For example, I want actually
20 lines and 30 distance two meter extra direction go
up and the project this way. Then I order it to project
these lines on the surface. And now, as you can see, my lines are on the surface. And actually, for
the second line, I can say it should
be the polar. 20 and angle 18. And then I can
change the project. For example, to the top. Okay, I ordered it to
project these lines up. So to sum up, I had two types of lines. O line on the ground rotated that were supposed
to project up and some other line like this that
were parallel to the x axis, which were copied to
the direction of Z, and they finally
projected on the axis Y.
182. Create Panel 2D Grid: In a previous session, we learned how to make our grid. Now we're going to learn how to actually make a panel
based on this grid. I draw a line here, and with the use of Gablxtrut, I make it as a plane. I go to actually Domin number. I give them a number. For example, 14 and 16. And now I have a planning grid. We can create our panel
in different ways. Two dimensional or three
dimensional panel. In a two dimensional panel, we can use the default panels. And we also can use the
panel, which are custom. I mean, you can
change the setting. You can set your own setting. For example, I can
draw a line and I order it to be
putted into the cells. I can also choose the two dimensional
panel in a variable way. For example, some part of
this grid could be in a way, and the other parts could
be different or change. For example, I can
have a tractor line, and then I rotate. Around it, or I can scale it. And we also are
going to learn how to make some default
panel for the first part. And on the next level, we're going to learn how
to make a treaty panel. That we will talk
about it later. Let's start from
the very beginning. The first step is to
make a grid of points. Now with the methods
that we learned before, we can create our own grid here. With the help of
surface D number on the surface that
we had before, we actually created some points. Actually, we go to the paneling from grid
part for creating panel. I actually select panel
to the grid here. After selecting this, I need
to select my grid here. I click on one point and then
all points are selected. And I confirm with
right click or Inter then it asks me about my base. If I use the commands like array or Ay polar or
extrude line curve by the array of curves. I mean, the commands that
do not have the base, and they were created based on lines or separated
from the lines, we here instead of
clicking on the page, we move on from this
part by right clicking. Okay. Such an outlook
would be apird for me. There are options here. In the pattern parts, I can choose one
of the patterns. For example, square form or triangle or other
types of state. We're going to learn how to add new patterns to this part. One of the things that
we said is adding new patterns to the
available pattern. In this episode, we're
going to learn this. For now, I put it on box, and then we see the option
in panel shape part. In panel shape, actually, it determines how
lines are attached to create the panels. For example, in straight state, the points are
directly attached. Maybe these lines
are not on the page, as you can see here
in the surface. In pull parts, the
lines are on a page based on the actually
curvature of the surface. And Isopart uses the
available ISOCurves and based on Iocurves of the page in U and V directions attaches the points together. And in project, the lines
are projected on the page, and the short pass take the
shortest pass possible. Now here we put it on straight, and then later on we talk
about other options. In the next part, we're going to determine what we
need as an output. Add edge actually
can create the line. For example, I put Ad edge on yes and the other options on no. I press Enter, and then
I take out these lines. It is grouped. I ungrouped it. You see that the lines are
created separately. And one line is considered
on intersections. And this rectangle has
a separate border. I apply the command again. PT panel grid, I select the
points, I chose the plane, and now I put it
on phase border, a difference between
adage and surface border. And let me just ungroup it. As you can see, here, the rectangles are
separated, you know? So in each border
we have two lines. And now let's talk
about the other states. Again, PT PL Grid and
select my points. The adface can create
the points as a page. I turn off the
adface and at edge, and I select adface and
then I ungroup them. And here, as you can see, it gives me some pages here. Now, I delete what
I created here. Okay. And again, here Bt panel. And this time, I
select at flat face. Actually, this option can create the pages in a flat way for me or like I wanted it excited and some flat pages here. Or it could be like, you know, diamond, and the result
could be flat faces. As you can see here now. If you pay attention
to the flat faces, you can see such
things happening. Again, I apply a command. When I put a flat face on, yes, the flat face method
is activated for me. Here, I can say how the flat
face should be created, the best form that it can make, and then the fit base point. Zero, one, two, or three. What this fix 0.1, two, three mean for us? It means that if you
wanted to take a look at the points that make a
diamond or other types, they are going to be named
as one, two, and three. And it says, on
which number should I start making the flat face. As an example, I choose
the 01, I press enter, and then I take out the
pages that is created. I want to take a
close look at it. As you can see, the zero
points are considered for me, and then it changes
the other points. Maybe we want, for example, such a surface, a surface in
which we want some distance. I I delete them, and now again, I apply p panel. Let's see other types of
states in flat method. And now we can turn
off the flat face. As option creates the
phases in mesh system. The grid planning
on the page, and, like, you know, like
this 98 Open mesh. When we are actually guys
selecting the outcome, it's not necessary to
turn one of these on. I can select every one
of them that I needed. Like this, I taken out with
my pages and then my lines, and finally, the
meshes that I needed. So I can make the things that
I need at the same time.
183. Create Panel Custom 2D: Okay, let me draw
something else. I draw a square here, and then I exploded, and with the help of rebuild, I consider four control points. I turn on the control points, and I actually like this and I drag it up like here. I can select these
points and do this. After this, with its surface, I make my surface, then with the help of
Domin number command. For example, 15 and 16, I make my grid. I select them all. And with the help of isolate, I hide the lines. And in this part, we want
to make a custom pattern. Like I want to have
a circle here. I can even rebuild it. I increase the number, and I do this. The point that
here we should pay attention to is that the size of the pattern has nothing to do with its location
in the pattern. Whether it's this
pattern or this pattern, it doesn't make any difference. Why? Because every
one of them is supposed to be in
one of these cells. Here I select the panel
custom to D. Here again, I select my grid. And then again, I select
my base surface here. I should select the line
or the pattern that I want to introduce
to the command. I select my lines
and then inter. Here, there is a preview for me. I can organize the distance
between Ras and columns. And the way of its placement. And after pressing the enter, we see that such a form is made. And the placement is we
can use the bonary box. Then we select the surface, and then we can have a
square around our shape. As a matter of fact, when
I select this command, actually, I want all these
to have a square around it. Look, and it can create
a border for us here. Then again, I apply the
custom to do and my points, my grid, and the curve that I wanted to be as a
panel on this page. I press the inter, and so let's look at
the options here. Guys in base U and base V, we can determine
how many rows or columns should not be paneling at the
beginning of the work. For example, I don't
want to mirror the panel on the first
or second row or column. I go to the base V and give
it the number that I want. Base V equals two S
on these two rows, there is no panty. I think that we can
explain it here. We may want this
panel to be located on the face in the
different ways. I put phase B on
zero part, I mean, Shift U and Shift
B can tell you if your paneling would come
in consecutive way or not. I put Shift two on two. It means that we have a raw
and we don't have a raw. And I also put this on
the number of three. See how it looks. But then I press Enter and I
can see how is the outcome. We can create such form for us. For example, I can rotate this and then I make
a copy out of it. I rotate it, and then I can go to the Pt
panel gre custom. I can say my points and
my face and my panel. And then I start setting
the numbers again. For the new output. I can select the last
shape that I made, so you can see how it looks. Oh, we can do such
things render mode, look what we have made together. And I can even put
another form on the third row whatever we want. Okay. I tell you this. That was another practice that
we actually did together. Oh, let me draw this line again or some other lines like this. And with the help
of sweep one rail, I can create this
surface that I want. And then with the
help of Damon number, I define the numbers
of my divisions, for example, 20 and 18. As an example, I
draw a square and then with the help
of Area centroid, I can have the center
of this square. And then I draw a
circle over here, and then I apply Ay polar, based on the center for
circles in 360 degree. Now, with the help of command
a volan I select my lines. I select the center
of these lines. So now here we have
our panel here. Now here, I use beat
panel Grid custom. I select my points, my face, and then my panel. Okay, I set some numbers
for the panels here. I confirm the preview, and it would appear on the face. And now I can turn off the surface so we can
see the pattern clearly. Let's take a look
at another state. Imagine that we want a hexagon or something like a beehive. Now here, I put
an upside on six. And I draw this shape. If I here actually activate
the PT panel custom here, and then I determine my
grid of points and I'll say that this line is supposed
to put on this grid. We see that here, I can mirror them
like a beehive. How can I do this? I mean hexagon and Diamond. To have my grid of beehives, let's take a look at
something together. I now make a copy out of
the line that I have, and then here I'll show how to. If I apply the array
command in this situation, I can see that it's impossible to have this
hexagon as I want. So what is the solution? One way is that I use Capital, and I copy it like this. And then after this, I apply array command. So in this state, we see that the shapes
are made as we want. And let's get back to this. Okay, I make a copy, and then I apply the
custom to do command here, and Okay, we see a distance
between these shapes here. The reason behind distance is a rectangle around my shape. And now here, I have to with
the sizes that is available in this command for me in this part, for example, 11, and here is 16, oh I have to change the sizes to gain
a desirable result. You know that we always can't do such things. So
what should we do? The method that I'm going
to share it here with you is useful for most of the forms that you
can see its increase, but you don't have its model. Here, I can use
the Kapi command. Okay, in this part,
and in this part, Okay. Something like this. I drew my line. Then all things that you need to do is drawing
some lines again. I want to have such a line. And this line should be here. And the next line
that we're going to have should be like this. Then we select our lines here. And after this, we
trim, we trim it. And what we are doing is selecting a repeatable
model of this. And now, I use the
mirror command, and as you can see, I made it reproductionable. So we could draw our model. Now it's enough to
apply the command, point, pace, and my line. See, it's completely
created as we wished for. And without struggling with the rectangle around my panel, it became possible to create the model that
I wanted to make.
184. Create Panel Custom 2D Variable: And again, here I choose
the Domin number command. This time, I choose 14 and 14 to make the size of
the cells a bit bigger, and then I press Enter. Now here we want to take a look at custom to the variable. With the use of this tool, we can consider the paneling on the face as a variable factor. There are some different states, and I'm going to draw some
shapes for each state, something like this,
something like that. We're going to talk
about all of them. Now I'm going to
draw some lines, and then I will explain it. Here. And other types of things. And maybe I'd better to
select a point here, to put a point here, and
maybe then a line here. And now here, I go to the tab and I activate
the command here. Our job should be
determined in two parts. I pattern method part, I have options like scaling, one dimensional scale, rotate, transforming, and list and mean. And now here in scale part, I actually go for
actually let me see. A tractor. Guys here, we have in this part, somehow, you know, some
sort of reproduction. I mean, if this hexagon has
to change to this square, where should it happen exactly? Or if this diamond has
to be smaller or bigger, where should it be big or small? But here, now I can based on the discussion that we
had in Domin variable, I can generalize
those discussion and have options such
as Gazan curvature, in curvature, the tractors, curva tractors, and the
bitmap and draft anchor. I put it on a tractor so that it could be
scaled near to this line. I press the Inter. It asks for the tractor line. I say, this is my tractor line and then select unit pattern. I should give the pattern
that I want to the command. And I select this diamond and then select the object
to define the bounding. It means that some objects
that surround the shape, guys, you got to pay attention that before applying the command, we should create our line and
find out the central point. And with the commands
that we talked about, we have to uh, determine the line
around our shape. So in the part that ask for
the boundary of your shape, I select the square and select the argin point once the
certain point of the shape. And then says, What is
your smallest scale? Means that when
you want to scale it on what side it
should be scaled. For example, one
tenth to 95 100th. And as you can see, and now I got to select this
and take it out. And then make a copy out of
my line around our line, it scale like 19th or 18th. And the further we get it
goes to the one tenth. And you saw that how
beautiful we can do this job. You might see that some of the
lines are not on the face. Here again, I go to the command, and then I activate
the command again. And then I select the points, and by pull curve here, I click and I put it
on and a tractor line, diamond and its boundary, and then its center. This time, we see that the
lines are matched on the page. I select the page and I turn off the isocurve so we've learned that if we
activate the pull curve, the lines are completely
match on the page, and it might definitely
get deformed a bit. So the first state that
we've learned together here is the scale state. I select them all, and I make a copy,
and, like, this. Then again, with the command
of custom to the variable, we continue our
work, but this time, I choose scale one D. Again, I select a tractor line
and then I select my unit. My boundary is this square, and my origin point, I mean, the point that the scale should
start from is here. And a point that determines
the direction of the scale. Something like this. My minimum skill is one tenth and my maximum scale is 9500th. And now, as you can see, the scales are created for
me from low to the high. The next option that
we're going to talk about is the state of rotation. I select rotates, and now I'm going to make a
change into this shape. This type of things, you know, I made it this to see its
rotation better like this. And it can be a
little bit smaller, so it can rotate easily I make a coffee out of it, and then I can make it a bit smaller. Like the way you see. Here again, I go and select
the custom variable, and from the pattern method, I pick up the rotate. I press enter, asks
about the tractor line. I select it, I press enter, and I'd say this is the shape that I want it to be a pattern. Boundary is a rectangle, and it has supposed to
rotate actually from here, minimum rotation angle
like five degree and the maximum has
to be 90 degree. As you can see, the size of the rotation is five degree
and here is 90 degree. And it scales the form that we had on this page based on cells. And actually, it fit them
to the size of cells. The next option
that we're going to take a look at here is
the state of translation. In this estate, I'd
say, for example, this shape that is supposed to move
within this rectangle, and this rectangle is one
of the cells of our grid. It has to move from this
point to this point. And At the beginning and around our line
and our pattern are placed on the left point
of each of these cells. And you can watch
them in these parts. And the more it goes away, comes to its
corresponding point, the same thing
that we have here. So let's make a copy out of this and bring it to this part. It means that show me where
this rectangle is close to the line and this rectangle where it is away from the line. The next option that we're
going to talk about is list. Okay, with the help of this, let me wrote it this bit. Okay, something like this, then I apply bonding box, and I give every one
of them a bonding box. And then again, with custom to the variable I want to put
some patterns on this grid. Now, I activate list. And then, again, I keep
this attractor line. And then I select this
attractor line again. And then it asks me to
define my first pattern. I give him the
pattern number one. And the bounding box is this rectangle and the
pattern number two, this diamond and
its bounding box is this rectang number three
and it's bounding box. And number four, as I don't have number
four, I press Enter. And now we see it
creates me such a thing. We see that next to
our tractor line, it put it our hexagons. And after that, those
diamonds there, the diamonds are deform a bit as they look like rectangles. And on the third level, I'm in the furest
place toward our line. It puts the last pattern, which was actually circle. So I can put different
models in list. Let's see something
else together. Suppose that I have
a rectangle and then I make three copies here. The first one can be like this, the second one, this, and the third one, this one. And then I select the
surface, the line. I activate invert, and
then I delete others. With the help of actually
custom to the variable, I select my grid, and after that, I
keep the list option. A tractor lines. And then I go to the
pattern, my first pattern, and it's bonding box,
my second pattern, and it's bonding box, my third pattern, and it's
bonding box, and then enter. As you can see, it creates
such a thing for me. It also could be vice versa. I mean, the smaller one could
be closer to this line, and now I'm going to select them and now we see
the results together. As you can see, close to the
line, the first pattern, our first pattern here
and the second pattern after that and the third
pattern on the furthest plate. Now let's talk about
the last option here. Okay, I'm going to
select this and delete. I would say I might have
a circle as an example. And here, maybe
actually pentagon. And then with the help
of a bonding box, I'm going to create the
lines around my shape, and here a circle should
change into a Panagon. I go to the paneling
tools, and finally, I will select custom
to the arrival, and then I select them all and then from
the pattern moon, I go with mean and tractor line. And now I say from this circle, which is into this square, change into this pentagon
in this bounding box. Look at around the line, we have the circle and then the circle change into the Pentagon in
different levels. We could say that
the same job that Twin curve tools does for us occurred in this
situation as well. You know that with the help
of Twin curve command, we can actually change the
circle into a pentagon. You see? Exactly the same
thing that happened here. We don't have anything to do
with the rest of the things. But just to show you
a single example, I consider two points,
for example, here, and I select here custom to the variable and now my
points and then my page, I select point tractor
here instead of catractor. And then I go for the points. Like I said, my first point
and then my second point. We see that we can use
the points of our grid. I want this Pentagon
around my points. Okay. And it's bounding. And then the further it becomes, it should change into a circle. It means that on
the four corners we have panagons and when
you come to the center, you can see the circles. Now, we know here
that how can we make our two dimensional panels
with the help of these tools. Okay. Now here, actually, after we know how
to use D three, I mean panel to degree, panel custom two D and panel
custom to the variable. Here we are actually
going to add up more panels to the panel to degree we
discussed it earlier. Okay, here before we start
doing anything else, I'm going to draw a line here. Okay. And I select
the line in this way, and then I extrude it. And I do some changes into this, come here and maybe
could be bigger. Okay, now I think that's enough. So I go to the panel
and create panel in grid and then I select
surface diamond number. And yeah, I think
that's so good. Now we're going to
create a new panel. For example, we want
to have a panel like, you know, and now let me draw
a beautiful pattern here. Okay. Yeah. Okay, such a panel. Such a pattern. Sorry,
I want to have. The first thing that we
should know that is that in how many units our
pattern should locate in. Now I'm going to count them two, three, four, five, and then six. And also, in this direction, there are six units. As you might already know
that when we have six units, we're gonna have
actually seven points. Now let's go to see how
can we create the pattern. And now I go to the
paneling tools and manage library patterns and
then manage two D patterns. I selected. I select new, and I'll say that
from this point, you got to start
a pattern for me. Select X axis reference. I reference on the
x axis like this. And what we need here
is seven to seven. And now here I type
seven and seven. And I do I draw the
exact thing here. Look, the exact pattern. And when you reach the end, you got a right click
to have such a four. Okay. I actually
shift and shift we say that how many units
our pattern should have this stance toward
the next pattern. We always abstract one from the number that we
gave in the first part. I mean, in previous estate, we gave the number seven, and now we give it number six. And I also type six
again in this part, and I press Enter and
then again Enter. Okay. And the next thing that we should do is that we go
to the paneling from grid, and then we select
panel to grid. Now we select our grid and
then our page and then Okay, we got to note
that the number of points that we created on the page must be proportional to the
number of points that make up our patterns. It means that it should
be a factor of it. You know, we had seven by seven, and the points that we
made were 14 by 14. When I go to the pattern, I see that p2d is added. Now we have a trouble here. Look. Now here, I
got to delete this, and then I go to create
a panel and grid, and then I choose a dummy
number and I'd say my page. And for example, it span must be 18 and the other part 18. We must have three
on each direction, or we put here 12, three and two patterns. We go to the paneling from grid and we select
panel to the grid, and then we can select the
pattern we made it before. And then at as border, we can have its result. And as you can see, some parts are not created. That's because in panel shape, we put it on straight. So we choose pull, and then we press Enter. And we see that the lines are quietly matched on our page. And then with the
help of pipe command and to tenth of sickness, we're going to have this,
and you can see render mode. Look. So we together learn how to make a new pattern. To create, actually
the new patterns, we can actually use a square and draw a line. I just keep gritty snap and
I turn off the other snap. I can create new patterns. I don't know what am I drawing. Okay. I can do it
as a practice here, and then I got to transfer
it to the paneling tools. And okay, now what
we have here, one, two, three, four, five, six, seven, eight,
we have eight. So the points should
be nine by nine. So I can lock this, so it could be on the
background of my work. So I go to paneling tools, manage library, and then new. And then I say from this
Mars I put number nine, and our height should
be nine as well. And now I can use my first
pattern as a background. We can make our pattern
simpler and with more ease. And we already told you
in Shift U and Shift V sob one number. It was nine. So here we put number eight. The name got to be P to the 01. And what we had here was
one, two, three, four. Okay, now I'm going to
delete my grid here. And then I go to the Dumin
number and I hear number 32. No, 14 is better. And this part got
to be 32 or no, 24 numbers from
the eight factors. Okay. And with the help of
paneling to degrade my points. And actually, with the
no pattern that I made, I create this, and I can actually create some frames
with a pipe command. And Yeah, I create a frame here, and I put it on render mode, see how it became beautiful. On the next level, later on, we're going to learn
how to actually take output from the
pattern that we make. I mean, for example, I made this pattern, so I wanted to
share it with you. How is that possible? To do so, I go to the library, and I select Save to
the pattern here. And I click on the target file. Okay, I'm going
to find a folder. I make a new folder. I name it pattern. And then I'm going to
select the name 01. Okay. Now I can share
this file with you. So if you wanted to
use this file, first, you got to go and you got to
choose the load patterns, then you can actually load it. So now you know how
to create pattern, how to save it, and
how to share it. So now, don't forget to share your patterns like this as
a text to your friends.
185. Make Change to Grid: Well, before going any further in explaining our three panels, we want to talk about grid
and making to the panel. Here, with the help
of RA command, we make a grid for ourself here, and then we make a copy
and we ungroup it. We already told that each of
these points has a number. In its name, G zero and zero, G zero and one, zero and two, et cetera. We said that if it wants
to attach a pattern, it attaches the g00 to g01, and G one and zero like this. It keeps doing it to
actually create as a square. Here, we expect that if this
part is routed manually, like this and the distance of the pattern changes
or if it's rotates, we still have the
same situation. We should attach
to this and this. And the next one is the same. This is what we
expected to happen. Here we go to the
paneling tools, and we point paneling
to the grid, and we select these points. From the pattern, we
select box pattern. We see that what we
expected is happening. I select scale, and then
we press in control z, and then I want to
explain something else. Guys, when we talk
about two D panel, it means that they are
attached with one line. If we have a three grid, I mean, three D panel,
there would be no problem. And I here edit the
grid as you see here. I mean, some parts should go up and some
parts should rotate. Okay, I choose panel
to the grid here. And as a result, I select the points, and I choose the box
from the pattern. And as you can see, we
have such a pattern here. Here, for example,
I can activate at face and then deactivate border. And here you see that I create a surface
with paneling grid. Okay, I hold controls it
to see something else. We want to talk
about how to change the placement of some points. And for example,
this point is g60, and the other is 614. I select this line and
then I click on scale, and I put minus one here. Now this point is
614 and then 613, to the six and zero. And now here with the
PT panel grid command, I select my points. C 0.50 with attach 60. And 0.51 would attach
61 and likewise. And as this part rotates, it creates such a knot. Okay, then I hold controls it to get to the previous state, and then I delete
the points here. Then again, I go to the
pain grid and then RA PLR, and I select the first direction and the second direction. Like what you see here, I put spacing on, for example, like to to enlarge the distance, and then I press the enter. I shift to the right view, and then I ungroup them. And then I try to select
the points like this. I mean, every other raw. As you can see, I hold shift to actually select the
points that I want. And then I drag it. And then I use two degree
to select the point. So then this shape
is made out of it.
186. Create Panel 3D Grid: So now let's see
panel three D grid. We before making our
two dimensional panels, we created first our grids. But here, for treat panels, we should have two grids. This can be done in two ways. For the first state, I'm
going to, for example, make a grid,
something like this. And then with activating
the control points, I can drag bit up. I make a copy out of this and maybe how could I
scale it a bit, you know. Okay, and it could
have more character. And then I hold
Control out and D. And then I select
surface dm in number. And here I organize my first plane here, and I do the same
thing to the next one. So for the first way, we have different pages with different carvatures You can have two flames, and then you can create
your paneling grid. Let's talk about
the second method. Again, I use the Domin
number to make a grid again, and then I copy this grid
with holding out and gumbo. And in the second method here, instead of making
copy out of the page, I use the variable
offset surface command. I do this job, you know, this part, this part. This part. You know, it could have
different characters. And again, we select dmi number, and we got to remember
that the numbers of the inputs to each plane
should be the same. And we have also another way. Okay. Let me do it on this. I can offset these points
in different ways. Here I show you where
this offset is. Yeah, I select it. But, you know, we don't have anything to do with
this method for now. Now, we can create it with the manual method
that we have here, like making a copy out of
your plane and then create a grid or making a
copy of our grid, or maybe I can offset my surface and then make
a planning grid for it. Imagine that we have
such a module here. For example, in this
way and something like this and it could
be a bit dragged up. I have such a module here, and the length and width of this module depends on
one of these cells here. Maybe we have a grid here. We have a grid here that the
length and width are here, and its height is the distance
between these two points. So it could be such a thing
when we use the custom panel. I hide it. I don't need it. So now I'm going to select
paneling three de grid. Now, here you should
remember what we said about to the panels. We can use the default
panels of the software, or we create a surface, and we mirror them, or we have a surface, and then we want to mirror
it in different ways. Like, we scale it, we rotate
it, and we change it. We can create our
patterns in three ways. And finally, we
will learn how to add panels to its
default panels. Like exactly the same thing
that we did in to the grids. Okay, for the first thing, I select this And from this part, I mean, add edge, at face, at solid and mesh, I put the things that I want on, yes, here I just
want to have solid. And then I go to the pattern part and
I select what I want. Like, I want some filled boxes. I activate Box three D and
first collection of points, then second
collection of points. We see that boxes are
made here for me. And again, I chose
pile greeting, and then this time, I
put it on partition. In a way that we have
some walls here, and these points could
be joined as a flame. First points and second points. Okay. There are difference
with the previous state. They're not filled, and
you can see it here. But about the previous state, if you wanted to
see it separately, more detail, we can
activate the isocurve. Or we can activate
the surface edge from here to see the edges
of this box separately. Let's shift to the shaded
mode to see the other option. I select a PT panel three D, and then I put it on wedge mode, wedge state, and then
the first points and the second points. And then I take it out and
I put it on render mode. And then I ungroup them, and I can see it as
triangle shaped. And now I'm going to show you the next item on this state. I select Speedy Panel three D, and here primate two and first
points and second points. Okay, as you can see. And now here we want
to make another thing. We apply PT panel, and we put this on. Okay, and first points
and second points. And now I can make a copy here, and then I can apply the
pipe command as I wish. Maybe we wanted to have
it in a reflected way. I can select the points
and make another copy. And again, I select Panel three and now I select the
second points as a first, and then I drag these lines up, and then I isolate them. And with the help
of pipe command, I make a volume out of them. And then I apply cell care, and then I put it on
render and from the Smart, and then I activate ser H here. See what happened, what
a structure, you know? Okay, then I do this to actually watch
my work in a better way. Okay, then I'm going to
actually select them. Okay, let me select
them and delete them. And yeah, then I'm going to select these two surfaces
here and this volume. So in the first part, we take a look at pal t degreed. Now here, we're going to actually take a look
at the last state. Now, we'd better have
a surface here with less character so that you
can understand it better. And now I'm going to divide
this flat flame. Okay. And then I make a copy, and I can put the points
in another layer, and the color must
be distinguished and the surface doesn't
need its isocurves. And now I go to the
paneling tools, and finally, I would
select three D, and then I select primate one and first points and
then second points. So you can see that it
creates such a thing, you know, such primates. It was better to activate solid. Here as you can see if we
consider a square here, the 0.1, two, and three, and they are located
on the third point. I mean, that there was a base which was
extrude to a point. As the same thing that we had before in our extrude commands, extrude curve two points. And, you know, we
extra it like this. This is exactly the same method. Okay, let me delete this. And on the next part, I mean, the custom treaty,
we are able to put a volume between actually grid. And for the first thing, I'm going to use this globe. I select Custom treaty here. My first and second points the, and then I select the surfaces that I had
before and then my object. It gives me a preview, and now I can give
it baseU base V, and Shift U and hf V like
I wanted every other one. I put the shift on two, and then I press Inter. And here with the help of last created
Object command that I put it on my pop and you can bring it from Select
and select Less Created. Okay, now we can select the
last thing that we have made, and then we can put
it on render mode. We see that it creates
a form like this. Okay. Again, we put it on shade mode, and we select this and our first points and second
points and our surface. And this time, I put a
shift on number one. I don't want any
distance between them. As we said, the dimensions and the height of our
panels are not important. It gets the height from the
distance between two grids, and it gets the dimensions from you and we have the grids, and then based on
them, we create it. And now we can see the
form that it made for us. I select these and I activate
inverts and I delete them. Here I draw a square, the same thing that we did
in two dimensional panels, and then a circle and with the help of AIPolar and with
the help of SmartTrack, I consider the center of
the square as the center of AAPolar four into 360 degrees. And now I can here
trim the lines. And then I use extrude curves
to give it a bit of height. And again, I select Pity
panel triti costume, first grid, and then second
grid, and the surface. As you can see, and
then I press Inter. And then I select the
last created objects, and then I hide the other ones
with the help of isolate. And then finally, I put
them on render Mode. And finally, we could
make such a form. Okay, now I am trying
to select them, and then invert, and
then I delete them. So in this part, we learned panel three
Grid and custom treat. Now let's go to the
custom three D variable. For example, I have a panel here and with the help
of a tractor point, a tractor line, gazing
curvature, min curvature, or other ways, I want something to happen
into their distribution. For example, it
could be scaled or it could be listed
as some objects
187. Create 3d Weave Pattern: So now let's make some examples
of making three D panels. For the first thing, I'm
going to make a plane here. Like, I draw a square
from the center point. I explode and with
the help of rebuild, I change the control points. I put it on four and
my degree on three. And then I turn on the
control points like this, and then I select
them every other one. I then give it a bit of height, and then I use service command to change
it to a plane here. Here I select points off or
I hold F 11 on the keyboard, and then I keep the plane
with isolate command here. I can now move this plane here so I can use the cardinate argin
for my drawing. Okay, the next thing that we're
going to do here, I mean, our first step was actually
creating a paneling grid. And then I activate the
surface diamond number. I mean, with a number of
ten by ten and 14 by 14, I create my palling grid. We already talked about how to have a three D paneling grid, just to make a copy or
making the points offset. We haven't learned the
points about offset now. And now I use the
offset service here. To draw this plane up 25
centimeter, I offset it. And then I use the
surface dumbing number. I divide the plane like
the previous divisions. I put it gassed, so we can see two planes. And now it's time to draw. Like here, I draw a line
from the cardinate origin. I activate oro here, or I can turn on Gritty snap, and I draw four units. I then make a mirror of this line to have it
in this part too. And then I use
interpolate curve from this part, here and here. And it could go down a bit. Then I mirror the
curve that I made, and it has to mirror for
the Okay, other time. We kid these curves into
one of the facades. To drop this curve from
top to play on front, I can actually rotate, or I can use remap
plane command. And then I select my objects, and I click here. And now we see it
is changed here. I can use the match
command here. I select this line and this line and activating
the average curve. Finally, I can put
them as equal curves. Okay, now I'm able not
to do this, and instead, I can use join, so I can just join these
two lines together. And now I'm not going
to join them as well. I just need to group them. Here, then I can
make a copy with pressing out and clicking
on it and typing 90 degree. And then I can
rotate it and I can transfer from the middle of
the blue line like this. Okay. And now I'm going to
mirror this line again, and it has to be symmetric. And then I do the same
thing to the next line, mirror center selecting
and scaling for symmetry. I don't need these lines, so I can hide them to
see my lines better. And then I can reduce
the height scale, and then I can select
them all here. And with the help
of bounding box, I can make a boundary for it. Now, uh, paneling tools and then paneling from grid
and then custom treaty. My first points and second
points and then my planes. And then I choose my
lines as objects, and then I press enter. It gives me a preview here, and then I press
enter to confirm it. And then I use last
created object here, and I select the object
and I take it out. And now I can select them all, and I can use join and
change 784 lines into 56. I mean this way. And after that, with the
help of pipe and multiple, I can select my lines and then give it some sort of thickness. For example, we can try 20 centimeter to
see if it's good. Let's see. In some parts, it might be mixed. Let's consider some
other small number. Let me select this and pipe but this
time, ten centimeter. So you can see it
gives us the texture, I mean, wp and width
that we want it to be.
188. Create Panel Custom 3D Variable: The next item that we're
going to talk about is about some
interesting objects. Here, for example, I
go to the front view. I turn on Grid Snap, and I draw a line here. I select my line, and with the help of mirror
command and zero origin, I produce the symmetry. And I draw these two lines, and I apply blend curve command and first line and second line. I put these two on tangency. I hold shift, and then
I click on one of the control point and
I drag it down a bit. And then I activate
the join okay. And in perspective,
I draw two lines, one of them from here
with radius four, and I do the same
on the other part. Now we're going
to draw two lines with the Henix command on actually around curve I select the line and
while holding Shift, I click on Quad just to
consider a Quad snap for me, and I put the turn on one, and finally, I draw
a line like this. I we click and I apply
the command again, and now our line again quad and finally
another line for me. I apply Sweep toil. First rail and second rail, I gave it to cross sections, and then the surface
that I want is created. And then I activated
this surface isocurve. After that, I actually activate the domin number to create
a paneling grid for myself, like 20 by 60 or 15 by 22. The ways that we had for
creating the second grid, we could make a copy
out of that grid, but here in this surface,
we can't do that. The other way was to make
offset out of this surface. I applied the offset
surface command. On round state,
loose got to be no, and this stands 1.5
toward the outside. Now it created as a polysurface. When I have a polysurface, I have to make grid for each
of the separated surfaces. So we'd better actually to learn the offset point
in grid utility. And just to explain this, I'm going to draw a
simple plane here. I make a grid here
and like 20 by 20. And then from the grid utility, I select offset point. There are here options, and I can use Gazin carature
or in carature a tractor point or a tractor line
or a vector or random. I can change the distance
between points in height. In some points, it could be five and in others,
could be one. Now, we don't have anything
to do with these states. Now for now, I just
put it on fixed mode. 1.5 here, and then, for example, points enter and it's plain. We see that points
are made here. So I repeat the command again, and as number one, I choose my points, and here it goes outside. The reason is that if I
look at the direction of the surface with DIR
command, it's toward inside. Now, here I can flip
to go toward outside, and then I apply offset point, or I could even put minus
numbers into distance. Now we have our surface,
our paneling grids, and I don't need I
make two copies, so we can look at some
interesting objects. The first thing that I want
to draw here is a circle, and then with the
help of ray centrd, I find it center. And now here I draw
a vertical line, and with the help of a quad like this. And then I changed the
control points of this line. Okay, for example,
something like this. And then I apply
revolve command. I'd say, my line and my
axis would be for circle. And then I activate
Pal custom tt, first points and second points, and then the plane I
have and the object gives me a preview of the
object and I press Inter. And then I wait until it
would create my panels. As you can see, now I can select the last objects that I
made from a material part, from the custom part. I can give it a color, some color like this,
some transparency, and it could assign
to the object. And finally, I put it on render mode and we
could see the work. If we wanted this
to be a bit bigger, we can actually make our
grid in a different way. As an instance, I
select the surface. I take it out, and here I go
and select them in number. This time, I'd say, for example, 30, 40 by 24. Like 36 and 22, 46 by 22. And after this, I activate the offset point and
the size is two tenths. And now my points, the plane I have I activate custom TD
the first point. Consider the first points on
the surface, second points, my flame and my object, and then enter and enter. We wait until it would
create the panels for us, and then I can actually give the last
objects that I've made, the material that I want. And then I activate the render, and we see that such a
form is created for us. And I also can consider
another material, like, for example, gray
for my main surface. Like the way you see this
I hide the grid here, so we could have a more
transparent picture. So now let's move on and
continue I select them, and then I hide them. With pressing the control
edge, I hide them. For the next thing, again, I'm going to draw a circle here, a point and a circle, a line in this part, and another line here. And then with the
help of blind curve, I can join them
together like this. And then I draw a
line from the center, and then I activate
the bland curve, and I put the blend start on BigPoint from this
part to this part. And then I flip it
to become like this, and I can make the second
on position state. I activate the trim
and then, okay. And I don't want this line, and I want this line to be
mirrored when it's mirrored, Okay, with the help of match, I put it on average, and then Okay, we
don't need this line, and we can join these
lines together. And then I apply a
revolve command and I say from this point and enter B. And it created such
a form for me. And with activating
my control point, okay, let's shift
today right view, I can select the point
and scale them a bit or, uh, select the upper
points and then okay. Then I activate the
panel custom treat here, and then I try to select
them all first point. Second point my surface, and then my object. Now we have the preview here, and I press the Intern
to confirm the command. Now, I got to wait
to see the result. Maybe the grid is with
more density here, so it makes it a bit heavy, but on the other side, it would get more beautiful
when it's applied. You see the height is so low, so I delete the points, and then I delete these two. Then I select offset point here, and like 2.5, got to be offset. I make a copy for my ex level, and then I activate panel
through the custom. And then Okay. Then I select my
last created object. I gave a material
that I want to it, and at the end, I'm gonna watch it
in render mode here. Now here, we know that we
are observing our surface. But in the next example, we're going to have the base as a rectangle so to
avoid the surface. And now I hide it here, and then I hide this And now here I draw a
circle and bounding box, and I drag it up a bit. And then a bit of a scale here, and it has to be scaled again. And while project is on, it should be put in this way, and again, another circle. And then I apply I actually love and I say
these three lines together and eventually loved again and this line and this line. I activate Gary story,
and then, okay, maybe because I wanted to drag this line a bit
upper or maybe smaller. I select the surface
and I hold F ten, and maybe I drag the
upper points a bit upper, make it a bit bigger, and I drag it up. I select to plane, and then I join them together, and then I give it the
material that I want. And, okay, you see here. And then I use BD
panel three d custom. And here again, the points, first points, second
points, and the surface. And finally, the object
that I have here and then inter Okay. We see that here, there is a different form. Okay. You can see this. Now I press Control Alt H in order to show our
previous objects, and we also can choose
these and then delete them. And I can save this file for
you with the name of zero.
189. Create Panel Custom 3D Variable Example: Oh, okay, now we're going to learn panel custom three
D variable together. Here, we can use four
methods list Mint surface, Mint curve and Mint mesh. We can create our
three D panels. Here, we're going
to make examples to learn the first
and second method. So here I draw a line, and then I extrude it. And then with the
help of Dubin number, I make my own grid
on the surface. I, for example, I put number
30 and 20 in we number. I select now offset
point from grid utility. Okay. And then I select the
points and then the surface. And I gave 2.5 units
to be offset for me. I can reduce it to 1.5. As you can see here. Well, the first state
that we can use in panel custom treaty variable
is a state of list. It means that we can use different patterns
in a list state. In order to use different
types of pattern, here I start drawing a square, and then I make three
copies out of it. I select the square and I
press out and shift together, and then I scale. The panel got to
be like this and the next panel like this. I select all the lines and then excrude curve
command and the soltan, and we consider the A
height that we want. I even can change the
layer of these objects, like one could be red and the
second one could be purple. Here I'm going to select
panel custom three from here. And now first points
and the second points, such options are
available here for us. In a pattern method, we can select the states
that we talked about. I mean, as mean surface, mean curve, and mesh. In these three states is ask us a start object and end object. As an example, it
changes a circle into a Pentagon or these
types of examples. And in ist state, we can give it endless options
to reproduce it for us. And in the next part, we said that you can determine the distribution pattern
of these objects that I put it on a point tractor so that I
can use the grid points. I press the Inter. It asks for tractor points, and I consider this point and this point as my tractor points. And now I select my first object and then it
ask about a punning box. I don't have any, so I
press the Inter Okay. And now, my second object and it's punning box
and my third object, and it's punning box, I
don't have the fourth one, so I press to enter. And now it's time to wait to see the distribution of these
objects on the surface. And yes, here we go. And now I can go to the layers part to actually add
up some material, maybe a red color
to the red parts and a purple color
for the purple parts. Now let's watch it
in render mode. It uses the first panel to
the points that were close to my tractor points and the second panel
on the next layer. And finally, the last panel.
190. Create Panel Custom 3D Variable Example 2: Okay, let's move on. Now
I'm going to dry surface. For example, a
surface like this. I change the control point
and then I extrude it. And here I pull it
together a bit. Now, I go to the create
panel and greed. I select dim number, and then I change the number 30 to 16 and here to 18
and then presenter. And my grid points, that's okay. I make a coffee here
or maybe these parts. And now, with the help
of a simple surface, I draw a square here, and now here, even we can
enlarge our grid a bit. But now I keep on with this. I make a cop here. I turn one of the
control points on, and then I select two points
and I drag it up like this. And then I apply the
bonding box here. And then I put my object on ghosted mode
so I can see the inside. And then I make a copy
from here to here, and I can put these
two in layer three. I go to the paneling tools. I go to the paneling frame grid, I select customs variable. And then my first one
and my second point. And from the pattern method, I choose Min surface. And I consider my tractor
point, these upper corners. And then here, I say
my first object, and it's actually a bunning box. And the second object, then it's bunning box. Okay. Now here, I can
actually activate ll PT, and then I can hide it and hide the background and put it on render mode,
as you can see here. It starts from a flat surface, and when it gets closest
to tractor point, the actually planes,
get some curvature. And now I put these two here, and I select the whole
objects, and then I hide it. The next example that
we wanted to take a look at is in is part, but the difference is that
we're going to use bunny box. Now, here I am drawing
a deformable plane and ten by ten, actually
control points. I turn on the control points, and then with the help
of soft mode commands, I select this part and
I drag it up a bit. And then I do the same job here. And then I actually use self Adama number
to create my grid. It could be 18 by 18, and then I make a copy
out of my grid now, and I am creating my forms here. I go to the solid part
and I select primate, a square and something like
okay, something like this. And then I actually make three
copies out of my object. And here I cut a part of it, and I drag it here, and I put it down a bit. And I do the same
job with these too. I can delete them, and I can make a copy out
of this to make it easier. And I push it down here, and I do the same job to this. I do the job, and then
I'll explain it to you. Okay, this part
got to be omitted. This part got to be omitted, and this part has to be emitted. And I want to have three
types of this like this. And then I apply
the shell command, and I select this part and
this part, and I'd say, like, one, one is
too high, one tenth. Then it could produce me
a surface with open top. Now we want to put all
these into this grid. Now I'm going to
make a copy out of this and my first objects
and my second objects. And now with the help of the bounding box command and
for example, in blue layer, and now here, I put my
object in a ghosted mode, and then I make a copy
of this bonding box. If I consider actually,
for each object, its own specific bonding box' like having
no bounding box, and I press the
Inter when it asks for it. What's the difference? So but now we can here
see the difference. You know, when we consider bonding box separately, in fact, it changes the height
of this part as the distance between two grids. And also this the height in this part would
remain differently. And I select I go to
the paneling tools, paneling from grid then
through the variable, I do the job to this part, first points and
second points and last state and the attractor point. I actually take these two
corners as my attractor points. Now, my first object inter, my second object inter, my third object,
my fourth object, and then ask for the fifth one, so we don't have it,
so I press Inter, and then I go to the next part. My first point my second points and the settings are all the
same as the previous one. And a tractor points. And here my first medal
and it's punning box next. One and it's punning box, third, and it's bounding box, fourth one, and
it's Bunning box. And then we got a way to put
our objects on the flame. So here we go. I can select this all to
delete it and now apply Sel PT here and control to hide them and
then put it on radar mode. As you're seeing here, in the first part, the
height is considered fixed. The cmpolt and the copoltPyramid
have the same height. While in the second case, we see that the difference between the heights
remain for us. Complete one level, well, second and third level. So we have the difference
between the heights here. The first one, second one, third one, and fourth. The point here is that what sort of thing
that we want here? Maybe we want
something like this, or maybe we want
some other types. It all depends on the idea
that we have for our design. Okay, now I'm going
to save this file. Must give it a name
and Okay. I save it.
191. Additional Topics: Okay. Now here, we're
going to add up some new panels to panel three
the gray devolve panels. In doing so, we should go to the managed Library pattern where we actually
adapt to the patterns, and this time, we should go
to manage threereDPattern. When I select the points, here I select new, and here I start selecting
a base for my grid. Like zero points, and I
consider one for my X axis, and it gives me such an output. In making two D patterns, the points were actually
displayed in a flat plane. But in three D, we have
two series of points, and here I can change the different dimensions
of these points. As an example, I give it five, so we can have four and five. What we should do
here is that I should start drawing some closed
pattern like this. Now I can put a shift
on four and four, so I couldn't disturb my sight. So I can do the job easily. And I can start
from here like this and like this and in this way, I draw some plane like this. Okay. And the panel
that I wanted to make, for example, would be like this. Okay. The point here is
that what we are doing here should be applied
to actually other parts. The places of points
may be at first, a bit confusing, but we can easily identify the
places of points. Okay. Now here, I can
continue it until here like this and Okay. Okay, here we go. Now, I drop this. Okay. And then I can
actually attach these parts. Okay, finally, we made a
panel with five by five. I mean, with force
divisions here. Now, I drawing a line here, and I extrude it here, and then I got a
surface diamond number, and I consider a number, which has to be the
factor of four. And then I consider offset point to create our second grid, and then I activate panel
three the grid here. Now, we see in the pattern part that
we have a new pattern. I click on it, maybe I change that solid and first point
and second point, the pattern that I made
would be displayed actually like this. Here we go. And finally, it would
appear like this for me. And finally, our pattern
looks like this. If actually here, we take
a look at it closely, it's because of the
character of our plane because it wants to actually create a straight
line in this care. So deformation has happened
here, which is not important. And now, maybe drawing these types of patterns is a bit
difficult in this way. So I highly recommend you
to use custom three here. Okay, now let's take a look at the other setting
that we have in this plugin. Actually, we wanted to go
to the grid utility and then actually practice some
of the useful commands here. As an example here, I can explain, for example, trim grid or change
density or maybe offset. Okay, now here, I'm going to draw a very
simple plane here. Okay, very simple plane, and then I rebuild
it like six and six. I now select control point and change the plane a bit
the way you can see here. And now I get the help from surface diamond number to
make my own grid here. Okay. And now it's time to take a look at the
options that we have here. And here I draw a deformable circle next
to the first plane, and I start selecting its
control point like this. And now I actually activated
the Patch command here. Okay, I finally
made a plane here, and now here I could create paneling grid and with the
help of surface number, I create my grid on this plane. As you can see, the
grid is created outside the surface.
Why does that happen? Because if I click
on the trim option or I click on this
icon on the edge, we will see that our main
surface is such a surface, and these points are actually considered on the main surface. If actually I wanted my panel
to only be on this range, one of the ways that
could help us to some extent is to
use trim option. I activate trim grid, and I select this
point and this plane. So it restrict the points
to the plane here. Now I can go to the grid, and then I select points
and then plane so that it could create such a pattern for me or maybe other
types of models. So one of the useful
option that we should know from
the Grid utility is the trim grid option. The next command we're going to talk about is change density. Maybe I have created my grid, and maybe from here, maybe that pattern
that I want to make is a bit bigger
than what I want, and I want my
panels to increase. In doing so, I don't need to delete my grid and
then create it again. Instead, I can use
change density. Okay, I select the
change density, then I select my grid, the plane that it locates on, and I can consider the
increased numbers here. As an example, I can decrease or increase the number of
points on or directions. And I select a flame,
and as you can see, I add up a points
between two points. Or we can actually decrease
the number of points. And if we do that,
you can see that it subtracts the points
from the previous state. Maybe I want to have
two points in between. So I put it on increase, and then I gave NV
number number two. And here, if you
take a look at it, we can see two points
between each two points. And I hear Control
Z and Control Y. Okay, so we find out that one
of the useful command that we have here in grid
utility is change density. The next options that we're going to talk
about are our converts, which are very helpful. And with the help of them, we can change our grid. Okay, now I make a copy
out of this plane. I don't need this, so I
select it and hide it, and now here, I'm going
to draw a circle. And on the first plane, I use panel custom
two D. I want to have this circle
on the grid here. And now, as you can see, there is a preview
of that circle. Surrounded by a square. And finally, we have
such a form like this. Okay, it's not a bad idea
to make another copy here. And now I go to the grid utility and put it on diagonal first. And then I select my grid, and I put the second
plane on diamond. And this has to be divided. And now with the
help of custom to the my grid and the flame and
the line that I have here. And again, the grid, flame and the line
that I had here. And now we see that just
by using one plane, one grid, and one circle, we could have
created three forms. And now here I type self
Petty command here. I select them, and
then I hide them. So these circles could
be displayed clearly. We see them as organized
rows and columns here, and here in Dagon
way or other model. And we can actually
split the plane using those lines and actually Okay. And then we can change the material of each
part of this flame. And just to show you, I choose the green color, and I change the
part that I choose. So we can do such things
easily in this software. Okay, that's enough. Let me delete these two to get to the next
part of our course. I press Control O H I actually hide this and
I delete these two. And this part has to be deleted
because I don't need it. The next option that
we're going to talk about from Grid utility
is offset point. We already talked
about this option. Now I click on Offset
Point here, and this time, instead of fixed
distance method, I put it on pointer tractor, and as an example, I put
the minimum distance on two and our maximum distance could be ten, and select points. These are my points. They are on this plane. And these two are our
structural point. Okay, we see that. Such points are created for us. Just to see it with
more clearance, I actually apply
the command again. I put the distance method
on points tractor again, and I put connect option on. And now here my points, my flame and these two points, mytractor point, or maybe these four points would
be mytractor point. And now this time, we see that some lines
are created for us. I select my last object, so I can make a copy out of it. Okay. And then I can
ungroup them here. And then I type LVT, and I hide the points. And now here with the
help of pipe command. Okay, one is too high. 410, Okay. If we want to have a cross
section except for a circle, I can apply pipe again, and then I select my lines, and I put the cap on none. So the pipes that are
going to be created would be surface,
not polysurface. And when they are
in surface state, they are actually
easily rebuilt. So I apply the pipe. I select them all, and then I rebuild and say
degree one, degree one. This part is not
important, and in part. For example, I wanted
to be a squared. I put it on four, and then finally okay. So I wait for my surfaces to
be rebuilt and on direction, I mean the cross
section of these pipes, we will have a
square degree one, and at the end, we could see that such a form. Such a form could be created
for us. Take a look at it. And maybe if we drag
this surface under this, it would display
a better outlook. So I go back to the shade mode. I select them and control tag. I don't want these
grids anymore, and I isolate these two. Now, again, I go to
the grid utility, and I select offset
grid by height field. Based on the image that I have, it takes into account its
minimum and maximum height. And now we're going to try this. Okay, I chose this and
I'm looking for an image. Okay, I select this one. And finally, it created a flame for us with a
zero in the black area, and a one in white
area so we can use an image as the basis
for our offsets. Now, let's talk about some other options in
general utility tab. Okay, let's move on. Here in Grid utility part, we talk about important
options like offset points. We talk about trimming grids and then we talk about two
states of converts. And if you have paid attention, we also have another option
paneling without grid, which enable us to make a
panel without using grid. And here as the first option, we have panel points on surface. It can create the
panels in two ways. Before I fly the command, I try to make a copy
out of this page. Okay. And then I apply
the command again. We can create the panel on
the surface in two ways. Maybe we have some points, and it's not necessary that the points are made
out of the grid. We have just some points here or maybe we don't have
any points at all. In this case, I say, I don't have any points here. So I go to the
generate randomly. I activate it, and
then I consider, for example, 30 points for it. And then I select the planes so I can see such a
panel is made for me. In another situation, I
may have some points. So I put this option on no. I select my plane and then
the points that I want. And then I press the enter. And in this estate, it gives
me a more attractive panel. Okay, let me see it here. As you can see here, it
creates such a panel for me, and you can watch
it here as well. Now, I take out the lines so
you can see with clearance. We see that we here have somehow an organized pattern
on the surface. Let me remove this
or maybe hide it. And in the next part, we have panel subdivide curve. Well, what this
option can do for us? Just to show you how it works, I'm going to draw a plane here. This is my plane, and then I'm going to draw
a triangle on it. It applies some divisions
like the separates ki triangle and actually
provide us with some options. And here now, I select panel with a
grid and subdivide it. The division rate would
be determined on degree. And as an example, I pick up number six. In method parts, I can ask you to consider
all the components, and by components, I
mean the divisions of the general triangle or maybe the divisions
of margin triangles. We're going to talk
about all of them. First of all, I put it on, and then I select my plane here, and then my lines. Oh, it's too small, so maybe I put the
degree on three. And then okay, my
base and my line. And then I make a
copy out of this for the sub curve state
and another copy for manlge state. Okay. And now I apply
the command again, and I put the
method on sub only. Okay, here and then here. Okay, now we see that the middle triangles
are not divided here, but other triangles are divided, and it is completely vice
versa and manly states. I mean, actually, the middle
triangle are divided, as you can see here. Okay, we did this job
on these triangles. The question is here, can we do that on this plane
with curvature? And the answer is yes. Now here, I'm going to dry
triangle here on this. And I drag David up, and then I fly the Command
D panel subdivide. I put it on all states, and then my surface in line. Okay. We can see that it
creates such a thing. And but some okay, last points are kept attached. I can remove them with the
help of project command. I can put them on the surface. And okay, as you can see here. So we stay together. Okay, the next thing
that we're going to talk about are the commands that
we have in paneling utility. Commands like extrude age, offset age or other
types of commands. And here, just to show
you these commands, I'm going to make a
copy out of this. And then I'm going to make
a grid on the surface. So I go to the paneling tool and then paneling from grid end to the grid and then
say, This is my grid. And then I put it okay. This is a good state. And then I put at face per on, but I don't want
the other options. So now, how can we
use these lines? One of the ways is that I
can use a pipe command. Or the next way is
that we can trim the surface or we can
actually split them, and then we can give it
different materials. Or another way is that I
can extrude the lines. In this state, I can select it. And with the help
of gumball, I can, okay, apply this, just
the way you see here. So I can have the
surfacing lines. And with the help of Cabal, I can give it a height. Or the next method is using the commands that
palling tools provide for us. Okay, before going down, let me make a copy here. And now I will do the
paneling utility, and I select extrude edge. And on extrude ge, we have high method, or you can put it on Fix or point stracor or other
types of options. So you can control the
height of these lines. I put it on fixed
estate, and like one, I select my lines here and the
surface under those lines. And as you can see, it
created such a thing for us. And again, I apply the command and I go
to the high method. But this time, I go
for Gazian curvature. And here I determine the minimum and maximum
lines and then surface. And here we see the height as the minimum and maximum
that we gave it. And you can see it here. The point here that we should
take into consideration is that the lines
having the stance, and you can see this,
clearly in this part. Okay, how can we
avoid this problem? Okay. Just to do so, we can go to the paneading
utility and select Fin Edge. With that, we can make a strode, and so we can edit the
edges of our work. And I select this
edge and then again, take a look at the process
that we had before. I mean, for example,
fixed estate or pointer tractor or Ao types. But this time, I put
it on a tractor. And then, again, I determine
the minimum and maximum. And again, my lines, my surface and my
points of tractor. And then I press Enter. This time, I can see
that the project is created correctly and
I avoided the problem. And these ups and downs are because of the
changes in height. But the problem that we had before is solved the
problem of these things. Just to take a closer
look at the subject, I apply the command
again, but this time, I put it on fixed state, and I select my lines
and my surface. And this time, I see the
edges, so knitting, correct. Now I put it on render mode. Okay, now we're discussing the actually extrude edge and
fin edge on grid utility. We have another option, we call it at notch. And if I click on it, two numbers would appear for me. Just to show you how
this Adnach can work, I put it on ghosted mode, and then I'm going to draw something on one
of these panels. What actually ADNch can
do for us with the help of these two numbers is that it removes a size at each
of the panel joints. Like this and that
part like that. We give it the length
and width of the line, and it removes. Okay. Well, here, except
for this object, I'm going to hide the rest. Okay, let's explain
the other options. Okay. The next thing that
we're going to talk about through paling utility
is actually offset edge. And here, again, in
this stand method, I can consider different
numbers as different heights. I can select different types of states or the fixed state. And then I select
this and finally, it gives me a offset, like the way that
you can see here. Okay, let's see what other
things that we can talk about. In this part, we can
have some capabilities. For example, I remove this and I go to
the paneling tools, paneling from grid, I
select to the grid, and then my grid here, and then the surface
that I have. And here I turn on at face. And we here want to put down this surface to make a maquette. Here I actually changed the color so that we
can see it clearly. And here, I'm going to
select l face here. And in this part, I
have different options. As an example, these options can determine the
distances between the surfaces that are
going to be expanded on the ground or if they
have label or not. And here I can put the label on actually text
object and then inside, and the numbers apply
inside my object. You know, like I
give it two tenths. And then here I select my
face and I press Enter, and then I wait until it would expand all of my
faces on the ground. And we're going to
see the result soon. Okay, now we see that all the faces are here as
flat objects. I zoom it out. And there's also a
number beside each part. And we also have
the numbers here. The advantage of these types of numbering is that after that, I use D border and take out
the lines around my objects, and then I can hide it, and I can consider the lines and the numbers for
cutting and carving. I can put all the numbers
in a different layer and I can order the numbers would be carved and the
lines would be cut. But that's beside the point. We're not talking about
this, so let's move on. And we have also
other options like, let me first hold
Control Z here. Okay. Around these corners or edges, we can have, you know, some tab states. How
is that possible? You know, I'm going
to draw a box here, and then with the help
of smash command, I'm going to expand it. And then the last
objects that I've made. Okay. And then I go to the paneling tools
and paneling utility, and I select tab. And then I give the
distance that it wants and the angle
that it requires. And then I select my faces, and then I press Enter. And now, as you can see, it creates me some tabs here. So I can make it up for
the objects that they have like 15 here. And it finally gives me some
edges around my object. Okay. Like the way
that you can see here. So as we now here, we can use the options
in Paladin utility to edit the objects that
we created in in itself. Okay, let's move on. The next thing that
we're going to talk about is general utility. In this part, we have
actually options like divide that we
have it here as well. We can apply it. I remove all these, and then I draw a circle. And with the help of A Lanier, I make ten copy out of it. And next, with the
help of cage Edit, I actually do this. Okay. Okay, finally, I
made some lines here. Now, I go to the
general utility, and here I can
divide in two ways. Divide carve span and
divide curve by ord length. I select divide carve span here. And then, for example, I put it on 12, and then I select my lines. So as you can see, it gives us some points. Okay, like this. Or I can use other
types of options like here, like Min curve. With the help of twin curve, I could change one
line to another line. And now, I wanted to change
a circle into a octangle. I go to the paneling tools
and general utility, and then I select Min curve. And then I I got to restart from a circle to that in six levels. Okay. Okay. Something
happened that I can put match method
on the second option. We now see the problem
is completely solved. Okay, eventually,
we have learned the PanlonTol plug in together, but you got to still work on it. And based on your creativity, you can produce
different types of objects for yourself and
speed up the way you work. Share your work
with your friends, and don't forget to share
it with me as well. Feel free to ask any possible question
that you come up with. Don't forget to
practice, as you know, practice makes perfect, or
say, practice makes permanent. And thank you for
watching this episode.
Amir Karami, BIM Manager
